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© DC Studios x Warner Bros. Entertainment James Gunn’s  Superman  carries the weight of launching a new DC Universe and while it’s not without its stumbles, it ultimately soars. The film’s first act struggles with pacing and cohesion, feeling somewhat choppy as it establishes a new world, tone, and ensemble. But once it finds its rhythm,  Superman  takes flight. It embraces the heart of its source material with sincerity and conviction, unafraid to lean into the fantastical. At a time when many superhero films have shied away from their comic book roots,  Superman  wears its optimism and its trunks PROUDLY. © DC Studios x Warner Bros. Entertainment At the center is Clark Kent/Superman, a hopeful and idealistic figure whose worldview is put to the test. He sees the good in everyone, often acting without considering the consequences. He’s also a deeply lonely figure, isolated not just by his alien origin, but by a self-imposed emotional distance he doesn’t fully recognize until it’s challenged by Lois Lane. One of the film’s standout moments isn’t a battle against a Kaiju (though a highlight) or visual effects sequence, but an interview between Clark and Lois. Rachel Brosnahan’s Lois delivers a sharp, perceptive read of Superman’s internal conflict, confronting him with truths he hadn’t considered. It’s a poignant scene that highlights the emotional intelligence of the script and the chemistry between its leads. David Corenswet steps into the role of Superman with confidence and grace. While comparisons to Christopher Reeve are inevitable, Corenswet doesn’t try to imitate he inhabits the character with a fresh yet familiar energy. His performance is both heartfelt and uplifting, suggesting a Superman not just for this generation, but a generational one. A Superman for all seasons. © DC Studios x Warner Bros. Entertainment Rachel Brosnahan delivers a sharp, determined take on Lois Lane. Tenacious, quick-witted, and fearless in the face of danger. This isn’t a Lois relegated to the role of damsel in distress; she charges headfirst into the action and owns every scene she’s in. Her dynamic with David Corenswet’s Clark Kent/Superman radiates chemistry. There’s a palpable emotional tension between them especially since their three months into a relationship, unsure if it can survive the weight of secrets, expectations, and the burden of dual identities. Yet it’s their love, messy and uncertain as it may be, that grounds the story. The film may appear overstuffed with characters including the Justice Gang (Mister Terrific, Guy Gardner, and Hawkgirl), Metamorpho, the Daily Planet staff, and Lex Luthor (Nicholas Hoult) flanked by The Engineer (María Gabriela de Faría) and Ultraman, but it never feels overcrowded. That’s no small feat. Introducing this many major figures in a  Superman  film is a challenge, but Gunn balances it by giving each supporting player just enough space to shine without dragging the story down with lengthy origin explanations. © DC Studios x Warner Bros. Entertainment Edi Gathegi is, quite simply, terrific as Mister Terrific. He exudes intelligence and quiet authority, but don’t let his intelligence fool you. He brings a commanding physical presence. Nathan Fillion’s Guy Gardner is straight from the comics: loud, proud, and unapologetically an ass-hole. No notes. His inevitable dynamic with Hal Jordan and John Stewart in HBO’s  Lanterns  series will be one to watch. Isabela Merced delivers a snarky, sharp-edged Hawkgirl who’s clearly having fun. The ensemble feels lived-in and ready for more. Gunn may have even found the DCU’s answer to Yondu in one of these characters, but to say more would be a spoiler. And then there’s Krypto. Because it wouldn’t be a James Gunn film without an irresistibly cute animal companion. Dubbed “the worst dog in the world with superpowers,” Krypto is an absolute delight on screen. Dog owners will instantly relate to Superman’s frustrations as he wrangles this unruly, overpowered pup. Rough around the edges but fiercely loyal, Krypto brings both heart and humor to the film. Superman  isn’t flawless. Its opening is rough around the edges, and the sheer ambition can feel overwhelming at times. This is, without question, James Gunn’s messiest script, but luckily, the film’s heart and charm hold it together. The emotional throughline, sincere character work, and love for the source material give it more than enough lift. © DC Studios x Warner Bros. Entertainment If there’s one major weak point, it's Lex Luthor. While Nicholas Hoult gives a strong performance, his version of Lex is the least compelling character in the ensemble. This Lex is obsessed with Superman to a clinical degree, tracking his every move and approaching their rivalry with the mindset of a seasoned gamer. While the concept is intriguing, the execution falls flat. Aside from one chilling scene, he rarely feels like a genuine threat. Much of his screen time is spent monologuing, lamenting Superman’s existence. It's not a bad take, but it lacks the gravitas expected from one of Superman’s most iconic foes. Another shortcoming is the underuse of the Daily Planet. Once again, a Superman film sidelines the day-to-day life at the newsroom, something we haven’t seen done meaningfully since  Superman Returns . It’s a missed opportunity. That said, the characters we  do  meet are memorable. Wendell Pierce is excellent as a no-nonsense Perry White, barking orders and chasing the story even under threat. Skyler Gisondo’s Jimmy Olsen is a surprise standout. Metropolis’ heartthrob, Jimmy’s charm isn’t treated as a throwaway gag, it’s a running element that ties directly into the plot and surprisingly works. Still, Superman succeeds in its most important mission: reintroducing the Man of Steel with hope, optimism, and purpose. The film is a statement of intent. If I had to sum up my impression of this new DC Universe, it’s that James Gunn has successfully translated the spirit of the DC Animated Universe into live action. The world feels lived-in, populated by metahumans and extraordinary beings who simply exist in the background of daily life. This isn’t just another superhero movie, it’s a comic book BROUGHT TO LIFE. And if this is the foundation for what’s to come in the DCU, the future looks very promising. Rating: ★★★★ About Superman Superman © DC Studios x Warner Bros. Entertainment Premiere Date:  July 11, 2025 Writer: James Gunn Director: James Gunn Producer: James Gunn and Peter Safran Executive Producers: Nikolas Korda, Chantal Nong Vo and Lars Winther Production:  DC Studios Distribution:   Warner Bros. Pictures Cast:   David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Skyler Gisondo, Sara Sampaio, María Gabriela de Faría, Wendell Pierce, Alan Tudyk, Pruitt Taylor Vince, and Neva Howell. Synopsis: Superman, DC Studios’ first feature film to hit the big screen, soars into theaters worldwide this summer from Warner Bros. Pictures. In his signature style, James Gunn takes on the original Super Hero in the newly imagined DC universe with a singular blend of epic action, humor and heart, delivering a Superman who’s driven by compassion and an inherent belief in the goodness of humankind. When Superman is drawn into conflicts both abroad and at home, his actions to protect humankind are questioned, and his vulnerability allows tech billionaire and master deceiver Lex Luthor to leverage the opportunity to get Superman out of the way for good. Will the Daily Planet’s intrepid reporter Lois Lane, together with the aid of Metropolis’s other metahumans and Superman’s own four-legged companion, Krypto, be able to help Superman before Luthor can completely destroy him?

