As of writing, Spider-Man: Brand New Day has become the highest-grossing movie of 2026 by bringing in $1.155 billion worldwide during its first week in theaters.

I knew that people were excited to get their cinematic Spidey senses back, but I didn't predict just how well the new Marvel movie would perform. I certainly don't think it's the strongest superhero movie we've seen in the last few years (more on that later), but Brand New Day's different format choices are certainly helping its appeal.

It's understandable that we're lapping up cinema being a more immersive experience when we're paying out for it — just look at how well Christopher Nolan's The Odyssey performed in both its original IMAX 70mm format and in 4DX. But surprisingly, Brand New Day is the first feature-length movie to be shot purposefully for another format: ScreenX.

But before we dig deeper into that what actually means, I come bearing a warning. Unless you're specifically trying to see Spider-Man: Brand New Day in every possible format as a personal challenge, ScreenX is one to be avoided.

In fact, I'd urge to to pay out quite a lot extra to experience flying through New York's skyscrapers in 4DX 3D instead.

How many formats can you watch Spider-Man: Brand New Day in?

The full list of Spider-Man: Brand New Day cinema formats look something like this:

• Standard DCP (Digital Cinema Package), 2D and 3D
• IMAX
• RPX (Regal Premium Experience) or Superscreen
• 4DX and 4DX 3D
• Dolby Cinema
• ScreenX

Not all of these formats are going to be available to everyone, so let's use a local example. I'm based in the UK, and my beloved Cineworld membership means that I have access to DCP 2D and 3D within a 20-minute drive of my house.

If I'm happy to pay the travel fares for a trip into Central London, this also means that I can see Brand New Day in Superscreen (which is the British equivalent of RPX) and ScreenX if I pay an "uplift" fee on top of my membership's monthly direct debit.

Annoyingly, I've got to wait for IMAX as The Odyssey is still selling out most venues across the South of the UK.

Cost-wise, this is what non-members are looking at:

• Standard: £16.99
• Superscreen: £20.99
• ScreenX: £21.99
• 4DX 3D: £30.99 (with an extra £1.25 for 3D glasses)

With my membership and "uplift" fee, my costs are this:

• Standard: no uplift fee
• Superscreen: no uplift fee
• ScreenX: £4
• 4DX 3D: £6

In the US, these costs will roughly look like the following:

• Standard: $16-$20
• RPX: $23-27
• IMAX: approx. $27
• ScreenX: approx. $29
• 4DX 3D: approx. $33

ScreenX: the basics

So what is ScreenX? Essentially, it's a multi-projection cinematic technology that expands movies onto the left and right side walls of a theater (like you see in the above video).

This creates a 270-degree panoramic viewing experience using extra ceiling-mounted projectors — I counted two for each side during my Brand New Day screening.

Unlike 4DX, you're not actually moving. Depending on which cinema you choose to go to, you'll have the choice of regular or luxe recliner seating. As I was treating myself for the purpose of this piece, you can guess which one I decided on (and it was genuinely incredibly comfortable).

Currently, there are There are over 430 ScreenX auditoriums operating across 40 countries worldwide, which means, like me, you might have to pay extra travel fares to get to your closest theatre.

Up until now, ScreenX has typically been used for "key action or landscape scenes." But surely this would change for the first feature film shot in the format... right?

Spider-Man: Brand New Day in ScreenX is an underwhelming experience — I'm not sure why Marvel bothered

In a word, no. Despite being filmed specifically for the format, Brand New Day still only uses its ScreenX capabilities in certain scenes — and I've got to wonder why Marvel bothered.

For context, this was my first time ever watching a movie in ScreenX, and I was fully expecting to be blown away. The novelty of watching scenes in 270-degrees lasted for all of a few minutes before I failed to understand what the impact of including my peripheral vision was intended to be.

Simply put, it felt as though ScreenX would hugely benefit from the inclusion of 4DX technology. Much like The Amazing Adventures of Spider-Man ride at Universal Studios Florida, I wanted to be clinging onto my seat for dear life while being so visually immersed in flying through the air. The effect of ScreenX on its own left me unmoving, only wishing that I'd chosen a 4DX 3D screening across town instead.

The added insult to injury is that the 270-degree immersion didn't last for the duration for the film as I'd hoped for. The constant format changing between 270 to standard was incredibly jarring, and took me out away from the magic of the viewing experience itself, and even what was narratively happening throughout the movie.

For the travel sick among us, I interestingly found that ScreenX made me feel a lot more nauseous than 4DX ever has. Where I had worried about leaving my Kwells tablets at home before Odysseus (Matt Damon) got battered at sea in The Odyssey's 4DX screening, I hadn't even thought about it here — which was a mistake.

It's difficult to know how much of my ScreenX judgement is clouded by the fact that I thought Spider-Man: Brand New Day was merely... fine. Instead of watching the new movie in a standard format first before heading to a specialist format for a rewatch, I took the plunge with ScreenX first time around.

The CGI is often ropey at points, and I found the pacing of Peter Parker's (Tom Holland) re-reveal to MJ (Zendaya) and Ned (Jacob Batalon) to be tortuously slow. However, judging by my TechRadar colleagues' feedback, this was the overwhelming sentiment regardless of which format you watched the film in.

If studios want to film movies in ScreenX in the future, my advice is this: either use the 270-degree projection for the entire duration, or don't bother at all. It feels incredibly non-committal to wheel the technology out as a novelty showpiece for a few minutes before neglecting it, and it doesn't do overall artistry or the immersive experience any favors.

Instead, pour your efforts and resources into making 4DX screenings sing, or do a full Nolan and shoot entirely in IMAX (something which can be sustained for a film's full runtime).

A half-hearted gimmick is one that never works, but maybe that's a marketing ploy in itself — now I only ever want to see action-adventure movies in 4DX, meaning cinemas have secured the highest level of ticket costing possible from me.

• The Legend of Zelda Movie has reportedly found its Ganondorf and Impa
• Uli Latukefu and Dichen Lachmann are set to play the aforementioned pair
• The film also expected to feature Yvonna Strahovski and the late Sam Neill

The Legend of Zelda Movie just got a big cast update — and now we know who'll play the franchise's primary villain in Ganondorf.

Per Deadline, relative newcomer and Australian actor Uli Latukefu (Young Rock, Marco Polo) will play the imposing Big Bad in Sony's live-action film adaptation of Nintendo's beloved videogame franchise.

Deadline's report also claims that Latukefu has inked a multi-picture deal — a crucial detail that implies that, should the Zelda film be a critical and commercial success, Latukefu will return as the power-hungry Gerudo warlock in at least one sequel.

Latukefu isn't the only actor who's all but confirmed to appear in The Legend of Zelda's big-screen reimagining.

In a separate article, Deadline reported that Severance star Dichen Lachmann will portray Zelda's bodyguard Impa in the live-action film. This apparent confirmation comes months after Lachmann was supposedly spotted on set with Bo Bragason's Zelda — the latter of whom was announced as the titular character in July 2025. Benjamin Evan Ainsworth was also revealed to be playing Link, aka The Legend of Zelda's male protagonist and hero, at the same time.

Furthermore, Deadline's sources have suggested that Yvonna Strahovski (The Handmaid's Tale) and the late, great actor Sam Neill (Jurassic Park) are also set to feature, though the identities of their characters is unknown.

Who are Sam Neill and Yvonne Strahovski playing in The Legend of Zelda Movie?

According to Deadline's sources, Strahovski will portray an unnamed queen. Immediately, fans' attentions will immediately turn to Princess Zelda's mother, who's never actually showed up in a Legend of Zelda game.

However, there are numerous other female monarchs who Strahovski could portray. That includes Queen Sonia, who — spoiler — is revealed to be Hyrule's co-founder in The Legend of Zelda: Tears of the Kingdom. This game, which is the latest entry in Nintendo's long-running and universally adored franchise, is the sequel to Breath of the Wild, which, based on The Legend of Zelda Movie's first-look images, many fans think the film is largely inspired by. If that's the case, it's possible that Strahovski could play Queen Sonia in a flashback sequence if the Zelda film incorporates aspect of Tears of the Kingdom's story into its plot.

As for Neill, who passed away from pneumonia in mid-July after a lengthy cancer battle, he might play King Rauru, aka Queen Sonia's husband. Other alternatives — in my mind, anyway — that Neill could embody in one of his final on-screen performances include King Rhoam, aka the last ruler of Hyrule, the 100-year-old Sheikh scientist Doctor Robbie, or a popular member of the Goron tribe, such as Daruk or Bludo.

Who do you think Strahovski and Neill are playing? Let me know in the comments. Once you have, find out everything we know so far about The Legend of Zelda Movie, which is now set to land in theaters worldwide on April 30, 2027.

• Kit Connor has reportedly joined Marvel's new X-Men movie
• The Heartstopper star is said to be playing Scott Summers/ Cyclops
• He joins Sadie Sink and Samara Weaving as part of the hotly-anticipated MCU film

Marvel has reportedly found the star it wants to portray beloved X-Men member Scott Summers/ Cyclops in its cinematic universe.

Per Deadline, Heartstopper actor Kit Connor has been hired to play the mutant group's in-the-field leader. Typically, Marvel hasn't commented on the report, but Deadline is extremely reliable when it comes to casting updates. It stands to reason, then, that Connor is the latest star to land a role in the Marvel Cinematic Universe (MCU).

If true, Connor will be the third actor to sign on for the new X-Men movie. Sadie Sink, who was confirmed to be the MCU's version of Jean Grey in Spider-Man: Brand New Day, is all but locked in for a role in Marvel's mutant-starring flick. Meanwhile, Samara Weaving was reportedly cast as popular superhuman Emma Frost on July 31, with Deadline again being the first to break the news of her apparent involvement.

Little else is known about Marvel's X-Men film reboot. According to Variety, though, the comic giant has ambitions on releasing it as the first project of Marvel Phase 7. If true, the untitled flick will precede the Ryan Gosling-starring Ghost Rider and David Jonsson-led Black Panther III, both of which are primed to arrive in 2028.

An ever-evolving line-up

Marvel may have locked in Sink, Weaving, and Connor for its forthcoming X-Men film, but fans are desperate to learn who else will feature alongside them.

Speculation has been rife about which other stars could appear, and you can catch up on the biggest rumors by reading my guide on everything we know so far about Marvel's new X-Men movie. Nonetheless, myriad new rumors have circulated online since news of Connor's involvement broke — and I wouldn't be surprised if there's some truth to all of them.

For starters, comic book creator Rob Liefeld took to X/ Twitter to write he'd heard that Inde Navarrette had officially signed on for the project. Liefeld's comments come weeks after the breakout star of Obsession confirmed she'd met with X-Men movie director Jake Schreier and, more recently, threw her hat in the ring to play Mystique.

Elsewhere, trustworthy industry insider Apocalyptic Horseman has walked back on Tom Pelphrey (Task, Iron Fist) playing Charles Xavier/ Professor X, while another leaker in Caleb Williams has claimed that fan-favorite mutant Gambit won't be part of proceedings.

Meanwhile, on the latest edition of The Hot Mic podcast, the less-reliable Jeff Sneider has suggested Charles Melton (Beef season 2) is set to play Beast. Fellow podcast host John Rocha has also heard that Cailee Spaeny (Alien: Romulus, Beef season 2) has been tapped to portray Rogue, although Sneider believes she hasn't been.

Lastly, Sneider has indicated that Bill Skarsgard (It, Nosferatu), Ethan Hawke (Moon Knight, Blue Moon) and Jonathan Groff (Frozen, Wicked) are all in the running to play Professor X. Rocha, though, has heard Skarsgard isn't being looked at for that highly-coveted position.

As the X-Men casting rumor mill continues to capture everyone's attention, it might not be long until Marvel puts a pin in the speculation.

Indeed, with the 2026 edition of D23 Expo, aka the so-called ultimate fan event for Disney diehards that takes place every two years, being held between August 14 and 16, some fans believe Marvel will announce the film's full roster during said event. Let's hope that comes to pass because, I don't know about you, but I can't take many more months' of conjecture.

Want to see how the latest Spider-Man film tentatively sets up the next X-Men movie? Read my Spider-Man: Brand New Day ending explained piece. Once you're done, find out how to watch the X-Men movies in order.

• A24 dropped the full trailer for Primetime on August 6, ahead of its theatrical release on September 25
• It gives us our first look at Robert Pattinson, who plays To Catch a Predator presenter Chris Hansen
• In addition, the trailer teases roles for The Office star Creed Bratton and singer Phoebe Bridgers

Primetime just got a trailer ahead of its September 25 theater release. It packs a lot into just over 2 minutes, including an appearance from The Office icon Creed Bratton, which has now been confirmed via the actor's Instagram post.

In Primetime, Robert Pattinson stars as Chris Hansen, the host of NBC's To Catch a Predator, which was a hugely popular reality show in the 2000s. But while Pattinson's performance is sublime, there are some other key details to get excited about.

We only see a flash of Creed Bratton's character, and it's not clear who he plays, but it's certainly exciting to see him in a big upcoming movie like this.

Elsewhere, singer Phoebe Bridgers makes her acting debut in Primetime, in another as-yet-unnamed role. Hopefully we'll get more details about both soon.

Take a look at the trailer below and prepare to be blown away.

Primetime is one of my most anticipated new movies of 2026. Directed by Lance Oppenheim, it tells the story of To Catch a Predator's origins as Chris Hansen gets a primetime television slot and makes television history by blending reality TV with vigilante justice.

To Catch a Predator centered around confronting child predators who would arrive at a sting house and typically get arrested as a result of Hansen and his team's intervention, resulting in a show that was as popular as it was controversial.

Primetime feels like a thriller rather than a straight biopic, as even in the short trailer above, there's plenty of tension ahead. I'm hoping it really deep dives into what it was like behind the scenes of this infamous reality program.

For more A24 news, check out my ranking of all the A24 horror movies available on streaming.

The El Capitan Theatre and the Walt Disney Studios lot have long been reserved for some of Disney's biggest moments. Citizen Kane held its Hollywood premiere on that same stage in 1941, and decades later, The Lion King, the Avengers films, and a steady run of Pixar premieres have rolled out the red carpet at the same historic Hollywood venue.

This September, though, Disney is handing the spotlight to a different kind of storyteller… creators. Created in LA is a new two-day creator summit and film festival conceived by creator Jon Youshaei and presented by Disney. The event will bring 350 creators and storytellers together on September 17–18 for a premiere event at the El Capitan Theatre before moving to the Walt Disney Studios lot for a day of conversations.

Arguably, the most exciting part is that the iconic theater will premiere creator originals with the same pomp and circumstance as a studio blockbuster.

After the initial reveal earlier this summer, Disney and Youshaei have now revealed the first wave of speakers: Mindy Kaling, Zach King, AdamW, Jenny Hoyos, Sam Eckholm, and Disney's own Chief Marketing and Brand Officer Asad Ayaz.

On the surface, it's another creator event, but the setting makes it something more interesting.

For decades, the technology required to produce Hollywood-quality content was largely reserved for studios with deep pockets. Today, creators can shoot cinematic footage on flagship smartphones, edit on laptops, and publish directly to audiences. The line between a traditional production studio and a creator-led one has never been thinner, and Disney appears ready to acknowledge that.

Speaking with TechRadar, Youshaei said that shift was the inspiration behind Created in LA.

"We're in this moment right now where the quality of videos from creators is just so good that it's become cinema quality for certain creators," he told me. "How cool would it be if we could premiere videos from creators on the big screen, in one of the most historic screens in the world at the El Capitan Theatre?"

Youshaei is in a unique position to make that observation. Before becoming a full-time creator, he spent years working with creators at some of the world's biggest technology platforms before building his own production studio, giving him perspective from both sides of the rapidly evolving creator landscape.

He believes the biggest reason creators are reaching new heights isn't just because audiences have embraced online video — it's because the tools themselves have become dramatically more accessible.

"The fact that the tech has gotten more accessible to the fact that you could hit upload and have millions of people watch your stuff if it's good," he said, pointing to everything from improved production equipment to publishing platforms that have lowered the barriers to entry.

That accessibility has also fueled a new generation of creators who increasingly operate more like production companies than solo influencers. Asked whether the line between creators and traditional studios will eventually disappear, Youshaei doesn't think so — but he does think it's becoming much harder to define.

"I don't think it'll disappear fully; I think it'll become blurrier," he said. "More creators today have full-on studios... I think there's room for both to coexist."

Created in LA is designed to reflect that evolution. The newly announced speaker lineup blends Hollywood veterans with some of the biggest names in online video. Mindy Kaling will discuss building a career by becoming "your own studio," while Zach King, AdamW and Jenny Hoyos will pull back the curtain on the creative processes that helped them build audiences numbering in the millions.

It's also notable timing: while unrelated, the announcement comes the day after Disney revealed a separate partnership with TikTok that will bring select creator-made vertical videos to Disney+. Taken together, the initiatives suggest Disney is expanding how it works with creators across multiple parts of its business — not simply as influencers promoting a movie, but as storytellers with audiences of their own.

That doesn't mean technology is replacing creativity, however. As AI becomes increasingly capable of generating images, videos and editing assets, Youshaei sees it as another tool in the production pipeline rather than a replacement for the people behind the camera. He doesn't think AI makes it harder for creators to stand out, either — if anything, he says it rewards what he calls a "second-mover advantage."

"I think creators today have what I like to call the 'second-mover advantage,'" he said. "...I think nowadays having a second-mover advantage where you can understand what ideas have taken off, why have they taken off, how are they packaged, and then be able to put your own spin on it, is really powerful."

He told TechRadar that his team already uses AI to brainstorm ideas, generate mockups and accelerate creative workflows, but that taste, perspective and authenticity still come from the creator.

Ultimately, Youshaei hopes Created in LA becomes more than a conference. His ambition is for creators to one day aspire to premiere their best work there in much the same way that filmmakers dream of debuting a movie at a major film festival.

Whether it reaches that point remains to be seen. But opening the doors of the El Capitan Theatre and the Walt Disney Studios lot to creators already says something about where entertainment is headed. As the technology behind high-quality video production has become more accessible, Disney appears to be betting that great storytelling can come from anywhere — and increasingly, anyone.

Creators hoping to attend can still apply through the Created in LA website.

• Disney is exploring a free Disney+ tier to bring more viewers into its streaming ecosystem
• CEO Josh D’Amaro says a free offering could help drive subscriber growth
• The idea is for Disney+ to become a broader digital hub beyond movies and TV shows

Disney’s TikTok partnership wasn’t the only streaming news from the House of Mouse today. During the company’s earnings call, CEO Josh D’Amaro revealed that Disney is exploring a free tier of sorts for Disney+ — a move that could eventually give more viewers a way into the platform without paying for a subscription.

That doesn’t necessarily mean free access to the entire Disney+ catalog. The service currently houses a massive library of owned content spanning Disney Animation, Disney Channel, Pixar, Marvel, Star Wars, FX, and more. Disney+ already offers an entry tier with ads, including pre-roll and mid-roll placements during TV shows, movies, and documentaries.

Instead, Disney appears to be viewing a free offering as a potential new funnel to introduce more viewers to the platform and eventually convert them into paying subscribers.

On the call, D’Amaro explained that the idea could help Disney reach a more price-sensitive audience, saying: “First, we see it as a way to expand our reach to a customer segment that’s more price sensitive. Expanding our reach is, as we’ve talked about before, one of our strategic priorities.”

He added that a free tier could also support Disney’s growing advertising business: “Second, unlike a lot of our AVOD competitors, we’re fairly well sold, meaning more inventory would actually help us accelerate our ad revenue growth.”

Finally, D’Amaro noted that a free offering could help drive new subscribers into Disney+: “And then finally, as you mentioned in your question, a free offering could help us drive top-of-funnel Disney+ subscriber growth.”

For now, Disney isn’t committing to a launch date or specific structure. “So nothing specific to announce today, but definitely something that we’re considering,” D’Amaro concluded.

While some of the best streaming services, including Disney’s own Hulu, have offered free tiers, the current market for fully free, ad-supported streaming is largely dominated by platforms like Samsung TV Plus, Tubi, and Roku. Disney+ entering that space could be a compelling move, especially if the company uses its massive portfolio of franchises and recognizable brands to attract viewers.

But the bigger picture may not just be about streaming. D’Amaro also underscored the importance of Disney+ as a “global touchpoint” for the company, suggesting the service could become a much larger gateway into the broader Disney ecosystem.

Today, that ecosystem is still fairly fragmented digitally. Disney+ serves as the primary destination for its streaming content, while other major parts of the company operate through separate experiences — including the My Disney Experience app for Walt Disney World, the Disneyland app for guests in California, Disney Cruise Line’s own digital tools, dedicated apps for international parks, and various gaming platforms including a partnership with Fortnite.

While there have been rumors about Disney+ eventually evolving into something closer to a super app, D’Amaro instead described it as a “digital centerpiece” that could eventually encompass shopping, other brand experiences, and even gaming. The timeline for those expansions may be further out, but it’s clear Disney sees Disney+ as more than just a place to watch movies and TV shows.

A free tier could be the first step in lowering the barrier to entry and getting more people connected to that larger Disney ecosystem — even if they aren’t paying a monthly subscription fee right away

• Disney has a new partnership with TikTok
• Select creator-made vertical TikTok videos will appear on Disney+
• The deal marks a shift toward real creators over AI-generated content after Disney's short-lived Sora partnership

Disney+ is soon going to be home to a new content type in the form of vertical videos, and unlike the original deal between Disney and OpenAI that would have had Sora-created videos using famous characters, this one seems a lot better on paper.

In a new deal between Disney and TikTok, select creators on the social platform will have access to the Mouse's IP and can use it to create videos that could land on the Disney+ app within the Verts tab. It will be pretty all-encompassing in terms of topics, featuring characters and stories from across the Disney umbrella, including Star Wars, Pixar, Marvel, and FX.

The idea, it seems, is that Disney is tapping into an already very vocal audience. There are likely hundreds of thousands of Disney creators already on TikTok, sharing thoughts about the Parks or Disney Cruise Line around the world, as well as all the facets of media that Disney creates.

In fact, my feed has been all about theories surrounding Spider-Man: Brand New Day recently, along with Disney World making its switch to Halloween theming — Mickey pumpkins, am I right?

Asad Ayaz, Chief Marketing and Brand Officer of The Walt Disney Company, is quoted in the release as saying, "The best storytellers are fans first; that has always been true at Disney, and today, fans are celebrating our stories in entirely new ways."

"This collaboration creates a new bridge between the stories we tell and the creativity they inspire, giving creators a bigger stage to share what they've made, and audiences more to discover on Disney+ every day."

It also shows a focus on creator-made content for Disney and a deeper embrace of this type of content. We'll see the first results in the coming months, initially in the United States, with selected content appearing on Disney+ afterward.

While Disney hasn't shared the specific characters and franchises creators will have access to, the release states, "TikTok will offer their creators access to assets related to hundreds of films and series from Disney's vast library of enduring franchises and beloved IP."

Seemingly, if there's a new series or addition to Disney+, the Verts platform could serve up TikToks of people reacting, sharing a viral dance, or really any medium that relates back to the show, helping to inspire more conversation.

The notion of vertical videos within Disney+ is not new, but this deal with TikTok seems to be a swap for the Sora alternative. That is, before Disney pulled away from the OpenAI deal and the AI giant shut down Sora. There, many Disney characters would have been used within Sora to create AI-generated videos. As I wrote back when the deal was announced, it felt like magic lost.

This new approach of working with TikTok — and arguably a community of creators who already post and create content about what's on Disney+ — will likely be a much better combination.

Once approved and accepted into the Disney Creator Ambassador Program within the TikTok x Disney partnership, creators can get access to event invites, increased visibility, and special rewards, though specifics on how to apply or join have not yet been released.

I suspect those details will come in the coming weeks or months, similar to when we see these TikTok-created videos appear in Verts on Disney+. The timing also comes as another arm of Disney is partnering with creators, albeit not just for short-form content but long-form as well.

Dubbed Created in LA and led by the Disney Experiences arm of The Walt Disney Company, this will be a two-day event in Los Angeles. Creators can apply to attend, and it will open with a premiere and screening of creator-made videos — think TikTok creators, YouTubers, and Instagram creators — at the El Capitan Theatre, followed by a summit on the second day at The Walt Disney Studios lot in Burbank.

Disney is partnering with creator Jon Youshaei on the event, and it shows yet another embrace of and willingness to partner with creators. In this case, it's helping to spotlight creators, big and small, who apply and get approved, giving them a larger stage while also providing access to Disney and insights from the company.

It will be interesting to see if there's any crossover between Created in LA and this new Disney x TikTok partnership, but time will tell. Either way, it's a better direction to have real creators rather than AI-created content in Sora.

