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My Adventures with Green Lantern was first announced in February of this year as a spin-off to Adult Swim’s My Adventures with Superman , an anime-influenced take on Superman. My Adventures with Green Lantern  will focus on the Green Lantern, Jessica Cruz who has her life upended when a power ring falls from the sky. This iteration of the character will be a high schooler who’s chosen to be the ring’s champion As reported by Knight Edge Media last week, a character description for Jessica states she will be 14-15 in the series who had a normal upbringing playing softball and hanging out with her friends Kyle and Nikki until everyone around her hits puberty and she faces bullying. The series picks up when Jessica begins high school and is described as chronically anxious, a trait that’s core to her comic counterpart. Sources tell Nexus Point News that Kyle and Nikki are confirmed to be Kyle Rayner and Nikki Jones, respectively. Other characters confirmed to appear are Alex DeWitt and Kilowog. Details and the direction of Kyle’s character are currently under wraps but he will serve as a love interest to Jessica. The series will be set in Coast City and the students will be attending Hal Jordan High School. The status of Hal Jordan in this universe is currently unknown. Similar to My Adventures with Superman ’s Sailor Moon-esque transformation, the influence will carry over to this series with Jessica sporting a Sailor Moon inspired costume. The Green Lanterns in this iteration are described as peace-keeping warrior monks rather than cops, similar to the Green Lantern who appeared in My Adventures with Superman . Nikki is described as an overly confident, goth high schooler who doesn’t care for the approval of others. Nikki is Jessica’s lifelong best friend and protective of her, sometimes overly protective. Nikki is likely an adaptation of Nicki Jones from the comics who becomes the new Jade as part of Lex Luthor’s Infinity Inc. Nicki Jones first appeared in 52  #29 in 2007 and was created by Geoff Johns, Grant Morrison, Greg Rucka, Mark Waid, Keith Giffen, and Chris Batista. Alex DeWitt is described as the popular girl of the school. She’s a softball star and the daughter of politicians. Alex first appeared in Green Lantern  (1990) #48 in 1994 and was created by Ron Marz and Bill Willingham. She’s known in the comics as Kyle Rayner’s first love interest and the victim of the infamous “fridging” issue where she’s brutally murdered by Major Force. Kilowog, like the other Green Lanterns, is described as a warrior monk and the last surviving Green Lantern. Kilowog served with pride and an incident in the past involving him resulted in the collapse of the Green Lanterns. Kilowog serves as a mentor to Jessica. Kilowog first appeared in Green Lantern Corps  (1986) #201 and was created by Steve Englehart and Joe Staton. Kilowog is the last surviving member of his race and lost his planet during Crisis on Infinite Earths  and was initially created to be one of the lanterns who joins Hal and John on Earth when the Corps were no longer bound by sectors. Kilowog is best known for serving as the Green Lanterns’ drill instructor and Hal’s mentor. The release date for My Adventures With Green Lantern is not yet announced.

This article contains spoilers for Snoopy Presents: A Summer Musical . Summer camp can be a magical place, unless you're Sally Brown. In Snoopy Presents: A Summer Musical , streaming August 15 on Apple TV+, the Peanuts gang returns to Cloverhill Ranch for one last summer, mixing hijinks with lessons about change, friendship, and holding on to the places that matter. Sally is the heart of this special, deeply unconvinced by the idea of summer camp. “Best time ever? We’ll see about that,” she deadpans early on. From the first trumpet wake-up call to a well-meaning tie-dye prank orchestrated by Franklin, Marcie, Peppermint Patty, Charlie Brown, Snoopy, and Woodstock , Sally is not having a good time. Charlie Brown, however, is determined to make summer monumental, given that it’s his last at the camp. The animation is charming, with just the right balance between nostalgia and freshness. While the new voice for Charlie Brown may not quite capture the sincerity long-time fans will recognise, the overall characterisation remains spot on. Much of the film revolves around Sally’s (sometimes reluctant) journey from sceptic to believer. One of the best scenes involves her stepping into the lake with the other kids in a moment of trust, only to flee in terror after stepping on a twig that she’s convinced is a lake snake. Her horror is both hilarious and entirely understandable. Later, unable to sleep due to the wildlife, she opens her cabin door and calls out, "Could we please get some peace and quiet around here?" Instantly, the fireflies and crickets scatter. The next morning, a trumpet wakes her. She's not used to this, nor is she impressed. Can you blame her? Like those that come before it, Snoopy Presents: A Summer  Musical balances humour with emotional beats. When Charlie Brown finds Sally by the camp’s history wall, she’s staring at old photos, wondering why anyone would love the place. Ever the loving brother, he gently replies, “Everyone’s a little nervous when they first get here.” It’s a reminder that this special, though aimed at children, offers comfort for adults too regarding change, nostalgia, and the courage it takes to try something new. Of course, the film also ventures into musical territory, something it proudly wears in its title. With songs from writers and composers Ben Folds and Jeff Morrow, most numbers are sweet, though at least one might test the patience of any nearby adults. But they’re sincere, and that’s what counts. Sally even gets her solo about why she’s justified in being wary of everything. While the song clearly sets up her development from sceptic to eager camper, there’s an underlying message about respecting people’s boundaries and allowing them to move at their own pace, as those around her realise. Her transformation really begins when she meets Lula May, a horse who gently licks her face. That moment softens Sally entirely, and it's heartwarming to see her relax and enjoy herself. But just as she’s settling into summer camp, a new challenge appears: the camp is closing. Not enough kids are attending, and the adults have seemingly given up. Some of the older campers, ready to move on, don’t feel the need to fight for it. However, Charlie Brown wants his sister to spend her summers there as he did. Sally, now newly enamoured with Cloverhill Ranch, steps up. “We have to save the camp,” she declares. Snoopy’s subplot, which involves finding a sunken treasure chest alongside Woodstock, ties in here beautifully. It turns out to be a time capsule, dating back to 1922, filled with memories of camp musicals and festivals. Charlie Brown gets the idea to revive the tradition and put on one final show to save the camp and remind everyone what it meant. Snoopy and Woodstock in "Snoopy Presents: A Summer Musical," premiering 15 August 2025 on Apple TV+. There’s a moment that will likely sail over kids’ heads but will hit hard for grown-ups: “We have to protect these kinds of places. Because once they're gone, they're gone forever.” It’s a sobering line tucked neatly into a feel-good special, and it lands. Naturally, things don’t go smoothly. On the morning of the festival, rain and thunder threaten to wash away their hard work. But just as Charlie Brown starts to sing a number about not giving up, the skies clear and a crowd appears. Snoopy, Charlie Brown, Sally and friends in "Snoopy Presents: A Summer Musical," premiering 15 August 2025 on Apple TV+. The final scenes are emotional in all the right ways. The kids return photos to the empty spaces on the history wall, continuing the tradition for Sally, her friends, and the future of Cloverhill Ranch. After all, they're leaving the camp better than they found it. The goodbye song they sing is especially sweet, filled with warmth and hope as friends part ways and some bid farewell to summer camp for the last time. And best of all? Sally’s going back next year. Snoopy Presents: A Summer Musical is a story about change, perseverance, and embracing the unfamiliar. It's thoughtful and unashamedly sentimental in the best way possible. And really, any film that ends with Snoopy happy is a win in my book. Rating: ★★★★☆ About Snoopy Presents: A Summer Musical Snoopy Presents: A Summer Musical . © Apple TV+ Premiere Date:  August 15 Executive Producer: Craig Schulz, Cornelius Uliano, Josh Scherba, Logan McPherson, Bryan Schulz, Paige Braddock, Stephanie Betts Writer: Craig Schulz, Cornelius Uliano, Bryan Schulz Director: Erik Wiese Production:  Apple Studios, Peanuts Worldwide, Schulz Studio Distribution:  Apple TV+ Cast:  Etienne Kellici, Hattie Kragten, Terry McGurrin, Jayd Deroché, Isabella Leo, Lexi Perri, Wyatt White, Caleb Bellavance, Arianna McDonald, Zoe Wheatley, Rob Tinkler Synopsis: “Snoopy Presents: A Summer Musical” is a musical special about the joy and magic of summer camp and the importance of preserving what you love. Charlie Brown loves camp and is determined to make his final year special, but Sally – a first-time camper – is nervous and skeptical of the new and unfamiliar place. While everyone settles into camp, Snoopy and Woodstock discover a treasure map that takes them on a wild adventure nearby.

