A Real Housewives of Beverly Hills and TechRadar collaboration? I never saw it happening either, but I cannot avoid — nor stop thinking about — the already-viral social media clips coming out of Bozoma Saint John's Ghanian wedding.

The marketing guru, who joined the RHOBH cast full-time back in season 14, has made her wedding to Keely Watson into a cross-continent affair, with dual ceremonies taking place in Ghana (August 21) and Los Angeles (November).

Logically, you'd think that if other cast members were invited, they'd be attending the LA ceremony (though as of writing, the LA wedding guestlist has yet to be revealed). But Kyle Richards, Dorit Kemsley, Kathy Hilton, Jennifer Tilly, and Sutton Stracke all made the trip abroad.

To state the obvious, this means part of RHOBH season 16 will now take place in Ghana, with a camera crew spotted with the cast both before and during the ceremony. Unsurprisingly, the reality TV side of Instagram and TikTok have been enthralled by the updates.

Notably, they're becoming something even bigger after a matter of days. After all... how did the clips find me, a reality TV ignoramus who's never seen the most famous Real Housewives iteration of the lot?

Even from the outside looking in, I can tell that the significance of Saint John's wedding being streamed on Bravo goes far beyond social media curated shock. In fact, I think it gives me a legitimately fulfilling reason to tune into season 16.

Bozoma Saint John's Ghanaian wedding marks a turning point in Real Housewives culture

Don't get me wrong: like everyone else, I am fascinated with the superficially hilarious and intriguing details packed into these viral clips. Kathy turning up to the ceremony seemingly in slippers from her hotel. Jennifer living her best life on the dance floor. Kyle making sure that Dorit is included, which in itself feels watching the Treaty of Versailles being written.

Even though I Shazam'ed the song being played in the background (it's Unfiltered Vibe Mix by DJ Talented, by the way), what's really stayed with me is what's happening when the cameras are put down.

Look across the wedding crowd and you'll see a diverse mix of people, dress and cultures. Our RHOBH girls are adorned in (frankly, stunning) modern Kente dresses, and it's clear from the clips that they're completely embracing everything that Ghana has to throw at them — the only drama is between themselves, not with what's around them.

Read the comments and you'll see Black fans both in a state of pleasant shock and equally as embracing of the Real Housewives' latest adventure. You'll see others say that this will be exceptionally good news for Ghana's tourism and representation... and therein lies what matters the most.

RHOBH is the summit of reality TV Mount Everest. In the Western world at least, there is no bigger platform in the genre, and soon, in season 16 — likely towards the beginning of 2027, though nothing is confirmed — a Ghanian wedding is going to be center stage.

I imagine that this is exactly what you dream of when you don't see your home country represented (well, or at all) on TV: a homecoming that's so glorious, all the best parts of the culture are blooming in full. And this is all before taking into account just how impressive and remarkable Saint Johns is herself.

I really hope that this does what fans want it to, rather than devolve into menial arguments and petty drama that we already have far too much of as it is. If the Kyle-Dorit dancefloor reconciliation is anything to go by, the spirit of Ghana truly is something magical.

It's a book series which has taken over the world, but how knowledgeable really are you on Harry Potter? Let's find out.

Ever since the first books in the childrens' fiction series became a massive smash hit, Harry Potter fever has taken over the world. We all know the movie adaptations but we've also seen video games, TV shows (no, not just that famous upcoming one), Lego sets, audiobooks and a lot more.

Harry Potter fans have taken over the world too, with massive queues for the stage play, people playing Quidditch in tournaments and fans sorting themselves into Hogwarts' houses. And there's a lot more to love about the series — make sure to read our how to watch the Harry Potter movies in order guide if you're keen for a rewatch.

But how good a fan really are you? To find out, we've designed this 30-question quiz. It'll test you on every facet of the media empire that's sprung out from the books, though won't go into detail on the specific fictional world. So you don't need to know your Hufflepuff from your hippogriff (though it'll help).

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 all things Harry Potter, let's find you some schoolwork:

Insidious, we meet again. For the sixth time, in fact. It's become one of the world's biggest horror franchises but the new horror movie is making me question whether or not it needs to carry on at all.

I should preface this largely negative review by saying that I was a huge fan of the first Insidious movie, and have been a fan of James Wan's ever since Saw. So it truly does pain me to say I did not have a good time with Insidious: Out of the Further, because I went in hoping to see an intriguing new entry, but what followed was almost entirely predictable.

Recently, we have seen some good horror sequels. Take a look at Saw X for example, which is infinitely better than some of the movies that came before it (I still can't get over how bad Jigsaw is). But Insidious: Out of the Further feels like a way to profit from the popular franchise without really adding much to it.

It's a shame, because it did have potential. Here, Alice Eve plays Gemma, a young mother who is raising her daughter in her childhood home. She lives a normal life until she discovers she can travel into The Further, which is a purgatorial realm of lost souls. Gemma realizes she can bring what lives in The Further back to the real world, which is great news for demonic entities who use Gemma to their full advantage. Cue carnage unfolding in our realm, and plenty of evil round the corner.

I first saw Alice Eve in Netflix's The Haunting of Bly Manor, and she is undoubtedly the best thing about Insidious: Out of the Further. As a new arrival to the Insidious franchise she's front and center of this sequel, and does a great job in the role.

Unfortunately, Eve's strong performance can't make up for the movie's many flaws. Insidious: Out of the Further is the scariest of the franchise due to the sheer number of jump scares, many of which have extremely loud audio to go along with it.

But the fact it was able to make me jump in my seat multiple times does not make it a good movie. The special effects and makeup feel really off, and not at all on the same level as previous movies. A lot of the narrative decisions frustrated me too, and I think it tries to take itself too seriously by stuffing loads of new lore into its runtime, making it feel bloated.

It's essential to see the other Insidious movies first, which may seem obvious, but I would encourage you to rewatch (or at least read up on them) before you go and see Insidious: Out of the Further, otherwise you might end up feeling lost. This really is for die-hard Insidious fans who know their stuff, so casual fans might be left scratching their heads.

Insidious: Out of the Further does not come close to the quality we've seen in a wave of recent great horror movies. It pales in comparison to fresh horror hits like Obsession and Backrooms, despite the fact the trailer repeatedly reminds us that it's produced by the same people; Blumhouse and Atomic Monster.

Having said that, if you want to go just to be startled by a carousel of jump scares, it's a great choice. I'd recommend this for those who want to test their nerve, and it's best seen with a crowd for this reason. I would advise against buying any popcorn in case you throw it all over yourself, because the scares are certainly in abundance here.