He's a legendary superhero, a pop culture icon, the star of comic books, movies, TV shows, video games and more, but how well do you really know Spider-Man?

Ever since we've seen the web-slinger's first outing in comic book form, we've seen various takes on the character: different human alter egos, different actors taking the role on, different powers and villains.

There's a lot about the character to get your head around, and you should be sure to brush up on how to watch the Spider-Man movies in order and our ranking of the best Spider-Man movies if you need to do some research.

But how well-read and well-watched a fan are you? To find out, we've designed this 30-question quiz, that'll ask you all about Spider-Man and his (and, sometimes, her) media outings.

The questions will test your knowledge on the breadth of the media empire, more than specific details from Spider-Man's world. You don't need to know what Doc Oc was a doctor of, or when Uncle Ben's bed-time is!

We'll start with 10 easy questions, and then move into 10 medium ones, and finish with 10 difficult ones for the experts. So, let's find out just how much you know:

If you need to brush up on your Spider-Man, let's find you some schoolwork:

• Disney Worldbuilders lands on Disney+ on August 20, 2026
• Leslie Iwerks' new documentary goes inside Disney Imagineering
• Expect behind-the-scenes stories from Galaxy's Edge, Pandora, Pixar, and more

If you're a fan of the many franchises under the Disney umbrella — Marvel, Star Wars, Pixar, or Disney Animation — or simply love visiting Disney Parks around the globe, the company has another documentary arriving on Disney+ later this month.

I say "another" because earlier in 2026 we got a fresh look at how Disneyland was created with Disneyland Handcrafted. Now, the same director, Leslie Iwerks, has sat down with many of the creative minds behind Disney's biggest franchises, including Kevin Feige, Dave Filoni, Pete Docter, Jon Favreau, Jared Bush, Jennifer Lee, James Cameron, new Disney CEO Josh D'Amaro, and former CEO Bob Iger.

It's an impressive lineup of people who helped create many of these iconic worlds and, just as importantly, bring them from the screen or page into the physical environments we can actually experience.

From Pixar Pier and Toy Story Land to Star Wars: Galaxy's Edge, Zootopia, Pandora, and countless other destinations, Disney Worldbuilders promises to show how these lands came to life through the people who imagined and built them. It also looks set to tease upcoming expansions and entirely new experiences.

As you can see in the trailer, Worldbuilders explores both these iconic lands and the creative process behind them through interviews with the people who made them possible. Jon Favreau, who most recently directed The Mandalorian & Grogu, says, "We can push the limits of technology to pursue something mind-blowing," and that feels like an apt description of Disney Parks today.

Just look at the recent update to Pirates of the Caribbean at Disneyland with its new projection-based Audio-Animatronic, or the overhaul of Millennium Falcon: Smugglers Run, which now feels even more like a video game thanks to Unreal Engine-powered updates. That same drive to push technology forward can also be seen in the free-roaming BDX Droids in Galaxy's Edge, the walking, talking Olaf robot, and even experiences aboard Disney Cruise Line ships.

There's a good chance Worldbuilders explores many of those innovations. While it will almost certainly lean more heavily on interviews than Handcrafted, Leslie Iwerks' involvement gives me confidence it'll have the same warmth, care, and strong narrative that made that documentary so enjoyable. That's especially true if you're a fan of Disney Parks, Disney's many franchises, or simply enjoy documentaries about how ambitious creative projects come together.

Beyond the technology, it also appears the series will follow the journey from early concept art to construction and finally opening day, while showing how these lands continue to evolve through new characters, refreshed attractions, and entirely new destinations. I'm especially curious whether the Pixar section will include a look at the upcoming Monstropolis land at Disney's Hollywood Studios, as well as The Magic of Disney Animation, which opens there next month.

Disney Worldbuilders premieres exclusively on Disney+ on August 20, 2026. Unlike Disneyland Handcrafted, it won't also be available to watch for free on YouTube. If you're looking for something to watch before then, I'd also recommend We Call It Imagineering, Behind the Attraction, or Disneyland Handcrafted for a behind-the-scenes look at how Disney's magic is made.

"It takes close to eight months to produce the topiaries," explained Debbie Mola Mickler, area manager at Disney's Horticulture — for installations that were on display for just a few weeks.

On that clock, Disney's horticulture team is likely already deep into next year's lineup — even though this year's International Flower & Garden Festival at EPCOT only wrapped June 1. Mola Mickler oversees production of the living character sculptures that define the festival at Walt Disney World in Orlando. What look like decorative topiaries from a distance reveal themselves up close as something far more complex.

Underneath, engineered steel frames, a moss growth medium, and tightly integrated irrigation work together so that whether it's Mickey, Buzz, Lightning McQueen, or any other character, the topiary presents itself exactly as it should. They're closer to architecture than landscaping, and the timeline to build one reflects that.

That timeline starts long before any planting begins. Disney's horticulture team works directly with Walt Disney Imagineering to decide which characters can even be translated into living structures — a process that blends creative direction with real-world constraints like weight, scale, and maintenance. Once a character is selected, Mola Mickler goes straight to the source and thinks about scale — how big the topiaries need to be, and what plant material can tell that story.

From design, Disney's digital team produces a maquette — a small 3D-printed physical model of each topiary — that serves as the reference guide for everything that follows, from fabrication through final trimming.

That translation from screen to structure is where Disney's topiaries stop being just landscaping and become systems design problems. "Our Imagineers are so creative, they've pushed us towards getting these topiaries with more movement," she explained. The dresses have folds; legs may be bent like a character is mid-dance. That push toward motion and expression has forced a redesign of how internal structures are built — especially as characters become more dynamic and less symmetrical.

Once a design is approved, Disney builds a full production pipeline that starts with digital modeling and ends with custom steel fabrication. "You can't just go to the yellow pages and find a welder to make the frame," Debbie said.

Each topiary begins as a custom-engineered stainless steel structure designed to support weight, shape, and long-term outdoor exposure. Built into each frame are engineered pick points — load-bearing anchors that allow heavy equipment like cranes and forklifts to position the finished topiaries into their beds in the park. Some characters arrive in multiple pieces and are assembled on-site.

Once the steel frame is in place, it's filled with sphagnum moss, which acts as the primary growth medium. For larger characters, Disney builds a secondary cage of chicken wire inside the frame first — since plants only need about two to three inches of growing area, the inner cage reduces the amount of moss required while maintaining the structure's shape.

The moss retains moisture, supports plant plugs, and forms the core structure that everything else grows into. Built into each frame is a segmented irrigation system that allows Disney to control water distribution at a surprisingly granular level.

"We can do arms, we can do the head, we can do the feet," Debbie said. "And then we'll turn it off as needed." That segmentation isn't just for efficiency — it's environmental control. Florida's climate can shift rapidly, and different parts of a topiary may require different hydration levels depending on sun exposure and airflow.

As the plants grow in, the maquette becomes the trimming guide — helping maintain pose accuracy and character shape across months of active growth before the festival opens.

Behind the scenes, Disney operates continuous environmental monitoring across 12 greenhouse facilities, each subdivided into controlled environments that simulate different growing conditions depending on plant type and stage. Debbie described automated alerts that notify her directly if temperatures fall outside safe ranges — a system her team relies on enough that they refer to themselves as "weather watchers."

The foundational methods, though, have deep roots. "Many years ago when I first started in Disney horticulture, we did not have sphagnum topiary," Debbie said. "We only had woody topiaries with single shrubs being trained in a frame, and it can take seven to 10 years to grow one."

Those traditional systems, still used at Disneyland, rely on shrubs trained over lightweight frames and take several years to mature. At EPCOT, the sphagnum system enables faster production cycles and far more expressive designs — but still requires nearly a year of preparation per installation.

Some heritage pieces remain in rotation, including a more than 50-year-old elephant topiary originally built for Magic Kingdom that now makes a special appearance just for Flower & Garden in EPCOT's United Kingdom Pavilion.

Modern festival builds, meanwhile, sit at the intersection of horticulture and fabrication engineering. Materials like palm fiber replicate textures such as Woody's hat and boots; coconut coir matting handles facial detailing. Props like belt buckles and sheriff badges are 3D printed and integrated directly into the structures.

Even animation principles feed into final assembly. "We want to make sure the eyes are always looking at the guest when they take a picture," Debbie said.

It's that kind of detail — designed not just to be seen, but to be experienced — that makes the topiaries something more than seasonal decoration. They're living installations built to hold up across an entire festival, in Florida heat, one carefully engineered character at a time.

Spider-Man: Brand New Day has spun its way into theaters — and there's something about the Marvel movie's end credits scene that's dominated my thoughts since I left my screening.

I've already written about the post-credits stinger in my Spider-Man: Brand New Day ending explained piece, but I didn't elaborate on what it could be teasing. That's because, based on a new theory I have about this Spider-Man film's end credits scene, I deemed that discussion worthy of its own article.

It goes without saying, but full spoilers immediately follow for Spider-Man: Brand New Day. If you haven't seen it yet: bookmark this page, read my Spider-Man: Brand New Day review to see if it's any good, and then watch it at your local theater. Once you've completed those steps, re-open this page — it'll be worth the wait, I promise.

Alright, let's first review what happens in Spider-Man 4's post-credits scene, which centers on the Spidey Tracker app developed by Ned Leeds.

Initially, a flashing marker, accompanied by an automated voice message that says "New Spider-Man sighting", indicates that the titular hero is still in New York City. However, the message soon starts saying "Location unknown", which highlights that Spider-Man's actual whereabouts are, well, unknown. Cue the app zooming out to try to find Peter Parker.

Eventually, the app zooms out far enough that it not only shows us the entire Earth, but also that the popular Marvel Cinematic Universe (MCU) character can't be found. That's until the app moves away from our world, lays down a new pin that indicates Spider-Man is somewhere in space, and ends with the voice message saying "Location found."

What does that mean? The obvious answer is that Spidey is no longer planet-side. I know, shock, horror. What isn't clear, though, is why he's in space. Again, there's an easy answer for this: it's got something to do with Avengers: Doomsday and/or its sequel Avengers: Secret Wars.

That pair, which come out on December 18, 2026 and December 17, 2027, mark the end of Marvel Phase 6 and the divisive Marvel Multiverse Saga. And, while current Spidey star Tom Holland isn't confirmed to appear in Doomsday, the fan-favorite A-lister will, by virtue of his popularity, feature in one or both of the aforementioned films. So, it would make a ton of sense if Brand New Day's end credits stinger is teasing his involvement in Doomsday and/or Secret Wars.

Nonetheless, what if — and I realize this is a huge if — the Spidey Tracker isn't picking up Holland's Spider-Man, but one of his fellow webheads?

Now, I know that's a stretch, but hear me out. After all, everything we learn about the Spidey Tracker in Brand New Day suggests it's tailored specifically to the MCU's Spider-Man, so why would it detect another wallcrawler, such as Tobey Maguire or Andrew Garfield's, instead?

Well, for one, we don't actually know that the Spidey Tracker has been custom-built for Holland's version. If it hasn't, there's no reason why it wouldn't detect one of his multiversal variants.

That multiversal aspect is perhaps the most crucial part of my theory, too.

The next two Avengers movies will be the culmination — and celebration — of every Marvel Universe we've seen on the big screen. That includes the MCU, the original Fox X-Men franchise, and — based on myriad rumors that have been circulating online for months — the realities inhabited by Maguire and Garfield.

Furthermore, Avengers: Doomsday's story synopsis has already confirmed that it'll revolve around the threat posed by Incursions.

These multiversal calamities occur when the barriers between two universes break down, and lead to a collision that permanently destroys one or both worlds. As such, Doomsday will feature heroes from three distinct universes — the MCU, original FoX-Men, and The Fantastic Four — battling to save their realities.

But are these the only universes we'll visit in Avengers 5? It would be a glaring error if Marvel overlooked Maguire and Garfield's worlds in Doomsday and/or Secret Wars, and I don't think anyone believes that the comic giant would.

It's for that very reason, then, that I believe Brand New Day's post-credits scene isn't actually showing us that Holland's Parker has gone off-world. No, I'm convinced that the Spidey Tracker is actually picking up Maguire or Garfield's Spider-Man — and, of the two, it's the former that it's detected.

Think about it. Doomsday's first proper trailer appears to suggest that the FoX-Men have successfully navigated an Incursion. I speculate more on this in my Avengers: Doomsday trailer breakdown article, but essentially, the teaser's first few seconds show Charles Xavier/Professor X shielding his eyes from a humungous, blinding explosion. Of course, this might not be the final moments of the FoX-Men destroying another world to save their own, but what else could cause such a massive and bright blast if not the destruction of an entire universe?

And what's that got to do with Maguire's Spider-Man? Well, maybe it's his reality — aka the Sam Raimi Spider-Verse — that's being annihilated in that scene. If so, it's possible that a giant mega-Incursion involving the MCU, Fantastic Four-Verse, FoX-Men universe, and Raimi-Verse happens at the same time in Doomsday, which results in the FoX-Men proactively destroying the Raimi-Verse because their reality is most at risk of colliding with it.

Should that be the case, it would explain why the Spidey Tracker detects Maguire's Peter Parker instead of Holland's and subsequently backs up my admittedly wild theory.

There's the tiniest shred of evidence that I might be onto something, too. During a cute chat with kids on the Celebrity Surprise YouTube channel, Holland was asked if Maguire would appear in Spider-Man: Brand New Day. Holland's reply? "He's not in the movie [Spider-Man 4], but... yeah, I... yeah, careful now."

The implication here is that Holland knows something about when and where Maguire's version of the character could show up next. Holland is famous for having loose lips when it comes to MCU spoilers, too, so the fact that he stops himself here before he reveals something is, in itself, revealing.

Does he know that Maguire will feature in Doomsday and/or Secret Wars? I wouldn't be shocked if he does. After all, Holland, Maguire, and Garfield all shared the screen in 2021's Spider-Man: No Way Home. If they still keep in touch, it's plausible they've discussed their possible involvement in one or both forthcoming Avengers films, with Maguire potentially telling them — in the strictest confidence — that he's in Avengers: Doomsday. For the sake of my offbeat theory, I hope that's the case.

In the meantime, learn everything we know so far about Avengers: Doomsday, get the lowdown on Avengers: Secret Wars, and find out how to watch the Marvel movies in order.

"It is easier, but it's not easy," Story Kitchen co-founder Dmitri Johnson interjects.

I'm midway through an in-depth conversation with Johnson and business partner Mike Goldberg about their pioneering entertainment company when the former clarifies something he alluded to earlier.

The topic in question? Pitching movies and TV shows based on video game properties to other studio figureheads is still challenging. That's in spite of myriad recent examples of popular game franchises being turned into other screen-based art forms that have achieved critical and commercial success.

"We're working every day to continue changing the stigma that games are only for kids and lazy people who still live in their mom's basement," Johnson adds with a wry smile. "These are artists and storytellers in their own right — and their work deserves to be seen by more people."

Press start

You probably haven't heard of Story Kitchen, but you definitely know the video game adaptations they've helped to shape.

From Paramount Pictures' money-spinning Sonic the Hedgehog film franchise and Netflix's animated Tomb Raider show, to Prime Video's forthcoming TV re-imaginings of the aforementioned Lara Croft-fronted game series and Dontnod's beloved first Life is Strange title, Story Kitchen is at the forefront of what's unsurprisingly being labeled the 'golden age' of video game adaptations.

It's a cinematic epoch some believed would never happen — and with good reason. The 1990s and early 2000s are littered with examples of maligned video game movies, including — but by no means limited to — 1993's The Super Mario Bros. Movie, 2005's Doom, and 2003's House of the Dead, the latter of which is one the worst-rated films on popular review aggregation website Rotten Tomatoes.

With so many entertainment giants failing to understand the source material, the 'videogame adaptation curse' — a phrase Goldberg says "sounds really good when stories are written about it" — became a catch-all term for these and similarly crucified productions. Combine that with the notion that, as Goldberg notes, "Hollywood didn't respect the gaming community, developers, or publishers", and it seemed that video games would forever be viewed as the runt of the visual media landscape.

That was until dj2 Entertainment, the precursor to Story Kitchen co-founded by Johnson and Dan Jevons in 2011, took a leap into the unknown.

The company's primary goal was simple: make Hollywood believe that video game stories were worth telling and investing in. Predictably, Hollywood just didn't see the appeal of turning games into movies or TV shows, and countless rejections followed.

Then came the first Sonic the Hedgehog film. After slowly and methodically earning the trust and respect of SEGA, Johnson convinced the Japanese videogame titan and, later, Paramount Pictures that people wanted to see the Blue Blur star in his own movie.

A few notable setbacks, including the titular character's speedy redesign after fans attacked his initial look following the release of Sonic's first trailer, followed. Fast-forward to early 2020, though, and, despite the pandemic bringing Sonic the Hedgehog's theatrical run to a premature end, the action-adventure comedy grossed $320 million worldwide. On a reported budget of $90 million, it more than recouped its production and marketing costs.

"Dmitri always believed that, with education and respect, a different result [video game adaptations being successful] would occur," Goldberg says. "And, he was right."

'It's a new era — but not every game should be adapted'

A lot has happened in the short time since Sonic's big-screen debut, one that Goldberg describes as "an absolute game changer in the Hollywood ecosystem".

He's not wrong. Film adaptations of other iconic and/or hugely popular game series, including Mario and Minecraft, have earned billions at the global box office. Meanwhile, TV retellings of hit franchises like The Last of Us on HBO Max, and small-screen projects that expand on existing game universes, including Fallout on Prime Video and Netflix's League of Legends animated program Arcane, have drawn universal acclaim, won multiple awards, and introduced millions more people to stories, characters, and worlds they would never have connected with otherwise.

Suffice it to say, the explosion of video game adaptations is indicative of an industry-wide paradigm shift that also allowed dj2 Entertainment to level up its own game. Indeed, by investing the metaphorical skill points into the company's evolution from dj2 Entertainment to Story Kitchen, onboarding industry talents like Elena Sandoval, Timothy I. Stevenson, and Dallas Dickinson, and signing first-look deals with Amazon in February 2022 and DreamWorks Animation in May 2024, Johnson, Goldberg, and company are well-placed to help create the next wave of gaming transmedia hits.

At the time of publication, around 30 projects, some of which have already found homes and others that'll be shopped around Hollywood, are in the works at Story Kitchen HQ. That might sound a lot, but it's a mere raindrop in the ever-expanding gaming ocean. So, why doesn't Story Kitchen just take a long list of game titles to film studios, TV networks, and the world's best streaming services, and reel them off until one piques their interest?

"It's a new era, but not every game should be adapted," Golberg replies, "And not every game should be adapted right now. We want to be a friend and advocate for the space, though, because we don't see this as a fleeting moment [for video game adaptations]. We think it's got long-term potential, so we're working to ensure that we see that through."

That's not to say Story Kitchen is only focused on adapting the biggest game franchises. AA and indie titles are as much a part of the pitching process, if not more so, than their flashier, big-budget counterparts.

"We don't go into things like 'how many copies did this game sell?'," Johnson says. "We actually despise that question and refuse to answer it at this point. We respond with 'here's why these characters and stories are incredible' and 'here's why it's something we've never seen before'.

"What it really boils down to is passion," he continues. "What are the things that we can't stop thinking about and have to pursue? Once that process starts, we're convinced something has to be made, and that translates into our meetings with other companies. Initially, it might not necessarily make sense to them, but they all want to hear the pitch because it's coming from a place of passion, so most networks and studios are excited when we take something out to them. This isn't a cash-grab — these conversations are happening because we actually care."

Prime-d for more success?

And care, Johnson and Goldberg certainly do. The multi-billion-dollar-spinning Sonic franchise, which currently comprises three movies and a Knuckles TV spin-off on Paramount+, has improved with each new entry.

As of July 2026, a fourth flick is deep in post-production ahead of its March 19, 2027 release date. An untitled Shadow-fronted off-shoot project is also reportedly in the works, though Johnson and Goldberg declined to speak about it because, as Goldberg rightfully points out, "there are levels of NDAs (non-disclosure agreements) we must respect."

Sonic the Hedgehog 4 isn't the only thing that'll roll off the Story Kitchen production line next year. Indeed, two TV projects are expected to make their Prime Video debuts in 2027, the first of which should be a Tomb Raider TV adaptation that Johnson admits has been "years in the making".

Overseen by Fleabag's Phoebe Waller-Bridge, it'll star Sophie Turner as gaming icon Lara Croft. Amazon revealed a perfect first-look shot at Turner in Croft's classic tank top and shorts combo as principal photography got underway in January and, while filming was halted in March due to a "minor injury" sustained by Turner, there's nothing to suggest it'll delay the live-action series' launch.

Thanks to a partnership Story Kitchen established with Tomb Raider custodians and videogame developer Crystal Dynamics during development on Netflix's Tomb Raider animated show, Johnson says "we had a very clear blueprint of how to move together as partners". So, when Amazon, which already had an agreement with Crystal Dynamics to publish future Tomb Raider games, proposed making a live-action TV show, it seemed like a lightning-in-a-bottle moment for all involved.

"Every decision [on the show] is made with Crystal Dynamics' sign-off," Johnson reveals. "So, season one has their blessing and they're very hands-on, but they also respect Phoebe, who's a super-fan, and her perspective of what a live-action Tomb Raider project should be.

"We've actually just started seeing rough cuts, and we were grinning like 10 year olds the entire time. It's going to be good. By the way, we're not the type of people who hype up their own s**t. It's going to be something that your mom can come across and not know that it's based on a 30-year-old videogame franchise. We don't want it to be a niche adaptation just for core fans, who we absolutely honor and will make feel seen. But, if we do our job right, which we're tirelessly trying to do, newcomers will fall love this show just as much as we have."

Life is Strange is a whole other beast. The 2015 episodic adventure game, which tells the story of a high schooler named Max who discovers she can rewind time, is famous for its branching dialog option-based narrative. Ultimately, though, the choices players make during any given playthrough lead to just one of two endings.

In collaboration with its production partners Amazon, Life is Strange franchise publisher Square Enix, and Margot Robbie's LuckyChap Entertainment, then, how is Story Kitchen tackling an evolving tale built on player choice? Furthermore, how did they decide which ending to not only use, but one that, regardless of what happens in Life is Strange: Reunion, aka Deck Nine's 2024 sequel to the first Max-led game, some viewers might interpret as being its true canonical ending?

"We went into Life is Strange knowing that almost all of the major decisions were almost a 50-50 split," Johnson muses. "So, at the start of development, you have to accept that you're not going to make everyone happy. That said, the way we're approaching some of those critical decisions from the games, I think everyone is are going to feel seen, and they're going to be happy and probably emotional [with how things play out]."

It's full steam ahead for Amazon MGM Studios film adaptations of two award-winning and popular Hazelight games in It Takes Two and Split Fiction, too.

Where the latter is concerned, things are still in the early stages of development. However, prolific actor Sydney Sweeney, Wicked duology director Jon M. Chi, and Deadpool writers Rhett Reese and Paul Wernick are, as confirmed by Goldberg, all involved.

"You play these games with your significant other, friend, or a family member, and everyone has their own experience," Goldberg says. It's been such a fun challenge of interpreting that and turning it into a singular shared experience [for viewers].

"Reese and Wernick even insisted on playing the game, and that's how we want our village to be built. You're not required to be a game, but we loved that they wanted to play and experience it together before they committed to this adaptation, and that's going to influence their own script."

As for It Takes Two's film reimagining, it's been over four years since Dwayne Johnson's Seven Bucks production team boarded the Amazon-led project. Speaking to Eurogamer last March, Hazelight creative director Josef Fares, who's known for not mincing his words, took aim at how long it was taking for the film to move forward.

"Hollywood, there's so much b******t," Fares responded when asked for an update. "I think 90 percent of the meetings are actually b******t, and 10 percent are what actually happens. There's a lot of talk, but not a lot of walk. I don't know what's going on. Hopefully something. It would be cool to get something out of it, but my hopes are not so high."

"They are," Johnson says when I ask him if Fares, Hazelight, and Johnson's company are still involved, before he adds: "We're so close to the Hazelight boys at this point that there's a shorthand with them, and the relationship with them and partners on our side... it's all very fluid."

Days of future past

That's just the tip of the iceberg when it comes to the 30+ film and TV projects that Story Kitchen plans on delivering.

Johnson and Goldberg want to cover as many genre bases and demographics as possible, too. Film adaptations of three Roblox games — Grow a Garden, Steal a Brainrot, and Jailbreak — are in the works, as are Just Cause, Shinobi, and Ruiner productions with Universal.