UPDATE: There have been conflicting reports about what Ewan McGregor actually said regarding season 2 of ‘Ahsoka’. We acknowledge that what we reported may have been misheard. We will continue to provide updates as more information becomes available.  Big news for Star Wars  fans! Ewan McGregor confirmed at FanExpo Boston this weekend that he will be returning to play Obi-Wan Kenobi in the second season of Ahsoka , set to begin filming soon. During a Q&A panel at the convention, McGregor was discussing the series, and his wife Mary Elizabeth Winstead’s role of Hera Syndulla. During this conversation, he commented, “I begin filming on that [season two of Ahsoka ] soon.” He then seemed to realize he had announced something that hadn’t been common knowledge and added, “Was I supposed to say that? Was that something you knew?” There have been rumors swirling around about McGregor’s possible involvement in the series for some time now, but this is the first time the man himself has publicly confirmed he will be reprising his iconic role of Obi-Wan Kenobi. For fans of the character, the series, and the universe as a whole, this is wonderful news. However, it does raise some questions about what role, exactly, Obi-Wan will have in Ahsoka ’s second season.  Ahsoka  takes place after the events of Return of the Jedi , which means it occurs after Obi-Wan’s death in A New Hope  at the hands of Darth Vader. However, there are a few options for Obi-Wan’s involvement. The first season of the series features a realm known as the World Between Worlds, where Ahsoka interacted with a version of her old Jedi master Anakin Skywalker, played by Hayden Christensen. Christensen also portrayed a younger version of Anakin during the events of The Clone Wars  in flashback sequences. Either of these routes would make sense for a Kenobi return, and the possibility of a live-action reunion of Obi-Wan, Anakin, and Ahsoka would be huge for fans of the Prequels.  While there is no confirmation whether Christensen will be donning Vader’s helmet or Anakin’s robes again any time soon, he did state during the panel that he was more than willing to take on the role again, whenever the powers-that-be ask it of him. He also expressed interest in the possibility of a Vader-centric series or stand-alone movie, though that also was not confirmed as anything more than a willingness to return to the role.  Regardless of how Obi-Wan is incorporated into the world of Ahsoka , fans will undoubtedly be pleased to see Ewan McGregor inhabiting the role once again.

Marvel Studios is diving deeper into the undead with Marvel Zombies , a new animated series spinning out of the fan-favorite “What If… Zombies?!” episode from What If…? . Building on this alternate universe first shown in 2021, the show will explore a Marvel Cinematic Universe overrun by the zombie plague. Directed by Bryan Andrews, the show consists of 4 episodes. The series brings together an all-star voice cast of MCU veterans, including Awkwafina, David Harbour, Simu Liu, Elizabeth Olsen, Randall Park, Florence Pugh, Hailee Steinfeld, Dominique Thorne, and Iman Vellani, all reprising their iconic roles. In the What If...? episode this series springs from, the world is overrun by a quantum virus originally contracted by Janet Van Dyne in the Quantum Realm and brought back to earth by Hank Pym. As the virus overtakes the world and survivors fight back, we are introduced to the main antagonist of not only the What If...? episode, but Marvel Zombies' as well. Elizabeth Olsen's Wanda Maximoff is due to be front and center in the new series as a powerful adversary. Wanda already proved in What If…? that she’s one of the most dangerous beings in this zombified reality. Her chaos magic and undead hunger make her a nearly unstoppable force. She even survived a clash with the Hulk — who, by the way, is also stomping his way into this series. Wanda will be referred as the Dead Queen in the series. Okoye serves as a secondary villain and she will be in charge of an undead army, following the Scarlet Witch's orders. Additionally, Zombie versions of Ghost, Hawkeye, Abomination, Captain Marvel, and Captain America are confirmed to be in the series. And the surprises keep coming. Sources tell Nexus Point News that Marvel Zombies will also feature appearances from John Walker, Baron Zemo, Namor, Melina Vostokoff, Thor, Valkyrie, and Black Panther. Whether they will all show up as heroic survivors or join the ranks of the infected… well, we’ll let you find out for yourself. Additionally, Scott Lang's Head (from the What If...? episode), Spider-Man, Thanos, and Blade Knight are confirmed to appear in the series. They will be joined by best friends Riri Williams, Kate Bishop, and Kamala Khan. Marvel Zombies is set to release on Disney+ October 3, 2025.

Horror is a saturated market, and it’s understandable why it is; it’s one of the most profitable. A small amount of money for a huge cash out – who wouldn’t want to make a horror? This year has not only been a big year for horror but especially for Warner Bros., who released Sinners and Final Destination: Bloodlines earlier in the year. Zach Cregger released his first film back in 2022 with Barbarian , a film that was loved by many. He now arrives with his second feature, Weapons and Cregger is able to showcase his understanding of the genre, bringing a movie that’s fresh and unique in its own right. It’s unfortunate to say that, like Barbarian , Weapons suffers from similar issues that didn’t work for me or leave me with a satisfying feeling once the credits began to roll. Weapons tells the story of all the children but one from Justine Gandy’s (Julia Garner) class going missing after they leave their house at 2:17 AM and walk out into the unknown. Everyone wants answers to who or what was behind the mysterious disappearance, but only Justine takes things into her own hands after all the blame is thrown to her. While Weapons is a horror movie, it’s a mystery movie before anything else. Modern horror movies suffer from cheap jump scares, but Zach Cregger spends the first 20 minutes of this movie telling a story first while building up the anticipation for that first scare, keeping the audience aware at all times. When Cregger does decide to finally scare the audience, he does it in a way that will keep you second-guessing yourself. Weapons doesn’t pride itself on just scaring the audience for the sake of it being a horror. They’re well timed, sparingly put throughout the movie and for the most part, they serve a purpose. Justine only has the best intentions for her kids in mind, even if she sometimes crosses a line that borders between the teacher/parent boundaries. There’s trauma being dealt with from the disappearance of the kids to the pressure of having the town bla ming her for the unnatural occurrence. © Warner Bros. Weapons's storytelling structure allows for a lot of interesting ideas and a unique way to showcase how these central characters and a community deal with the grief of the kids disappearing, but these ideas and structuring crumble towards its final moments. Zach Cregger sets up the mystery of the story through the use of chapters, with each one following a character and switching as it reaches its peak. The camerawork in Weapons is one of its crowning achievements, as each chapter adapts to the style and characteristics of the character they're following. There's such great buildup that it's disappointing once it reaches the final chapter, which ties everything together in a slow, dragged-out act that's void of any style. The final chapter isn't necessarily bad, but it lacks nuance and purpose. It's a final act that takes the film into a completely different direction as expected, and while it still provides good scares and is overall still thoroughly entertaining, it takes a drastic change with its tone and no longer feels like the movie it was at the beginning. Weapons is a film with so much promise, and while it may lead people to believe it could be an allegory on school shootings, trauma or even the social troubles that children go through, Zach Cregger denies all of these, making you wonder what else this movie was building up to be. The beauty of Weapons is that through grief, it shows how the actions we may take to make ourselves feel better ultimately don't change the tragedy that took place. The final chapter makes us sit down with a conclusion that doesn't really leave us with a satisfying feeling and forces the audience to come to terms with the fact that nothing will change whether we like it or not. That's Zach Cregger's biggest strength with his writing for Weapons , but also at the same time his greatest weakness. Weapons is the type of horror film you get once a decade; it's a bold, risky movie, and for that Zach Cregger deserves a round of applause as he continues to break the boundaries of what the horror genre is capable of. It had the ingredients to become one of the best horror films of 2025, and it may well possibly be if I choose to rewatch it a year later, but for now it's a serviceable, thrilling horror film that will have everyone in discussions for years. Weapons is a movie that's meant to be watched more than once and is for sure one that will leave you coming out with a different viewpoint on the story that Zach Creggers is trying to tell with Weapons . Rating: ★★★☆☆ Weapons . © Warner Bros. About Weapons Premiere Date:  August 8th, 2025 Executive Producer/Showrunner: Zach Cregger, Roy Lee, Miri Yoon, J. D. Lifshitz, Raphael Margules Writer: Zach Cregger Director: Zach Cregger Production:  New Line Cinema, Subconscious, Vertigo Entertainment, BoulderLight Pictures Distribution:  Warner Bros. Pictures Cast:   Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Benedict Wong, Amy Madigan Synopsis: When all but one child from the same class mysteriously vanish on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.

