Search Results

Sony and Marvel Studios’ once again continue the trend of featuring an Avenger in their Spider-Man franchise. Mark Ruffalo as Bruce Banner and Tom Holland as Spider-Man  © Marvel Studios Nexus Point News can exclusively report that Mark Ruffalo is set to reprise his role as Bruce Banner in Spider-Man: Brand New Day . It is currently unknown what role Banner will play in the story or whether he’ll also be portraying his alternate green persona. NPN can confirm Bruce Banner’s appearance will be much larger than a cameo and Ruffalo will have a substantial role in the film. Spider-Man: Brand New Day  will be Ruffalo’s tenth appearance in a mainline Marvel Cinematic Universe project which will be followed shortly by Avengers: Doomsday  and Avengers: Secret Wars , respectively. Ruffalo’s Banner was last seen in the Disney+ series, She-Hulk: Attorney at Law  where a car accident left his cousin Jennifer Walters cross-contaminated with his blood, transforming her into She-Hulk. Banner trains Walters to transform and control her powers and is next seen in the finale where he appears with his son Skaar, who was born on Sakaar. She-Hulk: Attorney at Law  showed that Banner was still using his Professor Hulk form when he transformed and was able to shift between Banner and Professor Hulk, while retaining his personality. Although it’s not confirmed if Banner will transform into Professor Hulk or the Savage Hulk persona, Banner can still play a pivotal role to the story as a scientific mentor to Peter Parker. Bruce Banner / The Hulk was created by Stan Lee and Jack Kirby in 1962 and first debuted in The Incredible Hulk  (1962) #1. Bruce Banner was a reserved scientist experimenting with gamma rays until an experiment left him exposed to the rays while trying to save Rick Jones from exposure. The gamma rays transformed him into the Hulk, a green, hulking monster with a different personality, which also resulted from Banner’s DID. Hulk went on to be a founding member of the Avengers and Defenders and was a frequent ally to the Fantastic Four. Spider-Man: Brand New Day  is set to be the fourth entry in the MCU’s Spider-Man  series and is set to be directed by Destin Daniel Cretton ( Shang-Chi and the Legend of the Ten Rings ) with a script written by Chris McKenna and Erik Sommers. Tom Holland is set to return as the titular character with Zendaya and Jacob Batalon returning in smaller roles. As reported by Apocalyptic Horseman on X, Michael Mando is in talks to return as Mac Gargan, reprising his role from Spider-Man: Homecoming , although the status of his deal is currently unknown. Sadie Sink and Liza Colon-Zayas have also been cast in undisclosed roles. The film will begin shooting in late July in London and is expected to wrap in the Fall. Spider-Man: Brand New Day  is set to be released by Sony Pictures on July 31, 2026 as part of Phase 6 of the Marvel Cinematic Universe.

Mike Flanagan’s adaptation of Carrie  now has its writers’ room. We can report on who will be joining the maestro of horror in adapting Stephen King’s classic 1974 novel into an 8-episode series, being produced by Amazon MGM. In addition to Flanagan, the writers’ room will include: Dani Parker: Past projects include Hysteria!  (co-producer), and Fall of the House of Usher (story editor).  Rebecca Leigh Klingel: Past projects include Fall of the House of Usher (executive story editor), and Haunting of Bly Manor (story editor).  Elan Gale: Past projects include Scare Tactics (showrunner), and The Midnight Club (co-producer).  Jamie E. Flanagan: Past projects include Hysteria! (consulting producer), and Fall of the House of Usher  (producer).  Elizabeth Padden: Past projects include Dune: Prophecy (supervising producer), and Umbrella Academy (producer).  Justina M. Ireland: Past projects include Fall of the House of Usher (staff writer). Trevor Macy: Past projects include The Midnight Club (executive producer).  Alexandra Magistro Sissy Spacek as Carrie White in Carrie (1976)  © Red Bank Films Originally published in 1974, Carrie  tells the story of Carrie White, a teenage girl from an abusive household dealing with coming of age amidst bullying both from her peers and from her ultra-religious mother. The book was adapted into a film by Red Bank Films in 1976, with the titular character being played by Sissy Spacek, and again by MGM in 2013, with Carrie being played by Chloë Grace Moretz. While there has not been an announcement about who will play Carrie in Flanagan’s adaptation, Deadline has reported that Summer H. Howell is in talks for the role. Additionally, Variety has verified that Siena Agudong will be playing bully Sue Snell, while horror movie alum Matthew Lillard is also said to be in talks for involvement.  Mike Flanagan has a lauded history of adapting horror classics, from Doctor Sleep , to Haunting of Bly Manor , he is known for his intense inspections of human nature against the backdrop of mounting suspense and fear. Many of the new writers’ room members have worked with him before, some on multiple projects, which suggests Carrie  will be a strong addition to the adaptation roster. With eight episodes to spread the story out, audiences can be assured the tale of Carrie White will be given the opportunity to breathe and grow in fresh new ways.  Source: Writers’ Guild of America