Prior to the release of season 3 of Monster , Ryan Murphy has already begun developing season 4 for Netflix. Sources tell Nexus Point News that Monster  season 4 is set to adapt the Lizzie Borden murders and will center on Borden, her father, stepmother, and the family’s housekeeper. Showrunner and executive producer, Ian Brennan, will return to write the next season with Murphy. Borden was the suspected killer of her father and stepmother, Andrew and Abby Borden’s murders. The murders occured on August 4, 1892 in Fall River, Massachusetts. Borden was tried for the crimes and later acquitted. She went on to live the rest of her life free until her death in 1927.  The series first aired in 2022 and followed Jeffrey Dahmer. Season 1 of Monster  titled, Dahmer – Monster: The Jeffrey Dahmer Story , starred Evan Peters in the titular role and Niecy Nash as Glenda Cleveland, Dahmer’s neighbor. Season 2 titled, Monsters: The Lyle and Erik Menendez Story , starred Cooper Koch as Erik and Nicholas Alexander Chavez as Lyle. Javier Bardem and Chloe Sevigny portray their parents, Jose and Kitty Menendez. Season 3 which is titled, Monster: The Original Monster  is set to follow Ed Gein. Charlie Hunnam portrays Gein and will be joined by Laurie Metcalf as Augusta Gein, Tom Hollander as Alfred Hitchcock, Olivia Williams as Alma Reville, and Suzanna Son in an undisclosed role. Production on Monster season 4 is set to begin in the Fall in Los Angeles.

Disclaimer: This review contains minor spoilers for Jedi Knights #5. Since its inception, author Marc Guggenheim and artist Madibek Musabekov’s Jedi Knights  (2025) comic series has seen the titular Knights mediate an invasion on Syrinx Prime; encounter a rogue bioengineer mass-producing monstrous Xerexi  creatures on a remote moon; and face off against dinosaur-sized Kaijura  after crash-landing on their home turf, all in the service of the Galactic Republic. In Jedi Knights #4 , Jedi Masters Qui-Gon Jinn and Shaak-Ti remain largely on the peripheral of the comic’s main action surrounding Phaedra, whose brazen heist of the Galactic Bank of Coruscant attracts the attention of “scoundrels, criminals and bounty hunters alike,” largely because the Senator who hired Phaedra in the first place is in cahoots with none other than Outer Rim gangster, Jabba the Hutt. Qui-Gon and Shaak-Ti smartly side-step much of the drama, eventually heading Phaedra off on Ord Mantell, where they turn her over to the Benelex Marshal Service, from whom Phaedra promptly escapes with the help of none other than top-tier bounty hunter and the galaxy’s best clone daddy, Jango Fett. © Marvel Comics “If you’re in need of someone to kill you … don’t rely on two Jedi Knights.” The teaser page of Jedi Knights #5 showcases the implied death of Jedi Master Yaddle at the hand of “Fallen Jedi” Count Dooku. In the shadows of Coruscant, “Shortly after the Battle of Naboo,” Yaddle and Dooku trade brief barbs regarding Dooku’s fascist leanings masquerading as “peace and order” before Dooku brandishes an ergonomic-handled, blue-bladed lightsaber above Master Yaddle’s cowed form; fade to black. Like the aforementioned Jedi Master Shaak Ti, who both perishes canonically on-screen during the Order 66 revolt of the Clone Army of the Republic against its Jedi generals, as well as by General Grievous’ four hands in a deleted scene  from Revenge of the Sith  (2005), Jedi Knights #5 is not Yaddle’s first canonical death. In fact, she makes a similarly heroic last stand to save Jedi Padawan Anakin Skywalker in the sixth book of Jude Watson’s young adult Jedi Quest  series (officially Legends  book canon). Fortunately, Guggenheim has more for Yaddle to do “Before the Fall.” That is, alongside Jedi Knight Seera Longa, she is “dispatched to the Outer Rim world of Liskan to mediate a dispute between the Gillanter Corporation and the greedy Trade Federation.” Though Master Yaddle clearly sees Jedi involving themselves in such negotiations to be a necessary evil of her calling, she seems to note fondly Seera Longa’s sincere enjoyment of mediation and knack for “negotiat[ing] a trade route or arbitrat[ing] taxation policy.” This is soon put to the test while Yaddle and Seera Longa hear the accusations lobbed back and forth between Viceroy Nute Gunray and Quillan Zarro, Chief Negotiations Officer for Gillanter Corp. The “lightspeed version”: Gunray’s Trade Federation has taken one of Gillanter’s freighters “into escrow” in order to pay off alleged copious “violations” by Gillanter, including shorting the Trade Federation out of 10,000 shares of Gillanter Corp. stock. “My understanding of the law is that it is replete with tiny ironies.” After negotiations initially stall, Master Yaddle and Seera Longa employ creative measures to find additional leverage, including “slicing into a locked freighter” to inspect the allegedly stolen goods for themselves. As the Jedi suspect, what Zarro told them is “1,138 dynesium paracels” turns out to be a freighter full of illegal Rylothian spice. Furthermore, lurking amongst said spice is none other than Fallen Jedi Count Dooku, who insists he is merely there on behalf of the Trade Federation to “safeguard” the stolen goods from future attempts by Gillanter Corp. to recover them. Seeing Dooku’s newly fallen status through Seera Longa’s eyes provides readers with a fresh perspective, including being scandalized that Dooku still carries his aforementioned Jedi lightsaber. Likewise, Yaddle’s insistence that “Dooku remains a friend to the Order” hangs ominously from the page, given the implications of the issue’s aforementioned preview. Master Yaddle and Seera Longa proceed to assist Count Dooku in fighting off armed Gillanter repo men, including “Wookiees of a criminal persuasion.” Given that Count Dooku is known to employ bounty hunters of all reputes during the Clone Wars , this remark doubles as an observation that he clearly files away for later use. In general, Dooku behaves as expected, faking out his Wookiee kidnappers, only for Yaddle to stay his hand when he goes to kill Lonkus, the leader; a narrative fake-out that yet preserves Yaddle’s aforementioned future sacrifice. In both cases, she is motivated by “destiny”: “The Force is my guide. It tells me to follow my instincts, to trust my feelings. And so I do.” Yaddle’s wisdom remains understated throughout the adventure; dread that her naivete is to be her undoing gradually giving way to her innermost thoughts and fears, admitted only to Seera Longa: “I don’t trust Dooku. There is a disturbance surrounding him like a shroud, something troubling that brings a chill to my soul. But I cannot deny the Force. I would sooner die.” “I’m afraid it’s against my programming to translate profanity.” What remains of this Jedi Knights #5  review is to weigh in on the “tiny ironies” replete within Yaddle’s pseudo-philosophical exchange with Count Dooku as they clash lightsabers (Yaddle’s is green, of course). First, Yaddle reminds Dooku that striking someone down in anger “is NOT the Jedi way,” likewise implying that Dooku has not kept the “promises” (oaths) he made to the Jedi Order; ergo, she holds little regard for his word as a Fallen (and still falling) Jedi. In response, Count Dooku alludes to “forces at work in the galaxy who do not share the Jedi’s reluctance to do what is necessary. And it will mean the end of the Jedi Order.” His words are prophetic because, of course, his secret Sith Lord boss is pulling the strings of those aforementioned forces at work in the galaxy, while Count Dooku uses the vast inherited wealth now at his disposal to help shroud his master’s dealings in the troubling chill that comes from denying the Force.  Tragically, Master Yaddle seems to be entirely aware just how far Count Dooku has fallen, even in the early days of his servitude to the Dark Side. Perhaps she suspects that destiny means for their paths to cross again as enemies; perhaps fate means to use Yaddle’s long friendship with the Fallen Jedi as a barometer for the disintegration of Dooku’s soul. Alas, the path from broken oaths to “Then let me give you peace, Master Yaddle” is terribly short. Even so, Yaddle tells Seera Longa, “Preserving life is never regretful. Whatever the cost may prove to be.”  Rating: ★★★★☆ About Star Wars: Jedi Knights # 5 Release Date:  July 2, 2025 Written by:  Marc Guggenheim Art by: Madibek Musabekov Cover by: R. Rahzzah Page Count: 23 Synopsis : JEDI MASTERS SEERA LONGA AND YADDLE FACE THE DARKEST MYSTERY! Yaddle and Seera must unravel a strange situation involving the Trade Federation. Guest-starring the mysterious Count Dooku! Will Yaddle save the life of the man destined to kill her?