Elsewhere, Netflix has signed on to bring Sifu and Kingmakers adaptations to its user base, Lionsgate is hard at work on a Streets of Rage movie, and film reimaginings of hit indie games Disco Elysium and Dredge have also been announced. Additionally, a House of the Dead movie led by The Last of Us and Superman star Isabela Merced — "she's our homie," Johnson beams —is just another of Story Kitchen's other planned projects.

It isn't just video games that are being turned into movies, either. Toys 'R Us, a popular toy retailer in the '80s and '90s that's recently enjoyed a resurgence in the US, is getting the live-action film treatment. Meanwhile, Teddy Ruxpin, an animatronic storytelling bear that was a US bestseller in the '80s, will star in a feature that's been described as 'Sonic the Hedgehog meets Elf'.

"I think it's going to go the same way as Barbie," self-confessed Teddy Ruxpin fan Johnson says in reference to the 2023 megahit starring Margot Robbie and Ryan Gosling. "I went into that thinking 'ugh, cash grab' and then had a little tear in the eye by the third act.

"It [the Teddy Ruxpin movie] is funnier than it has any right to be," Johnson continues. "We have ridiculous musical numbers when we shouldn't, and it's so brilliantly bananas that it works. I think it's going to catch people off-guard, and kids are gonna walk out of it wanting a Teddy Ruxpin."

But, back to the games — and, perhaps most importantly, Story Kitchen's mission to create films and TV shows not only based on beloved titles from the past and those that are currently popular, but also those yet to be released.

"We're about to pitch a show based on a game that hasn't even been announced," Goldberg teases as an example of the latter. "And, should nothing change, it'll finally be announced at the 2026 Game Awards. But we're already going to take a fully fleshed, packaged, and scripted drama TV pitch on it to studios next month, so we can move as swiftly as possible once the game is officially revealed."

Whatever that soon-to-be-announced game is, its developer will surely hope it performs as well as 2025 surprise hit Clair Obscur: Expedition 33 did.

The first-ever title from French studio Sandfall Interactive, Clair Obscur unexpectedly dominated the gaming sphere last year. With over eight million copies sold (as of April 2026) and numerous award wins under its belt, it's little wonder that this critically and commercially successful title is being turned into a live-action film. As Johnson is keen to point out, though, the Clair Obscur bandwagon isn't one that Story Kitchen jumped on post-launch.

"As a company, we pride ourselves on not chasing heat," he explains. "We're less likely to pursue a game once it's become an established hit, because we don't ever want to be seen as those people.

"We were actually working with Sandfall as early as 2023," he continues. "We read almost 600 pages of scripts, had raw music files [to listen to], [and] art to look at, so we fell in love with it before we saw any real gameplay. Obviously, you don't know how a game is going to perform, so we went into this knowing that it could be a tough sell. Without the massive success it had, it would've been an uphill battle [to pitch our movie adaptation to studios]. But, as I said earlier, once the passion kicks in, we don't take 'no' for an answer. We were convinced three years ago that this was something to be excited about, and... that's all we can say about it right now."

If there's one thing I took from my chat with Johnson and Goldberg, it's this: they genuinely care about what they're doing. Like, a lot. They don't phone in their work, nor did they lazily trot out stock responses to my questions. They are completely committed to telling the world that games are not only great, but that their stories are also worth translating and telling in other mediums.

There's so much more that Story Kitchen wants to accomplish, though. Even with the abundance of productions already on their plate, Johnson and Goldberg have ambitions on adapting even more franchises for the big and small screen. Their dream projects? Mega Man and — surprisingly — Bad Dudes for Johnson, and Nintendo's iconic sci-fi franchise Metroid for Goldberg.

But such wish fulfillment must wait for another day. As we approach the tail-end of what was supposed to be an hour-long interview, Goldberg reveals that he and Johnson are being summoned by Amazon for a meeting — the contents of which he can't disclose.

It's a sign of just how busy the pair have become, but they wouldn't have it any other way. After all, Story Kitchen is no ordinary passion project — it's reshaping the multimedia landscape as we know it.

"We were recently looking back on our list of games to consider for last year's BAFTA Game Awards," Johnson says, "And there's one from a tiny Australian team called The Drifter that, after I came across it in 2025, I couldn't stop gushing about. Anyway, we ended up tracking them down and, in the very first meeting we had with another studio, we were able to find a home for this indie game in the form of a big theatrical movie.

"That wouldn't have been possible five, six years ago, and that's why we're enjoying this moment now. Step one was getting rid of this silly notion that games are cursed. Now, step two, and we say this with a straight face, you'll see Oscars, Emmys, and BAFTAs being won by movies and TV shows that are based on games. That's our next mission: proving that videogames are art. The stories being told, the characters they contain... they're no different to a New York Times best-selling book — and we're ready to show the world why."

Dear Gillian,

When I close my eyes, my version of heaven is you sprinkling rose petals across the bedroom of a deserted log cabin while any song from Sade's Love Deluxe album hums softly in the background. Now, when I open them, I can see exactly that in Teenage Sex and Death in Camp Miasma.

It's an understatement to say that Jane Schoenbrun's third movie was my most anticipated movie of 2026, and that was before I knew anything other than the cast list.

The world's worst-kept secret is that amongst queer women, you're considered to be "lesbian God," thanks to The X-Files, The Fall, Sex Education, and the time you said that the Guess remix featuring Charli XCX and Billie Eilish was your most listened-to song on Spotify in 2024. I'd argue that you've even overtaken Cate Blanchett in that respect.

Add Hannah Einbinder, the woman we've vicariously lived through since season 1 of Hacks, into the mix, and I knew audiences would have something special in their hands. But I really didn't foresee just how profoundly, life-changingly moving the end product would be.

There's a lot of spectacular dynamics at play to make this possible, but I think that the beating heart at the center of it is you. As Billy Presley, the reclusive former 'final girl' of the Camp Miasma horror franchise that director Kris (Einbinder) wants to reboot, we get yet another piece of the never-ending puzzle that is your multi-faceted craft.

Teenage Sex and Death at Camp Miasma is more than just a LGBTQIA+ horror movie — it's an epiphany

On the surface, Teenage Sex and Death at Camp Miasma should be a straightforward, almost stereotypical horror movie premise. When Kris is asked to direct a reboot of the disgraced Camp Miasma franchise, she visits original movie final girl Billy, who still lives at the summer camp where it was set. Cue an inversion of reality where the pair are literally running for their lives away from the "big bad," Little Death.

But actually, there are no villains here. This is all just a facade to get you hooked on the true meaty substance of the movie: the subconscious fear in pleasure. For Kris, this manifests in her sexuality, struggling to fully let herself go in the presence of another person. Billy's confident command in leading Kris towards the light (that is, sexual freedom) is... well, satisfying in more ways than one.

Everything is sexy and sensually charged, but nothing is ever gratuitous. It's almost as if Einbinder was inside my own brain before instinctively making her character choices, with every decision Kris makes being the one I'd have chosen myself. She makes no secret of her immediate fascination and hunger for Billy... and isn't that how we react to you as it is?

By now, the internet has worked out that "Little Death" is also how the French describe an orgasm, but I think the significance of the trio's relationship runs so much deeper than just sex. Our spear-wielding villain signifies loneliness, a lack of self-understanding, and a self-imposed inability to give and receive love. Schoenbrun's previous two films, We're All Going to the World's Fair and I Saw the TV Glow, explore these phenomena beautifully, but by God, has she achieved an all-timer here.

Across the board, everything is elevated, from the movie's scale and production design to its soundtrack and grasp on moving through time. Aesthetically, we land directly between fantasy and reality, with hand-drawn backgrounds often representing Billy's romanticized version of her Camp Miasma truth. Kris is the conduit between the two, but when she finally gives herself over to Little Death, she exists in a blissful, ever-moving fantasy that I would now do anything to claim for myself.

The act of pleasure in itself can look like just about anything, and you all innately understand that. As Little Death sits in his video palace with a completely different understanding of what the Camp Miasma movies can mean, I find myself wanting to be brave for them all. I want to scream, cry, and grasp hold of joy for them. I want to meet myself at my most basic, primal level.

But back to you, Gillian

But enough of this... let's get back to you. Armed with a Dolly Parton-esque accent, a bucket of fried chicken and a lifetime's resistance against assimilating back into the real world, Billy Presley is the new-age horror hero I didn't know I needed.

Kris might be the bridge between the world of Camp Miasma and real life, but Billy is our guide between harbored shame and unrelenting freedom. She understands life in a way that most of us never do, perhaps because we've long left our sense of whimsy and suspension of belief behind. To her, Little Death is as real as you and I, and I'm starting to believe the same thing.

You've simultaneously made Billy into the most mysteriously sexy woman alive and an adult posing as the frightened, unsure teenage girl who never grew up after the release of the franchise's first movie. She's a beacon of never-ending wisdom, yet has absolutely no understanding of how the outside world works. She's the embodiment of how people can be everything and nothing all at once, and that is a pleasure to behold in itself.

If she could trap me under that picturesque starlit sky while little on the porch of the cabin she now calls home, I'd never move. If she reached for my hand to stay close through a woodland storm of bloodied clothes and peach skies, I'd walk forever. Kris felt the same way, and now she gets the blissful, blood-soaked happy ever after with her lover that the LGBT+-friendly side of cinema has only let us have a handful of times. The one so many of us long for.

Kris gets it. Einbinder and Schoenbrun get it. And now, I get it too. Teenage Sex and Death at Camp Miasma isn't just a movie, but a life-altering experience, and you made sure of that. In a twisted sort of way, sex, death, and the life we live in between the two have never been more appealing.

Thank you for keeping us grounded in our own pleasure, whatever it looks like.

Yours,

Jasmine Valentine

Teenage Sex and Death at Camp Miasma arrives in cinemas on August 7 in the US and August 21 in the UK.

Blu-ray turned 20 this year, and although streaming is now the way most people watch films, physical media is dead is far from dead. Collectors are still buying Blu-rays for their new restorations, special features or limited-edition packages — and younger audiences are discovering the value of owning their films rather than dealing with your favorites disappearing on your all the time.

So if people still want to watch movies on discs at home, is there a Blu-ray successor on the horizon to offer something new?

Every major home video format before it has eventually been replaced. VHS gave way to DVD, then DVD gave way to Blu-ray. As someone who appreciates the quality of Blu-ray films but isn't an expert in the technology behind them, I assumed there would be a straightforward plan for something to come supplant them. Maybe an 8K Blu-ray? Maybe another physical format I've never heard of because home cinema is an interest of mine rather than my specialism?

But after speaking to analysts, hardware manufacturers and the organization behind Blu-ray itself, I discovered that most of them don't think another disc is coming. In fact, there’s no obvious "next format" about to be unveiled, and I wanted to find out why.

Why Blu-ray still has loyal fans

To understand why the future of Blu-ray is such an interesting topic, it's worth first getting to grips with why people still buy it. And the top reason came up in every conversation I had: ownership.

"Ownership matters more now than it did in 2005. When you buy a disc, you own that film. It’s yours, permanently, in its best possible form, sitting on your shelf whenever you want it,” says Victor Matsuda, Chairman of the Blu-ray Disc Association, the group behind the development of Blu-ray.

He tells me that people are switching on to the fact that most of what we “buy” digitally today is really a license that can change or disappear. His comments come shortly after Sony removed over 500 purchased movies from people's accounts without compensation, and right at the same time as Disney+ was forced to remove 4K and HDR support in many countries.

“We frequently hear complaints about people losing access to content they thought they’d purchased, and there have even been lawsuits brought on exactly this issue,” Matsuda says. “A disc doesn’t have that problem. Nobody can reach into your home and take it back.”

I've spoken to many physical media collectors over the years, and ownership is almost always the first thing they mention. But the second reason is quality. Ultra HD Blu-ray is still widely considered to be the best technology for watching films at home.

"20 years ago, Blu-ray set the standard for what a movie should look and sound like in the home, and it’s a standard both consumers and the industry recognized,” Matsuda tells me. “Ultra HD Blu-ray remains unsurpassed as the best overall experience for consumers.”

He explains that this has been the case even as streaming services have rolled out 4K and HDR. “The respective Blu-ray formats became the benchmark they chased, and in my opinion they still haven’t caught it. Blu-ray and Ultra HD Blu-ray remain the reference,” Matsuda says. “A stream can approximate it, but the disc carries the full, uncompressed picture and sound with nothing thrown away to fit a data cap.”

Olivier Semenoux, Europe head of GTM and Product Management at TCL Electronics, explains that much of that comes down to bitrate. "Blu-ray can be coded up to 128Mbps because that's the disc's technical limit,” he explains. “Streaming is a different story, most popular platforms cap out natively around 25Mbps, with some going up to 40 or 80Mbps.”

Unfortunately, the latter is very rare — when it comes to the big streamers, 16 to 18Mbps is the maximum you can expect.

This means that Ultra HD Blu-rays carry significantly more data per frame than a typical stream, meaning less compression and what you see at home is more of the original picture and sound being preserved. It's one of the reasons discs continue to set the standard for anyone who really loves home theater.

Variations of the same argument came up repeatedly in conversations with manufacturers too. I spoke with Rob Jones, President of Magnetar, a manufacturer of high-end 4K UHD Blu-ray and universal disc players. “When consumers invest in physical media, they get ownership, content preservation, and quality control,” he says. “While streaming is incredibly convenient, it cannot match physical media when it comes to that combination.” Jones says that’s what continues to drive Magnetar’s investment and development in this space.

But that doesn't necessarily mean streaming and Blu-ray are in competition. One of the more surprising things I heard was that several companies see them as complementary rather than competing technologies.

"We see many customers choosing both formats," Kenichi Ikenoue, Head of Strategic Planning at Panasonic Consumer Europe, tells me. "They enjoy the convenience of streaming for everyday viewing while turning to physical media when they want the highest picture and sound quality or want to own their favorite films."

Why 8K isn’t the answer

If Blu-ray still has loyal fans, isn’t the next step an 8K successor? That's what I expected to find, as someone who isn't deep on movie production. Instead, almost every expert I spoke to questioned whether there was any need for a successor at all.

"Honestly, I don't think so, at least not right now," says Victor Matsuda. "From a BDA [Blu-ray Disc Association] perspective, we don't see anything from content creators or consumers to indicate a need for a new format. They’re both extremely satisfied.”

There are signs elsewhere that the industry isn't preparing for another optical disc format either. In 2025, Sony announced that it was ending the production of recordable Blu-ray discs, MiniDiscs and MiniDV cassettes, saying that there would be "no successor models". Now, while that decision applies to blank recording discs rather than pre-recorded movie discs, it seems to reflect a broader shift away from consumer physical media formats.

One obvious reason for a new format would be 8K support, which is a format that would theoretically offer four times the resolution of today's 4K discs. But that wasn't what the experts I spoke to had in mind.

"The resolution race is interesting, but I don't see 8K finding a place with consumers anytime soon," Matsuda says. "The content community, meaning the Hollywood studios, produces its content in 4K and has stated their intent to continue doing so. Additionally, a number of manufacturers have dropped 8K from their lineups."

Jones agreed that 8K isn't ready for the mainstream, but says the challenge goes beyond content. It's also about the wider home theater ecosystem. "8K is a distraction until it's mainstream and the ecosystem simply does not justify it," he says.

He points out that an 8K player wouldn't just require 8K discs, but would also depend on compatible TVs, projectors, AV receivers and processors. "In order to sit down and experience 8K content, a viewer's entire home entertainment chain needs to support 8K," he says. "A consumer would need to replace every single link in their entertainment chain with a component capable of supporting 8K, which is impractical at best."

And it seems as if lack of demand isn't the only reason experts are sceptical. Some argue we've reached the point where higher resolutions matter much less than other improvements we can make to picture quality. "HDR and wide colour gamut make a far bigger difference to perceived picture quality than resolution does," Semenoux tells me.

Which means the challenge facing an 8K Blu-ray isn't just about a lack of content or compatible hardware; it's that the improvement itself may not feel significant enough to justify an entirely new format.

That's exactly how Mark Vena, CEO and Principal Analyst at SmartTech Research, sees it. "Frankly, an 8K Blu-ray would be a technical feat in search of a commercial problem to solve,” he says. “There's still little native 8K content, 8K TV adoption is modest and streaming platforms will almost certainly meet mainstream demand before another optical format ever reaches critical mass."

In other words, it’s not as if we’re all sitting around waiting for a new format to happen, it’s more that it doesn’t really have a reason to exist.

What creates a new format?

Vena’s point made me realize I'd been thinking about this the wrong way. Every major home video format solved an obvious problem. DVD improved on VHS by offering non-degrading video and the capacity for extra features. Blu-ray improved on DVD with the space for higher-quality video. And now we have Ultra HD Blu-ray, which improved on Blu-ray's quality further.

Crucially, each of those steps solved a real technical problem. But right now, there isn’t a real problem that a successor to Ultra HD Blu-ray could actually solve.

Matsuda explained this to me using a framework from his time as a product planner that he calls "needs" and "seeds". A "need" is a problem consumers or the industry want solving. A "seed" is a new technology that has the potential to create that demand in the future.

"I don't see a compelling driver for a new format at the moment," Matsuda says. "I think it's unlikely that a new format would arise out of consumer demand as there doesn't appear to be an expressed need. Similarly, Ultra HD Blu-ray continues to deliver content that takes full advantage of display technologies so I don't see a need arising from the industry side."

Matsuda says that could change. "From a seed standpoint, companies may have some technologies in development that could plant those seeds,” he explains. “But in my view, if a driving factor ever prompts a new physical format, it will most likely be the emergence of content the internet infrastructure simply can't deliver at scale without compromising quality. As long as streaming can handle what people want to watch, I don't see any real pressure for a new disc."

So a technological breakthrough on its own wouldn't be enough, a new format would also need the entire industry to then build around it.

Panasonic’s Ikenoue makes the same point from a more commercial perspective. "A successor format would also depend on significant investment from film studios and content providers. New hardware alone would not be enough. The content ecosystem would also need to support a new format. For the moment it is difficult to see the requirement for a successor."

A successor wouldn't just need a better disc, there’d have to be a need to even build that better disc in the first place. Only then would studios create the content, manufacturers would build the players, TV makers would support it and consumers would decide if it was worth upgrading. But right now none of the experts could identify a good enough reason.

What if the successor isn’t a disc at all?

That doesn't necessarily mean Blu-ray is the end of the story. Optical storage technology is still evolving. Companies are developing discs capable of storing far more data than today's Blu-rays, but the key thing is that they're aimed at archiving data on an enterprise scale rather than at home entertainment. Which means they aren’t about to become the next movie format that you’ll buy.

Instead, several people I spoke with pointed towards a future where the successor to Blu-ray isn't about discs. "If Blu-ray has a successor, it may not be something you can hold in your hand," says Mark Vena. Rather than another physical format, he believes the future lies in premium digital delivery through high-quality, studio-certified, lossless downloads stored locally on home servers or network-attached storage.

"This is why the real successor to Blu-ray, for most consumers, is not another disc at all," he says. "It's the combination of ultra high bitrate streaming, cloud libraries and AI-powered video optimization that's closing the quality gap."

So maybe the future isn't about replacing Blu-ray with another physical format but instead preserving the quality of audio and visuals that enthusiasts value about Blu-ray without even needing a disc in the first place.

One possible future is already beginning to emerge. Kaleidescape, a company specializing in premium digital movie delivery, offers downloads with bitrates to match what Blu-ray is capable of, preserving much more picture and audio quality than traditional streaming services while still providing the convenience of instant access.

Kaleidescape even recently launched a new 'Cinematic 4K' format for movies, which it says will offer even higher-quality bitrates for video, promising over 100Mbps of average bitrate (not maximum), which it compared to 60Mbps of average bitrate for 4K Blu-ray in its own marketing materials.

"In 10 years, the highest-quality movies at home will be delivered digitally, not on disc," Tayloe Stansbury, chairman and CEO of Kaleidescape, tells me. "Consumers will expect instant access, reference-quality presentation, and technology that evolves with each generation of content. That's the future Kaleidescape is building today."

However, for many fans of Blu-ray, the biggest hurdle here is still ownership and Kaleidescape's technical proficiency doesn't address that. It's a digital storefront, and the same concerns of losing access to things you've bought still applies.

Kaleidescape told me that its priority is delivering the best possible digital collecting experience rather than addressing licensing, and it declined to comment on people's increasing concerns about this side of buying movies.

Digital purchases may be able to close the gap on quality, but until they can offer the same promise of permanence as a disc, then physical media will continue to offer something digital can't.

Blu-ray remains resilient

When I first started researching this story, I thought I'd be talking to experts about the technology that’s waiting to replace Blu-ray. But instead, I learned the future is a little more complicated than that.

Every home video format in the past has reached a point where its limitations became too impossible to ignore. But Ultra HD Blu-ray appears to be in a different position. According to the people building and supporting the format, there isn't an obvious problem left for another new type of disc to solve. It still delivers the highest quality experience available to most consumers and continues to attract collectors who are willing to invest in physical media.

Looking at recent sales numbers, the Blu-ray market is much healthier than I expected. Mark Frampton, Senior Commercial Marketing Manager at Elevation Sales, a film sales and distribution company, says the format has remained remarkably resilient.

"We’re forecasting 2026 to be another year where the market stabilizes. Catalogue [older releases] has been very strong and only 2% down year-on-year. This is driven by collector’s editions and steelbooks, particularly on 4K Ultra HD which remains a format in growth."

In other words, older film releases are continuing to sell well, with premium collector editions helping to keep the market strong — and it's not just older enthusiasts buying discs today.

“Although the core buying audience is still people over 35, we’re increasingly seeing younger audiences entering the market,” Frampton tells me. “People aged between 25 and 34 are the second biggest buyers of Blu-ray. But Gen Z and Younger Millennials (aged between 14 and 30) who are experiencing ‘digital fatigue’ are becoming highly engaged in the format as well."

The wider industry paints a similar picture. Kath Summersgill, Group Joint Head of Sales at Key Production Group, an agency specializing in physical music manufacturing and creative packaging, points to figures from the Entertainment Retailers Association showing continued growth. "The current state of the physical movie market is incredibly encouraging, with ERA’s 2025 figures showing Blu-ray sales increased by 19.5%,” she says.

Now, these surprisingly healthy numbers don’t mean Blu-ray discs will be around forever. Streaming will continue to improve, premium digital libraries will become more sophisticated and companies like Kaleidescape are already demonstrating that top-quality movies don't necessarily need to be on a disc.

All of this means another physical format may never arrive. Instead, the next chapter for home theater could be digital — but there's a long way before collectors would be ready to trust digital libraries.

For now, at least you know you won't have to worry about buying your favorite movies yet again on another new disc format in the future.

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Spider-Man: Brand New Day has finally swung into theaters worldwide — and I bet you've got questions about Tom Holland's latest Marvel movie.

Haven't seen it yet? Read my Spider-Man: Brand New Day review for a spoiler-light insight into the newly released film. Then, bookmark this page, go and see it, and come back to carry on reading this article, because I'm not kidding when I say full spoilers immediately follow for Spider-Man: Brand New Day.

Of course, if you have watched it, by all means scroll on — it's worth the read, I promise!

Does Sadie Sink play Jean Grey in Spider-Man: Brand New Day?

Yes. One of the worst-kept secrets in Hollywood is finally confirmed about 70 minutes into Spider-Man 4: Sink is playing the Marvel Cinematic Universe's (MCU) version of iconic X-Men member Jean Grey.

It's a reveal that's been a long time coming. Sink was first rumored to appear in Spider-Man: Brand New Day last March, so we've had to wait 16 months to learn which Marvel character she was actually playing.

Of course, there's been all manner of speculation about the identity of her character, with everyone from Mayday Parker — aka Peter Parker and Mary Jane Watson's daughter in the comics — and Typhoid Mary to Firestar and Shathra mentioned as potential candidates.

Now that we know Sink is playing Grey, she's a shoo-in to appear in Marvel's new X-Men movie (more on this later). Her next outing as Jean Grey is expected to be in Avengers: Secret Wars, though, so we'll see her again when that film arrives next December.

Who is the real villain in Spider-Man: Brand New Day?

That'll be William Metzger, aka the head of the Department of Damage Control (DoDC).

Metzger is played by Tramell Tillman, the Severance star signing on to appear in Spider-Man: Brand New Day last August. It's unclear when or where he'll appear in the MCU next, but I have my suspicions about his next appearance, which I cover later in this article.

Anyway, Metzger is revealed to be the Marvel Phase 6 flick's actual villain in its third act. Initially positioning himself and the DoDC as an ally of Spider-Man's, we eventually learn that Metzger was the one who kidnapped, experimented on, and ultimately killed Jean's older sister Sarah. A fellow telepath, Sarah was taken to the DoDC's main testing facility on Staten Island, where she was used as a lab rat for the company's investigations into new tech powered by superhuman abilities.