The Last of Us Season 2 has finally come to an end with its seventh episode. Last week, the show took us away from all the action and took us back to the days when Joel was alive, giving it his all to be a better father than he had. It was a heartbreaking episode and one that tore audiences apart as the inclusion of the porch scene felt out of place for most as it originally is left for the end of the story in the game. I thought that it was a great inclusion to the episode and that it allowed for you to look at Joel and Ellie’s relationship through a different lens, one that could affect how Ellie chooses her actions in the latter half of the video game’s story. The Last of Us Part 2 is an extremely long game when it’s compared to its predecessor, and it is quite literally impossible for it to be adapted into one season of a show. Season 2 already falls into issues of it feeling rushed with the direction that Craig Mazin and Neil Druckmann have taken with the story. When adapting a video game into a television show/film, a lot of that gameplay is cut out, which makes up a lot of the time playing a story video game. With that being said, it feels like The Last of Us Season 2 cut out every vital action moment wherever they could. That didn’t only make Jesse’s introduction into Seattle feel lackluster, but it also left Ellie in the show feeling rather weak and shallow in comparison to video game Ellie, who took down everyone in her path, whether they were WLF, Seraphites or infected. Time rewinds a little as we see the aftermath of Dina getting shot in the leg from an arrow with Jesse attending to the nasty wound. Jesse’s still unaware at this point of Dina’s pregnancy, but it becomes instantly clear to him when she denies the alcohol. This scene doesn’t make up for his odd characterisation in the show and them ruining his badass entry, but it does bring depth to Dina and Jesse’s relationship, which didn’t exist before. Jesse finding out about Dina’s pregnancy only brings such urgency to the fact that they need to find Tommy quick and make it back to Jackson, as he wants to be there for his child. It only hurts ever so more when Ellie continues to be selfish about her decisions with revenge clouding her mind and when Jesse dies in those final moments, as it will only affect Ellie more, as she now knows how badly he wanted to get home to avoid this exact situation they find themselves in. © HBO What hurts this episode the most and the overall show is Ellie’s depiction. Bella Ramsey continues to deliver a great performance and showcased last episode that their switch between young Ellie and present-day Ellie is effortless, but as mentioned before, this character doesn’t feel ruthless, and it’s not believable that she’ll achieve her goal of killing Abby. The entire scene at the aquarium is once again a scene that remotely lacks any sense of action. There’s no Ellie fighting off against Mel to protect herself, and it feels like Craig Mazin and Neil Druckmann are just taking out all the parts of the game that feel engaging and, in a way, make Ellie who she is. Without stepping into spoiler territory, when the show finally gets to the video game’s conclusion, it will always feel half-assed, as we’ve been given an Ellie that doesn’t get herself into fights. Ellie is supposed to be a character where even the audience should worry if she’s going too far, but that moment has not yet come, as her kill count in the show has not even reached a quarter of what it is at this point in the game. Ellie’s realisation that Mel is pregnant is harder to deal with in the show, as she makes an attempt to save the baby, but these changes just don’t feel worth the time. Enter Abby; somehow she returned. With how great a job Kaitlyn Dever does at portraying Abby, her presence was missed, and the final moments of the episode remind you why Dever was such a great choice for Abby. This singular moment and what follows in the game is hands down one of the best moments in the entire game, but with Season 2 feeling rushed, the impact of this scene never hits as hard as it’s supposed to. © HBO The Last of Us Season 2 could’ve done with an extra episode or two before reaching this moment, but for whatever reason, Craig Mazin and Neil Druckmann opted for skipping out on a lot of character development with Ellie, spending that time on her relationship with the surrounding characters instead of the rage she should be building up, and beat around the bushes when it came to the action. The most action-packed moment of the entire season was the Jackson attack, and that’s saying a lot when that’s an original scene they’ve added themselves. Depending on the direction Mazin and Druckmann go in, the show could wrap up with an extensive third season, but unfortunately they’ve showcased with Season 2 that they’re not capable of adapting a long game into a TV show, and it’s probably best if they split up what’s left into two more seasons. Whether they’ll be able to keep the audience’s attention for that long, we’ll see. The Last of Us Season 2 doesn’t reach the heights of Season 1, although there are singular episodes of Season 2 that are the best this show has seen. It rushes to get to its cliffhanger and wraps with a finale that doesn’t feel climactic and instead feels disjointed. Rating: ★★★☆☆ About The Last of Us The Last of Us . © HBO Premiere Date:  April 13, 2025 Episode Count:  7 Executive Producer/Showrunner: Craig Mazin, Neil Druckmann, Carolyn Strauss, Jacqueline Lesko, Cecil O’Connor, Asad Qizilbash, Carter Swan, and Evan Wells Writer: Craig Mazin, Neil Druckmann, and Halley Gross Director: Craig Mazin, Neil Druckmann, Mark Mylod, Peter Hoar, Kate Herron, Stephen Williams, Nina Lopez-Corrado Production:  PlayStation Productions, Word Games, Mighty Mint, Sony Pictures Television and Naughty Dog Distribution:  HBO Cast:  Pedro Pascal, Bella Ramsey, Gabriel Luna, Rutina Wesley, Kaitlyn Dever, Isabela Merced, Young Mazino, Ariela Barer, Tati Gabrielle, Spencer Lord, Danny Ramirez, Jeffrey Wright and Catherine O’Hara. Synopsis: Five years after the events of the first season, Joel and Ellie are drawn into conflict with each other and a world even more dangerous and unpredictable than the one they left behind.

