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Prime Video’s new horror dramedy The Bondsman kicks off with a concept that immediately grabbed my attention. Kevin Bacon stars as Hub Halloran, a gruff, sarcastic bounty hunter who dies and is brought back to life to hunt demons escaping from hell. On paper, it sounds like a chaotic, fun ride... © Prime Video Hub’s personal life is a mess. He has an ex-wife, Maryanne (Jennifer Nettles), who’s now dating a dangerous criminal named Lucky (Damon Herriman), and the two of them share a kid stuck in the middle of it all. Adding to the chaos is Hub’s mother, Kitty (Beth Grant), a retired Bondsman who casually finds herself back in the business after a hilariously low-key conversation with Hell’s coordinator, Midge (Jolene Purdy). The series comes from Daredevil showrunner Erik Oleson and is produced by none other than Jason Blum of Blumhouse, so naturally, I expected something that blended grit, tension, and dark humor. And at first, it seems like that’s exactly what we’re getting. The opening episodes set up a cool world, hinting at rules, rituals, and a larger demonic structure that I was excited to dig into. As someone who loves a good demon hunter story with lore, twisted rules, and morally messy characters, this seemed like it could be my new favorite show. As the episodes go on, it starts to fall apart. The demon mythology, which should be the show’s backbone, never really takes off. The demons themselves aren’t much more than criminals with creepy masks and violent gimmicks. They don’t feel otherworldly or particularly threatening. There’s no sense of real hellish horror, no deeper explanation of how this whole demon-hunting system works, and most disappointingly, they’re barely even the focus of the episodes. © Prime Video There is a larger plot involving demons in the background, and the finale does try to bring it together in a more cohesive way, but it still doesn’t go far enough. You can tell the show wants to build up something epic, it just doesn’t get there. Instead, it gets tangled up in the drama between Hub and Lucky. Their rivalry becomes the core storyline, and the actual supernatural elements feel like a side quest. Every time the show gets close to exploring something interesting, it pulls back and goes back to the same tired conflict between two men fighting over a woman and a kid. And speaking of that, the relationship between Hub and Maryanne should be the emotional anchor of the series, but it just isn’t. The chemistry between Kevin Bacon and Jennifer Nettles is almost nonexistent. It’s not that they’re bad actors, they’re both strong in their own right, but together, there’s just nothing sparking. I wanted to care about their past, to feel something when they shared a scene. Instead, I felt mostly indifferent. And that emotional disconnect extends to the rest of the cast too. I didn’t find myself rooting for anyone, maybe with the exception of Hub’s mother, Kitty. I wasn’t invested in the stakes, even when characters were supposedly in danger. © Prime Video The Bondsman has all the pieces to be something great: Kevin Bacon as a demon-hunting badass, a messed-up family dynamic, demonic crime lords, and Hell—but it never fully leans into the chaos or the horror. It plays everything a little too safe, a little too surface-level. There’s potential here, for sure, but it’s buried under a show that seems more interested in interpersonal drama than the hellish, genre-bending story it promises at the start. Then we get hit with a huge cliffhanger, one that finally hints at the kind of stuff I’ve been craving this whole time. It teases more information about the demons, about Hell, about how any of this actually works. The lore, the structure, the deeper mythology—basically everything the show kept skimming over. And as exciting as that sounds, it’s honestly kind of frustrating. Because why wait until the very end of the season to start leaning into the most interesting part of the story? It feels like a promise that should have been explored way earlier, not dangled in front of us right before the credits roll. It leaves me intrigued, sure, but also kind of annoyed that I spent an entire season waiting for something that only shows up in the last five minutes. It’s frustrating because I wanted to love this. I was ready for a demon-slaying adventure with heart, humor, and real stakes. Instead, I got something that looks cool on paper but ends up feeling like a bunch of missed opportunities. Maybe it’ll find its footing in a second season, if it gets one. But as it stands now, The Bondsman doesn’t deliver on the hellish fun it sets up and for a show about hunting demons, it just doesn’t have enough fire. Rating: ★★ ★ ☆☆ © Prime Video About The Bondsman Premiere Date:  April 3, 2025. Episode Count:  8 Executive Producer/Showrunner: Erik Oleson, Jason Blum, Jeremy Gold, Chris Dickie, Chris McCumber, Kevin Bacon, Paul E. Shapiro, Grainger David Directors: Sanaa Hamri, Thor Freudenthal, Lauren Wolkstein, Catriona Mckenzie Production:   CrimeThink, Marker 96, Blumhouse Television, Amazon MGM Studios Distribution:  Prime Video Cast:   Kevin Bacon, Jennifer Nettles, Damon Herriman, Beth Grant, Maxwell Jenkins, Jolene Purdy Synopsis: Murdered bounty hunter Hub Halloran (Kevin Bacon) is resurrected by the Devil to trap and send back demons that have escaped from the prison of Hell. By chasing down those demons with the help and hinderance of his estranged family, Hub learns how his own sins got his soul condemned -- which pushes him to seek a second chance at life, love, and country music.

