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Jeremy Allen White © GQ Sources tell Nexus Point News that Jeremy Allen White is in talks to join the cast of Peaked  with Molly Gordon. Details on White’s role in the film are currently undisclosed. Gordon will direct based off a script written by her and Allie Levitan ( Adults , Saturday Night Live ). Gordon will produce with David Hinojosa and Zach Nutman for A24 . Peaked will be Gordon’s second film as a director and first as a solo director. The film follows two women in their late-twenties, Bobby (Gordon) and Millie, who were once the most popular girls in their high school, but have now amounted to nothing. When they don’t receive an invite to their 10 year high school reunion, they plan to crash the reunion. Nexus Point News had exclusively reported that Elizabeth Olsen was attached to star in the film with Gordon as Millie, but due to the pick up of FX’s Seven Sisters , Olsen has exited the project. Nexus Point News has reached out to A24 for comment. White has an impressive year ahead of him as he will be starring in A24’s Enemies  and Sony Pictures’ The Social Reckoning , as well as The Mandalorian Grogu . He also most recently starred in The Iron Claw and Springsteen: Deliver Me From Nowhere as Bruce Springsteen. On the television side, White is best known for his work on Shameless  and The Bear , with the latter earning him two Emmy awards for Outstanding Lead Actor in a Comedy Series. Gordon made her directorial debut with Theater Camp  which she also starred in. This past year she co-wrote and starred in Sophie Brook’s Oh, Hi!  She’s best known for her roles in Life of the Party , Good Boys , Booksmart , Shiva Baby , Animal Kingdom , and The Bear which she stars in with White, who is also her boyfriend. Peaked  begins production in January in New Jersey for A24.

© Marvel The Sorcerer Supreme is dead. Long live the Sorcerer Supreme. In less than two years, Earth has lost its mystical guardian twice. During 2024’s Blood Hunt  event, Doctor Strange was killed amid the vampiric onslaught, passing the mantle of Sorcerer Supreme to Doctor Doom in a desperate bid to save the world. Now Doom has fallen as well, leaving the title vacant until Wanda Maximoff , the Scarlet Witch, steps forward to claim it. Wanda has enormous shoes to fill, and she wastes no time proving she belongs in them, opening the issue in a clash with Dormammu himself. Steve Orlando immediately establishes that Stephen Strange isn't wearing the mantle anymore and it belongs the Scarlet Witch now. The distinction Orlando draws between sorcery and witchcraft is one of the issue’s greatest strengths. Wanda’s magic is fundamentally different — chaotic, instinctual, deeply personal — and yet no less effective. It feels uniquely hers. Orlando also does an admirable job of quickly orienting new readers. Wanda’s history with Chthon and the Darkhold, the role of the Vishanti in shaping the Sorcerer Supreme, and the philosophical divide between Wanda’s approach to magic and Strange’s are all laid out cleanly and efficiently. It’s a lot of ground to cover, but it never feels like a lore dump. © Marvel Dormammu’s defeat comes swiftly, and while it’s an impressive display of Wanda’s power, it does make his recent confrontation with Earth’s heroes — and Doom, the former Sorcerer Supreme — feel almost laughable by comparison. Whether that speaks to the story’s power scaling or to a lack of respect for the Faltine lord is debatable. Still, Dormammu is a familiar obstacle for any Sorcerer Supreme, and clearly not the true focus here. His ominous warnings about the Darkhold’s lingering influence suggest he’s far from finished. Despite Wanda stepping into the role, it’s clear the mantle was neither bestowed nor universally welcomed. Wong voices concern over her claim, noting that neither Stephen Strange nor the Vishanti sanctioned her ascension. Yet the Eye of Agamotto and the Cloak of Levitation, symbols of the office itself, have chosen her. This tension between tradition, authority, and destiny becomes a central theme, particularly as it relates to Wanda’s complicated place within the magical community. Wanda calls herself a survivor, and the story supports that claim. Rather than being consumed by the True Darkhold, she weaponizes it. Rather than isolating herself, she seeks counsel even from those who have hurt her or whom she has failed. She grows not just from allies, but from adversaries, embracing perspective wherever it can be found. This leads to the formation of Wanda’s council, featuring familiar faces like Wiccan, Speed, and Amaranth, alongside others such as Clea and even Chthon. Their collective goal is to help Wanda “redefine the ties between mortal and magic.” While the intent is clear, some choices feel odd. Speed, while her son, has little experience with magic. Somnus, a dream-manipulating mutant, feels like an unconventional inclusion. Wiccan and Amaranth possess immense raw power, but aside from Clea and Chthon, the group lacks the wisdom and experience of other established figures in Marvel’s mystical hierarchy. It’ll be interesting to see what Orlando has planned for them. Doom’s shadow looms large over the story. Despite his intellect and power, he was brutalized by Dormammu and ultimately sacrificed himself to the Living Tribunal, leaving Earth unprotected. The eye and cloak were thought lost with him, until Wanda heard their call and reconstituted them herself. That moment where she defies the Vishanti’s protests and claims the mantle anyway, sets the stage for the issue’s final turn, as the Vishanti select a champion of their own to challenge Wanda’s legitimacy. Visually, the book is stunning. Russell Dauterman’s new design for Wanda is phenomenal, blending elements of her recent looks with the iconic Sorcerer Supreme aesthetic. Bernard Chang’s art and Ruth Redmond’s colors bring the costume to life with elegance and power, making Wanda feel every bit the mystical heavyweight the story demands. Steve Orlando is clearly in his element here, drawing deeply from Wanda’s history —witchcraft, chaos magic, the Darkhold, and the legacy of the Sorcerer Supreme — to elevate her to a new status quo. This is Wanda Maximoff at her best: seasoned, self-aware, and ready to face the immense responsibilities and dangers of Earth’s magical frontier as its new Sorcerer Supreme. © Marvel About Sorcerer Supreme #1 Release Date:  December 31, 2025 Written by:  Steve Orlando Art by: Bernard Chang Cover by: Lesley “Leirix” Li Page Count: 30