But it's not a necessary addition to the Insidious franchise at all, and doesn't live up to the 2010 movie that started it all. After 16 years, perhaps it's time to put this franchise to bed for good.

• Stream all 380 Premier League games for $1.55/month with JioHotstar (India)
• Unlock your stream with NordVPN (save up to 75%)

Up there with Eric Cantona's £1.2m move from Leeds to Man Utd, Patrick Vieira's £3.5m switch from AC Milan to Arsenal and Vincent Kompany's £6m transfer from Hamburg to Man City, we've found the cheapest way to stream all 380 Premier League games this season.

With coverage shared between Peacock, USA Network and NBC in the US, fans need to fork out a minimum of $437 to watch every game live. It's significantly less expensive in Canada, where a year-long subscription to Fubo costs CA$230.99, and in Australia, where Stan Sport comes in at AU$299.90 for the duration of the season.

Spare a thought for fans based in the UK, who have to fork out at least £440 for a two-year Sky Sports subscription, plus a minimum of £309.90 to get TNT Sports through HBO Max. And even then, they can't watch every game live.

It's far more affordable to watch the Premier League pretty much everywhere else, but the two options we've listed below – JioHotstar in India and Setanta Sports in Ukraine – might just be the cheapest. Read on for all the details.

▶︎ Read More: Full Premier League streaming guide for 2026/27

The cheapest way to stream Premier League 2026/27

Use a VPN to watch Premier League from anywhere

A VPN is handy piece of software that can make your device appear as if it's back in your home country, so you can unlock your usual service. The best VPN right now? We recommend NordVPN – it does everything and comes with up to 75% off.

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

• Stream Premier League free with DirecTV Stream / Hulu+Live TV / YouTube TV (US)
• Unlock your stream with NordVPN (save up to 75%)
• Premier League 2026/27: Friday, August 21 – Sunday, May 31

Marcos Senesi, Harry Wilson, Jordan Henderson, Andy Robertson and Thomas Meunier each have something in common: they were all free transfers over the summer. We've unearthed three better freebies, however – free trials that will let you watch some Premier League games for nothing.

The start of the 2026/27 Premier League campaign feels like appointment viewing, because of the sheer scale of change we've seen in the offseason. Liverpool, Man City, Crystal Palace, Nottingham Forest, Newcastle, Chelsea, Bournemouth and Fulham are all taking their first steps under new managers, as are newly promoted Ipswich.

While some partnerships will be a match made in heaven, others are bound to run into problems early. Enzo Maresca, for instance, is already feeling the heat after Man City's pasting by Arsenal in the Community Shield. Xabi Alonso may be one of the hottest properties in football, but a noxious environment did him in at Real Madrid and he's walked straight into another at Chelsea.

You'll want to see how these play out. Read on as we explain how to stream Premier League 2026/27 for free with trial offers.

Use a VPN to watch Premier League free trials from anywhere

Free trials that will unlock Premier League coverage are only really available in the US, which means you'll be stumped the moment you leave the country on vacation or for work.

A VPN is handy piece of software that can make your device appear as if it's back in your home country, so you can unlock your usual service. The best VPN right now? We recommend NordVPN – it does everything and comes with up to 75% off.

Stream Premier League 2026/27 free with trial offers

In the US, select Premier League games are being televised on USA Network, NBC and NBCSN, which are carried by YouTube TV and Fubo, which both offer free trials.

Hulu + Live TV and DirecTV Stream are other services with free trials, but they only carry USA Network and NBC.

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Considering that in 2024 the Disney Experiences panel at D23 delivered the news that Disney would be bringing new lands to parks across the globe, expansions on the high seas, attraction updates, and entirely new attractions, the bar was set high for D23 2026's Horizons: A Carousel of Progress keynote.

Even more so, many of these projects already have shovels in the ground. At Walt Disney World's Magic Kingdom, construction is well underway for Piston Peak — a new Cars-focused area — and Villains Land. Nearby, at Hollywood Studios, there's Monstropolis, while Animal Kingdom has Tropical Americas being built. Across the coast at Disneyland, work is underway on the expansion of Avengers Campus.

With many of these projects already in motion, the question heading into this year's showcase wasn't necessarily whether Disney would deliver more announcements, but what updates we'd get on the already-announced projects and whether there would be a few surprises.

It was a wide-ranging, two-hour-plus show hosted by Neil Patrick Harris and featuring many of Walt Disney Imagineering's brass, along with Thomas Mazloum, head of Disney Experiences. Here are some of my favorites from the night.

Piston Peak will bring two new Cars attractions to Magic Kingdom

I'm a pretty big fan of Cars, and it's likely no surprise that Piston Peak was the highlight for me.

The main off-road racing attraction will be called Cars: Ridge Run Rally, and like Radiator Springs Racers at Disney California Adventure, guests will race against other ride vehicles, each with its own personality. Disney is also introducing a brand-new ride system designed to give guests a stronger sense of the bumps, dips, and other road elements as they race through Piston Peak.

It also won't be the open road of Route 66. Since Piston Peak is a national park, guests will encounter a variety of landscapes throughout the race. At one point, you'll race toward the top of the mountain for a snow-filled scene before heading back down through bumps and high-speed moments in the desert. Eventually, you'll encounter geysers before reaching two familiar faces at the end of the track: Lightning McQueen and Mater.

Because it will be outdoors in Orlando, Disney says the attraction will be designed to operate in both sun and rain. Of course, lightning will likely shut it down.

There will also be a second attraction, Miss Fritter's Daredevil Spin-Along, which takes its name from the character from Cars 3. Guests will board a vehicle and spin around as they make their way through the attraction, making it suitable for a wide range of ages.

There's still no timeframe for when Piston Peak will open. If we had to guess, 2028 seems like a reasonable target, but construction is already well underway.

Monstropolis will open in 2027 with a show, food, and shops

I've already been behind the walls of the Monsters, Inc. land being built at Disney's Hollywood Studios, and even a few months ago, I noted that construction in the former Muppets area seemed to be moving quickly.

D23 brought confirmation that a portion of Monstropolis will open in 2027. It will include the Glob Theater show, Welcome to Monstropolis, Harryhausen's restaurant, and a pizza eatery named Archie's Scare Pig Pizza.

Those will be the main components when the area first opens, with the much-anticipated Door Coaster arriving later. It appears Disney wants to open the rest of the land as quickly as possible while the signature attraction continues development. At D23, Disney did tease that the suspended Door Coaster will lift you 40 feet in just four seconds right before you venture into the iconic door vault.