The Wheel of Time Season 3 continues with its sixth episode, “The Shadow in the Night.” This installment bears evidence of some of the difficulties in adapting an epic book series into a visual medium, such as a compressed timeline and keeping each plot thread relevant. Fortunately, strong performances from the cast keep it moving.  Disclaimer: This article contains spoilers for The Wheel of Time Season 3. Rand (Josha Stradowski) is indisputably the main character in the books. Until lately, his role was downplayed in the show, making room for others in the large ensemble cast, but Rand’s personal quest as the Dragon Reborn was an undercurrent that’s now coming to the surface. The fate of the world is in his hands, and there are some formidable obstacles to overcome before he makes it to the Last Battle. One of those obstacles, in a very literal sense, is his own mind. In addition to his new mantle of leadership, Rand has immense strength in the One Power and must learn to channel it, but doing so will drive him mad. Nobody can help: Moiraine (Rosamund Pike) desperately wants to counsel him, but when they speak, it’s beginning to sound more like she’s the one who needs his advice. There’s a lot to unpack in this dilemma and it’s great to see the show finally addressing it, especially through Rand’s relationships with other characters. Moiraine gets some unexpected advice from Rand. © Prime Video In the last episode, Egwene (Madeleine Madden) learned about Rand’s dream-affair with Lanfear (Natasha O'Keeffe), and in this one, she confronts him about it. Their breakup is inevitably explosive, but in context it’s unclear if Rand really handled it as badly as it seems, or if he was deliberately pushing Egwene away to keep her safe from him.  All Dreams Must End That ambiguity is backed up with another big moment for Rand, this one taken straight from the books. A sudden attack by one of the Forsaken leads to the death of a curious young girl named Alsera (Julie Van Leeuwen), who has been helping Rand learn the ways of the Aiel people. Devastated, he attempts to use the One Power to bring her back to life, even as everyone around him begs him to stop. It’s a raw, heartbreaking moment that shows how painful it is for Rand to accept his duty and fight the allure of corruption. Stradowski’s portrayal of this complex character keeps shining. Rand tries to resurrect Alsera. © Prime Video Emphasizing that emotional beat in the episode’s climax was probably the right choice, but it came at the cost of some of the action. Constraints of time and budget, in this case, apparently ruled out a lengthier battle that would have raised the stakes and made a nice centerpiece. Of course, Rand’s arc is only part of the show. His allies on the other side of the world are investigating threats he doesn’t even know about, like the circle of Black Ajah now hiding in the city of Tanchico. Led by Liandrin (Kate Fleetwood), the Aes Sedai Darkfriends have been tasked with finding an ancient device that can enslave Rand before the Last Battle.  Liandrin was a minor villain in the books, but the show has expanded her part, with this episode beginning with her tragic backstory. Although the Black Ajah scenes aren’t the most gripping, they help set the stage for the manipulations of Lanfear and the other Forsaken, keeping the story tied together. The Hills of Tanchico Tanchico is a new location, for the viewer as well as Nynaeve ( Zoë Robins) and Elayne (Ceara Coveney), who are on Liandrin’s trail accompanied by Mat ( Dónal Finn ) and Min (Kae Alexander). There are efforts to make the city seem exotic and unique, but the truth is, if you’ve seen one fantasy metropolis in The Wheel of Time , you’ve seen them all. To “blend in,” Elayne wears a veil and speaks in a Cockney accent, which are essentially the only traits that set Tanchico’s culture apart. Elayne sings "The Hills of Tanchico" © Prime Video Worldbuilding aside, there’s a song-and-dance scene that adds some color (and fun!) to the Tanchico arc, and individual character moments to highlight Mat’s charm, Elayne’s overconfidence, Nynaeve’s temper, and Min’s guile. We also get the long-awaited return of Thom Merrilin (Alexandre Willaume), the gleeman who crossed paths with Rand and Mat in Season 1, and a hint that there’s much more to be revealed about him. At this point in the narrative, Perrin (Marcus Rutherford) and his companions in the Two Rivers are set off from the other plot threads, not having much to do with Rand or planning for the Last Battle. Perrin also spends most of this episode wounded, but that does open an opportunity for him to bond with Faile (Isabella Bucceri). Of all the changes made to the source material, Perrin and Faile’s romance might be the most positive, trading their sometimes toxic dynamic in the books for a sweetly humorous attraction in the show. “The Shadow in the Night” is a workhorse of an episode, advancing the story from many different angles. There are plenty of interesting details to catch, for both book readers and new fans, and a sense of rising tension indicating major twists to come. Rating: ★★★★☆ About The Wheel of Time Season 3 The Wheel of Time . © Prime Video Premiere Date:   March 13, 2025 Episode Count:  8 Executive Producer/Showrunner: Rafe Judkins, Larry Mondragon, Rick Selvage, Ted Field, Mike Weber, Darren Lemke, Marigo Kehoe, Justine Juel Gillmer, Sanaa Hamri, Amanda Kate Shuman Director: Ciaran Donnelly, Thomas Napper, Production:   Amazon Studios and Sony Pictures Television Distribution:  Prime Video Cast:   Rosamund Pike, Daniel Henney, Josha Stradowski, Zoë Robins, Madeleine Madden, Marcus Rutherford, Dónal Finn, Ceara Coveney, Kate Fleetwood, Natasha O’Keeffe, Ayoola Smart, Kae Alexander, Sophie Okonedo Synopsis: After defeating Ishamael at the end of Season Two, Rand reunites with his friends at Falme and is declared the Dragon Reborn. But in Season Three, the threats against the Light are multiplying: the White Tower stands divided, the Black Ajah run free, old enemies return to the Two Rivers, and the remaining Forsaken are in hot pursuit of the Dragon… including Lanfear, whose relationship with Rand will mark a crucial choice between Light and Dark for them both. As the ties to his past begin to unravel, and his corrupted power grows stronger, Rand becomes increasingly unrecognizable to his closest allies, Moiraine and Egwene. These powerful women, who started the series as teacher and student, must now work together to prevent the Dragon from turning to the Dark…no matter the cost.

