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With Uncanny X-Men , I’m never quite sure what to expect from one issue to the next. I’m not convinced that’s always a good thing. I came into this story with certain expectations, and while I occasionally get fragments of what I’m looking for (such as the Endling story), it rarely feels like it fully comes together. It’s like a puzzle that doesn’t know what picture it’s supposed to form, but occasionally gives you a clear idea of what's to come. We pick up almost exactly where the last issue left off. Becca (Calico) is having what appears to be a nightmare about Mutina. This was a welcome surprise. I enjoyed Mutina’s previous appearance, especially how she established herself as both a credible threat to other mutants and a character with staying power. The encounter may just be imaginary, however, as we see Becca sleepwalking around the Haven house, seemingly unharmed, though her room is left in chaos. As she talks in her sleep, the mystery surrounding her deepens, and it’s exactly the kind of intrigue that keeps me engaged. © Marvel Comics Another highlight of this issue was the focus on Nightcrawler. The Outliers have been in the spotlight lately, and while Rogue and Gambit have had moments to shine, most of the core X-Men have felt pushed to the background. It was refreshing to see Kurt take center stage. One of the things that makes him such a beloved character is his capacity for empathy and trust, especially in the face of the harsh judgment he often receives due to his appearance. A particularly touching moment comes when he reconnects with the family he saved earlier in the run. That encounter helps set the stage for the Friendship Festival later in the issue. A third standout element was the theme of mutant solidarity and broader community acceptance. Honestly, I expected the festival to end in disaster. Mutants have taken a lot of hits during this era, and it’s been hard to find moments of hope. But I was pleasantly surprised. The turnout, the formation of temporary alliances, and the genuine camaraderie offered a rare and welcome moment of optimism, even amid the chaos of a burning pediatric hospital. That said, the sudden appearance of Cyclops and a group of mutants not associated with his usual Adjectiveless X-Men team felt somewhat jarring. Rogue does mention having invited someone to the festival, so I’m assuming that was meant to be Scott. Still, their arrival to save the children’s hospital felt oddly inserted and disconnected from the rest of the narrative. Ultimately, while this issue didn’t significantly move the story forward, it wasn’t without its charms. In the current X-Men landscape, where many characters seem stuck in tired, recycled plotlines, this was at least a more positive and character-driven entry. I do hope we get to the promised Endling story sooner rather than later, though. Here’s hoping for more narrative momentum in the issues to come. © Marvel Comics About The Uncanny X-Men #18 Release Date:  July 23, 2025 Written by:  Gail Simone Art by: Luciano Vecchio Cover by: David Marquez Page Count: 28 Synopsis :  For the first time in New Orleans history, the city has declared a MUTANT APPRECIATION DAY festival and street fair, with all the music, food and fun the city is famous for. If the Hellfire Gala is filet mignon, this is corn dogs and lemonade. But are all mutants okay with this attempt at bridging the gap, or are sinister forces lurking behind the Tilt-A-Whirl?

When the From the Ashes  era titles were announced, I was surprised to see so many solo series included. Psylocke , however, felt like a natural fit. If you’ve been following the Krakoan era, you’ll know that Kwannon quickly became a standout character. Her appeal goes beyond her ninja skills and psychic powers; it’s her painful past and sharply defined personality that have truly set her apart. Fortunately, writer Wong seems to understand that completely. In this issue, Psylocke returns to Kyoto, to the very place where she was once trained to become the assassin she is today. There, she comes face-to-face with Mitsuki, an old friend she believed had died. Early on in the series, we learned that Mitsuki could connect and share energy with Yokai, and that ability now appears to explain her survival. She was saved by one Yokai in particular—the Lady in White, a spirit known for protecting lost children and punishing those who harm them. Along with other Yokai, the Lady in White helped Mitsuki recover until she was strong enough to take revenge on the master who nearly ended her life. © Marvel Comics But something about Mitsuki is different. As Kwannon observes, the quiet and kind girl she once knew is gone. Mitsuki not only took vengeance on their old master, but has since taken his place as leader of the Hand—the secretive ninja organization that holds power over much of Japan. With the aid of her Yokai allies, she has already taken control of the Kyoto branch and now hopes to use Kwannon to conquer the rest, whether she agrees to help or not. This part of the story is especially powerful. Watching Kwannon realize that she may have lost another loved one to darkness is emotionally gutting. The situation becomes even more disturbing when Mitsuki suggests that she could have the Lady in White possess Kwannon. Given Kwannon’s traumatic history with loss of autonomy and identity, this threat feels deeply personal and painful. It lands like a blow to the heart. Not all hope is lost, though. There’s an intriguing subplot developing, as Greycrow and Devon are also in Japan. They appear to be on Mitsuki’s trail, discovering a marking similar to the one that suddenly appeared on Kwannon and may be the cause of her visions. One that might either ward off possession or serve as a seal allowing spiritual entry. It’s a small but meaningful thread that adds mystery and tension to the narrative. Wong continues to deliver more than just a solo superhero comic. She offers a rich, emotional character study that delves into who Kwannon is and what she continues to endure. The storytelling is filled with drama, depth, and genuine surprise. Even when it feels like Psylocke is being pushed to her limits once again, her resilience remains unshakable. She always finds a way to rise stronger and more determined than before, so I’m eager to see what issue #10 brings for our Lady of Mercy. © Marvel Comics About Psylocke #9 Release Date:  July 23, 2025 Written by:  Alyssa Wong Art by: Vincenzo Carratu Cover by: Mahmud Asrar Page Count: 26 Synopsis :  Psylocke has found the home of the man who trained her and rebuilt her into a weapon. Can she face what lives within those walls? And what devious creature is watching them from afar?

