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Apple TV+'s latest comedy series The Studio follows Matt Remick, the head of the fictional Continental Studios. Set in the heart of Hollywood, the show offers an unfiltered look at life behind the scenes. Instead of relying on made-up celebrities, it features real actors, directors, and producers playing fictionalized versions of themselves. The series is funny, witty, and a refreshing take on the workplace comedy. Nexus Point News talked to The Studio creators, co-showrunners, EPs and writers Frida Perez and Peter Huyck about the making of the series. Demet: The Studio could have easily become just another industry for cameo field playground, but it never does. What were the internal rules or boundaries you set to keep it grounded? Peter Huyck: Well, I think when we first came up with the show, the idea was that it really had to work as an ensemble comedy and you couldn't live on the celebrity cameos. You had to care about the characters, they had to care about each other, have interesting dynamics. I think the line we used when we were pitching the show was for us, we see it not as a less sexy version of Entourage , but a more sexy version of The Office . The show lives and dies, it's a workplace comedy, and that's why it's kind of relatable to anyone's watching at home because it's a boss, he's got these employees, you go to conference rooms, you're worried about budgets and you have meetings. It's about Hollywood in a way, and you have great cameos and fun. But really at the end of the day, it's just a classic workplace comedy. Frida Perez: I think he covered, I think that was solid. (Laughs) Thanks! Honestly, that was great. Demet: The show is about Hollywood, made by people in Hollywood, so was there anything you were told to cut, soften or just avoid entirely? Frida: I don't think so actually. Peter: That's a very good question. I would say what one interesting thing and it exists everywhere, certainly with Apple: There's no smoking of cigarettes. So you do not smoke cigarettes. There's no nicotine. You can have people doing piles of cocaine, they can eat chocolate mushrooms, you can drink until you fall down, but you cannot show cigarettes being smoked. So that is a rule that I think exists almost in all media these days, but it's always interesting. Now when you see someone smoke on TV in a movie, it's almost shocking. It's almost a surprise more than anything. So that's like one of the first rules that is is laid out in front of you. Frida: But in terms of like plot or like things about Hollywood that I don't think anybody told us like "Don't go there," I don't know. I think if anything, there seemed to be like a cathartic hope for the show that we would talk about the things that everybody in the industry deals with every day. You just wanna get it off your chest and you love the industry, it's really interesting and fun and exciting, but it can also be really frustrating and difficult. We wanted to express those frustrations and kind of like give everybody an avenue to laugh at it and laugh at our silly jobs — silly and wonderful jobs. Peter: Yeah, and I would say, since our leaders are Seth [Rogen] and Evan [Goldberg], they're the types of people who if you told them you can't touch an area, they would then immediately want to. They are not afraid to push. They love pushing boundaries and doing anything. So I think everyone knows going into this, if you're doing a comedy with Seth and Evan, you can't really then say "but don't touch, these areas are off limits" because they'll say, "well, we're gonna go there, it's gonna happen." Demet: That's very insightful. Every episode feels like a high stakes pressure cooker. What was the writer's room like when mapping out these controlled implosions? Frida: Pretty chill, honestly. Peter: It isn't surprising because there's only 5 of us, which is a smaller writer's room. On the last show Veep , there were 12 people in the room and 12 writers on sets. You would go to the monitors and watching every take where 12 writers shouting out jokes. In this case, there were 5 of us who are writers and 2 of those are directors as well. So it was a kind of a smaller, more intimate process and also we did a lot of time in in writers' rooms and in conference rooms. We also were always corresponding by a giant text chain that that was kind of this living, breathing, creative entity. So you would go to a dinner and you're not like on your phone, then you'd walk out at 10 p.m. and see you'd missed 200 messages from Frida, Alex [Gregory], Seth and Evan because someone had an idea for an episode. You text it, someone jumps on it, someone pitches a joke, someone adds a clip of something and a picture of something... So that for 2 years, it was just almost 24/7 that we were generating ideas. There were so many things about creating the show that we were excited about. Frida: Yeah, it was also really nice having Seth and Evan as directors in the room and the directing style is obviously so specific, so we were able to do that parallel path rather than write a script, then give it to director and the director changes it up completely. We were really thinking with Seth and Evan the whole time. Peter: It's a thing that you see with them, and I haven't seen this level of genius, truly, since Garry Shandling. You're in a writers' room, you're breaking down an episode or a scene, and then Seth takes the keyboard, starts talking and it's almost like he's seeing it in his head. He's seeing how he's gonna act it, how they're gonna direct it, how the moment has to feel... You'll see it comes out of them, it's so impressive and it's so exciting to be a part of it. It really is a very special moment in life to see these guys be in that zone. Demet: It looks special, so it's nice that it's special behind the scenes too. It lines up with the way the show is. Peter: Oh, it's pure magic! I cannot tell you how much fun we have. There's a lot of panic on the show, and it's a stressful job, but it's also the funniest group of people creating a comedy that we all love, so it is just a joyful job. © Apple TV+ Demet: Visually, the show feels incredibly ambitious. Can you talk about the one take style and how it shaped the rhythm of the episodes? Peter: I think that was right from the start and very much Seth and Evan as directors had this notion, but all five of us writing it, the scenes had to have pressure, stakes and tension because in Hollywood, you have these moments where you think, "Oh, I have half an hour to write a scene and it's either gonna make or break my entire career. And if I hand over these pages and they're not up to snuff, then I'm gonna be humiliated." So everything is life and death. Every moment, every time you're meeting a director for the first time, you say the right thing, you say the wrong thing, they might direct your movie, you might never have another meeting... So we want to infuse the show with that sense of stress and panic, and that's why the single takes. It doesn't give you time to breathe. There's no cuts... We wanted every episode to really have as much as tight time frame. You've got an hour or half an hour, you've got a day, you've got maybe 2 days.... but really, we wanted to capture that sense of stress we all feel in the industry that we're all supposed to be creating and having fun, but underneath it, we're all very stressed out people where the stakes of every interaction are very high. Frida: Yeah, and I think also like creating such a hard rule, it also just gave it a distinct look and feel. We shot the show on one lens and basically every scene is shot in one shot. So those two elements kind of built out the entire feel and look of the show, and it gave it a really distinct vision. I was super excited for once I heard it, cause it just immediately stands out a little bit, which is cool cause there's so much stuff out there. There's so many TV shows and how do you make it feel different and feel new and exciting and I thought that was very smart of Seth and Evan. Peter: I think also a part of our creative team. And with the five of us was Adam Newport-Berra, who was our cinematographer, and our camera operator, Mark, who he's built like a superhero. He's unbelievable, and he would be a part of every scene because he had a note. There's no cuts, you're not just doing a wide and then a tight. He literally lives with the dialogue, so he memorizes every word of dialogue, and he has to be right in the moment, never ahead of it, never behind it. And if you change a line, you have to go tell not just Adam, the cinematographer and his whole team, but your camera