We're still waiting for more details on the theater, but the concept art gives us a few hints. A laugh canister appears to jet out into the audience, while monsters can be seen on the main stage, in the crowd, and on elevated stages on either side. It also appears there will be a live monster band, potentially playing the new original song, Welcome to Monstropolis, written by Randy Newman.

Then there's Harryhausen's, which will likely be a dream come true for many Monsters, Inc. fans. Guests will actually be able to step inside the restaurant from the film, complete with an impressive animatronic of Roz.

While we still have plenty more to learn, Disney has now given us a much clearer picture of what will be ready when Monstropolis first opens in 2027 — and what will keep us waiting.

Tropical Americas brings Indiana Jones and Encanto to Animal Kingdom

Next up was Tropical Americas at Animal Kingdom, where we got new details on both the Indiana Jones and Encanto attractions.

The Indiana Jones attraction now has an official name: Indiana Jones and the Myth of the Jade Serpent. Perhaps the biggest news here is that, for the first time, Harrison Ford himself is being used as the model for the Indiana Jones Audio-Animatronic.

The ride will use the same ride system as the popular Indiana Jones Adventure at Disneyland, but with a completely new story, scenes, and animatronics.

Disney also revealed the name of the Encanto attraction: Antonio's Fiesta de Encanto. The ride will take place on Antonio's gift day, with you invited into Casita to celebrate his new ability.

We got to see the moment guests enter Casita, as well as the ride vehicles, which are designed to feel like pieces of furniture brought to life by the house.

One of the more interesting elements shown was how the attraction will handle elevation changes. Disney appears to be using a new ride system that makes it feel as though the vehicle is moving up or down without the track physically raising or lowering.

The ride will eventually take guests upstairs into Antonio's room, which has been transformed into a rainforest filled with a bevy of animals including a capybara, a toucan, and a donkey.

Interestingly enough, Disney didn't announce an opening date during the panel. The company has already announced that Tropical Americas is expected to arrive in 2027, so for now, that remains the target.

Fans of Expedition Everest will be thrilled with this news — the Yeti will finally be returning to its original form on the rollercoaster after years of the legendary creature being stuck in its B mode. Simply, the Yeti won't be frozen for much longer.

Villains Land will bring Disney's biggest villains together

The other active construction site in Magic Kingdom right now — or should we say just outside the current edges of the park — is Villains Land. While D23 2024 confirmed that the land was coming, we finally got more details at D23 2026.

The land will actually be named Villains Land, and Imagineering is touting it as something unlike any other land Disney has developed. The focus will be squarely on the characters, bringing together some of Disney's most infamous villains, including Dr. Facilier, Maleficent, and Cruella de Vil.

The main attraction will be a Maleficent-themed coaster that sends guests racing around her mountain fortress before eventually coming face-to-face with the villain herself. The ride will feature tight turns, potentially some tipping-track elements, and a very energetic feel throughout.

The other attraction will be a dark ride themed around the Magic Mirror. Guests will travel into the Mirror Realm and encounter several of Disney's villains along the way. Among those shown so far are Cruella de Vil, Ursula, Jafar, and Mufasa, but Disney is keeping the specific details of the story under wraps for now.

With two attractions on this scale, Villains Land could end up being one of the most ambitious additions ever made to Magic Kingdom.

EPCOT's Spaceship Earth and Figment will get reimagined

Over at EPCOT, Disney also gave us a look at two projects that have been in the works for some time: the reimagining of Spaceship Earth and the return of Figment and Dreamfinder to the Imagination pavilion.

Spaceship Earth will be receiving a major update, expanding the attraction's story while retaining the optimism and wonder that have defined it for generations.

Figment and Dreamfinder, meanwhile, are getting ready to embark on a new journey into imagination at EPCOT. Disney didn't reveal too many details about the new experience, but just the return of Dreamfinder alongside Figment is enough to get plenty of EPCOT fans excited.

Avengers Infinity Defense and Stark Flight Lab will open in 2028

At Disneyland, the biggest update came from Avengers Campus, which is undergoing a massive expansion that will ultimately double its size. Disney confirmed that both Avengers Infinity Defense and Stark Flight Lab will open in 2028.

Avengers Infinity Defense will put guests in the role of new recruits tasked with helping reassemble the Avengers to take on King Thanos. The attraction will travel across locations including Asgard, Wakanda, and New York City, blending massive physical sets with large-scale media.

Perhaps the biggest casting news is that several heroes will be portrayed by their original on-screen actors, including Jeremy Renner as Hawkeye, Anthony Mackie as Captain America, Chris Hemsworth as Thor, and Robert Downey Jr. as Iron Man.

Downey Jr. will also appear in Stark Flight Lab, alongside Mackie and Brie Larson. Guests will board two-person pods, then be grabbed by a giant robotic arm and thrown into a simulated flight experience inspired by Iron Man and the other Avengers.

More details for Coco at Disney California Adventure

Disney also shared more about the upcoming Coco attraction, the first ride based on the Pixar film at a Disney park. The story will take place one year after the original film, beginning in a "casa museo" dedicated to Héctor's music before guests board a boat and travel with Miguel through his memories of the Land of the Dead.

The attraction will feature Miguel, Dante, Héctor, and plenty of other familiar characters, with Disney and Pixar working together to ensure the ride celebrates both the original film and the upcoming Coco 2. There will also be no height requirement, which will make this a family-friendly option at California Adventure.

Disneyland's Tomorrowland set for a major change

Finally, Disney announced that Disneyland's Tomorrowland is set for a major reimagining. There aren't many specifics yet, but Imagineering says the transformation will honor the legacy of the original land while introducing new attractions, more open spaces, and new places for guests to experience the future.

Looking at the updates coming to Disneyland and Walt Disney World, there's more happening across the parks than we've seen in quite some time. With so many of the projects announced in 2024 now actively under construction, it's clear that Disney wanted to use this year's showcase to give fans a much closer look at what's actually being built.

Could we have gotten a few more details on Tropical Americas, Coco, or even more on Avatar at Disneyland? Absolutely. But overall, Horizons: A Carousel of Progress gave us plenty to be excited about, while showing just how much detail Imagineering is putting into these new lands and attractions.

And perhaps most importantly, there was a sense that Disney is recommitting to some of its longtime fans. The return of Dreamfinder and Figment at EPCOT, the reimagining of Tomorrowland at Disneyland, and even the return of the Yeti to Expedition Everest show that Disney isn't only looking toward what's next. It's also looking back at some of what made these parks special in the first place.

It took a while, but Marvel has officially unveiled the first cast members for its forthcoming X-Men movie — and it raises questions about the credibility of many so-called industry insiders.