The sixth film in the Insidious horror franchise, currently untitled, was originally scheduled for release on August 29, 2025 but was pushed back a year to August 21, 2026. Some details about the film have finally emerged and shed some light on possible plot details. The new Insidious installment is being produced by Jason Blum , James Wan , Leigh Whannell, Ryan Turek, Oren Peli, and Brian Kavanaugh-Jones. The movie is set to begin filming September 15, 2025, in Melbourne, Australia. The first four movies in the franchise were filmed in California, and the fifth primarily in New Jersey. With a new filming location and no past actors confirmed to return, this could mean an entirely brand new story is taking place. Three supporting roles are currently being cast with details below: LESTER The character is portrayed as he/him, 60s+, BIPOC. Small and hunched, he is a strange and frightening man who torments his neighbor… SUPPORTING. SEEKING UNIQUE, FRIGHTENING APPEARANCES. PATSY The character is portrayed as she/her, 60s+, BIPOC. Short and thin, she is a garish and frightening woman who torments her neighbor… SUPPORTING. SEEKING UNIQUE, FRIGHTENING APPEARANCES. EDNA The character is portrayed as she/her, 60s+, BIPOC. Tall and thin, she is an eerie and frightening woman who torments her neighbor…SUPPORTING. SEEKING UNIQUE, FRIGHTENING APPEARANCES. With no other information about the untitled film, it is possible that Insidious is headed in a new direction. In an interview in 2023, Jason Blum claimed that the franchise would have a "very long rest" and that there were no plans for a sixth film. The untitled sixth film was announced only a year later in May 2024. This story is still developing.

Disclaimer: This review contains minor spoilers for Deadpool Kills the Marvel Universe One Last Time #4 . In the third installment of self-proclaimed “ Master of Horror ” Cullen Bunn’s Deadpool Kills the Marvel Universe One Last Time  comic run (Bunn’s third mini-series  of the same conceit), Deadpool lays waste to a corrupt timeline of X-Men, including “inverted mutant supremacist” Havok and Dark Beast (“Hank McCoy … who wasn’t hugged as a child”), as part of a paradoxically redemptive killing spree across the Marvel Comics multiverse. In theory, judicious mass murder on a cosmic scale will entitle Deadpool, aka Wade Wilson, to a peaceful retirement (and likely afterlife), per the “mysterious dimensional traveler” Alphea who has furnished the Merc With a Mouth with a list of targets and the resources to cross them off, as well as astral guidance, in hopes that Deadpool’s Karmic score settling will stop the equally mysterious machinations of the “apocalyptically powerful Flux Paradoxica” in their tracks. In practice, Deadpool’s alliances appear murky, at best. Surrounded by corpses and furious (if scant) survivors strewn across the bloodied, hallowed halls of Xavier’s School for Gifted Youngsters, Deadpool proposes an alliance with Illyana Rasputin , whose mutant sorcery skills include access to “the forbidden knowledge of Belasco ,” an Elder God whose physical essence is trapped in Limbo; hence why Deadpool acquires said knowledge by drinking it directly from Belasco’s severed skull. Emboldened by the primordial magic now coursing through his veins, the newly crowned King of Limbo ends his aforementioned proposed “truce” with Illyana by stabbing her with his trademark katanas, and then proceeds to acquire another power-up by infiltrating the territory of “bike-riding demonic force” Vengeance and permanently deposing him from his Hell-cycle. In spite of Alphea’s cautioning that “Your body might not be able to handle” so many magical additions, Deadpool rationalizes that he is simply doing “whatever it takes” to save the multiverse, and then heads off to dismantle some Avengers following a gruesome, multi-page battle with Red Hulk, prefaced by gratuitous executions of The Leader and M.O.D.O.K. One Multiverse Under Doom? Even though Deadpool is now imbued with Venom symbiote, Gamma radiation, and the mystic arts, the notion that he is preparing to face off against Doctor Doom - this particular variant is notably a “mad scientist turned despot” who is known to dabble in stolen cosmic technology himself - still seems like raised stakes. Chillingly, Doom casually tells Deadpool that “Life is not required for utility” as he surgically operates on a Skrull, whose shapeshifting abilities Deadpool covets. Equally chillingly, both Doom and Alphea corroborate that Deadpool’s plan to inject himself with “super-Skrull mutagen” is “a bad idea,” as “There is no way to predict” how it “will interact” with Deadpool’s already significantly altered “genetic makeup.” Like Doctor Strange’s similar folly  in an early episode of the Marvel Cinematic Universe (MCU)’s What If?  TV series (Disney+), Deadpool’s cosmic tampering threatens to decimate his very soul as each upgrade batters his humanity. Indeed, “How much more dangerous could it possibly be?” Deadpool proposes to Alphea as he closes in on the Avengers’ New York City abode. The answer is quickly revealed: Ultron-Bots! Though unsure whether said bots constitute “Robotic Avengers,” “Demonic Avengers,” “Symbiote secret Avengers,” and/or aliens, pets, or medieval Avengers variants, Deadpool commits to his grim task, which includes facing off with the likes of Arno Stark , an Iron Man variant with alien enhancements, as well as “Giant-Man/Ultron fusion” Hank Pym; Ares, God of War (“Torn in half but stitched back together”); a Moonstone  variant moonlighting as Ms. Marvel; and Thor, “undead God of Thunder.” © Marvel Comics “Revengers – ASSEMBLE!” One reason that Deadpool’s violence, however gratuitous, is so entertaining is that he has little to lose. “You must surely have a death wish,” Ares remarks, to which Deadpool shrugs, “Well … yeah.” Not only does the mouthy merc fire off quips as devastating as his firepower, et al, his sincere hope to die makes him essentially impervious to his many opponents’ posturing and threats. This is exemplified by the portion of Issue #4 dedicated to Deadpool’s extensive death match against the Ultron-Bot Avengers, whom Deadpool promises will be “screaming my name before I’m done #$%&$## you up.” After taking out Moonstone-cum-Ms. Marvel with “tormented spirit binding” (aka astral tentacle chains) ‘borrowed’ from Belasco, Ultron-Bot Thor promises to “scour” Deadpool “from this realm!” Alas, Deadpool’s myriad recent power-ups not only allow him to hold his own against Thor’s infamous hammer, Mjolnir; he also learns that he is “worthy” to wield it, which he does in order to take out the last of said realm’s Revengers.  