I’ve said it before, and I’ll say it again: Uncanny X-Men  has finally found its footing. With recent issues, the series feels like it’s truly settling into its identity. Outside of the occasional story detour caused by larger events, both the Outliers and the core X-Men team have found their voices—and the kind of compelling pull I expect from a flagship X-title in this new era. Once again, the narrative is split into three parts, all inching closer to a convergence. We return to the past with Henrietta and her journey to New Orleans—a storyline I continue to enjoy for multiple reasons. First, it expands the scope of mutant history in a meaningful way, showing us that even then, community and communication among Mutants existed. Second, it reinforces an ongoing theme: no matter the era, mutants face hatred and fear. That tension between then and now adds weight to Henrietta’s story and keeps her arc compelling. In the present, we follow the Outliers as they venture deeper into the Dark Artery, eventually coming face-to-face with the Man-Thing. This is where I realized just how much I’ve grown to like Deathdream. He’s easily the most enigmatic of the Outliers, with his connection to death and the dead—a thread that was even picked up in the latest issue of Psylocke . His link to the Man-Thing adds another layer of intrigue, as he's able to understand or communicate with the guardian of the Artery, a place seemingly only accessible to mutants. © Marvel During their encounter, the Man-Thing passes judgment on the Outliers, allowing them to continue. But it's in this moment that we get a key revelation: Calico, who has always claimed her mutant abilities are connected to her horse, Ember, learns that she doesn’t actually understand what Ember is at all. With Deathdream’s insight, we find out that whatever Ember is, it’s not alive. That revelation casts a new shadow over their journey and raises more questions than it answers. Meanwhile, with the main X-Men team, we’re still dealing with Gambit and his ongoing standoff with Sadurang, the dragon, over the Left Eye of Agamotto, a cursed artifact said to compel its wielder to feast on the flesh of their loved ones. What stands out here is Gambit’s refusal to part with it. While I assume he believes it would be far more dangerous in Sadurang’s hands, the truth is, it wasn’t a pressing issue until the Uncanny team took possession of it back in issue #1. His decision could have dangerous consequences—not just for him, but for his teammates as well. After Gambit reunites with the team and his curse is exposed, the story returns to the Outliers—who, it’s worth noting, are only now being noticed as missing by the rest of the cast. At the heart of the Dark Artery, they discover it leads to something completely unexpected: a city. But not just any city—a city of the dead, filled with the souls of those responsible for the deaths of Mutants throughout history. It’s a striking and eerie concept. And at the center of it all, the one who summoned them there is revealed to be Henrietta, tying the past and present together in a chilling, almost poetic moment. Simone is weaving an intricate, compelling story here, and I’m especially enjoying the horror elements that have crept into the narrative. My only concern is how Henrietta will be handled going forward whether she’s being positioned as a villain or something more complex. Her arc has been fascinating so far, and I’m hopeful it leads to a satisfying and nuanced resolution. For now, I’ll keep reading with cautious optimism and maybe keep the lights on while I do. © Marvel About Uncanny X-Men #14 Release Date:  May 14, 2025 Written by:  Gail Simone Art by: David Marquez Cover by: David Marquez Page Count: 26 Synopsis :  The Uncanny X-Men thought that Haven House was a safe place, a place to call home. But is it more than that? What is the history of the hidden landscape UNDER the Louisiana swampland, and what does it want with the young OUTLIERS? Long-held secrets revealed, and a part of X-history never before shown threatens to break both teams apart!

Disclaimer: This review contains spoilers for ‘Star Wars: Legacy of Vader #3’.  © Marvel Comics Tatooine is not a planet for the weak.  Every progeny of Anakin Skywalker returns to the desert eventually, and now it is Kylo Ren’s turn. It is not going well for him, stuck in the clutches of Gardulla the Hutt. His captors turn a deaf ear to his protestations and threats, his “do you know who I am?” blustering serving him no good in a place the First Order, like the Empire before it, does not exist.  Kylo Ren is demonstrating a keen part of Vader’s legacy without even realizing it. Anakin Skywalker struggled in bondage his entire life, and in his own fight against Gardulla - the very creature who owned Anakin before the Dark Side did - Kylo Ren exhibits that drive to be free that was, ultimately, much of Anakin’s downfall.  Writer Charles Soule spends a great deal of time in this issue focusing on the ultimate helplessness of Kylo Ren’s situation. Not simply being held captive and tortured, but the undeniable reality that giving oneself over to the Dark Side is ultimately a solitary pursuit. Even Vader himself hammers this home in Kylo Ren’s vision, reminding his grandson that all of his “magnificence” was achieved alone. Like his grandfather, however, Kylo Ren is not the kind of man to obey simply because he is told to, and seeing Vader is what gives him that final burst of rage that frees him.  Gardulla the Hutt has long represented the chains of slavery that are an undeniably important part of Vader’s history and legacy. Kylo Ren is finally able to close a particularly painful chapter of the Skywalker saga, albeit through the violence he has been struggling to connect with.  Kylo Ren has a vision. © Marvel Comics Star Wars: Legacy of Vader  is a story that has been a long time coming. The sequel trilogy exists in the shadow of Darth Vader’s legacy, and Kylo Ren’s journey as first a Knight of Ren, then Supreme Leader and finally one half of a Force Dyad all hinge on his view of his grandfather. This is reflected in the artwork of Luke Ross and Nolan Woodard, where Kylo Ren’s expression of awestruck hero worship at the sight of Vader’s swathe of violence demonstrates just how much the young man’s identity is shaped by those who came before him.  Kylo Ren takes the lesson he learns from Gardulla’s torture chamber and manages to free himself. He does this the way he thinks he must: alone, with nothing but his own power and tenacity. He cannot rely on a team, the Dark Side is too isolating. He tells himself there is “power” and “purity” in being alone, but the tragedy of Kylo Ren is that his true power comes from his connections with others.  Kylo Ren’s connection with Vaneè is another part of Vader’s legacy. The former servant’s horrifying body modifications mirror Vader’s own, and his eagerness to share the ins and outs of Vader’s real existence is somewhat suspect. There may be an ulterior motive, a trap Kylo Ren has yet to discover, but in the meantime he will continue down the path of the Dark in his pursuit of Vader’s truths. What he will discover in issue 4 when he travels to Naboo remains to be seen, but if it is anything like his experience on Tatooine, there are still lessons to learn from the ghosts of Darth Vader’s past.  Rating: ★★★★☆ Star Wars: Legacy of Vader #3 © Marvel About Star Wars: Legacy of Vader #3 Release Date:  April 16, 2025 Written by:   Charles Soule Art by: Luke Ross Cover by: Derrick Chew Page Count: 22 Synopsis :   KYLO REN - PRISONER ON TATOOINE! KYLO REN has been imprisoned by the ruthless GARDULLA THE HUTT! The young tyrant must survive the harsh conditions of his grandfather DARTH VADER'S homeworld! And who is the mysterious FORCE USER in Gardulla's employ?