Jean Grey has lived a confusing life—some might even say multiple lives. She’s traveled through space and time, been cloned, and existed beyond the bounds of reality. But somehow, nothing ever seems more complicated for her than family. In Phoenix  #13, we find Jean defending her recently rediscovered sister, Sara, from her quasi-son, Cable. It’s a tense and emotional standoff made even more complicated by the fact that no one involved has the full picture or perspective on events. At the center of it all is Cable, who has returned from the future to stop what he believes is the destruction of the universe. His claim? That Sara is the cause of it. He calls her an imposter and is determined to convince Jean that the woman she thinks is her sister isn’t real. But Jean has felt  Sara. Empathy is an essential part of her power set, and when she says she believes in someone, it's not just sentiment; it’s instinct. Even so, Cable refuses to back down. Realizing he can’t beat Phoenix in combat, and in a desperate move to distance her from Sara, he pulls Jean into the future to prove his point. © Marvel Comics What she sees there is haunting. The future is lifeless and empty, a desolate landscape littered with corpses. But in this apocalypse, Cable finally has the chance to speak to Jean without interference. He delivers a brutal truth: Jean didn’t just find Sara—she created her. Not the Sara who was once born to her parents, but a new being brought into existence by the Phoenix Force when Jean last connected with the cosmos. According to Cable, this version of Sara is a cosmic anomaly, and destroying her may be the only way to restore balance to the universe. This revelation forces Jean into one of the most painful decisions of her life. Sara is someone she just got back, someone she held in her arms. But she now represents a threat to everything Jean has ever fought to protect. The emotional weight is immense. As the Phoenix, Jean is the custodian of cosmic balance. As a human being, she’s a sister desperate not to lose someone she loves. But love might not be enough this time. The tension doesn’t end there. Sara and her allies are on the trail of Phoenix and Cable, and they aren’t alone. Their actions have attracted the attention of the In-Betweener, a powerful cosmic entity with its own agenda. It appears it has decided to intervene in affairs, which means Jean may lose control over how this crisis is resolved—and what that resolution costs. This issue hit harder than expected. Phillips skillfully puts Jean in a battle that can't be won with psychic might and flames. Instead, it’s an emotional and spiritual test, one that pushes her to the edge as both a woman and a cosmic force. Early on, Jean remarked that she was still trying to find a balance between her two identities. This chapter proves just how difficult that balance is to maintain—and how high the stakes are when she falters. Phoenix  #13 is intense, layered, and deeply human, even as it operates on a cosmic scale. With the arc building toward a dramatic resolution, I’m both anxious and excited to see what happens next for our cosmic guardian. © Marvel Comics About Phoenix #13 Release Date:  July 23, 2025 Written by:  Stephanie Phillips Art by: Roi Mercado Cover by: Lucas Werneck Page Count: 26 Synopsis :  TIMESLIDING IN…TO PUT A STOP TO THE PHOENIX! Jean Grey's beloved, long-dead sister Sara is…alive and well among the stars?! On a mysterious planet called Greyhaven, the Grey sisters have had an impossible reunion… But while Jean is overjoyed, other forces at work in the universe are less than thrilled - especially the psychically-attuned ones: like the telepathic, time-traveling soldier known as CABLE. After all, what's an X-Men family reunion without at least one time-displaced stepchild?!

After a long wait, The Old Guard 2 has finally arrived on Netflix, the long-awaited sequel to The Old Guard , with Charlize Theron returning to lead and director Victoria Mahoney helming the sequel. The Old Guard 2 is set six months after the first film and follows Andy (Charlize Theron) and her team, who are back in action with a renewed sense of purpose. Andy must confront her newfound mortality while Qyunh ( Veronica Ngô ) seeks revenge, and a mysterious threat looms closer, endangering the existence of the Immortals. The Old Guard 2 brings Charlize Theron and Uma Thurman together in their first movie, and Victoria Mahoney takes an approach with the action that makes every sequence feel integral to the plot. I got to sit down with Victoria Mahoney and discuss what it felt like getting to be the first director to work with both Charlize Theron and Uma Thurman, how she tackled her action sequences and their importance, and the long development process for The Old Guard 2 . Watch our interview below: The Old Guard 2 is now streaming on Netflix.

Kevin Smith is a man who needs no introduction. But if you are not familiar, his long list of works spans from working in the comic book industry to creating the legendary View Askew Universe which include cult classics Clerks, Mallrats , and of course Jay and Silent Bob and their many adventures. Smith is no stranger to San Diego Comic-Con. With appearances dating back to as early as 2013, it has become a fan staple and favorite for him to make his annual trip to San Diego. I was able to meet Kevin Smith at San Diego 2024 and personally tell him that he made a huge impact on the many things that I love to this very day. My Wife, Kevin Smith, and Myself at SDCC 2024 Of course, he probably hears that all the time, but meaningful to me none the, nonetheless. He showed enthusiasm of a person who doesn’t take any enduring words from a fan for granted, after going through his share of things in life after suffering a severe heart attack in 2018. This year, Bucket Listers is partnering up with Kevin Smith’s SModcast to bring fans a can't-miss comedy event series throughout this year’s Comic-Con weekend.  There will be three shows featuring Kevin Smith, Jason Mewes, Ralph Garman, and a whole lot of comic chaos. Image provided by Bucket Listers The three shows are:   Archie Meets Jay & Silent Bob Live!   Thursday, July 24 Kevin and Jay read the Archie comics release live, with audience participation! If you come to the show, you may be in the show!   Jay Mewes: The Ghosts of Comic Cons Past! Friday, July 25 Reminisce about comic cons of old with a man who has been going since 1995! For Jay Mewes' 30th Anniversary at Comic Con, he will regale the audience with journal entries from the many times he's been to San Diego over the years!   Hollywood Babble-On  Friday, July 25 When famed independent film director Kevin Smith teams up with veteran radio personality Ralph Garman, you know the results are going to be hilarious. Their weekly Hollywood Babble-On podcast gives these two geeky, raunchy comedians a platform to rant about whatever crosses their minds, much to the amusement of their rowdy audience.   Tickets and info can be found at https://bucketlisters.com/experience/kevin-smiths-comic-concerts , In collaboration with Bucket Listers, we’re giving one lucky fan and a guest the chance to pick attend a show from the three mentioned! Check out our post on X (formerly known as Twitter) for more details.