Of course, as soon as Spidey learns the truth, our friendly neighborhood hero sets out to rescue Jean, whom he naively helped the DoDC to capture earlier in Brand New Day. Little does Peter Parker know, though, that it could've been his last mission...

Does Peter Parker die in Spider-Man: Brand New Day?

No, but he comes mightily close to losing his life.

After he infiltrates the DoDC's Staten Island headquarters, Spidey uses his upgraded powers to defeat members of The Hand controlled by an antagonistic Jean — remember, she still thinks Spider-Man is the enemy at this point.

Eventually, Peter tracks down Jean, who's holding Metzger hostage. Metzger tried to experiment on Jean as he did with Sarah, but the test not only goes awry, it unlocks Jean's full powerset. No longer limited by the 33-foot radius that her telepathic abilities had, Jean utilizes her powers to paralyze a large part of New York's human population, and threatens Peter that she'll hurt them all — including his former girlfriend M.J. and best friend Ned, who are caught in her paralyzing telepathic wave — if he tries to stop her from enacting revenge on Metzger.

Being the good guy that he is, Peter manages to talk her down. He does so by allowing the souped-up Jean to enter his mind, where he shows her a very specific memory of Aunt May that helps Jean understand that, despite Sarah's death, she's not alone.

Happy ending, right? Not exactly. Like Spider-Man, Frank Castle, aka The Punisher, sprang into action when Jean used her upgraded powers on New York's residents. Unable to reach DoDC HQ, he heads to a nearby rooftop outside of the impacted zone. There, he uses his marksmanship skills to take a shot at Jean with a heavy-duty sniper rifle.

Sensing the incoming bullet, Spidey shields Jean from the sniper round and is critically injured by it. As he bleeds out, Jean employs her powers to keep him alive before Frank races him to a nearby hospital to undergo life-saving surgery.

Some time later, Peter wakes from his coma. After a heart-to-heart — and some light banter — with an apologetic and remorseful Frank, Peter checks himself out of the hospital.

A crowd of dedicated Spider-Man fans, who've congregated outside the hospital to hold a vigil for his swift recovery, awaits him. Fortunately, Frank stays behind, dons the Spider-Man mask, and waves to the assembled crowd from Spidey's hospital room, allowing a profoundly moved Peter to walk away without anyone knowing he's the real wallcrawler.

Does Jean Grey make M.J. and Ned remember Peter Parker in Spider-Man 4?

No — she doesn't need to, because the pair end up finding out that Peter is Spider-Man.

M.J. learns who he is when she discovers the note Peter had written back in 2021's Spider-Man: No Way Home. Meanwhile, Ned appears to remember Peter when the duo performs their secret handshake in Brand New Day's final scene. Ultimately, then, Jean's possible intervention wasn't necessary.

Which Marvel characters make a cameo in Spider-Man: Brand New Day?

We already knew the vast majority of Spider-Man: Brand Day's cast heading into the film, but the MCU's latest movie has a couple of surprises up its sleeve.

For one, Florence Pugh's Yelena Belova makes an unexpected yet scene-stealing cameo. Spider-Man meets her at a New York bathhouse to obtain information about the attack on the DoDC in the film's first act. Later on, she appears once more when the eponymous hero starts to suspect Metzger isn't all that he seems and seeks details on Jean's sister Sarah.

The other big cameo is Marisa Tomei's Aunt May. Peter's surrogate mom, who died in No Way Home, appears by way of the memory I mentioned earlier in this article.

"But what about Daredevil?", you might be asking. Given what happened in the final episode of Daredevil: Born Again season 2, some fans had expected Spidey to come across Charlie Cox's Matt Murdock and join forces to take on The Hand in Spider-Man 4's prison-set action sequence. Unfortunately, Cox doesn't show up in Brand New Day, so the wait for a Daredevil and Spider-Man MCU team-up goes on.

Is there an end-credits scene in Spider-Man: Brand New Day?

Yes. Right at the end of the film's final credits, the Spidey Tracker — an app built by Ned Leeds to, well, track Spider-Man's whereabouts — flashes up on the screen.

As an automated message that says "Location unknown" starts to play over and over, the app zooms out from planet Earth and eventually pinpoints that the webslinger is somehow in space.

What does this mean? I have a wild theory that Spider-Man: Brand New Day's post-credits scene might not mean what we think it does, but the most likely scenario is that Peter Parker has been transported somewhere due to events that'll go down in Avengers: Doomsday or Avengers: Secret Wars. Speaking of which...

How does Spider-Man 4 set up Avengers: Doomsday and/or Avengers: Secret Wars?

In short: I don't know. Spider-Man 4's end credits scene could be related to either of the aforementioned movies, so until Avengers: Doomsday is released this December, your guess is as good as mine.

That said, at this moment in time, Tom Holland isn't slated to appear in Doomsday, and that film is already packed with enough characters as it is. You can find out who'll appear and more by finding out everything we know so far about Avengers: Doomsday.

If Holland doesn't show up in Avengers 5, he'll be a dead cert to star in its sequel. Marvel and Sony won't miss the opportunity to put one of their most bankable characters in at least one of the next two Avengers movies, so the smart money is on him having a substantial role to play in Avengers 6. For more on that flick, find out what we know so far about Avengers: Secret Wars.

How does Spider-Man: Brand New Day set up Marvel's new X-Men movie?

It doesn't. With Doomsday and Secret Wars set to be the next two MCU movies to hit theaters, that pair is far more likely to impact the MCU's first mutant-based film.

Nevertheless, Spider-Man 4's final minutes do show Jean Grey traveling on a bus to an unknown location. Maybe she's attempting to track down more of her fellow mutants? If she is and she's successful, it's possible that whoever she locates will not only have roles to play in Secret Wars, but also form a prototype version of the X-Men ahead of their actual founding/formation in their first dedicated MCU adventure.

While we wait for more news on one of the few confirmed post-Multiverse Saga projects, find out what we know so far about Marvel's new X-Men movie.

When it comes to long-standing TV franchises that I'm most terrified to cover, Star Trek is easily at the top of the list. With so many seasons, opinions, and legacies developing in popular culture since the mid-1960s and the original series, I feel like I'm a dunce constantly playing catch-up with something complex that keeps slipping from my grasp.

However, if I were to hedge my bets and choose two seasons to binge, I'd pick Star Trek: Voyager and Star Trek: Picard. Not just because they feel like the two iterations of the franchise that I can't afford to miss out on, but because I'm unashamedly in love with Jeri Ryan.

Trekkies will know her best for playing Seven of Nine in both shows, a former Borg drone who initially joins the crew of the Federation starship Voyager. By the time she tries to leave in Picard, she's promoted to Captain — but as of writing, a story of her time in charge has yet to materialize.

According to Ryan herself [via TrekMovie], she has already turned down a solo spinoff that "wasn't in line with the Star Trek legacy," so we could be waiting a while for the perfect fit... if it ever arrives.

If we can't get Seven of Nine back, let's go with the next best thing: Ryan's own recommendations for what to watch alongside your annual Voyager and Picard binges (it never hurts to freshen things up).

But when I ask her the question, her answer takes me completely by surprise, especially as she's considered the potential long-standing impacts of AI in relation to sci-fi itself.

'People aren't paying enough attention to AI'

"Not that they have anything to do with Star Trek directly, but given the AI situation, I think The Terminator and Terminator 2: Judgment Day would be really good things to watch now," Ryan tells me.

"I think they'd be very timely. I feel like a lot of people, or not enough people, have paid attention to AI. I think a few more people could do to listen to how that ended up for humanity."

It's an unexpected and dark suggestion, but I certainly see the link. Like Star Trek, Terminator was ahead of its time, transforming the sci-fi genre into something iconic that would later serve as an archetype for TV shows and movies to come.

In fact, both movies go way beyond Arnold Schwarzenegger saying "Hasta la vista, baby," in dark sunglasses and a leather jacket. His Terminator Borg is the polar opposite of Seven of Nine, working as an assassin from the future intent on killing the woman who will supposedly give birth to a man who will save humankind from extinction.

By the end of Judgment Day, Terminator is a good guy, having been reprogrammed to protect instead of destroy. It's this conclusion, I think, that Ryan would like to reach... or at least remind fans that there is still light at the end of the tunnel.

If you look beyond Star Trek, protection against AI is something Ryan is clearly passionate about. In April 2026, she testified in support of the California Senate Bill 1050, which would "target false advertising by requiring clear and conspicuous consumer disclosures whenever a synthetic digital performer is used in state advertisements."

Would a Seven of Nine spinoff featuring a synthetic lead character flop if Ryan resolutely disagreed to it? Yes. But let's face it... we don't want that kind of spinoff anyway.

At this point, Ryan is leaving us with a lot of food for thought when it comes to what the future looks like, with some iconic sci-fi action sprinkled in for good measure. How can you not love her?

• Watch The Terminator on Prime Video in the US
• Watch The Terminator on Prime Video in the UK
• Watch The Terminator on Prime Video in Australia

Some mild spoilers for The Odyssey ahead.

Normally, when my TikTok FYP causes me to experience an extreme case of FOMO, I do something I regret. That's ranged from buying something cheap and tacky on TikTok Shop to queueing for hours to get sub-par food at a restaurant that influencers say is my area's "best-kept secret".

But that losing streak has ended with The Odyssey in 4DX.

If you've been active on social media in the last two weeks, you might have come across the many viral videos of cinema-goers having popcorn knocked out of their hands while their chair moves at a million miles a minute in Troy, and being sprayed in the face during one of the many seen featuring Odysseus (Matt Damon) at sea.

At first, I thought these clips were performative. I hate the idea that filming in theaters has become as commonplace as it has (which is why I won't be sharing any of those clips here), but surely watching The Odyssey in 4DX isn't like a very dark log flume at Six Flags... is it?

After giving into curiosity and getting myself a ticket, I can happily confirm that the TikToks don't lie. Not only do I think that my 4DX-perience was my favorite cinema visit of 2026 so far, but having seen The Odyssey in three different formats — standard DCP, IMAX 70mm, and now 4DX — I can confirm that 4DX wins out by a long shot.

Before you think I've taken too many Greek beatings to the head — surely Christopher Nolan's original IMAX format is superior? — let me explain my thinking. Here's what you need to know about 4DX, my review of the movie in this format, and the five most brutal scenes, which on their own are, I think, worth the price of your ticket.

The Odyssey in 4DX: the basics

4DX screenings feel almost as few and far between as IMAX 70mm. There are a relatively few 790 screens worldwide, meaning that if you don't live in a big city that has one, you'll have to add the cost of a trip to the admission price.

That price is also the most premium of the three formats. I'm based in the UK, and the cost of my three options for watching the The Odyssey is as follows:

• Standard screening: £16.99
• IMAX 70mm screening: £26
• 4DX screening: £28

In the US, the prices will look something like this:

• Standard screening: $12–$20
• IMAX 70mm screening: $25-$35
• 4DX screening: approx $35

I've left out a few other formats that I haven't seen The Odyssey in, including 70mm, IMAX and Superscreen. It's also worth pointing out that thanks to my beloved Cineworld membership, I only had to pay out an additional £6 for my 4DX screening on top of the monthly direct debit.

Do I think the full price is worth the experience? Yes and no. The cost of 4DX is extortionate, and I don't think the experience would work for a first-time viewing — you'd be too busy worrying where your nachos have gone to keep up with whether Robert Pattinson is Antinous or Agamemnon.

Having said that, I think it has to be done once. As I'll explain below, I think 4DX makes for an ideal second or third viewing of The Odyssey, and I feel quite smug that I've had the chance to experience being enlightened by the Gods (of cinema tech).

What social media has got wrong, though, is the idea that The Odyssey in 4DX is a "three-hour rollercoaster." While you're getting a lot of bang for your buck in terms of movement and effects, a lot of the movie's scenes allow for the stillness you'll feel in desperate need of.

As someone who got battered relentlessly from beginning to end while watching Top Gun: Maverick in 4DX, and was worried because she'd forgotten her travel sickness tablets before heading to Ithaca, this was a welcome surprise.

However, ladies — please don't make my mistake and wear a dress or skirt. I'd recommend long pants, a supportive sports bra. I'd also recommend a minimal amount of snacks, and a maximum amount of drinks; there's ample time and space to go to the bathroom, I promise.

Don't forget: you'll be in control of some of the effects yourself. You can choose to turn water on or off at any time, and you can lean forward to avoid any unwanted back damage during fight scenes.

Review: 4DX allows The Odyssey to compensate for its lack of heart and emotion

My biggest problem with The Odyssey isn't just that it's clearly not Nolan's best movie, but that there's next to no heart or emotion in it.

From a technical perspective, the new film is a genuine masterpiece. Cinematography, score, performances, production design… everything, and everyone, is firing on all cylinders.

But even with all of those things in place, nothing comes through the screen enough to touch your heart. You'll absolutely be impressed… but moved? It's not like you're really rooting for anybody to reunite (and if you are, chances are they'll end up dead).

By seeing The Odyssey in 4DX, you become the character that brings the missing emotion. I defy you not to giggle your way through being slammed about on a Bronze Age boat, weep because you can literally feel the pain of Odysseus being shot by arrows, and gleefully lean into every witch-like stroke as Circe (a magnificent performance from Samantha Morton) turns soldiers into pigs.

Frankly, it's all a riot that neither Homer nor Nolan likely expected when they decided to tell this story. As I said earlier, you'll need to see the film while stationary first to fully grasp the nuances and gravitas of the story, but in 4DX you'll feel as bruised and confused as Odysseus did throughout his 10-year journey home. Bottom line: it's so much fun.

The Odyssey's most brutal scenes in 4DX

Any time Odysseus is on a boat

Let's start with the elephant in the room. With Odysseus and his crew taking 10 years to get home to Ithaca from Troy, we spent a lot of time at sea.

For the most part, this involves of some gentle chair-rocking, not the chaotic assault on the senses you've seen on TikTok. With the effects slowed down and used minimally in these instances, you really understand how impactful the slightest spritz of water or well thought-out vibration can be.

Depending on where you're sitting in the theater, the in-seat water effects will perform differently. As I was sitting in the center of the second row of my section, I mostly got soaked on the lower half of my body. If you sit down and there's a black barrier directly in front of you; I'm sorry to say that you'll be taking some direct hits to the face.

Regardless of where you're sitting, a separate effects system in the ceiling rig of the theater, which takes care of rain, snow, smoke and light effects, will make sure that the rest of you is drenched. And even when the waters aren't choppy, for much of Odysseus' journey home he's pelted by rain storms, so maybe save hair-wash day until the day after your screening.

The cyclops

Our first big action sequence in The Odyssey, the cyclops scenes, are the perfect 4DX starter, getting us ready for bigger and better things to come.

Lots of sudden, juddering movements within the seat are used each time the cyclops decides to have some dinner, with additional smoke effects being used depending on how high the fire in his cave is burning. In an ideal world, I'd have liked a bit of cheese smell-o-vision at this point... but we can't have it all.

Things ramps up a level when Odysseus decides that blinding our cyclops with a hot stick is a good means of escaping. Somehow, the cyclops' painful cries — which made me think that my ear drums were going to burst during my first screening — were more palatable to listen to, perhaps because I was being distracted by the sudden whiplash I'd suffered thanks to the stick's movement.

As Odysseus disguises his men as sheep and successfully gets them out of the cave, you can almost imagine the cyclops' gigantic fingers running down your spine. Things take a more violent 4DX turn when Odysseus decides to provoke the creature with a final arrow to the face (I mean... what was the point of that?), leaving the crew to charge towards the boats on the island's coast.

We feel every tumble, misplaced step and unexpected branch-to-head contact that the boys get — but the real fun begins when the cyclops himself enters the water. Performing a belly flop that could have won him a gold medal at the Jackass Olympics, the cyclops' demise is our first real test of the in-seat water system, combined with some severe shaking as his colossal frame hits the sea.

The 7ft soldiers in silver

The action sequence I was the most impressed by (in terms of both production design and 4DX) is Odysseus' next stop on his ill-fated journey. The gang arrives on another island, only to be met by giant soldiers in silver armor, who remarkably were real 7ft-tall actors.

Given that they fight with machetes instead of Greek bows and arrows and swords, expect some serious upper back damage here. Out of every scene in the movie, this one inflicted the longest sustained impact between my shoulder blades, which I could still feel the next day.

What's also really fun here is the use of air bursts. Two 'air jets' are mounted on either side of your seat's headrest, and are used almost every time a Greek soldier shoots an arrow at his target. It feels exactly like the arrow is zooming past you, just without the pain.

4DX also manages to briefly incorporate the use of the snow machine during this scene, as Odysseus and co come across a woodland shrouded in dense mist.

There's a surprising lack of water effects, despite the soldiers clambering back into their boats mere minutes after they first disembarked. Only one of those boats makes it to freedom, but at least you won't be drowned, like the poor souls who didn't make it.

The final storm

The big kahuna, and the moment you've seen plastered all over TikTok, is the final storm. By this, I mean the scene directly after Odysseus has chastised his men for eating Apollo's cattle when Tiresias (James Remar) specifically warned them not to, and their repaired ship heads out to sea once more when the volatile winds clear.

As we know, this was a trap by Poseidon and Zeus, who mean to kill all the men responsible through a fatal storm. Incredibly, the 4DX experience is exactly as brutal as it looks in all of the social media clips.

The special effects go into overdrive, with the audience bombarded by everything bar the snow machine, and the kitchen sink, at the same time. I was holding onto my seat trying to steady myself through severe turbulence, wondering whether I was the first person in history to consume the story of The Odyssey and almost die laughing in the process.

There are shots to your back and sides, water and winds to the face, rain falling onto your head, constant strobe lighting to replicate the weather (definitely not suitable for those with epilepsy) and enough jostling to give you a mild concussion.

A special shoutout must go to the in-seat air jets by your legs, which begin to be utilized shortly before, when Odysseus must steer his vessel between the whirlpool that is Charybdis, and the six-headed monster, Scylla. If you don't have anything covering your legs, they're about to be whipped so hard that they sting.

Then just when we think it's all over, a brief pause in movement lulls the audience into a false sense of security. The boat splits in half as Odysseus' crew sinks into darkness, and we're back to being pummeled to within an inch of our lives. Make sure your snacks are firmly on the floor in the moments beforehand, or risk covering the person next to you in nacho cheese and guacamole as an unexpected additional effect.

This moment alone is worth the £28, in my opinion... what an experience.

Odysseus' homecoming fight

But we're not out of the woods just yet! Before attending my 4DX screening, I wondered if the effects would be limited to scenes with lots of travel in. I'd only seen Top Gun: Maverick and Jurassic World: Dominion in the format before The Odyssey, so I didn't have a handle on what happens when you're not flying, driving, or a cretaceous monster.

Turns out, fight scenes are just as thoughtfully rendered to make your back ache for days, even if they're just in a palace hall. Once Odysseus re-fights for Penelope's (Anne Hathaway) hand in marriage at the palace trial, he turns his successfully strung bow on the group of suitors, including Antinous (Pattinson). It's a different kind of chaos, and we're once again immersed in it.

Our seats sway in whichever direction our victim is being attacked from, with our shoulders blades once again jabbed to oblivion as other weapons manage to find their way back into the great hall. The air jets are working 10 to the dozen here, but thankfully just the ones by your head.

There's a particular moment where Antinous breaks an entire chair over Odysessus' back, and it got me thinking that I should really try seeing a chiropractor for the first time. Nothing says 'final farewell' quite like a parting blow that could potentially cause permanent damage — and I wouldn't have it any other way.

Light spoilers follow for Spider-Man: Brand New Day.

Spider-Man: Brand New Day was meant to signal a fresh era for Tom Holland’s Peter Parker. With 2021’s Spider-Man: No Way Home effectively clearing the narrative slate and stripping away his safety net, this latest chapter had a golden opportunity to chart a bold, unburdened new course for a character whose cinematic journey now enters its 24th year.

And yet, tripped up by familiar Marvel Cinematic Universe (MCU) shortcomings and weighed down by my own sky-high expectations, Brand New Day yields a final product that is undeniably fun, but ultimately falls short of greatness.

Web of lies

Four years have passed in-universe since No Way Home, whose ending saw Doctor Strange cast a multiverse-saving spell to make everyone, including Parker's girlfriend M.J. (Zendaya) and best friend Ned (Jacob Batalon), forget that he was Spider-Man.

Since then, our friendly neighborhood hero has fully committed to cleaning up the streets of New York City. While that mission has been incredibly successful, it's come at a cost — that being said, the webslinger is practically shedding his civilian identity and becoming a social recluse.

That long-term, self-imposed isolation has seemingly dire consequences for Spider-Man, whose world is not only upended after he sees M.J. with a new man, but also by a sudden metamorphosis — one that super-charges his arachnid-like abilities — that he struggles to control.

Throw in the emergence of a powerful and invisible new threat that only Spidey can apparently stop, and the Marvel icon must turn detective, determine if this new superpowered being is as bad as he's been led to believe, and once again realize that with great power comes great responsibility.

That infamous slogan is one that Holland and director Destin Daniel Cretton hung their proverbial hats on throughout development.

The pair have spoken at length about making a Spider-Man movie unlike anything we've seen before, and that's especially true from an action spectacle standpoint. Whether it's the fights that Spidey's involved in — the Hulk and The Hand battles deserve special mention for being intense and imaginative — or simply giving us a first-person view of him swinging through his hometown, Spider-Man 4 is the webslinger at his acrobatic, wily, and inventive best. Full credit to Cretton, stunt co-ordinator and second unit director Peng Zhang, and his team for delivering some of the best action in a Spider-Man film to date.

Brand New Day isn't as adept at depicting loneliness and other mental health issues, mind you. Indeed, for all of the talk that Brand New Day puts Peter Parker in a mental and emotional echo chamber, that's not entirely accurate.

Sure, Parker spends much of the first two acts lying to himself about why he has to maintain his lone wolf status, a storytelling quirk that allows Holland to further tap into Parker's guilt complex and the volitional burden of responsibility he carries. Even so, he still interacts — and characteristically quips — with everyone who appears in the Marvel Phase 6 flick, and, while it would be a puzzlingly dialog-light film for a usually extroverted character if he didn't, I was disappointed that Spider-Man 4 didn't examine Parker's hermit lifestyle more thoroughly throughout its 142-minute runtime.

In fact, the movie's broader emotional impact didn't hit me as hard as I'd hoped.

Yes, there are myriad moving moments — particularly in the third act — where Holland, Zendaya, and MCU newcomer Sadie Sink deliver emotional gravitas aplenty. Sink, whose much-discussed mystery character in Spider-Man 4 I’ll come back to shortly, gives a performance that easily leaves a lump in the throat

Nevertheless, Thunderbolts* tackles its weightier themes — particularly around mental health — with a sensitivity that Spider-Man 4 lacks. Heck, I'd even say No Way Home and another of Holland's previous MCU outings in Spider-Man: Far From Home hit me much harder emotionally than this fourth entry; a take I certainly didn't expect to have prior to my Brand New Day screening.

Lost souls

Its action notwithstanding, Spider-Man: Brand New Day does a much better job at making New York feel like a city populated by more than one hero and villain at any given time.

That might sound silly for a shared universe like the MCU and for a film franchise that's seen the wallcrawler mingle with other Marvel characters. Still, the fact that he shares the screen with individuals who haven't operated in his orbit before is a positive, especially when, the Avengers movies aside, Marvel appears determined to keep its heroes apart despite their situational proximity.

It's an ingredient characterized best by Spider-Man's quarrelsome, sibling-like dynamic with Jon Bernthal's Frank Castle, aka The Punisher.

Ordinarily, Bernthal's foul-mouthed, unhinged anti-hero would have no place in a family-friendly MCU flick. However, his inclusion in Brand New Day allows Bernthal and Holland's incredibly natural chemistry to shine, and it's no coincidence that sequences involving the pair are some of the funniest and most memorable that Spider-Man 4 has to offer.

The film’s self-contained, 'pick-up-and-read' comic book vibe further extends to Spider-Man: Brand New Day's full cast of characters.

Returning favorites like Mark Ruffalo's Bruce Banner/The Hulk alongside newcomers in Tramell Tillman's Bill Metzger and Liza Colón-Zayas' Jean DeWolff add to its narrative flavor. However, its overstuffed roster leaves a slight aftertaste as few of them get the necessary development or screentime they require.

Among the supporting cast, Sink gets the most substantial character arc. Brand New Day waits until the 70-minute mark to finally confirm who she's playing, but it compensates for the inevitable reveal by soon putting the Stranger Things alumnus at the heart of its tale, albeit with mixed results.