© Paramount+ The Taylor Sheridan Universe, adored by everyone's grandfather, is back with another season of Landman. Folks looking to bear witness to the cut-throat nature of the oil industry in West Texas are in for a treat, but there is room for improvement. Similar to how John Dutton fought for his ranch in Yellowstone , Tommy Norris fights for his oil to provide for his family and preserve a prosperous legacy. Ahead of him lies an uphill battle as geopolitics and the economy present new hurdles for his livelihood, while his past catches up to him. Co-created by Taylor Sheridan and Christian Wallace, Landman is a TV series adaptation of the Texas Monthly Podcast Boomtown , which Wallace hosts. The series stars Oscar-winning actor Billy Bob Thornton, Oscar-nominated actors Demi Moore and Andy Garcia, as well as Sam Elliott, who joins the cast in season two. Ali Larter, Michelle Randolph, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan, and Colm Feore also star. The Good, The Bad, The Oily Billy Bob Thornton as Tommy Norris in Landman © Paramount+ Landman  follows the rule book that Sheridan created for himself, depicting a maverick against metaphorical wolves, including his inner demons, in the world as we know it today. The neo-western series embodies all the gritty realism for which Sheridan is known, with an added rawness due to Wallace's firsthand experience in the oil industry. While the series itself offers an immersive cultural experience with complementary visuals, colorful language, and actors committed to their roles, the second season falls short in terms of story. For a season picking up the pieces after an intense, no-holds-barred finale, this ironically feels more like a freshman season than a sophomore season. Despite recapping the events of season one, the second season's premiere comes across like it's the pilot episode. Tommy Norris takes over M-Tex Oil at the request of his dying friend last season, but season two's premiere plays out like he has been running the company all along. The way he adjusts to this new role after a traumatic ordeal is barely touched on. He may be depicted carrying the weight of the world on his shoulders, through Thornton acting as if he does not recognize the world around him, but his characterization reveals different reasons for his troubled heart. The first season's criminal themes, which contrasted with its political themes to depict two sides of the same coin — power takes a backseat as the latter drives the wheel, with messy family drama in the passenger seat. The geopolitical and corporate aspects are thought-provoking and entertaining, but the cartel's absence sticks out. Without veering into spoiler territory, season two, episode two jarringly foreshadows more of Tommy's trouble with the cartel, serving as a reminder of threats lurking in the shadows for the rest of the season. The setup is not organic as it should have been, coming across like the writers themselves forgot about these criminals until the last minute. The family drama is the weakest link thus far, as it is split between Tommy's son, Cooper, building a new family with his love, Ariana, and Angela and Ainsley being reduced to some attempt at comic relief, with Tommy being caught in the middle. Cooper and Ariana are the most human characters in the series, with Jacob Lofland and Paulina Chávez giving their characters the necessary depth to make them relatable, complementing their family subplot. Then, there's Ariana and Angela, Tommy's wife and daughter, played by Ali Larter and Michelle Randolph, who deserve better. Larter and Randolph are both phenomenal actors, but their characters don't do them any favors. Ainsley is more of a stereotypical rich blonde, while her mother is stereotypically crazy. As annoying as they are, they are only part of a bigger problem: pacing. The pacing, unfortunately, lacks direction, resulting in the family dynamics clashing tonally against each other. Seeing Tommy in the middle of it all does not help matters. He looks tired like the rest of us. The Heroes Landman Needs Demi Moore as Cami in Landman season 2 © Emerson Miller/Paramount+ Despite the hiccups, Landman remains essential viewing for Taylor Sheridan and neo-western fans, thanks to the ensemble supporting cast, as well as the immersive visuals doing most of the heavy lifting. The cast goes to great lengths to authentically represent Texan culture, and their portrayals proudly present the fruits of their labor. Demi Moore especially steals the show in all of her scenes as Cami. Season two's first episode makes it abundantly clear that she is a lioness refusing to be backed into a corner. Cami carries her grief quietly and rejects sympathy in favor of respect and fear for those who dare disrespect her. However, the biggest actor in this series is Fort Worth, Texas. Seriously, it's no secret that