Disclaimer: This review contains minor spoilers for Bring On The Bad Guys: Loki . The premiere page of “The King in Yellow,” the opening story in the latest issue of Marvel’s Bring on the Bad Guy  (2025) comic mini-series, features Loki, “Lord of Lies,” playing out the final moments of his role during the mythical Ragnarok, chained to a rock while a venomous serpent drips poison into his eyes, his punishment for manipulating the blind Hodor into killing his twin brother, Baldr, with a secretly poisoned arrow, much to their father, Odin’s considerable rage. Surrounding him as he writhes (artist Jethro Morales’ work is a brutal portrayal of Norse lore, so recognizable that the comic does not even need to mention the event by name for it to nonetheless jump off of the page; likewise, color artist Yen Nitro’s sickly green snake venom sizzling in Loki’s eyes looks appropriately agonizing) are white, otherworldly words encompassed in red and ‘spoken’ off-page, or perhaps not at all: “Have you finally learned a story’s cost?” it croons, referencing the “Maker of Tales and … Mischief’s … little schemes” against the backdrop of ensuring Loki understands this “one precious truth.” For his part, Loki can do little but listen and wait to die after fulfilling his pre-written destiny. © Marvel Comics Ragnarok Around the Clock The initial conceit of Bring on the Bad  guys was, per the “ villain-centric trade paperback collection released in 1976 ” that bears the same name, an early example of collecting “older,” “uncommon” comic stories into trade paperbacks, thus making them far easier to track down for ensuing generations of readers. In contrast, modern comic fans eat quite well with their official omnibus release schedule  and such. The stories collected in the initial Bring on the Bad Guys  omnibus feature the same villain line up as its 2025 successor: Doctor Doom, Green Goblin, Abomination, Loki, Red Skull, Dormammu, and Mephisto. What’s new in the reboot is that Mephisto is the force connecting each fellow villain’s respective adventure, all of which amount to individual quests designed to allow Mephisto to piece together the Soul Forge, “an ancient artifact that can give whoever gains access to it control over all souls on Earth,” but only after performing a “sacred incantation … delivered along with the souls of descendants from an ancient cult known as the Lords of Darkness.”  Per Doctor Doom’s recollection in the series' premiere issue, written by Marc Guggenheim, the six Lords of Darkness’ origins include Kamar-Taj, Wakanda, the Order of Khonshu, Latveria, and Atlantis, with the mysterious Lucifus the outlier “who kept his intentions and true identity secret from his comrades.” Unsurprisingly, a dagger which Mephisto’s equally mysterious servant, Sister Sorrow, acquires from Emil Blonsky aka Abomination to settle an undisclosed debt captures Doom’s interest, knowing as he does that said dagger is symbolic of one of five souls required to “ignite” and “unleash” the “might” of the aforementioned Soul Forge. Also unsurprising is Doom blithely admitting to Sister Sorrow that such power finding its way into “anyone else’s hands is an affront to the will of Doom.” Though unmoved by this logic, Sister Sorrow nonetheless bristles at the insinuation that she is a trained pet, and then spellcasts her way to the fiery pits of Mephisto (aka ‘Lucifus’)’s realm, where he confirms that the Soul Forge will give him dominion over all of the souls both in Hell and on Earth.  Mephisto’s machinations throughout Bring on the Bad Guys  are traceable via both artifacts and the individual stories of said bad guys’ fated victims - follow the bloodshed. For instance, the dagger that Abomination traded to Mephisto in exchange for his relative freedom from eternal damnation is later used by the Green Goblin to murder Alan, an up-and-coming associate of the former’s government identity, Norman Osborn and the unfortunate descendant of one of the Lords of Darkness. Like his proposed deal with Loki, Mephisto seemingly prefers striking when his potential victims are vulnerable, often near death, and desperate for his assistance. Case in point, Osborn’s infamous shadow self physically manifests as the Green Goblin, but under Mephisto’s puppeteering, it nominally exists to torment Norman mentally by reminding him that, ultimately, he will sacrifice Alan by his own hand, as well as the soul of his first-born son in Mephisto’s name. “It’s adorable that you think that counts,” his tormentor snorts when Norman describes killing his own childhood dog, Mucky. Unsurprisingly, “dread lord” Mephisto is adept at leading his followers around by their vices, and also rather impatient while waiting for them to do his bidding. “Frankly, Norman, I think you’re excited to deliver him to me,” Mephisto cajoles Osborn as he prepares to fulfill the grisliest task of their shared bargain. “What is this creature inside of you? What will it do when you set it loose? You’ve felt him scratching at the walls inside of your mind. He’s dying to be free, Norman. Let the Goblin out.” And so he does - one down, four to go. Let the Monster Rise While the story structure for this incarnation of Bring on the Bad Guys  is fairly straightforward, Guggenheim, Oliviera, et al collectively do an admirable job of keeping the reader guessing as to certain characters’ hidden motivations. The inevitable carnage that Abomination causes in the third issue of the comic is complicated by a repeated narrative bait-and-switch underlying Abomination helping to uncover the ‘true’ danger inherent in the story’s plot. Alas, Abomination successfully slaughters both the grandson of Onyilogwu, the Wakandan-borne Lord of Darkness, and Mokinyo, another of Onyilogwu’s descendants, and Abomination’s true target all along: “I cashed in my last Wakandan chip to get that well dug up … and to get you on that helicopter.” Tragically taking out Mokinyo only because her ancestor’s grandson “wasn’t human enough” for Mephisto’s purposes, having supernaturally enhanced himself long ago in order to maintain control over his zombified family members, eternal revenge for their mortal betrayal, Abomination plays up his ‘gentle giant’ persona to gain the trust of those who purport to control him, though he clearly does not forget his own potential for destruction: “Did you think you had Black Panther in that cell? If you had wanted lives saved and kids tucked in, you could’ve brought back your exiled King. But that’s not what you did,” he taunts Mokinyo as the full horror of his manipulations become clear. “‘You knew what I was when you picked me up.’” Like Abomination, Mephisto supplies Loki with the aforementioned dagger with which to extract the soul of yet another descendant of the Lords of Darkness; specifically, a penniless musician whose ancestral ties to the now “crumbled” Order of Khonshu mark him for an early death. “Take this dagger. Slay the boy with it. Capture his soul,” Mephisto instructs Loki, who proceeds to follow his orders to the letter. While this might seem surprising, considering that Loki’s penchant for mischief and lying rival Mephisto’s own, Loki’s ‘tarrying’ while he assists the young prodigy to obtain international acclaim as he feverishly works to perfect his magnum opus, a musical performance that hits suspiciously close to home (“Feel the rock and feel the chain! / Feel flesh split and scar again / As venom stings thy eyes!”) yet manages to draw Mephisto’s ire, enough to send Sister Sorrow to hurry him along. Whereas Sister Sorrow’s face-to-face encounter with Doctor Doom appears fused with mutual respect - each silently remarks that the other seems “formidable” - the exchanges between her and Loki are but spiteful: “You think I can be brought to heel? Outsmarted by the damned? Who was besting devils before the carpenter’s little touring show?” Indeed, Loki gleefully takes his bow on stage as his protege’s show concludes, and then proceeds to fulfill his assigned task before a sold-out auditorium: “You have practiced my art. Plied my music. Danced my rites. You owe me your soul,” the yellow-clad Lord of Lies proclaims, and then stabs his victim to riotous applause. Next, for an encore, he presents Mephisto with the borrowed dagger, albeit “empty” of the Order of Khonshu descendant’s soul and proposes a solution to his would-be master’s earlier riddle about the cost of a story: “When told rightly – when all is hazarded, when nothing is spared … it takes a soul.” Then, emboldened by the life he has stolen for himself, Loki returns to the mortal realm anew, servant to none. Two To Go The remaining three issues of Bring on the Bad Guys are slated for staggered releases through August. In the upcoming Red Skull one-shot, penned by Spider-Gwen  writer and “military-history buff” Stephanie Phillips, the titular villain’s “ruthless past from the dark days of World War II” will be explored, as well as the “horrible future [that] awaits Captain America as a result, thanks to a deal with the devil himself!” (Guess who!) Indeed, with two victims remaining to be sacrificed and four enchanted daggers still uncollected, Mephisto has his work cut out for him. By process of elimination, said remaining victims must be the descendants of Astreta Von Dire of Latveria and Corack of Atlantis, respectively, which implies that Mephisto is not finished attempting to corral Doctor Doom into his soul stable, to say nothing of his potentially epic deal-making with Dormammu. Likewise, the quiet reminders rounding out each issue that Sister Sorrow has her own agenda, even whilst still under Mephisto’s seemingly inescapable thumb, may well complicate the dread lord’s acquisition of daggers and other sacrificial supplies. Stay tuned! Overall, Bring on the Bad Guys: Loki  is an entertaining glimpse into the inner workings of evil, as its main players rejoice in the chaos they sow, albeit never forgetting the fragility of mortal souls and the dire cost of corrupting them. Per Paniccia , “Marvel broke the mold with supervillains, pushing them past the archetypal to the complex and some even morally gray but still to be feared … Each of these one-shots are an opportunity for fans to see what makes these villains some of the most dangerous characters in the Marvel Universe.” While the series’ 1976 predecessor was “a thing of beauty” and “a perfect encapsulation of the early Marvel style” due to its innate “ corny ” memorability, its successor stands strong as a follow up with considerable stakes and surprisingly sinister antagonists at the helm - no corn on these cobs! Rating: ★★★★★ About Bring on the Bad Guys: Loki #1 Release Date:  July 30, 2025 Written by:   Marc Guggenheim , Anthony Oliveira Art by: Michael Sta. Maria Cover by: Lee Bermejo Page Count: 29 Synopsis :  WHO GETS THE LAST LAUGH? Loki is the God of Mischief. Mephisto is the Lord of Lies. In a centuries-old battle of wits, Loki needs of a favor, and in exchange, Mephisto commands him to retrieve a soul - one belonging to an agent of Khonshu. But no one tells Loki what to do. Part FOUR of SEVEN Villainous One-Shots!