operator Mark because he needs to know. He is running backwards at full speed with a camera with someone steering him, and if something changes, he needs to know every second of every scene. So I think that's an interesting thing I've never seen for 30 years of writing TV shows. I've never been that involved with that element and the other element that was fascinating. © Apple TV+ From a production standpoint, our editor, Eric Kissack, is at the monitors with us as well, because he's live editing. These are one takes, these are oners, so you don't have an opportunity later to say, "Well, we threw in a few extra jokes. If we don't like it, we can just cut around it." You can't. And so our editor Eric would be there with us and we would all turn to him. It would be all of us; the writer, producers, the monitors and say, "Eric, what do you think?" He says, "I'd love to cut those two lines in the middle, do a take because I'm gonna want to pull it out later and I'm not gonna be able to." So we would run a whole new take, you have to reset it and kind of redesign the scene so that it would work. So that's another element if you get a chance to talk to Eric Kissack, our editor, he was brilliant and he basically was live editing the show, and that's the thing I've never seen anyone do. Demet: Yeah, that sounds insanely intense! Peter: It was wild. It was amazing. It was fun. Demet: And one last question, is there a director or an actor you haven't had yet that you'd love to bring into this show? Frida: So many. Peter: The list is endless, because all in season one we were talking about, "We'd love to get Tarantino, we'd love to get Spielberg, we'd love to get Brad Pitt." Hopefully we get a second season and a third, a fourth, and a fifthth and a tenth. This feels like a show that has a lot of of runway and there's so many great stories to tell and guest actors and actors and directors and musicians and people that we would love to work with. Frida: Yeah. It's very hypothetical, but now that people know what it is, hopefully we can get more fun people. Demet: Yeah, hopefully we can get more seasons! The Studio is now streaming on Apple TV+. This interview has been edited for clarity.

After so many years of delays between the COVID pandemic and the WGA's strike, Mission: Impossible – The Final Reckoning is finally hitting theaters on May 23.   What seems to be the final installment of the saga judging by all the film's promotional material, The Final Reckoning is the culmination of the franchise celebrating all the previous entries. However, when it comes to crafting its own story, the film struggles, weighed down by constant callbacks to past films. This especially affects the pacing as the movie has a hard time finding its rhythm. Angela Bassett as the President of the United Stats in Mission: Impossible - The Final Reckoning   © Paramount Pictures The first hour is a complete mess with an overwhelming number of scenes strung together without a clear logical progression. This also shows in an overall edit of the saga with some very stylish moments (many of which appear in the trailer ), but at times it’s merely a sequence of shots with no real artistic direction to the point that it feels amateurish and makes you wonder how it even got approved. As a result, it’s really difficult to get into the film at the beginning until you finally reach the government arc where the movie finally settles down, gives the audience some room to breath and excels at conveying stakes that have never been higher in the franchise. The stakes are so high that the film becomes genuinely anxiety-inducing and dark. Where the movie falls flat the most is in its treatment of the supporting characters and the team dynamic. That’s always been one of the franchise's biggest strengths: the chemistry and bond between Ethan, Luther, Benji, Ilsa… But in The Final Reckoning , the supporting cast is completely sidelined to put all the focus on Ethan. I would even go as far as saying the film nearly ruins the wonderful character arcs established in the previous movie. Paris, Degas, Ethan Hunt, Benji and Grace in Mission: Impossible - The Final Reckoning © Paramount Pictures In Dead Reckoning , Grace (Hayley Atwell) brought a refreshing energy that gave the franchise a much-needed boost. She had great chemistry with Ethan. Their constant push and pull was magnetic and really came through on screen. I was even witnessing compelling character development: she went from a self-serving thief to someone who starts to care about others and show altruism (even if, granted, that change was under threat). All of that made her character genuinely interesting and full of potential but it’s completely wasted in this film. She barely serves any purpose beyond giving Ethan longing looks. A romance is heavily implied but it’s hard to take it seriously because it just doesn’t feel believable.   Paris (Pom Klementieff) who was a total badass in Dead Reckoning and had changed course after Ethan spared her life, is now supposedly driven by revenge but ends up being reduced to a running gag. The only times she speaks are to describe what’s happening on screen or what’s about to happen. Degas (Greg Tarzan Davis) who previously dealt with inner conflict and constant doubt about Ethan’s real intentions, joins the team but brings absolutely nothing to the table. I honestly couldn’t even tell you the last time he spoke. In Dead Reckoning , Gabriel (Esai Morales) was a fantastic villain: calm, ruthless, seemingly unstoppable. In The Final Reckoning , he becomes nearly a joke, utterly forgettable, despite the solid foundations that had been laid for a potential truly iconic antagonist.   All in all, I couldn’t emotionally invest myself in any of these characters that once made me love this franchise and that’s a deeply frustrating feeling. They’re there on screen but they don’t add much to the film beyond advancing the plot. Ethan Hunt (Tom Cruise) underwater in Mission: Impossible - The Final Reckoning © Paramount Pictures A good Mission: Impossible movie doesn’t exist without Tom Cruise defying the laws of physics. And I think it’s safe to say this is the biggest practical action movie ever made. Once again, Tom flirts with death with stunts so insane that he’s managed to elevate the franchise to the next level. For me, the underwater sequence is without a doubt the highlight of the film. It was a pleasure to discover it in theaters, especially since so little of it had been revealed in the promotional material. It’s one of the longest stunts with the most striking visuals. The shot where the submarine door opens and reveals the enemy feels straight out of a horror movie: daunting and haunting. Even though there’s no dialogue for at least 15 minutes, the visual storytelling and terrific sound design manage to convey everything you need to feel. Everything looks so real because… it is. They built one of the largest water tanks in the world. The production design is remarkable with an amazing attention to details. Ethan Hunt (Tom Cruise) hanging from a biplane in Mission: Impossible - The Final Reckoning © Paramount Pictures As for the airplane stunt, I don’t even need to talk about it. The physical condition Tom Cruise maintains at his age is superhuman. However, outside of these two major set pieces, the rest of the action scenes are quite forgettable. Ethan’s signature run is almost entirely absent, save for two short moments. Fortunately, the film still manages to make me laugh with its classic humor, largely thanks to Tom Cruise’s excellent comedic timing which I think is still underrated.   In the end, Mission: Impossible – The Final Reckoning gets lost in a story that fails to break free from the previous films. The repeated flashbacks hurt the pacing more than they help and prevent the movie from finding its own rhythm. The forgettable score and villain don’t help either. Thankfully, amidst all this mess, Tom Cruise and McQuarrie still manage to deliver a worthy spectacle with some of the greatest stunts ever filmed, making it absolutely worth seeing in IMAX for that reason alone. Rating: ★★★½ Title . © Studio About Mission: Impossible - The Final Reckoning Premiere Date:  May 23, 2025  Writer: Christopher McQuarrie, Erik Jendresen Director: Christopher McQuarrie Production:   Paramount Pictures, Skydance, TC Productions Distribution:   Paramount Pictures Cast:   Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny, Angela Bassett, Pom Klementieff, Janet McTeer, Nick Offerman, Esai Morales Synopsis: Ethan Hunt and the IMF team race against time to find the Entity, a rogue artificial intelligence that can destroy mankind.