Revealed last Friday (August 14), the announcement was one of six big Marvel and Star Wars stories to emerge from D23 Expo 2026. Thankfully, the reveal was worth the wait, too, because a wealth of acting talent has been assembled for the X-Men's latest big-screen reboot.

Indeed, joining the already confirmed Sadie Sink (Jean Grey) on the cast list are Christopher Abbott (Professor X), Kit Connor (Cyclops), Samara Weaving (Emma Frost), Inde Navarrette (Rogue), and Maya Boyd (Storm). They'll share the screen with none other than Adam Driver as Nathaniel Milbury — or, as comic book fans will know him, Nathaniel Essex/Mister Sinister.

It's a stacked cast that I'm incredibly excited to see breathe new life into characters we've seen in previous X-Men movies, as well as animated offerings like X-Men '97 on Disney+. More than that, though, I'm glad to see the back of what became a head-spinning cast rumor mill in the weeks leading up this reveal, while also taking some pleasure in witnessing those supposedly 'in the know' trying to save face over their incorrect scoops.

I'm going to preface the rest of this piece by saying I bare no ill will towards anyone who hears things on the grapevine. I also understand why they share their leaks online, because everyone wants to be the person to break a big story. Heck, I'm guilty of it myself — you get the scoop, write and/or post about it, everyone uses your story as the original source, and you become a trusted industry source.

Furthermore — and this is probably the most important point of all — things change. The entertainment business is a fast-paced beast at the best of times, so when someone hears that an actor is in talks to star in a film or TV show, posts about it, and then that star walks away from a project, it doesn't mean that insider's information was incorrect or that they were simply chasing clout by posting a fake rumor.

What isn't okay — to me, anyway — is when scoopers desperately try to backtrack on what they were told without saying sorry for being wrong, or claim Marvel gave their contacts false information to make these leakers look bad (go figure that one out). The same principle applies to insiders who jumps on the bandwagon when someone shares something that ends up being accurate, but their fellow leakers were too unsure/afraid/scared/delete as applicable to raise their head above the parapet and post that information first.

Now, I'm not going to name names because they don't need the additional exposure or a baying mob at their door. If you operate in spoiler-filled Reddit circles, you'll already which unreliable insiders I'm referring to, anyway.

Nonetheless, of those who claimed to have dirt on the Marvel Phase 7 movie's confirmed cast and/or who they'd be playing in the Marvel Cinematic Universe (MCU) over the past month, I've only seen one apologize for getting things wrong. Ironically, that scooper is not only one of the most reliable around, but also got called out for owning up to their mistake. In an era where fake news is rampant and there are less trustworthy sources than ever before, it's bizarre that this individual was criticized for holding themselves accountable.

But, I digress. If this X-Men movie casting saga — and, lest we forget, the soap opera that surrounded who would play the MCU's Fantastic Four — has reminded me of anything, it's that age old adage of not believing everything you read on the internet. And, unless one of the established trades like The Hollywood Reporter, Deadline, or Variety report on something, it's worth taking it with a giant helping of salt because, right now, leak culture is frankly broken.

For more on the forthcoming film, find out everything we know so far about Marvel's new X-Men movie.

I'll go ahead and say it: anime is hugely addictive. I don't mean that in a bad way, either — from the moment the first episode of a new series completely grips me, I want to consume as much of it as possible.

In general, anime have figured out a winning formula that blends archetypal, classic storytelling with cutting-edge action and visual craft, and it's why IPs such as One Piece, Jujutsu Kaisen, Solo Leveling and Demon Slayer have continued to do well.

Thanks to Crunchyroll, we get to enjoy a bombastic range of smaller titles, too. Reborn as a Vending Machine, I Now Wander the Dungeon, That Time I Got Reincarnated As A Slime and, most recently, BLACK TORCH are just some of the unmissable titles (and with those names, how could you overlook them?).

However, the missing detail that I've been intrigued about the most is how a typical day-in-the-life of recording works as one of the industry's many voice artists. Even more so because each series will have two separate casts: the original Japanese cast, and an English dub cast.

Luckily, I asked BLACK TORCH's AJ Beckles (Jiro) and Ryan Colt Levy (Ryosuke Shiba) to help fill in the missing pieces of the puzzle. As part of the English dub cast, they're already arguably behind the curve of the show's creation, but one detail of their day-to-day lives still really surprised me.

'You're learning as it is happening'

"It depends episode to episode," Levy begins. "How many scenes or moments your character may have can be different, day to day. I usually will make sure I am caffeinated and hydrated, and that I'm super scratchy. Sometimes these sessions will be early in the morning, so I'll wake up a few hours before so that my voice is primed.

"There's, there's such a cool factor to Shiba's presence that I never wanted to sound tired. I want him to sound like he's in a calm space... so there's there's a fine line there."

All incredibly logical and sound advice — but it's Brackles' admission that scripts aren't received until the second that they enter the recording booth that surprises me the most.

"You go into the studio, say hi to everybody, get in the booth, and be ready to work," he adds. "We get the scripts on the day, and you're learning about what's happening in the episode as you go. There's back and forth between yourself and the director. Like Ryan said, making sure you're hydrated, that you can show your mouth doesn't make too many slappy, clicky noises. Don't wear a leather jacket, because it's too squeaky.

"Being professional in that way, but a lot of it just comes down to really doing the work in the booth."

If we think about Disney and Pixar projects as a comparison, normally some semblance of a script will be needed to either get the project itself greenlit, or to get talent (especially the high-profile kind) to sign on.

Anime shows tend to have the safety net of the original manga to achieve both of these, but not only do voice actors tend to operate differently (as Brackles has confirmed), the manga itself can't necessarily be relied on.

With scripts being received so late on in the process, I'd like to think that animators and producers are being given more creative scope to play around with the original material. Sure, we want to see the anime hit the same big beats that we see in the manga, but the interim is surely up for grabs.

Perhaps I'm naive in thinking this might be how things work, but I still can't hide my surprise that the voice cast are having to achieve so much with so little notice. If anything, it's a testament to just how good they actually are.

BLACK TORCH is available to stream now on Crunchyroll every Saturday at 6AM PT / 9AM ET in the US.

Disney's epic D23 2026 festivities might be over in Anaheim, CA — the convention ended with its Disney Legends Ceremony last night, and it's on Disney+ right now — but thanks to the Disney Store, a few of the most exciting product drops are up for grabs online.

Leading the pack for me, as a big fan of Imagineering and animatronics as well as Toy Story and Pixar at large, are two very cool limited-edition grabs. First is the Pixar Lamp at $99.99, which, in fact, doesn't light up, but it more than makes up for it.