There's just something about the aura of Jurassic Park that just bringing in new or returning visitors to the lore of the franchise. Just a little over four weeks since Jurassic World: Rebirth came roaring into theaters, grossing over $750 million globally, the global phenomenon is roaring into living rooms and available to own or rent via participating retailers digitally at home. 'Jurassic World: Rebirth' is now on Digital Being one of the first summer blockbusters to hit digital release, dinosaur mayhem is hard to resist, and it is very hard not to want to watch this at home, with the lights off, and the sound all the way up. The film is the seventh in the Jurassic Park franchise, one that shows no signs of extinction anytime soon. For being released during an absolutely stacked Summer in theaters, the film did very well. Myself, being an avid fan of the Jurassic Park franchise, found myself going straight to the bonus content. Even after all this time, it amazes me to see the amount of effort and creativity that goes into producing these films. Photo Provided by Universal Pictures 2025 Nexus Point News is giving away TWO DIGITAL CODES to celebrate the digital premiere of JURASSIC WORLD: REBIRTH via X (Twitter) and Instagram. Shout out to the fine folks over at Mandy Kay Marketing for sponsoring this giveaway. SYNOPSIS A new era is born. A covert extraction team races to the most dangerous place on Earth, an island research facility where dinosaurs too deadly for the original Jurassic Park were left behind. Their mission: collect DNA from three colossal creatures to unlock a drug with huge benefits for humanity. In a terrain populated by perils, they will make a shocking discovery that has been hidden for years. BONUS CONTENT DETAILS Gareth Edwards, Jonathan Bailey, and Scarlett Johansson behind the scenes. The digital release comes with over one-hour of action-packed bonus content available only when you buy/own the digital release, which includes an alternate opening, deleted scenes and various making-of featurettes that show a behind-the-scenes look at how they brought the film to life. ALTERNATE OPENING DELETED SCENES RAPTORS MUTADON ATTACK JURASSIC WORLD REBIRTH: HATCHING A NEW ERA: THE WORLD EVOLVES - Journey into a reimagined Jurassic World with Scarlett Johansson, Jonathan Bailey, Mahershala Ali and the rest of the cast and filmmakers. OFF THE DEEP END - Dive into the thrilling ocean sequence and learn about the challenges of shooting on open water, the one-of-a-kind gimbal used to toss around the Essex and Mariposa, and the VFX wizardry that brought the Mosasaurus and Spinosaurs to life. TREKKING THROUGH THAILAND - Follow the cast and crew’s footsteps as they navigate the challenges of shooting in exotic jungles, beaches, and tall grass fields that become home to the Titanosaurs. REX IN THE RAPIDS - Brace for a T. rex encounter that’s different than anything experienced before with a nail-biting river chase recreated from Michael Crichton’s original Jurassic Park novel. DON’T LOOK DOWN - Soar into the Quetzalcoatlus sequence with Scarlett Johansson, Jonathan Bailey, and Bechir Sylvain as they train for and shoot their cliff rappelling scenes. MINI-MART MAYHEM - Go inside the heart-stopping third act of Jurassic World Rebirth and witness the process of crafting sets that allow the movie’s mutant dinosaurs to step out of nightmare-inspired designs and stop on an exhilarating rampage. GAG REEL MEET DOLORES - Meet the animatronic Aquilops with an extraordinarily lifelike personality. MUNCHED: BECOMING DINO FOOD - Get a victim’s firsthand view inside the frightening jaws of deadly dinosaurs that munch, chomp, and chew their way into creating unforgettable death sequences. A DAY AT SKYWALKER SOUND - Actress Audrina Miranda guides a personal tour of Skywalker Sound in California to meet the audio editors, foley artists, and mixers who design the movie’s wide array of sounds. HUNTING FOR EASTER EGGS - Find out where to look for cleverly hidden Easter eggs that pay homage to everything from the first Jurassic Park film to other Steven Spielberg classics. Feature commentary with Director Gareth Edwards, Production Designer James Clyne, and First Assistant Director Jack Ravenscroft. Editor Jabez Olssen, and Visual Effects Supervisor David Vickery. Physical release for JURASSIC WORLD REBIRTH will stomp it's way to 4K UHD, Blu-ray and DVD September 9, 2025.

This review contains minor spoilers for 'Limitless' Season 2. Chris Hemsworth is a man willing to show the vulnerability masked under strength. From his blockbuster turn as Thor Odinson in the Marvel Cinematic Universe, to the high-octane action of the Extraction  franchise, from comedy to drama, Hemsworth has proven himself able to bring pathos and humanity to the screen with him. He does so again in the second season of Limitless , airing on Disney+ and Hulu on August 15, and National Geographic on August 25. Instead of an iconic role, however, Hemsworth comes as himself, as relatable as an A-list celebrity who is friends with other A-list celebrities can be, willing to shed the stoic shield of hypermasculinity in favor of an openness to talk about issues that impact not only himself, but millions of others, in a way that is part documentary, part therapy session.  The first season of Limitless  aired on Disney+ in 2022 and consisted of six episodes, each of which encompassed a different challenge for Hemsworth to undertake. He applied himself to the endeavor with vigor and what resulted was an exciting and surprisingly heartfelt television experience. Season two, while half the length of season one, retains what was so charming about the original: Hemsworth, and his willingness to be vulnerable, unpracticed, unpolished, and sometimes downright ridiculous in front of experts, colleagues, friends, family, and the audience.  The first episode of the new season shows this very well, as Hemsworth consults Dr. Maya Shankar, a cognitive scientist, about how best to keep the brain elastic as one ages. It seems fitting that this is how the season would begin, as the previous season ended with Hemsworth learning he carried the markers that predict the development of Alzheimer’s disease, leading to a short break from Hollywood. So, surely, it makes sense to learn how to maintain neuroplasticity. Using clever animations and Hemsworth’s own narration, the neuroscience concepts are explained in a way that makes them easy to understand, even if perhaps oversimplified for the masses. In any case, Hemsworth is given the assignment of learning how to play an instrument, leading him to seek out singer/songwriter Ed Sheeran and Parkway Drive drummer Ben Gordon. After trying a couple of different options, it’s decided that he will learn how to play the drums in order to perform a song with Sheeran at a stadium concert. As Hemsworth claims not to have any musical background (viral clip of him performing Johnny Cash’s version of the Nine Inch Nails song “Hurt” while on the set of Avengers: Endgame  in full “Bro Thor” regalia notwithstanding), there are some basic skills that he has to develop in order to play. To aid him in the process of learning, he heads to the rehearsal space of Cirque du Soleil to learn about breaking longer pieces into shorter sequences, to help the brain work with itself instead of against.  Chris Hemsworth playing drums © National Geographic One of the joys of Limitless  is watching Hemsworth learn new things. There’s even the slightest sense of schaudenfreude in seeing an exceptionally handsome and otherwise talented individual struggle with a new skill, the same as everyone else. More than that, though, it’s relatable , with tips and tricks from experts that can be put into action even by those of us who don’t have our own lifestyle brand. Even with all of the new tools and practice, the lead up to the concert is tense, and the relief when Hemsworth nails the section of “Thinking Out Loud” that he had been struggling with the entire episode is palpable. Though honestly, if I were at an Ed Sheeran concert and Chris Hemsworth butchered one of my favorite songs, I can’t say I would even be that mad.  On the heels of success in challenging his mind, Hemsworth moves towards the challenges of the body. Episode two specifically focuses on chronic pain, and the relationship between pain and person. As someone who battles chronic pain daily, hearing Hemsworth talk about his own struggles with chronic pain was intensely validating. Both in conversation with palliative medicine specialist BJ Miller as well as during the camera-facing “confessional” segments, Hemsworth opens up about dealing with scoliosis from a young age and the impact it has had on his physical and mental well-being. Watching Hemsworth in any of his carefully-curated social media posts, or even during the first season of Limitless , it is clear his pain is something that has been deeply compartmentalized for a long time, hidden from public view. By being refreshingly honest about the fact that yes , his back hurts often, yes , he has to take medication to manage it sometimes , yes  it impacts time spent with his family, yes , he still forces himself to push through it due to some misplaced sense of pride, it allows others to be more open as well about their own struggles.  And, being able to share yourself with others while in pain is one of the things that Hemsworth explores when Miller hooks him and a couple of his buddies to a TENS unit, which is designed to provide electrical pulses to targeted muscle groups (and can be either therapeutic or extraordinarily painful). When sitting alone and hooked up to the device, Hemsworth was only able to tolerate the third-lowest setting before tapping out. However, when with his friends and focusing on a side-splittingly hilarious game of Jenga, Miller was able to raise the device to full power without Hemsworth being in distress. After the TENS unit excitement, Hemsworth visits a monastery and participates in an exercise designed to help move through pain, and then finally to the ultimate challenge of the episode: an intense training session with South Korea’s elite military. Distractions can help minimize the perception of pain © National Geographic The lessons in the second episode seem at first glance like your typical “mind over matter”, “push through the pain” type, but the message is really more about relying on connections with others and accepting  the pain instead of fighting against it. Of course, there is the caveat that this is specifically about chronic pain and not about the kind of pain that tells you that you just shattered your femur. This is about the kind of pain that worms into your consciousness on a day to day basis, the kind that may have a physical root source but which isn’t a signal that damage is actively being done. While Hemsworth admits that none of the techniques he practices in the episode made the pain vanish, the takeaway is that it became easier to endure when he was surrounded by others and focusing on other things.  