© Marvel Disclaimer: This review contains spoilers for 'Immortal Thor' Issue 23 When last readers saw Thor Odinson, he and his companions Hermod and Skurge had just come face-to-face with the true power behind the nightmarish land of Utgard: a Minotaur taking the title of Utgard-Loki. In Immortal Thor #23, the Minotaur is further revealed to be Kemur, an elder god representing the very concepts of rule and kingship who existed long before even the long-lived Asgardians.  Like the previous issue , and like the Immortal Thor  run in general, issue #23 brings more conceptual, cerebral challenges for Thor. While he does physically battle Kemur, it is less interesting than Thor’s inner battle. Kemur represents what Thor is : a powerful ruler. Thor himself has struggled against the yolk of kingship ever since his father Odin passed away in the 2020 run simply titled Thor . Upon gaining the power and responsibility of the All-Father, Thor has felt torn by his obligations to the throne and his own desire to be a warrior-hero.  Kemur, however, is the personification of unchallenged rule. Readers are told, by an as-yet unknown narrator, that Kemur was nearly all-powerful, that he would make “alliances only to break them” and “spoke of peace only to spit on it.” He is the very antithesis of what Thor personifies in his own rule, and thus an interesting foil for the much younger god.  It’s always fascinating when Thor goes up against an elder god, as he did with Toranos earlier in the Immortal Thor  run. It’s easy to forget, with all of Thor’s power and experience, that he is almost a child in comparison to these beings that are the representations of ideas , older than the concept of time itself. However, Thor is not one to accept the status quo. He will not bend the knee to Kemur just because that is what has always been done and what is demanded of him.  Thor outwits Kemur © Marvel Thor has been gaining confidence in his own “wit and wile” over the past few issues and it comes to fruition here. Creating the golden ring out of his own belt of power is a level of cleverness Thor may not have been capable of earlier, not without the twists and turns of the path he is currently on helping to bolster his skills and self-confidence. Thor commands respect not through fear, but through love and loyalty. In this, according to the narrator, Thor has ceased being a king or a ruler. He has become a story. And this line, this mention of being the story , this entreaty to the audience, “Understand ye yet, or what?”, gives a clue of who is ultimately now pulling Thor’s strings - or at the very least, who has been telling his tale. Sure enough, the fatal blow is not struck by Thor, nor Hermod, nor Skurge. From the shadows, “a piece of eternity” flies with precision, cast by a god for whom stories are their entire purview.  While it is never that much of a surprise when Thor’s trickster brother pops back up after being banished, imprisoned, or even killed, his appearance now is unexpected if only because Thor himself had previously banished the god of stories from his sight. Loki’s announcement that he has actually been in Thor’s company the entire time the group has been trapped within Utgard begs the question: why didn’t he step in sooner? Loki’s role in Immortal Thor  has been that of a challenger. That is to say, Loki has not necessarily been an adversary, but he has set Thor onto multiple paths of action thus far. What, then, is his endgame? Loki has long since stopped being a villain in Thor’s story, but his actions are still suspicious, and his - presuming the faceless narrator is indeed Loki - narration is even more so, softly apologizing within the narrative structure, but not coming right out and explaining anything that might help prepare Thor for what comes next. One thing seems certain, however: wherever Thor may go from here, Loki will be by his side for better or worse.   Rating: ★★★★☆ Immortal Thor #23 © Marvel About Immortal Thor #2 3 Release Date: May 14, 2025 Written by:   Al Ewing Art by:   Jan Bazaldua Cover by: Alex Ross Page Count:  24 Pages Synopsis: GODWAR! The All-Father had battled to the middle of the endless city - and now he faced the beast at the center of the maze. Kemur, who was bull and hawk and serpent, who was fire and the sword, now faced Thor Odinson...and perhaps neither would survive. This is the story of the IMMORTAL THOR...and the God of Violence.