Marvel Television's Daredevil: Born Again has been submitted for Emmy consideration in 23 categories. Charlie Cox , who reprises his role as the titular Daredevil, is submitted for Outstanding Lead Actor in a Drama Series, while Vincent D’Onofrio is entered in the Outstanding Supporting Actor in a Drama Series category. Ayelet Zurer and Deborah Ann Woll are both submitted for Outstanding Supporting Actress in a Drama Series—though notably, Margarita Levieva was not submitted, which comes as a surprise. Wilson Bethel has also not been submitted in any category. Jon Bernthal has been submitted for Outsanding Guest Actor in a Drama Series for his performance in Episode 9, "Straight to Hell," while the late Kamar de Los Reyes is submitted in the same category for Episode 3, "The Hollow of His Hand." Additionally, Disney+ has only submitted Aaron Moorhead and Justin Benson for Outstanding Directing for a Drama Series. Here are all the submissions for the series: © Marvel Television Outstanding Drama Series Kevin Feige, Executive Producer Louis D’Esposito, Executive Producer Brad Winderbaum, Executive Producer Sana Amanat, Executive Producer Chris Gary, Executive Producer Dario Scardapane, Executive Producer Matt Corman, Executive Producer Chris Ord, Executive Producer Justin Benson, Executive Producer Aaron Moorhead, Executive Producer Trevor Waterson, Co-Executive Producer Zachary Reiter, Co-Executive Producer Grainne Godfree, Co-Executive Producer Jill Blankenship, Co-Executive Producer David Feige, Co-Executive Producer Eleena Khamedoost, Supervising Producer Thomas Wong, Supervising Producer Rudd Simmons, Produced by Music Composition for a Series (Original Dramatic Score) The Newton Brothers - Episode 6: "Excessive Force" Directing for a Drama Series Aaron Moorhead & Justin Benson - Episode 8: "Isle of Joy" Original Main Title Theme Music The Newton Brothers Writing for a Drama Series Dario Scardapane - Episode 1: "Heaven's Half Hour" Picture Editing for a Drama Series Cedric Nairn-Smith - Episode 1: "Heaven's Half Hour" Melissa Lawson Cheung - Episode 9: "Straight to Hell" Stephanie Filo, ACE - Episode 8: "Isle of Joy" Lead Actor in a Drama Series Charlie Cox Production Design for a Narrative Contemporary Program (One Hour or More) Michael Shaw, Production Designer - Episode 6: "Excessive Force" Douglas Huszt, Supervising Art Director Becca Meis, Set Decorator Supporting Actor in a Drama Series Vincent D’Onofrio Sound Editing for a Comedy or Drama Series (One Hour) Jon Borland, Sound Designer/Supervising Sound Editor - Episode 1: "Heaven's Half Hour" Chris Gridley, Dialogue/ADR Supervisor Jessey Drake, M.P.S.E., Sound Effects Editor Chris Frazier, Foley Editor Dmitri Makarov, Dialogue Editor Anele Onyekwere, Music Editor Nashia Wachsman, Music Editor Sandra Fox, Foley Artist Goro Koyama, Foley Artist Supporting Actress in a Drama Series Ayelet Zurer Deborah Ann Woll Sound Mixing for a Comedy or Drama Series (One Hour) Jonathan Reyes, Production Sound Mixer - Episode 1: "Heaven's Half Hour" Scott R. Lewis CAS, Re-Recording Mixer Tom Myers, Re-Recording Mixer Guest Actor in a Drama Series Jon Bernthal - Episode 9: "Straight to Hell" Kamar de Los Reyes - Episode 3: "The Hollow of His Hand" Special Visual Effects in a Season or a Movie Gong Myung Lee, Visual Effects Supervisor Fahed “Freddy” Alhabib, Visual Effects Producer Stuart Bullen, Visual Effects Supervisor Phil Prates, Visual Effects Supervisor Aaron Raff, Visual Effects Supervisor Ed Mendez, Visual Effects Supervisor Jessica Norman, Visual Effects Supervisor Berj Bannayan, Visual Effects Supervisor Roy Savoy, Special Effects Coordinator Casting for a Drama Series Beth Bowling, CSA Kim Miscia, CSA Stunt Coordination for Drama Programming Philip Silvera, Supervising Stunt Coordinator Cinematography for a Series (One Hour) Hillary Fyfe Spera - Episode 8: "Isle of Joy" Pedro Gomez Millan - Episode 4: "Sic Semper Systema" Stunt Performance One Shot Fight - Episode 1: "Heaven's Half Hour" Niko Stavropoulus, Matt Murdock Stunt Double Brian Jansa, Bullseye Stunt Double / Assistant Fight Coordinator Zar Succarotte, Muse Stunt Double / Fight Coordinator Philip Silvera, Supervising Stunt Coordinator Choreography for Scripted Programming John Carrafa, Choreographer - Episode 8: "Isle of Joy" Fantasy/Sci-Fi Costumes Emily Gunshor, Costume Designer - Episode 6: "Excessive Force" Jessica Trejo, Assistant Costume Designer Ngina Bowen, Wardrobe Supervisor Yleana Nunez, Wardrobe Supervisor Period or Fantasy/Sci-Fi Hairstyling Kat Drazen, Hair Department Head - Episode 8: "Isle of Joy" Handri Gunawan, Key Hairstylist Cherie Johnson, Hairstylist Period or Fantasy/Sci-Fi Makeup (Non-Prosthetic) Kimberly Amacker, Makeup Department Head - Episode 9: "Straight to Hell" Bridget Ritzinger, Key Makeup Artist Lisa Forst, SFX Makeup Artist David Kalahiki, Makeup Artist Main Title Design Doug Appleton, Creative Director - Episode 1: "Heaven's Half Hour" Ryan Close, Art Director Vivian Amaro, Lead Designer-Animator Sagnik Sengupta, Designer/Animator Olaf Blomerus, Designer/Animator Wes Simpkins, Storyboard Artist

Marvel Television's Agatha All Along   emerged as both a critical and commercial triumph for Disney with its compelling storytelling and standout performances. Building on this success, Disney+ has submitted the series for Emmy consideration in an impressive 24 categories. The series is vying for one of television’s highest honors, having been submitted for Outstanding Comedy Series. Leading the charge is Kathryn Hahn , who has been submitted for Outstanding Lead Actress in a Comedy Series for her return as the fan-favorite Agatha Harkness. In the Outstanding Supporting Actress in a Comedy Series category, Disney+ has put forward a powerhouse lineup including Aubrey Plaza, Patti LuPone, Debra Jo Rupp, Sasheer Zamata, and Ali Ahn. Joe Locke has been submitted for Outstanding Supporting Actor in a Comedy Series. Behind the camera, all three directors of the series — Jac Schaeffer, Rachel Goldberg, and Gandja Monteiro — have been submitted for Outstanding Directing for a Comedy Series. Here are all the submissions for the series: © Marvel Television Outstanding Comedy Series Kevin Feige, executive producer Louis D’Esposito, executive producer Brad Winderbaum, executive producer Mary Livanos, executive producer Robert Kulzer, executive producer Jac Schaeffer, executive producer Trevor Waterson, co-executive producer Julie Herrin, producer Cameron Squires, producer Lead Actress in a Comedy Series Kathryn Hahn Supporting Actress in a Comedy Series Aubrey Plaza Patti LuPone Debra Jo Rupp Sasheer Zamata Ali Ahn Supporting Actor in a Comedy Series Joe Locke Directing for