Disclaimer: This review contains minor spoilers for Devil May Cry Season 1.  When the Limp Bizkit song “Rollin’ (Air Raid Vehicle)” blares out under the opening animation of Adi Shankar’s Devil May Cry Season 1 , it sets the tone of the show as a love letter to America in the early 2000s. From the nebulous government agencies involved in a post-9/11 take on demon hunting, to questions of identity and personal responsibility, Devil May Cry  was made by Millenials, for Millenials. While knowledge of the CAPCOM game from which the show hails is not required, keen-eyed observers will spot many visual and audio references to the original 2001 game, adding to the sense of being transported back to the era in which the source material came to fruition.  © Netflix “Throw Your Hands Up” Devil May Cry Season 1  tells a twisted story that entangles Dante, a demon hunter with a past not even he knows about, and Mary, a pseudo-government agent who is fighting to save the world from an influx of demons. Dante is in possession of the show’s Macguffin, an amulet that promises to help open the doors to Hell itself.  In pursuit of the amulet are both Mary’s organization, DARKCOM, and a creature from Hell, in the form of a man-sized White Rabbit. Each has their own cadre of adversaries for Dante to fight his way through, which he does with aplomb. Like many of his ilk, Dante is a protagonist who knows the value of a good one-liner. He does not, however, always have one ready to go at a moment’s notice.  © Netflix Dante’s strength as a hero lies in his almost hapless involvement in forces bigger than himself. While he is a professional demon hunter/gun-for-hire, his own background is enough of a mystery to him that he doesn’t consider himself a major player in the struggle between light and dark. His quips are reminiscent of Deadpool: a certain level of wry self-awareness that nearly breaks the fourth wall at times.  “Tell Me What You’re Gonna Do Now” This tendency of the series to lean on meta humor, especially with Dante and his unwitting sidekick Enzo, is one of its biggest weaknesses. While the humor is appreciated amidst a cavalcade of gory mythos, the off the cuff quipping feels off. The humor itself appears to be a nod to the time period in which the series seems to not only take place, but which launched the franchise as a whole. That is to say, it feels dated.  © Netflix Another dated aspect of the production is the clunky exposition, especially in the early episodes. There is a lot of information to give the audience, and it is dumped on them unceremoniously on multiple occasions. The one exception to this is the sixth episode, “The First Circle,” which intertwines both Mary and the White Rabbit’s backstories in a beautifully-animated musical sequence with vocals from Evanescence lead singer Amy Lee. The lack of dialogue of any kind during this episode is a stark contrast from the rest of the series with its speechifying and info dumps, and is the strongest of the eight episodes. Much like the acclaimed, dialogue-less Bojack Horseman episode “Fish Out of Water”, “The First Circle” manages to elicit an emotional response lacking in the rest of the series as a whole.  “You Wanna Mess with [the White Rabbit]?” The emotional core of the series is an unexpected one. While it is easy to see the demons serving under the White Rabbit as equally culpable in the horror perpetuated on Earth, the truth is far more complex. It is a surprising attempt at nuance from a production that is otherwise very on-the-nose. There is a certain cognitive dissonance that the series excels in highlighting, a question of who is really the villain.  © Netflix The question of villainy is asked throughout the series. Everyone has shifting alliances, and nothing is what it seems. The reveal of the White Rabbit’s background is a surprising one. It would have been easy to keep him as a generic villain, but his ultimate pathos adds a depth that otherwise would have been lost. The audience does not have enough time to get to know him as anything besides the generic villain, however, so the reveal loses its impact.  “Keep Rollin’” Devil May Cry Season 1 has an additional narrative thread running through it that does not come to fruition until the very end of the season, without enough time to resolve any of the new story before it ends. As a second season has not been confirmed, the cliffhanger left behind is too big to be ignored.  Full of action, blood, and a soundtrack from a school dance in 2002, Devil May Cry Season 1 is a fun watch, but is ultimately trying to tell too many stories at once, and only succeeds in telling one. Rating: ★★☆☆☆ © Netflix About Devil May Cry Premiere Date:  April 3, 2025 Episode Count:  8 Executive Producers/Showrunner: Adi Shankar, Lee Seung-wook, Hideaki Itsuno Writers: Alex Larsen Production:   Studio Mir Distribution:  Netflix Cast:   Johnny Yong Bosch, Scout Taylor-Compton, Hoon Lee, Chris Coppola, Kevin Conroy, Robbie Daymond Synopsis: In this animated adaptation of the popular Capcom game and from the vision of Adi Shankar, sinister forces are at play to open the portal between the human and demon realms. In the middle of it all is Dante, an orphaned demon-hunter-for-hire, unaware that the fate of both worlds hangs around his neck.

This article contains spoilers for Immortal Thor #22.  Heads or tails? Left or right? Backwards or forwards?  These are the choices given to Thor Odinson in issue #22 of Al Ewing’s Immortal Thor . Trapped within the meta-illusory world of Utgard, Thor and Skurge the Executioner must battle their way through confusion and riddles in order to escape with their lives. Throughout it all, Utgard-Loki (not to be confused with Thor’s erstwhile sibling) hangs a question over Thor’s head: which direction will the Thunder God’s adventures take him?  The question hangs over the readers as well, symbolized at the end of each page by Utgard-Loki’s coin. Heads, or tails? Will Thor continue fighting the same battles over and over again, or does he forge a path ahead? The answer is not an easy one, as the strange land of Utgard twists Thor and Skurge’s perceptions, forcing them to question their experiences.  The questioning of himself and his experiences is an overarching theme within the Immortal Thor  run. Ewing forces Thor to confront his own identity as a King, an Avenger, a celebrity, and a man. This issue is more of the same, as Thor laments that the tools at his disposal should allow him to bypass the twists of the mind caused by being within Utgard’s borders. Even the concept of death is turned on its head within Utgard, as Thor and Skurge are reunited with Thor’s previously-deceased brother Hermod.  Hermod reunites with Thor and Skurge. Immortal Thor #22 © Marvel Hermod’s appearance is not overly surprising. This is a Thor  title, and Thor’s dead relatives rarely remain so for very long. Hermod is there to serve as something of an anchor, someone who has been within Utgard for long enough to know some of its tricks. While Hermod himself is not a surprise, the revelation that Heimdall has also been transported to this realm within the realms comes as a shock. Heimdall has been absent since his death and replacement as Gatekeeper by Lady Sif, and prior to this issue there had been no indication he would be returning. Yet the knowledge of his survival does not do much to assuage Thor, as the former Gatekeeper is still stuck within the confines of Utgard’s maze.  The theme of direction, of finding one’s path, continues as the trio now attempts to make their way to the center of the city. Thor begins to despair, as he often does when he cannot see a simple path forward. Ewing often capitalizes on Thor’s self-doubt, and it is on full display in this issue. While Thor has faith in his companions, he no longer has faith in himself.  Utgard-Loki, much like Loki Laufeyson, is not about to give Thor the time nor space to pity himself. The issue wraps up with the god of thunder and his companions facing a familiar foe.  The Minotaur looms over them as Utgard-Loki brandishes his coins, an interesting tie to the Minotaur in charge of Roxxon, who is at the heart of Thor’s most current bout of self-doubt. The conceptual nature of Immortal Thor  in general, and issue #22 in particular, grinds down the idea of Thor’s true current enemy being capitalism. Utgard-Loki’s speech about the coins ties into the previous issues with a heavy hand. Ewing is beating the readers, and Thor, over the head with the symbolism.  Heads or tails?  With any luck, the next issue will give Thor and his companions a third option.  Immortal Thor #22 © Marvel About Immortal Thor #22 Release Date: April 02, 2025 Written by:   Al Ewing Art by:   Jan Bazaldua Cover by: Alex Ross Page Count:  23 Pages Synopsis: LOST IN UTGARD! Thor had made his way to Utgard - and there waited the Utgard-Loki, who the Odinson had never yet defeated. And with the Elder Trickster stood his pantheon...beginning with NRGL, Lord of Murder-in-Darkness. He who was his own place of power. This is the story of the IMMORTAL THOR...and the Unforgiving City.

