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Wicked: For Good © Universal Wicked became a cultural phenomenon when it hit the theaters last year. Cynthia Erivo and Ariana Grande’s acting, singing, and magical chemistry both on and off-screen made the film into an instant classic. Their roles earned them well-deserved Oscar nominations, with Grande nominated for Best Supporting Actress and Erivo for Best Actress. Their performances in Wicked Part 1 were strong enough to make one ignore the film's technical flaws, which included the obvious problems with color grading and some uneven VFX. The first film had a strong structure, with characters who felt carefully developed and a story that moved at a calm, confident pace. So when Wicked: For Good arrives to close out Elphaba and Glinda’s journey, it naturally comes with a sense of expectation that feels almost impossible not to carry. It has been a long year waiting for this movie and I must say that my expectations were high. Wicked Part 1 set those expectations with the way it wove the story slowly but surely. The storytelling unfolded masterfully and with intention, exploring each character’s perspective and the rising tension shaping Oz. Because of that, every emotional moment landed, and the narrative felt cohesive despite coming from a famously dense and stylized stage show. I wish I could say the same about Wicked: For Good , but the pacing here feels very uneven. One might expect to see a cohesive story, but it feels like the scenes are loosely stitched together. There is very little keeping the emotional threads intact. The story continues shortly after the events of Wicked Part 1 . Glinda is stepping into the spotlight as the public figure she once aspired to become. Madame Morrible manipulates her growing influence for political control, while Fiyero goes along with the charade expected of him. Elphaba focuses on rescuing the animals of Oz from being enslaved and stripped of their voices forever, a cause that only strengthens the fear and propaganda directed at her. Cynthia Erivo and Ariana Grande deliver emotionally rich and deeply felt portrayals that elevate the film. Their commitment to the material is evident in every scene they share, and their chemistry remains one of the strongest elements of the entire adaptation. Together, they create the genuine feeling that we are witnessing the evolution of a complex, imperfect, and profoundly meaningful friendship. Their dynamic is the heart of the story, and in the moments when the film finally gives them space to connect, the emotional payoff is riveting. In the first installment, Erivo’s Elphaba was unquestionably the emotional center. She carried much of the narrative weight, navigating through the political and emotional shifts in Oz with vulnerability and strength that made her instantly compelling. In Wicked For Good , however, the emotional spotlight shifts, and Grande’s Glinda becomes the true center of the film. She is the character who undergoes the most internal conflict: a young woman who is adored by the public yet increasingly isolated, manipulated by those in power, and deeply hurt by the growing distance between herself and the only person who ever saw her clearly. “The Girl in the Bubble” showcases Glinda’s heartbreaking psychological unraveling. It is a moment that captures her entire journey: the loneliness of her elevated position, and feeling abandoned and betrayed by both Elphaba and Fiyero (Jonathan Bailey). Grande’s performance in this sequence is tender and raw. She finds the human center of Glinda, revealing layers of fear, grief, loneliness, self-doubt, and longing beneath the sparkling exterior. Her portrayal feels lived-in and emotionally grounded. Ariana Grande as Glinda in Wicked: For Good. © Universal It is undoubtedly Grande’s finest acting in either part of the adaptation. She transcends the iconography of the character and plays Glinda as a fully realized person who is trying desperately to reconcile her mistakes with her desire to be good. Her vulnerability becomes this film’s emotional center. Erivo remains exceptional as Elphaba. She plays the outcast with similar vulnerability to Grande’s Glinda, but her approach is a bit more hardened. Her attempts to reveal the truth or protect the animals are twisted into evidence of a threat she never intended to become. She feels isolated in a world determined to misinterpret her actions, and her sense of betrayal – especially from Glinda – is palpable. Fiyero’s love forces her to sacrifice the friendship she cherished most. Glinda’s love for Elphaba changed her for good , but it is Fiyero’s love that made her feel like someone finally cared enough to choose her. And eventually, Elphaba loses Fiyero, too, which gives us the one of the most powerful and magical scenes in the Wicked movies. “No Good Deed” is simply spine-chilling, supported by visuals that finally match the emotional weight of the scene. Surrounded by flying monkeys in Fiyero’s castle, Elphaba desperately tries to save the only person who ever chose her without hesitation. It is one of the few moments in Wicked: For Good where the film’s emotional, visual, and narrative elements come together seamlessly. The supporting characters, however, do not receive the same attention. While it is true that the second act of the stage musical is shorter and more narrow in focus, the film’s approach leaves several characters feeling unfinished. Fiyero feels underused here. Marissa Bode gives Nessarose as much wickedness as she can, but her arc feels rushed and not fully earned. Boq (Ethan Slater), on the other hand, benefits from more screen time, and his journey feels satisfying and well developed. Madame Morrible (Michelle Yeoh) has more scenes than the Wizard (Jeff Goldblum), yet both feel secondary, especially the Wizard. It makes sense that the true fascist power figure stays hidden, letting the military and one person with influence carry out the dirty work for him. Jeff Goldblum is delightful to watch as this evil, manipulative, and conniving villain. The only issue I had with the character is that his reaction to the story’s major twist feels oddly unconvincing and emotionally unclear, which leaves the moment flatter than it should be. The songs in Wicked: For Good may not be as catchy as the ones in the first film, but they land with a much heavier emotional impact. “The Girl in the Bubble” and “For Good” might genuinely bring you to tears, and “No Good Deed” is the kind of number that leaves you sitting in awe. “Thank Goodness / I Couldn’t Be Happier” was a real surprise, mostly because of the vulnerability Ariana Grande brings to it. Michelle Yeoh, unfortunately, is the weakest part of the soundtrack. Her almost spoken-word approach pulls you out of the moment and takes away from the spellbinding quality of Grande’s singing. Jon M. Chu shows clear growth as a director. The film looks better and is more confidently staged than Wicked Part 1 . However, the clunky editing and the lack of real spectacle make it less enjoyable than it should be. The film often plays like a series of scenes placed one after another instead of a single cohesive story. It becomes a pattern of this happened and then this happened, but nothing truly holds it together. The story jumps across moments that should feel monumental, but the transitions are abrupt, and the pacing wavers between rushed and overly drawn out. The narrative never quite finds the steady rhythm that made the first film so compelling. Wicked: For Good is a film that shines brightest when it leans into the connection between its two leads. Erivo and Grande carry the story with so much sincerity that even the film’s rougher parts feel easier to forgive. Yet the inconsistencies in pacing and structure are hard to ignore, especially after the strength of Wicked Part 1 . There are moments that feel magical and unforgettable, and others that never quite reach their full potential. In the end, the film succeeds because of the performances at its center, even if the narrative around them is uneven. Fans will walk away moved by Elphaba and Glinda’s final chapter, but the film as a whole does not match the unity and emotional precision that made the first installment so special. Rating: ★★★½ About Wicked: For Good Premiere Date:  November 21, 2025 Director: Jon M. Chu Writers: Dana Fox, Winnie Holzman Production:  Universal Pictures, Marc Platt Productions Distribution: Universal Pictures Cast: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Jeff Goldblum, Michelle Yeoh, Ethan Slater, Marissa Bode, Bowen Yang, Bronwyn James, Colman Domingo. Synopsis: Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard (Jeff Goldblum). Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard.