a Comedy Series Jac Schaeffer - Episode 107: "Death's Hand in Mine" Rachel Goldberg - Episode 105: "Darkest Hour / Wake Thy Power" Gandja Monteiro - Episode 108: "Follow Me My Friend / To Glory at the End" Writing for a Comedy Series Gia King & Cameron Squires - Episode 107: "Death's Hand in Mine" Music Composition for a Series (Original Dramatic Score) Christophe Beck and Michael Paraskevas - Episode 107: "Death's Hand in Mine" Original Music and Lyrics The Ballad of the Witches’ Road (Sacred Chant Version) - Episode 102: "Circle Sewn with Fate / Unlock Thy Hidden Gate," written by Kristen Anderson-Lopez and Robert Lopez Music Supervision Dave Jordan - Episode 102: "Circle Sewn with Fate / Unlock Thy Hidden Gate" Justine von Winterfeldt Picture Editing for a Comedy Series Jamie Gross - Episode 101: "Seekest Thou the Road" Libby Cuenin - Episode 106: "Familiar by Thy Side" David Egan - Episode 107: "Death's Hand in Mine" Dane R. Naimy and Jamie Gross - Episode 109: "Maiden Mother Crone" Production Design for a Narrative Program (Half-Hour) John Collins, production designer - Episode 107: "Death's Hand in Mine" Drew Monahan, supervising art director Monica Monserrate, set decorator Casting for a Comedy Series Sarah Halley Finn, CSA Tara Feldstein Bennett, CSA (Atlanta casting) Chase Paris, CSA (Atlanta casting) Sound Editing for a Comedy or Drama Series (Half-Hour) and Animation Kim Foscato, supervising sound editor - Episode 105: "Darkest Hour / Wake Thy Power" Paula Fairfield, sound designer Daniel Laurie, ADR supervisor Andre J.H. Zweers, sound effects editor Kim B. Christensen, Foley editor Fernand Bos, music editor Mary Parker, music editor Jana Vance, Foley artist Ronni Brown, Foley artist Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation Dick Hansen, production sound mixer - Episode 107: "Death's Hand in Mine" Juan Peralta, re-recording mixer Danielle Dupre, re-recording mixer Doc Kane, ADR mixer Outstanding Cinematography for a Series (Half-Hour) Caleb Heymann - Episode 105: "Darkest Hour / Wake Thy Power" Jon Chema and Caleb Heymann - Episode 107: "Death's Hand in Mine" Outstanding Cinematography for a Series (One Hour) Isiah Donté Lee - Episode 108: "Follow Me My Friend / To Glory at the End" Special Visual Effects in a Single Episode Kelly Port, visual effects supervisor - Episode 108: "Follow Me My Friend / To Glory at the End" Tim Cunningham, visual effects producer Dan Sudick, special effects supervisor Joel Mitchell, special effects foreman Michael Melchiorre, visual effects supervisor Amy Elizabeth James-Wang, visual effects producer Lilia Collar, lead compositor Chris Norpchen, lighter Chun Ping Chao, compositor Stunt Coordination for Comedy Programming Marc Scizak, stunt coordinator Stunt Performance Whitney Coleman, Agatha stunt double - Episode 101: "Seekest Thou the Road" Sarah Irwin, Rio stunt double Fantasy/Sci-Fi Costumes Daniel Selon, costume designer - Episode 108: "Follow Me My Friend / To Glory at the End" Christine Casaus, assistant costume designer Maddison Carroll, assistant costume designer Ambre Wrigley, costume supervisor Greg Hopwood, costume illustrator Marilyn Madsen, head of workroom Period or Fantasy/Sci-Fi Hairstyling Cindy Welles, hair department head - Episode 109: "Maiden Mother Crone" Shelia Cyphers-Leake, key hairstylist Heather Morris, hairstylist Period or Fantasy/Sci-Fi Makeup (Non-Prosthetic) Vasilios Tanis, makeup department head - Episode 109: "Maiden Mother Crone" Erin LeBre, key makeup artist Tana Medina, makeup artist Amanda Sprunger, makeup artist Outstanding Prosthetic Makeup Greg Nicotero, makeup effects designer - Episode 103: "Through Many Miles / Of Tricks and Trials" Addison Foreman, key SFX makeup artist Heather Beauvais, SFX makeup artist Main Title Design Doug Appleton, creative director - Episode 101: "Seekest Thou the Road" Greg Herman, creative director Christian Haberkern, art director Sagnik Sengupta, designer/animator Vivian Amaro, designer/animator Josh Hamester, editor

This review may contain minor spoilers. Jesse Armstrong, the mastermind who gave us the Roy Family, is back with his follow-up to Succession with Mountainhead, which also marks his directorial debut. Made at breakneck speed — reportedly pitched in January, shot in five days in March, and is coming out on HBO this May — the satirical drama is an impressive debut that wields limited resources with piercing intent. His latest is as sharp, uncomfortable, and morally murky as you'd expect from a mind like his. It follows " a group of billionaire friends get together against the backdrop of a rolling international crisis. " Armstrong also got some great performers on board, including Steve Carell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef. Set entirely in a single mountain cabin, what begins as a weekend meet-up slowly devolves into psychological warfare, while the friends plot to "save" the world. Steve Carell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef in Mountainhead . © HBO If you've seen Succession , you'll notice a lot of similarities between the two projects, as they have a very similar style and feel to them, both visually and narrative-wise. Armstrong’s writing is predictably acerbic and insightful, filled with biting one-liners, layered conversations, and undercurrents of betrayal. While Mountainhead  may not reach the dramatic highs of Succession , its themes echo similar ideas: wealth’s corrosive effect on morality, the fragility of loyalty, and how even the most intimate bonds can fray under pressure. Armstrong offers timely commentary on our increasingly complex relationship with power, wealth, and technology, particularly AI, which looms large in the characters' financial scheming and existential fears. He also uses close-quarter edits that feel right at home with his dialogue-heavy approach. It's not a particularly cinematic film in the traditional sense, but it makes up for that with tension and character work. At the center of it all is Carell’s Randall, who is a terminally ill billionaire willing to go to great lengths to find a cure or an "alternate solution". He delivers what might be his darkest performance in years. Steve Carell and Ramy Youssef in Mountainhead . © HBO Stripped of his usual warmth, Randall is manipulative, desperate, and fascinating to watch—a man unraveling with terrifying calm. Carell leans into the rot beneath Randall’s surface that gradually comes to the surface as the stakes gett higher, offering a chilling reminder that power and sickness can be equally corrupting. The rest of the cast is equally strong. Schwartzman brings his trademark blend of neurotic wit and quiet nuance. Youssef tries to do much at times, but he brings innocence to the group, and Cory Michael Smith continues to impress and is a talent to watch out for. All 4 leads do really well handling the complexity of their respective characters. Still, Mountainhead   isn't flawless. The second act drags, while the third becomes murky and will likely divide audience opinion. Whether you can get on board with what the movie becomes in the third act will ultimately decide if you like it or not. It also has some pacing issues and a lot of financial jargon that may lose some viewers. It’s not as commercially appealing or as funny as one might expect.  