Deadpool then returns to where Doctor Doom is currently hunkered in Latveria, where Doom has completed a “side project” per Deadpool’s request: A “regulator” that “Alphie” insists is simply “An easier way to get yourself killed,” a seeming contingency plan in case neither Alphea nor Flux Paradoxica are willing and/or able to “end it all” for him. Once Doom hands over Deadpool’s latest accessory, Deadpool shocks him with the knowledge that “your name’s not on my list” of targets, seemingly leading to an identity crisis (“Is Doom … no longer a threat?”). Then, he implies to a dismayed Alphea that his newly ‘tweaked’ transporter now has the ability to “take me straight to the monster behind all our misery.” The final comic panel then reveals the smoky, feminine, masked form of none other than Flux Paradoxica, bookended by a preview promising that Deadpool’s quest has reached the “end of the line!” Murder Me, Mutina! Overall, the fourth installment of Deadpool Kills the Marvel Universe One Last Time  builds tension effectively around Deadpool’s seemingly cut-and-dry quest to redeem himself enough to ‘retire’ by showcasing the slow creep of shifting stakes and loyalties. Whereas Alphea has previously been vague, yet optimistic about Deadpool’s chances of ‘redemption,’ she grows increasingly cagey as he gradually gains the resources - and loses his human malleability - to fulfill his destiny. Combined with the seeming fake-out of a Doom that apparently is not dangerous enough to kill (in the midst of Marvel Comics’ current One World Under Doom  multiversal era, no less), and the yet enduring mystery surrounding Flux Paradoxica herself, Alphea’s own mysterious machinations have potentially sinister implications - perhaps her and Flux Paradoxica are two sides of the same coin, literally and/or figuratively. Whether either of them will, in fact, help “set things right” for Deadpool in the end remains to be seen - is it August yet? Rating: ★★★★☆ © Marvel Comics About 'Deadpool Kills the Marvel Universe One Last Time' #4 Release Date: July 3, 2025 Written by:  Cullen Bunn Art by: Dalibor Talajic Cover by: Davide Paratore Page Count: 25 Synopsis : DEADPOOL SEEKS UNLIMITED POWER! A healing factor and a top-notch wit won't cut it when you're hunting the worst monsters in the Multiverse! What power could defeat the Earth's mightiest heroes? And can Deadpool trust DOCTOR DOOM to give it to him?!

Andor's second season ended a little under two months ago. With the release of its second and final season, there came a flood of Star Wars discussion online. This is par for the course with a Star Wars project. If Star Wars has something releasing, there is bound to be discourse heaped upon discourse surrounding it. In the case of Andor , most of that discourse was strikingly positive. It's been praised by fans and heralded by critics. It is the first television series ever to have five consecutive episodes with user ratings of 9.5 of higher. The episodes in question, "Who Are You?", "Welcome to the Rebellion", "Make It Stop", "Who Else Knows?", and "Jedha, Kyber, Erso" are not just a high watermark for Star Wars , but for television as a medium. For my money, Andor is up there with my favorite Star Wars media ever. I think it's easily in the conversation for the top three pieces of Star Wars media, and it's not second or third. It's a perfect evolution of the franchise. It capitalizes on the feeling that Star Wars can bring the audience without relying on trying to artificially replicate it by pointing at familiar signposts. Frankly, it's a miracle that it exists. As the discussion around Andor reached a fever pitch going into and following its finale, one particular topic continued to catch my attention. Opposing sides formed on the idea of whether or not "All Star Wars should be like Andor ", with some singing its praises and arguing future Star Wars projects should follow in its footsteps, while others vehemently argue that making every Star Wars entry as serious and grounded as Andor is a misstep and that the beauty of Star Wars is its variety. I think both sides are correct, in a sense. Variety is one of the great treasures of Star Wars as a franchise. However, Andor has set a bar that the series would be foolish not to aim for. Diego Luna as Cassian Andor. © Lucasfilm What Does it Mean to be "like" Andor ? Spoiler alert: I fall squarely on the "All Star Wars Should Be Like Andor " side of this debate. I know, shocking, given the title of this article. I think there are some misunderstandings afoot when it comes to this debate online. Many critics of the argument that Star Wars projects should be more like Andor assume that the proponents of this stance mean that all Star Wars should have the same tone and scope as Andor , and that doing so would flatten the franchise into retelling the same types of stories over and over again. This is ironic, given the majority of the series' output over the last few years, but we'll get to that. In reality, the argument that Star Wars , broadly, should be more like Andor is a qualitative stance. It's not arguing that everything in the Galaxy Far, Far Away should look and feel the exact same as Andor . Star Wars doesn't need to forego the Force (though Andor does feature it in its own right), Jedi and Sith, and all the zany trappings that come with this galaxy in favor of focusing on more "grounded" elements. Star Wars should be like Andor in the sense that it should be, well, good . Andor is an incredibly well-made show. The costumes, production design, sound design, visual effects, cinematography, and writing are all top-notch. This, paired with consistent standout performances from a stellar cast, an engaging overall story, and impeccable understanding of pace, makes it a wonder to watch. It's structured, consistent, and more than anything, it's thoughtful. Every creative choice made in Andor has been carefully considered and crafted to serve the story it's trying to tell. Characters in season one find themselves visually trapped within the architecture of their surroundings, mirroring the feeling of being trapped by the confines of the Empire. In season two, a character's descent into melancholy surrounded by blaring club music is juxtaposed in editing with the heavy loss of a key character. These feelings create contrast and unease. These decisions are made on various levels of the production, through cinematography and editing, to enhance the story the audience is experiencing. Those are just a couple of examples in a series that is littered with them. The show simply excels at being a well-rounded production. Genevieve O'Reilly and Stellan Skarsgård as Mon Mothma and Luthen Rael © Lucasfilm Nostalgia and Simulacra I have qualms with the way the majority of Star Wars on Disney+ has been handled. The series we've gotten tend to lean more into fan service and "Remember this other thing you love?" than not. Ahsoka might as well have been Rebels season five. Obi-Wan Kenobi brought back Ewan McGregor and Hayden Christensen for no real reason other than the mere thought of "Wouldn't it be cool to see them fight again?". And, sure, it could've been cool, had I actually been able to see the fight(s) and had they made any narrative sense whatsoever. The Mandalorian , a show that was originally praised for its distance (despite its timeframe) from mainline Star Wars , became one of the most egregious examples of pulling in familiar characters