Without a doubt, Psylocke #6  is my favorite issue in the series so far, as it dives deeply into Kwannon’s past and confronts one of her greatest adversaries — her own identity. Alyssa Wong does a brilliant job of highlighting what makes Psylocke such a compelling character, ensuring that both new readers and longtime fans are hooked as the ongoing solo series unfolds. It hasn’t been long since Kwannon regained control of her body and the name Psylocke , a change that came with the dawn of the Krakoan era. Fallen Angels  served as a kind of love letter to Psylocke fans, being the first story to restore the telepathic assassin to her full capacity, letting us finally say goodbye to the body-swapping saga of the past. While that arc could have been easily brushed aside, Wong masterfully revisits and builds upon this pivotal moment, offering a deeper exploration of the character. For those who have followed Kwannon’s journey in recent years, it’s clear that she’s faced a number of personal struggles, from navigating romance to dealing with the painful rediscovery and loss of her child at the hands of Mister Sinister. While that storyline seemed to have been abandoned in Marauders , Wong reintroduces this emotional thread in a gut-punch of a moment, bringing her lost child back into the narrative, adding another layer of complexity to Kwannon’s already tumultuous past. The journey of following Kwannon’s struggle to separate reality from illusion has been fascinating, especially considering her telepathic powers and the hallucinations she’s grappling with. Haunted by visions of her daughter and the unsettling image of a face that isn’t hers, even the hardened assassin finds herself vulnerable, forcing her to seek help from others. Psylocke #6 © Marvel Things take a particularly intriguing turn when, with the help of Magik, Psylocke finds herself in New Orleans at the Haven House — the headquarters of the Uncanny X-Men. Initially, like Psylocke, I was uncertain who in the X-Men  could offer insight into her haunting visions, but the story takes an unexpected and exciting twist with the appearance of Deathdream — a mutant with the ability to enter a death-like state and commune with ghosts. Through a fascinating use of his powers, Deathdream reveals that what haunts Psylocke might not be what she first thought. The ghosts of her past — and perhaps something darker — are truly tormenting her. This revelation is dramatically interrupted by a displeased Rogue (because what’s an X-Men  story without a little more drama?), who arrives just in time to witness her charge’s transformation by the sinister force that has attached itself to Kwannon. In the broader context of the mutant landscape, Psylocke  is a must-read. It digs into the history and personality of one of the X-Men’s most complex and intriguing characters, while also setting the stage for a bright future filled with possibilities for her. This issue continues to pave the way for Kwannon’s growth and her place in the ongoing X-Men saga. Psylocke #6 © Marvel About Psylocke #6 Release Date:  April 02, 2025 Written by:  Alyssa Wong Art by: Vincenzo Carratù and Moisés Hidalgo Cover by: Mahmud Asrar Page Count: 25 Synopsis :  Psylocke is one of the X-Men's most dangerous and skillful telepaths. So why is her own mind the one thing she can't seem to control? Kwannon has begun to accept her past, but are some things better left buried?

Ultimate X-Men #14  stands out as one of the best entries in the mutant saga within the Ultimate Universe. Peach Momoko’s portrayal of young Japanese girls discovering their powers offers a refreshing take, though it’s also presented a unique challenge for me as a long-time X-Men reader. I’ve lived through several relaunches and eras of X-Men, but none quite like what Momoko is crafting here. Unlike previous arcs, Ultimate X-Men  focuses primarily on Hisako Ichiki (Armor) and the other students around her, as Japan faces a growing threat from evil mutants emerging from the shadows. Hisako has been burdened by numerous emotional scars, including the loss of a classmate and the rise of a malevolent psychic — this universe’s version of the formidable Shadow King. The previous issue took a sharp turn, as Hisako’s internal struggle led to devastating consequences, marking a significant and dark shift in her journey. What makes this issue stand out for me, much like the one before, is the action taken by the X-Men. Whereas earlier issues saw the characters in more passive roles, observing as events unfolded around them, we finally see the team taking matters into their own hands. Hisako’s fall into despair is a catalyst that pushes her friends — Mei, Nico, and Mori — to confront the villainous Children of the Atom, who have cast a shadow of mutant fear over Japan. Mei, or Maystorm, in particular, shows how much she’s grown as a character as she takes a more commanding position, leading and uniting her fellow mutants against their enemy.  Ultimate X-Men #14 © Marvel To be candid, my interest in this story had started to wane, particularly due to pacing issues. The lack of traditional X-Men action was replaced by a more character-driven narrative, which, at times, made it harder to fully invest in the young girls playing detective. However, what pulled me back in was the slowly expanding story that began to touch on the broader world of the Ultimate Universe, particularly the looming confrontation with the Shadow King, which started to unfold in issue #13. There’s a clear sense that a reckoning is coming, as devious mutants tighten their grip on Japan and the characters find themselves cornered in the larger mutant conflict. Beneath the overarching Ultimate Universe plot — the return of the Maker — Ultimate X-Men  holds the potential to become a classic. It takes risks by focusing on a primarily female cast, giving the spotlight to lesser-known mutants while reinterpreting them in ways that aren’t typically seen in mainline X-titles. Despite some pacing challenges, I can’t deny the art and creativity behind the story, and I’m eager to see where Momoko leads us next. Ultimate X-Men #14 © Marvel About Ultimate X-Men #14 Release Date:  April 02, 2025 Written by:  Peach Momoko Art by: Peach Momoko Cover by: Peach Momoko Page Count: 28 Synopsis : The Shadow King returns... more powerful than ever! Will Armor be the first to fall?