The score, however, is a quiet triumph — moody and atmospheric, subtly raising the emotional stakes without ever overpowering the scenes. Mountainhead is a confident, thought-provoking debut from Jesse Armstrong, one that proves that he has more to say and more ways to say it. It acts as a cautionary reminder of what we’re willing to sacrifice for survival, success, and control. Despite all its flaws, there’s something undeniably compelling about the story's slow transformation from reunion to reckoning, and as the dust settles in the melancholic final moments, Armstrong leaves us with a lot to think about. Rating: ★★★½ © HBO About Mountainhead Premiere Date:  May 31, 2025 Writer: Jesse Armstrong Director: Jesse Armstrong Production:  HBO Films, Hot Seat Productions Distribution:  HBO Cast:   Steve Carell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef. Synopsis: Mountainhead follows A group of billionaire friends who get together against the backdrop of a rolling international crisis.

Welcome back to Shadyside. R.L. Stine's Fear Street film franchise has been resurrected on Netflix. After seeing Fear Street: Prom Queen, I think it may be time for the streamer to put this horror saga back in its coffin. Following the success of the Fear Street trilogy back in 2021, the powers that be at Netflix opted to explore this world further, originated by the mastermind, R.L. Stine, the author of the Fear Street book series. He is responsible for introducing many of us to the horror genre when we were kids with the likes of The Haunting Hour, The Nightmare Room, and, of course, Goosebumps. While Disney Plus and Sony have their hands on the Goosebumps reboot, fans have been hungry for more mature and bloodier horror from Stein's mind, so Netflix delivered, at least they tried to. Fear Street: Prom Queen is the franchise's first stand-alone film adaptation since the 2021 trilogy. Directed and co-written by Matt Palmer, Prom Queen follows a social outcast vying for the coveted title of Prom Queen, only to end up in the middle of a conspiracy when her fellow candidates are murdered one by one by a masked psychopath. The film, intended to be a reward to patient Stine fans and a tribute to slasher flicks, turned out to be nothing more than a parody of itself, with weak writing, two likable characters out of a large cast, and inexcusably poor special effects with death scenes failing to induce any sense of dread. Trouble At Shadyside © Netflix Fear Street: Prom Queen's storyline fails to reach the bar set by the preceding trilogy. The writing poorly reflects on R.L. Stine's legacy. Too much time is wasted building up to what is supposed to be the dramatic climax with the slasher. No one notices a deranged killer on the loose until only thirty-three minutes remain in the movie. By the time we get to the "big reveal" of the foe's identity, you can't help but roll your eyes because the plot twist is predictable, and the killer's origin is just a played-out slasher trope. Sitting through a horror film without feeling scared at all is one of the worst things to experience as a fan or cinephile. Tragically, that is a result of watching Prom Queen. I was so traumatized by the Fear Street Trilogy that I strongly considered sprinkling my room with holy water before retiring to bed. No one wants to be traumatized, but they don't want to be bored like I was watching Prom Queen. If you intend to make an R-rated slasher movie with a subpar story, at least focus on delivering kill scenes with quality production value. The deaths ranged from ridiculously stupid and hilariously bad due to poor special effects and pointless overacting. The fake blood is embarrassingly obvious, and dismembered limbs look like they were purchased at Spirit Halloween. The victims' overacting is frustrating, considering that the cast is the best thing about the film, despite there being only two likable characters. Two Stand Out In The Faceless Crowd © Netflix There is not much of an issue regarding acting, but there is one with characterisation. Excluding the two main protagonists, the characters are hollow and lack nuance. Indica Fowler and Suzanna Son carry Prom Queen as far as possible as the leading characters, Lori Granger and Megan Rogers. They are the only characters with their personalities, as they understand how they can remain loyal to each other without compromising themselves. They have their differences, but their love stays the same. The same can not be said for almost everyone else, especially the mean girls. It's hard to believe that five girls are running for Prom Queen when three of them are mindless drones serving their queen, Tiffany Falconer, played by Fina Strazza. We know cliques tend to remove the line separating church from state as they revere the most popular girl like a religious deity to maintain status at the top of the high school's hierarchy. Fear Street: Prom Queen paints that picture with a thin brush, using one colour, and shoves it in your face as the supporting cast share one identity around Tiffany. No One Can Save Fear Street: Prom Queen © Netflix Fear Street: Prom Queen ultimately fails as a slasher flick. The storyline is thin, with little character development to be found. For a story uprooted from the darkest crevices of R.L. Stine's brilliant mind, there is nothing scary about this movie. It is a messy regurgitation of slasher tropes with cheap kills and no thrills. Rating: ★★☆☆☆ About Fear Street: Prom Queen Premiere Date: May 23 Executive Producer: Peter Chernin, Jenno Topping, David Ready Writer: Donald McLeary, Matt Palmer Based on: Fear Street novels by R.L. Stine Director: Matt Palmer Production: Chernin Entertainment Distribution: Netflix Cast: India Fowler, Suzanna Son, Fina Strazza, David Iacono, Ella Rubin, Chris Klein, Ariana Greenblatt, Lili Taylor, Katherine Waterston, Brennan Clost Synopsis: A mysterious outsider running for Prom Queen at Shadyside High finds herself in the center of controversy when her fellow candidates are targeted by a mysterious killer on the loose.