It's true to scale with what the Pixar Lamp would be in our world, but it's also motion-activated, so it can bop around, move its arm to change the overall height, and even skid around on a surface for a bit. It's pretty fun, and while I do wish it would illuminate, it is a nice celebration of 40 years of Pixar.

Even neater is the fact that it will respond to motion and sound via two built-in sensors, which also means it might have a mind of its own. This one was pretty popular on the show floor at D23, and I suspect this won't last too long at the Disney Store. If it does sell out, though, I'd highly recommend the LEGO Pixar Lamp, which is even a bit cheaper and not a limited edition. Amazon has it for just $55.99, a 20% savings off the $69.99 MSRP.

Shop D23's Pixar Lamp

This next one lets you bring a bit of Walt Disney's Enchanted Tiki Room right into your home. The $249.99 José Animatronic Figure is a delightful recreation of the attraction's show host, who's led it since 1963. You'll find José perched on his porch, and with the press of a button, those iconic moments from the attraction will be brought to life with this mini animatronic. José will move, lights will illuminate, and a few bars from the song "The Tiki, Tiki, Tiki Room" will roar to life.

Beyond these two, there's a whole host of D23 drops that are up while supplies last on the Disney Store right now. You can shop the full collection, which includes retro Disney tees, treasures from a Galaxy Far, Far Away, and even some collectibles fit for superheroes here.

Shop D23's José Animatronic Figure

D23 Expo 2026 has come and gone — and, like past editions of the Ultimate Disney Fan Experience, there were plenty of big announcements concerning Marvel and Star Wars.

As the dust settles on the aforementioned fan convention and said reveals, there's no better time to take stock of what was shown, and rank each announcement based on how exciting they were. So, read on for my take on all six reveals — and, once you reach the end, let me know if you agree with my ranking by leaving a comment!

6. Ryan Gosling's Star Wars: Starfighter character name revealed

I feel bad putting Star Wars: Starfighter at the bottom of my ranking because it's a film I'm really looking forward to seeing next May. Nevertheless, Lucasfilm only offered us the tiniest of crumbs about its next big-screen offering, which is why it doesn't feature higher on this list.

So, what was revealed? The name of leading man Ryan Gosling's character, which is Kade Auberon. As names go in the hugely popular sci-fi franchise, that's a pretty cool one to have, but it's still small fry in comparison to the announcements I've yet to cover.

Interestingly, a first teaser for Starfighter was also unveiled at the fan convention — and, if it had been officially released online, I'd have placed this entry higher. For what it's worth, the teaser has been leaked, but I won't be sharing any links because I don't want to get in trouble with Lucasfilm or Disney.

While we wait for it to properly hit the internet, find out everything we know so far about Star Wars: Starfighter.

5. Your Friendly Neighborhood Spider-Man season 2 release month and first-look details

Your Friendly Neighborhood Spider-Man (YFNSM) might not everyone's cup of tea. However, aside from its unusual animation and art style, which took me a long time to get used to, I actually enjoyed the Disney+ animated show's debut season.

So, even though every other Marvel announcement at this Year's D23 was better and/or more exciting to a lot of people, I'm really looking forward to YFNSM season 2's launch in January 2027.

Based on the above artwork and first-look footage, there's a lot to get excited about, including Spider-Man bonding with the symbiote and getting his iconic black suit, confirmation that new and returning villains will appear, and the revelation that Spider-Gwen is set to join the show.

4. Star Wars: Ahsoka season 2 release date and first trailer

Three years have passed since Star Wars: Ahsoka's first season premiered on Disney+, one of the world's best streaming services. But, while it's been plenty of months since filming wrapped on its sophomore installment, we've still got a long wait on our hands for it to arrive. That's because Star Wars: Ahsoka season 2 won't arrive until January 20, 2027.

Disappointing though that is, Lucasfilm has sought to appease us by releasing season 2's first trailer — and, I don't know about you, but it looks much, much better than its sluggish forebear did. Okay, trailers can be deceiving, but if Ahsoka season 2 marries huge space battles with more intimate sci-fi drama, I'll be very happy.

While we wait for it to be released, get the lowdown on Star Wars: Ahsoka season 2.

3. VisionQuest first trailer and story details unveiled

The final part of the Marvel Cinematic Universe's (MCU) only TV trilogy to date, VisionQuest will wrap up the story that began with hit series WandaVision and continued with 2024's Agatha All Along.

With VisionQuest set to come out on October 14, it's high time we saw some actual footage from it. It was kind of Marvel to not only oblige at D23 Expo 2026, then, but knock our socks off with what appears to be a cracking third act to this Wanda Maximoff and Vision-led narrative.

That's not all we've learned about the Paul Bettany-fronted show, either, because the Marvel Phase 6 TV show's official story synopsis has also been revealed.

"Vision, rebooted and having escaped from those who sought to weaponize him, has been in hiding," the plot brief reads. "Searching for new meaning, he consults the AI personas embedded in his programming, including F.R.I.D.A.Y., E.D.I.T.H., J.A.R.V.I.S., and the infamous Ultron.

"His discreet existence ends when a bounty placed on his head thrusts him on the run with Thomas Shepard, a mysterious boy who may be Vision’s son, reincarnate. As Vision evades capture, he must confront his nature, resist Ultron's influence, and unravel the enigma that is his young companion if he’s to survive."

For the full scoop on the final MCU TV project of the year, find out what we know so far about VisionQuest.

2. Avengers: Doomsday trailer #2

You wait months for an Avengers: Doomsday trailer and, like London buses, two arrive in quick succession. Less than a month after the first trailer for Avengers: Doomsday broke the internet, Marvel has released another one for the hotly anticipated team-up movie — and it's further raised our collective hopes that the fifth Avengers film will be as epic as the three of its four predecessors (sorry, Avengers: Age of Ultron...) were.

There's plenty in this new teaser to excite fans ahead of one of 2026's most exciting new movies, too. From a fresh look at Doctor Doom's duel with Thor, and more teases concerning the former's backstory and motivations, to the gravity of the situation that our heroes face and their desperate attempt to delay the inevitable — that being, Doom's likely victory in Avengers 5 — and December 18 can't come soon enough.

1. Marvel's new X-Men movie cast reveal and release date announcement

Quite frankly, there was only one thing that could top Avengers: Doomsday's new trailer release at D23 Expo 2026: some official news on Marvel's new X-Men movie.

After weeks of speculation that included numerous casting rumors and gossip that Marvel would unveil the stars of the MCU's first mutant-led film at D23 Expo 2026, the comic titan did just that, too.