Taylor Sheridan is a cowboy at heart, boasting his country roots in all of his works. He treats Landman with the same respect he gives Yellowstone by transforming the setting into a character. All scenes are masterfully shot in a way that stimulates not only the vision, but also seemingly all the senses. While this sounds like hyperbole, Landman feels like an invitation to experience the atmosphere onscreen through touch, taste, and smell. The Stubborn Landman Sam Elliott and T.L., and Billy Bob Thornton as Tommy Norris in Landman episode 6, season 2, streaming on Paramount+. Photo Credit: Emerson Miller/Paramount+. Landman's second season has a rough start due to a jarring shift from the first season finale events, with season two's premiere feeling more like a series premiere. The series tries to frame this new development as "business as usual", but the execution looks unusual. Then there is the inconsistent tone that hinders the family dynamics. The potential to organically show the character parallels among the Norris clan is unfortunately missed, as the uneven pacing prioritizes them competing against each other for screentime. The flaws can easily be forgiven because the cast breathes life into their characters, while Sheridan breathes life into Texas onscreen. They treat West Texan culture with the respect and dignity it deserves by using their talents and experience to ingrain themselves deep within the roots. They are the reasons why Landman season two deserves a fair chance. Hopefully, the story will improve as the season progresses. There is only one way to find out. Landman season two premieres on November 16th, with new episodes every Sunday on Paramount+. Rating: ★★★☆☆ Landman © Paramount+ About Landman Season 2 Premiere Date:  November 16, 2025 Episode Count:  10 Executive Producer/Showrunner: Taylor Sheridan Writers: Taylor Sheridan, Christian Wallace Directors: Taylor Sheridan, Micheal Friedman, Stephen Kay Production:   Paramount Television Studios, 101 Studios, Sheridan’s Bosque Ranch Productions Distribution:   Paramount Global Content Distribution, Paramount Plus Cast:   Billy Bob Thornton, Ali Larter, Jacob Lofland, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan, Demi Moore Logline: As oil rises from the earth, so do secrets — and Tommy Norris’ (Thornton) breaking point may be closer than he realizes. Facing mounting pressure from M-Tex Oil, Cami Miller (Moore), and the shadow of his kin, survival in West Texas isn’t noble — it’s brutal. And sooner or later something’s got to break.

Danny Ramirez as Manny in The Last of Us Season 2. © HBO UPDATE: An HBO representative has confirmed that Danny Ramirez will be recast in The Last of Us Season 3 due to scheduling conflicts. Sources tell Nexus Point News that Danny Ramirez will not be returning to The Last of Us in season three as Manny. Casting for this season is currently underway and the character will be recast. Reasons for Ramirez’s recasting are currently unknown. Although his appearance in Avengers: Secret Wars is currently unconfirmed, his commitments for the Marvel Cinematic Universe could have posed a potential conflict. HBO’s The Last of Us is based on the video game series of the same name developed by Naughty Dog and created by Neil Druckmann and Bruce Straley. The award-winning games follow survivors of a post-apocalyptic America taken over by fungal-infected zombies. The television series was developed by Druckmann and Craig Mazin ( Chernobyl ) who both also served as showrunners for seasons one and two. Mazin will serve as the sole showrunner for season three, as well as returning to direct multiple episodes. Season one of the series released in 2023 starring Pedro Pascal as Joel and Bella Ramsey as Ellie and won eight Emmy awards. Season two added Kaitlyn Dever to the cast as Abby along with Ramirez, Young Mazino, Isabela Merced, Spencer Lord, and Catherine O’Hara. Dever is set to return and lead season three with this upcoming season continuing to adapt the second game. Production will commence in March and shoot through November of next year in Vancouver. Ramirez is best known for his role as Joaquin Torres/Falcon in the Marvel Cinematic Universe, a role he first portrayed on The Falcon and the Winter Soldier . Ramirez returned in Captain America: Brave New World and will return in Avengers: Doomsday . Ramirez is also known for his role in the critically acclaimed, Top Gun: Maverick . Additionally, Ramirez will reunite with Captain America: Brave New World director, Julius Onah on his next film Samo Lives . The Last of Us season 3 will begin production next year for HBO.

© 20th Century Studios James Cameron has released the highly anticipated third movie in his Avatar franchise, Avatar: Fire and Ash , the conclusion to the first Avatar saga that began with Avatar (2009) and Avatar: The Way of Water (2022).  The story sees the Sullys deal with grief after the death of Neteyam while dealing with new threats from the Mangkwan, aka the Ash People, while facing the threat of a returning Quaritch and the rest of the RDA.  There are many iconic people who worked together to bring this visual spectacle to the screen, and we at Nexus Point News got the chance to interview the legendary costume designer Deborah L. Scott, who worked on the previous Avatar movies, Titanic, Back to the Future and so much more.  We sat down with her to talk about the Mangkwan’s design and specifically Varang’s design and how it connects to her personality, working on smaller sci-fi films such as Back to the Future compared to a grander sci-fi like Avatar, her collaboration with Weta and much more.  Watch our interview below: Avatar: Fire and Ash is now playing in theaters.