After the intense events of the X-Manhunt  storyline, X-Men #14  brings us back to the lives of the adjectiveless X-Men team and their home base—the Factory in Merle, Alaska. Before their encounter with Rogue’s Uncanny team, which led to a significant confrontation over the handling of Charles Xavier, the X-Men had been focused on adjusting to life in their small northern town while navigating the evolving political climate surrounding mutant rights in a post-Krakoan world. The standout aspect of this issue for me is the focus on the newer characters introduced earlier in the run—mutants transformed by the looming threat of the 3K. Jennifer Starkey, the polymorph, and Ben Liu, who seems to possess illusion or reality-warping abilities with the potential to level cities (as seen in X-Men Vol. 7 #2 ), both get much-needed attention. We see them adjusting to their new identities and their commitment to the cause as they join the X-Men in the search for a missing girl. X-Men #14 - © Marvel Mystery plays a pivotal role in this issue, particularly with the search for Piper Cobb, a young girl who suspected she was a mutant after witnessing a devastating Sentinel attack in her hometown of Merle. This is especially intriguing since Beast, the X-Men's resident scientist, had earlier confirmed that Piper was “one hundred percent homo sapiens sapiens,” despite the cliffhanger transformation that was left unresolved in a previous issue. The team feels a deep responsibility to find her, with Idie Okonkwo (Temper) taking the lead, as she had been the one to invite Piper into their home. Idie feels personally responsible for returning Piper to a situation where the girl didn’t feel safe, creating a dilemma for the X-Men who have always strived to help both humans and mutants—yet they remain unsure of how to assist Piper or even what might be happening to her. Another intriguing moment is a conversation between Ben and Magneto, who is struggling with Resurrection-Linked Degenerative Sickness—a mysterious side effect of the Krakoan resurrection process. Magneto, acknowledging the immense power that both he and Ben possess, offers to mentor the young man in controlling his abilities. This offer made me wary and carries weight given Magneto’s history, where he has often taken extreme measures in his pursuit of Mutantkind’s survival and protection. The threat of 3K continues to cast a long shadow as the identities of their leaders begin to surface. Cassandra Nova, whose role in mutant deaths is among the most catastrophic in X-Men history, is revealed to be behind much of the team's turmoil. With her formidable powers, she remains an ever-present danger, having previously come dangerously close to eliminating the mutants' omega-level telepath. Adding to the urgency is the deadly assassin Wyre, who has been targeting the X-Men. He escalates the situation by shooting down their ship, the Marauder , and taking out Kid Omega, forcing the X-Men into yet another rescue mission on top of the one they’ve already launched. In the end, the search for Piper brings the story full circle, leading to the discovery of an Acanti space whale’s fallen corpse and the unsettling revelation that something powerful—and possibly malevolent—has been hidden inside Piper all along. This new development may threaten not just the mutants, but the people of Merle as well. All in all, X-Men #14  offers a solid return to the core mission of the adjectiveless X-Men team and their operations from their Alaskan base. The story seamlessly ties together elements from previous arcs, including 3K, Piper, Corsair, and the Acanti, while drawing readers back into the action. This issue also delves into surprising emotional depth, with a particular focus on the growth of newer characters, especially Idie, setting the stage for what promises to be an exciting continuation of the series. X-Men #14 - © Marvel About X-Men #14 Release Date:  April 02, 2025 Written by:  Jed Mackay Art by: Ryan Stegman Cover by: Ryan Stegman Page Count: 26 Synopsis:  The town of Merle enlists the X-Men to aid in a search and rescue operation for a missing child - one closer to the X-Men than the Sheriff knows. But while the X-Men search for Piper Cobb, they are themselves being watched - as their shadowy 3K adversaries move to strike directly, their own agenda unfolding!

Netflix’s highly anticipated The Chronicles of Narnia  film franchise is set to kick off with a film adaption of The Magician’s Nephew .  An offer has been made to Meryl Streep to portray a central character in the series: Aslan, the Great Lion. Streep is in talks to portray Aslan, who will be female in the series. Aslan in the novels is a talking lion who serves as Narnia’s guardian and a mentor to the human children. Typically portrayed as a male, Aslan was created as an allegory for Jesus by author C.S. Lewis. The Academy Award winning actress can currently be seen in Hulu’s Only Murders in the Building as “Loretta Durkin.” Her most recent credits include the Apple TV+ anthology series, Extrapolations  and Adam McKay’s Netflix feature, Don’t Look Up. Streep is CAA and Gendler Kelly & Cunningham. The film, written and to be directed by Greta Gerwig, will adapt the sixth novel in the series, The Magician’s Nephew , which chronologically takes place first in the series. The novel tells the origin of Narnia and is centered on Digory Kirke and Polly Plummer who discover the magical world through Digory’s uncle’s magic. The role of Digory’s uncle, Andrew, is currently eyeing Daniel Craig, as reported by Deadline in March 2025. The novel also introduces Jadis, who goes on to become the White Witch, a role which is eyeing Charli XCX, also reported by Deadline earlier this month. The film is aiming to start shooting sometime this year with a theatrical release on Thanksgiving Day 2026, followed by a release on Netflix in December 2026.