On the upside, Spider-Man 4 thoughtfully draws parallels between Holland and Sink's characters. Driven by opposing worldviews rooted in personal tragedy, their dichotomous dynamic fuels the second act, and I'll readily admit I was completely engrossed by their superhuman tango.

The problem that Brand New Day runs into is that, by placing Sink at its narrative center, it quickly succumbs to the classic MCU pitfall: setting up future storylines instead of concentrating on its actual protagonist.

Indeed, by act three, Spidey becomes something of a passenger in his own film, and it isn't until its admittedly poignant climax that the focus shifts back to the wallcrawler. That's no slight on the talented Sink's performance, but, not for the first time, it's hard to watch another Spider-Man solo movie and not think that the titular hero has, at times, been overshadowed in his own story.

My verdict

From a recency bias viewpoint, it would be easy — and arguably lazy — to label Brand New Day as the best Spider-Man movie of all-time.

In some ways, you can argue that's true. This is the most relatable Peter Parker has ever felt in a live-action capacity; it ditches the weary multiversal shenanigans in favor of returning to the character's classic street-level roots, and is Holland's most mature outing yet as the legendary webslinger.

That said, while its ending strikes an optimistic note for an all-but-confirmed fifth solo film, Brand New Day is an ironic title for a movie that — much like its protagonist for large parts of this flick — refuses to move on from the past. Its sentimental attachment to legacy characters like Ned and M.J., paired with obstructive MCU world-building, reveals a franchise that hesitates to be as progressive as it could and should be. It’s an endlessly entertaining, ground-level Spider-Man story — it just can’t quite bring itself to let that brand new day truly dawn.

Spider-Man: Brand New Day is out now in the UK, and hits theaters in the US and other regions on Friday, July 31.

Production company A24 has become a staple among horror fans. You've no doubt seen at least one movie of theirs, with huge directors like Ari Aster, Alex Garland, and Denis Villeneuve all having movies in their impressive catalog.

As a huge fan of A24 horror movies in particular, I was keen to track down all the ones that are currently streaming so I could give my verdict on them, and whether I think they're worth seeking out in 2026.

Ranking this list was no easy task, even though I did know what my number one choice was going to be pretty quickly.

Please note that this only includes A24 movies you can watch on the best streaming services or the best free streaming services (at the time of writing), so this is not a definitive list of them all.

This is a hotly debated topic, so I would be keen to know which A24 horror movie is your favorite and why. Let me know in the comments when you're done reading mine.

A24 horror movies ranked: 31 - 25

31. The Front Room

Where to stream: HBO Max (US), NOWTV (UK)

The Front Room has the potential to be something greater than it is, but I was left feeling very disappointed by the end result. It's the feature film debut for Max and Sam Eggers, but they haven't quite managed to follow in their brother Robert's footsteps here.

In this movie, Brandy plays a heavily pregnant woman who struggles when her overbearing mother-in-law moves in. It takes a terrifying turn when she realizes that she is a threat to her baby, but unfortunately, the movie didn't stick the landing for me due to silly gross-out scares and poorly written characters.

30. Y2K

Where to stream: HBO Max (US), NOWTV (UK), Netflix (Australia)

Even Rachel Zegler can't save Y2K, which is definitely one of A24's worst movies. I really liked the plot because it follows machines rising up against humanity during a New Year's Eve party, but it's all over the place and isn't executed well.

From humor that doesn't land to constant tonal shifts, Y2K has been widely panned by critics and audiences alike. There's also some jarring celebrity cameos that didn't really work, and so Y2K is very far down on my list for many reasons.

29. False Positive

Where to stream: Hulu (US), NOWTV (UK)

False Positive was a disappointment for me, mostly due to the frustrating pacing issues throughout the film. It seems to drag before barreling towards a chaotic ending, which could have been fleshed out a lot better. Pierce Brosnan's star power was wasted here.

The plot is also predictable as we follow a couple, Lucy and Adrian, who have been trying to conceive. When they meet a fertility doctor, they think their prayers have been answered, but when Lucy falls pregnant, she begins to uncover some dark secrets about the doctor. Honestly, you can easily predict the ending, meaning this was a huge miss for me.

28. Opus

Where to stream: HBO Max (US, UK), Netflix (Australia)

Many considered Opus to be a misfire for A24, but I didn't hate it as much as some people did. It's still not super high on my list, but I certainly hated it less than the three above.

Opus follows a journalist who travels to the remote compound of a legendary pop star who mysteriously disappeared 30 years ago. But when she gets there, dangerous things start happening. I loved John Malkovich in this movie, and I also loved how uncomfortable it was in examining obsessive fan culture.

27. Death of a Unicorn

Where to stream: HBO Max (US), Prime Video (UK), Hoopla (Australia)

I really wanted to like Death of a Unicorn more than I did. Much like the critics' consensus for this, I'm very on the fence when it comes to this A24 movie. The cast is undoubtedly fantastic as we follow characters played by Jenna Ortega, Paul Rudd, Will Poulter, and Richard E. Grant.

The movie centers around a father and daughter who accidentally hit and kill a unicorn while en route to find a billionaire's house, who seeks to exploit the creature's miraculous regenerative properties. Unfortunately for them, there are other unicorns out there, and they want revenge. It's a silly creature feature, really, but that's all part of the charm.

26. Beau Is Afraid

Where to stream: Channel 4 (UK), Prime Video (Australia)

Beau is Afraid is a lengthy, surreal movie by Ari Aster, and as a result, it's also very divisive. Joaquin Phoenix stars as the titular character, a paranoid and very anxious man who must travel to his mother's funeral, resulting in a surreal journey of self-discovery.

It really does feel like a 3-hour anxiety attack, and Phoenix always delivers. While Beau Is Afraid didn't quite do enough to rank higher for me, I did like a lot about it, even if it did get a bit too surreal for me at times. But that's simply a preference thing and not a comment on the quality of the filmmaking.

25. Under the Skin

Where to stream: Netflix (US), StudioCanal Presents (UK), SBS on Demand (Australia)

Under the Skin has a loyal fanbase, and on the surface, it sounds great. But one could argue the movie feels too pretentious at times, and you'll have to be prepared for it to be very slow without much of a conventional plot, too.

Aside from that, it's a solid effort. Scarlett Johansson plays an extraterrestrial disguised as a young woman. We follow her as she drives around Scotland and seduces lonely men. It's very different from Johansson's other work, and she delivers a great performance here, as do the other cast members, many of whom had no acting experience before this.

A24 horror movies ranked: 24 - 19

24. Men

Where to stream: YouTube TV (US), Stan (Australia)

Most people I speak to about Men seem to hate it, but come on, it's not that bad. I'm happy to have it in my top 25 because it's a perfectly fine horror movie, if you're willing to look past a narrative that is often described as pretentious and full of abstract symbolism.

The movie stars Jessie Buckley as Harper, a recently widowed woman who travels to a small village for a solo trip to heal. Whilst there, she meets an array of men, all played by Rory Kinnear, who gives utterly terrifying performances throughout. It does go off the rails, but hey, it's very entertaining.

23. Enemy

Where to stream: Prime Video (US), ITVX (UK), Stan (Australia)

Jake Gyllenhaal plays a dual role in Enemy, as we follow history professor Adam Bell, who discovers he has a doppelganger named Anthony Claire. But when they meet, they end up destabilizing each other's lives and relationships.

I really like Denis Villeneuve's work and thought he did a great job of depicting the creepiness of the story, which features a lot of surreal and disturbing imagery. It's not a perfect movie, but I liked it, even though I'm terrified of spiders and had to see them a lot in this movie.

22. The Blackcoat's Daughter

Where to stream: Prime Video (US only)

Before Longlegs, director Osgood Perkins brought us The Blackcoat's Daughter. If you prefer lingering, psychological dread over jump scares as I do, then I think you'll be freaked out by this movie. But there is certainly an absence of any real scares, placing this more in the thriller category in my opinion.

With some great performances from Kiernan Shipka, Emma Roberts, and Lucy Boynton, we follow dual storylines about two girls who are left alone at their prep school, Bramford, over winter break when their parents mysteriously fail to pick them up, and a troubled young woman on the road who, for unknown reasons, is determined to get to Bramford as fast as she can. It is a very bleak movie, so brace yourself.

21. MaXXXine

Where to stream: The Roku Channel (US), Netflix (UK), Paramount+ (Australia)

Unfortunately, the third movie in Ti West's X series is also the weakest. Considering just how great Pearl was in particular, it was a tough act to follow.

Mia Goth returns as Maxine Minx, this time in 1985 Los Angeles, where we see her auditioning for the lead in a new horror film. She's hoping to get her big break, but soon finds herself being targeted by a mysterious killer. Once again, Goth is incredible and steals the show, but the movie does lack suspense and has a reveal that I thought was way too obvious. Still, it's a fun conclusion to a great horror trilogy.

20. Life After Beth

Where to stream: Netflix (US), MGM+ (UK)

People are way too mean about Life After Beth, so I'm here to defend it. I'm content with it being at the bottom of my top 20, because I acknowledge it is a very silly movie, but I kinda love it anyway.

I love anything Aubrey Plaza is in, honestly, and she delivers such a fun and unhinged performance here. She plays a woman who died and came back as a zombie, and her boyfriend Zach is trying to come to terms with this. Despite how morbid it sounds, it's a great horror comedy, and it's one I revisit a lot.

19. High Life

Sci-fi and horror go together beautifully, and High Life always reminds me just how much space terrifies me. The story focuses on a group of criminals who are serving death sentences, so they are sent on a mission to extract energy from a black hole. They are disposable and treated like experiments by a scientist, in typical creepy sci-fi fashion.

Robert Pattinson and Juliette Binoche are fantastic in this movie, as a criminal and a scientist respectively. It is a very tense and atmospheric horror, and ventures into body horror too.

Where to stream: Tubi (US, UK)

A24 horror movies ranked: 18 - 13

18. Bodies Bodies Bodies

Where to stream: Hulu (US), Prime Video (UK)

Bodies Bodies Bodies is a great and incredibly dark satire. It's paced really well, keeps you on the edge of your seat, and has a lot of important social commentary to say. The characters are insufferable, but that's the point.

The movie is about a group of wealthy young adults who gather at a remote mansion. But when they decide to play a murder-in-the-dark party game during a blackout, real bodies start turning up, and chaos ensues.

17. The Hole in the Ground

Where to stream: HBO Max (US), MGM+ (UK), Prime Video (Australia)

Why are sinkholes so scary? The Hole in the Ground does nothing to combat this fear, as we hone in on a mother who starts to become worried about her son's disturbing behavior.

There's a huge focus on parental anxiety here, and a strong performance by Seána Kerslake really elevates this movie. I love a good folklore-inspired movie, and The Hole in the Ground provides a tense and atmospheric watch.

16. Tusk

Where to stream: Prime Video (UK)

I like my horror bleak and bizarre, which is why I'm always happy to go to bat for the unfairly panned Tusk. Kevin Smith has certainly created something memorable here; whether that's a good or bad thing is up to you.

We follow Justin Long's Wallace Bryton, an obnoxious podcaster who travels to Canada to interview an eccentric retired sailor, played by Michael Parks. Little does he know, he has some disturbing plans for Wallace. Cue the body horror and plenty of uncomfortable scenes.

15. Heretic

Where to stream: HBO Max (US), Prime Video (Australia)

This Hugh Grant-led horror movie is very dialogue-heavy, but it is so well crafted, and his performance is excellent too. I would love to see Grant do more horror movies after watching this, because it's a nice change from his usual roles.

Heretic sees Grant's chilling character, Mr Reed, luring two missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), into his home. Whilst there, he begins to challenge their religious beliefs in increasingly sinister ways.

14. It Comes at Night

Where to stream: Stan (Australia only)

It Comes at Night is a great exploration of paranoia, fear, and morals, as we follow people who are hiding in a forest as the Earth is taken over by a highly contagious disease.

There's so much dread here, and two families are forced to share the same claustrophobic space, resulting in growing tension and nail-biting scenes. You're not quite sure where it's going to go next, and that's the beauty of it.

13. The Monster

Where to stream: The Roku Channel (US), Prime Video (UK, Australia)

Creature features can be notoriously hit and miss, but thankfully The Monster is the former. It blends excellent practical creature design with a devastating story about family, adding that all important human touch.

The Monster explores the relationship between a troubled mother and her adolescent daughter, who is tired of dealing with her and wants to go and live with her father permanently. But on their way to his house, they find themselves stranded at night on a country road with a malicious creature hunting them.

A24 horror movies ranked: 12 - 5

12. Bring Her Back

Where to stream: HBO Max (US)

Sally Hawkins gives a truly frightening performance in Bring Her Back, where she plays a disturbed foster mother. Watching her quickly flip from sweet to psychotic had me visibly tense, and this might just be my favorite ever performance of hers.

The movie is about two siblings who find themselves orphaned and placed in the middle of an occult ritual at the hands of their new foster mother, who will stop at nothing to get what she wants.

11. The Killing of a Sacred Deer

Where to stream: HBO Max (US), Mubi (UK), Stan (Australia)

I will watch anything Yorgos Lanthimos makes. At this point, I'm convinced he can do no wrong, and that's why The Killing of a Sacred Deer is so high on my list. It's certainly one of my favorite movies of his.

The movie follows a surgeon who takes an awkward teenage boy, Martin, under his wing. But things get worse for him and his family when they find out that Martin has a sinister agenda. It's as good as it sounds, and there's a stellar cast led by Colin Farrell, Nicole Kidman and Barry Keoghan.

10. Green Room

Where to stream: Xumo Play (US), Prime Video (Australia), MGM+ (UK)

Green Room leads my top 10 (it's getting very exciting now), with standout performances from Anton Yelchin and Imogen Poots, alongside Patrick Stewart's portrayal of a methodical neo-Nazi leader.

This is a very vicious horror movie as we watch a punk band who find themselves attacked by neo-Nazi skinheads after witnessing a murder. This is the kind of movie that sticks with you for a long time.

9. Midsommar

Where to stream: HBO Max (US), Prime Video (UK, Australia)

Despite being set mostly in the daytime, Midsommar is still terrifying. That's just one of the reasons I love it so much, but there's plenty to praise when it comes to this Ari Aster movie.

Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren and Will Poulter lead the cast as a group of friends traveling to a nine-day midsummer festival at a commune in rural Sweden. What follows is a deeply unsettling folk horror that tackles themes like grief and trauma.

8. In Fabric

Where to stream: The Roku Channel (US only)

In Fabric certainly is absurd, but its uniqueness is why it ranks so highly on my list. The villain of the movie is a haunted red dress, and we watch as it torments various owners. I told you it was unique.

The sound design here is excellent, as is the overall retro aesthetic. There's also some dark humor here, and it offers a lot for horror fans, including a razor-sharp critique of consumerism. Oh, and the legendary Gwendoline Christie stars in this too, making it one hell of a movie.

7. Hereditary

Where to stream: HBO Max (US), Prime Video (UK)

I own a t-shirt that says "nominate Toni Collette you cowards" on the front, and I continue to stand by that message. Her performance in Hereditary is mind-blowingly good, so it's hardly a surprise it's so far up on my list.

As the title suggests, family is at the center of this movie, which explores themes like grief, madness, and maternal despair. Collette's character Annie uncovers disturbing secrets about her recently deceased mother, and terrible things start happening.

6. X

Where to stream: Prime Video (Australia only)

X is a super stylish slasher movie which perfectly replicates iconic 70s movies like The Texas Chainsaw Massacre. It follows a group of people who rent a guesthouse on a rural Texas farm to shoot an independent pornographic movie.

But they soon find themselves threatened by the homicidal couple who own the guesthouse, fueled by repressed desire and jealousy over their lost youth. All the characters are really well fleshed out, and there are some gory set pieces too.

A24 horror movies ranked: 5 - 1

5. The Lighthouse

Where to stream: HBO Max (US), Binge (Australia only)

The Lighthouse is my second favorite Eggers movie. I quickly fell in love with the moody black-and-white cinematography and the excellent performances from both Willem Dafoe and Robert Pattinson. As someone who grew up on the coast, I love maritime-focused stories, which is likely why I was so drawn to this.

The story is about two men losing their sanity during a four-week shift at an isolated New England lighthouse, and it's simple but very effective.

4. The Witch

Where to stream: Netflix (US)

In at number four is my personal favorite Eggers movie, The Witch. Not only was it a stunning debut for both Eggers and leading star Anya Taylor-Joy, but it's also widely regarded as his best movie, though many of his works have performed well with the critics.

I loved The Witch's historical accuracy, and the fact that it's a slow burn with a very worthy payoff at the end. It's easy to become immersed in this world, haunted by creepy sound design and a lingering threat. It's fantastic.

3. Lamb

Where to stream: The Roku Channel (US), Mubi (UK)

Another folk horror I adore is Lamb. It's about a couple who adopt a mysterious human-sheep hybrid as their own. They name her Ada, and she essentially becomes a daughter to them.

This surreal concept is perfectly balanced against an isolated backdrop, with the two lead characters living in rural Iceland. Noomi Rapace delivers an emotional performance here, as a grieving mother finding solace in a new child.

2. Saint Maud

Where to stream: Prime Video (US), StudioCanal Presents (UK)

In my opinion, Morfydd Clark's role in Saint Maud is her best ever. She stars as a religious private carer who becomes fixated with saving the soul of her patient.

Saint Maud is a character-driven psychological horror, as we get a look into the minds of both Maud and her patient, a hedonistic dancer named Amanda (Jennifer Ehle). It builds to one of the most disturbing endings I've ever seen, and that's why I love it so much. It continues to be impactful no matter how much I watch it.

1. I Saw the TV Glow

Where to stream: Netflix (UK, Australia)

I Saw the TV Glow is undoubtedly my favorite A24 movie purely based on how much it emotionally destroyed me. It's a powerful story about identity and how our lives can be shaped through the media we consume.

Two isolated teenagers in the 90s bond over a TV show called The Pink Opaque, to which they both feel deeply connected. The movie features striking visuals and a neon palette, and references to popular teen show Buffy the Vampire Slayer. There's also some jarring scenes that earn its horror status. It's hard to fully articulate what I Saw the TV Glow means to me, but I consider it to be a very special movie.

Well, we can't win them all. Unfortunately my second edition of Scream or Skip is a disappointing one, because on the whole I was underwhelmed by what I watched and played this month.

But, worry not. The title that stood out to me most this month is widely accessible on Netflix, one of the best streaming services, and it's incredibly good indeed.

I would love to hear your thoughts on either of these titles, especially if you think I'm wrong about the two skips. After all, I would love it if they hit the mark for someone out there, even if they didn't do it for me.

Read on to find out more about what I watched and played in July.

Movie: Her Private Hell

Where to watch: In theaters worldwide
Lucy's verdict: Skip

Look, I'm really gutted about this one. It gives me no pleasure to say that Her Private Hell was a huge let down, and a rare flop for Nicolas Winding Refn. I loved The Neon Demon and Drive, but his latest feature was too abstract and stylish to the point it lacked any real substance.

It's such a shame, because lead star Sophie Thatcher is excellent in everything she does. Here, she plays a young woman trying to find her father as a mysterious mist engulfs a futuristic metropolis, and it's just not good at all. If you'd like to see Thatcher in a different horror, I definitely recommend Heretic instead.

TV show: The East Palace

Where to watch: Netflix (worldwide)
Lucy's verdict: Scream

If you watch one thing on Netflix this week, make it The East Palace. I quickly devoured this eight-part series and now I'm hungry for more, because it's a wonderfully crafted limited series.

The scary K-Drama centers around a man who walks the spirit world and a court lady who can hear the dead, as they enter the East Palace by the king's orders and attempt to unravel its dark secrets. It's got gorgeous cinematography, even more gorgeous period settings, and some great scares throughout. I'm a huge fan of this series and I really hope it finds a bigger fanbase, because it deserves every single one.

Game: The Mound - Omen of Cthulhu

Where to play: PS5, Xbox Series X|S, Xbox One, PC
Lucy's verdict: Skip

No disrespect to the cosmic entity or anything, but I'm tired of Cthulhu themed things. We've had a lot of them recently and usually I'm all for Lovecraftian things, but The Mound - Omen of Cthulhu is a poorly made game which seems to be riding the recent Cthulhu craze.

There's a lot to criticize here. The combat is stiff and janky and I didn't enjoy the solo mode because the AI companions were unreliable. It's clear this game is designed for multiplayer, and I did see moderate improvement when roping friends into playing it with me, but if you're a solo player it's a punishing experience. It also feels repetitive, so I'd discourage you from playing if you don't want to do the same things a million times over.

• Weapons' prequel movie about Aunt Gladys is officially in the works
• Director Zach Cregger spoke at San Diego Comic-Con where he confirmed that the script is in progress
• Weapons was a huge success, with Amy Madigan winning an Oscar for her performance as Aunt Gladys

Get excited Weapons fans, because Aunt Gladys' story will be explored in a new prequel movie that's being written now.

During Collider’s Directors on Directing panel at San Diego Comic-Con, director Zach Cregger gave a status update and confirmed that the Gladys-led prequel was in the works.

“First of all, I’m really excited about the Gladys movie, and I loved working with Amy,” Cregger said. “I loved that character. For the movie Weapons, it really made a lot of sense not to dive into her backstory because the device of Weapons was to keep her very mysterious.”

He added: “However, there’s an amazing story to be told about where Gladys comes from and how she became what we know her as. It’s got a lot of twists and turns and mysteries and crazy things, like Weapons does. I think it’s going to be great.

"The script is in progress now, but we’re taking that super seriously, and it’s moving in the right direction. So yeah, it’s being written, is the short answer.”

Considering I gave Weapons a five-star review, I'm very excited for the Gladys prequel movie. Cregger is on a roll at the moment, as we have also seen the full trailer for his new Resident Evil movie.

His take on the beloved horror video game franchise is an original one, and will follow a medical courier named Bryan as he "unwittingly finds himself in an action-packed, non-stop race for survival", per the official synopsis.

That's not all, either. Following on from the success of A24's Backrooms, it was announced that Cregger is working on a Siren Head adaptation, another Creepypasta that is well loved by horror fans.

• DC Studios has released the official trailer for body-horror movie Clayface
• It'll take shape in theaters worldwide on October 23
• Viewers have plenty of questions about the forthcoming DC Universe film

DC Studios has released a new trailer for its next movie Clayface — and, as someone who's not a fan of body horror, it made me squeamish in the best way possible.

The forthcoming DC Universe (DCU) film, which will take shape in theaters worldwide on October 23, will see the Batman villain star in his first-ever solo flick. And, while its latest round of footage answers some big questions that audiences had about the comic book movie, it leaves casual viewers with even more.

Indeed, the teaser might finally pull back the curtain on how the titular shapeshifting character is created and why he embarks on a Gotham City-based quest for revenge. Nevertheless, there are myriad questions that the DCU Chapter One film's latest trailer, which arrived three months after Clayface's first "super freaky" trailer, leaves unanswered.

For what it's worth, my guide on everything we know so far about Clayface provides clarity on some of the queries that are likely rattling around your head. If you don't have time to read through that extensive article right now, though, I've moulded a quick-fire Q&A below that'll shed light on your biggest burning questions. Bear in mind that potential spoilers immediately follow for Clayface, so proceed at your own risk.

Is Clayface in the same universe as The Batman?

Let's get one of the most notable questions out of the way first: no, Clayface is not set in The Batman Universe.

That franchise, which stars Robert Pattinson as the titular vigilante and is helmed by Matt Reeves, is a completely separate entity to James Gunn's DCU. It's the latter — which also comprises Superman, Supergirl, Creature Commandos, and Lanterns — that Clayface is a part of.

Will Batman be in Clayface?

Another popular query I've seen floating around the internet since Clayface's second trailer dropped. In short: no, Batman isn't expected to appear in this film.

"Why not?" you might ask. The short answer is Gunn and Safran haven't started the search for the DCU's Batman, let alone publicly announced which actor will play him.

Unless a stand-in — one likely silhouetted against the background, like the legendary Caped Crusader was in episode 6 of Creature Commandos on HBO Max — makes the briefest of cameos in Clayface, then, I'd temper your expectations over a possible appearance from the Dark Knight.

Is this the same Clayface who appeared in Creature Commandos?

Yes. Speaking to Entertainment Weekly, Safran confirmed that the Clayface who appears in this film is the same one who had a role to play in Creature Commandos season 1.

Prior to Safran's comments on the matter, there had been some confusion as to which Clayface we'd see in this movie. After all, there have been numerous iterations of the character in DC Comics. Of that contingent, Basil Karlo and Matt Hagen are the most famous — and it's the second of that pair who'll not only appear in Clayface, but who also showed up in Creature Commandos.

Where does Clayface sit on the DCU timeline?