from other corners of the galaxy. Bo Katan from the animated The Clone Wars series? Check. CGI Luke Skywalker serving as a Deus ex machina in the finale? Check. Ahsoka Tano making her live-action debut? Check. This all happened in a show about a random bounty hunter, for some reason. Don't even get me started on The Book of Boba Fett . Listen, I'm a gigantic fan of Star Wars . I geek out over trivial things, random callbacks, and seeing characters I love show up. However, that is not the reason I'm watching and engaging with Star Wars . When a series becomes nothing but a vehicle for empty nostalgia, lacking any real meaning or thoughtful narrative, it's a lost cause. When creators treat characters like action figures from a toy box, meant to be mashed together for the sake of "cool" as opposed to three-dimensional representations of experience, there's something truly awry. "The simulacrum is never that which conceals the truth - it is the truth which conceals that there is none. The simulacrum is true." - Jean Baudrillard, Simulacra and Simulation (1981). Simulacra and Simulation is a philosophical treatise that dives into a discussion of symbols, signs, and how they relate to contemporaneity. Baudrillard posits that society has effectively replaced all reality and meaning with signs and symbols, and that these signs and symbols (simulacra) begin to lose all sense of actual reality as they become copies of copies, imitations of imitations, and reflections of a reality that doesn't truly exist. The simulacra become reality, rather than imitating it. "Alex, what in the hell does this have to do with Star Wars ?", I hear you shouting at your screen. I'm getting there, I promise. Simulacra and Simulation gets fairly heady and rather pessimistic, but I think it's a fascinating examination of how we tend to treat symbols in society. I think it's more relevant now than it ever has been. Think of the way we interact with memes. Have you ever tried to explain a current meme to someone who has no Earthly idea what you're talking about? You can, technically, but you'll still be missing something. There's an indescribable quality to the way we interact with memes, how they evolve in their use, and take on a reality of their own. So, to wrap it back to Star Wars , I think the franchise is guilty of waving these familiar signs and symbols in front of the audience and banking on that recognition being enough, despite the hollowness behind it. The entire Ahsoka series is a gigantic simulacra, with more woven throughout. Ahsoka Tano has become a fan-favorite Star Wars character in the nearly twenty years since her first appearance. For what it's worth, she's my favorite Star Wars character. She was portrayed in The Clone Wars and Rebels animated series by voice actress Ashley Eckstein and brought to life visually by dozens of incredibly talented artists over the years. The version of Ahsoka that fans grew to love existed in animation... until she didn't. Ahsoka made her live-action debut in The Mandalorian , portrayed by Rosario Dawson. I think Rosario does a great job with the character, but it's the first instance of a copy we see. At best, Rosario will be reminding the audience of the version of the character they already know. At best, she'll be "pretty close" to how we would imagine animated Ahsoka would act in a given situation. It's a losing game. Don't worry, it gets worse. Rosario Dawson and Hayden Christensen as Ahsoka Tano and Anakin Skywalker © Lucasfilm Fast forward a few years, and Ahsoka gets her own show, surrounded by more simulacra. I noted above that Ahsoka could've been season five of Rebels , this isn't a joke, it's something made explicit both within the text and according to the showrunners. The audience is greeted with characters that are making the jump from animation to live-action, and they all carry the same simulacra baggage as Ahsoka herself. Don't worry, it gets even worse. One of the most often praised elements of The Clone Wars is the depth it gives to Anakin, specifically through his relationship with his padawan, Ahsoka. Their interactions and growth are a consistent high point in the series. The thing is, those versions of the characters, the ones that have that emotional attachment the audience is invested in, are voiced by Ashley Eckstein and Matt Lanter (Anakin in The Clone Wars ). All the emotional highs and lows the characters experience are made real by those specific people. So, when Anakin (played by Hayden Christensen) shows up in Ahsoka and interacts with both Rosario and Ariana Greenblatt (who plays a young Ahsoka in live-action), it's jarring. There are copies stacked on copies interacting here. Hayden is playing a version of Anakin from an animated series, who was in turn playing a version of Anakin originally portrayed by Hayden. Hayden is interacting with a version of Ahsoka who made the jump from animation to live-action and is being portrayed by two different actresses. All the actors involved are referencing and hinting at emotional moments that none of the parties present were involved with. It's a jumble of simulacra for the sake of "Wasn't this cool to see?" and nothing more. It's a handwave of nostalgia wrapped in a different coat of paint, slapped on the wrong car. Production Values Let's bring things back to Andor . It's been reported that Andor is the most expensive Star Wars show of all time, costing $645M for two seasons. While it's likely true that it is indeed the most expensive Star Wars show ever, it has a couple of things going for it. The first is context. It might have cost the most, but it was also 24 individual hour-long episodes. It was essentially the length of 12 two-hour movies, which works out to be $54M for each movie. If you want to get even more granular, it's even been broken down to the minute to show that Andor is the cheapest Star Wars project. The second thing going for it is the fact that it actually looks like Disney spent that much money on it. As I discussed at the start of this article, the show is simply astonishing in every conceivable production department. This is something noticeably lacking in most of the other Disney+ Star Wars productions. I've taken to calling the aesthetic of most of the Star Wars shows "The most expensive fan films I've ever seen". You can tell there was a lot of money spent, but somehow, things still don't look quite right. The worlds don't feel lived in. The environments feel shallow. The costumes aren't weathered. The cinematography is bland. There are no thoughtful, creative decisions being made. Ewan McGregor as Obi-Wan Kenobi © Lucasfilm I know no one sets out to make a bad production. I know there are a lot of talented people working on these projects, doing the best they can in every situation. That said, taking a random frame from, say, Obi-Wan Kenobi and Andor is simply night and day in terms of quality. That is what I mean when I say all Star Wars should be like Andor . Star Wars is Meant to be Staggering Star Wars can be magical. It can be moving, striking, and exciting. Andor captured the essence of what makes Star Wars great and magnified it. It didn't do this solely because of its subject matter; it did this because it excelled at the basics. It crafted a believable world full of rich characters. It created compelling conflict. It brought to life jaw-dropping effects and lived in worlds. Star Wars should have variety. It should showcase all the corners of the galaxy far, far away, but most importantly, it should do it with care. So yes, all Star Wars should be like Andor .