Disclaimer: The following review contains minor spoilers for Jedi Knights #3 . ` The recent Jedi Knights  comic series joins the current celebration of “ 10 years ” since Marvel Comics’ reacquisition of Star Wars  properties following a decade-long stint with Dark Horse Comics. Unsurprisingly, then, the initial issues, each containing singular adventures of (surprise) Jedi Knights prior to the chronological events of The Phantom Menace  film (1999), have a classic, if simplistic feel to them. In fact, they are reminiscent thematically of Jude Watson’s young adult Jedi Apprentice  and Jedi Quest  book series, featuring the adventures of Master Qui-Gon Jinn and Padawan Obi-Wan Kenobi, and Master Obi-Wan Kenobi and Padawan Anakin Skywalker, respectively, which were likewise released shortly following the Star Wars  Prequel movie zeitgeist. The premiere adventure of Marc Guggenheim’s Jedi Knights  comic series sees Chancellor Valorum (pre- TPM ’s vote of no-confidence) dispatch several Jedi to quell the Vekura invasion of Syrinx Prime. In Jedi Knights #2 , Master Yoda and disabled Jedi Knight, Vetna Mooncrest  (in her debut) face off against Atha Prime  (whose own comic debut coincides with the character’s timely action figure debut), the mysterious sole occupant of the remote moon, Veeros, where he conducts bioengineering experiments. KAIJURAAAAAA! © Marvel Comics “Planet of Monsters” In Jedi Knights #3 , Padawan Obi-Wan Kenobi’s report to the Jedi Council on a standard(?) rescue mission is the framing device for what transpires. That is, the Jedi duo’s transport is swiftly attacked by a Kaijura [‘kaiju’ is Japanese for ‘giant monster’], a striped, dinosaur-sized creature with a whale-like throat that is indigenous to the yet uncharted planet, where Junior Senator Bail Organa’s own decommissioned-but-not-yet-destroyed ship has beckoned them via “transponder signal.” Obi-Wan must admit that part of his report had to be transcribed from his Master Qui-Gon’s own recollections, as he spent portions of their shared mission unconscious after a “violent landing on the planet’s surface.” Qui-Gon and Obi-Wan eventually unite with Senator Organa, who informs them that his ship’s “repulsor lifts were damaged in the crash,” leaving their transport at “half power.” As a result, Obi-Wan notes, “the ship can fly … it just can’t take off.” Fortunately, the Force has the ability, when channeled through a proper conduit (like a Jedi), to bolster repulsor lift forces and their ilk, a la Master Yoda’s infamous ship lift in The Empire Strikes Back  (1979) - hint, hint. “After-Action Report” What Jedi Knights #3  lacks in complexity - for instance, it remains unclear Senator Organa’s initial destination, pre-crash landing - it makes up for with Madibek Musabekov’s indulgent illustrations of lush vegetation and meticulous line art of the Jedi and Bail Organa, which flourish when combined with Luis Guerrero’s color palette. Though likely unintentional, the Kaijura’s bright blue stripes are reminiscent of the ritualistic war paint donned by a shirtless Jedi Knight Anakin Skywalker in Genndy Tartakovsky’s 2003 animated TV series, Star Wars: Clone Wars , thus further entrenching the modern Jedi Knights  comic run in much-needed nostalgia, just in time for summer.  On the other hand, Bail Organa’s blink-and-miss-it cameo could have been substituted for many characters. Disappointingly, the story fails to utilize the wealth of previous canon across the Star Wars  franchise in which Obi-Wan and Bail work together towards intergalactic peace. Given Organa’s appearance (portrayed by Benjamin Bratt) in the recent Disney+ TV series, Andor , acknowledgement of the weight of their long friendship would have been a nice touch. “Galactic Chase” Overall, the Jedi Knights  series promises to be a fun romp through space during a truly classic era of Star Wars  lore. One wonders whether previous issues’ antagonists are somehow connected - does the double-bladed assassin who attacks Qui-Gon in Jedi Knights #1  work for the aforementioned Atma Prime, for instance? How far from planet WG4587 (home of the Kaijura) is the moon Veeros? Will Qui-Gon get targeted by bounty hunters or something worse in next month’s Jedi Knights #4 ? May the Force be with him! Rating: ★★★☆☆ © Marvel Comics About Star Wars: Jedi Knights #3 Release Date:  May 14, 2025 Written by:  Marc Guggenheim Art by: Madibek Musabekov Cover by: R. Rahzzah Page Count: 24 Synopsis : QUI-GON JINN AND OBI-WAN KENOBI BATTLE GIANT MONSTERS! ALL SPLASH PAGES! ALL ACTION! The most unusual Jedi Knights tale ever told! QUI-GON and OBI-WAN defy death in an epic attempt to save the life of SENATOR BAIL ORGANA on a planet full of skyscraper-sized monsters!

Disclaimer: This review contains minor spoilers for Doctor Strange of Asgard #3 . Doctor Strange’s residency in Asgard thus far has been fraught with considerable danger. What originates as an attempt to redeem himself after a humiliating defeat and betrayal by multiversal megalomaniac Doctor Doom  quickly evolves into a murder mystery when the sorceress Hulda turns up dead. Thus, Strange finds himself pulling double duty, investigating Hulda’s slaying when he’s not racking up office hours under the dubious tutelage of an Asgardian doctor. © Marvel Comics Aslak and Roskva and Assassins, Oh My! In the third installment, figuring out who, in fact, slayed Hulda (besides not-Loki , probably) takes a backseat to Doctor Strange utilizing his newfound network of Asgardian “carpenters and weapon makers” to assist him in gathering materials for the Spell of Ahkrynon - namely, the skull of a dark troll - which will provide him with a much-needed power-up. Unfortunately, the initial dark troll skull in his possession, sold to him by the proprietor of “The Best (?) Little Magic Shop in Asgard” is a fake. In order to obtain a “real” one that won’t “splinter” his mind, Doctor Strange enlists his new friends, Aslak (Hulda’s former apprentice) and Roskva the Troll-Strangler, Aslak’s lover and an Asgardian warrior whose injury Doctor Strange previously treated, to accompany him on a hunt through “dark troll territory.” Along for the journey is the warrior Gorm, whom Roskva calls “an idiot,” as well as Solvei (“the beautiful demon, we call her, on account of her artistry with blades”), and Ivar (“I shoot things with arrows”). The merry band of Asgardians, plus one human wizard, pass the treacherous few days on foot by ranking their favorite gods, a hobby Asgardians and mortals seem to share.  “Thor is a Bit Too Obvious, No?” Unfortunately, well before Doctor Strange and company encounter any dark troll tracks, the party is attacked by bandits. Though not an “unheard of” incident in those parts, it is yet “unusual” enough to make Strange infer that he’s being “watched,” likely by whomever sent the assassin whose ax he confiscated in Doctor Strange of Asgard #2 . “Makes me suspect that someone doesn’t want me to succeed. Or indeed, survive.” Eventually, Strange, et al do encounter a band of dark trolls, with whom interactions are surprisingly cordial, likely because their leader, the aptly-named Tyrlaug, previously had her own surprisingly cordial encounter with King Thor: “He looked me up and down and said something along the lines of ‘Verily thou art the first sexy troll I have encountered.’” Alas, Strange and company’s meeting with said dark trolls eventually sours, unsurprisingly, due to cultural drinking disputes. “They Do So Love To Fight” A continued motif from the previous issue of Doctor Strange of Asgard  involves the good doctor’s comparisons between Asgardians and dark trolls, thus forging a bridge between the two. Indeed, Strange notes the mutual appreciation they both have for “mead, wine, laughter and song,” and seems surprised by how, at times, pleasant the dark trolls can be. Though they are “big, brash and guttural,” they are “also funny, thoughtful and kindhearted. A reminder, if one were needed, that which separates us pales besides that which binds us together.” Indeed, though the meetup ultimately disintegrates into chaos, the group displays heartening pathos while drinking together to “fallen warriors” - as Tyrlaug offers in a toast, “Grief is the one constant in these lands, whether you be a dark troll, Asgardian or Midgardian. We are all brothers and sisters in sorrow.”  Writer Derek Landy’s deft narration is dutifully elevated by Carlos Magno’s illustrations, including the visual appeal of arranging comic panels for the issue’s main plot artfully and diagonally atop the more domestic fare of Doctor Strange negotiating his work-life balance with his boss after a thirteen-hour shift. Strange also sports updated threads, likely to blend in on Asgard, and the red coat that currently replaces his tell-tale magical cloak is a dignified look, if reminiscent of none other than Loki. Likewise, Thor was right: Tyrlaug is a very sexy dark troll.  Rating: ★★★★☆ © Marvel Comics About Doctor Strange of Asgard # 3 Release Date:  May 14, 2025 Written by:  Derek Landy Art by: Carlos Magno Cover by: Geoffrey Shaw Page Count: 24 Synopsis : STRANGE GETS TROLLED? STEPHEN STRANGE, the once Earth-bound Sorcerer Supreme, is in over his head - ASGARD is about to eat him alive! He needs the skull of a dark troll - and in Asgard, that means wading into battle. But can Strange do what Asgard requires of him, or is his mission to become Sorcerer Supreme of Asgard doomed?