© Disney It's the most wonderful time of the year to witness the return of Prep & Landing. The greatest Christmas elves the world has ever known mean serious business when the "Snowball Protocol" is activated to prove that Christmas classics are not dead. In 2009, Prep & Landing became a Christmas household name as a CGI animated special that introduced us to elves Lanny & Wayne. For two more years, they invited our families to spend Christmas with them to watch their sequels, Operation: Secret Santa , and Naughty vs Nice . Now they're back after a long hiatus to give audiences the Holiday hijinks they've been missing. Prep & Landing: The Snowball Protocol follows Wayne & Lanny picking up the pieces after a holiday mission goes off the rails. The mess they created has Wayne thinking that he is in trouble with Santa Claus, leading him to create an even bigger mess by accidentally exposing more of their misfortunes. The ordeal is hilarious as it sounds, especially with Dave Foley and Derek Richardson voicing Wayne and Lanny. Joining them are Sarah Chalke, returning as Maggie, along with newcomers Manny Jacinto as Renato, Dulcé Sloan as Janice, Danny Pudi as Chef Geoff, and Christopher Swindle as the Big Guy himself, Santa. Christmas As Usual Christmas often loses its magic as we get older. The holiday becomes more commercialized while the world grows more cynical. Still, when a great Christmas special comes on, there is a magical force that pauses everything wrong, allowing us to escape into a world where innocence meets imagination. Prep & Landing: The Snowball Protocol proves to be capable of accomplishing that magic. The animation style, voice performances, storytelling, and nostalgia work in harmony to create a priceless Christmas experience. Dave Foley and Derek Richardson return to their roles as Wayne and Lanny in a way akin to brothers finally returning home after being away overseas for a long time. They may have been gone for years, but the love they share for their characters and this lore remains tethered to solid foundations, allowing their organic chemistry, charisma, and wit to shine equally. They are not the only returning actors who shine; Sarah Chalke ensures it. She portrays Maggie with a maternal energy that parallels her character's type A personality, which makes her an interesting tritagonist and the perfect one to keep Wayne and Lanny in line. Prep & Landing's newcomers Manny Jacinto, Dulcé Sloan, Danny Pudi, and Christopher Swindle fit into this world naturally, voicing Renato, Jenice, Cheff Geoff, and Santa Claus, respectively. Jacinto, Sloan, and Pudi are magnetic and hilarious as they play this diverse set of characters; however, Christopher Swindle stands above them as the Big Guy. He gives Santa a surprising amount of range and depth for a 22-minute special. The way Santa transitions from being an imposing boss to the warm and loving Father Christmas is a masterclass in subverting expectations, culminating in a cathartic experience that embodies the spirit of Christmas. The Only Time Change Is Not Good It's a shame to see the Prep & Landing specials limited to roughly twenty minutes. Then again, that may be my greed talking because none of them needs any more time to deliver an emotional and entertaining experience. Despite its arrival after fourteen long years, The Snowball Protocol leaves Prep & Landing's identity intact, thanks to the original creators Kevin Deters and Stevie Wermers-Skelton returning to their roles as executive producers. They seem to adhere to the saying: "if it's not broke, don't fix it." In this day and age, where nearly every other film/series is a reboot or revival, it is common to see beloved franchises compromise their identities in an attempt to appeal to new demographics, only to end up alienating their established fan bases. Deters and Wermers-Skelton avoid making this mistake by putting their trust in the world they have already created. Prep & Landing's first three specials showcased visuals on par with Disney's theatrical features, so anything less than that caliber would be disrespectful to the animators. Instead of taking unnecessary risks, the duo prioritizes telling a new story to make Christmas lovers smile, laugh, cry, and enjoy doing it all over again with the ones they love. The results speak for themselves. Prep & Landing For The Most Wonderful Time Of The Year At the core of The Snowball Protocol is not only a Christmas story, but a tale that makes family and friendship synonymous. Wayne and Lanny transition from being colleagues to friends, but ultimately, they are brothers, whether they know it or not. Kevin Deters and Stevie Wermers may not be brothers by blood, but are family nonetheless, along with Derek Richardson, Sarah Chalke, Christopher Swindle, and the rest of the cast and crew. Together, they produce the labor of their love: Prep & Landing: The Snowball Protocol. Prep & Landing: The Snowball Protocol premieres on Disney Channel on November 27th, then on Disney+ the following day, November 30th on ABC, and on Freeform on December 13th. Rating: ★★★★★ About Prep & Landing: The Snowball Protocol Premiere Date:  November 27, 2025 Producers: Kevin Deters, Stevie Wermers, Colleen Evanson, Melissa Kurtz, Carson Loveday, Shea Wageman Writers: Kevin Deters, Colleen Evanson, Hilary Helding, Stevie Wermers, Chris Williams Director: Shane Zalvin Production:  Disney Television Animation, ICON Creative Studio Distribution:  Disney Channel, Disney+, Freeform, ABC Cast:   Derek Richardson, Dave Foley, Sarah Chalke, Christopher Swindle, Dulcé Sloan, Danny Pudi, Manny Jacinto Synopsis: Christmas elves Lanny and Wayne panic when their holiday missions go awry, leaving Wayne thinking he’s in BIG trouble with Santa and accidentally revealing other merry mishaps.