© Joseph Sinclair/Warner Bros. Sources tell Nexus Point News that Stephen Graham is next in line from the very select group of actors to be offered a role in the highly anticipated sequel to Heat . Graham has reportedly been offered the role of the younger Neil McCauley, famously portrayed by Robert DeNiro in the first film. Graham would potentially join the talented cast that’s being put together for this film which is eyeing Leonardo DiCaprio and Christian Bale. DiCaprio is reportedly in talks to portray Chris Shiherlis, who was first portrayed by Val Kilmer. Bale is reportedly in talks to portray Vincent Hanna, who was originally portrayed by Al Pacino. Rumors have circulated about Adam Driver being eyed for a role in the film as well.  Michael Mann penned the script for Heat 2 based on his 2022 novel of the same name which he co-wrote with Meg Gardiner. The novel serves as a prequel and sequel to Mann’s Heat . Mann will return to direct and produce Heat 2 as well with Jerry Bruckheimer, Scott Stuber, and Nick Nesbitt producing alongside Mann. Heat was originally written as a television pilot loosely based on real life criminal Neil McCauley with the pilot being called L.A. Takedown . L.A. Takedown was not picked up but the filmed pilot episode aired as a television film starring Scott Plank as Vincent Hanna. The script was then reworked into Heat which was released in 1995 with a star-studded cast featuring Pacino, DeNiro, Kilmer, Tom Sizemore, and Jon Voight. Stephen Graham recently starred in Netflix’s Adolescence which earned him the Emmy for Outstanding Lead Actor in a Limited or Anthology Series or Movie and the nomination for Best Actor – Miniseries or Television Film for the upcoming Golden Globes. Graham is also best known for his roles in the This Is England , Pirates of the Caribbean films, Peaky Blinders and Venom films. Graham is currently in production on Florian Zeller’s Bunker  alongside an impressive cast consisting of Javier Bardem, Penelope Cruz, Paul Dano, and Patrick Schwarzenegger. Heat 2 is currently in development for Amazon MGM.

Song Sung Blue © Focus Features A musical biopic about a Neil Diamond tribute band sounds like the ultimate safe Christmas movie formula. You expect the sequins, the "Sweet Caroline" sing-alongs, and the standard rags-to-slightly-nicer-rags trajectory. But Song Sung Blue , directed by Craig Brewer, actually manages to be something much grander and more affecting than the plot suggests. It’s a surprisingly charming and emotional flick that stops just short of being great, but it’s definitely worth the price of a ticket this holiday season. At its heart, this is a love story about Mike and Claire Sardina (the real-life "Lightning & Thunder"). Hugh Jackman is absolutely adorable as Mike. He plays him with this stern yet sweet "working-class dad" persona that makes you instantly fall in love with him, even when he's being a bit thick-headed. Then you have Kate Hudson, who genuinely gives one of her best performances in years. She plays a struggling wife, mother, and singer who goes through an absolute ringer of emotional and physical trauma. Together, their chemistry is electric; you really buy into them as two broken people finding a second act together. Song Sung Blue © Focus Feature What surprised me most was Craig Brewer’s direction. We’ve seen him do the "music as salvation" thing before with Hustle & Flow , and here he finds a way to sidestep the most eye-rolling biopic clichés. On paper, this movie is a formulaic minefield, but the script has this ability to surprise you and hit you right in the gut when you least expect it, especially if you don’t know the story. The story is an incredibly sweet one moment and then it goes somewhere totally outrageous or tragic the next. It strikes a really impressive balance between genuine laughs and heavy-duty emotions. The production value is solid across the board. The makeup and hair are fantastic, and the costumes feel authentic to that specific grit. Though the supporting cast doesn’t get a lot to do and is just there to support the story of our leads, Ella Anderson stands out and is super impressive as Claire’s daughter; she holds her own against two massive movie stars. Although it feels like the right decision not to go on unnecessary tangents with the supporting characters, and keep the focus on our leads. All that said, the movie isn’t perfect. It does feel a little glossy at times, but the ‘Hollywood’ treatment of the story does mostly work. While we see the characters struggle, the film doesn’t always go deep into their psychological dark places. It gives you enough to sympathize with their pain, but it stays in the shallow end of the pool emotionally. It also lacks a spark or a really big, ambitious swing that would have turned it from a good time at the movies into a masterpiece. That said, the singing sequences are impactful, and the pacing keeps things moving so you never feel the runtime. I’m not even a Neil Diamond fan, but the film serves as a beautiful tribute to his catalog. By the time the credits roll, you might find yourself sobbing (bring tissues), but the movie makes you smile way more than it makes you cry. Is it a groundbreaking piece of cinema? No. Is it a heartfelt, charming, and surprisingly real story about people chasing a dream that most of the world would find silly? Absolutely. It’s the perfect vibe for this time of year — warm, a little messy, and full of heart. Song Sung Blue © Focus Features About Song Sung Blue Premiere Date:  December 25, 2025 Writer: Craig Brewer Director: Craig Brewer Production:  Davis Entertainment Distribution:  Focus Features Cast:  Hugh Jackman, Kate Hudson, Ella Anderson, Michael Imperioli, Mustafa Shakir, Fisher Stevens.