Disclaimer: This review contains minor spoilers for Season 17, episodes 1-3, of It’s Always Sunny in Philadelphia . Season 17 marks the 20th anniversary since It’s Always Sunny in Philadelphia  premiered in August 2005 on FX (with the latest season currently airing via FXX and next-day Hulu). Inherent in reviews for the Gang’s latest eight episode offering includes frequent marveling over the secret of its successful longevity across two decades of an ever-shifting socio-political landscape, to say nothing of maintaining a 20-year foothold with the same television network, or even of said network’s success in sustaining itself amidst brushes with streaming wars and/or oligarchal oversight.  Multiple interviews with showrunners seem to stress the importance of maintaining joy for the project at hand, e.g.: Danny DeVito  (Frank Reynolds) recently referred to the show as “ I Love Lucy  on acid. It’s been a joy and I look forward to it.” Concurs “pop-culture journalist” Kimberly Potts  in a recent interview to promote her upcoming Sunny  memoir, “No one” attached to the show “ever had a bad thing to say. And that’s pretty unusual about a show that’s gone on that long.” Potts then connects viewers’ ‘acceptance’ of the Gang’s shenanigans to fans having gotten to know the actual cast and crew, et al behind them over the years - or at least, trusting that “they’re nothing like the characters”; ergo, “It’s okay to laugh at their [characters’] hijinks on camera.” Overall, Potts credits the “complete positivity” surrounding Sunny for its longevity. Likewise, Gemma Wilson  acknowledges that while Sunny  premiered in an era wherein “America’s cultural appetite for meanness was pretty high,” the characters being forced to confront “current events and cultural shifts” as they age is yet funny because “the Gang continues to be the worst … but at least they’re so comically vile there’s no mistaking the show as endorsing their choices.” © FX “I Need to Say a Bad Word” Season 17 of Sunny opens with some long-awaited rounding out of unfinished business - namely, the Gang’s ‘side’ of their week of community service that they get sentenced to perform at Abbott Elementary School in west Philadelphia following a scheme involving dumping 100 gallons of baby oil, along with 500 Paddy’s Pub t-shirts and a Cybertruck, into   the Schuylkill River ( Abbott Elementary , “Volunteers” [4x9]). Suffice it to say, the Gang makes a lasting impression at Abbott, as Principal Ava Coleman describes at length in Sunny ’s Season 17 premiere, “The Gang F**ks Up Abbott Elementary.” The episode functions somewhat as a clip show, with Ava sharing security footage of the Gang’s week-long volunteering stint, albeit with several new-to-the-viewer ‘flashbacks’ and other Abbott  characters providing their own commentary.  While the conceit of a crossover between two Philly-based sitcoms is obvious, the logistics are tricky, given that one sitcom is populated by a group of local criminals who should clearly never have unsupervised access to minors, let alone underprivileged, inner city minors in a public school setting. On the Sunny  side, it’s not the first time that the Gang has been sentenced to community service involving working with children: Early on in the series, “The Gang Gives Back” (2x6) reveals the legal consequences of burning down a rival business owner’s property (albeit accidentally) in a previous episode (“The Gang Goes Jihad” [2x5]) aka coaching rival youth basketball teams, a task which the Gang almost immediately fumbles by making everything about themselves. Fast forward to 2025, wherein the Gang’s "unrepentant, unaware” behavior has only pathologized over the years, meaning their "comically vile” (Wilson) shamelessness overlaid with viewer pathos for characters whose refusal to change their ways for the past 20 years has also led to their unchanged (or perhaps, worsened) circumstances. “I’d Rip This Whole School Bald!” If anything, forcing the Gang outside of the comfort and relative safety of Paddy’s Pub to mingle with pretty much anyone outside of their immediate social circle and/or collection of beefs about town hammers home how decades of self-imposed isolation, alcoholism, and bad behavior have rendered them incapable of blending into the rest of society even as well as they did in earlier eras of Sunny . Case-in-point: Even though the Gang initially skirts around disclosing that their volunteering stint at Abbott is community service until Abbott Elementary  fan favorite, Melissa Schemmenti (Lisa Ann Walter) recognizes them as the proprietors of “some gross bar” in south Philly “with like 300 one-star reviews” ( Abbott Elementary , “Volunteers”), their suspicious behavior precedes their local reputation. For instance, the Gang requests an empty room at Abbott in order to mostly contain their screaming asides and/or heated in-house discussions on everything from 9/11 to Fall Out Boy.  Likewise, whereas many well-meaning yet problematic non-POC guest stars on Abbott Elementary  often portray subtle and/or nuanced prejudicial behavior - Ava spends much of Season 4 blackmailing the wealthy, smarmy, Caucasian proprietor of a local golf course for resources for the school in exchange for turning a blind eye to the city’s gentrification efforts - the Gang remains startlingly obtuse. At one point, Dee Reynolds (Kaitlin Olson) attempts to assuage fears that they might catch lice in a public school setting by pointing out ( incorrectly ) that “Black people can’t get lice.” Likewise, Charlie Kelly (Charlie Day) later muses that “White people aren’t supposed to help Black people anymore” as commentary on the modern-day backlash against ‘White savior’ media like The Blind Side  (2009). Unsurprisingly, the Gang ramps up to attempting to recruit tall kids to play basketball for the high school they themselves graduated from in the late ‘90s, as well as trying to put together a boy band. Finally, it is heavily implied that the Gang lures Abbott staff to Paddy’s Pub at the end of the week to bestow upon them a new espresso machine while Frank makes good on his promise to rip “a hundred feet of copper” from the school’s very walls, something Ava comically corroborates as a money-saver, as “the state was gonna make us move out some old pipes, so actually he saved us a few grand in construction costs.” © FX “Yes, Chef!” Season 17’s other early exploits include a temporary dissolution of Gang dynamics when Frank seemingly falls into a coma and Dennis, Charlie, and Mac (Rob Mac) immediately ditch Dee at his bedside in order to attend a business gala with pie-eyed dreams of franchising Paddy’s Pub (“Frank Is In A Coma”). Alas, said dreams quickly turn to dust like so much snorted cocaine when the boys fall into a reluctant mentorship with Simon (Alex Wolff), a young entrepreneur currently running his late father’s business empire … until Simon ODs in the corner while the Gang conducts one of their infamous asides. Back at home, Dee reluctantly works though each of Kubler-Ross’ Five Stages of Grief  while Frank lies in a coma, accompanied by a private nurse (played by Audrey Wasilewski) … until it is revealed that Dee has been spilling her guts to a hyper-realistic lookalike of her sleeping father made of cake , one of several seasonal homages to Sunny ’s TV contemporaries. Similarly, Charlie’s cooking skills take center stage in “Dennis and Mac Become EMTs” (17x3), which parodies fellow FX show, The Bear , following the exploits of a fine dining chef returning home to Chicago to take over the family sandwich shop. The frenetic pace of cutaways between Charlie chopping food and the Gang’s increasingly demented foray into microdosing chili peppers as they repeatedly fail to learn to be EMTs and/or deliver orders (from whom?) from Charlie’s ghost kitchen invoke some of the Gang’s ‘classic’ misadventures, e.g.: “Charlie Work” (10x4), wherein the camera follows Charlie as he lopes around Paddy’s while shmoozing a health inspector. By far, the episode’s biggest crowd-pleaser is the long-awaited return of The Lawyer (Brian Unger), whose handful of run-ins with the Gang over the years have begun to take their toll. Now sporting an eyepatch (the result of having an eye pecked out by the local McPoyle family patriarch’s pet Poconos Swallow), The Lawyer, clearly hard up, encounters Frank at the hospital while skulking around for new clients and makes it clear that he intends to help a recent Paddy’s patron sue Frank for ‘pranking’ him into eating a hot pepper. Eventually, The Lawyer is tricked into imbibing part of a California Reaper pepper, only to awaken in the midst of a wild ride through Philadelphia in a decommissioned ambulance whose erratic movements slosh the cooking grease from Charlie’s now-mobile ghost kitchen directly onto his face. When the Gang’s own foray into ghost pepper microdosing leaves Dennis temporarily blind, The Lawyer is not only left behind at the inevitable crash site but also stuffed into an EMT costume and covered in hot grease. The episode ends with the “gnarled, burned, partially blinded legal professional” being sentenced to 30 days in jail for the Gang’s misdeeds, seemingly placing The Lawyer on the tragic trajectory of other characters whose lives have worsened as they continue to orbit around Frank, et al. As Cracked  aptly notes, the episode is evidence that Sunny  plans to “Continue … Its Noble Tradition of Gradually Deforming Guest Stars.” Perhaps, The Lawyer will team up with none other than disgraced priest-cum-street rat, Matthew “Rickety Cricket” Mara against the Gang! Eternal Optimism of the Spotted Minds After 17 seasons of the Gang refusing to learn from their mistakes, their latest attempts to shortcut reality and public decency tend to take the form of corporate goonery, wherein “the Gang craves money and parasitic social privileges. That’s been plain since 2005.” FX 's latest promotional materials for its(/America's) longest-running sitcom likewise allude to future Season 17 forays  into “cross-network promotion,” “scapegoat[ing] one of their own to avoid a PR backlash,” and “risk[ing] everything for a handshake with the Saudis,” all of which allude, of course, to their painfully human natures: “They crave love … respect … conditional freedom … constant adulation ... histrionic amounts of attention … non-stop gratification … and unfiltered, slaphappy eroticism.” Fortunately, their presumed collective future failure tints the Gang’s troubling lack of follow-through on schemes, as well as their increasingly Dorian Gray-esque relationship with The Lawyer, et al with demented delight rather than outright tragedy. Likewise, every so often, the Gang’s benevolent real-life keepers throw them a bone, allowing a surprisingly sweet moment and/or implication to play out. For instance, Miller  notes that Season 17’s upcoming tribute to the late Lynne Marie Stewart, who passed in February after portraying Charlie Kelly’s mom since Season 1, exudes “sincere emotion,” as does the show’s recent tribute to entertainment producer and Philadelphia native Eric Biermann , who passed away in October 2024 at age 42.  Said spots of sincerity can be bittersweet, however: Though Charlie learning to read at a kindergarten level during the Sunny-Abbott  crossover is “Unlikely” to lead to him “turn[ing] over a new leaf” and/or “leav[ing] his unsavory friends from Paddy’s behind” - per Charlie Day , “Charlie Kelly probably went and huffed a little too much spray paint … right after that episode of Abbott ” - his on-screen rapport with Abbott kindergarten teacher, Barbara Howard (Sheryl Lee Ralph) is surprisingly heartfelt, all the more so when Charlie briefly showcases his natural music-writing talent (Barbara loves to sing with her church choir). Alas, Day  offers wryly, “We’re not really interested in any actual growth on our show. So I think it’s fun and cute that he learned to read in the Abbott  episode, and it’s fitting in the Sunny  world that he quickly forgets.” Adds Glenn Howerton, “They’re very motivated characters. They’re just putting their energy in the wrong places.” Never change, guys. Rating: ★★★★☆ About It's Always Sunny in Philadelphia Season 17 Premiere Date:  July 9, 2025 Episode Count:  8 Executive Producer/Showrunner: Rob Mac, Charlie Day, Glenn Howerton Writer: Rob Mac, Charlie Day, David Hornsby, Javi Scott, Nina Pedrad, Keyonna Taylor Director: Ashly Burch , Imani Hakim, Zachary Knighton Production:  RCG Distribution:  FXX Cast:  Rob Mac, Charlie Day, Glenn Howerton, Kaitlin Olson, Danny DeVito, David Hornsby, Mary Elizabeth Ellis Synopsis: Five friends with big egos and small brains are the proprietors of an Irish pub in Philadelphia.