It's almost December, and that means one thing. If you guessed Christmas, you guessed incorrectly. The Game Awards are taking place this year on December 11th, and that means we'll be watching closely to see who wins Game of the Year and many other awards. It's a night to share with gamers and developers across the world as they get honoured for their creative and technical achievements throughout the year. Alongside developers earning their flowers and well-deserved respect, it's also a night full of game announcements that will have gamers talking all throughout the night. The nominees for The Game Awards were announced today, with Clair Obscur: Expedition 33 taking 12 nominations and Sony Interactive Entertainment gaining the most nominations for a publisher with 19 nominations. There were expectations early on in the year that Split Fiction was a clear Game of the Year contender with how innovative it was with its split-screen technology and how it integrated it into its narrative and gameplay, but the game seems to be missing from this year's Game of the Year nominations despite Hazelight Studios' previous game receiving a Game of the Year nomination. Despite the upset, Split Fiction has still received four nominations, making the list of the most nominated games at this year's The Game Awards. Another game that people might be disappointed in not receiving a Game of the Year nomination for is Dispatch , an episodic game that recently released and had its final episode release last week. It made the cut, as it was nominated for Best Debut Indie Game, but didn't find itself gaining any other nominations despite the critical praise it has received for performances, narrative, art direction and much more. Game of the Year Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment) Donkey Kong Bananza (Nintendo EPD/Nintendo) Hades II (Supergiant Games) Hollow Knight: Silksong (Team Cherry) Kingdom Come: Deliverance II (Warhorse Studios/Deep Silver) Best Game Direction Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment) Ghost of Yotei (Sucker Punch Productions/Sony Interactive Entertainment) Hades II (Supergiant Games) Split Fiction (Hazelight Studios/EA) Best Narrative Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment) Ghost of Yotei (Sucker Punch Productions/Sony Interactive Entertainment) Kingdom Come: Deliverance II (Warhorse Studios/Deep Silver) Silent Hill f (Neobards Entertainment/Konami) Best Art Direction Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment) Ghost of Yotei (Sucker Punch Productions/Sony Interactive Entertainment) Hades II (Supergiant Games) Hollow Knight: Silksong (Team Cherry) Best Score and Music Christopher Larkin (Hollow Knight: Silksong) Darren Korb (Hades II) Lorien Testard (Clair Obscur: Expedition 33) Toma Otowa (Ghost of Yotei) Woodkid & Ludvig Forssell (Death Stranding 2: On the Beach) Best Audio Design Battlefield 6 (Battlefield Studios/EA) Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment) Ghost of Yotei (Sucker Punch Productions/Sony Interactive Entertainment) Silent Hill f (Neobards Entertainment/Konami) Best Performance Ben Starr (Clair Obscur: Expedition 33) Charlie Cox (Clair Obscur: Expedition 33) Erika Ishii (Ghost of Yotei) Jennifer English (Clair Obscur: Expedition 33) Konatsu Kato (Silent Hill f) Troy Baker (Indiana Jones and the Great Circle) Innovation in Accessibility Assassin's Creed Shadows (Ubisoft) Atomfall (Rebellion) Doom: The Dark Ages (ID Software/Bethesda Softworks) EA Sports FC 26 (EA Canada/EA Romania/EA) South of Midnight (Compulsion Games/Xbox Game Studios) Games For Impact Consume Me (Hexacutable) Despolote (Panic) Lost Records: Bloom & Rage (Don't Nod Montréal/Don't Nod) South of Midnight (Compulsion Games/Xbox Game Studios) Wanderstop (Ivy Road/Annapurna Interactive) Best Ongoing Game Final Fantasy XIV (Square Enix Business Division 5/Square Enix) Fortnite (Epic Games) Helldivers 2 (Arrowhead Game Studios/Sony Interactive Entertainment) Marvel Rivals (NetEase Games) No Man's Sky (Hello Games) Best Community Support Baldur's Gate 3 (Larian Studios) Final Fantasy XIV (Square Enix Business Division 5/Square Enix) Fortnite (Epic Games) Helldivers 2 (Arrowhead Game Studios/Sony Interactive Entertainment) No Man's Sky (Hello Games) Best Independent Game Absolum (Guard Crush Games/Supamonks/Dotemu) Ball x Pit (Kenny Sun/Devolver Digital) Blue Prince (Dogubomb/Raw Fury) Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Hades II (Supergiant Games) Hollow Knight: Silksong (Team Cherry) Best Debut Indie Game Blue Prince (Dogubomb/Raw Fury) Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Despolote (Panic) Dispatch (AdHoc Studio) Megabonk (Vedinad) Best Mobile Game Destiny: Rising (NetEase Games) Persona 5: The Phantom X (Black Wings Game Studio/Perfect World/Atlus/Sega) Sonic Rumble (Rovio Entertainment/Sonic Team/Sega) Umamusume: Pretty Derby (Cygames/Kakao Games/Komoe Game/Bilibili) Wuthering Waves (Kuro Games) Best VR/AR Game Alien: Rogue Incursion (Survios) Arken Age (VitruviusVR/Vitruvius Technologies Inc.) Ghost Town (Fireproof Games) Marvel's Deadpool VR (Twisted Pixel Games/Oculus Studios) The Midnight Walk (MoonHood/Fast Travel Games) Best Action Game Battlefield 6 (Battlefield Studios/EA) Doom: The Dark Ages (id Software/Bethesda Softworks) Hades II (Supergiant Games) Ninja Gaiden 4 (Team Ninja/PlatinumGames/Xbox Game Studios) Shinobi: Art of Vengeance (Lizardcube/Sega) Best Action/Adventure Game Death Stranding 2: On the Beach (Kojima Productions/Sony Interactive Entertainment) Ghost of Yotei (Sucker Punch Productions/Sony Interactive Entertainment) Indiana Jones and the Great Circle Hollow Knight: Silksong (Team Cherry) Split Fiction (Hazelight Studios/EA) Best RPG Avowed (Obsidian Entertainment/Xbox Game Studios) Clair Obscur: Expedition 33 (Sandall Interactive/Kepler Interactive) Kingdom Come: Deliverance II (Warhorse Studios/Deep Silver) The Outer Worlds 2 (Obsidian Entertainment/Xbox Game Studios) Monster Hunter Wilds (Capcom) Best Fighting Game 2XKO (Riot Games) Capcom Fighting Collection 2 (Capcom) Fatal Fury: City of the Wolves (SNK Corporation) Mortal Kombat: Legacy Kollection (Digital Eclipse/Atari) Virtua Fighter 5 R.E.V.O. World Stage (Ry Ga Gotoku Studio/Sega) Best Family Game Donkey Kong Bananza (Nintendo EPD/Nintendo) LEGO Party! (SMG Studio/Fictions) LEGO Voyagers (Light Brick Studios/Annapurna Interactive) Mario Kart World (Nintendo EPD/Nintendo) Sonic Racing: Crossworlds (Sonic Team/Sega) Split Fiction (Hazelight Studios/EA) Best Sim/Strategy Game Final Fantasy Tactics – The Ivalice Chronicles (Square Enix) Jurassic World Evolution 3 (Frontier Developments) Sid Meier's Civilization VII (Firaxis Games/2K) Tempest Rising (Slipgate Ironworks/3D Realms) The Alters (11 Bit Studios) Two Point Museum (Two Point Studios/Sega) Best Sports/Racing Game EA Sports FC 26 (EA Canada/EA Romania/EA) F1 25 (Codemasters/EA) Mario Kart World (Nintendo EPD/Nintendo) Rematch (Sloclap/Kepler Interactive) Sonic Racing: Crossworlds (Sonic Team/Sega) Best Multiplayer Game Arc Raiders (Embark Studios) Battlefield 6 (Battlefield Studios/EA) Elden Ring Nightreign (FromSoftware/Bandai Namco Entertainment) Peak (Aggro Crab/Landfall) Split Fiction (Hazelight Studios/EA) Best Adaptation A Minecraft Movie (Warner Bros. Pictures) Devil May Cry (Netflix) The Last of Us : Season 2 (HBO) Splinter Cell: Deathwatch (Netflix) Until Dawn (Sony Pictures) Most Anticipated Game 007 First Light (IO INteractive) Grand Theft Auto VI (Rockstar Games) Marvel's Wolverine (Insomniac Games/Sony Interactive Entertainment) Resident Evil: Requiem (Capcom) The Witcher IV (CD Projekt Red/CD Projekt) Content Creator of the Year Caedrel Kai Cenat MoistCr1TiKaL Sakura Miko The Burnt Peanut Best Esports Game Counter-Strike 2 (Valve) DOTA 2 (Valve) League of Legends (Riot) Mobile Legends: Bang Bang (Moonton) Valorant (Riot) Best Esports Athlete brawk - Brock Somerhalder (Valorant) Chovy - Jeong Ji-hoon (League of Legends) fOrsakeN - Jason Susanto (Valorant) Kakeru - Kakeru Watanabe (Street Fighter) MenaRD - Saul Leonardo (Street Fighter) ZywOo - Mathieu Herbaut (Counter-Strike 2) Best Esports Team Gen.G (League of Legends) NRG (Valorant) Team Falcons (DOTA 2) Team Liquid PH (Mobile Legends: Bang Bang) Team Vitality (Counter-Strike 2)

This article contains spoilers for S2E4 of St. Denis Medical . © Chris Haston/NBC The fourth episode of St. Denis Medical ’s second season, “Two Docs, One Conf,” is a funny outing that finds a balance between workplace absurdity and the show’s warmth. It continues the series’ talent for taking minor problems and escalating them into full-blown catastrophes. While it might not be the most ambitious episode so far, or of the next four available to press, it’s one of the most consistently entertaining, highlighted by a well-paced pair of plots, hilarious performances, and one of the series’ best uses of Bruce (Josh Lawson) to date. Ron (David Alan Grier) and Bruce attend the Forest Hill Medical Conference. It’s become clear by now that Ron is at his most entertaining when his professionalism is under pressure and his worldview collides with those of his colleagues, while Bruce is naturally disruptive in any setting so long as the attention remains on him. Ron arrives expecting a functional networking weekend, or rather a weekend to flirt with another attendee, and instead is confronted with Bruce, who has booked them a shared party suite. It's clear he's approaching the event with a very different agenda. Ron’s immediate retreat to the reception desk, willing to accept any single room available, sets up an entertaining dynamic. Grier and Lawson are excellent together. Ron’s increasingly strained politeness and grumpiness, particularly as Bruce interrupts his many attempts to speak with Autumn Fenner (Enuka Okuma), the newly divorced doctor that he has his eye on, are executed with great timing. The conference scenes are also paced well, especially the moment where Bruce steals Ron’s Mr Bean line and repeats it loudly enough for the surrounding attendees to hear. From this point onward, Ron’s credibility takes a hit, while Bruce becomes the star of the event, much to his delight. Back at St. Denis, it’s Nurse Appreciation Week, a tradition that Joyce (Wendi McLendon-Covey) takes seriously. She produces decorated “You Rock” rocks, insisting that she genuinely appreciates her nurses and joking that she should be locked up if that’s a crime. The nursing staff, however, don’t respond with the enthusiasm she expects. Val (Kaliko Kauahi) notes that time could be saved by handing the annual Gentle Heart award to Alex (Allison Tolman) again, given that she has won it six times already (seven, according to Alex). Joyce, meanwhile, urges everyone to get their votes in, even as it becomes clear that the week means far more to her than it does to anyone else. (l-r) Wendi McLendon-Covey as Joyce, Dan Leahy as Brandon © Chris Haston/NBC Ever the sweetheart, Matt (Mekki Leeper) informs Alex that he’ll be voting for her. She diligently informs him that she’ll be voting for him also, as he’s come a long way. Val tells Alex to drop the Mother Theresa act as she’s got the award in the bag. Alex doesn’t care about it. Val (alongside you and me) isn’t convinced. Back at the conference, Bruce continues to draw attention. He distributes flyers for his party and happily provides jokes for the crowd’s amusement. Ron’s attempts to salvage his reputation only worsen when he accidentally insults the conference speaker, allowing Bruce to publicly call him “Mr Mean,” which catches on.  The contrast between Joyce’s efforts and the staff’s indifference is heightened when one of the rocks is found thrown in the bin outside her office. She interprets this as blatant disrespect and is hurt by the act. Serena (Kahyun Kim) admits that she threw hers away because it was literally a rock, though she’s surprised no one else did the same. Alongside the appreciation theatrics, the Gentle Heart award takes on new significance when the prize of a free weekend at Plunge Planet is revealed. Alex’s kids are obsessed with the water park, and she had hoped Tim (Kyle Bornheimer) would take them without her. Val presses her to stop pretending that she’s disinterested in the award, reasoning that Alex clearly deserves the weekend more than Matt, whom she (maybe even affectionately) describes as a little animated hillbilly. Alex admits she’d choose herself over Matt, undermining her earlier performance of modesty. The hospital plot escalates when Joyce announces that she has cheesecake for the nurses, but will eat one slice every ten minutes until the vandal reveals themselves. If no one confesses by 5 P.M., she’ll cancel the entire week. Serena attempts to remedy her discarded-rock problem by sourcing a replacement. Her search becomes increasingly