Iyanu is a refreshing saga in the superhero zeitgeist. The series was crafted by artists who wear their hearts on their sleeves, fully confident knowing they are on the verge of introducing an icon the world has been deprived of. Iyanu is an animated series coming to Cartoon Network, based on Roye Okupe's graphic novel via Dark Horse Comics and Youneek. It follows the titular protagonist, a teenage orphan girl prophesized to save her nation, Yorubaland, from evil forces that have already been corrupting life's natural balance for years. Iyanu possesses a trinity of powers: natural, unnatural, and supernatural. Beyond her enhanced physical attributes, she can manipulate energy at a divine level and command wildlife. No force on Earth can stop her, except herself. The coming-of-age epic remains relevant to young viewers without getting stuck in the reluctant hero cliché that has been saturating media for years. It beautifully balances familiarity with originality to resonate with audiences of all ages. Fantasy/Reality: Two Sides Of The Same Coin Iyanu . © Max Iyanu delivers a compelling tale, unafraid to authentically represent the corruption and classism we face today. The animated series does not water down its subject matter to appeal to its target audience. Instead, it trusts kids to be mature enough to understand the corrupt nature of the world we live in and how we are discriminated against regardless of race or class. Iyanu (Serah Johnson) is a talented, compassionate, and courageous girl who commands magical abilities with God-like potential, yet none of that matters to the elite. They make their disdain towards her clear from the first episode, shunning her because she is an outsider as far as they are concerned. She has no issues standing up for herself or what's right, but she doubts herself at times, like most heroes her age. What makes her stand out is that she does not doubt her ability to save the world as much as she doubts her place. The way she constantly feels like she does not belong but remains willing to adhere to her responsibilities makes her an equally inspiring and relatable protagonist. Along the way, she meets kindred spirits, Biyi and Toye, voiced by Okey Jude and Samuel Kugbiyi, respectively. Although they do not share her divine attributes, they are outsiders in one way or another. Biyi is a wanderer with no family, as far as we know. Before Iyaanu, he had no one but himself to keep him company. Unlike Iyanu and Biyi, Toye resides in the Inner City, but he might as well be an outsider. It never feels like he belongs in what is supposed to be his home. He is alone, constantly bullied, and has a strict father who takes a hands-off approach, practicing tough love. The trio invites viewers into the bond they share with open arms because, at the core of Iyanu, is a love letter to anyone feeling like an outcast. Divine Wonders of Art Iyanu . © Max In a world where the only good animation on television seems to be found in anime, Iyanu stands out with breathtaking visuals that do justice to the Nigerian culture despite having an anime influence akin to Avatar: The Last Airbender . The animation is beautiful, with an immersive aesthetic and intrinsic nuance and detail given to each character, including ones in the background who do not utter a word. The biggest character of them all is Yorubaland. Yes, the setting is a character as far as I am concerned. The land is inviting, with a personality of its own and a nature as majestic as the Garden of Eden. You can feel its love for the people and the sorrow it feels when corruption runs deep in the land. On the auditory side, the music is infectious, and the dialect organically reflects Nigerian heritage. It is difficult not to be moved by every beat, or to feel unwelcomed by the conversations the protagonists share. The energetic and relatable natures of the series travel by sound and just as fast. Wonder Rises With The Sun Iyanu. © Max Iyanu is a fantastic addition to Cartoon Network. The series is an incredible adventure into a Nigerian land, a showcase of their talent and culture, and a reminder of how dark the world can be, there will always be light that never loses its shine. Rating: ★★★★☆ About Iyanu Iyanu. © Max Premiere Date:  April 5, 2025 Episode Count:  13 Executive Producer/Showrunner: Roye Okupe Writer: Brandon Easton Directors: Vincent Edwards, Saxton Moore, Roye Okupe, Dawud Anyabwile, Darnell Johnson, Esteban Valdez Producers: David Steward II, Stephanie Sperber, Kristen Newlands, Matt Heath, Roye Okupe, Erica Dupuis, Ryan Haidarian, Doug Schwalbe Production:   Lion Forge Animation, YouNeek Studios, Impact X Capital, Forefront Media Group, Superprod Network: Cartoon Network Cast:   Serah Johnson, Okey Jude, Samuel Kugbiyi, Adesua Etomi-Wellington, Blossom Chukwujekwu, Stella Damasus, Shaffy Bello, Ike Ononye Synopsis: Iyanu is a superhero tale set in the magical kingdom of Yorubaland, which draws from Nigerian culture, music, and mythology. Drawing deeply from the rich tapestry of Yoruba people, the animated series follows a teenage orphan girl, Iyanu, who spends her days studying history and ancient arts but yearns for a normal life. One day, responding to danger, she unknowingly triggers her divine powers, the likes of which have not been seen since the Age of Wonders. With newly discovered superpowers, Iyanu joins forces with two other teenagers, Biyi and Toye, as they embark on a remarkable journey to discover the truth about the evil lurking in her homeland. Throughout her adventure, she'll uncover the truth about her past, her parents, and her ultimate destiny to save the world.