The Fantastic Four: First Steps has had anything but a smooth ride getting to the big screen. Let’s not forget that this film was first announced six years ago. Back in 2020, Jon Watts was tapped to direct, but two years later, he stepped away from the project, leaving fans uncertain about the team's future… again. That all changed when Matt Shakman, hot off the success of Marvel’s most critically acclaimed series WandaVision, took over. Since then, momentum began to build, and fans couldn’t help but ask: Will they finally get the Fantastic Four right this time? The answer is an enthusiastic, resounding yes. The Fantastic Four: First Steps soars. From its opening moments, it makes one thing crystal clear: this is not another origin story. And thank god for that. Instead of dragging us through another retelling of how the team got their powers and learned to work together, the film opens with a stylish, cleverly edited montage that gives us just enough background to get us up to speed. It’s a quick, visually striking recap that honors their history without getting bogged down in exposition. This film trusts that the audience already knows who the Fantastic Four are, and even if they don’t, it gives them more than enough emotional context to care. We’re watching a flawed, loving, complicated, and deeply connected family. That’s the soul of this movie. It’s about these four people and their bond. And that’s exactly what sets it apart. © Marvel Studios The casting, which stirred up plenty of debate when first announced, ends up being one of the film’s greatest strengths. Every performance clicks, every role feels tailor-made. Vanessa Kirby’s Sue Storm is nothing short of phenomenal. She’s the emotional center of the film, the glue that holds the family together. Kirby plays Sue with a rare mix of strength and grace. She is intelligent, compassionate, fiercely protective, and quietly powerful. She’s the strategist, the moral compass, and the emotional backbone. There’s a sense of quiet authority in her performance that makes you believe instantly that everyone around her trusts her. She commands every scene she’s in without needing to shout. It’s understated brilliance. Kirby brings her A-game and then some. This is a performance that’s going to be remembered. Pedro Pascal’s Reed Richards is a masterclass in nuance. Yes, he’s the smartest man alive but he’s also deeply human. Pascal gives Reed a fascinating internal rhythm. You can practically see the gears turning in his head as he tries to calculate every outcome and solve every problem before it happens. But beneath that brilliance is a man constantly struggling with the pressure of responsibility over his team, his family, the world. He’s anxious, restless, occasionally distant. But he’s also loving, and deeply invested in the people around him. Pascal plays him with the warmth and weariness of a man carrying the world on his shoulders. He feels real: as a superhero, a partner, a father, and a friend. Ebon Moss-Bachrach’s Ben Grimm is another standout. His performance feels effortless in the best way. The makeup and VFX are top-notch, but it’s Ebon’s voice work that really sells the character. There’s a deep sadness in Ben, but also resilience, loyalty, and a quiet sense of humor that makes him instantly lovable. He feels like the kind of guy you’d want in your corner in any situation. His relationships with each team member are full of warmth and subtle complexity. He’s the big, rocky heart of the group. And finally, Joseph Quinn as Johnny Storm… I’ll admit, I was pretty neutral on his casting when it was first announced. But by the time the credits rolled, he had completely won me over. Quinn brings the perfect mix of charm, energy, and surprising emotional depth to the role. He’s everything Johnny should be: fiery (pun absolutely intended), impulsive, and full of personality. There’s also a sharpness to him that makes it clear he’s more than just a thrill-seeker. He’s quick, clever, and unexpectedly sincere, making Johnny feel like a fully realized character. Together, the four of them have chemistry. Real chemistry. The kind that makes you believe in the Fantastic Four not just as superheroes, but as people who live together, fight together, argue, laugh, hurt, and love each other. Their dynamics feel lived-in. It’s not forced or overly quippy. There’s a warmth and emotional texture to their interactions that so many team-based superhero films lack. But this film is also a visual feast. The retro-futuristic aesthetic is one of the film’s most unique assets. It leans into a vintage sci-fi style — Jack Kirby-esque design choices, analog tech, cosmic weirdness — but blends it seamlessly with modern VFX. The result is a movie that feels like it was ripped from the pages of classic comics but brought to life with modern polish. It’s stylized without being gimmicky. The action is fluid, the color palette is gorgeous, and every visual choice feels intentional. Julia Garner as Shalla-Bal, the Silver Surfer and herald of Galactus, is utterly mesmerizing. Garner embodies a cosmic being wrestling with profound moral conflict. Her performance is subtle, haunting, and razor-sharp. You can see what she’s thinking in every silent moment: the hesitation, the burden, the flicker of empathy buried beneath an almost divine sense of duty. And when she finally unleashes her power, she’s absolutely menacing. It's one of the most compelling portrayals of the Silver Surfer ever put to screen visually and emotionally. © Marvel Studios And then… There's Galactus. Let’s be clear: he