Marty Supreme . © A24 A movie comes once a year that completely alters my brain chemistry and serves as a great reminder of why I love cinema so much and its importance. This year, Josh Safdie has brought along the sport-drama Marty Supreme and has achieved exactly that. He's created a cinematic experience that has chaotic, frenetic energy written all over it and Timothée Chalamet's Marty Mauser, who arrives with what may be his best performance yet. The Safdie Brothers, Josh and Benny Safdie, have created countless movies together, ranging from Good Time to Uncut Gems , films that helped give them their name and credibility when it came to creating thrillers and delivering intense and well-written character studies. Both brothers have separated to create their own independent movies, which both happen to be sports films under A24, with Benny Safdie having directed The Smashing Machine and Josh Safdie coming out with Marty Supreme . The major difference between the two is that, unlike The Smashing Machine , which is a biopic of Mark Kerr, Marty Supreme is merely just loosely based on the life of Marty Reisman, so don't take what you see in this movie for biblical scripture. Marty Supreme follows Marty Mauser (Timothée Chalamet), a working-class New Yorker who is a rising table tennis global sensation that believes he's the greatest there is. Unfortunately, this mindset leads Mauser to treat people in his life poorly, as he puts himself first and uses people to gain his success. From the mind of Marty Mauser, he lives a life that's grand and has ambitions that will change how the sport of table tennis is seen, but the reality is, he's a working-class man who's soon to be the manager in his uncle's shoe shop and is struggling to make ends meet and make the money that will allow him to even go abroad in the first place for these table tennis tournaments. Marty Supreme opens up with one of the most unexpected visuals, which turns into one of the greatest transitions I've seen in all of cinema from this decade. It sets up a confronting turning point later in the film while also bringing us currently to Marty Mauser's number 1 goal, to be the greatest that there is. It all goes wrong when Marty loses to Japan. Despite this major loss, it doesn't deter him from his journey, and the reality of 1950s America doesn't stop him from ensuring he's on top of the food chain. This movie is in every way a sports biopic, but it doesn't follow the conventional methods you'd usually find in one. Josh Safdie brings that kinetic and unpredictable nature that you can find in his other films, such as Uncut Gems , that works perfectly in Marty Supreme with Timothée Chalamet's chaotic and endearing performance that really brings it all together. Chalamet has shown with movies like Dune and Bones and All that he's used to portraying complex characters and is able to take charge of the big screen with his commanding presence. He brings that to Marty Supreme , but unlike his other works, he plays a character that's a narcissistic, hot-tempered man who creates a ton of obstacles for himself and the people around him. Marty Mauser should be a character we hate, but Chalamet's performance is infectious, and you can't help but cheer him on at every step throughout the movie, hoping that he does indeed become the greatest and also hoping deep down that he might change for the better. Marty Supreme . © A24 Timothée Chalamet may be the star of Marty Supreme and what keeps the audience engaged with it, but this film's supporting cast is almost just as good as its lead. Gwyneth Paltrow is fantastic as the mature Kay Stone, who was once a famous movie star but is struggling to hold onto that stardom. Stone's character forms a relationship with Marty Mauser, and while it's one that Mauser remains immature in, it acts as a wake-up call for Stone, who's getting to relive her youthful years through the eyes of Marty. Two characters who contrast each other well: Stone, who was once the greatest and has failed to attain that, and Mauser, who believes he's the greatest and is doing everything to prove that. Odessa A'zion also comes through with yet another great performance as Marty's childhood friend, Rachel Mizler. What's great about all the supporting casts in this movie is how they anchor themselves to Marty Mauser. Their personalities are the complete polar opposite of his, and their journeys in the film should put Mauser on a path that changes the way he behaves, but interestingly enough, as close as they get with him, they never manage to pierce his heart until those very last moments. The most surprising performance comes from Tyler Okonma, famously known as Tyler the Creator, who breaks out in his feature film debut. He plays Wally, a taxi driver in New York who's the only real friend that Marty actually has. You can see Tyler's identity in the character, but it works with the unpredictable nature of Marty Supreme , and once you get to a sequence that involves the two characters, you'll finally understand just how unpredictable this movie really can be. Don't let the grand marketing for this movie fool you; Marty Supreme is still an indie movie despite Marty Supreme windbreakers being sold exclusively around the world, Chalamet being the first to stand on the Las Vegas Sphere and him collabing with EsDeeKid for a " 4Raws " remix that broke the internet. After watching Marty Supreme and witnessing the marketing behind it that has all come through Timothée Chalamet's mind, it makes you realise that both Chalamet and Mauser might not be too different from each other. Timothée wants to become one of the greatest actors, with his name etched onto an Academy Award, which we may possibly see next year, as he's delivered his best performance yet, and you have Marty, who wants the world to know his name for table tennis. Marty Supreme comes full circle, and from its marketing to the movie itself, it's one of the strongest films of the decade and arguably the best film of the year. It's bound to become a timeless classic and a film that people will look back on, write retrospectives for and celebrate as it reaches its monumental anniversaries. Timothée Chalamet has always been an actor to keep an eye on, but after Marty Supreme with his kinetic powerhouse of a performance and Josh Safdie proving that he's capable of creating a masterpiece when isolated from his brother, I'm left wanting to see more from these two. Marty Supreme . © A24 About Marty Supreme Premiere Date:  December 25, 2025 Writer: Ronald Bronstein, Josh Safdie Director: Josh Safdie Production:  Central Pictures Distribution:  A24 Cast:   Timothée Chalamet, Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara, Fran Drescher

Daredevil: Born Again © Marvel Sources tell Nexus Point News that Daredevil: Born Again  is currently casting a new role as part of the main cast of season 3. The role is being referred to under the codename Philip and the casting call is looking for open ethnicity actors in their twenties. Philip is described as being a smart and scrappy New Yorker who’s sweet and lovable with a hidden rageful side. Daredevil: Born Again  serves as a revival and continuation to Netflix’s Daredevil series. Charlie Cox returns as the titular character, Matt Murdock/Daredevil, with Elden Henson as Foggy Nelson, Deborah Ann Woll as Karen Page, Ayelet Zurer as Vanessa Fisk, Wilson Bethel as Benjamin Poindexter/Bullseye, Jon Bernthal as Frank Castle/Punisher, and Vincent D’Onofrio as Wilson Fisk/Kingpin. Krysten Ritter is set to reprise her role as Jessica Jones in season 2. This next season will feature Murdock in an all-new black suit as he joins forces with Jessica Jones to take down Mayor Fisk’s Anti-Vigilante Task Force while also fighting other enemies such as Bullseye.  Daredevil: Born Again  premiered on March 4, 2025 on Disney+ following a rocky production. Shooting began in 2023 and was halted by the WGA strike which led to the series being reevaluated and overhauled. This delayed the series by almost a year and led to scenes and even whole episodes being reshot. Dario Scardapane ( The Punisher , Jack Ryan ) joined the series as showrunner following the overhaul with Justin Benson and Aaron Moorhead ( Loki , Moon Knight ) as the lead directors. Scardapane, Benson, and Moorhead returned for season 2 of the series. Scardapane continues to serve as executive producer and showrunner for season 3, as the writing room goes on. Production for season 3 is slated to begin in March and continue through July 2026 in New York City, just like season 2, which will premiere right as season 3 begins production. Daredevil: Born Again  season 3 is set to premiere in March 2027 on Disney+ as part of Phase Six of the Marvel Cinematic Universe.