Disclaimer: This article contains spoilers for 'One World Under Doom' #4. © Marvel The dread Dormammu has trapped Earth’s heroes. The Avengers, the Fantastic Four, the X-Men, and every single other hero group has been cast into a pocket dimension, helpless to stop the carnage. All that remains against the darkness is an unlikely hero: Victor von Doom. Since taking the title of Sorcerer Supreme, as well as Emperor of Earth, Doom has been working to close his fist around all who oppose him. In Issue #4 of One World Under Doom , he meets his match.  Dormammu does not believe Doom could truly, competently, wield the powers of the Sorcerer Supreme. Indeed, Doom’s influence and power is thus far in the series somewhat nebulous. He has amassed a great deal of both, but how far either reach is less certain, especially with the Dark Dimension lapping at his heels. The question is also raised about just how altruistic his defense of Earth is: Doom may be protecting the Earth, but for the good of the whole, or for the good of himself?  Narrated by Doom himself, it’s interesting to see the inner workings of a tyrant’s mind. Though Doom is certainly preoccupied by his current predicament, his ego and pragmatism still show through. Despite Dormammu’s aggressive attacks, and a solid dose of body-horror, Doom remains undaunted. The fact that he views himself in such high esteem is one of his superpowers, the ability to believe that he will prevail, because he is Doom and therefore better than his adversaries.  Dormammu versus Doom © Marvel Unlike the previous issues , this story has no actual ties to the “real” world besides the opening panels. These, as in other issues, serve as both a summary of the story so far, and a look at the impact of Doom’s rule. In the form of truncated news and opinion articles, readers are shown how the media is complicit in Doom’s rise to power.  There are several moments of fan-service in this issue that were delightful to see: call-backs to both previous comics as well as moments from the MCU which also manage to serve a role in the narrative. One World Under Doom  is not a fun title, but this is a fun issue. Doom’s creative use of the Eye of Agamotto and subtle digs at Doctor Strange are entertaining, and there is a certain level of satisfaction to be had when he co-opts the powers of the heroes currently trapped in the pocket dimension. The cry of “FLAME ON!” was a genuine, delightful, surprise, as were the subsequent uses of other, iconic, powers. Doom’s ultimate solution is reminiscent of the breathtaking “Portals” scene from Avengers Endgame , though it also raises some questions about whether Doom will continue any alliance after the threat of Dormammu has passed. One World Under Doom #4 is a surprisingly deft adventure into the Dark Dimension, giving readers a break from the “real-world” implications of Doom’s rule. The high fantasy setting lends itself well to Doom’s particular brand of grandiosity. One can only hope Doom’s ego, abilities, and new allies will be enough to stop Dormammu.  Rating: ★★★★☆ © Marvel About One World Under Doom #4 Release Date:  May 14, 2025 Written by:   Ryan North Art by: R.B. Silva Cover by: Ben Harvey Page Count: 26 Synopsis : Sensing vulnerability, Dormammu has attacked Earth - and only Doom stands in his way! Dormammu has banished all other heroes to a pocket dimension, leaving Doom to stand alone against the Dark Lord of Chaos. But on the other hand...Doom has never needed allies in order to ensure that his will is done. It's the ultimate showdown between two titans - with an ending you won't see coming. As Earth hangs in the balance, it all comes down to DOOM VERSUS DORMAMMU.