futile, from finding only pebbles and a condom outside the hospital to negotiating with a gift shop employee who refuses to help after she comments on his job security being relative to iPads. When she tries to borrow another rock, Brandon (Dan Leahy) points out that Joyce has individually labelled each one with a “Processed by Dr Joyce Henderson” sticker, ruling out the possibility of taking another’s to cover her back. Matt’s popularity rises further when he helps Nadine, one of Alex’s patients who has had bowel issues throughout the episode, discover she’s pregnant. She later names the baby after him, which must sting for Alex, who had missed the signs of pregnancy and fobbed the patient off. But, by the time Val counts the ballots, Matt and Alex are tied with one vote not in, Alex’s. She votes for herself without hesitation and wins. (l-r) Mekki Leeper as Matt, Allison Tolman as Alex © Chris Haston/NBC Meanwhile, Serena, increasingly desperate, fabricates a story about a nursing gang stealing her rock and throwing it away in an act of jealousy over her bond with Joyce. Joyce, ever naïve but earnest, accepts the explanation without hesitation, confirms Serena is her favourite, and invites her to her family's lake house to pick out a replacement rock. The matter, in Joyce’s mind, is resolved. There are, however, fewer victories for Ron and Bruce. In a last-ditch attempt to reclaim his standing, Ron attends Bruce’s party. Bruce, having consumed only two glasses of wine and no solid food for four days to be pool-ready, is drunk and unstable. He insists that Ron looks down on him, climbs onto a wardrobe in protest, and falls off, smashing the table beneath him. The scene is played for humour, but it hints at something more worrying in Bruce’s behaviour. His fixation on appearance and popularity has yet to land him in a healthy situation. The closing scene softens the chaos slightly. Ron and Bruce sit together on a hotel bed watching television, exhausted by the weekend. Ron reflects that sometimes you get neither the conference you want nor the one you need, but at least he saw a different side of Bruce, one driven by loneliness rather than his usual cockiness and bravado. Bruce, in turn, insists Ron is the lonely one, though he was happy to have Ron’s company. While it doesn’t push the series into new territory, “Two Docs, One Conf” reinforces St. Denis Medical ’s ability to make the most of its ensemble. The conference storyline plays to the strengths of Grier and Lawson, while Nurse Appreciation Week affirms just how funny and slightly delusional Joyce can be. It’s a well-executed 22 minutes that reiterates why the show continues to be one of network television’s most reliable comedies. Rating: ★★★½ About St. Denis Medical St. Denis Medical . © NBC Universal Premiere Date:  17 November 2025, Episode Count:  18 Showrunner: Eric Ledgin Executive Producers: Eric Ledgin, Justin Spitzer, Simon Heuer, Ruben Fleischer, Bridget Kyle, and Vicky Luu. Production:   Universal Television, a division of Universal Studio Group, More Bees, Inc. and Spitzer Holding Company. Cast:   Wendi McLendon-Covey, David Alan Grier, Allison Tolman, Josh Lawson, Kahyun Kim, Mekki Leeper, and Kaliko Kauahi. Synopsis: St. Denis Medical is a mockumentary about an underfunded, understaffed Oregon hospital where the dedicated doctors and nurses try their best to treat patients while maintaining their own sanity. In season two, after receiving a large private donation, hospital administrator Joyce bites off more than she can chew while her employees navigate staff shortages, office conflicts and their own personal lives.

© DC As announced last week, DC Studios is currently casting Brainiac, the lead villain of Man of Tomorrow . In addition, a new female role is being cast to join the film.   Sources tell Nexus Point News that a new female hero is being cast for the film. She’s described as being in her late twenties and having an edge to her. What’s interesting is there’s a height requirement for this character and they’re looking for taller actresses. In addition, the character is being described as being a warrior and having a strong physique. All details point to this character being Wonder Woman, a character that has been highly requested by fans to make her DCU debut. Other potential candidates for this mystery character could be Big Barda or Black Canary. Wonder Woman’s appearance could also set her up to appear in her solo film which is currently being written by Ana Nogueira ( Supergirl ). James Gunn has stated that the film is being fasttracked. In addition, a prequel series, titled Paradise Lost  is in development for the DCU. Wonder Woman was created by William Moulton Marston and H.G. Peter and debuted in All-Star Comics #8 in 1941. Over the years, the character has been portrayed by Cathy Lee Crosby, Lynda Carter, Adrianne Palicki, and Gal Gadot in live action. James Gunn is set to write, direct, and produce Man of Tomorrow. DC Studios’ co-CEO and chairman, Peter Safran, will produce along with Gunn. David Corenswet and Nicholas Hoult are set to reprise their roles as Clark Kent/Superman and Lex Luthor, respectively and will serve as co-leads of the film. Although the film will continue their rivalry and feature Lex as an antagonist, rumors suggest they will also join forces as well. Although unverified, NPN exclusively reported that Supergirl (Milly Alcock), Lobo (Jason Momoa), and Peacemaker (John Cena) will have roles in the film as well. On Instagram, Isabela Merced hinted at her return as Kendra Saunders/Hawkgirl saying “See you soon.” Production for the film is set to begin in April in Atlanta and shoot through the summer.  Superman released on July 11, 2025 as the first feature film from DC Studios and the first film of the newly launched DCU. In addition to Superman and Luthor, the film introduced fans to the DCU’s Lois Lane (Rachel Brosnahan), Jimmy Olsen (Skyler Gisondo), Mister Terrific (Edi Gathegi), Guy Gardner/Green Lantern (Nathan Fillion), Hawkgirl, Supergirl, Perry White (Wendell Pierce), and more. The film had a $225 million budget and earned $616 million in its global theatrical run. Upcoming DCU projects include HBO’s Lanterns, Supergirl , Clayface , and DC Crime, which will enter production around the same time as Man of Tomorrow in Atlanta. DC Studios’ Man of Tomorrow is set to be released by Warner Bros. Discovery on July 9, 2027.