© Creature Commandos Season 2 of the DC Universe’s first project, Creature Commandos , is currently in production and set to introduce several new characters. Sources tell Nexus Point News that one major character that will be featured in this upcoming season is Captain Atom. The nature of his role is currently unknown, but he is set to be a recurring character in this upcoming season. The version that will appear in the series is Nathaniel Adam iteration of the character which debuted in Captain Atom #1 in 1987 and was created by Cary Bates and Pat Broderick. The character originally was known as Allen Adam and was created for Charlton Comics in 1967 by Joe Gill and Steve Ditko. After Charlton was purchased by DC Comics and its characters were integrated into the universe following Crisis on Infinite Earths, DC introduced Nathaniel. This iteration of the character is a member of the Air Force and Vietnam War veteran who after gaining his powers is sent decades into the future. In the present day, he serves as a hero for the US government. Captain Atom’s body is coated in a metallic substance and is given nuclear powers. Captain Atom has appeared in several animated films and shows over the years, most notably in Justice League Unlimited , Young Justice , and Superman/Batman: Public Enemies . It is currently unknown who will voice the character in Creature Commandos , but the casting may determine if Captain Atom reappears in live action down the line, a first for the character. Creature Commandos was created and written by James Gunn as a passion project prior to the creation of the DCU and was greenlit by him and Peter Safran after they were appointed heads of the newly formed DC Studios. Gunn will remain an executive producer on the series but the series will now feature Dean Lorey ( Harley Quinn ) as writer and showrunner for season 2. The series debuted on December 5, 2024 on HBO Max.  The titular team is made up of the Bride (Indira Varma), G.I. Robot (Sean Gunn), Weasel (Sean Gunn), Doctor Phosphorus (Alan Tudyk), Nina Mazursky (Zoe Chao), and Rick Flag Sr. (Frank Grillo). The series also features Frankenstein (David Harbour), Amanda Waller (Viola Davis), and Anya Chalotra (Circe). Season 2 of the series will feature King Shark, Nosferata, and Khalis as members of the team. Creature Commandos  follows the events of season 1 of Peacemaker  where Waller’s crimes are exposed and Task Force X has been shut down, so her work around is using nonhuman inmates to carry out black ops missions for ARGUS.  Creature Commandos  season 2 is currently in production for HBO Max.