The second and final season of The Sandman arrives in an uncomfortable atmosphere. Neil Gaiman, executive producer on the show and creator of the comic series that inspired it, has been silent since multiple allegations of sexual misconduct were raised against him last year. When it was announced in January that Netflix's live-action adaptation of the series would end with Season 2 - a short run considering all the canon material available - many fans assumed that this decision was a result of the controversy around Gaiman. However, since then, The Sandman showrunner Allan Heinberg has clarified that the plan was already to conclude after two seasons, cutting out the parts that don’t keep the title character, Tom Sturridge’s Dream of the Endless, at the center of the story. The first installment of Season 2 supports this statement, as it was clearly written with the aim of moving quickly toward the finale, long before the allegations against Gaiman had surfaced. Dream Has to Carry Everything Either way, the show suffers for its abbreviated length, and for its narrow focus. The comics, first published in 1989, earned their epic reputation by weaving together myriad tales that sometimes had only a whisper of connection to the main plot. While it makes sense to trim away some of these side stories, others are a source of real depth, showing how dreams affect all of us even when the character of Dream is nowhere in sight. Removing them increases his screen time but dampens his power. © Netflix The good news is that Sturridge has all the right moves when it comes to portraying the haughty, stoic, mystical Sandman, so it’s still enjoyable to watch him. The season begins with Dream settled back into his kingdom and resuming dealings with other immortal entities, including his own six siblings, and these scenes are the show at its best: following Dream through surreal, sometimes paradoxical worlds which to him are commonplace.  Family, Lovers, and Dinner Guests The season premiere, "Season of Mists," introduces Destiny (Adrian Lester) and Delirium (Esmé Creed-Miles), adding them to the siblings we’ve already met: Death (Kirby-Howell Baptiste), Desire (Mason Alexander Park), and Despair (Donna Preston). Although not all of the other Endless have the same kind of impact on the screen as Dream does, their family meeting emphasizes the fantastical nature of the setting, far removed from mundane affairs. It also causes Dream to reconsider his long-ago romance with a mortal, Nada (Umulisa Gahiga). Thanks to his personal growth during the first season, he’s soon determined to find her again and rescue her in spite of the danger. The flashback to the doomed love of Dream and Nada employs some artistic license. In the comics, the legend of Queen Nada is preserved through the oral tradition of her descendants, an unnamed African tribe. The show tells it through Dream’s own perspective, humanizing him and justifying Nada’s love by giving them a complete relationship in her dreams. Although this change makes sense under The Sandman ’s mythology, it’s an example of the adaptation playing it safe and keeping the story palatable for modern audiences.  © Netflix In both versions, Nada is a major driver of the plot, which brings Dream to confront one of the only people he openly fears: Lucifer (Gwendoline Christie). Instead of threatening him directly, this encounter leaves Dream with the key to Hell, making him a person of interest for everyone from Norse gods to Heaven's angels. There's no shortage of impressive mythological figures in Season 2, and in “The Ruler of Hell,” Dream holds a banquet to pacify them until he can determine his next move. Viewers will be familiar with other traditional and pop culture versions of some of these characters, but to see all of them together, mingling in the vast halls of the Dreaming and backed up with ample special effects, is spectacular. The demon Azazel, for instance, is a visual masterpiece taken straight from the art of the comics.  Brief Lives Are Too Brief Yet the intriguing possibilities set up by these first three episodes mostly fizzle out in the next three. A major arc from the comics is completely cut out, aside from transferring the human character Wanda (Indya Moore) into a different context. Dream’s infatuation with Nada is extended to have a greater influence on the plot, and the magic of the Dreaming gives way to a journey through the so-called waking world as Delirium convinces Dream to accompany her on a quest to find their missing brother, Destruction (Barry Sloane).  © Netflix “Brief Lives” adapts one of the most pivotal arcs in The Sandman , but it lacks the humor and heart of the original, which hinged on Dream and Delirium being two fish out of water in very different ways. In the show, they effortlessly blend in with the mortals they encounter. Delirium is played by a single actor and keeps the same outfit, hairstyle, and makeup throughout the road trip, and her chaotic ways are reduced to a few quirky lines of dialogue. Dream’s raven Matthew (Patton Oswalt) doesn’t come along and indeed is given little to do at all. A Timeless Tragedy Before the road trip ends, we see another part of Dream’s history in “The Song of Orpheus.” The ancient myth of Orpheus and Eurydice, in which a young man attempts to lead his dead wife out of the underworld but fails when he can’t resist looking back at her, is played straight but places Orpheus (Ruairi O'Connor) as the son of Dream and the muse Calliope (Melissanthi Mahut). In this version of the myth, Orpheus is unable to die by any natural means and has been living through millennia as a severed head, and Dream has refused to see him.  Once again, the gods and legends make better television than the waking world scenes, if only because the song that Orpheus sings in Classic Greek to Hades and Persephone is a truly beautiful piece of music. When Dream reunites with his son in the present day, he also learns the whereabouts of Destruction, and separate threads from all six episodes begin to come together, hinting at greater dangers to come. © Netflix In the comics, these events are spread out over many issues, not necessarily consecutive, and it takes time and attention to see where they’re leading. When everything converges in the next volume of Season 2, the conclusion of the story will still make sense, but it won’t have the kind of resonance and meaning that should have been cultivated over a longer series.  With all the potential it had while the door was still open for adaptations of Gaiman’s work, The Sandman ’s second season was bound to be a disappointment. Netflix could have built an effective Sandman Universe with spinoffs like Dead Boy Detectives , and the main series itself had plenty of room to expand and allow Dream’s story to really shine like its source material. Some dreams stick with you for years, but some, unfortunately, are quick to fade out of memory. RATING: ★★★☆☆ © Netflix About The Sandman Season 2 Volume 1 Premiere Date:  July 3, 2025 Episode Count:  6 Executive Producer/Showrunner: Neil Gaiman Writer: Neil Gaiman, David S. Goyer, Allan Heinberg Production:  Netflix Cast:   Tom Sturridge, Kirby Howell-Baptiste, Mason Alexander Park, Donna Preston, Gwendoline Christie, Patton Oswalt, Vivienne Acheampong, Jenna Coleman, Boyd Holbrook, Deborah Oyelade, Adrian Lester, Esmé Creed-Miles, Barry Sloane, Ruairi O’Connor, Clive Russell, Freddie Fox, Laurence O’Fuarain, Ann Skelly, Douglas Booth, Jack Gleeson, Indya Moore, Steve Coogan. Synopsis: After a fateful reunion with his family, Dream of the Endless (Tom Sturridge) must face one impossible decision after another as he attempts to save himself, his kingdom, and the waking world from the epic fallout of his past misdeeds. To make amends, Dream must confront longtime friends and foes, gods, monsters, and mortals. But the path to forgiveness is full of unexpected twists and turns, and true absolution may cost Dream everything. Based on the beloved award-winning DC comic series, the second season of THE SANDMAN will tell Dream's story arc in full to its thrilling conclusion.