Clayface is the fifth DCU Chapter One project that'll see the light of day. Timeline-wise, though, it'll be the first one that audiences should watch if they choose to watch the DCU films and TV shows in chronological order — Gunn confirming as much on Threads in April.

Who plays Clayface?

That'll be Tom Rhys Harries, a Welsh actor who some readers will recognize from Doctor Who episode 'Dot and Bubble'.

According to Gunn, he and fellow DC Studios co-head Peter Safran were "blown away" by Harries' audition for Clayface's lead role. Based on the footage we've seen this far, Harries seems like a great fit for the character, but we'll have to wait until the movie is actually released to be able to put Gunn's comments into their full context.

How did Clayface become Clayface? What's the plot of the DCU movie?

Where the latter question is concerned, here's the flick's updated story synopsis: "Matt Hagen’s meteoric rise from Gotham street kid to Hollywood leading man is tragically cut short when a local crime boss' actions leave him horribly disfigured.

"Abandoned by his team and with nothing left, Matt seeks out a cutting edge treatment that miraculously returns him to his former self… but, also unexpectedly affects his grip on reality, spiraling him down a destructive path of all-consuming revenge."

As for Harries' Matt Hagen becomes the tragic, metamorphosizing villain, Clayface's latest trailer and plot brief confirm that he'll be patient zero for an experimental serum that initially seems to heal him. However, it doesn't take long for this ground-breaking treatment's side effects to *ahem* take shape and turn him into a transmutating monster.

What are Clayface's powers?

As his villainous alias implies, Clayface's mud-like physiology gives him the ability to mould his body in any way he sees fit. That means he can grow and shrink in size, alter his density at will, and is impervious to traditional physical attacks, including punches, kicks, and all kinds of weapons.

Furthermore, the metahuman possesses superhuman strength, durability, and reflexes. Lastly, he has the ability to regenerate, although that's a process that takes a long time, especially if, say, he's torn apart by an explosion of some sort.

Who's written and directed Clayface?

Horror auteur Mike Flanagan is the main man behind Clayface's story. However, Hossein Amini (Obi-Wan Kenobi, 47 Ronin) also helped to pen its screenplay.

As for its filmmaker, James Watkins is the man behind the camera. His directing credits include Speak No Evil, The Woman in Black, and Black Mirror episode 'Shut Up and Dance'.

What is Clayface's movie rating?

Perhaps unsurprisingly, Clayface will carry a hard R-rating in the US. That's the equivalent of an 18 age rating in the UK and an Restricted (R18+) rating in Australia.

The DCU's other films in Superman and Supergirl were suitable for kids accompanied by an adult, but this one certainly won't be. Expect plenty more gross body horror moments, hyperviolent action, and other mature content to be woven through its sub-two hour runtime.

For more DCU coverage, find out everything we know so far about Lanterns and get the full lowdown on Superman film sequel Man of Tomorrow.

The 2026 edition of San Diego Comic-Con (SDCC) is almost upon us, and you know what that means: all manner of rumors and speculation about the surprises Marvel might have in store for us at its now-customary Hall H panel.

To a certain extent, the biggest reveal has already happened. Marvel Cinematic Universe (MCU) diehards had expected the first official trailer for Avengers: Doomsday to be the focal point of the comic book titan's next presentation. With Avengers: Doomsday's main trailer released on Monday (July 20), though, Marvel must have something just as significant around which to center its forthcoming panel on July 25 at 5:30pm PT.

As attentions turn towards the Disney subsidiary's hour-long address at SDCC 2026, chief among fans' immediate thoughts is: what big reveal could Marvel make that a) would rival Avengers: Doomsday's first proper trailer as a major talking point, and b) is so noteworthy that Marvel felt confident enough to unveil Doomsday's trailer earlier than expected?

One project that fits the bill is Marvel's new X-Men movie. The only post-Multiverse Saga film in active development, myriad rumors are circulating online about who could star in the mutant-led flick. You can learn more about which actors Marvel is reportedly talking to via my Marvel's X-Men movie guide.

For what it's worth, industry insiders, albeit ones with sketchy track records, have claimed there'll be no such cast reveals at SDCC 2026. My reading of the situation is that'll be the case, too, especially as Marvel will want to focus to stay on the rest of its 2026 line-up — I'll discuss this in more detail shortly — and the projects it'll release in 2027, such as Daredevil: Born Again season 3 and Avengers: Secret Wars. We're not expecting the new X-Men movie to arrive until the following year.

That said, I'd be surprised if Marvel doesn't say something about the MCU's first X-Men film. Speculation abounds that the comic titan might tentatively discuss other Marvel Phase 7 movies, such as Thunderbolts 2, The Fantastic Four: First Steps sequel, Black Panther 3, Nova, and Midnight Sons — the last of which might repurpose Marvel's long-gestating plans to introduce Mahershala Ali's Blade to the MCU. It would be bizarre, then, if that quintet is covered, but not the first film of what'll be version 2.0 of the MCU.

But, onto more pressing matters — namely, the rest of Marvel's 2026 movie and TV slate.

On the film side of things, Spider-Man: Brand New Day, which swings into theaters between July 29 and 31 (depending on where you live), is expected to have a big presence at SDCC 2026. I'm willing to bet that attendees will be treated to some exclusive first-look footage, but any spoiler-based content, such as the identity of Sadie Sink's much-discussed mystery character in Spider-Man 4, won't be part of proceedings. Could we also get an early Spider-Man 5 announcement? As a huge Spidey fan, I'd be overjoyed if we did.

As for Avengers: Doomsday, I believe Marvel will show off some new clips from one of this year's most anticipated new movies, with the most likely candidates being extended looks at shots from its first main trailer. Where its sequel in Secret Wars is concerned, I think we'll get a name-drop and the briefest, spoiler-free hints about its story, but that's all.

Pre-SDCC 2026 chatter about Marvel's forthcoming Disney+ shows is much harder to read. After all, the studio has regularly reserved its biggest TV announcements for D23 Expo (Disney's flagship fan event, which takes place annually in Anaheim, California), so it stands to reason that there won't be a change in strategy this year.

Nevertheless, I predict we'll get some details about its final two TV series of the year — VisionQuest and Your Friendly Neighborhood Spider-Man (YFNSM) season 2 — at SDCC.

With VisionQuest, I foresee confirmation of its main cast and a behind-closed-doors look at the Paul Bettany-led live-action program. Whether that'll be a full first trailer or a more general sneak peek remains to be seen, but I wouldn't be surprised if, as long as it's the former, VisionQuest's first trailer isn't publicly released following its possible unveiling at SDCC.

The same is true of YFNSM season 2. I'm of the opinion that Marvel's animated Spider-Man show will be highlighted in greater detail at D23 Expo 2026. That said, I'm fairly confident that Marvel will also deliver some news about it. Is it too much to ask for an official launch date? Not in my book.

Meanwhile, Marvel has already confirmed that it's full steam ahead on season 3 of its critically-acclaimed animated series X-Men 97. Will we hear more about it shortly? Not in my view. We've still got three more episodes of X-Men 97 season 2 to enjoy before it goes off the air, so any conversations about its follow-up season — especially those of a spoiler-based persuasion — will have to wait until D23 Expo 2026 or this year's New York Comic-Con.

Finally, will we hear anything substantial about Wonder Man season 2? That's similarly unlikely. Co-creator Destin Daniel Cretton has been incredibly busy with directing Spider-Man: Brand New Day. Although Cretton recently said that the cameras could roll on Wonder Man's next chapter as early as next year, this year's D23 Expo feels like a better fit for any major announcements for this series, as well as Marvel Zombies season 2, the company's first R-rated animated program.

What Marvel movies and TV shows do you think we'll see and hear more about at SDCC 2026? And which one(s) are you most looking forward to? Let me know in the comment section below and the above poll you probably scrolled past.

Once you're done, find out everything we know about Avengers: Doomsday, get the first details about Avengers: Secret Wars, learn all there is to know about VisionQuest, and what's what with Daredevil: Born Again season 3.

• Avengers: Doomsday will be released in cinemas worldwide on December 18
• Tom Hiddleston's Loki is part of the movie's huge ensemble
• The popular actor has revealed if fans need to watch Loki on Disney+ before Doomsday comes out

Tom Hiddleston has revealed if you need to watch Loki on Disney+ to understand his character's role in Avengers: Doomsday.

Speaking exclusively to TechRadar, the fan-favorite actor, who has played Loki in the Marvel Cinematic Universe (MCU) since 2010, said he "will always say that people need to watch" his character's standalone series. However, Hiddleston wouldn't be drawn specifically on whether it was essential to stream the show prior to Doomsday's release on December 18.

Marvel fans who've seen the Hiddleston-fronted program will already know how its second and final season ends. On the off-chance that you haven't watched it yet, I'll refrain from spelling out exactly what happened in this article. For those who need their memory jogged, my spoiler-filled Loki season 2 ending explained piece holds the answers you seek.

One thing that every MCU fanatic will know by now, though, is that Loki will return in Avengers: Doomsday. Indeed, not only was Hiddleston part of the initial 27-strong Doomsday cast announcement in March 2025, but he also made the briefest of appearances in Avengers: Doomsday's first official trailer, which surprisingly made its public debut yesterday (July 20).

Naturally, fans have myriad questions after the release of said trailer, including a couple concerning Loki. How big of a role will he play in the Marvel Phase 6 movie? Will he be reunited with Thor? And, perhaps most important of all, does Loki's Disney+ show have any bearing on the story that Doomsday will tell?

As part of a wider chat I had with Hiddleston for his new National Geographic docudrama Pompeii: Out of Time, which airs on Disney+ and Hulu on July 23, I put those exact questions to him. Predictably, Hiddleston, who has plenty of experience dodging spoiler-based Marvel questions, wasn't forthcoming with definitive answers.

Nonetheless, he did appear to drop a tiny hint that anyone who wants to comprehend Loki's role in Avengers 5 should seek out the character's solo show on Disney+, aka one of the world's best streaming services.

"I always say that people need to watch Loki," he told me with a wry smile. "I'm really proud of that show — I poured my whole soul into it and I love playing Loki. It's been 16 years now and, you know, I got to the end of Avengers: Infinity War, and that seemed to be the end of the Odinson saga.

"But, then Loki, as a series, was about placing Loki in the new context [by] taking him out of time and his reality," Hiddleston continued. "He's confronted with his compulsive, self-destructive, repetitive patterns of behavior, and gives him this capacity to be an agent of his own destiny. It was such an enjoyable experience because the whole show is about identity, purpose, and belonging, and also about time and how we perceive it and how best to use it.

"So, yeah, I would always say, if you haven't watched it, go and do so," he added. "And, if you haven't watched it before Doomsday, go and watch it again."

For more on one of 2026's most anticipated new movies, find out everything we know so far about Avengers: Doomsday.

• Other Mommy has a first-look trailer which gives us a glimpse at Jessica Chastain's return to horror
• The movie will arrive in theaters on October 9, 2026
• Rob Savage, the director of Zoom horror sensation Host, is behind the terrifying new movie

2026 has been a bumper year for horror, and it's about to get even bigger when one of my anticipated new movies Other Mommy arrives in theaters on October 9.

Other Mommy follows Bela, a young girl, who gets mixed up with a mysterious force in her house that resembles her mother. Here, Jessica Chastain takes on a dual role as Bela’s mother and as “Other Mommy,” the supernatural entity that's haunting the place.

I'm already excited for this movie because it's got a stellar team behind it. Chastain stars alongside Severance's Dichen Lachman and it's directed by Rob Savage, who you may know for directing the Zoom horror movie Host.

If you're not convinced yet, check out the first look trailer for Other Mommy below.

I'm very excited for Other Mommy because recent box office figures have shown that audiences love fresh horror which spins a unique tale of terror, instead of more reboots or remakes. Whilst Other Mommy is based on a novel, this is the first time it's come to the big screen.

In the cover image for Other Mommy's trailer we can see recent horror hits Obsession and Backrooms referenced. It's clear just how influential they have been in championing this new wave of horror stories.

This is also a huge return to the genre for actor Jessica Chastain, after she appeared in IT: Chapter Two in 2019. It's great to see her back taking on a creepy new role, requiring her to play two versions of the same character.

Other Mommy has the potential to be a great horror and I really hope it delivers. We have a long wait for it to arrive in theaters but don't worry, I've got a list of 7 new horror movies to stream in July to keep you entertained until then.

• Sleepy Hollow is getting a reboot at Sony, according to reports from Deadline
• Euphoria star Sydney Sweeney is believed to be leading the cast
• Lindsey Anderson Beer will direct the new movie, which has been dubbed as "an erotic retelling of the Sleepy Hollow story"

A Sleepy Hollow reboot wasn't something I was expecting, but it's happening at Sony according to reports from Deadline.

At the moment, the new movie has just been announced but we do know that it will be an "erotic retelling" of Sleepy Hollow, directed by Pet Semetary: Bloodlines director Lindsey Anderson Beer.

In addition to this, Euphoria star Sydney Sweeney will reportedly be leading the cast of the new Sleepy Hollow movie, but further stars have not been announced.

Anderson Beer's new story follows Katrina Van Tassel, who was played by Christina Ricci in the 90s movie. Instead of being the love interest for the protagonist, his time, Tassel will be the hero in a mystery that will feature a "seductive supernatural love triangle."

The story is also said to blend "gothic atmosphere, psychological intrigue, and erotic thriller elements into a contemporary, high-concept reinvention of the classic tale."

Sleepy Hollow is not the first horror movie Sydney Sweeney has starred in, as she had the leading role in the religious horror movie Immaculate in 2024. So it will be interesting to see how she leads an adaptation of an iconic story.

Of course, it isn't a straight adaptation of the Sleepy Hollow novel by Washington Irving. Anderson Beer is publishing a companion novel to go alongside her Sleepy Hollow movie, which is expected to be released in fall 2026.

The horror genre has been booming recently with plenty of hits coming in, like Backrooms and Obsession. This has caused studios to start looking at other ways to expand the horror universe, such as upcoming Creepypasta adaptations like Siren Head.

• Avengers: Doomsday pre-sale tickets will go live later today (July 20)
• Fans think the new Marvel movie's first trailer could be released, too
• It would be an unusual move for Marvel to make, for one major reason

Update 2: well, I was completely wrong! The film's first official trailer has been released, so join me on our Avengers: Doomsday trailer breakdown live blog as I, well, break it down in real time.

Update: Okay, something might happen on the official trailer front.

Indeed, the Avengers: Doomsday Clock video on Marvel's YouTube channel, which has been counting down towards the movie's release date for months now, has been updated. The minutes and seconds part of the timer are now shown in green, and music now accompanies the ticking of said clock.

Does this mean Doomsday's first proper trailer will be with us at 6am PT / 9am ET / 2pm BST? I'm still sceptical and think it's simply counting down to the pre-sales ticket window finally opening — but we'll find out for sure in less than 30 minutes.

Original story follows.

Avengers: Doomsday tickets are finally set to go on sale later today (July 20) — and Marvel fans think the movie's first trailer could drop at the same time, too.

As revealed by The Hollywood Reporter earlier this month, cinephiles and comic-book fans alike will be able to pre-book their seat for one of 2026's hottest new movies very soon. And, with some theater chains, such as US-based company Regal, already telling fans where they'll be able to watch Doomsday in come December 18, fans will be able to buy advanced tickets before the day is over.

That's not the only Marvel-related thing that might happen today, though, because some people believe the pre-sales launch will coincide with the debut of Doomsday's official trailer.

In screenshots posted to Reddit pages including r/MarvelStudios, r/MarvelStudiosSpoilers, and r/LeaksandRumors, the app for popular US movie ticket company Fandango appeared to indicate that a new trailer would accompany the film's pre-sales launch.

Less than an hour later, users in a separate r/LeaksandRumors thread noted that the trailer banner had been scrubbed from the Fandango app. Some are seeing this as confirmation that we'll soon get a fresh look at the Marvel Phase 6 film — but I'm not entirely convinced that'll be the case.

Why Marvel shouldn't — and should — hold off on releasing a new trailer for Avengers: Doomsday

If Marvel unveils Avengers: Doomsday's fifth trailer — remember, four bite-sized teasers were released between December 2025 and January 2026 — today, it wouldn't be a complete shock.

Indeed, releasing a new trailer, which would likely end by telling people that they can pre-book tickets now, would further ramp up interest in the Marvel Cinematic Universe (MCU) movie, and generate even more ticket sales. Releasing more new footage before Marvel holds its latest Hall H panel at San Diego Comic-Con (SDCC) 2026, which will take place on Saturday, July 25, would also give it more time to highlight some of its other forthcoming film and Disney+ projects during said presentation, because Doomsday wouldn't dominate proceedings.

With SDCC 2026 just days away, though, I'm baffled by the suggestion that Marvel would release Doomsday's first trailer earlier than expected. The aforementioned flick is the comic titan's most anticipated movie in years, and, considering that past editions of SDCC have been where Marvel has made the biggest announcements and reveals about myriad films, I can't foresee a one-off change to that tried and tested — not to mention highly successful — strategy.

I guess we'll find out one way or the other in the hours ahead. For now, find out everything we know so far about Avengers: Doomsday. Once you're done, check out the first official artwork for Avengers: Doomsday, and prepare for your pre-Doomsday release MCU marathon by reading up on how to watch the Marvel movies in order.

To celebrate Evil Dead Burn coming out in theaters this month, I've put together the ultimate quiz to test fans of the popular horror franchise.

Ever since The Evil Dead was released in 1981, the series has been a favorite among genre fans and is widely recognizable, but have you been paying attention to it? I bet you won't be able to get a perfect score on my quiz, so now's your chance to prove me wrong!

Don't worry if you haven't seen Evil Dead Burn yet, because this quiz only covers the previous movies, meaning you won't find any spoilers for the new movie lurking in here.

But there's plenty of trivia about the rest of the franchise, from the original release to the 2013 remake. These horror movies are among the most fascinating, from the scripts all the way to what happened on set.

Feeling brave? Scroll down to try out the quiz now, and see if you can survive to the very end.

How did you do? Let me know your score in the comments below, and if you're hungry for more horror trivia, why not check out my Resident Evil movie quiz ahead of Zach Cregger's adaptation, which arrives later this year.

Or we've got an ultimate Walking Dead quiz for fans of the hit zombie series. If you think you're a superfan, join other quizzers and prove your knowledge.

For more horror streaming recommendations, I've got you covered too. Take a look at the best horror movies streaming on Netflix, Prime Video, Shudder, and more in July 2026 to find something good to watch.

2026 is a big year for Tom Holland. The popular actor has already appeared in one of this year's most anticipated new movies in Christopher Nolan's The Odyssey, and he'll soon be wearing his iconic superhero spandex once more when Spider-Man: Brand New Day releases later this month.

Starring in two of 2026's biggest films would be worth cheering about in itself. However, this year also sees Holland celebrate the 10th anniversary of his debut in the Marvel Cinematic Universe (MCU), which happened in 2016's Captain America: Civil War. Hey, I wasn't lying when I said 2026 was a big year for the A-lister.

With six MCU apperances already under his belt, Holland is now a certifiable stalwart of Marvel's cinematic juggernaut — so much so, in fact, that I believe some of you consider yourselves to be the biggest Tom Holland Spider-Man superfan.

Well, now is the time to put your superhero skills to the test. Below, I've rounded up 35 questions — some are way tougher than others — about Holland's wallcrawling career so far, including a query or five about Spider-Man 4.

So, what are you waiting for? Load up your web shooters and swing on over to the forthcoming quiz, and see if you have what it takes to be crowned the ultimate Holland Spider-Fan. Good luck!

For more on the forthcoming Marvel Phase 6 film, find out everything we know so far about Spider-Man: Brand New Day. Keep your eyes fixed on TechRadar later in July, too, for even more coverage of the hotly-anticipated movie.

Spider-Man: Brand New Day thwips its way into theaters on July 29 (UK) and July 31 (everywhere else).

The mutants are coming. Indeed, with Marvel hard at work on developing another X-Men movie — one that will officially introduce a new version of the superteam to the Marvel Cinematic Universe (MCU) — it won't be long before they return to the big screen. Well, providing you don't consider its potential 2028 launch to be a lengthy wait...

But I digress. With San Diego Comic-Con (SDCC) 2026 almost upon us, and speculation that some sort of X-Men announcement will be made at the fan expo, interest over the next live-action X-Men film couldn't be higher. Read on to discover everything we know so far about the movie that's likely to usher in version 2.0 of the MCU.

X-Men movie release date: what we know

Marvel is yet to confirm a release date for its X-Men movie. It's still in the early stages of development, after all, so unless a surprise announcement comes at SDCC 2026, it will be some time before we know more.

That said, this film is high on Marvel's list of priorities. Speaking in late 2024, company president Kevin Feige said that MCU's future will be all about the X-Men after the Multiverse Saga comes to an end with next year's Avengers: Secret Wars.

More recently, Feige hinted (see the X/Twitter post above) that the new X-Men movie will be the first film to arrive after the sixth Avengers installment. With that movie due out in December 2027, we shouldn't expect MCU's first mutant-led project until some time in 2028.

Marvel's X-Men movie trailer: is there one?

Unsurprisingly, no. In fact, assuming Marvel returns to Hall H panel at SDCC 2028, I'd be amazed if we get any official footage before then.

Once a teaser is released, I'll update this section – but you'll be waiting a long time for one!

Marvel's X-Men cast rumors

Possible spoilers follow for Marvel's X-Men movie.

Predictably, nobody has been confirmed to appear in Marvel's X-Men movie yet. However, plenty of rumors have surfaced – and continue to circulate – about who's involved, so let's take a look at some of the biggest ones.

For starters, one report that did the rounds in July 2025 suggested that Marvel was eyeing rising stars over established names for its X-Men reboot. The reason? The Disney subsidiary wants to make movies for less — and that means it isn't looking to pay over the odds for A-listers.

And yet, the vast majority of actors who have been linked with roles in Marvel's mutant-led flick are what I'd consider to be household names.

One such star is Stranger Things alumnus Sadie Sink. After being cast as a mystery character in Spider-Man: Brand New Day, the long-running rumor is that Sink will play Jean Grey. If that's true — and there's now plenty of evidence to suggest it is — we'll almost certainly see her in this film.

Who else could pop up? Last May, the rumour mill was buzzing with reports about other potential X-Men cast members, including speculation that Bryan Cranston would play Charles Xavier/Professor X, Cynthia Erivo would portray Ororo Munroe/Storm, and recent retiree Daniel Day-Lewis had held talks to take on the role of Erik Lehnsherr/Magneto.

However, other actors have since been linked with two of those roles. In mid-July, Adam Driver was said to have been cast as Magneto, while Patrick Wilson is supposedly in the frame as Professor X (per knightedgemedia). For what it's worth, reliable industry insider Apocalyptic Horseman said that the latter might not be true.

Elsewhere, Obsession star Inde Navarrette revealed that she'd recently met with new X-Men director Jake Schreier — prompting fans to cast her in a variety of mutant roles. Meanwhile, after unreliable leaker Jeff Sneider claimed that Avatar star Trinity Jo-Li Bliss had been tapped to play Jubilee, Bliss herself denied the report (via The Direct).

Lastly, Lee Sung Jin, one of this film's co-writers, told Collider that he's a huge fan of Remy LeBeau/Gambit. Don't be surprised, then, if we see a new iteration of the Ragin' Cajun as part of this movie's ensemble.

Marvel's X-Men movie plot rumors

You already know what I'm going to say here, don't you? Surprise, surprise, Marvel's X-Men reboot doesn't have a story synopsis yet.

Thanks to Schreier and Jin, though, we've been given a glimpse into their creative process for the film, including the key inspiration behind the story they want to tell.

Schreier (via Collider) and Jin (via Men's Health) admitted that the literature penned by legendary scribe Chris Claremont, who's best known for working on the Uncanny X-Men comic book series for 16 years between 1975 and 1991, will be a major influence on their X-Men reboot. Jin also revealed (via The Watch podcast) that beloved Saturday morning cartoon X-Men: The Animated Series is also informing the narrative structure by way of its character-first and soap opera-esque elements.

Chatting to Deadline, Jin also explained that Feige wants him, co-writer Joanna Calo, and Schreier to " take a big swing and start anew, [and] not be beholden to any of the movies that have come before".

Expect an entirely new take — in a live-action sense, anyway — of the iconic Stan Lee and Jack Kirby-created supergroup when their next movie lands in theaters.

Where can I watch the X-Men movies?

You can watch every live-action X-Men movie on Disney+, aka one of the world's best streaming services. Disney's primary streamer has been home to these flicks since the House of Mouse bought 20th Century Fox in March 2019. You can even find out how to watch the X-Men movies in order with our help while you're here.