There is no room for dropped focus in the third and final episode, which encompasses the concept of risk . Through home videos of his three daredevil children as well as the show’s own animations, the science of risk seeking behavior is discussed. The challenge for this episode involves climbing the face of a 200 meter high dam in the Swiss Alps, leading Hemsworth to consult with neuroscientist Abby Marsh about the science behind risk taking behavior in children, versus risk averse behavior in adults. The episode explains the difference in the brains of extreme athletes, who tend to have more active dopamine systems than other adults, which leads to a greater willingness to undertake risks. Leading up to the dam climb, Hemsworth practices both high diving and deep water free climbing, openly admitting to the difficulty of both tasks, but tackling them with good-humored aplomb. The climb itself is deeply intense, tight cuts of Hemsworth’s face, teeth gritted, eyes tight, as he painstakingly raises himself hand over hand up the side of an enormous concrete wall, in the mountains, in the middle of winter. Anyone who has attempted an endurance activity of any kind will recognize the stages Hemsworth describes going through during the climb, from early apprehension, to pain, to the much-desired “flow state”, to just pure anger at the wall itself that ultimately keeps him from giving up.  Neuroscientist Abby Marsh (left) explains the science of risk © National Geographic Season two of Limitless  is just as breathtakingly filmed as the first season, with wide, sweeping drone shots of soaring mountains and crashing waves, epic in scope. The experts and other guests add a huge amount of value, explaining complex concepts in a digestible format. I especially appreciated BJ Miller, the palliative care doctor, whose own harrowing experience with pain gives him a real sense of true understanding and professional gravitas. The real star is, of course, Chris Hemsworth, and not just because it’s his face on the poster. It’s not because it’s fun to watch him jump off a high dive or jam out on the drums, or to see him yelping as his abdominal muscles are shocked with electricity. It’s because Hemsworth, one of the most popular actors in the world, known primarily for his tough guy superhero action roles, allows himself to be seen . The Chris Hemsworth we see in Limitless  isn’t the A-list celebrity. It’s the 41-year-old dad and husband with back pain and a minor fear of heights. He’s lightly self-deprecating, charmingly earnest, and refreshingly genuine. He allows himself to be filmed in a way that is not always flattering, but is always honest.  There has been a recent renaissance when it comes to men’s wellness, a greater willingness to openly talk about the very real concept of toxic masculinity. With his work on Limitless , Hemsworth turns the idea of toxic masculinity upside down. The confessional segments often almost feel like a therapy session with how open he allows himself to be about his fears, his challenges, and his limitations. It is vital that men like Hemsworth continue to make content like this, as something both inspirational and aspirational.  While season two of Limitless  lacks the intense emotional capstone moment of the previous season’s final episode on aging and death, it is still an intensely enjoyable experience, and one that should rightfully earn Hemsworth the title of Bravest Man in Hollywood, not just because of the physical challenges he undertakes, but the emotional honesty with which he undertakes them.  Rating: ★★★★★ © National Geographic About Limitless Season 2 Premiere Date:  August 15th, 2025 Episode Count:  3 Executive Producer/Showrunner: Tom Watt-Smith Peter Lovering Arif Nurmohamed Jane Root Darren Aronofsky Ari Handel Chris Hemsworth Ben Grayson Brandon Hill Bengt Anderson Simon Raikes Production Company: Protozoa Pictures, Nutopia, Wild State Distribution:  Disney+, Hulu, National Geographic Cast:  Chris Hemsworth, Ed Sheeran, Dr. BJ Miller, Dr. Maya Shankar, Ben Gordon, Professor Abigail Marsh, Steph Davis, Kim Dong-hyun, Robbie Maddison Synopsis: In LIMITLESS: LIVE BETTER NOW, from Academy Award®-nominated filmmaker Darren Aronofsky and his production company Protozoa, Jane Root’s Nutopia, and Chris Hemsworth and Ben Grayson’s Wild State, Chris returns with a bold new mission: discovering how we can all live better—starting today. Filmed across six countries over two years, Chris draws from cutting-edge science and the wisdom of elders to push himself further than ever—both physically and mentally—as he confronts some of life’s most universal challenges: pain, fear and cognitive decline. With no prior experience, he learns to play the drums for a live performance with GRAMMY Award®-winner Ed Sheeran. Then, he scales a dizzying 600 foot climbing wall in the Swiss Alps to embrace risk. Finally, he joins the South Korean Special Forces, enduring electrocution and pepper spray, to confront his long struggle with chronic pain and reconfigure his response to it. In each episode, what Chris discovers can help us all change our lives.

This review contains minor spoilers for 'Wednesday' Season 2 Part 1. Shine a light (or turn the brightness down) because Wednesday Addams (Jenna Ortega) is back for another year at Nevermore Academy alongside her friends, inconveniences and, most importantly, the Addams family, who are more present during this first half of the season. Netflix has found a brand with Wednesday , which is noticeable with its new gothic Netflix indent. Audiences quickly fell in love with Wednesday , but what upsets them once again is the second season being split into two parts after an already long hiatus. I mean, one look at Pugsley (Isaac Ordonez) between seasons shows you how long it has been. Netflix has found recent practice in taking their popular IPs and staggering the release of their future seasons, with one half being released before the second half, usually a month later. While it continues to anger audiences, it clearly works for Netflix; otherwise, it wouldn’t be tradition. Wednesday Season 2 Part 1 fixes the issue that most staggered releases have, and that’s that it was clearly written and filmed with its release pattern in mind. Wednesday Season 2 Part 1 follows Wednesday Addams as she returns to prowl the Gothic halls of Nevermore Academy, where fresh foes and woes await. Wednesday must navigate family, friends and old adversaries, propelling her into another year of delightfully dark and kooky mayhem. Armed with her signature razor-sharp wit and deadpan charm, Wednesday is also plunged into a new bone-chilling supernatural mystery. Jenna Ortega in 'Wednesday' © Netflix While audiences, critics and almost everyone around me found a new love in Wednesday , it never connected with me. The potential was there but was hindered by its writing, which brought it back 10 steps when the story took 1 step forward. Wednesday Season 2 Part 1 rectifies the issues of the first season and comes back stronger, packing a psychic punch. The first half of this season having great, consistent, writing is one of many firsts for the show. Wednesday Addams goes through a few firsts herself, with her return to Nevermore Academy being the first time she’s ever found herself returning to a school. Upon her return, she’s (un)welcomed to this new fame after saving the Academy the previous year, which for her is out of the ordinary and bothersome. Wednesday finds herself with a stalker who seems to know her as well as she knows herself. This is a storyline that only plays over the first two episodes, but what they do with it doesn’t only keep the show entertaining, but it also tests Wednesday as she’s up against a force that for the most part proves to be too good and smart for her. Alfred Gough and Miles Millar do an excellent job of building this mystery surrounding the stalker and keeping the audience on their toes, but its revelation falls six feet deep into a grave. The revelation of the stalker’s identity is not one that feels worthy of how well set up their mystery is. Although this is the case, and at first it can feel like a waste of a storyline, this is only the first half of a season. The second half could flip this entire story arc around, as Wednesday’s relationship with this stalker is a very present part of the overarching story, but only time will tell if this new character’s addition was even worth the screen time. Wednesday finds herself in the middle of a new murder mystery (or more, it finds her). What hinders Wednesday as she tackles this new murder case is that she doesn’t have her psychic abilities to hold onto as an anchor to help solve her mysteries. This doesn’t just create a rift with Wednesday and her own identity but also with her relationship with her mother. Unlike the first season, this season does its best to delve into the mind of Wednesday so that the audience can better understand her feelings. Jenna Ortega might deliver a great deadpan performance, but there are layers hidden underneath that finally get revealed as Wednesday allows new people into her life and gets her hands dirty.  Emma Myers (Left) and Jenna Ortega in 'Wednesday' © Netflix Wednesday Season 2 Part 1 takes its slight turn and feels like a grounded mystery story with the lack of Wednesday’s psychic abilities. With the removal of this, it also allows for great risks in the show, which the writers don’t hesitate to take advantage of. The fourth episode is by far the most exhilarating, as all the pieces finally begin to connect with all the central characters in one location. It’s also written and treated like a mid-season finale instead of just another episode in the season, which favours Netflix’s release schedule with Season 2. It’s not just Wednesday that has returned but also her closest friend, ride or die, and roommate, Enid (Emma Myers). There’s a slight lack of attention to Enid’s relationship with the wolf pack, and while this would’ve been the ideal angle to tackle with her becoming more in control of herself, instead the show gives her boy problems. The downfall of Season 1 began when Wednesday found herself in the middle of a love triangle. Not only was it out of character, but it was unnecessary and added nothing substantial to the overall story. Wednesday Season 2 Part 1 thankfully makes fun of the idea that Wednesday was ever in such a ridiculous situation as that. Now, instead of Wednesday being in a love triangle, Enid finds herself in one this season as she tries to turn away Ajax (Georgie Farmer), who’s still in love with her, while she’s falling in love with Bruno (Noah B. Taylor). There’s a strong lack of romance with Wednesday this season, and it’s very noticeable, as her story doesn’t sidetrack once in this season. That