is not a cloud. This is not a vague force of destruction. This is Galactus, and he is terrifying. The film doesn’t make Galactus a standard villain with a clear-cut agenda. Instead, it leans into the cosmic horror of who he is. He’s not evil. This is a being cursed with endless hunger. There are scenes where his presence is chilling, his voice and scale evoking a kind of awe that feels earned. You see Galactus and you feel him. His arrival is accompanied by a score that reverberates through your chest. It’s unsettling in the best way. Speaking of the score… It's incredible. Sweeping, emotional, otherworldly… It elevates every scene, from the smallest family moments to the largest cosmic battles. There’s a musical identity here that feels specific to the Fantastic Four: hopeful, haunting, and heroic all at once. What makes The Fantastic Four: First Steps so special is that it finally gets the tone, cast, and story right while giving the Fantastic Four the respect they deserve. They're a family of explorers, thinkers, and dreamers. And this film lets them be exactly that. It's a celebration of everything that makes this team special. After years of false starts, missed opportunities, and skeptical fans, Marvel has finally delivered a version of this iconic team that feels authentic, vibrant, and full of life. Rating: ★★★★★

Smurfs , directed by Chris Miller — no, not the one behind Sony's Spider-Verse trilogy — follows the little blue bundles of joy and chaos, led by Smurfette, on a rescue mission into the real world after Papa Smurf is kidnapped by the evil wizard brothers, Razamel and Gargamel who have a plan to destroy all things good. Paramount, for the longest time, hasn't quite got it right with Smurfs ; their two live-action adventures from the early 2010s are fun but flawed and forgettable. Then the fully animated 2017 counter-piece Smurfs: The Lost Village , unfortunately, did not take off in the way they had hoped. A different fate does not seem to be in the cards for the 2025 iteration and third attempt at creating a flourishing franchise around the blue flowing IP. Big Talent Behind Little People At Least Tried Smurfs is an overly generic, forgettable flat family film where even its strengths don't reach too high heights, but there are a few worth mentioning. The animation is visually and stylistically vibrant with colors that truly look great, especially when experienced on the big screen. It feels inspired by Puss in Boots: The Last Wish. The aesthetic of the movie is a platter of respectable and clean cinematography sprinkled across the movie. Accompanying the choice of artistry and admirable cinematography is a serving of strong voice talent, though it's more so a plate of lovely-looking food with bland or mixed results. Besides the casting of Papa Smurf, brought to life in a very great choice of the amazing John Goodman, the majority of everyone else is just rather forgettable in their performances. Even James Corden and Rihanna, both stars in their own right I admire for different reasons, coming across as very monotone and uninspired. They Smurfed This One Up © Paramount The story of the movie is one that's been tread on 1000 times before and will likely be 1000 times again in other various projects we've yet to see. It's the typical evil bad guy wants to harness a powerful object to destroy all good — just...because, no other reason given . There is no substance to it whatsoever, no motivations, no originality, it's just reheating an already reheated piece and the results speak for itself. It's unengaging and never remotely gets off the ground. What's worse is the humour, which not only undercuts any slightly serious or emotional beat the screenplay attempts to inject into the film, but is also just dry and unfunny, even for the kids in my showing. The film's best joke comes at the very end of the 90-minute running time, where a 'sound effect Smurf' (in another joke we've seen done in a lot of prior projects) censors a piece of dialogue. But at least it worked, unlike 90% of other gags throughout. By the time its credits roll, Smurfs , though stylistically pleasing, stumbles. Where many family movies are good, some great and others not so much, this is one of those others. Let them Smurf or Rest The overly generic story is unengaging to begin with: a flat voice talent, humour as fun as a funeral, and a screenplay far too silly even for its smurfing good don't help. There's not a singular reason for this to be set largely in the real world. With this being the third Smurf movie to do that gimmick, maybe now someone at Paramount will realize it just isn't interesting. It'll probably pass the time for kids and there are certainly much more offensive pictures out there, but even as a blatant and glorified 90-minute music video for Rihanna and James Corden, it's not very good. Watch Smurfs: The Lost Village instead, as that's genuinely a good, vastly underrated Smurfs movie. Rating: ★★☆☆☆ About Smurfs Premiere Date:  July 18, 2025 Executive Producers: Jay Brown, Ryan Harris, Rihanna, Tyran Smith Writers: Pam Brady, Peyo Director: Chris Miller Production:  Paramount Animation Distribution:  Paramount Pictures Cast:   Rihanna, James Corden, Nick Offerman, JP Karliak, Dan Levy, Amy Sedaris, Natasha Lyonne, Sandra Oh, Jimmy Kimmel, Octavia Spencer, Nick Kroll, Hannah Waddingham, Alex Winter, Maya Erskine, Billie Lourd, Xolo Maridueña, Kurt Russell, John Goodman Synopsis: When Papa Smurf is taken by evil wizards Razamel and Gargamel, Smurfette leads the Smurfs on a mission to the real world to save him.