Additionally, X-Men: The Animated Series and its sequel show X-Men 97 are also available to watch on Disney+. Not a subscriber? Find out if a Disney+ free trial is available or the price of Disney+ in your area if you want to sign up.

What does the future hold for the X-Men in the MCU?

In short: we have no idea. Marvel still has to get this movie off the ground, and as Schreier explained during an interview with Collider, it needs to be a major success if the franchise is to continue into Marvel Phase 7 and beyond.

If it succeeds, the X-Men could become one of the cornerstones of the MCU's next era. But if it doesn't? Frankly, that's a scenario that doesn't bear thinking about. The X-Men are one of the most popular superhero teams of all time, so if they can't help support Marvel's cinematic juggernaut in a post-Multiverse Saga world, who can?

While we wait for some much-needed news on Marvel's X-Men movie, find out what we know about Spider-Man: Brand New Day. Then, get the full lowdown on Avengers: Doomsday and learn everything we know so far about Avengers: Secret Wars.

It's no secret that the new Christopher Nolan movie, The Odyssey,is the first full-length movie to be filmed solely with 1570 IMAX cameras, but it might be less known that fewer than 40 movie theaters worldwide can actually play the original film when it releases on July 17.

Most standard cinemas will show only a fraction of the shots Nolan actually filmed, due to common screen and projector ratios. If you're not following, check out the TikTok below for a full visual explanation:

With only 26 theaters in the US and just three in the UK able to do so, demand is incredibly high. If I wanted to see The Odyssey at the BFI IMAX, for example, I'd currently have to wait until late August — at the earliest — for a 70mm screening that isn't sold out.

Thanks to Variety, we've already heard from IMAX CEO Richard Gelfond about whether the spike in demand will prompt the opening of new IMAX theaters.

"There's certainly more demand; the problem is they haven't made new IMAX film projectors in about 50 years," he explained. "So we retrofit them, rebuild them, and part of our strategy is to see how far we can take it. But certainly, demand-driven, I'd like to see more."

But as an IMAX projector has been spotted being wheeled into the TCL Chinese Theatre in Los Angeles, a new wave of confusion has sparked over doubts about Gelfond's claims being true. Some fans are even going a step further, claiming that Nolan's decision to shoot in a format that few people can access is "anti-art."

'Something has to be done about this'

Let's start by debunking the above video. If we're to believe Gelfond at face value (and there's no reason why we shouldn't), the subtitle of "new" seen in this video is actually misleading.

It's more likely that the projector is new to the theater rather than the world, having been built a long time before The Odyssey was even an idea (for Nolan, anyway).

But it's this lack of availability and resources that's causing the wider problem. This video of The Odyssey film being loaded into an IMAX 70mm projector goes some of the way to explaining why the format isn't more accessible.

The 172 minute runtime takes 2.1 million feet of film, weighing around 846 lbs (that's 60 stone for my fellow Brits).

There's no doubting that The Odyssey will be a magnificent epic regardless of what format you watch it in, but the IMAX 70mm screening divide is already causing derision amongst fans.

"Filming in a format that only ~40 cinemas across the world can fully display is anti-art," one fan wrote on X/Twitter, with a second agreeing, "Actually it’s anti art that only 40 theaters can show it."

A third weighed in, "I know it's low on the list of our priorities as a society right now, but something has to be done about this."

"That is beyond disgusting. it's already hard enough for a lot of people to access cinemas, why make it an even more elitist experience?" a fourth responded.

Will this demand and outrage actually lead to a resurgence in 70mm projectors and more investment in physical, IMAX cinema? The cynic in me says that I doubt it.

With cinema as an industry in such a decline, it still feels like there's too much risk vs. reward to throw money behind an analog film revival like this. However, if Nolan's decision becomes a watershed moment adopted by other heavy hitters in the industry, we could be having a completely different conversation.

• The Batman Part II has been delayed until February 2028
• Its director has shared new footage of Robert Pattinson as the Caped Crusader
• James Gunn's DC Universe could be severely impacted by this development

It's going to be another 18 months before we finally get to see The Batman Part II.

The long in development comic book movie, whose release date had already been pushed back twice, is now not set to land in theaters until February 18, 2028. Anyone who had hoped to see The Batman Part II on its previously revised release date on October 1, 2027, then, is going to be seriously disappointed.

News of The Batman sequel's latest launch date came by way of a new video that director Matt Reeves shared on his social media channels. The footage, which gives us our first look at the returning Robert Pattinson as the titular vigilante in Reeves' next Batman film, ends with the revelation of the adjusted release date.

By the time this DC comic book project lands on the big screen, then, almost six years will have passed since its predecessor made its own theatrical debut. That's a long time to make fans wait for the hotly-anticipated follow-up.

Why The Batman Part II's delayed release is bad news for James Gunn's DC Universe

It would be remiss of me not to say that movie delays happen all of the time, so word of The Batman Part II's latest launch setback is, especially for a film that's taken a long time to get off the ground for myriad reasons, to be expected.

Nevertheless, it's going to have a huge impact on James Gunn and Peter Safran's nascent DC Universe (DCU), which is already reeling from its first major dud in Supergirl.

Indeed, Gunn has said time and again that the DCU's Batman — and, by proxy, his DCU Chapter One solo film in The Brave and the Bold — won't see the light of day until The Batman Part II has premiered.

The reason? While Gunn says audiences are intelligent enough to understand that Reeves' Bat-Verse and the DCU are separate entities, he doesn't want two Batmans running amok in cinemas at the same time. Now that The Batman 2 won't come out until early 2028, though, we aren't likely to see the DCU's Dark Knight until 2029 at the very earliest.

That doesn't mean Gunn, Safran, and company won't be working on The Brave and The Bold in the meantime. What it does mean, though, is that the wait for one of DC Comics' so-called Holy Trinity will not only drag on for ever longer, but DC Studios' co-heads will have to continue fielding questions about the timeline for the Caped Crusader's unveiling in their cinematic franchise. In that regard, can't say I envy them.

Anyway, feel free to find out everything we know so far about The Batman Part II while you're here. Alternatively, vote in the poll above to let me know what you think of the movie's latest delay.

As Christopher Nolan's The Odyssey arrives in theaters worldwide on July 17, the demand for screenings in IMAX 70mm has never been higher.

According to Variety, demand is so high that "fans are taking cross-country trips, buying tickets in bulk and more to see the film, with one fan even delaying her pregnancy."

The new movie is the first feature film ever shot entirely on 1570 IMAX cameras, and you only have to look at the TikTok below to see how much of each shot standard cinemagoers will be missing out on.

Globally, there are only 30-40 theaters that can play Nolan's original 70mm film, with around 26 in the US and just three in the UK.

We know what cultural and economic impact The Odyssey is set to have in the industry this summer, with estimates predicting that the movie will gross $200 million at the international box office in its opening weekend alone.

So does this mean that we could see an increase in new IMAX theaters being built? IMAX CEO Richard Gelfond confirms that it's a definite company goal... but the reality isn't quite so straightforward.

'We haven't made new IMAX projectors in about 50 years'

"There's certainly more demand; the problem is they haven't made new IMAX film projectors in about 50 years," Gelfond told Variety.

"So we retrofit them, rebuild them, and part of our strategy is to see how far we can take it. But certainly, demand-driven, I'd like to see more."

Obviously, this would be a huge investment for the company. Commercial IMAX projectors range from $300,000 to over $1.2 million USD, depending on whether it is digital, laser, or traditional 70mm film. The latter is going to be at the top end of this range, given its complexity.

Then there's the risk involved with investing. Just because The Odyssey has such high demand doesn't mean that other movies that opt to film in the same format in the future will have the same retention level.

Cinemas are struggling enough as it is, which isn't helped by the fact that streaming services like Netflix are frequently pushing back on giving original movies a theatrical release.

“There is a group of filmmakers who still want theatrical,” Dan Lin, chairman of Netflix Film, told The Hollywood Reporter. “Those are filmmakers that we’ve accepted; we just won’t work with.”

In short, it's a leap of faith back to a new cinema, despite how much fans are desperate for them. However, if any film can set a new precedent — and bring back the forgotten ways of making projectors — it's The Odyssey.

I'm quietly keeping my fingers crossed that such passionate interest in returning to cinema in its biggest and best form will mark a turning point. Perhaps just because I can't get tickets for Nolan's latest at the BFI IMAX... but while I'm jealous, the fact that screenings are sold out until mid-August is nothing short of astonishing.

• Real Housewives of London season 2 will stream on Hayu from September 7
• Core cast Juliet Angus, Amanda Cronin, Karen Loderick-Peace, Juliet Mayhew, Panthea Parker and Nessie Welschinger are returning
• New episodes promise ' shifting alliances, mounting tensions and unmissable moments'

Look lively, reality TV fans: Real Housewives of London season 2 is set to return to Hayu on September 7.

According to NBCUniversal, housewives Juliet Angus, Amanda Cronin, Karen Loderick-Peace, Juliet Mayhew, Panthea Parker and Nessie Welschinger are all returning, and "old friendships are tested, new loyalties are questioned and even the most glamorous postcode cannot contain the drama."

The synopsis continues, "Picking up in the aftermath of a fracturing off-camera dinner, the women attempt to move forward through charity galas, Fashion Week front rows, Lunar New Year celebrations and a jaw-dropping trip to Antigua."

Following the September 7 premiere, remaining episodes are set to drop weekly. With 10 episodes in total, the season will culminate with a reunion special hosted by author and podcaster Katherine Ryan.

It's this final detail that I have the biggest problem with... and I'm desperately hoping that the hit series doesn't repeat the same mistake that so many of the international versions have year-on-year.

Opinion: Real Housewives needs to change its reunion show format ASAP

I would apologize for being a hater, but really it stands me in good stead to be a Housewife myself. After streaming multiple episodes of catty VTs, explosive showdowns and domestic setups that truly boggle the mind, I often feel my shoulders sink when the reunion show rolls around.

Essentially, a host will sit the entire cast down in a live studio format to recap the drama of episodes past, getting their individual takes on what happened and if anything has changed since filming.

If you loathe overly edited and contrived TV scenes like I do, this is an absolute nightmare. It's part and parcel of the Real Housewives IP that drama is both heightened and engineered, but reunion shows channel this in the most inorganic way possible.

At least if someone is having a fight at a restaurant on a kitchen island, they're genuinely in the moment — they're not having to perform their emotions too much because they're feeling them in real time. But raking back over the past is merely a way to create a viral moment rather than engaging television.

Instead, I'd prefer it if the reunions were scrapped altogether to allow the next season (which hasn't been greenlit in this instance) to come sooner rather than later.

Real Housewives of London season 3 isn't going to be a bad decision for anyone, so what are we waiting for?

• Marvel is reportedly making a Nova movie with the aid of Loki's showrunner
• The cosmic hero was originally going to star in a Disney+ TV show
• If true, the film will need to address three big questions about the MCU

Marvel is turning its attentions to the stars again as it begins work on a movie starring fan-favorite character Nova.

Per Deadline, the comic-book titan has pivoted away from telling a story about the cosmic hero on Disney+ to give him the full big-screen treatment. Furthermore, Michael Waldron, who was Loki's showrunner and rewrote parts of the Doctor Strange and the Multiverse of Madness script, is leading development on the untitled Nova project.

According to Deadline's sources, the Marvel Cinematic Universe (MCU) flick is still in the early planning stages. Nonetheless, I've already got four big questions that Marvel and Waldron need to shed light on regarding their next sci-fi project…

1. Who will play Nova?

Chief among the answers I seek is which actor will portray the eponymous character.

With Waldron also the creator-in-chief on acclaimed sports comedy Chad Powers, a Hulu TV Original that starred Glen Powell, it's little surprise to see that the aforementioned actor has been linked with the titular role. Add in the fact that Marvel has prioritized casting A-listers in its movie and TV productions recently, and the charismatic Powell would fit the bill as a big name who could draw a crowd, too.

That said, Powell is far from the only star that Waldron has worked with before. Additionally, Marvel President Kevin Feige has occasionally stated his belief that the comic giant needs to reduce the costs of its films and TV series, which includes the salaries of those who appear in said screen projects. Powell's hiring, then, is certainly not a foregone conclusion.

2. Which version of the superhero will we see — Richard Rider, Sam Alexander, or Frankie Raye?

Like the Green Lantern Corps that exist in DC Comics, there are hundreds of individuals who have held the rank of 'Nova' in Marvel Comics.

There are three particular human characters who are part of the insterstellar cop agency known as the Nova Corps, though — those being the aforementioned Rider, Alexander, and Raye.

Of that trio, Rider is the most famous, so it would make sense if Marvel decided to center Nova around this well-known individual. However, should Marvel want to go down the route of introducing a younger Nova to audiences, Alexander would be the way to go. Furthermore, if Marvel isn't worried about the fan backlash that could come from casting a female lead in this film and/or taking creative liberties with Raye's comic-book origins, it could turn heads by selecting the least likely member of this group to star in it.

For what it's worth, I think Marvel will play it safe and go for Rider — but that's just my view. Vote in the poll below to let me know which character you'd like to see!

3. Will Nova show us the off-screen destruction of Xandar at Thanos' hands?

Think you've heard the word 'Nova' before in the MCU? You'd be right. We were actually introduced to the Nova Corps in 2014's Guardians of the Galaxy Vol. 1, which saw the titular ragtag group travel to — and then save — Xandar, aka the capital city of the Nova Empire and, by proxy, the space cop agency's headquarters.

At the end of that film, the Nova Corps was entrusted with the Power Stone, aka one of the Infinity Stones. Unfortunately, as part of his genocidal plan to destroy half of all life in the universe, the Mad Titan known as Thanos soon came calling for said cosmic gem. Long story short: he acquired the Power Stone and, as punishment for Xandar's role in trying to stop him obtaining it, decimated the planet.

So, will we witness Xandar's destruction in a flashback sequence as part of Nova's story? If it had been developed and released by now, I believe we already would have. However, Nova won't arrive before the Marvel Multiverse Saga comes to an end with Avengers: Doomsday and Avengers: Secret Wars. And, with that Marvel Phase 6 duology set to reboot the MCU, I think it's incredibly unlikely that Xandar's annihilation at Thanos' hands will be depicted in Nova.

4. Can Waldron win over the MCU sceptics?

There's no denying that Waldron's apparent involvement in Nova has caused something of a ruckus online. Indeed, following the publication of Deadline's article, fans have taken to various Reddits, the ResetEra forums, and other social platforms to criticize or defend Waldron's hiring.

There are valid arguments on both sides of the debate, too. As Loki's head writer, Waldron proved he had the necessary writing chops to tell a sci-fi story that was focused on a beloved Marvel character. In sharp contrast to the praise he received for his work on that show, though, Waldron is often 'credited' with not only turning Doctor Strange 2 into a narrative mess, but also with undoing all of the growth that Wanda Maximoff/Scarlet Witch underwent in WandaVision and positioning her as a one-dimensional villain in Multiverse of Madness.

Of course, Loki and Doctor Strange 2 aren't the only screenwriting credits on Waldron's resume, but they're the ones that MCU diehards will know him from. In that sense, he's one for two in the 'great MCU project' department. The jury is still out, then, on whether it'll be one or two for three before Nova's arrival.

• Marvel has supposedly cast a major star as Magneto in its new X-Men film
• The actor in question was linked with another major role in the MCU
• They were said to be close to playing The Fantastic Four's Reed Richards

The Marvel Cinematic Universe (MCU) has reportedly found its Magneto.

According to multiple industry insiders, none other than former Star Wars actor Adam Driver has supposedly signed on to play the iconic metal-manipulating mutant in the comic giant's new X-Men movie.

At the time of publication, the Hollywood trades are yet to corroborate this via their own sources. Furthermore, with this rumor being circulated online by leakers with spotty track records, including MyTimeToShineHello and KnightEdgeMedia, Driver's casting is mere speculation at this stage.

That said, another insider, Apocalyptic Horseman, who's more trustworthy than the aforementioned pair, has backed up their claims. So, until we get an official line from Marvel and/or some form of verification from Deadline, Variety, or The Hollywood Reporter, it's just as likely that Driver won't appear in the MCU's first X-Men film as it is that he will.

What are the chances of Driver's involvement being confirmed sooner rather than later? Well, San Diego Comic-Con (SDCC) 2026 is right around the corner, and Marvel is set to take the stage for its traditional Hall H panel on Saturday, July 25. Given that Marvel has had a surprise or two up its sleeve for past editions of SDCC presentations, I wouldn't rule out the prospect of some form of official X-Men movie casting news at this year's event.

Driving the Marvel rumor mill

If Driver becomes the third A-lister to portray Magneto in a live-action film — the others being Michael Fassbender and legendary actor Ian McKellen — it'll put an end to speculation about his long-rumored involvement in the MCU.

In October 2022, Driver was supposedly in talks to play Doctor Doom in Marvel's Fantastic Four film. Seven months later, Driver was apparently among the stars up for consideration for playing The Fantastic Four's Reed Richards instead. Said whisper was just one of many Fantastic Four casting rumors that sent MCU fans into a tailspin but which didn't come to pass.

Will this Magneto-specific rumor prove to be a case of third time's a charm for Driver? Some fans aren't convinced — indeed, threads on ResetEra and various Reddit pages are full of comments saying Driver would be a better fit for famous X-Men villain Mister Sinister, or that he should steer clear of a franchise whose best days are arguably behind it.

With or without Driver, Marvel's untitled X-Men movie is slowly taking shape. Lee Isaac Chung and Jake Schreier (Beef, Thunderbolts*) are already on board as its respective writer and director, and Marvel President Kevin Feige recently revealed (per Collider) that the mutant-led feature could be the first MCU film post-Avengers: Secret Wars.

Meanwhile, with speculation swirling online that Sadie Sink is playing iconic X-Men member Jean Grey in Spider-Man: Brand New Day, as well as Obsession star Inde Navarrette saying she recently met with Schreier, and Apocalyptic Horseman claiming that Marvel is searching for the MCU's Cyclops, Storm, and Rogue, this new X-Men movie's cast might soon be in place. All eyes will be firmly fixed on Marvel's SDCC 2026 presentation, then, for confirmation of any or all of the above.

• Moana had a disappointing weekend at the box office, only making $95 million from its huge $250 million budget
• The live action remake currently sits at 33% on Rotten Tomatoes
• Fans have criticized Moana for being an exact replica of the beloved animated movie

Moana set sail for theaters recently, but its opening weekend was a poor performance for one of July's biggest new movies.

The original Moana movie was a huge success for Disney, bringing in $687.2 million at the global box office. But based on the opening weekend, it doesn't feel like the 2026 live action remake will be following in its footsteps.

At the time of writing, the new Moana has only made $95 million on its huge $250 million budget, making it one of Disney's poorest performing movies.

It has also received a disappointing Rotten Tomatoes score of 33%, with its critics consensus saying: "The sea calls to no one in this underwhelming new version of Moana, an endeavor that solidifies its animated predecessor as the superior adventure."

Moana has been branded 'lifeless' by viewers

Many fans of the original Moana movie have expressed their disappointment, describing the new live action version as being flat and a "carbon copy" of the original, per this scathing review by Associated Press.

Fans on X have also had a lot to say, with some wonder what the point in making a live action movie for Moana was. There's been plenty of backlash, making it a disappointing entry into Disney's library.

Another X user commented on how their main issue was the lack of quality, noting that nothing about the Moana live action was better than the original. They also cited The Lion King and Aladdin as having "new elements that justified their existence", but claimed that Moana did not have this.

Finally, another user pointed out that they'd rather watch the Snow White remake over Moana. Snow White also underperformed at the box office, but has a slightly higher Rotten Tomatoes score of 39%.

If you want to see for yourself, Moana is now playing in theaters globally. But judging by initial reports, you might want to head to Disney+ to check out the original, and it's admittedly very good sequel, Moana 2.

• The first full trailer for Tom Cruise's new movie Digger is here
• Cruise plays 'an incredibly powerful corrupt oil tycoon, who embarks on a frantic mission to prove he is humanity's savior'
• Directed by Alejandro G. Iñárritu, it also stars Sandra Hüller, Jesse Plemons, and John Goodman

The first trailer for Digger, Tom Cruise's next movie, has now been released — and the Mission: Impossible star is appearing as he never has before.

Cruise is seen in heavy prosthetic makeup, transforming into someone that, per the film's synopsis, os "an incredibly powerful corrupt oil tycoon, who embarks on a frantic mission to prove he is humanity's savior."

Directed by Birdman and The Revenant's Alejandro G. Iñárritu, its supporting cast includes Sandra Hüller, Jesse Plemons, John Goodman, Riz Ahmed, and Emma D'Arcy. Digger will be in theaters worldwide from October 2, 2026.

Unsurprisingly, the internet is beside themselves thanks to Cruise's new look. "Seeing an old Tom Cruise is wild," one YouTube comment reads, while another says:, "The biggest physical transformation Tom Cruise has had since Tropic Thunder."

With so much chaos happening at once, it's still anybody's guess as to how the full film will play out. But, in my opinion, Cruise is the least exciting part of what's coming.

Opinion: Digger will finally turn Sandra Hüller into the Hollywood leading lady she deserves to be

Despite being nominated for a Best Actress Academy Award in 2024 for her lead role in Anatomy of a Fall, Hüller still hasn't cemented her status as a leading lady.

Since then, she's had supporting roles in Project Hail Mary, The Zone of Interest, and yet-to-be-released Cannes period drama Fatherland. I've got a feeling, though, that Digger will finally give her the global recognition that she deserves.

Why? A simple answer: Tom Cruise. Aside from his death-defying stunts, the actor has made a name for himself through his consistent kindness and willingness to show up. Not only has he done this for his fans — just look at any press tour he's done in the last 10 years — but he also does it for his fellow actors.

By the time Digger is being promoted across the world, I can guarantee that Cruise will spend the entire time singing Hüller's praises. He's a man who bring along those around him while he's on the way up... and his own performance is likely to be a significant talking point for the 2026-2027 awards season. If Hüller isn't a routine Hollywood booking after this, I'll be at a loss for words. Know talent when you see it, people.

The first two episodes of new MGM+ crime drama The Westies are now streaming, but strap in — we've still got another six installments to go.

The new show follows the real-life Irish-American crime family of the same name, who ran the streets of Hell's Kitchen for decades from the 1960s. Basically, it's the perfect warm-up act for MobLand season 2 and The Gentleman season 2, which are both set to return in September.

Led by J.K. Simmons as patriarch Eamonn Sweeney, we've got an epic cat-and-mouse game afoot between our shady leads and the FBI, who have been tasked with bringing them to justice.

The trailer set up the high-stakes drama to come, but some fans weren't entirely happy with the teaser. Scroll through the YouTube comments on the clip below, and you'll see multiple fans complaining that The Westies looks far too tame for a mobster story.

In a way, they have a point. If you're tuning in looking for glory through guts and gore, you're not going to find it. However, that doesn't mean that intense action sequences are few and far between.

Not only have lead stars Simmons and Tom Brittney (James) seen the comments, they're the first in line to disagree — and they've got pretty good reasoning as to why.

'There's some stuff that I'm surprised we could get away with'

"God, no," Brittney says when I ask if The Westies felt tame when filming. "I think I saw that comment. Someone sent something to me about going, 'oh, I think it's tame.' And I was like... well, you better watch then.

"We can't put everything that's in the show into that trailer because you wouldn't be able to show it on TV as a teaser. Especially depending on the time that you're showing it. It's a brutal one. There's some stuff in this that I was surprised that they could get away with."

From a marketing standpoint, it makes complete sense that the best parts of The Westies, which would include the grittiest and most intense fights, won't be revealed immediately. They wouldn't even be in the two-episode premiere... think of them as a reward for investing in the new series long-term.

"If I may... don't watch the trailer. Watch the show," Simmons adds. We're both in it. You know it's gonna be good! So, just watch the show. July 12th. Or you could watch it on the 13th if you want. That's the beauty. Go crazy. Watch it on the 14th, whatever. Just watch it sometime in the first week, please."

You heard the man... lock in now, and reap the benefits as The Westies continues to drop on a weekly basis.

• Marvel has published a giant new mural for Avengers: Doomsday
• It gives us a fresh look at its massive cast and villain-in-chief, Doctor Doom
• One MCU character is surprisingly conspicuous by their absence

Marvel has unveiled a huge new mural for Avengers: Doomsday that features all but one of its sizeable cast.

Shown for the first time at the Chinese fan convention Bilibili World in Shanghai last Saturday (July 11), the artwork gives us another look at the highly anticipated movie's heroic ensemble.

The image, which was later shared online by former Marvel Studios Director of Visual Development Andy Park, also offers a fresh glance at Robert Downey Jr's Doctor Doom.