It may take some while to find its feet, but if you give Government Cheese  a chance, just as Hampton’s family do for him, you will be rewarded.  Lead David Oyelowo ( Selma, Silo, Lawman: Bass Reeves ), who also serves as executive producer, gets the long-overdue role to showcase his talent, and range.  Accompanied by an able cast, often-satisfying flashes of surrealism (though sometimes muddied) and a heartening core message, this is dramedy is a worthy watch. Government Cheese  finds us in Los Angeles, California - San Fernando Valley, to be precise.  The year is 1969 and Hampton Chambers (Oyelowo) returns home to his family following a three-year stretch in prison due to cheque fraud.  During his time behind bars, Hampton has found God and a renewed determination to be the perfect family man - but finds his wife Astoria (Simone Missick, Luke Cage ) distant, much to his dismay.  It is a similar state of his affairs with his two sons Einstein (Evan Ellison) and Harrison (Jahi Di’Allo Winston) - whilst the carefree Einstein shares his father’s can-do attitude and creative zest (albeit with more of a hippie bent which mildly perturbs Hampton), Harrison is aloof and passive-aggressive.  Hampton, somewhat lacking in crucial self-awareness, sees it as his duty to put things right - so in his mind, the solution to all his problems starts with…a self-sharpening drill, jauntily named the ‘Bit Magician, that he invented in captivity.  Meanwhile, the budding entrepreneur is having to contend with the looming threat of the Prevost brothers, a French gang to whom he owes an not inconsiderable sum of money.  This leads him to consider more creative and illicit solutions to his liquidity problem, including teaming up with his friend Bootsy (Bokeem Woodbine) to rob a synagogue. Hamtpon (David Oyelowo) gets more than he bargains for in a run-in with one of the Prevost Brothers (Louis Cancelmi). © Apple If this all sounds a bit quirky, well, that is because it is.  In its opening episode though, Government Cheese  is itself akin to our protagonist - in his worst aspects: Conflicting, self-sabotaging and unsuccessful in making the right impression to whatever audience he finds before him.  This is not helped but the pilot’s meandering pace, flashbacks to Hampton’s time in prison and lack of chemistry between the characters (which is arguably by design) - not to mention the significant lack of hard-hitting humour (or even a consistent style of humour) in what is styled as a comedy. Did that put you off?  Well, not quite so fast.  Once I got past the awkwardness of that first episode, I found much of my significant scepticism assuaged by what followed - ultimately winning me over to the madcap world crafted by director Paul Hunter ( Bulletproof Monk ) and writer Aeysha Carr ( Brooklyn Nine-Nine ).  The interplay between the Chambers family members, as well as the wider cast gradually transitions from awkwardly sterile to convincing - although the pacing and editing could have done with some tightening to allow what can sometimes feel like disconnected, albeit entertaining vignettes, to coalesce into something more satisfyingly cohesive and thematically potent.  This extends to the depiction and arcs of the characters themselves, whom would have benefitted from a redraft to balance its flirtations with surrealism, social commentary, satire and period drama.  At the end of the day though, it is David Oyelowo who makes - and elevates - this show.  Even when bound by limitations of narrative and script, the undeniable charisma of Oyelwoo is what sells you on Hampton’s often conflicting nature. The Chambers (Jahi Di’Allo Winston, David Oyelowo, Simone Missick and Evan Ellison) take a family photo. © Apple Government Cheese is a show that, like the inspirational proclamations uttered by Hampton throughout, is full of possibility (for another example see Billy Crudup’s cancelled Hello Tomorrow! ).  However, that possibility is not quite fully realised when its 10 episodes are taken as a whole, disjointed as they sometimes feel.  In all, it makes a sufficiently entertaining but somewhat unsatisfying watch. The 10-episode series world premiered at SXSW 2025. The first 4 episodes premiere April 16 on Apple TV+, with subsequent episodes debuting weekly. Rating: ★★★☆☆ About Government Cheese Government Cheese . © Apple Premiere Date:  16 April 2025 Episode Count:  10 Executive Producer/Showrunner: Ayesha Carr and Paul Hunter Writer: Paul Hunter Director: Paul Hunter Production:   Apple Studios and MACRO Television Studios Distribution:  Apple TV+ Cast:   David Oyelowo, Simone Missick, Jahi Di’Allo Winston, Evan Ellison, Bokeem Woodbine, Jeremy Bobb, Louis Cancelmi, Julien Heron, Djilali Rez-Kallah, Louis Ferreira, Thomas Beaudoin, Kyle Mac, John Ortiz, Adam Beach Synopsis: “Government Cheese” is a surrealist family comedy set in 1969 San Fernando Valley that tells the story of the Chambers, a quirky family pursuing lofty and seemingly impossible dreams, beautifully unfettered by the realities of the world. When Hampton Chambers (David Oyelowo) is released from prison, his long-awaited family reunion doesn’t go quite as he’d planned. During his absence, Hampton’s wife, Astoria (Simone Missick), and sons, Einstein (Evan Ellison) and Harrison (Jahi Di’Allo Winston), have formed an unconventional family unit, and Hampton’s return spins their world into chaos.

Disclaimer: This article contains minor spoilers for Ultimate Spider-Man #15. Ultimate Spider-Man had a great first year in 2024 with its first two arcs. Jonathan Hickman introduced us to this world with familiar faces but brand new dynamics that showcase the characters like they've never been seen before. In last month's issue, Kraven the Hunter preyed on Peter Parker and Harry Osborne in the Savage Lands, which led to the untimely death of the latter. While that death was shocking, it wasn't the only shocking event to take place in the last issue. Richard Parker, who now dons the picotech A.I. to takeover as Spider-Man, has run into Felica Hardy, the new Black Cat, who has taken over from her father after his injuries from Osborne. There's love in the air between these two, and it continues over into this issue. This is an issue that steps down from the intensity of the last two issues as the Parkers take a vacation. After witnessing the hearbreaking final panels of the last issue of Peter telling MJ that they should "run," there was an expectation that the comic would switch into a grounded, gritty thriller, but that might've been asking for way too much. #15 instead takes a different approach and seems to make it feel like MJ isn't all too bothered by the fact that Harry is dead, and they could easily be next. It's ironic with Wilson Fisk saying later in the issue that he "runs a global operation," leaving the threat in the air that he can kill whomever he wants no matter where they are. In this sense, the story feels contradictory and convoluted with the emotions Hickman is trying to convey with his writing. Ultimate Spider-Man #15 © Marvel The artist for this issue and the following issue has switched over from Marco Checchetto (who is still on cover art duty) to David Messina. Messina does an outstanding job of representing the characters and the world, still bringing his own style, but without there being a jarring difference. The relationship between Richard and Felicia continues through this issue with both of them texting. It's become more clear that they're falling for each other, with Richard being mad at some of his awkward responses and Felicia returning the same sentiment of thinking about him while they've been away from each other. It's cute and truthfully feels better than anything we got in 616 with Peter and Felicia's relationship. As we move destination, we get to see both Peter and Richard team up as the Ultimate Universe's Spider-Men as they face Sandman. It's refreshing to have a filler issue every once in a while, Daredevil: Born Again proved that with their release of episodes 5 and 6 this week , but the sudden tonal shift from the last issue to this one is too drastic not to notice the stark difference. It's unfortunate that Sandman has been dwindled to just a one-issue villain, as he's a character that has so much depth to him, but Ultimate Spider-Man #15 wipes all of that away. Thankfully, the issue ends on some progress with Uncle Ben and J. Jonah Jameson having to deal with the reprecussions of writing their hit piece on Fisk under a pseudonym. Ultimate Spider-Man #15 currently showcases that this current arc lacks direction compared to the previous two arcs we had, and we can only hope that Hickman can get back on track with writing that fits the tone of the story being told. Ultimate Spider-Man #15 © Marvel About Ultimate Spider-Man # 15 Release Date: March 26, 2025 Written by:  Jonathan Hickman Art by:  David Messina Cover by: Matt Wilson Page Count:  32 Pages Synopsis: THE ULTIMATE SANDMAN ATTACKS! As the dust settles from the events of recent issues, Peter, MJ and the kids take a family vacation — but nowhere is safe for Ultimate Spider-Man!