The legendary Dan Aykroyd ( The Blues Brothers, Ghostbusters, Coneheads ) is on a mission to join San Diego Comic-Con with a good ole' special panel in celebration of the 45th anniversary of The Blues Brothers, and fans will want to make sure to put on their shades and get the band back together as they will get a special look at The Blues Brothers: The Escape of Joliet Jake , a new graphic novel which is a continuation of the classic film. The panel takes place on Thursday, July 24, from 4:15 to 5:15 PM in the Indigo Ballroom at the Hilton San Diego Bayfront. The premise of the graphic novel The Escape of Joliet Jake focuses on Elwood teaming up with a young detective after Jake escapes from prison, with the novel picking up almost two decades after the original movie with Chicago law enforcement is once again in pursuit of the notorious musical criminal, Jake Blues, after a mysterious jailbreak. Cover for The Escape of Joilet Jake (©) Copyright Z2 Comics The project's editorial oversight was overseen by Dan Aykroyd and was also developed in collaboration with the late Judy Belushi Pisano. Joining Dan Aykroyd on stage will be his daughter Stella Aykroyd who is the writer of The Blues Brothers: The Escape of Joilet Jake , Luke Pisano (son of Judy Belushi), James Werner, and Z2's Comics Editor-in-Chief Rantz Hoseley and President Josh Bernstein. Stay tuned to Nexus Point News for more San Diego Comic-Con coverage!

Prime Video has announced its 2025 San Diego Comic-Con lineup announcing the return of many beloved series including Gen V, Hazbin Hotel, and The Legend of Vox Machina . However, there's no shortage of highly anticipated new series like Helluva Boss, The Mighty Nein, and Butterfly . Prime Video Lineup for San Diego Comic-Con 2025 (Image Provided by Prime Video) Here's a look at what Prime Video plans to bring to San Diego Comic-Con starting Thursday July 24th: THURSDAY, JULY 24 11:15-12:15 PM: Critical Role on Prime Video: The Mighty Nein and The Legend of Vox Machina Cast Panel  —It’s Thursday with Critical Role and Prime Video! Join executive producers and cast members Laura Bailey, Matthew Mercer, Marisha Ray, Liam O’Brien, Ashley Johnson, Taliesin Jaffe, Sam Riegel, and Travis Willingham for an inside look at Critical Role’s expanding universe on Prime Video. Get ready for exclusive breaking news from the upcoming highly anticipated animated series The Mighty Nein , based on the widely popular campaign. Plus, don’t miss the latest updates regarding The Legend of Vox Machina’s Season Four, and what’s coming next for the beloved, critically acclaimed series. (Indigo Ballroom) 'Hazbin Hotel' and 'Helluva Boss' Will Be Featured at San Diego Comic-Con 2025 (Image Courtesy of Prime Video) 12:30-1:30 PM: The Hellaverse on Prime Video: Hazbin Hotel and Helluva Boss Cast Panel —Join creator and executive producer Vivienne Medrano , Hazbin Hotel series stars Erika Henningsen and Amir Talai , and Helluva Boss series stars Brandon Rogers and Richard Horvitz for a wickedly entertaining discussion with Hell’s favorite hotel staff and murder professionals. The Hellaverse will unite for the first time, so get ready for raucous stories, exciting teases, and breaking news from Prime Video’s hit series. (Indigo Ballroom) FRIDAY, JULY 25 11:15-12:15 PM: Prime Video Presents: “Upload Complete.” Clips & Conversation with Greg Daniels and the cast of 'UPLOAD' —Please join creator, executive producer and director Greg Daniels ( The Office, Parks and Recreation ) and stars Robbie Amell ( Code 8) , Andy Allo ( Pitch Perfect 3) , Kevin Bigley ( Undone ), and Allegra Edwards ( Briarpatch ) as they tease the explosive and romantic ending of the series, share their favorite scenes over the years, reminisce on ‘LOL’ behind-the-scenes moments, debate the philosophical implications and the show’s predictions about futuristic-tech that have come true and take questions. Stick around for an exciting sneak-peek clip of Season Four. Upload is a sci-fi comedy that takes place in the near future, where people can be “Uploaded” into a virtual afterlife of their choice. Prime Video’s number one comedy returns this summer for its final season! (6DE) 1:30-2:30 PM: Prime Video’s Butterfly, Presented with BOOM! Studios —Celebrate 20 years of BOOM! Studios with Prime Video’s upcoming spy-thriller series Butterfly , based on BOOM! Studios’ graphic novel. Join series star and executive producer Daniel Dae Kim ( Avatar: The Last Airbender, Lost, Hawaii Five-O ) on the journey to bring the series from the page to the screen. Hear from the cast and creative team behind the series, including Piper Perabo ( Yellowstone, Billions, The Big Leap) and Reina Hardesty ( The Secret Art of Human Flight ), on adapting and developing the series from the source material, favorite behind-the-scenes moments from production in South Korea, with a thrilling look at what’s to come this season. The cast will also be joined by the series’ co-creators and executive producers, Ken Woodruff (who also serves as showrunner) and Steph Cha , as well as creator of the original graphic novel series and executive producer Arash Amel , and executive producer Stephen Christy on behalf of BOOM! Studios. Butterfly explores complex family dynamics within the treacherous world of global espionage, with former intelligence operative David Jung (Kim) living in hiding after making an impossible choice, until he’s pursued by his estranged daughter Rebecca (Hardesty), now a deadly, sociopathic assassin assigned to kill him by the sinister organization Caddis. Presented with BOOM! Studios, find out how they are marking their landmark 20th anniversary, with a look back at the projects that marked the way and a look ahead with exclusive news and updates on hit, fan favorite series, upcoming titles, limited edition giveaways, and more! (5AB) Butterfly Premieres on Prime Video August 13 (Image Provided by Prime Video) Prime Video plans to close it all out as Gen V and its cast members give returning students a look at Sophomore Year. The Cast of Gen V will be in attendance for San Diego Comic-Con (Image Courtesy of Prime Video) 3:45-4:45 PM: Gen V ’s Sophomore Year Is Going To Be Lit —The unhinged, bloody, and subversive series from the world of The Boys is back for another semester. Join showrunner Michele Fazekas ( Law & Order: Special Victims Unit ) and cast members Jaz Sinclair ( Chilling Adventures of Sabrina ), London Thor ( Shameless ), Derek Luh ( Shining Vale ), Maddie Phillips ( Teenage Bounty Hunters ), and Hamish Linklater ( Midnight Mass ) from the Prime Video hit series, along with moderator P.J. Byrne ( The Wolf of Wall Street ), for an exclusive look at the upcoming second season, packed with teases, surprises, and behind-the-scenes stories from the Godolkin University campus. (Ballroom 20) Be sure to follow Nexus Point News and all our social media channels for more San Diego Comic-Con 2025 coverage!