Following Warfare, Alex Garland and A24 are officially partnering for their next feature film in collaboration with Bandai Namco Entertainment. Nexus Point News can exclusively report that Garland is set to direct and write the film adaptation of the critically acclaimed video game, Elden Ring. Additionally, A24 confirmed that Peter Rice, Andrew Macdonald, Allon Reich from DNA, Vince Gerardis, and George R. R. Martin will produce the film. Elden Ring is a role playing game developed by FromSoftware and published by Bandai Namco Entertainment. The game was released on February 25, 2022 on PlayStation 4, PlayStation 5, Windows, Xbox One, and Xbox Series X/S. The game was directed by Hidetaka Miyazaki (Dark Souls) and Yui Tanimura. Miyazaki co-wrote the game with George R. R. Martin (A Song of Ice and Fire). The game went on to win several awards at the 2022 Game Awards including “Game of the Year.” Its expansion pack, Shadow of the Erdtree went on to be nominated for “Game of the Year” at the 2024 Game Awards. Elden Ring follows the journey of the Tarnished, exiles summoned to the Lands Between to collect the shattered pieces of the powerful Elden Ring. The Ring’s destruction has thrown the world into chaos, and the Tarnished must undergo several “boss fights” and uncover the secrets to restore the Elden Ring and become the new Elden Lord. Garland is best known for his writing debut, 28 Days Later, his directorial debut, Ex Machina, and several other films such as Annihilation, Civil War, and Warfare. His upcoming projects include the next entries in the 28 Days Later franchise: 28 Years Later and 28 Years Later: The Bone Temple, films which he wrote and produced. Elden Ring is expected to be Garland’s next film and is expected to begin shooting in 2026.

Fountain of Youth arrives this week on Apple TV+ as a high-profile streaming original, boasting an A-list cast, a seasoned director in Guy Ritchie, and glossy production values typically reserved for theatrical blockbusters. That it's bypassing cinemas entirely is notable, especially for a fantasy adventure, a genre that’s become increasingly rare in the streaming age. Once a staple of big-screen escapism, fantasy adventures have taken a backseat to superhero franchises and gritty dramas, making this film’s existence—and its direct-to-streaming release—a curious and intriguing proposition. This one is written by James Vanderbilt and has an ensemble cast that includes John Krasinski, Natalie Portman, Eiza Gonzalez, Carmen Ejogo, Laz Alonso, Stanley Tucci and Domhnall Gleeson. It follows "two estranged siblings (Krasinski and Portman) who partner on a global heist to find the mythological Fountain of Youth. They must use their knowledge of history to follow clues on an epic adventure that will change their lives … and possibly lead to immortality." The film sets up what should feel like a high-stakes adventure—after all, we're talking about the legendary Fountain of Youth, arguably the most valuable and powerful artifact in existence, as the movie often reminds us. But despite the premise, the story never quite delivers that sense of urgency or weight. Instead, it plays out in a much breezier, light-hearted tone that undercuts the epic scale the concept promises. John Krasinski in Fountain of Youth. © Apple TV+ The plot also makes it sound like it's a 2-hander with Krasinski and Portman, but it's not. This is very much Krassinski's movie, and he is the heart and soul of this ride without question. He stars as a roguish adventurer chasing the Fountain of Youth, with Natalie Portman along for the ride as a brainy counterpart. After years in darker roles like Jack Ryan and A Quiet Place, he brings a welcome levity here, and it's great to see him in a charming and stylish role like this. Portman, on the other hand, is less fortunate. Her character feels underwritten and largely sidelined, despite her obvious star power. The script doesn’t give her much to do beyond exposition and reaction shots, a real missed opportunity. Supporting talents like Domhnall Gleeson and Carmen Ejogo suffer the same fate, relegated to underdeveloped side roles. Laz Alonso is barely present — blink and you’ll miss him, while Tucci gives the smallest cameo possible with no impact or significance. Eiza González gets more action, both literally and figuratively. She has the coolest sequences and a few fun moments opposite Krasinski, and the two share decent chemistry. The plot unfolds at a brisk clip, with virtually no fat or filler. The lean pacing works in its favor — the movie never drags and clocks in at just over two hours, which is increasingly rare for the genre. The dialogue is sharp and often genuinely funny, giving the first two acts a zippy, almost screwball energy that’s refreshing in a genre bogged down by self-seriousness. Krasinski's comedic timing, charisma, and effortless screen presence make him the film’s anchor — and he carries it with ease. He’s clearly having fun, and it’s infectious. Natalie Portman, John Krasinski, Domhnall Gleeson, Carmen Ejogo and Laz Alonso in Fountain of Youth. © Apple TV+ Stylistically, the film doesn't feel like a quintessential Ritchie film, but has shades of it with the witty banter, kinetic action, and a dash of visual flair. However, the editing is choppy, occasionally robbing scenes of their rhythm or impact. The score, at least, is a high point: energetic, well-matched to the tone, and helps propel the film forward. Unfortunately, the third act is where it falters. What began as a brisk, cheeky romp devolves into a CGI-fest that leans on spectacle instead of character or stakes. The villain reveal, which should be a twist, is so clearly telegraphed early on that it lands with a shrug. Fountain of Youth doesn’t overstay its welcome, delivers a handful of cool moments, and gives Krasinski the runway to swagger with charm, and wit. Krasinski owns the screen like he knows it’s already his. Despite all its obvious flaws, there's still some fun to be had here. It’s far from a classic, but as a slick, fast-paced streaming adventure? It goes down easily — just don’t expect to remember much about it after the credits roll. Rating: ★★½ © Apple TV+ About Fountain of Youth Premiere Date: May 23, 2025 Writer: James Vanderbilt Director: Guy Ritchie Production: Toff Guy, Skydance Distribution: Apple TV+ Cast: John Krasinski, Natalie Portman, Eiza Gonzalez, Carmen Ejogo, Laz Alonso, Stanley Tucci and Domhnall Gleeson Synopsis: “Fountain of Youth” follows two estranged siblings (John Krasinski and Academy Award winner Natalie Portman) who partner on a global heist to find the mythological Fountain of Youth. They must use their knowledge of history to follow clues on an epic adventure that will change their lives … and possibly lead to immortality.