We already knew that Sadie Sink's Jean Grey would be joined by Kit Connor's Cyclops and Samara Weaving's Emma Frost in the Marvel Phase 7 flick. Meanwhile, Obsession star Inde Navarrette had all but teased her involvement after confirming she'd met X-Men movie director Jason Schreier.

As always, though, Marvel had a few surprises up its sleeve. Not only did it officially announce Navarrette would portray Rogue, it also confirmed Christopher Abbott (Girls) would feature as Charles Xavier/Professor X, and that Maya Boyd (Merrily We Roll Along) is on board as Ororo Munroe/Storm. Perhaps the biggest shock of all, though, was that none other than Adam Driver would finally join the MCU as Nathaniel Millbury — or, to give his proper name, Nathaniel Essex, aka the villainous Mister Sinister.

Oh, and did I mention that the MCU's first X-Men film was confirmed to be releasing on May 8, 2028? No? Well, it will. Can someone invent time travel, so we can fast-forward to 2028, please?

For more on the forthcoming mutant flick, read up on everything we know so far about Marvel's new X-Men movie. Again, be aware that some information, especially in the cast section, will be out of date until I update it.

Disney and Epic Games have been promising a ‘persistent, open and interoperable’ universe since February 2024, when Disney took a $1.5 billion equity stake in Epic Games, and Bob Iger called it the company's biggest foray into games ever. Two and a half years and a handful of Fortnite islands later, we're finally getting something that behaves like what was actually promised: a Disney park experience that connects, mechanically, to Fortnite itself.

Most of what's arrived since that 2024 announcement has been a slow drip of standalone content rather than anything tied to the parks. Disneyland Game Rush launched in November 2025 as a Creative island celebrating Disneyland's 70th anniversary, dropping players into mini games modeled on Space Mountain and Haunted Mansion — fun, but built entirely inside Fortnite, with nothing connecting back to an actual park visit. A Percy Jackson: Siege of Monsters island followed that December, timed to the Disney+ show's second season.

On the parks side, Imagineering has been running its own parallel experiments with a lot of the same underlying tech. Buzz Lightyear Space Ranger Spin at Magic Kingdom now uses Unreal Engine to power real-time scoring.

And this past June, I exclusively got an early look at the next-generation animatronic system that debuted at Pirates of the Caribbean in Disneyland. This pirate transforms into a skeleton in real time, driven not by traditional animatronic mechanics but by a projection pipeline built on Unreal Engine-based rendering tools.

It's proven to be a divisive addition among park fans. Still, it's also more proof that the line between "ride system" and "game engine" has been blurring inside Imagineering for a while now, well before Fortnite entered the picture.

What none of those individual pieces actually did was talk to each other. That changes now, though, as Disney and Epic have unveiled Millennium Falcon: Smugglers Run | Fortnite. It's not the most original name, but it essentially combines Millennium Falcon: Smugglers Run — the ride inside Galaxy's Edge at both Disney's Hollywood Studios in Orlando, FL, and Disneyland Park in Anaheim, CA — with a new Fortnite island called Smugglers Gambit. And it's the first time riding a physical attraction produces something you bring into Fortnite — not just a shared theme, but an unlockable reward tied to a specific action you took inside the park.

According to Julia Humphreys, VP of Production at Disney Digital Entertainment, who walked me through the thinking in an exclusive interview, that's exactly the point. "Smugglers Gambit is definitely a first step and not a finish line," Humphreys told me.

"With this foundational experience we wanted to prove out something that we've believed for a long time: that a story doesn't have to end when you leave the park, and it doesn't have to start over from zero when you pick up a controller." Progress, discoveries, and relationships with characters, she said, are meant to actually carry over between the ride and the game rather than resetting every time a guest switches from one to the other.

Starting August 16, 2026, guests entering Galaxy's Edge can accept Hondo's mission through the Disneyland or Disney World’s My Disney Experience app, then ride Smugglers Run as usual. Finish it, and you'll get word — in the app or by email — that Hondo's waiting on the Smugglers Gambit island in Fortnite with, fittingly, "your cut of the profits." If you link an Epic Games account to your MyDisney equivalent, the reward will automatically unlock. If you can’t link or choose not to, they'll email you a redeemable code. It's free with park admission, and Fortnite is, of course, still free to play.

I haven't gone hands-on with Smugglers Gambit myself, but between the screenshots Disney shared and my conversation with Humphreys, the game puts players in the role of a smuggler working the Outer Rim. Environment art shows a hazy, sun-bleached Mersa Veta Station, freighters docked along exposed gangways with towering scrap-metal walkers looming in the fog, and ships like the Quadjumper parked in dim, blue-lit hangars. Quests run across a location called Ord Ryla, and combat screenshots show players in flooded, fire-lit corridors, consistent with the co-op missions, class and leveling system, and run-ins with pirates, Imperial remnants, and hostile wildlife Disney has described.

Graphically, it's a noticeable step down from the ride's own visual bar — but that tracks with what you'd expect from a Star Wars experience running in Fortnite rather than on Imagineering's custom multi-GPU hardware. Whether the Falcon itself shows up as a flyable or interactive ship in Smugglers Gambit remains to be seen.

The technical connection between the two experiences is where my own time on Smugglers Run at Disney World comes back into play. Back in June, I covered Imagineering's overhaul of the ride, including the engineer role that lets guests pick between three different planets and steers the whole mission depending on how they play — powered, Imagineering confirmed, by a heavily customized, multi-GPU build of Unreal Engine 5.

Smugglers Gambit, on the other hand, was built in UEFN — Unreal Editor for Fortnite, Epic's own related but distinct toolset that sits on top of the same underlying engine. That shared foundation, Humphreys said, meant the teams "didn't have to start from a blank page": ships, characters, and environment objects originally modeled for the physical ride were translated directly into the Fortnite experience rather than rebuilt from scratch.

Getting the two sides to actually talk to each other wasn't simple. Humphreys described it as "a team effort across Walt Disney Imagineering, Disney Digital Entertainment, and so many other teams across Disney, Lucasfilm, and Epic Games" — everything from new physical signage in the park queues to the backend account-linking infrastructure to the Fortnite ecosystem work needed to make the in-game rewards possible.

It's also a bet backed by real numbers. This new experience builds on the Star Wars IP Toolkit, the creator toolset that powered a wave of Star Wars content in Fortnite this past May, shortly before The Mandalorian and Grogu hit the big screen. Disney says it pulled in close to 8 million players in its first 72 hours — not a small feat.

This new experience feels like the start of something we've been promised and have been waiting to see for a while. Will it drive more people to the parks just to unlock the Fortnite tie-in? My guess is that the impact will be minimal — the broader investment in parks and the kind of full-ride retheming Imagineering did with the Falcon itself make a far more compelling case for a visit than a Fortnite reward does.