© Marvel Studios It has now been three years since Doctor Strange in the Multiverse of Madness premiered, and the film’s journey to the screen remains one of the more turbulent productions in the Marvel Cinematic Universe. When the sequel was first announced, original Doctor Strange director Scott Derrickson was set to return, and Marvel promoted the film as the MCU’s first true horror experience. Early reports emphasized that the story would explore darker supernatural elements, with Doctor Strange (Benedict Cumberbatch) and Wanda Maximoff (Elizabeth Olsen) sharing the spotlight in what many assumed would be a bold stylistic shift for the franchise. However, in early 2020, Derrickson departed the project due to creative differences with Marvel Studios. With his exit, the film’s horror-driven identity began to shift, and the project entered a period of retooling. Sam Raimi was recruited to direct, accompanied by Loki writer Michael Waldron, who was tasked with reworking the script. Production was further complicated by the onset of the COVID-19 pandemic, which delayed filming and forced significant adjustments to the schedule and creative process. As Raimi and Waldron reshaped the story, many cast members found themselves learning dramatic new details on short notice. Elizabeth Olsen later revealed that she discovered only three weeks before filming began that Wanda would be the primary antagonist of the film. This revelation reportedly conflicted with her expectations, as she believed the story would be more of an ensemble piece that built on Wanda’s arc from WandaVision rather than pivoting her into a villain role so soon after her sympathetic portrayal in the series. Despite its complicated development, Doctor Strange in the Multiverse of Madness was met with mostly positive - though notably mixed - reactions upon release. Raimi’s direction was praised for its energetic visual style, inventive horror-inspired sequences, and willingness to embrace stylistic flair rarely seen in MCU projects. Many viewers and critics felt that the film stood out visually as one of the most distinctive entries in the entire franchise. However, much of the criticism targeted the writing and character arcs. Wanda’s transformation into a villain was polarizing, especially given the emotional depth and nuance of WandaVision . Some fans felt her portrayal relied too heavily on the “hysterical woman” trope and reduced her motivations to grief-fueled rage without adequately building on the growth she experienced in the series. Meanwhile, Doctor Strange’s own development was seen by some as limited, with several viewers feeling that the film did not explore his character as deeply as expected for a sequel centered on him. Doctor Strange’s future in the MCU has remained uncertain ever since Multiverse of Madness hit theaters. The sequel concluded with a last-minute introduction of Clea, played by Charlize Theron, which appeared to set up a direct continuation of Strange’s story. Naturally, fans expected Marvel to follow through on that cliffhanger in short order. However, speculation grew when neither Benedict Cumberbatch nor Charlize Theron appeared on the official cast list for Avengers: Doomsday , leaving many to wonder whether Marvel intended to resolve that storyline elsewhere - or at all. As of now, I’m hearing that Doctor Strange 3 is in active early development. I want to emphasize that none of I’m about to say next is fully confirmed; I’m simply sharing what I’ve been told by some sources. According to what I’ve heard, Benedict Cumberbatch is becoming more involved behind the scenes this time around, particularly in the search for a new writer and director. One name Cumberbatch is said to be interested in is Sam Mendes, though that seems unlikely given Mendes has four Beatles biopics on his plate. Neither Sam Raimi nor Michael Waldron are expected to return for the third installment. Additionally, the film isn’t expected to begin production until after Avengers: Secret Wars has finished filming.

Director Gavin O’Connor and screenwriter Bill Dubuque, the creative team behind The Accountant , are teaming up once again for a new Apple Studios feature operating under the working title Bannister, sources tell Nexus Point News. O’Connor is set to take the helm, while Dubuque will pen the screenplay, marking another collaboration between the pair following their successful partnership on the action-thriller franchise. The film follows a fiercely independent teenager with natural speed and no formal training, who fabricates his records to enter a top high school track program. Homeless and operating under the radar, he navigates authority issues and a past marked by instability while attempting to prove he’s the fastest runner. Having never competed on a team, the structure and scrutiny of organized athletics become an unexpected test of his talent and his ability to survive without being exposed. Casting is currently underway to find the film’s lead, described as a 17-year-old teenager, with production expected to begin in March 2026 in Canada. Gavin O’Connor’s credits include directing The Accountant franchise, as well as earlier features such as No Way Back, Warrior, and The Way Back. O’Connor is repped by WME. Bill Dubuque is best known for penning The Accountant films. Dubuque has also worked on the critically acclaimed series Ozark . Dubuque is repped by CAA. This story is still developing.

© Lionsgate It’s been over a decade since the Four Horsemen last took the stage, and it’s genuinely good to see these illusionists return for another round of high-stakes sleight of hand. Directed by Ruben Fleischer, Now You See Me: Now You Don’t  tries to rekindle the flashy fun and swagger that made the first two films such crowd-pleasing spectacles. Visually, the movie is really strong thanks to new tricks, a bigger cast, and the globe-trotting locations are more elaborate than ever. Yet despite all the technical flair, the magic itself feels curiously mechanical this time around. The film opens promisingly, reuniting the gang with a new generation of recruits. There’s a genuine sense of nostalgia as Jesse Eisenberg, Woody Harrelson, Dave Franco, and Lizzy Caplan return to showmanship. Eisenberg, in particular, carries the entire film on his shoulders – sharp, energetic, and completely dialed into his role as the smart J. Daniel Atlas. Unfortunately, the rest of the original cast feels like they’re just coasting through, reciting lines without much conviction. Even Morgan Freeman’s brief inclusion feels less like an organic return and more like a calculated attempt to tug at fans’ memories. The newcomers fare better. Dominic Sessa stands out among the fresh faces – effortlessly charming, quick-witted, and the only one who feels like he truly belongs in this world of misdirection and spectacle. The rest of the young cast is decent, if unremarkable, clearly there to appeal to a younger audience rather than expand the original story. Rosamund Pike steps in as the flashy, formulaic over-the-top villain and seems to be having the time of her life, relishing every sneer and every flourish of her South African accent. She brings color to an otherwise bland antagonist role, and her presence adds a spark of unpredictability whenever she’s onscreen. Where Now You See Me: Now You Don’t falters most is its writing. Fleischer injects the film with energy, and the humor – especially the snappy banter and good-natured roasting among the Horsemen – lands well. But the script feels lazy, as if the writers didn’t bother crafting a compelling story and instead decided to cram the movie with more magic tricks, chase sequences, and rapid-fire jokes. There’s zero character growth, and the exposition-heavy scenes often devolve into self-congratulatory show-offs rather than meaningful development. © Lionsgate The first half is decently engaging, bolstered by brisk pacing and clever visual setups. But once the second half begins, the story loses focus. The climactic twist – while unpredictable – doesn’t fully land, and the film’s final act goes completely off the rails, weighed down by convoluted logic and forced spectacle. The setup for a possible next entry feels desperate, more like a franchise mandate than a natural progression. Now You See Me: Now You Don’t isn’t without its charms. The humor works, the visuals are top-tier, and the lighting and costume design enhance the sense of illusion beautifully. There are plenty of individually entertaining moments that will satisfy longtime fans. But as a full experience, the film lacks the freshness, wonder, and cohesion that made the previous entries so engaging. It’s a fun enough ride – just not one that will pull in any new believers. Rating: ★★½ Now You See Me: Now You Don't © Lionsgate About Now You See Me: Now You Don’t Release Date:  November 14, 2025 Writer: Eric Warren Singer, Michael Lesslie, Paul Wernick, Rhett Reese Director: Ruben Fleischer Producers: Bobby Cohen, Alex Kurtzman Production:     Summit Entertainment, Secret Hideout Distribution: Lionsgate Cast:  Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Dominic Sessa, Justice Smith, Ariana Greenblatt, Rosamund Pike, and Morgan Freeman.