This article contains spoilers for Adult Swim’s The Elephant . Adult Swim's The Elephant Adult Swim’s The Elephant  is a creative experiment featuring three acts made in isolation that form a single narrative from the minds of Patrick McHale ( Over the Garden Wall ), Ian Jones-Quartey ( OK K.O.! Let’s Be Heroes ), Rebecca Sugar ( Steven Universe ), and Pendleton Ward ( Adventure Time ). What follows is not so much a conventional story as a sequence of vivid, emotionally charged encounters, stitched together by mood, imagery, and a persistent sense of longing. It’s strange, funny, unsettling, and, at moments, unexpectedly tender for a project that could have gone so wrong but does not. While this could be said about the entire 23-minute runtime, the opening act is especially striking as a visual feast. The animation is mesmerising as colours bloom and clash, shapes bend and reform, and the screen feels constantly in motion without ever making you dizzy. Paired with a score that moves in synchronicity with the imagery, the result is hypnotic. Sound and colour do much of the storytelling here, establishing an emotional tone before the dialogue begins to circle deeper questions. There is a joy to it, but also a faint unease, as though something important is being glossed over by spectacle. As the special moves into its second act, that unease shifts into introspection. An unnamed figure at the centre of the action begins to articulate thoughts that feel both intimate and uncomfortably familiar: "I could feel this was the centre of something frighteningly grand. But who was I? How did I get here? And why did I feel so terribly alone?" This act revolves around an identity that is defined by performance and distraction for others. There’s a tragic irony in watching someone be admired for what they provide while feeling increasingly disconnected from themselves. When anxieties break through, they are pushed aside with the press of a button, cueing music, cheers, and a return to dancing. Curiosity itself becomes framed as a problem to be solved or eliminated once and for all. A warning reinforces this idea, suggesting that certain paths, particularly those associated with knowledge, are better left unexplored. Adult Swim's The Elephant "Existence is so much easier if you don't question it,” the voice observes. The audience’s appetite is insatiable, and when the performance stops, their reaction is not concern but fury. For a special that feels existential, the relationship between performer and crowd is transactional and cruel. When the defining button is finally torn away and thrown into the audience, the moment feels both liberating and bleak. The button continues to function perfectly without its operator, much to the crowd’s delight. Even stripped of its source, the mechanism of entertainment survives, a devastating suggestion that the individual was never truly required. Freedom, when it comes, is fleeting. "It seemed a spell of some kind had been lifted, and I was free to be my truest self at last. And to my surprise, I was free to be everything else at the same time. I just wish my time here wasn't so short." It’s difficult not to feel the sting of that admission. The final act pivots again, this time into something that initially resembles a warped fairy tale or an imaginary friend filtered through Adult Swim’s signature irreverence. A child’s wish conjures a bizarre, four-armed green figure, and the animation becomes more playful without losing its underlying tension. Without spoiling too much, change here is not growth, but instability, which in turn is relentless and disorienting. The introduction of Dan, a lonely individual seeking connection, reframes everything that has come before. Their interactions are awkward, tender, and painfully human. What this results in is a shift in perspective that will simultaneously warm and hurt the heart. Adult Swim's The Elephant Knowing that The Elephant was created as a collaborative experience, with each act developed in isolation before becoming a standalone special, only deepens appreciation for how cohesive it ultimately feels. In an industry that often treats animation as disposable or secondary, The Elephant  stands as a testament to the medium’s depth and versatility. It doesn’t offer answers so much as it invites reflection on existence, identity, and the potential of animation when it is trusted to take risks. Adult Swim’s The Elephant  premieres as an ad-free experience on Friday, December 19 at 11:00 PM ET/PT on Adult Swim.  Adult Swim will also debut a behind-the-scenes documentary, Behind the Elephant, alongside an encore airing of the special on December 20 and on HBO Max. The documentary reveals the unique challenges and discoveries that made the project a truly original experience for both the audience and the creators themselves. Adult Swim's The Elephant About Adult Swim's The Elephant Premiere Date:  19 December 2025 Synopsis: Adult Swim’s The Elephant is a rare creative experiment in which each of the three-acts are made in isolation. With Sugar and Jones-Quartey working as a duo and McHale and Ward overseeing their own separate parts, the special is guided by “game masters” and Adventure Time alums Jack Pendarvis and Kent Osborne for a storytelling experiment that unfolds as a collaborative surprise, ultimately merging into a single, unexpected narrative.

© BBC/Dreamworks/Studio Ghibli/20th Century Fox/Warner Bros./GKIDS The world of animated Christmas movies is a strange one. This specific genre is the most bludgeoned victim of the archaic idea that animation is only for children, the area where the flaws in that almost industry-wide ideology are most apparent. Alongside the odd masterpiece like The Nightmare Before Christmas and Klaus, there’s a slew of yearly low-effort drek that’s cheaply thrown out to appeal to the lowest common denominator. However, throughout animation history there have been films that carry the themes and ideas that are perfect for end-of-year watching, but aren’t explicitly festive.  There are a lot of factors in what makes a movie a great reprieve from the winter cold. Some films excel in their cosiness, weaving animation cels into a warm blanket that engulfs their viewer, or a hot tub that evaporates the stresses of the year from their bodies. Other films are more focused on catharsis, leaning into our tendencies to reflect on the year that’s been and who we aspire to be as the earth starts a new lap. The movies on the list drift between both of these ideas and occupy their extremes, a comprehensive document of every feeling on the festive spectrum. Fantastic Mr. Fox (2009) Fantastic Mr. Fox © 20th Century Fox Wes Anderson’s first animated feature remains a standout in his filmography, and a perfect companion to the winter months. Fantastic Mr. Fox  is an embarrassment of riches when it comes to browns and oranges, each frame packed with the warmest hues and the symmetrical detail that’s inherent to any of Wes’ films and scratches the brain just right. Mr. Fox  is also masterful in its ability to balance its inherent conceptual silliness, a sense of humour that’s sometimes sharp and at others gleefully dumb, and the emotional depths the film shoots for. A perfect Christmas movie has all of these in perfect harmony, all that Fantastic Mr. Fox  lacks is snow.  