isn’t to say that the show lacks any romance. It’s clear that even with Jenna Ortega as a producer, the writers still want to involve some sort of romance storyline in the show, and Enid was their opportunity to do that. While it takes away from her having a better-written storyline that focuses on her and her wolf pack, it doesn’t feel out of place for the character to be in a love triangle. Alfred Gough and Miles Millar have realised that throwing all the romance to the supporting character allows for the overarching story to move forward without any distractions that will just slow down the pace of the story for the worse. (L-R) George Burcea, Catherine Zeta-Jones, Jenna Ortega, Isaac Ordonez, and Luis Guzman in 'Wednesday' © Netflix The biggest change with Wednesday Season 2 Part 1 is that the Addams family have a much larger role than in the previous season. Pugsley is finally attending Nevermore Academy, but his one issue is that with Wednesday distancing herself from him, he struggles to make real friends and like people just for being him. There are a lot of supernatural creatures that appear in Wednesday from witches and hydes to wolves, but now there’s a new introduction, Slurp, a zombie that Pugsley befriends and sees as his one true friend. This first half of the season dives into Pugsley’s social troubles and does so creatively but at times can fail to return to the character, leaving him on the backburner. Morticia (Catherine Zeta-Jones) and Gomez Addams (Luis Guzmán) also find themselves staying at Nevermore Academy to help with the Gala Fundraising Committee for the school. Gomez doesn’t get as much attention, but Morticia feels at the foreground of what’s been set in place for the second half of the season. There’s a new principal at the school who goes by the name Barry Dort (Steve Buscemi), and while he may put on a friendly face, he seems rather corrupt in getting things done his way, as he uses Bianca Barclay (Joy Sunday) as a puppet to control the playing field. Bianca, similarly to Wednesday, is dealing with her own complexities and the struggles of her siren abilities, which she is able to keep in check but also highlights how easy it is for such a powerful ability such as that to corrupt the people around you. For a character that has less screentime than Enid, her story is not only strong but is only the beginning of the hardships she’s being put through. Wednesday Season 2 Part 1 takes a more serious tone compared to its previous season as it drops its titular character into a situation that forces her to tackle obstacles in ways that are foreign to her. It’s darker, and while still far from a horror, this season is more attuned to its horror genre and does an excellent job of setting up eerie and creepy moments that make Wednesday feel closer to a horror than it has before. Jenna Ortega makes the role of Wednesday hers with a performance that’s almost as iconic as Christine Ricci’s. With its complex storylines and risks that will leave you wanting to sleep in a casket until September 3, Wednesday Season 2 Part 1 is the best improvement that Wednesday could’ve asked for. Rating: ★★★★☆ About Wednesday Season 2 Part 1 Part 1 Premiere Date (episodes 201-204): August 6, 2025 Part 2 Premiere Date (episodes 205-208): September 3, 2025 Created By / Showrunners: Alfred Gough & Miles Millar Directors: Tim Burton, Paco Cabezas and Angela Robinson Executive Producers: Al Gough, Miles Millar, Tim Burton, Steve Stark, Andrew Mittman, Tommy Harper, Karen Richards, Kayla Alpert, Jonathan Glickman, Gail Berman and Meredith Averill Cast: Jenna Ortega, Steve Buscemi, Catherine Zeta-Jones, Emma Myers, Joy Sunday, Luis Guzmán, Hunter Doohan, Billie Piper, Isaac Ordonez, Victor Dorobantu, Georgie Farmer, Moosa Mostafa, Evie Templeton, Owen Painter, Noah Taylor and Luyanda Unati Lewis-Nyawo Synopsis: Wednesday Addams (Jenna Ortega), returns to prowl the Gothic halls of Nevermore Academy, where fresh foes and woes await. This season, Wednesday must navigate family, friends and old adversaries, propelling her into another year of delightfully dark and kooky mayhem. Armed with her signature razor-sharp wit and deadpan charm, Wednesday is also plunged into a new bone-chilling supernatural mystery. Creator/showrunners Alfred Gough and Miles Millar return for the spine-tingling second season of WEDNESDAY, alongside executive producer and director Tim Burton.

This review contains minor spoilers for 'King of the Hill' Season 14. © Hulu It gives me immense joy as a fan of King of the Hill  to report that, indeed, patriarch Hank Hill still has a narrow urethra. This is confirmed in the Season 14 premiere’s opening monologue by his dutiful wife, Peggy, whilst on a plane en route from “Saud-eye Arabia” to the fictional suburb of Arlen, Texas. Not only does Hank now have the urethra of a seven-month-old (“like in that movie, Benjamin Buttons !”), Peggy proudly (and loudly) explains to fellow passengers (as Hank protests feebly while mired in the in-flight restroom by his internal plumbing) that, after a decade of living on hummus and falafel, “that skinny little tube just shrinks and shrinks.”  Back on American soil following a stint working for Aramco - it’s unclear whether Aramco bought out Strickland Propane - leaves both Hank and Peggy worrying that things have changed too much since they traded in western Texan suburbia (Arlen is based on a Dallas suburb called Richardson , near creator Mike Judge’s childhood stomping grounds) for an Aramco base aesthetically geared towards Boomers with disposable income who want to live in the ‘50s again. Fortunately, during a weary trudge towards dependable ol’ Mega Lo Mart, Hank and Peggy are charmed by the authentic wholesomeness of a group of Girl Scouts selling cookies, and decide to stay in town. Season 14 of King of the Hill  is thus rooted in the Hills’ reintegration into their familiar homeland of “slow conversations, constant blaring sun, mild annoyance but rare anger at the changing world” (Moser). Spoiler alert: Delightfully, Hank’s newfound disgust for modern Arlen’s army of floppy road reflector markers is more rare anger than mild annoyance. Yahoos and Triangles In a nutshell, King of the Hill ’s return to television via the streaming service Hulu feels familiar, but not nostalgic. This, per Toby Huss (the voice of Kahn Souphinousinphone, Season 1-13; Huss also takes over voicing Hank and Peggy’s wacky conspiracy theorist next door neighbor, Dale Gribble for the late Johnny Hardwick [1958-2023]), was “by design,” a statement underscored by Mike Judge reportedly being “pissed off” at a suggestion that the reboot amounted to “ Andy Griffith is back .” Rather, the Hills’ return to Arlen, Huss counters, “doesn’t feel like it’s a nostalgic thing, like, ‘Let’s look at the old fun people we had fun with.’ It’s nothing like that. It’s a whole other iteration of their lives, just a few years later. It’s charming in its own way, and it’s safe and it’s inviting because it’s, you know, meeting these old people, old friends again, but it never felt nostalgic.” Considering viewers - who, of course, have aged considerably themselves (boy, have we ever, I tell you what!) - have not laid eyes upon new King of the Hill  episodes since 2009, the show ages organically, albeit hardly as faux-idyllic as Aramco’s foreign “American city for Americans.” Ergo, tempting though it may be to yearn for more flashbacks (in Season 15+, please and thank you!) to Hank and Peggy’s time in “Saud-eye Arabia,” the overall tone of the show, circa Season 14, like Peggy’s five-star portrayal by Kathy Najimy since Season 1 (spoiler alert: Peggy’s Arabic is as unerring as her Spanish!), is pretty much pitch perfect, circa 2025. Bill, Hank, Dale, and Boomhauer return to Arlen in 'King of the Hill' Season 14 © Hulu Indeed, Season 14 leans into a world wherein the fictional Arlen experienced its own version of the 2019 COVID-19 “pan-dumb-ic,” during which Dale Gribble ran for local public office on a platform promising no masks whatsoever (“tear gas, catchers”), which Hank is pained to hear his neighbors voted for. “Mayor Gribble was the devil you know,” rationalizes neighborhood newcomer Brian Robertson (Keith David), who rented the Hill house during their absence and now lives elsewhere nearby; meanwhile, Boomhauer (voiced by Mike Judge) acknowledges that he voted for Dale “as a dang ol’ joke.” In any case, having won by only nine votes, Dale swiftly grew disillusioned with the political process and contested the results of his own election, ultimately branding himself an “election denier-denier.” Probably unsurprisingly, Bill Dauterive (Stephen Root) fared the worst in-universe during the show’s hiatus, having not left his bedroom since 2020 (“Do you know what happens when you finish Netflix, Hank? You get something called a ‘wellness check’”). The show skips Bill’s shape-up montage between the premiere episode of the new season and the rest, though his chronic sad man shtick is on moderately unhinged display in Episode 6 (“Peggy’s Fadeout”), wherein Hank meets the Black barber shop patrons who believe Bill is married to Peggy. Essentially, Season 14 leans into the characters learning to radically accept life's inevitable changes, underscored by the handful of adaptations necessary to end the show’s 15-year hiatus. That is, along with Dale and Kahn’s aforementioned vocal switcheroos - Ronnie Chieng, who is of Malaysian descent, plays Kahn in Season 14 with a “ colder delivery ” than Toby Huss, per Helena Lobato - the new season serves as the bittersweet final performance of Jonathan Joss  (1965-2025) as fan favorite John Redcorn. Spoiler alert: He is, naturally, “still giving it to Nancy quite often.” Joss’ tragic murder in June by an “openly homophobic” (per his husband, Tristan Kern de Gonzales) neighbor who had been stalking Joss and his husband for years horrifically shadows an already complicated personal and professional legacy. Perhaps because of this, King of the Hill  kindly opts to give John Redcorn the happy life he deserves, circa Season 14, complete with commercial success as the co-host of Selling Arlen , a local real estate television show alongside long-time sidepiece (ssshh!) Nancy Gribble, as well as a hopeful interaction between John Redcorn and ‘Dale’s’ son, a now-21-year-old Joseph in Episode 9 (“No Hank Left Behind”).   