When it was first announced that a Phoenix  series would spin out of Fall of X  and lead into the From the Ashes  era, I had my reservations. During the Krakoan Age, I came to deeply appreciate the powerful, commanding portrayal of Jean Grey—one who left the Quiet Council to follow her own path, co-founded the new X-Men, saved countless lives from Gameworld, and ultimately accepted her identity as the Phoenix during Judgment Day . With all that character development, I was worried the new series might bury Jean under the weight of Phoenix lore and cosmic baggage. Thankfully, those fears proved unfounded. From the outset, Stephanie Phillips made it clear that while the Phoenix Force plays a major role, this is just as much a story about Jean Grey the person : her choices, her emotions, and her evolving sense of self. If you've followed the series so far, you'll know this isn’t just about immense power, it’s about the consequences of wielding it, and how it shapes the woman at the center of it all. Issue #10 wrapped with the defeat of the Dark Gods, a resolution for the wayward child Adani, and the stunning reveal that Jean’s long-lost sister, Sara, is still alive. Now, in issue #11, Jean is focused on finding her. It’s unclear how much time has passed, but we learn Jean has informed Cyclops, and she’s been plagued by recurring dreams, visions of her sister dying in different ways. This is especially strange given that Sara was believed to have died at the hands of the Purifiers years ago. © Marvel Jean takes Scott’s advice and seeks out the White Hot Room—an extra-dimensional realm linked to the Phoenix Force that hasn’t been seen since Fall of X , when it became a sanctuary for Krakoa and several mutants. Phillips smartly addresses Jean’s prior avoidance of the space, explaining her reluctance to disturb its peace. This narrative thread ties up some lingering questions fans might have had about the White Hot Room's absence. Jean's connection attempt unexpectedly leads her to Sara, but the reunion comes with a price. It seems Jean’s presence may have destabilized the White Hot Room, potentially severing the Phoenix’s connection to it. The issue then jumps briefly to the future, where an older Cable senses temporal shifts, presumably triggered by Jean and Sara’s reunion. It's implied that this disturbance will draw Cable back into the past, setting up what could become a major emotional and cosmic crossroads, perhaps forcing Jean to choose between Cable and Sara. The big reveal here is that Sara is also a mutant, something previously unknown. In the time since her apparent death, she’s built a sanctuary called Greyhaven , using her powers to activate and support other mutants. This feels thematically rich, considering Sara was once a vocal advocate for mutant rights, an activism that led to her death. Longtime readers may also recall Sara’s connection to the Phalanx, which isn’t referenced here but could resurface as a plot point later. Phillips excels at grounding Jean Grey’s cosmic saga in deeply personal stakes. Yes, Jean is one of the most powerful beings in the universe, but she’s also a sister, overcome with emotion in the face of a miraculous reunion. So much so that she fails to ask the obvious, and possibly vital, questions. This lapse may well be the spark that ignites the next arc's impending chaos. Phoenix  #11 continues to deliver a story that balances galactic scale with emotional intimacy. It’s a tale about power, yes—but more importantly, it’s about the human heart behind it. And with that heart burning brightly, I can’t wait to see where this story goes next. © Marvel About Phoenix #11 Release Date:  May 14, 2025 Written by:  Stephanie Phillips Art by: Roi Mercado Cover by: Lucas Werneck Page Count: 26 Synopsis :  A BOOMING VOICE SOUNDS ACROSS THE COSMOS… …the voice of EGO, THE LIVING PLANET - and he speaks in distress: of a great imbalance! A fracturing! A coming death…And the only one who can stand in its way is the PHOENIX! But that's not all… In this all-new arc, JEAN GREY's calling to space and responsibility to the galaxy becomes suddenly, critically personal with the return of a long-lost loved one - whose presence will throw everything Jean knows into total chaos!

One of the things I’ve come to expect from Ultimate X-Men  is stunning artwork paired with a fresh, diverse cast—and issue #15 is no exception. With our central protagonist, Armor (Hisako), captured by the enigmatic cult known as the Children of the Atom, this chapter narrows its focus as our heroines inch closer to uncovering their enemies’ true intentions. When issue #14 ended, we got a teasing glimpse of a new character I was eager to meet. With brown hair streaked with white and elbow-length gloves, I was convinced we were about to meet this universe’s version of Rogue. As it turns out, she goes by the name Futaba—a character who, like many in the Ultimate Universe, feels familiar yet distinctly different. Futaba is clearly a force to be reckoned with. She’s already uncovered critical information about the Children of the Atom, the existence of the Astral Plane, and something mysterious called “Project MY-X.” Whatever her full role may be, she’s not someone to overlook. © Marvel Meanwhile, our main crew is making moves of their own. We learn that Nico has gone undercover within the Children of the Atom, posing as “Grimm”—a clever nod to her main-universe codename, Sister Grimm. Through Nico’s perspective, we gain insight into the cult’s inner workings and their disturbing plans involving Hisako, the Shadow King, and other mutants. It’s chilling to see how many people have joined the Children without realizing the twisted reality lurking beneath the surface, or the prisoners they’re using to further their hidden agenda. One such captive appears to be Akihiro. Whether he was one of the first mutants discovered or merely the first to fall into the Children’s hands, it’s unclear. What is apparent is that he's being used—possibly as a test subject or unwilling donor. His blood or abilities may be key to how the Children manipulate or enhance the mutants under their control. As the issue closes, Nico, Mei, Mori, and Kanon seem closer than ever to unearthing the truth behind the Children of the Atom and the larger conspiracy surrounding the mutants of Japan. But their progress raises a harrowing question: are they stepping into salvation, or into a grave? Peach Momoko continues to deliver a visually striking and emotionally resonant story, one that speaks to the resilience of youth in the face of deep-rooted corruption. With each issue, these young X-Men evolve before our eyes, and I’m excited to see who they ultimately become. © Marvel About Ultimate X-Men #15 Release Date:  May 14, 2025 Written by:  Zack Davisson, Peach Momoko Art by: Peach Momoko Cover by: Peach Momoko Page Count: 26 Synopsis :  A "New Age" is upon us! Witness how Hisako's journey through her inner darkness wreaks havoc on her fellow mutants and reality itself!

The live-action Assassin's Creed series, which is currently being developed at Netflix, has found its writers’ room. The series will be based off the video game franchise of the same name published by Ubisoft. While there's no official plot description for the show or any news on an official cast for the series, we are able to report on some names involved in the writers’ room according to Writer's Guild of America . This comes a month after Netflix Head of Gaming Alain Tascan revealed that the show was still in active development. Check out writers below, which have listed the series for 2025-2026 television season : Roberto Patino — Executive Producer, Showrunner (executive producer on Westworld and Showrunner of DMZ ) David M Wiener — Executive Producer, Showrunner Claire Kiechel — Co-Executive Producer (writer on HBO's Watchmen and The Acolyte ) Jaquén Castellanos – Co-Executive Producer (Writer on Good American Family and The Affair ) Sanaz Toossi — Staff Writer (Writer on A League of Their Own ) Emily St John Mandel — (Producer on Station Eleven ) Sam Reynolds — Staff Writer (Writer on The Walking Dead: World Beyond ) Daniel Goldberg — Staff Writer Tom Hemmings — Staff Writer There's no news on when more development on the Assassin's Creed live-action series will be revealed, but the writers’ room brings together a diverse team from a broad range of backgrounds in television. Assassin's Creed previously released a live-action movie which is to be considered canon to the video games, but it is unlikely that Netflix's adaptation will be a continuation or connected in any way. Netflix were originally also producing an animated series and an anime, but it is currently unknown if they're still in development. This story is still developing.