As announced by DC Studios Co-CEO and Co-Chairman, James Gunn, DC Studios is developing projects set in Korea, Japan, and Brazil in an interview with Hindustan Times. Sources tell Nexus Point News, that these projects have been in development since the DCU’s conception. As reported by DCULeaks in July 2023, a Huntress project was in development for the DCU. The project will mostly be in Korean and will feature Helena Bertinelli, depicted as half-Korean and half-Italian. It was later reported by DCULeaks that Jung Byung-gil ( Villainess ) was attached to write and direct the series.  © DC Comics The intention is for Pom Klementieff to portray the character within the DCU. This has never been formally confirmed due to no deal being set in place at the moment. It is currently unknown whether or not a deal has been made for Klementieff to officially portray Huntress, but if it were there is a possibility the character can appear in projects prior to Huntress . Since the project’s announcement, fans have heavily speculated that this would indeed be Klementieff’s role in the DCU and have begun to speculate whether or not she would debut in season 2 of Peacemaker due to her being present on set as part of a set visit with Gunn. Sources also tell NPN, the core elements that make up Huntress  will be present in the several other projects being developed as part of DC Studios’ international slate. These elements include, an international setting, the series being written and spoken in that country’s respective language, and a cast composed of actors from that respective country. The most important element of these projects will be developed by creatives from these respective countries with most of these projects already having creatives attached. Although characters will be speaking their native languages in these projects, they are still canon to the DCU and are expected to crossover in other projects that are spoken in English. Another thing to note is that these projects are only TV projects at the moment. Sources also tell NPN that some will be animated. Most projects will adapt characters whose origins already include them originating from their respective countries, but similar to Huntress, origins will be changed for certain characters to fit the narrative of the story. This story is still developing.

Nobody director Ilya Naishuller makes a dynamic return to big-budget Hollywood with Amazon MGM Studios' action-comedy Heads of State . The film stars Idris Elb a as UK Prime Minister Sam Clarke and John Cena as U.S. President Will Derringer — two world leaders who can barely stand each other. But when they're thrust into the center of a global conspiracy, they're forced to team up in a high-stakes, fast-paced adventure that demands cooperation and it delivers plenty of laughs along the way. At the core of Heads of State is the electric chemistry between Elba and Cena, which drives both the humor and the heart of the film. Joining them is Priyanka Chopra , whose presence adds even more energy and charisma to the already stacked cast. I had the pleasure of speaking with director Ilya Naishuller about stepping back into the director’s chair, the casting process, the film’s vibrant and kinetic visual style, and what the future might hold for these larger-than-life characters. Watch our interview below: Heads of State is now streaming on Prime Video.

Despite my love for the classic X-Men and their stories, I have admittedly grown to enjoy the Outliers of Gail Simone’s Uncanny X-Men . They remind me of some of my favorite Mutant stories - the ones where a young Mutant finally realizes their power and comes into their own after realizing they not only have to fight for their own survival, but the world they live in. The four youths on this team are definitely approaching that point, but I can’t help but feel that the story is lacking. As a fan of horror and mystery, I was extremely excited for the 4-part Dark Artery event. I felt it started off strong, allowing the Outliers to go off on their own adventure, uncovering Mutant mysteries and having to rely on their powers, skills, and wit. Equally as interesting was the tale of Lady Henrietta and the story it told about Mutants of the past, their culture, and the place they buried their dead, which housed the souls that crossed them. This was great storytelling and felt like it was setting up something solid to root Haven in X-Men history. I suppose that’s why I was so disappointed by how things turned out. The good? The art here is phenomenal. I found myself staring at more than a few of David Marquez’s panels and admiring the poses and visual storytelling of the issue. Particularly how he played with the darkness of the space and the vibrant and explosive abilities of the X-Men. The darker, stylized costumes and looks each character adopted in the Penumbra definitely stand out and add a flavorful flair that contrasts with the usually bright and standout uniforms we’re used to. It’s a nice change of pace and aesthetic. The not-so-good? The story just feels like it deflates a bit. The X-Men do what they do - fighting for the lives of those close to them and ensuring the safety of the next generation of Mutants, but the end gives no payoff or huge revelation like I was expecting. Sure, there is the revelation that Calico may have brought her horse back from the dead with her power, but otherwise, what I felt was a significant buildup just left me feeling like this was an unnecessary detour. The inclusion of the Man-Thing felt like a plot device, and Lady Henrietta, for all of her interest, just kind of returns to obscurity, leaving us with the knowledge that she knows Logan, but without any explanation. Don’t get me wrong, I’m not here to get down on the book. Again, I’ve mostly enjoyed the Outliers and hope, unlike other young Mutants introduced in the past, that they don’t fade into obscurity as soon as this run is done, but for a four-part event, I don’t feel the landing is stuck. The Outliers still have their mystery about them, and we still don’t know much of anything about the Endling that will come for Mutants who have cheated death, so for the moment, I’m still curious about Uncanny X-Men . The slasher movie fan that I am, though, I am a bit excited for the next issue, which teases horror for the Haven House and its residents. I just hope we get a solid start to the story and a killer ending to boot. Release Date:  June 25, 2025 Written by:  Gail Simone Art by: David Marquez Cover by: David Marquez Page Count: 26 Synopsis :  ...CORRUPTS ABSOLUTELY The DARK ARTERY, gateway to an underworld of unspeakable evil, has taken one of the Outliers, and it will take the Uncanny X-Men to get them back...IF they can survive the corruption process needed to enter! Plus, the secret of the ENDLING at last! It's MONSTERS vs. MUTANTS for the soul of an Outlier! Don't miss this story finale!