Likewise, the show’s remaining returning voice actors - Lauren Tom retains the roles of both Minh and Connie Souphinousinphone, while Pamela Adlon ultimately decides n ot to “ tweak the magic ” that i s (still) her Bobby Hill voice - simply sound like home. That Boy Is All Right One can anticipate only a few minor sticking points throughout the reboot that diehard fans of the show may stubbornly excoriate. Perhaps the most obvious one is that Season 14 contains neither in-universe acknowledgement of popular characters, Peggy’s niece, Luanne Platter (voiced by the late Brittany Murphy, who also voiced Joseph Gribble, pre-puberty, before handing the reins over to Breckin Meyer, and now to Tai LeClaire in Season 14), nor her husband, Lucky (voiced by the late Tom Petty), nor does the new season memorialize them (though it does memorialize both Johnny Hardwick and Jonathan Joss, as well as celebrity jazz musician and Mega Lo Mart sponsor Chuck Mangione , who passed days before the Season 14 premiere); spotting the presumably late (given that she would be in her mid-20s in dog years now) Ladybird, Hank’s prized purebred Georgia bloodhound’s urn tucked onto a shelf would have been a nice touch, too. Likewise, aforementioned newcomer, Brian Robertson is underutilized, though voice actor Keith David seems to be having a real brat girl summer between acquiring his own star on the Hollywood Walk of Fame and signing on to head the upcoming Rick and Morty  spinoff, President Curtis ; ergo, Brian Robertson will almost assuredly return for Season 15 and beyond - perhaps his band can perform at Hank and Peggy’s 30th anniversary next year! Joseph Gribble spends time with John Redcorn © Hulu Along with the show’s careful consideration for Arlen’s shifting demographics, per Pamela Adlon, the reboot’s “ new generation of young writers ” have a knack for “finding the sweet spots of the classic, vintage King of the Hill in the new era. We’re very blessed.” Indeed, rewatching the original series in anticipation of the new season makes many of the themes from the original episodes all the more apparent as they show up in updated forms in Season 14. Hank’s relationship with Bobby, fortunately, has improved immensely since the era of the series premiere, circa 1997, wherein Child Protective Services paid the Hill residence a visit on suspicion of Hank verbally abusing then-11-year-old Bobby. Indeed, Season 14 Bobby earns Hank’s begrudging respect amidst ending up on opposite sides of a regional home-brewing competition in Episode 2 (“The Beer Story”). Likewise, Hank eventually admits that he admires Bobby’s authenticity and can appreciate his particular brand of wabi sabi , especially now that Bobby is a self-made young man with his own restaurant (albeit funded by Ted Wassanasong).  As Daniel Kurland writes for Den of Geek , Bobby is akin to “the audience’s child who is now grown up and living his best life,” including being able to hold his own creatively and professionally against Hank when they “clash over hobbies.” Adds William Hughes, it is gratifying to watch the modern incarnation of “the pair working through conflicts that once would have seen Bobby get steamrolled by Hank.” Ultimately, Hughes muses, the new season “revels in” the “real pleasure” of “seeing this soft, sweet kid grow into a genuinely good man. (Also, in case you’re wondering: Bobby Hill absolutely pulls .)” YUP. Bobby hooks up with a restaurant patron-cum-admirer for a one-night stand in the season premiere, and the Vegan (‘vay-gan,’ per Peggy) Willow even accompanies Bobby and Hank to Dallas Cowboys Fantasy Camp in Episode 7 (“Any Given Hill-Day”) - a surprising bonding experience, until Willow does a truly unspeakable deed on unpopular Cowboys’ owner, Jerry Jones’ office desk, though the TV screen only has eyes for Hank’s aghast expression. (Jones seems unsurprised that “it happened again.”)  In addition, Bobby appears to get low-key invited to join Connie and a friend for some “Ethical Non-Monogamy” (ENM), but he mistakes the offer as Connie trying to hook him up exclusively with her friend. In fact, Connie’s open relationship with Chane Wassanasong (yes, son of Ted Wassanasong aka Bobby’s boss) embodies ENM ideals, or at least, the 21-year-old version of it - Willow aptly calls it “side-dick.” Much of Connie’s arc throughout Season 14 is watching her work through the various relationship dynamics she’s compartmentalized over the years, from her parents’ secret (ssshh!) divorce two years prior, to Chane’s general apathy towards her aside from opportunities to show off their relationship to their families. Likewise, Connie simultaneously seems to be weighing the pros and cons of starting a romantic relationship with Bobby, including inviting him to sing a sentimental karaoke song together. When Kahn and Minh’s divorce comes to light in Episode 8 (“Kahn-scious Uncoupling”), and Connie Kahn-sciously uncouples from Chane, Connie and Bobby share a sweet hug beneath the stars - may the obvious Bobby-Connie-Joseph throuple at last be realized in Season 15! Assigned Meat At Birth What remains to review includes brand spankin’ new additions to the King of the Hill  universe, e.g.: Boomhauer’s stint as a “father-figure to his girlfriend’s anxious son”; a popular theory is that Luke Jr. is, in fact, Boomhauer's biological son (ssshh!). Alas, Boomhauer proves to be a somewhat careless caretaker, looking askance when Luke Jr. develops a taste for Near Beer, and focusing on his phone instead of coaching Luke Jr.’s soccer games. Fortunately, Hank steps in (“New Ref in Town”), having developed his own taste for the sport (and CNN, on account of it being on during commercial breaks over at Fox News aka the only English-language channels in “Saud-eye Arabia”) while overseas, much to the chagrin of Dale, Bill, and Boomhauer. Also fortunately, modern Hank is “fundamentally smart, well-intentioned, and good with his hands, though he can occasionally be obstinate (‘what kind of food is poke?’) and flummoxed by all-gender restrooms and the metaverse. He’s not ‘woke,’ but he is awake.” Likewise, Cary Darling  gushes, “Hank, God bless him, stubbornly remains unlike other TV-cartoon dads who often are just lazy laughing stocks.” This is to say that Hank Hill, circa 2025, is an empathetic man capable of acknowledging his feelings (mostly) and resolving conflicts without threatening to kick anybody’s ass (mostly). Per Darling, “He’s the animated embodiment of dad jeans and those Progressive insurance commercials about young homeowners turning into their parents.”  Likewise, Hank and Peggy have obviously successfully managed to nurture Bobby’s creativity against all odds, as well as his innate “kindness and charisma,” enough for him to have created his own business. Thus, the aforementioned William Hughes offers, modern Bobby “naturally gravitates into the ‘sane man surrounded by weirdoes’ position that was once the sole province of his old man.” Even so, an outstanding sticking point of adult Bobby’s portrayal thus far is that the show downplays all of the self-educating he clearly did in order to create Robata Chane. Though his expertise about authentic Japanese charcoal and such is apparent in “Bobby Gets Grilled,” the show misses the opportunity for Bobby to confidently back up his decision not to attend college like many of his peers-cum-customers with his noted prowess as a self-made chef. There’s also presumably nothing stopping him from deciding to study cooking abroad in the future, of course.  Connie (left) and Chane (right) eat a meal at Bobby (center)'s restaurant. © Hulu Overall, Season 14 of King of the Hill is a crowd-pleaser with a debut “ rare perfect score”  of 100% on Rotten Tomatoes, and several publications declaring it to be “ the best revival ” / “ reboot ” ever. Per Kate Sanchez, Season 14 is “honestly the best revival that has ever been made” because “The reverence for its past is still intact, but it’s also grown.” That is, “Mike Judge understands Texas the same way Texans do.” Not only that, the original show often slid under the radar regarding its ability to “capture cultural moments and sensitivities in a thoughtful manner that doesn’t come across as preachy,” something the reboot arguably pulls off, as well. Even better, modern renderings of these much-loved characters have been thoughtfully updated with arguably more nuance than the original series had, whether it’s Hank being dismayed that nobody cares about historical accuracy while roleplaying at the Bush Presidential Library, or his somewhat reluctant ‘mantoring’ of his teenaged half-brother, GH (Good Hank) at his mom, Didi’s pleading insistence leads him to confront the idiocies inherent in the alt-right ‘manosphere’ movement, which he and GH unwittingly find themselves enveloped in (“No Hank Left Behind”). Here, Season 14 effectively showcases both Hank’s softly partisan determination to remain true to not only his most steadfast values, but also what he perceives to be baseline reality, something his goofy neighbors, et al often attempt to skirt the boundaries of; and though their escapades often exasperate him, he cares about them enough to (mostly) patiently walk them through whatever they’re missing. It’s what makes Hank a good block captain, neighbor, father, husband, friend, and even son, for though the late, great Cotton Hill may never say so, Hank carries on his legacy by instilling deeply bred Texan values in his offspring while simultaneously breaking the chains of intergenerational trauma one by one by encouraging GH to respect his mother, and leaning on his family, friends, and community to do what they can to make Arlen great. Likewise, the years look good on Peggy, whose feet, while still canonically huge, are rendered somewhat more proportioned by the new season’s clean-looking animation, perhaps too much to avoid fan criticism that they are not noticeably gargantuan enough now. TL;DR: Season 14 Peggy is a certifiable MILF. Like her husband’s, Peggy’s conflict resolution skills have matured like a fine wine she would name Peggy Ale. Likewise, Peggy and Hank regularly meet to discuss potential investments of their respective nest eggs; and while they may not couple as frequently as their 21-year-old son, it is clear that it happens often enough, including when Peggy successfully redirects Hank in this or that minor funk with sex (ssshh!). Peggy still has a tendency to smother Bobby a bit, but like Connie and Chane, Bobby proves adept at compartmentalizing his parents’ expectations and setting (mostly) polite boundaries with them. The result is a comfortable return to Arlen’s small-town Texan charm, one which the gods of streaming TV will hopefully deign to allow to continue. Welcome back, pardners. Rating: ★★★★☆ © Hulu About King of the Hill Season 14 Premiere Date:  August 4th, 2025 Episode Count:  10 Executive Producer/Showrunner: Mike Judge, Greg Daniels Writer: Saladin K. Patterson Director: Wes Archer, Kelly Turnbull Distribution:  Hulu Cast:  Mike Judge, Kathy Najimy, Pamela Adlon, Lauren Tom, Toby Huss, Keith David, Tai Leclaire, Ronny Chieng, Jonathan Joss, Stephen Root Synopsis: After years working a propane job in Saudi Arabia to earn their retirement nest egg, Hank and Peggy Hill return to a changed Arlen, Texas, to reconnect with old friends Dale, Boomhauer and Bill. Meanwhile, Bobby is living his dream as a chef in Dallas and enjoying his 20s with his former classmates Connie, Joseph and Chane.