The highly anticipated reboot of the beloved series Buffy the Vampire Slayer  now has its writers’ room. Currently in development at Hulu, the new series is reported to be about a new generation of Slayers, with Sarah Michelle Gellar reprising her role of Buffy Summers as well as executive producing.  Although no other cast has yet been announced, Nexus Point News can report on who will be joining the writers’ room, based on information obtained from Writers’ Guild of America . Joining showrunners and executive producers Lilla and Nora Zuckerman , the writers’ room will include:   Melinda Hsu Taylor — Co-Executive Producer. Previous work includes: The Vampire Diaries (executive producer), Nancy Drew  (showrunner), and Tom Swift (co-creator/showrunner).  Marty Scott — Supervising Producer. Previous work includes: The Summer I Turned Pretty  (producer), All Rise  (producer), and Drop Dead Diva (writer).  Deborah R. Swisher — Supervising Producer. Previous work includes: The Summer I Turned Pretty (writer), All Rise (writer) , and In Contempt  (writer).   Lisa Randolph — Co-Executive Producer. Previous work includes: Jessica Jones (producer), Rush  (producer), and Prodigal Son  (producer).  Gabrielle Stanton — Executive Producer. Previous work includes: The Summer I Turned Pretty  (executive producer), The InBetween (co-executive producer), and Titans  (co-executive producer).  Price Peterson — Executive Story Editor. Previous work includes: Legacies (story editor), Heathers  (staff writer), and Supanatural  (writer).  A recent article from People  profiled the reboot and Gellar’s involvement. They also announced that Chloé Zhao  would be directing and executive producing the pilot episode. In addition to Zhao, Gellar, and the Zuckermans, producers of the original Buffy the Vampire Slayer series, Gail Berman, Fran Kuzui and Kaz Kuzui, will be returning. Additionally, Dolly Parton, through her Sandollar Entertainment company, will be involved in an executive producer capacity. TVLine has reported that the main character of this new series will be a “cerebral sixteen-year-old”, accompanied by an “out-and-proud nerd” and “a young expert on vampires”. This seems to mirror the original series’ “Scooby Gang” composed of Buffy, Willow, and Xander. There is no word on whether they will have the services of a Watcher like Giles, nor if there will be vampires like Angel and Spike amongst the regular cast members.  Nicholas Brendon as Xander, Anthony Head as Giles, Sarah Michelle Gellar as Buffy, Charisma Carpenter as Cordelia, and Alyson Hannigan as Willow © 20th Century Studios Created by Joss Whedon (who will not be involved) and spun off from a movie of the same name, the original Buffy the Vampire Slayer  series aired from 1997-2003. Starring Gellar as the titular Buffy, with a strong supporting cast including Alyson Hannigan as Willow, Nicholas Brendon as Xander, Anthony Head as Giles, and the late Michelle Trachtenberg as Dawn, Buffy the Vampire Slayer  followed the adventures of a teenage girl tasked with keeping the world safe from vampires, demons, and other things that go bump in the night. A cult classic with a large and loyal following, it also spawned the spinoff Angel , starring David Boreanaz, which ran from 1999-2004.  Fans of Buffy the Vampire Slayer have been longing for more since the show went off the air over twenty years ago. Now, with a strong and experienced writers’ room and a dedicated team of passionate executive producers, the series faces new life, and a new audience to witness the never-ending battle between light and dark.

It’s no shock to anyone that every production company wants to make a grand return to the big screen with an IP that was huge many years ago and brought them money via the box office. There has been a wave of horror films returning, from Halloween to The Strangers and much more. Final Destination now makes its return after 11 years to terrify audiences once more into watching their every step as they worry about what misstep could probably take their life. We’ve left the era of production studios ensuring that every release capitalized off using 3D technology; thankfully, Warner Bros. dropped that for Final Destination: Bloodlines , which is one less thing that prevents the movie from looking tacky. Final Destination is a film series where the premise is set around a group of people who cheat death after one individual has a sudden premonition, warning them about their brutal death. After avoiding what the premonition foretold, the survivors are later killed in the order they died in the vision, in outrageous and bizarre accidents caused by an unseen force, Death. Final Destination: Bloodlines is the sixth installment in the franchise and follows Stefani Lewis (Kaitlyn Santa Juana), a college student who begins to dream of her grandmother Iris’s (Gabrielle Rose) premonition from decades ago, which then becomes the eventual cause of Death returning to take the life of a family that shouldn’t have even existed in the first place. Final Destination has followed a formula for 25 years that has somewhat worked for them and has not broken away from that formula. The movie opens with our main character receiving a premonition of their death. They prevent it; Death comes after them, and they try to avoid Death, and in the process, we might learn something new about how to cheat Death once more, and eventually it ends with everyone dying in brutal unforeseen ways or with at least one survivor. This would usually sum up a Final Destination movie, but Final Destination: Bloodlines takes some different approaches, from how it handles its premonition scene to the focus of the film being on a family rather than a group of friends or random survivors who are bundled up together. Brec Bassinger in Final Destination: Bloodlines . © Warner Bros. Stefani dreams of Iris's premonition, one that she prevented, which led to hundreds of people who were supposed to be dead being alive. Death always comes for everyone that was supposed to die within a premonition and works in order of how they died, with so many people having survived, Death has been working for decades, taking down many people and families, with Stefani's family finally being next up in line. Final Destination is a franchise that peaked as early as Final Destination 2 , and from then, the only way they were able to keep their franchise fresh was to integrate new rules on how to avoid Death's plan. With Final Destination: Bloodlines focusing itself on family, we get to witness dynamics that haven't played out in the franchise before. This is a family that has been haunted by the thought of Death coming after them, breaking their family apart, but also bringing them together when it all begins to get very real for them. There are moments of revelation that can feel as shocking as the gruesome deaths that came before and that come after. It provides a fresh take on the Final Destination franchise, allowing it to tell a story that follows the same beat as every film that came before and showcases it through a different lens that provides a touching and captivating story on family that Jon Watts, Guy Busick, and Lori Evans Taylor were able to meticulously craft, making Final Destination: Bloodlines stand out in a line of repetitive movies. What would Final Destination be without its zany, outrageous, agonizing, and excruciating kills? It wouldn't be the franchise that it is today, and Final Destination: Bloodlines