This review contains spoilers for 'Ultimate Wolverine' #11. Ultimate Wolverine #11 © Marvel Comics From the very first issue of Ultimate Wolverine , I knew I was in for a bloody mess. Not just because it’s a Wolverine comic, but because this new Ultimate universe has made it clear it plays by its own rules—or by the Maker’s, in some cases. It’s been a wild and messy ride so far, and now that we know this universe is heading toward its end, Ultimate Wolverine  is only ramping up towards what looks like a devastating conclusion. In the previous issue, Wolverine and the Opposition’s secret Chernobyl base was exposed to the Eurasian Republic. To eliminate them, the Rasputins sent Omega Red and a squad of soldiers, all of whom met their demise at the hands of Logan and his allies. Even with the small victory, the Opposition is once again on the back foot and at a disadvantage as they have been the entire run. With their location compromised, the team was forced to relocate to a temporary base of operations, where issue #11 picks up. Ultimate Wolverine #11 © Marvel Comics Kudos to Condon. I’m not sure how much time he knew he’d have to wrap things up before the end of his Ultimate run, but here he takes full advantage of the space he’s got. He calls back to major players taken off the board, like Professor Xavier and Jean Grey, while also tying up what’s left in play. Earlier in the series, we learned that the Eurasian Republic had taken Xavier’s brain with plans to weaponize it (which might be the second or third time that’s happened in comic history), and now they make good on that threat. Using a device that turns Xavier’s brain into a kind of psychic bomb, the Republic unleashes it on the Opposition, seemingly wiping out everyone but Wolverine in one brutal stroke. I was admittedly very hopeful in this moment, silently wishing for Logan to succeed in his attempt to stop the explosion. But as an X-Men fan, it’s hard to feel truly shocked in this moment. This was essentially another mutant massacre—we’ve seen it plenty of times—but it still stings to watch familiar faces fall, even in an alternate universe. Cappuccio and Valenza continue to deliver stellar work on art and colors, giving every page a distinct, gritty feel that perfectly suits the bleak setting and emotional wreckage these characters are living through. Meanwhile, Condon keeps pulling Wolverine and readers alike through a minefield of pain, loss, and rage. By the time this run ends, I’m not sure anyone will be left standing, but I can’t wait to see who, if anyone, comes out on top. Ultimate Wolverine #11 © Marvel Comics About Ultimate Wolverine #11 Release Date:  November 12, 2025 Written by:  Christopher Condon Art by: Alessandro Cappuccio Cover by: Alessandro Cappuccio Page Count: 26 Synopsis :  THE EURASIAN REPUBLIC'S COUNTERATTACK! Furious after the events of issue #10, Magik, Colossus and OmegaRed will have their vengeance! Can the Opposition survive Dr. Prostovich's "Psychic Bomb"?! Will Wolverine be able to protect the friends he's only just been reunited with?

© 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: 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.

© DC Studios Following the release of DC Studios’ first feature film, Superman , it was revealed that projects centered on Jimmy Olsen (Skyler Gisondo) and Mister Terrific (Edi Gathegi) were in development. In July of this year, I broke the news that the Jimmy Olsen series would be a true crime anthology series hosted by Olsen, exploring the different villains of the DC Universe. As announced by The Hollywood Reporter, the series has now been greenlit and is moving forward at DC Studios and HBO Max. Sources tell Nexus Point News that the series, now titled DC Crime , plans to shoot next Spring in Atlanta. This would coincide with the production schedule on Gunn’s next film, Man of Tomorrow  similar to how Superman  and Peacemaker season2 shot side by side. DC Crime  is set to star Gisondo, in addition to the rest of the Daily Planet crew which includes editor-in-chief, Perry White (Wendell Pierce), Steve Lombard (Beck Bennett), Cat Grant (Mikaela Hoover), and Ron Troupe (Christopher McDonald). Clark Kent (David Corenswet) and Lois Lane (Rachel Brosnahan) are not expected to appear. The series is set to feature Gorilla Grodd as one of the primary villains that Olsen will be investigating. DC Crime  was developed by Dan Perrault and Tony Yacenda, the creative team behind American Vandal . Perrault and Yacenda will also serve as showrunners and executive producers. Gunn and Peter Safran will executive produce the series as well. With the series shooting next Spring, this sets it up to be the next series in the DC Universe following Lanterns .  Gisondo is best known for his roles in Licorice Pizza , Booksmart , The Righteous Gemstones , and Santa Clarita Diet . He made his acting debut at the age of seven in NBC’s Miss Match . Gisondo will next be seen starring in the fourth entry in the Fockers  franchise, Focker In-Law . Jimmy Olsen was created by Jerry Siegel, Joe Shuster, and Bob Maxwell. He made his debut in The Adventures of Superman  radio series in 1940 and made his full comic debut in Superman #13 in 1941. An unnamed office assistant in Action Comics #6 bearing a resemblance to Olsen was retconned into being his first appearance in 1938. Over the years, Olsen has made several live action appearances and has been portrayed by Tommy Bond, Jack Larson, Marc McClure, Michael Landes, Justin Whalin, Sam Huntington, Aaron Ashmore, Michael Cassidy, Mehcad Brooks, and Douglas Smith. Gorilla Grodd was created by John Broome and Carmine Infantino and debuted in The Flash #106 in 1959. Grodd made his live action debut in CW’s The Flash , voiced by David Sobolov. DC Crime  begins productions next year and is set to release on HBO Max.