Predictably, we don't get to see Doom's likely scarred face — a reveal Marvel is surely holding back for the film's full release. Nonetheless, his iconic mask, coupled with those piercing, ice blue eyes, indicates that the Multiverse Saga's primary villain will be an emotionally cold, calculating, and formidable foe for our heroes to overcome.

Missing in action

With San Diego Comic-Con (SDCC) 2026 — and, by proxy, this year's edition of Marvel's oft-anticipated Hall H panel — it's little surprise to see the comic giant starting to accelerate its promotional campaign for the next Avengers film.

What is eyebrow-raising about the Marvel Phase 6 flick's first official artwork, though, is the absence of a specific Marvel Cinematic Universe (MCU) character. And I'm not talking about heroes who weren't announced as part of Doomsday's initial 27-strong cast, such as Spider-Man, Wolverine, Deadpool, or Captain Marvel.

So, who is it? None other than Tenoch Huerta's Namor, aka the ocean-dwelling anti-hero and the MCU's first mutant, who was first introduced to MCU fans in Black Panther: Wakanda Forever.

Namor's absence is certainly strange, especially as the rest of Doomsday's original cast reveal is part of this mural. The inclusion of Chris Evans' Steve Rogers, who wasn't part of the movie's initial line-up, but was eventually confirmed to be part of proceedings when Avengers: Doomsday's first teaser was released last December, makes Namor's non-appearance all the more bizarre, too.

Is this a simple albeit major oversight on Marvel's part not to include him in this artwork? Or does it indicate that Namor will only have a minor role/cameo to play in Avengers 5? With Namor appearing in Avengers: Doomsday's fourth teaser, I seriously doubt it's the latter. That said, I don't believe Marvel would purposefully cut him from this illustration. Hopefully, someone at Marvel Studios will shed light on this if they're asked about it at SDCC.

In the meantime, find out everything we know so far about Avengers: Doomsday. Once you're done, get the full lowdown on Avengers: Secret Wars, aka Doomsday's sequel that'll also cap off the Marvel Multiverse Saga.

Evil Dead Burn is the sixth installment in the horror franchise, and unfortunately, I found the new movie to be the weakest one of the bunch. Considering the 2013 reboot wasn't great, I think that speaks to how much I'm disappointed in the most recent entry.

On the surface, Evil Dead Burn looks promising. It was directed by Sébastien Vaniček, who is most well known for his movie Infested. I liked that one a lot (mostly because spiders terrify me), and so I was excited for his take on the iconic Evil Dead series.

Vaniček's Evil Dead Burn follows a woman named Alice (Souheila Yacoub) who is grieving over the loss of her husband, William (George Pullar), as she seeks solace with her in-laws. One member of her late husband's family is played by Hunter Doohan, who stars in Netflix's Wednesday, and I must admit it was cool getting to see him in a horror movie.

One by one, the family transforms into Deadites, the malevolent, parasitic demonic spirits we've come to fear throughout the Evil Dead franchise. But it goes in a direction I really wasn't expecting.

I do want to preface my mostly negative review by pointing out that there are some good things about this movie. Horror fans with a thirst for gory set pieces will no doubt have fun, as there are indeed some great moments. Some stand-out scenes involve a dishwasher and a car door, and just thinking about them makes me cringe uncomfortably.

Unfortunately, there's not much else to it beyond some standout gory moments that will stick with you. It's not a patch on the Bruce Campbell-led movies we know and love, and pales in comparison to its predecessor, Evil Dead Rise.

Evil Dead Burn centers around a family terrorized by Deadites, but there's a lot of confusion here surrounding how people become possessed. Sometimes you need a transfer of bodily fluids, and sometimes possession takes longer than others. The inconsistency throughout the movies might frustrate fans, as sometimes, a simpler answer is best.

When the family members are possessed, horrible things happen. It is a very unforgiving movie because the Deadites are particularly cruel here, often to an extreme degree. I should warn people now that yes, there is violence towards animals if that bothers you, and the movie feels nastier than its predecessors as a result.

That's not necessarily a bad thing, as we expect to watch a horror movie to feel uncomfortable and scared. But Evil Dead Burn really struggles to balance these shocking, brutal moments with an actual story, to the point where it feels like you're just watching a montage of gory scenes.

There's also a frustrating overreliance on jump scares here, which previous Evil Dead movies steered away from. There's nothing wrong with a good scare, and horror fans love them, but when you have excessive ones you saw coming a mile away, it becomes tedious.

Sam Raimi wove a really cool horror story when he first created The Evil Dead, but this sequel adds very little to the lore. It's basically a long movie where family members brutally attack and maim each other, and by the credits, I was left with more questions than answers.

Even the post-credits scene isn't really worth waiting for, and since there was a three-year gap between Evil Dead Rise and Evil Dead Burn, it's a shame that's all we got.

Ultimately, Evil Dead Burn is another divisive horror movie that will work for some and not others. It really depends on what you want from a horror movie, and if you're content with some over-the-top gore and repeated easy-to-spot scares, then you'll definitely have fun.

If you want more lore with your gore, then you might want to revisit the previous movies instead. Evil Dead Burn doesn't add much to a long-running franchise, and I found it to be a disappointment.

If you're going to invest in a crime drama this summer, make it The Westies on MGM+. With its two-episode premiere dropping on the streamer this weekend, the new TV show is set to follow the real-life Irish-American crime family of the same name.

Basically, it's the perfect warm-up act for MobLand season 2 and The Gentleman season 2, which are both set to return in September. Led by J.K. Simmons as patriarch Eamonn Sweeney, expect fist fights, a cat-and-mouse chase with the FBI, and an ongoing standoff with the Italian-American mob.

While their story has never been adapted for film or TV, the Westies ran the streets of Hell's Kitchen for decades from the 1960s. When we meet them in the new crime drama, it's the peak of the 1980s, and their reputation is well-known.

This means that we're transported back to how the Big Apple looked some 40 years ago, and no matter what you think of the storyline, the setting is jaw-dropping. But according to the show's creators, no AI was used in the process of getting there.

'The look is absolutely authentic to the time period'

"It was analogue... we built the set," Chris Brancato tells me. "We didn't use AI. What we did was build a street in Toronto that replicated 1980s New York, that Hell's Kitchen street. It had blue screens where we could project a VFX background.

"The way we created that look was absolutely authentic to the time period... we achieved that because we built it," Michael Panes adds. "So we never left our stage space very much. We shot interior scenes in the interior set, then we'd walk outside and shoot on our New York Street. It was an attempt to put you, the viewer, in this time capsule environment that brought you back to the 1980s."

As far as I'm concerned, the effort has easily paid off. In the opening moments of episode 1, our core group figures out how to best exploit the Jacob Javits Convention Center construction, which is beginning to be built as the season kicks off.

While there, we get a breathtaking view of the Manhattan skyline that completely sets the tone for the artistry that we're about to see next. If anything, I think that the set is actually the strongest character of the bunch.

But even so, do mob stories like The Westies still pack a punch like they did in The Sopranos days?

"It seems to me that it shows like MobLand and others are very, very popular," Brancato responds. "So we think that the genre is alive and kicking. We hope that our show is going to enter the pantheon of the gangster shows that already exist... but I don't think an audience ever loses interest in watching criminals go after each other."

• A new teaser for Spider-Man: Brand New Day has been revealed
• The Korean TV spot shows off more of the titular hero's battle with the Hulk
• It also appears to spoil the return of another of the webslinger's foes

A fresh TV spot for Spider-Man: Brand New Day has given us another look at the titular hero's forthcoming fight against the Hulk.

The 30-second teaser, which you can watch below, was originally released in South Korea, but has since been reshared by numerous outlets including Discussing Film. And, while it contains numerous clips we've already seen in Spider-Man 4's first teaser and Brand New Day's official trailer, the final five seconds of footage is dedicated to the aforementioned battle between Peter Parker and Bruce Banner's alter-egos.

Admittedly, this is all but the briefest of glimpses of what's expected to be one of the Marvel movie's tentpole set-pieces. Nonetheless, there are a couple of major things we can glean from this latest sizzle reel — including the potential return of another Spider-Man villain we haven't seen since 2016's Spider-Man: Homecoming. Potentially big spoilers immediately follow for Spider-Man 4, so turn back now if you don't want to know anything else.

On the villain tease front, it appears that Shocker might be part of the Marvel Phase 6 film's already stacked rogues gallery.

In the comics, this antagonistic individual wields vibration-based mechanical gauntlets that can deliver powerful shockwaves. For his live-action debut in Homecoming, the first iteration of Shocker was played by Logan Marshall-Green. However, after he was killed by Michael Keaton's Adrian Toomes/The Vulture, the Shocker mantle was inherited by Bokeem Woodbine's Herman Schultz. Incidentally, Schultz is the only person who goes by the Shocker alias in the source material.

But, I digress. Brand New Day's latest TV spot reveals that Tom Holland's eponymous hero will use one of Shocker's gauntlets to try and subdue Hulk who, for reasons still unclear, has embarked on another rampage through New York City.

Does this mean we'll see Woodbine actually show up in this Marvel Cinematic Universe (MCU) flick? Or will Shocker only appear in a split-second cameo as part of a wider montage in the film's opening sequence that'll show Spidey battling and defeating many of his enemies? The latter would explain why Spidey has one of his gauntlets in his possession, especially if Spider-Man covertly confiscated it for future use.

The other interesting thing to note about this TV spot is that the wallcrawler won't tackle the Hulk on his own.

Indeed, at the 0:10 mark, there's another blink and you'll miss it clip of Spider-Man fighting the big, green, mean machine. Pause the teaser at the right spot, though, and you'll see a gun being fired from an unusual angle.

With a bit of editing trickery (read: turning up the brightness on your screen), you'll be able to clearly see that Jon Bernthal's Frank Castle/The Punisher is lying on the floor as he takes a pop at the Hulk. Clearly, Frank didn't get the memo about the Hulk's impenetrable skin...

So, does Castle join the fight to help Spidey put a stop to the Hulk running amok? Not according to a leaked excerpt from a forthcoming Spider-Man: Brand New Day artbook.

Per X/Twitter fan account BuiltFromSmash, "[The] Punisher eventually becomes entangled in Spider-Man and Hulk’s battle — not because he’s hunting either of them, but because his own mission collides with theirs."

What does this mean exactly? I can't say for sure. However, with rumors circulating online for months that Castle is protecting Sadie Sink's mystery character in Spider-Man 4, and her apparent involvement in purposefully forcing Banner to Hulk out, I wouldn't be surprised if all of this is somehow related. Either way, let's hope that Spider-Man and the Hulk's duel ends amicably and recreates a very specific scene from Marvel Comics that fans are dying to see.

Anyway, before it arrives on July 29, 30, or 31 (depending on where you live), find out everything we know so far about Spider-Man: Brand New Day. Once you're done there, check out my Spider-Man: Brand New Day cast and character guide to see who'll appear alongside Holland, Ruffalo, Sink, and Bernthal in one of this year's most anticipated new movies.

• Bad Apples has been given a global theatrical release date after premiering at TIFF
• A new trailer confirmed the movie would be in theaters from September 18 for viewers in the UK and US
• The dark comedy is the English-language debut for Jonatan Etzler

Bad Apples may have fallen under the radar after its TIFF debut, but the new dark comedy movie finally has a global release date.

The Saoirse Ronan led movie will be in UK and US theaters from September 18, and we've got a brand new trailer to celebrate the new movie's theatrical release thanks to Paramount Pictures.

Bad Apples follows Maria, a teacher who becomes frustrated when her class of ten year olds is disrupted by one unruly pupil, Danny (Eddie Waller). When Maria accidentally kidnaps Danny and holds him hostage in her house, it sets off an unexpected chain of events.

Take a look at the trailer below.

Bad Apples looks like a perfect blend of comedy and drama, and I can't wait to see it

This is the kind of movie that reels me in instantly. We've got a seemingly ordinary main character in the form of a schoolteacher, who then goes on to make very questionable characters.

The plot of Bad Apples teases that Maria sees her class performance improve once Danny is "missing", which gives her a moral dilemma. Should she release him or keep him held in her home, where he's not disrupting the rest of her class?

Bad Apples is based on the novel De Oönskade (The Unwanted) by Swedish author Rasmus Andersson, which is described as a satirical thriller. So I'm expecting a lot of timely commentary in this movie, which will soon be widely available in theaters.

The movie currently has an 83% Rotten Tomatoes score, with critics praising the story, performances and soundtrack. So it's promising stuff already.

September 18 is a long wait, but thankfully we have plenty of recommendations to keep you entertained until then. If it's horror you're after, check out my round up of the best horror movies to stream in July.

Or, if you'd like more general Paramount movies, check out the best movies to watch on Paramount+.

If I'm going to watch yet another movie or TV show about a mafia-style gang in New York — because why bother in the wake of The Godfather and The Sopranos, right? — I want to come away from it having learned something new.

New MGM+ crime drama The Westies achieved this at conception, because I didn't know the first thing about the real-life Irish-American crime family of the same name. In fact, I didn't even know that they existed. But sure enough, they were known for racketeering, drug trafficking, and contract killing in Hell's Kitchen from 1960s-1980s.

I know what you're thinking: isn't Hell's Kitchen exactly where the Italian-American mob operated from in New York City. You'd be right in thinking that, and it's one of the main sources of dramatic tension across the show's eight-episode run.

Add in the fact that an FBI team has been tasked with tracking down our fictional version, led by family patriarch Eamonn Sweeney (J.K. Simmons), and you've got a proper old-school cat-and-mouse chase.

Interestingly, the biggest pro and con of The Westies is almost the same thing. While you're streaming it, you're engrossed — the storytelling itself is solid, dependable and superficially fun. But from the moment you switch it off, it will be completely erased from your mind.

Fans complained The Westies would be too tame just from the trailer — and I think they were right

After the above trailer for The Westies was released, I couldn't help but notice that the overwhelming fan response was to criticize scenes for being "too tame" compared to what mob behavior would have been like at the time.

Now that I've watched the entire season, I have to agree. Even if you don't know the story of the Westies, you're tuning into a gangster crime show expecting a severe level of violence — or even just an overarching sense of nasty brutality.

Of course, blood, guts and gore don't make a story any better objectively, but come on... we're trying to have some fun here. On top of that, it's difficult to invest in something new if you feel as though it is holding back, especially if it's aiming for a second season and beyond.

Still, the core storytelling is both engaging and well constructed. As Eamonn Sweeney's cronies face off against the local Italian-Americans, you're as engrossed in the inevitably fatal outcome as much as you are the complicated family dynamics.

The cast is stronger than its story

Bosch star Titus Welliver plays our ragged FBI lead Glenn Keenan, with an 80s "pornstache" so commanding that it might as well have had its own acting credit. When you can get past the facial accessories, you know you're in good hands... once Harry Bosch, always Harry Bosch, if you get what I mean.

If anything, I wish we had more of Simmons himself on screen. Sweeney isn't exactly the Don Corleone type, but it feels as though Simmons has somehow been a mobster boss in a former life. If you're selling him as number one on the call sheet, let's see that translated in each episode, please.

Really, I'm looking for holes when there aren't any — or at least I'm ripping tiny damaged flecks in the story's fabric into gaping tears. Because we've been so spoiled by shows such as Peaky Blinders and MobLand in recent years, we have to hold everything that comes after to an incredibly high standard.

Truthfully, The Westies just doesn't meet it. Not because there's anything wrong per se, but because the competition is so tough. It's kind of like studying really hard for an exam knowing you're going to get creamed by the kids who are naturally better at the same subject. Thems the breaks, so just enjoy the ride while it lasts.

The Westies begins airing on MGM+ from July 12.

• Universal's new movie SOULM8TE is coming to digital platforms on August 1
• The plot is very similar to recent horror hit Obsession
• SOULM8TE is a spin-off to the 2022 movie M3GAN, focusing on more adult themes

If you haven't seen Obsession yet, you need to. It's performed incredibly well at the box office and has become one of the most successful new movies of 2026. I was so impressed by it that I've been desperately wanting a similar thriller to watch next, and SOULM8TE seems like the perfect choice.

SOULM8TE follows a grieving engineer tasked with testing a ruthless tech giant’s new AI companion where he programs her to be a sentient soulmate. I'm sure absolutely nothing will go wrong there.

Instead of getting a theatrical release, you can watch SOULM8TE at home from August 1. It won't be available on the best streaming services just yet, and instead you can purchase it from these digital platforms.

Take a look at the trailer below to see what's in store.

Disturbing romance stories are on the rise

We have seen a lot of stories like this in recent months, and I'm definitely enjoying the trend of romance with a dark twist.

Companion is another movie with similar vibes to SOULM8TE, as it follows a woman named Iris who learns she is actually a companion robot who is controlled by her boyfriend via his phone.

That lack of autonomy is a terrifying thing, and audiences definitely have an appetite for these thought provoking tales centered around relationships, consent, and a rise in technology such as AI.

Whilst Obsession doesn't feature the android aspect, it does explore the horrors of a woman not being in control of her own actions due to supernatural intervention by a magical toy. There, someone's wish turns into a living nightmare.

If SOULM8TE doesn't interest you, there's plenty more horror movies for you to enjoy. Recently, Backrooms got an extended cut which is now in theaters or you can check out my guide to the best horror movies on streaming services in July.

Unless you've been living under a rock (or wisely taking a social media break), you've likely been bombarded with updates about the predicted summer blockbuster The Odyssey, which had its world premiere in London earlier this week.

Interviews with its cast — which includes Tom Holland, Matt Damon, Anne Hathaway and Zendaya, to name a few — are coming out thick and fast ahead of the film's release on July 17, but there's another news piece that's caught my eye.

As reported by Empire Magazine [via GamesRadar], Samantha Morton, who plays Circe in the new movie, received the first standing ovation from director Christopher Nolan's cast & crew since Heath Ledger in The Dark Knight.

As a dedicated Morton-head of many years, this is the least surprising news possible to come out of The Odyssey's pre-release marketing. Every time you cast her in a film or TV show, you are guaranteed to get something unsettling, powerful and absolutely impeccable.

I could reel off a never-ending list of projects that showcase her staggering handle on her craft, from Morvern Callar and Under the Skin (which I once got to watch with her, humble brag) to The Walking Dead and The Serpent Queen.

But one devastating 2022 drama is what you need to watch to understand why her Odyssey acclaim was always written in the stars, and you can stream it right now.

Samantha Morton's standout role in She Said explains The Odyssey hype before we even see it

If Morton isn't the lead in a movie or TV show, this is what I can guarantee will happen: she'll appear in a scene for all of five minutes, deliver a masterpiece of a performance and wipe the floor with everyone around her, and leave.

The best part? She's all that you'll be thinking about whenever that story draws to a close.

Based on the above praise, I can guarantee that this is how things will shake out in The Odyssey, but this was also the case in the 2022 drama She Said. The film followed real-life journalists Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan), who published the report that exposes sexual abuse allegations against Hollywood producer Harvey Weinstein, culminating in the #MeToo movement.

Morton plays Zelda Perkins, a Miramax London assistant in the 1990s and an abuse victim and witness. She's on screen for one scene that runs under five minutes, giving testimony to Jodi about what happened during the Venice Film Festival.

It's the scene from She Said that went viral online precisely because it was also the strongest, most vulnerable, and powerful moment in the entire 129-minute runtime. That was all thanks to Morton's performance.

Even now, you can see the impact that one single scene had on whoever was watching. As one fan wrote on YouTube, "She's absolutely phenomenal, one of those rare performances in which one scene would had been worthy of an Oscar nomination even a win."

"I think that in this relatively small role, Samantha Morton stole the movie. She is absolutely riveting," a second weighed in.

Mark my words: this is exactly what we are going to see with her portrayal of Circe in The Odyssey, and I am beside myself to see it. Christopher Nolan... you are a man of great taste.

• Stream She Said on Netflix in the US
• Stream She Said on Prime Video in the UK
• Stream She Said on Foxtel Now in Australia

Titus Welliver is a busy man these days. The actor is about to star in new MGM+ series The Westies, which is a fictional take on the misadventures of the real-life Irish-American crime family of the same name.

Welliver plays the FBI agent responsible for tracking the gang down. For the hardcore fans among us, it's fitting casting, as the role isn't that far removed from the character we know him best for: Detective Hieronymus 'Harry' Bosch.

Since 2014, Welliver has played the role across the main Bosch series, spinoff Bosch: Legacy, and spinoff of a spinoff, Ballard.

Here's where things get really exciting for crime drama fans. Not only is Welliver confirmed to return for new episodes of Ballard season 2, which is rumored to release later in the year, but Bosch creators are currently planning for a "standalone movie."

'We've got some ideas'

"I do three episodes of Ballard per season, so I've just finished doing that," Welliver tells me ahead of The Westies' debut on July 12. "And MGM+ is doing the Bosch prequel, Start of Watch. Cameron Monaghan is playing young Harry at the very beginning of his career as a uniform cop... but I have nothing to do with that."

This isn't too surprising, with developments on Start of Watch already being widely reported. The series doesn't have a release date as of yet, but we can expect it sometime between late 2026 and early 2027.

Welliver continued: "Michael Connelly (Bosch author), Henrik Bastin (executive producer), other people and I have some ideas about a possible standalone film. We've not seen the end of Harry Bosch, that's for sure... I will say that much."

If a standalone movie is only an idea at this point, it makes sense that we don't have any further details yet (for one, it hasn't even been greenlit).

If it does go ahead, we can perhaps expect it to look like action movies featuring the two famous fictional Jacks: the Jack Ryan movies, starring John Krasinski, and the Jack Reacher movies, which starred Tom Cruise.

At this point, it's all speculation. But I trust that Welliver's parting words about us not having seen the last of Bosch are referring to something other than his appearances in Ballard... call it a hunch.

In the meantime, you can stream Bosch, Bosch: Legacy and Ballard on Prime Video.

• Supergirl might be available to rent or buy at home before the end of July
• The comic book movie has made just $100 million worldwide
• Its digital release could be another disaster waiting to happen

It appears that DC Studios is already prepared to cut its losses with Supergirl at the box office.

After the movie barely squeaked over the $100 million mark globally last weekend (July 3-5), those in charge of the comic giant's movie and TV division look like they're ready to call time on the DC Universe (DCU) movie's theatrical run.

According to X/Twitter fan account DC Film News, DC is targeting a July 28 home release for the Milly Alcock-led superhero flick.

That doesn't mean Supergirl will be coming to HBO Max, aka one of the world's best streaming services, which is owned by DC Studios' parent company Warner Bros. Discovery. Instead, it'll be available to rent or buy on premium video-on-demand (PVOD) platforms, including Amazon, Apple TV, and Sky.

It's worth pointing out that the aforementioned digital launch date hasn't been officially announced.

Right now, listings for the DCU Chapter One film on Amazon Prime and the Sky Store state that its home release is yet to be confirmed, so it's possible that you won't be able to watch Supergirl on your TV or smartphone before the end of the month.

Nonetheless, if Supergirl makes its home debut before August 1, it'll compound the misery of those who had high hopes for one of 2026's many new movies and have watched it crash and burn following its theatrical debut.

I've reached out to DC Studios and Warner about the rumored home release, and I'll update this article if I receive a response.

Why Supergirl's rumored digital home release might add insult to injury for DC Studios

Whether Supergirl makes its PVOD bow on July 28 or not, a sooner-than-expected home release won't come as a shock when it happens.

Quite frankly, due to the competition it's faced and its middling pre-release critical reception — read my Supergirl review if you haven't yet — its launch has been an unmitigated disaster for DC Studios.

According to industry analysts, Supergirl needs to make at least $300 million to recoup costs associated with its production and marketing campaign. Considering that it's only made back a third of that figure in its first 11 days on the big screen, DC Studios co-head Peter Safran's suggestion that Supergirl "didn't meet our box office expectations" might end up being the understatement of the year.

Bigger problems lie ahead for DC Studios, though — and I'm not even talking about whether Safran and fellow co-CEO James Gunn need to re-evaluate their entire plan for their nascent cinematic franchise.

If — and it's a big if — Supergirl does take flight on PVOD services in late July, it might not get the digital-based financial windfall it desperately needs. Why? Because of The Odyssey and Spider-Man: Brand New Day.

By July 28, the former, i.e., the historical epic directed by film auteur Christopher Nolan, will have been in theaters for 10 days. And, depending on where you live, Spider-Man 4 will have just debuted in cinemas, or be ready to do so on July 31.

With the pair billed as two of the most anticipated films of the year, movie fans will flock to their local theater to watch one or both. Not that it needs spelling out, but that'll mean they won't be sitting at home and spending their money on renting or buying Supergirl. If DC Studios hopes to improve the movie's monetary haul, holding off on Supergirl's home release until mid-August will definitely be in its best interests.