The real impact is this: the experience you have flying the Falcon with Mando and Grogu over Endor or Coruscant can now carry beyond your time at the park. And that spreads the Star Wars story — your story — farther.

That's a long wait for a promise this specific — but Humphreys sounded like she'd have waited even longer. "As someone who loves both theme parks and games, this is the start of a collaboration I've wanted to see for years," she said. "It's very much the opening chapter with Epic Games, and I can't wait for people to experience where this relationship goes next."

Taken together, this is a cool first step — not because any single piece of it is groundbreaking on its own, but because it's the first time Disney has actually wired the reward loop between a park and Fortnite, instead of just theming a Fortnite island around a park. The ride itself is genuinely better than it was even a few months ago; my June story covered how the three-planet, choose-your-own-adventure overhaul already made Smugglers Run more replayable. Now that same ride experience feeds into a Fortnite island that, if it delivers at scale, could become a real destination on its own — one where Hondo is voiced by the same actor as on the ride, for what it's worth.

The redemption structure is a nice touch, too: finish the mission, and you get a Fortnite reward of an exclusive outfit for taking the ride. I'd expect Disney and Epic to keep tuning that loop over time, the same way Imagineering has kept iterating on the ride itself; more skins, more unlocks, deeper crossover content wouldn't be a heavy lift if this lands with players.

What I'm more curious about is where the "connected" half of this idea goes next. If riding the Falcon can unlock something in Fortnite, there's no obvious reason Disney stops at Star Wars. A Toy Story Mania tie-in wouldn't be a stretch, and we’ve already seen a version of WEB-Slingers in Fortnite, so why not give that attraction a similar tie-in?

Now that the plumbing between a ride and a persistent game world actually works, the list of places Disney could point it next gets long fast.

August was lacking in new horror releases, but I still found three interesting titles to dive into — two of which will no doubt be familiar to you, as we have some returning franchises in the lineup.

The other is an indie game that popped up on my Steam Discovery Queue, and was indeed perfectly suited to what I enjoy best. This one was a free demo ahead of its release, but I played enough of it to come to a conclusion.

Without further delay, here's what horror media I tried out throughout August and what I thought of them. As always, I'm keen to hear your thoughts!

Movie: The X-Files: I Want to Believe — Vrach Frankenshteyn

Where to watch: Hulu (US); Disney+ (internationally)
Lucy's verdict: Scream

OK, yes, The X-Files is not strictly horror and is billed as a sci-fi series. But hear me out, the director's cut of The X-Files: I Want to Believe features all the body horror scenes that were removed to give it a PG-13 rating, meaning it's a worthwhile watch for horror fans this month.

Now, considering The X-Files: I Want to Believe performed poorly when it was released, don't expect Vrach Frankenshteyn to miraculously make you love it. If you weren't a fan of the original 2008 cut, you probably won't like this either. I, however, really enjoyed the movie and got a lot out of this version of it too.

Vrach Frankenshteyn tells the story how Chris Carter wanted, blood and gore included. It certainly packs a punch, adding a lot to the movie if you already happen to like the story. This one will likely be the most divisive of my three picks this month.

TV show: The Walking Dead: Dead City

Where to watch: AMC+ (US); Sky / NOW TV (UK); Stan (AU)
Lucy's verdict: Skip

I think I'm suffering from The Walking Dead fatigue, because I just can't get on with this show. I was hopeful it might get me back on board with the franchise because Negan is one of my favorite characters, but I was left feeling underwhelmed.

At the time of writing we're three episodes into season 3, with the season set to conclude on September 13. Seth Hoffman is the new showrunner after Eli Jorné, and we've started relying on recycled plotlines and the same tired dynamic between Negan and Maggie. It's started feeling a bit stale, and for me, this is one of the weaker Walking Dead spin-offs.

I recommend trying out The Walking Dead: The Ones Who Live instead, as it has better pacing and stories.

Game: Something Strange Tonight — The Lurker

Where to play: PC
Lucy's verdict: Scream

Thank you to my Steam Discovery Queue for suggesting the demo of Something Strange Tonight — The Lurker, because I am now very excited to play the full game when it releases. We don't have a confirmed date for that yet, but I've got it wishlisted for when it does.

I love creepy, low-poly games (as evidenced by my Mouthwashing review), so the trailer for Something Strange Tonight — The Lurker immediately freaked me out. The game follows that stereotypical slasher movie trope of a babysitter who is terrorized at night, but it's full of creepy twists.

Your goal is to survive the night and keep both yourself and the kid you're looking after alive. You'll be approached by numerous visitors, but can any of them be trusted? It's up to you to figure that one out.

If you're a seasoned anime fan, you'll understand the unique sense of excitement that comes with binging a brand-new show — and it's exactly how I feel about Crunchyroll's breakout series, BLACK TORCH.

As of writing, we're now six episodes into the epic adventure, following high-schooler Jiro, who just also happens to be a ninja descendant who can talk to animals. He's rescued an injured black cat named Rago, who is actually a powerful mononoke, or demon spirit.

I'll let Crunchyroll explain the next part: "After Jiro is mortally wounded protecting Rago from hostile spirits, Rago fuses with him, creating a human-spirit hybrid. Jiro is then recruited by Japan's covert Bureau of Espionage into a special unit called 'Black Torch' to fight rogue mononoke."

It's a classic anime storytelling format with a new twist, and so far, its six episodes have successfully blended high-intensity action with a strong emotional core. Even the intro song feels a cut above the rest, and I'm not surprised that anime fans are lapping it up.

With six episodes left to go, what can we expect from the second half of BLACK TORCH? According to English dub cast AJ Beckles (Jiro) and Ryan Colt Levy (Ryosuke Shiba), you're best off expecting the unexpected.

'It's more of what we've had... but bigger'

"Expect the unexpected," Beckles tells me. "It's more of what you've got, but bigger. As we reach the end of the season and these episodes start to come out, there more high-octane, serious moments. There's a lot to look forward to, for sure."

It's a vague response, but this doesn't surprise me. Even the above trailer showed almost no signs of what was to come in the actual series, which was a refreshing decision. Of course, we can expect the drama to follow the original manga, but this can't be assured as a given.

But has there been any pressure for either actor knowing that these episodes are airing to a pre-existing fanbase?

"I don't know if it's necessarily like a pressure... I like to think of it as a responsibility," Levy says. "No matter what, there are people out there that you are making this for, and where we may never get to have that face-to-face feedback, we have access. People will put so much passion into that.