The crime drama genre has seen its fair share of entries, but MobLand , created by Ronan Bennett ( Top Boy, The Day Of The Jackal ) and co-written by Jez Butterworth ( Edge of Tomorrow , Spectre ), and directed by the master of slick, stylish gangster films, Guy Ritchie ( Snatch , The Gentlemen ), brings a refreshing mix of old-school gangster charm and modern storytelling finesse. With its star-studded cast featuring Pierce Brosnan, Helen Mirren, and Tom Hardy, the first 2 episodes of MobLand deliver an engaging, well-paced, and intriguing start that sets the stage for a potential hit. One of MobLand ’s biggest selling points is its impressive ensemble cast which also includes Paddy Considine, Lara Pulver, Mandeep Dhillon and Joanne Frogatt, and they certainly don’t disappoint. Pierce Brosnan steps into familiar territory as the head of an organized crime family, exuding power and dominance. Helen Mirren, who plays his wife is the real brains behind the operation. Her Irish accent is spot on as expected and her character is cunning, calculative, and razor-sharp in every move she makes. Mirren plays the role elegantly and menace, reminding viewers why she’s one of the best in the business. Helen Mirren and Pierce Brosnan as Meave and Conrad Harrigan in MobLand  © Paramount Plus Tom Hardy takes on the role of Harry, a fixer who operates with quiet menace and controlled precision. He isn’t your typical muscle-bound enforcer; rather, he is a calculated problem solver, relying on intelligence over brute force. He carries himself with swagger and elegance while maintaining an understated, dangerous presence. What makes his character even more intriguing is his humanity—he’s a devoted family man, deeply loyal, and devoid of the arrogance that plagues many gangster archetypes. His struggling marriage adds emotional depth, making his character more than just another tough guy in a crime drama. The first two episodes do an excellent job of setting up the power struggle within the syndicate while hinting at the brewing conflict with the Stevensons, a rival gang whose long-standing truce with Brosnan and Mirren’s characters is on the verge of collapse. While the show doesn’t rely on relentless action sequences, it maintains a gripping sense of tension, making every conversation, every exchange, feel like it could explode into violence at any moment. When the brutality does arrive, it is sharp, impactful, and never overindulgent. The pacing is a standout feature—neither too slow nor too fast, MobLand  finds its rhythm and sticks to it. The show doesn’t feel rushed or bogged down by unnecessary subplots, instead choosing to focus on its central conflict while gradually expanding its world. This allows for natural character development and a deeper investment in the power dynamics at play. Tom Hardy as Harry Da Souza and Paddy Considine as Kevin Harrigan in MobLand  © Paramount Plus Guy Ritchie’s directorial influence is undeniable, though MobLand feels slightly more restrained compared to his previous works. The signature savvy dialogues and dry humor are present, but they never overpower the drama. The humor is effective but doesn’t dominate the narrative the way it does in The Gentlemen  or Snatch —instead, it serves as a welcome relief in an otherwise tense, blood-soaked drama. The show carries a sense of sophistication, and just sucks you in with its characters and worldbuilding. MobLand  is off to an impressive start, and shows potential to be the next big crime drama. While it does show signs of being conventional at times, with familiar gangster tropes and power struggles, it also introduces fresh ideas that keep it from feeling stale. The character-driven storytelling, combined with excellent performances, helps elevate it beyond being just another crime drama. The end of episode two sets up an exciting trajectory, leaving viewers eager for what’s to come. Rating: ★★★★☆ About MobLand MobLand © Paramount Plus Premiere Date:   March 30, 2025 Episode Count:  10 Executive Producer/Showrunner: Ronan Bennett, Guy Ritchie, David C. Glasser, Ron Burkle, Bob Yari, David Hutkin, Ivan Atkinson, Keith Cox, Nina L. Diaz, Jez Butterworth, Kris Thykier, Tom Hardy, Dean Baker Writer: Ronan Bennett Director: Anthony Byrne, Guy Ritchie, Daniel Syrkin, Lawrence Gough Production:   MTV Entertainment Studios, 101 Studios Network:   Paramount+ Cast:   Tom Hardy, Helen Mirren, Pierce Brosnan, Paddy Considine, Joanne Froggatt, Lara Pulver, Anson Boon, Mandeep Dhillon, Jasmine Jobson, Alex Fine, Geoff Bell, Daniel Betts, Lisa Dwan, Emily Barber, Janet McTeer Synopsis: Two mob families clash in a war that threatens to topple empires and lives.