AppleTV’s Chief of War  arrives with the promise of being an epic, action-heavy historical series, but what it delivers is a slower, more character-focused drama, anchored by Jason Momoa in a role that feels tailor-made for him. Momoa plays Ka‘iana, a historical Hawaiian figure caught between worlds, and his commanding presence, along with his Hawaiian heritage, makes him the ideal choice not just to lead the show, but to help mount it. He not only starred in, but also co-created and co-wrote the series. Though heavily marketed as a large-scale war epic, Chief of War  leans more into drama than action. Much of the storytelling is built on personal conflicts, loyalty, and identity, with the backdrop of colonial tension simmering throughout. The opening scene, featuring Ka‘iana in a shark-infested sequence, immediately recalls Momoa’s Aquaman , and in many ways, the character feels like a grounded blend of Aquaman and Khal Drogo. Te Kohe Tuhaka and Siua Ikale'o in Chief of War . ©Apple TV+ The series deserves credit for its deep cultural respect. Most of the cast are Hawaiian, and the first two episodes are spoken entirely in the Hawaiian language, which is a bold, admirable choice that helps root the viewer in this world. The language continues to weave through the show even after English becomes more dominant and at time may feel convenient, but it never feels forced. Add to that stunning natural locations, lush production design, and fantastic hair and makeup work, and Chief of War  creates an atmosphere that feels alive and genuinely Hawaiian. Performance-wise, Momoa sticks to his usual strengths for the most part — stoic glances, physical dominance, and brooding charisma — but he does rise to the occasion in the final stretch, delivering some powerful emotional moments that hint at what he could do with more layered material. Temeura Morrison, usually a scene-stealer, is unfortunately stuck with a fairly one-dimensional villain, while Te Ao o Hinepehinga as Kupuohi adds some welcome emotional conflict. Lucianne Buchanan as Ka‘ahumanu, however, is the true standout. She delivers her career-best performance, bringing complexity and nuance to her very integral role. Luciane Buchanan in Chief of War . ©Apple TV+ In terms of production, the series is solid. The score is immersive without being overbearing, and the pacing, while mostly consistent, does sag in parts. At nine episodes, it arguably could’ve been trimmed down by two to keep things tighter. The show holds back on action for a good while, which may disappoint some viewers, but when it does arrive — particularly in the finale — it’s brutal, bloody, and beautifully executed. The last episode is easily the series’ best, offering the kind of visual flair and cathartic payoff that had been building throughout. Chief of War  is a respectful tribute to Hawaiian history and a solid platform that expands Momoa’s talents. It doesn’t break new ground, and it plays things relatively safe in terms of narrative complexity, but it’s sincere, effective, and visually compelling. It keeps you engaged enough and there’s certainly a lot more story left to explore. Rating: ★★★ ½ Chief of War © Apple TV+ About Chief of War Premiere Date:  August 1, 2025 Episode Count:  9 Executive Producers: Jason Momoa, Doug Jung, Thomas Pa‘a Sibbett, Peter Chernin, Jenno Topping, Tracey Cook, Brian Andrew Mendoza, Anders Engström, Justin Chon, Jim Rowe, Molly Allen, Francis Lawrence, Tim Van Patten Writers: Jason Momoa, Thomas Pa‘a Sibbett Directors: Jason Momoa, Justin Chon, Anders Engström, Brian Andrew Mendoza Distribution:  Apple TV+ Cast:   Jason Momoa, Luciane Buchanan, Temuera Morrison, Te Ao o Hinepehinga, Cliff Curtis, Kaina Makua, Moses Goods, Siua Ikale‘o, Brandon Finn, James Udom, Mainei Kinimaka, Te Kohe Tuhaka Synopsis: Performed by a predominantly Polynesian cast led by Jason Momoa, Chief of War follows the epic and unprecedented telling of the unification and colonization of Hawai‘i at the turn of the 18th century. The ensemble cast includes Luciane Buchanan, Temuera Morrison, Te Ao o Hinepehinga, Cliff Curtis, newcomer Kaina Makua, Moses Goods, Siua Ikale‘o, Brandon Finn, James Udom, Mainei Kinimaka and Te Kohe Tuhaka.

BBC Studios definitely knows that the hearts of Whovians all over the world are definitely bigger on the inside. For six-decades now, the Doctor has been gracing our screens, ears, and eyes with adventures that span galaxies and moments. Doctor Who is no stranger when it comes to San Diego Comic-Con. Whenever I am on the show floor, I make it a point to navigate the hustle and bustle to feast my eyes on what BBC Studios and Doctor Who have to offer. I have been following the Doctor's adventures since he found me in the late 80s. Doctor Who would be shown on PBS and Tom Baker's whimsical, eccentric, but sternly profound mannerisms convinced me to sneak onto the television after my parents were asleep to see what adventure would unfold. Time travel some years later and here I am, having have found myself gone through an adventure of my own, raising a family. It's crazy to think that at about the same time Doctor Who found its way back into our homes over here in the States that I find myself sharing some of these adventure with my wife and kids. When I introduced to my wife I didn't know if she was going to think I was a madman to enjoy such whimsical and sometimes depressing adventures. Daleks, Cybermen, Vashta Nerada, and Weeping Angels, only someone who marries you for life would sit through these adventures. Now we indulge on the Doctor's journeys with our children. When BBC Studios invited me and my family to check out the UNIT: Black Archive activation during San Diego Comic-Con, they can attest that I responded with "ALLONS-Y". Upon arriving at the activation, I was able to preview new Doctor Who merchandise and apparel. I especially loved the look of the new shirts as they had a British Punk esthetic to them. Various Doctor Who Merchandise on Display So, if you get to know me, I can NOT pass up a TARDIS photo op. Maybe it's because phone booths are a rare sight to behold these days, or just the idea of a phone box where it really is bigger on the inside, it just warms my heart. The Entrance to the UNIT: Black Archive at San Diego Comic-Con It was awesome to see that the TARDIS set from the 2024 convention floor was repurposed outside for the activation. I was extremely excited as this was one of my favorite booths on the 2024 show floor. Fezzes were donned instantly and the Doctor Who UNIT: Black Archive activation was underway. The Black Archive was definitely a sight to behold for Whovians. Scattered about the UNIT warehouse were relics of various items and artifacts from the Doctor Who timeline. Seeing an actual member of The Silence encased in glass and Cybermen heads up close truly has an added sense of wow knowing that the UNIT artifacts played a part over the last 60 years of Doctor Who lore. Head of a Cyberman on Display at the UNIT: Black Archive It was a breath of fresh air to see BBC Studios and the folks who planned the activation go more interactive this time around. I had hoped it would feel like I was on the set of an episode of Doctor Who , and it was exactly what I had hoped for. I was fortunate enough to experience the immersive aspect to this activation, where attendees were able to interact with UNIT scientists to solve a series of puzzles at various stations to send a message to 'warn the Doctor'. The folks portraying the UNIT scientists were amazing keeping up with the immersion and they kept even the younger Whovians like my children highly motivated and entertained throughout. Happy to say the mission was a success. UNIT Scientist Congratulating My Kids on a Successful Mission. The excitement BBC Studios has for Doctor Who could definitely be felt in the air during this activation, and I am excited for what adventures the Doctor has in store. I was also told that the San Diego Comic-Con Museum in Balboa Park has a Doctor Who exhibit ongoing at the moment. The " Doctor Who Worlds of Wonder: Where Science Meets Fiction" exhibition at Comic-Con Museum is an interactive exhibit delves into the science behind the series, offering a deeper look at the Time Lord’s adventures through time and space. With a wealth of original screen-used props and costumes, along with exclusive in-depth recorded interviews from scientists and FX crew from the show, I'm told it is a must-see exhibition. Unfortunately, I was unable to check this out but, on a sidenote, if the fine folks over at BBC Studios sees this, please bring Doctor Who to San Diego Comic-Con EVERY YEAR. Rating: ★★★★☆