brings a lot of that to the table. This is a film that's best watched with a large crowd, as you'll get reactions that will sound quite similar to Tom's scream from Tom and Jerry. While every kill provides an audible reaction from the crowd, that doesn't necessarily mean that these kills are considered creative when compared to what the previous films had to offer. The opening scene is as interesting as it gets for this film until its final moments, as we witness the Sky Tower come crashing down, seeing people get burnt alive, fall to their death, or even the sight of a kid getting crushed by a grand piano. In comparison to previous films, it ranks above the racetrack opener but still doesn't top the likes of the bridge collapse, rollercoaster malfunction or plane crash, which instilled real fear into their viewers. With that being said, it does make you want to avoid the "Dinner in the Sky" attraction in real life. Final Destination: Bloodlines plays around with the idea of Death stalking and teasing this family, and directors Zach Lipovsky and Adam Stein do a great job of creating this tension surrounding moments where death seems intimate and creating a hollow feeling in the chest for the viewers. It creates these great moments of tension but then also leaves the film lacking in kills that leave a lasting effect on the viewer. The barbecue scene plays around with who might die and the many looming threats of what may kill them, only for it to end in a rather lackluster and uninteresting way. Another scene falls victim to this, and unfortunately both scenes are used in the bulk of the marketing to bring audiences to the cinema, so it's a shame to see that they're the worst parts of this film. There are still some great deaths that do stick with you that come during the second act and the final minutes of the film, but frankly, that isn't enough to justify this as a Final Destination movie with "creative" kills. Tony Todd in Final Destination: Bloodlines © Warner Bros. What keeps Final Destination: Bloodlines in high regard is that it's a film that connects all the films together through one singular character, William Bludworth, played by the late, talented and iconic Tony Todd. How he connects through all the films, besides appearing in most of them, is something that you must witness yourself, but it is a moment that gives Tony Todd his best performance in the franchise that feels like a genuine and respectable send-off for Tony Todd, William Bludworth and, overall, the Final Destination franchise. It's not confirmed yet whether there will be a sequel to this movie, but if Warner Bros. has respect for their actors and their legacy, this would be the best-fitting end for the Final Destination franchise. Final Destination: Bloodlines is a hilarious showcase of some of the worst possible ways to lose your life. It revitalizes the franchise by bringing fresh new dynamics with a strong focus on family as its core theme. The kills aren't the most creative of the franchise and still have poor CGI affecting them, but they're still bound to create fears within a new generation of Final Destination viewers. It's the perfect way to bring the franchise to a close (even if it isn't the best film in the franchise), as it ties together 25 years of "storytelling" and sends off its most iconic character and actor, Tony Todd, who delivers one last great performance. Rating: ★★★☆☆ About Final Destination: Bloodlines Final Destination: Bloodlines . © Warner Bros. Release Date:  May 16, 2025 Directors: Zach Lipovsky and Adam Stein Writers: Guy Busick and Lori Evans Taylor Production:  New Line Cinema, Pratical Pictures, Freshman Year and Fireside Films Distribution:  Warner Bros. Pictures Cast:  Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Anna Lore, Gabrielle Rose, Brec Bassinger, Rya Kihlstedt, Alex Zahara, April Telek, Tinpo Lee, Max Lloyd-Jones and Tony Todd Synopsis: A college student experiencing a recurring nightmare that foretells her family's demise returns home to find the person who can prevent it.

Following the announcement that DC Studios’ Sgt. Rock   has been placed on hold, details about the project emerged including several pieces of information that Nexus Point News has been tracking for months.  Luca Guadagnino was set to direct the film with a script written by frequent collaborator, Justin Kurtizkes with James Gunn and Peter Safran set to produce. The film was eyeing to shoot this Summer in the UK. Many sources reported that this contributed to the film being placed on hold. Nexus Point News learned that the plan was to shoot the majority of the film on location and outdoors and with a plan to shoot in approximately a month-and-a-half span, issues arose with timing and the ability to execute this plan. Colin Farrell was deep into negotiation to play the titular character of Sgt. Frank Rock and was nearing the end of his deal. It was originally reported by @ApocHorseman on X, that Daniel Craig was being eyed to portray the character, later corroborated by Deadline in November 2024. Months later, Nexus Point News broke the news that Craig was no longer attached to the film. It was reported that Jeremy Allen White was later offered the titular role but passed. Nexus Point News has learned that prior to White receiving the offer, Cillian Murphy had been offered the role. The film would have followed Sgt. Frank Rock, Mademoiselle Marie, and the Easy Company as they fight the Nazis in a battle to recover the Spear of Destiny in World War 2. Joining Sgt. Rock in the film was frequent love interest, Mademoiselle Marie. Many sources have claimed the role was cast, but this is not the case. Mikey Madison and Taylor Russell were originally offered the role, but the role was very much open and had not been cast as some sources reported. © DC Entertainment Nexus Point News has learned the Easy Company would have consisted of the following line-up: Bulldozer - He’s described as a hotheaded, muscular man in his late 20s. © DC Entertainment Wildman - Sgt. Rock’s right-hand man and the team’s medic. He’s known for his big, red beard. © DC Entertainment Jackie Johnson - A former heavyweight boxing champion in his 20s. © DC Entertainment Sure Shot - An Apache sniper in his 20s. © DC Entertainment Bean Pole - A skinny 19 year-old grenadier and translator. © DC Entertainment Dash - An 18 year-old former track and field champion who serves as the team's ammo bearer. Although the name, Dash, does not appear in the comics, he would’ve been named Philip Mason, a name used by Ice Cream Soldier. © DC Entertainment Four Eyes - A nerdy 19 year-old comic book artist. © DC Entertainment Junior - A 17 year old soldier who lied about his age to enlist. © DC Entertainment Johnny Doe - An original character who finds satisfaction with each kill and makes a tally on his rifle after a kill. Mike Faist, who was claimed to have been cast, was being eyed to play Johnny Doe. Although being eyed, an offer was never made to finalize this. Similarly, David Jonsson’s involvement in the project was reported but he was never officially cast and was only being eyed for the role of Jackie. Unlike Faist, the conversation with Jonsson ended early and the role was never pursued. Several sources have reported that the project is not cancelled and is being reevaluated to shoot in Summer 2026. Although Nexus Point News cannot corroborate this, it has been confirmed that the project is not officially cancelled yet, but placed on pause.