When people talk about the X-Men, Doug Ramsey rarely comes up. Among the many powerful and flashy mutants, he tends to fly under the radar. His mutation, an intuitive understanding of all languages, isn’t exactly showy, and he doesn’t transform or shoot lasers. But Doug’s role has been quietly pivotal, most notably in helping create the Krakoan language and serving as the voice of the living island itself. That’s why it was so intriguing when he fell under Apocalypse’s mentorship during last year’s Heir of Apocalypse  event. Doug survived and was changed. Now, he returns not just as himself, but as Revelation . This issue does a great job bringing readers up to speed, even if they missed last year’s mini-event. Doug is now living in relative isolation with his wife, Bei the Blood Moon, a formidable Arakkii mutant whose power is so alien that even Doug’s linguistic gifts can’t fully decipher her and Warlock, his longtime technarch companion. Together, they’ve been quietly exploring what it means for Doug to follow Apocalypse’s philosophy of “survival of the fittest.” But Doug, ever the logical one, questions the failures of Apocalypse’s past and aims to forge a new path. One based not on disciples, but perhaps on family . © Marvel Their introspection doesn’t last long as a group of armed agents in unmarked uniforms suddenly surrounds their home. Earlier, Bei reminded Doug that as an Arakkii, her culture and philosophy were different from his, as she quickly leaps into action to defend him. Her instincts are to fight first, not ponder. As she dispatches the intruders outside, one slips in and incapacitates Warlock, putting a gun to Doug’s head. This is the moment I’d been waiting for: what had Apocalypse really  done to Doug? What did being Revelation mean ? The answer lands with eerie calm as Doug simply commands the agent from Z.E.R.O. to turn the gun on himself, his eyes, and the textbook changing to emphasize his power and influence. And I have to admit, I was nervous he’d force the man to pull the trigger. Instead, what follows may be even more harrowing. Bei unleashes her mutant ability—the Doom Note—a devastating sonic blast capable of leveling mountains. She fires it straight through the building, obliterating the man holding Doug hostage, leaving only his foot as remains. It’s brutal, jarring, and effective. Bei then tells Doug something important: as Revelation, as the heir to Apocalypse, he now carries real power. People, including himself, need to start treating him like it. It's a sharp reminder that the road ahead will be darker, more dangerous, and that Doug’s new role isn’t just symbolic—it’s transformative. This was a fantastic issue. It sets the stage for a story that won’t just challenge Cyclops and the current X-Men team but may shake the foundations of mutantkind itself. Doug has always been an unlikely player in the grander schemes of mutant politics, which makes his rise as Revelation all the more compelling. With MacKay at the helm, I’m genuinely excited to see where this goes and what trials await our favorite mutants in the chapters to come. © Marvel About X-Men #19 Release Date:  July 02, 2025 Written by:  Jed MacKay Art by: Netho Diaz Cover by: Ryan Stegman Page Count: 26 Synopsis :  Doug Ramsey, the heir to Apocalypse known as REVELATION, has a mission: to carry on the great work. But in trying to create the Great Work of a new world, the first steps are the hardest to plot. And will he be given an opportunity before this dream is strangled in its cradle?

When I first heard about Ultimate Wolverine  and the plan to blend Logan’s story with that of the Winter Soldier, I was genuinely excited. It felt like the kind of bold, high-concept storytelling the Ultimate Universe was built for. Still, I had a hunch the “amnesiac weapon” angle wouldn’t stick. Logan was never meant to be the Winter Soldier; he was meant to be the  Wolverine. So when his memories returned in the last issue, I wasn’t sure what to expect moving forward. Would this just become another standard Wolverine story amongst hundreds? Thankfully, it hasn’t — at least, not yet. © Marvel There are a few things worth highlighting here. The issue opens with Wolverine brooding over the atrocities he committed while under the control of the Eurasian Republic. Kitty Pryde finds him in this state and helps talk him back from the edge. It’s a familiar “sad Logan” moment, but given that this is the first time we’ve seen him post-recovery, it feels earned. It’s also a great showcase for Condon’s take on this version of Kitty. She comes across as someone hardened by war, offering Logan wisdom without sugarcoating the cost of their fight, while reminding him of the people and purpose he still has. One of the more intriguing shifts in this arc is the alliance between Wolverine and Sabretooth. There’s some tension between them, sure, but they’re on the same side. A refreshing change from the usual blood-feud dynamic. They're both part of the Opposition, a group that includes familiar mutants like Beast and Gambit, as well as a couple of humans—Black Widow and Guardian—though it seems they’ve either dropped their color-coded monikers or haven’t adopted them in this timeline. Meanwhile, the Rasputins begin making their next move. With Dr. Alonya having lost control of the Winter Soldier, they’re now plotting to destroy the Opposition by tapping into something or someone  far more dangerous. It looks like that plan might involve the brain of Charles Xavier or the mind of Jean Grey, which could have huge implications for what’s coming. While this issue is a bit slower and less action-heavy than the previous ones, it still delivers. It feels like a necessary breather—a moment to set the stage, deepen character dynamics, and raise the stakes. Logan finally feels like he's on the path he was always meant to walk in this universe. The supporting cast is getting more dimension, and both sides of the mutant conflict are gearing up for what’s clearly going to be a larger, more explosive confrontation. With Wolverine and the Opposition preparing to go on the offensive, I’m genuinely eager to see where this next arc takes us—and what secrets it will uncover in this reimagined Ultimate world. © Marvel About Ultimate Wolverine #7 Release Date:  July 02, 2025 Written by:  Christopher Condon Art by: Alessandro Cappuccio Cover by: Alessandro Cappuccio Page Count: 26 Synopsis :  …IN LIMBO? Has the OPPOSITION finally helped Logan reclaim his identity? But what lengths will COLOSSUS, MAGIK and OMEGA RED go to keep their prized weapon? And don't miss Ultimate MAGIK revealing the depth of her power!