© Paramount The year of Stephen King finally comes to a close with The Running Man after an impressive run with The Life of Chuck, IT: Welcome to Derry, The Monkey, The Institute, and The Long Walk . Stephen King has written a lot of books, meaning that there’s a lot to adapt, but usually, Stephen King adaptations aren’t always considered great back to back, but 2025 might be King’s best year in regard to adaptations. The Running Man first received an adaptation in 1987 directed by Paul Michael Glaser and starring Arnold Schwarzenegger. While there has previously been a film already adapted from the book, this is not considered a remake and is yet another adaptation, this time directed by Edgar Wright and starring Glen Powell. Edgar Wright promised that his adaptation of The Running Man would be more faithful to the book than the previous adaptation, and he kept his promise. The Running Man is a dystopian story that’s set in the near future where The Running Man is the top-rated show on television and is a deadly competition where three contestants, known as Runners, must survive thirty days while being hunted by assassins known as Hunters, while the cash prize grows each day. We follow Ben Richards (Glen Powell), a working-class man who joins The Running Man as a last resort to make money for his sick daughter and his wife, Shiela Richards (Jayme Lawson). The Running Man is yet another thrilling Stephen King adaptation thanks to Edgar Wright’s style, which isn’t as stylistic as previous movies such as Scott Pilgrim vs the World or Baby Driver but is still extremely fast-paced. He ensures that once Ben Richards is a part of the competition show, the audience is also a part of the ride, constantly keeping up with him as he thwarts and escapes the Hunters. The marketing for the movie made it out to seem more comedic, being in line with what we are used to from Edgar Wright, but The Running Man has a great balance between its drama and comedy, and it’s all thanks to the first twenty minutes that he’s able to achieve this throughout the movie. As the film starts, we witness Ben Richards at his working-class job that he’s been fired from due to insubordination, attempting to get it back, using his daughter as a way to guilt his boss (well, in reality, to stop him from attacking him). We are then brought into Richard's life, quickly understanding that his little girl is sick and that his wife is doing prostitution work to make ends meet and make any money she can to buy medication for their daughter. Jayme Lawson sells the role completely as Sheila, exposing her vulnerability and in just a small amount of time, connecting emotionally with the audience. Wright allowing the movie to start instantaneously with a dramatic scene that drops us into their struggling lives sets up the high stakes that are at play in this movie, and despite the comedy that is sprinkled throughout, it never takes away from the film (until its final moments). The action in The Running Man can get quite brutal, from people getting gunned down to arrows piercing people's skulls to trees. This doesn’t really make its way to the action sequences that involve Ben Richards and usually just involves the B-roll for the show, where it can get quite gruesome, but the action that does involve Richards is kinetic, fast-paced and full of energy thanks to Glen Powell’s performance. His performance as Richards brings a raw intensity to the role that allows the audience to live in the anger of the character who’s playing into the exact game the media has created against working-class people like himself. The greatest part about The Running Man comes from its antagonists. Josh Brolin portrays producer Dan Killian and delivers a riveting and ruthless performance as he plays the most arrogant antagonist of the year. Killian knows how to make money, and he knows how to control the narrative to ensure that the money keeps flowing. The Running Man highlights how Killian can change the recordings sent to the studio to play a certain narrative against Richards and to create a story that the audience can follow, keeping them engaged even when there's no bloodthirsty action taking place for them. It parallels the real world with how the media will lie about real-world problems to play a certain narrative to either appease world leaders or to divert the public attention elsewhere. It happens all the time, and everyday people are blinded by how the media tell the news. The Running Man portrays this perfectly and the horrors of what effect it can have in the future when AI and deepfaking become more prominent. While Killian might know how to control the TV, he wouldn't have the ratings he has without Colman Domingo's charismatic performance as Bobby T, who hosts every season of The Running Man, helping push the false narratives and keeping real control of the show. In front of the camera with Ben Richards is McCone (Lee Pace), a hunter who remains ominous and simply just wants to get the job done; all that matters is getting more red on his ledger. There's not much screentime with McCone, which is disappointing, as Pace leaves a lasting effect as the Hunter who deals with the Runners as if killing is as easy as breathing. It's only at the end, where The Running Man feels like it begins to crumble as it goes from an intense sequence that's fitting of the perfect ending straight into a comedic scene that feels tonally mismatched from the previous twenty minutes of the movie. It's a returning bit that goes on and leads into an ending that, while it was the only answer for the direction Wright went in with the movie, is overall unsatisfying. Despite not having a tight ending, The Running Man is a movie that will hold your attention from start to end — even if the last 10-15 minutes aren't the best. If you're familiar with the book, it's understandable why Wright opted not to recreate the exact same ending due to real-life parallels, but it does leave a sour taste in your mouth after the credits, leaving you in confusion as you wonder if this truly was the best way it could end. The Running Man might not be Edgar Wright's best film, but it surpasses Last Night in Soho , as it feels more accessible to audiences that are familiar with his movies despite it lacking the complete Edgar Wright package. Wright's direction and editing keep the audience consistently moving with Glen Powell, making the film feel immersive as we follow along with the in-film audience of the show. Powell is quickly becoming Hollywood's next leading man, with each performance he does being better than the last. It smartly tackles timely topics such as the media's constant control of the news and entertainment while also remaining entertaining and fun with its action-packed movie that will have you wanting Powell leading more Edgar Wright films. Rating: ★★★★☆ The Running Man . © Paramount Pictures About The Running Man Pre miere Date:  November 14, 2025 Writer: Michael Bacall, Edgar Wright Director: Edgar Wright Producers: Simon Kinberg, Nira Park, Edgar Wright Production:     Kinberg Genre, Complete Fiction Distribution:  Paramount Pictures Cast:  Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Jayme Lawson, Colman Domingo, Josh Brolin Synopsis: Desperate to save his sick daughter, working-class Ben Richards is convinced by The Running Man’s charming but ruthless producer to enter the deadly competition game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favourite – and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.