"We approach this no matter what with the intention to make sure that people who love it feel seen, and feel like they are spending time with the characters that they want."

"We've been cast and It's a ginormous responsibility, because it could have gone to anybody," Beckles agrees. "So the fact that it went to us means that we have a duty to do a good job. We're not necessarily thinking about the end result. The focus should be on, 'Am I thinking as Jiro is thinking? Am I serving this character?' Because if I do so to the best of my ability, someone will resonate with that."

I've got no idea how I'm going to feel about the upcoming second half of BLACK TORCH, but hearing the sheer passion that the voice cast has for its craft fills me with hope — and the joy that my initial burst of anime excitement seems set to continue.

I’ve always been a fan of premium formats at the cinema, and thanks to the combination of a large screen, rich visuals, and sound that really packs a punch, Dolby Cinema has long been my go-to choice — even over IMAX.

This week, I ventured to a local AMC in New Jersey for Spider-Man: Brand New Day in Dolby Cinema. The theater featured stadium-style seating and was practically sold out, with only a handful of seats remaining in the front row. Considering the film has grossed more than a billion dollars globally, including over half a billion dollars in the US alone, it’s no surprise that tickets for Dolby Cinema and theaters in general have been hard to come by.

So, while my screening came a few days after opening, it was well worth the wait and ended up being one of my favorite Dolby Cinema experiences in a while.

For starters, the dual 4K laser projectors that power Dolby Cinema did a fantastic job with Spider-Man: Brand New Day. Colors were rich and vibrant, while the finer details in darker scenes remained visible without losing that cinematic contrast. Yes, a Dolby Cinema screen is typically smaller than a true IMAX screen, but that didn’t bother me here. Between the picture quality and the audio, I still felt completely immersed in the world of Spider-Man: Brand New Day.

I was pulled into the action almost immediately, and the combination of the screen, seating, and sound made the theater itself almost disappear.

You could, of course, opt for ScreenX, which wraps the image around you across the side walls, or catch Brand New Day on select IMAX screens in the US for a limited time. Just remember that those screenings aren’t necessarily the same as seeing a film presented in true 70mm IMAX — an important distinction when talking about premium cinema formats.

But for me, the real highlight was the Dolby Atmos sound.

Dolby Cinema’s audio setup is an expansive, full-range system designed to deliver sound throughout the theater, and Brand New Day makes particularly good use of it. It can pack a serious punch when the action kicks in, but what impressed me most was the low end. The bass wasn’t simply loud; it had weight and presence, adding another physical dimension to explosions, movement, and the film’s bigger action sequences.

Spoilers lie ahead

Spoilers for Spider-Man: Brand New Day ahead

As noted above, the real highlight for me was the sound. While the entire mix was well done and made excellent use of Dolby Cinema’s audio capabilities, there is one scene in particular that stands out — hence the spoiler warning, as it revolves around a pretty major plot point.

As Peter Parker begins to deal with the rise of arachnid traits in his genes — see a taste in the image above — he starts experiencing heightened senses. When he heads onto a rooftop, the sequence becomes a fantastic showcase for what a well-designed cinema sound system can actually do.

You hear the rush and bustle of New York City around Peter. Footsteps take on a heightened presence. An empty bag of chips scraping and tumbling along the ground suddenly becomes an important part of the soundscape. Instead of simply hearing these sounds as background noise, you’re placed inside Peter’s heightened perception of them.

And this is where Dolby Atmos really shines, especially when it all rushes together.

From a spatial perspective, the mix does a tremendous job of pinpointing where sounds are coming from and matching them to what’s happening on screen. Sounds move around the theater in a way that feels deliberate rather than gimmicky, helping put you directly into Peter’s headspace. The result is a sequence that feels less like you’re watching someone experience heightened senses and more like you’re experiencing them alongside him.

It’s a real tour de force for the sound team — and arguably one of the better demonstrations I’ve experienced of what premium cinema audio can add to a movie beyond simply making things louder.

When I head in for my second viewing of Spider-Man: Brand New Day, it’ll most certainly be in Dolby Cinema again. The picture is excellent, the seating and presentation are fantastic, and the overall experience is incredibly immersive.

But ultimately, it’ll be for the sound.

Spider-Man: Brand New Day reminded me that when Dolby Cinema is firing on all cylinders, the audio can be just as important to the cinematic experience as what’s happening on the screen.

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:

With Spider-Man: Brand New Day in theaters and bringing a new chapter of Peter Parker’s story to the big screen, I got an early look at the wave of toys, collectibles, apparel, and gear arriving alongside the film during a special preview event near Silvercup Studios in Queens.

Arriving at the venue, we quickly saw Spider-Man leave his mark on the studio's iconic exterior, thanks to a projection show in which the hero saved the day and then magically appeared, as if he'd dropped off some of the new products associated with the next chapter.

And there’s a lot to choose from. Whether you’re looking to upgrade your own Marvel collection, searching for a gift for the Spider-Man fan in your life, or simply want to bring a little more web-slinging action home, the latest lineup has something for nearly every kind of fan.

From Lego sets that let you recreate the iconic Daily Bugle and detailed masks that bring the hero’s look to life to mystery figures, collectible trading cards, and apparel inspired by the film, the Spider-Man: Brand New Day merch collection covers plenty of ground.

Here are some of the best Spider-Man: Brand New Day toys, collectibles, and gifts worth checking out.

Spider-Man Brand New Day must-haves

• 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.

Great news for 4K Blu-ray fans: the huge half-price sale on Criterion Collections discs is still running at Barnes & Noble, and Amazon has some of the same discounts running too. Slightly more concerning news: the sale ends on July 26, so you only have a few days left to pick up some new discs!

• View the full Criterion sale at Barnes & Noble
• View the Criterion sale at Amazon

At Barnes & Noble, absolutely everything is a flat half-price, which makes things easy (and a stone-cold bargain). At Amazon, quite a few discs are half-price, but some have smaller discounts than B&N (or no discount at all). But I've included that sale too, because a lot of people like to start with Amazon for the convenience.

Obviously, there's a huge range of stuff to choose from, so your best bet is to browse the full sale directly, but I've picked out 12 options that I think are particularly tempting. And if you don't have a 4K Blu-ray player yet, don't forget to check our guide to the best 4K Blu-ray players, all tested by us!

Criterion 4K Blu-ray sale — quick links

• View the full Criterion sale at Barnes & Noble
• View the full Criterion sale at Amazon

Criterion 4K Blu-ray sale: 12 titles I'd recommend

• View the full Criterion sale at Amazon
• View the full Criterion sale at Barnes & Noble

• 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.