Millennium Actress (2001) Millenium Actress © DreamWorks All four films in Satoshi Kon’s tragically short career are some of the most significant works of animation ever produced. Perfect Blue is revered as one of the best debuts ever, Paprika’s imagery and commentary on the internet is renowned for being way ahead of its time, and Tokyo Godfathers has become a cult Christmas classic that plays at rep theatres every December. Millennium Actress is sometimes lost amongst the shadows of those films, but is a strong contender for his best work. This is a film about looking back at the history of Japan and at the history of film through the eyes of a fictional actress, Chiyoko Fujiwara. As form-breaking, bewildering and experimental as Millennium Actress can be, the themes remain tangible. Kon explores the idea of art and love guiding one’s life, the hazy nature of memory and the power of the movie star with expertise, culminating in one of the greatest final scenes in cinema history.  Blue Giant (2023) Blue Giant © GKIDS Cosy, aspirational and frequently depicting a snowy Tokyo, Blue Giant is a perfect non-Christmas Christmas movie. Dai Miyamoto is a protagonist with a one track mind, all he wants is to become the greatest jazz musician in the world. Watching Dai commit his life so fully to jazz fills you with the right mixture of envy and energy. As you decide your new years resolutions, Blue Giant should be bouncing around in your brain, acting as the benchmark for how you go and achieve them. Even with that intensity at its core, Blue Giant works as an excellent hangout film amongst three increasingly close friends. Its climax will have you punching the air.  It’s Such A Beautiful Day (2012) It’s Such A Beautiful Day © Bitter Films It’s Such A Beautiful Day is not wholesome, cosy or warm, but it is one of the best films ever made about the fear of letting life slip through your fingers. As much as Christmas movies look to be jolly, there should be space at this time of year for reflection and realignment. Watching Bill be told he has weeks to live and reflect on the life he has half-lived is excruciating and disturbing. It’s Such A Beautiful Day is the kind of movie you can’t wait to get out of, luring you in with its off-beat comedy before sinking its teeth into your flesh, but a completely necessary experience for those who need a reminder that life should be lived fully.  Kiki’s Delivery Service (1989) Kiki’s Delivery Service © Studio Ghibli If burnout is a disease, then Kiki’s Delivery Service is the cure. The holiday period is one of the few breaks we get from the seemingly unstoppable grind of work that siphons away our time and energy, even if what we do is based on passion and love. Kiki’s is a classic Miyazaki moral lesson, a film about how easily a passion becomes a burden when it’s something you make a living off as we watch Kiki, a young witch, lose her ability to fly after monetising it for a delivery business. Miyazaki reminds us that, even though it seems like we’re trapped by our jobs with no room to recover, we all have the free will to stop and find our direction again. That is the perfect use of your time at the end of the year. My Life As A Courgette (2016) My Life As A Courgette © GKIDS Claude Barras’ stop motion masterpiece is a simultaneously heartbreaking and heartwarming film. Following the lives of children in an orphanage, we see the harsh reality of life clash with their innocence, found families formed as they cope with the loss of their biological families being split. My Life As a Courgette is a celebration of the myriad ways that family can manifest and how human connection carries us through adversity. Not everyone has a typical nuclear family to come home to this time of year, My Life As a Courgette tells us that home and manifest anywhere.  Wallace & Gromit: The Wrong Trousers (1993) Wallace & Gromit: The Wrong Trousers © BBC Wallace & Gromit are associated with Christmas just as much as mince pies and awkward family dinners, despite none of their films taking place in the holiday period. Watching a Wallce & Gromit every year just feels like the right thing to do – they never get old and they’re universally funny, providing a common ground for whoever floats in and out of your home throughout December. The Wrong Trousers will forever be the best of the lot, a Hitchcockian thriller worthy of the man himself and home to the single greatest piece of animation ever put to screen. Gromit laying the model train tracks as he speeds along is the dictionary definition of movie magic, an ode to the beauty of animation, an endlessly rewatchable opus.  Only Yesterday (1991) Only Yesterday © Studio Ghibli Studio Ghibli easily could be responsible for this entire list and only picking two films from their extraordinary catalogue is a great show of restraint. Only Yesterday is such a unique and special film, a grounded adult drama that so many think has no place in animation, yet would never be the masterpiece it is in any other medium. Following 27-year old Taeko as she begins to search for a new direction on life and reflects on a similar metamorphosis she underwent in her teenage years, Only Yesterday is a classic of the ‘reflect on what has been and who you want to be’ genre, a perfect pairing with the precipice of a new year. The way that Isao Takahata parallels Taeko’s present and past, along with the ingenious visual representation of memories, makes for one of Ghibli’s most mature and fulfilling movies.  The Iron Giant (1999) The Iron Giant © Warner Bros. While a lot of the films on this list have been slow and sleepy, The Iron Giant is the rare occasion where a big adventure can feel cosy. There are little pockets of this movie you can live in, sections of the story you can loop, beautiful backgrounds you can sink into as the story takes a back seat. The Hughes home feels as comfortable as the woods that surround it, the childhood feeling of hoping to discover something special and magical is palpable – it's the innocence of Hogarth that carries The Iron Giant beyond being a fun odyssey and into its status as an endless rewatchable classic. Brad Bird went on to make many masterpieces that defined genres and became cultural staples, but what he did with The Iron Giant remains unique.  Wolfwalkers (2020) Wolfwalkers © Cartoon Saloon Cartoon Saloon’s catalogue is a treasure trove of 2D animation that feels like being sitting by a fire, and Wolfwalkers is a gem among them, an autumnal arcadia that often frames its characters wrapped in a womb crafted by leaves and trees. Wolfwalkers works great as both something to lock into and a film to sit back with your eyes glazed over, just appreciating the beauty of every single image. Yet another found family story on this list, it adds a dash of mysticism and wonder that gives you the undefinable feeling that there’s something overworldly around every corner, if you could just tap into the right frequency. If you consider yourself an animation fan and you’re not familiar with Cartoon Saloon, fix that immediately.