When it comes to San Diego Comic-Con, some booths go big on spectacle, but UCC Distributing has quietly built a reputation as a must-stop destination for serious collectors. In 2025, they’re not just consistent—they’re making history. For the first time ever, Labubu and Baby Three — two viral toy icons with cult followings in Asia — are officially coming to SDCC, and UCC is the one bringing them stateside. Baby Three is making its United States debut at San Diego Comic-Con Fans of hyper-stylized, street-inspired toy design need to power walk through the convention floor as Baby Three makes its long-awaited U.S. debut at UCC Booth #5613 . UCC has stated via Instagram they will have SDCC Baby Three Exclusives and to check out their UCC x Baby Three booth for an unreal photo op with a 9-foot-tall Giant 1 of 1 Baby Three Macaron Bunny. Not too sure what that exactly is, but Nexus Point News will be on site at San Diego Comic-Con to give you a better look. Image Provided by UCC Distribution Already a sensation overseas, Baby Three is known for its expressive mix-and-match faces and high-end packaging. This marks the brand’s first stateside appearance—and SDCC badge holders will be the first to embrace what may possibly be a new phenomenon. UCC is also bringing the insanely booming phenomenon known as Labubu to the show floor. One of the most beloved characters from the world of Pop Mart and The Monsters, Labubu has never been offered at a U.S. convention of this scale. Labubu is landing at San Diego Comic-Con and the Labubu hive is buzzin'. Labubu will debut to a huge San Diego Comic-Con crowd. Between Labubu, Baby Three, and returning brands like Rokimoto and Thrilljoy, UCC’s booth is stacked with fan-favorite IP and exclusive drops you won’t find anywhere else. How can you access UCC at SDCC? The San Diego Comic-Con Exclusives Portal : UCC is participating in the Comic-Con Exclusives Portal, which if you haven't allocated your points, you better run and not walk to something with internet access. The SDCC Exclusives Portal closes on Thursday, July 17, 2025, at 11:59 PM Pacific Time. Find the Booth : UCC is stationed at Booth #5613 —located all the way against the back wall, same location as SDCC 2024. The best way to navigate to their booth is by walking down aisles 1300, 1200, or 1100 and the best Hall to walk through and access the booth would be Lobby/Hall B1. Look for their staff holding UCC signs and their new GIANT NEON sign on top of the booth. If you miss out on the Exclusives Portal, don't fret. UCC typically offers limited walk-up opportunities and restocks later in the day. Just be prepared to line up. Follow Nexus Point News for breaking news, exclusive content, live coverage, and more for San Diego Comic-Con 2025!

One of the most consistently praiseworthy elements of Ultimate X-Men  is Peach Momoko’s stunning artwork. Her distinctive, painterly style stands apart from almost everything else in mainstream comics, and yet she still manages to give each character a unique and memorable presence. This is especially evident in the character Lexicon and the elaborate closing pages of each issue. That said, I was surprised to realize we’re already at issue #17. It feels like this series has been taking its time compared to the other Ultimate  titles, especially when it comes to major plot developments, like the looming return of the Maker. © Marvel Thankfully, the pace accelerates significantly in this issue. The rescue mission for Hisako moves into full swing, led by Mei and her team of X-Men, which includes Psylocke, Mori, Futaba, and several masked Mutants. With Nico acting as an inside informant, the group infiltrates the Children of the Atom’s base, hoping to confront Kageyama, the Shadow King. But the Children are prepared, and a clash between Mutants is inevitable. This was one of my favorite parts of the issue—action, which had been somewhat sparse so far, is delivered in abundance here, and Momoko brings it to life with her trademark beauty and flair. The outside battle, led by Mei, turns out to be a diversion, allowing others to sneak inside and locate Hisako. And they succeed, but at the cost of finding more than they expected. Nico is there, and so is Akihiro—believed to be the first Mutant by the Children—who is hanging, incapacitated. When Futaba (who evokes the Rogue or Anna Marei of other X-Men stories) removes her gloves and touches Akihiro, she’s hit with a vision that pulls everyone present into the Astral Plane. There, they face off once more against the Shadow King, who has taken control of Hisako. Hisako, powered by her mutant armor ability, seems unstoppable until the arrival of Maystorm tips the scales. With her help, Hisako breaks free of Kageyama’s influence, saves her friends from the Astral Plane, and chooses to return alone to finish the battle on her terms. A lot unfolds in this issue, especially in the second half, but it never feels overwhelming or confusing. And I haven’t even mentioned the twist with Mori at the end, which I won’t spoil. Ultimate X-Men  continues to be a refreshingly distinct entry in the Ultimate Universe, and Peach Momoko’s artistic and narrative vision sets it apart in many amazing ways. If you’re not already reading this, consider this your cue. It seems like big things are coming, and you won’t want to miss what’s next. © Marvel Release Date:  July 16, 2025 Written by:  Peach Momoko Art by: Peach Momoko Cover by: Peach Momoko Page Count: 30 Synopsis :  OPERATION: RESCUE ARMOR! Hisako has been missing, but Nico's undercover sleuthing finally tracks her down! But the Church of the Children of the Atom aren't going to give up Armor without a fight... What dangers await our X-Men in the Astral Plane?