Poker Face takes viewers to a ball game and into a murder mystery involving minor league failure and spiked gum in the fifth episode of its second season. Written by Tony Tost and directed by John Dahl, Hometown Hero sees Simon Rex star as Russ, a washed-up pitcher for the Cheesemongers – a team close to holding the longest losing streak in minor league history. After Russ is informed that he’s set to make his final start, he is abruptly sidelined in favour of Felix Dominguez (Brandon Perea), freshly promoted from rookie ball. The central tension revolves around a scheme involving Russ and his ageing teammates, who’ve calculated a life-changing $3.1 million payday to be split five ways if they achieve the losing streak record. If the young hotshot starts, there’s no way they’ll lose. To sabotage him, the group spikes his gum with acid (not to kill him, mind you, just to rattle him). But when Dominguez discovers what they’ve done, he demands the full amount, or he’ll go to the authorities. Unfortunately for him, Russ’s fastball still has enough fire to turn fatal. One pitch to the head sees Dominguez down. To cover up his crime, Russ uses the ball machine (nicknamed Rambo) to stage the death as a freak accident. With gloves on and evidence cleared, he’s thought it through. However, as we all know, nobody can evade Charlie Cale. Nobody should evade CCTV either, but, naturally, this doesn’t come up. When getting hit by a baseball guides Cale to the Cheesemongers, it’s Carol Kane who settles her into life at the ballpark. Things soon turn psychedelic. Thanks to a trippy turn, Charlie finds herself hallucinating B.J. Novak, who pops up first in animated form and then in person as the team’s mascot and Charlie’s spiritual guide. It’s down to her to “save this ballpark to save this team” because “baseball is not just a game.” Somehow, it works. It’s chaotic, but ridiculous. Lyonne’s AI studio couldn’t recreate this. (L-R) Simon Rex, and Brandon Perea. © Peacock Despite the bizarre detours, Charlie remains as sharp as ever. She’s the first to suggest the gum be tested, and even when it passes (Russ swapped the spiked packet out for his clean packet), she knows something is amiss. It’s hard not to when the group are not hiding their newfound wealth. When one of them debuts, his new gold-plated teeth, Charlie questions how he could afford this. “I won it playing trivia down at the pub,” he shares. “Obvious bullshit, I don’t even need my special thing for that one” Charlie replies in the episode’s sharpest laugh-out-loud moment. It might even be the season's best so far. By the 38-minute mark, she’s adamant that bank accounts need checking, questioning alibis, and gathering threads. But even as Russ delivers a half-hearted confession about his waning talent – “My fastball’s gone and it’s not coming back” — Charlie’s not buying it. Her retort? A cutting “bullshit,” delivered in a way only Lyonne can make you cheer. Hometown Hero is Poker Face at its most bizarre, which will divide audiences. It's not as strong as the first three episodes, but it is a reminder that beneath the absurdity, Charlie Cale remains one of television’s most watchable detectives. She’s foul-mouthed, emotionally invested, and always ready to call out BS when she hears it. Long may she continue. Rating: ★★★☆☆ About Poker Face Poker Face. © Peacock Premiere Date: May 8, 2025 Episode Count: 12 Executive Producer/Showrunner: Tony Tost, Ram Bergman, Nena Rodrigue, Adam Arkin, Nora Zuckerman, Lilla Zuckerman Writer: Laura Deeley, Alice Ju, Natasha Lyonne, Wyatt Cain, Tony Tost, Kate Thulin, Taofik Kolade, Megan Amram, Tea Ho, Raphie Cantor, Andrew Sodroski Director: Rian Johnson, Natasha Lyonne, Miguel Arteta, Lucky McKee, John Dahl, Adam Arkin, Mimi Cave, Adamma Ebo, Clea Duvall, Ti West Production: Animal Pictures, T-Street Distribution: Peacock Cast: Natasha Lyonne, Adrienne C. Moore, Alia Shawkat, Awkwafina, Ben Marshall, B.J. Novak, Carol Kane, Cliff "Method Man" Smith, Corey Hawkins, Cynthia Erivo, David Alan Grier, David Krumholtz, Favionte "GaTa" Ganter, Ego Nwodim, Gaby Hoffmann, Geraldine Viswanathan, Giancarlo Espositio, Haley Joel Osment, Jason Ritter, John Cho, John Mulaneyy, Justin Theroux, Katherin Narducci, Katie Holmes, Kevin Corrigan, Kumail Nanjiani, Lauren Tom, Lili Taylor, Margo Martindale, Melanie Lynskey, Natasha Leggero, Patti Harrison, Rhea Perlman, Richard Kind, Sam Richardson, Sherry Cola, Simon Helberg, Simon Rex, Taylor Schilling Synopsis: Poker Face is a mystery-of-the-week series following Natasha Lyonne’s Charlie, who has an extraordinary ability to determine when someone is lying. She hits the road with her Plymouth Barracuda and with every stop encounters a new cast of characters and strange crimes she can’t help but solve.