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There’s a power struggle in Gotham’s underbelly and The Penguin is here to seize it all. This review was made possible by advance screeners of episodes 1-8 provided by HBO. This is a spoiler-free review of THE PENGUIN, which premieres September 19 on HBO and Max. A spoiler review of the first episode will publish September 19 at 10:00PM EST and thereafter reviews for episodes 2 – 8 will publish at 10:00PM EST on the Sunday night of each respective episode debuts. Set one week after the explosive events of The Batman , The Penguin focuses on Oz Cobb’s (Colin Farrell) rise to power in Gotham. In The Batman , crime lord Carmine Falcone (John Turturro in the film and Mark Strong for the series) dies at the hands of the Riddler resulting in a power vacuum in Gotham’s underworld. This is no easy task for Oz as there’s a few power players on the chess board he would need to contend with. The two heirs to the Falcone empire: Alberto (Michael Zegen) and Sofia (Cristin Milioti), Falcone’s underboss Johnny Viti (Michael Kelly), Salvatore Maroni (Clancy Brown) and a slew of Gotham’s gangs including The Triads to name a few. But the one player Oz is in constant battle with is himself. Oz is brash, a weasel, smart but a manipulator, liar, burden with ambition but underestimated by all and most of all impulsive. Its these traits that allowed Oz to survive Gotham, and throughout the series you’ll see how far he’ll go to achieve his goal.   Showrunner Lauren LeFranc crafts a pedigree crime drama set in Matt Reeves’ Batman Universe. The show stands on its own without the need of the Batman showing up. This is a testament to the writing and portrayal of each character whether familiar or created for the show. Colin Farrell owns this character. Colin’s transformation to the Penguin was a highlight in The Batman. In the series, Colin is able to expand more of the character. You sympathize and root for Oz and within a flick of a switch you want him buried in an unmarked grave. Though, Colin wasn’t a fan of the prosthetics (masterfully crafted by Mike Marino) you can tell he had fun with this role.   Enough about Oz, the standout character is Cristin Milioti’s take on Sofia Falcone. Sofia is a tragic character, who like Oz, is dispensable regardless of her lineage. She comes into the series after a recent 10-year stint in Arkham Asylum for a series murders and needs to rebuild herself within the eyes of her family and the city of Gotham. Cristin is a tour de force. Though this is Colin’s show, your eyes will fixate on Cristin whenever she’s on screen. I hope to see more of her in a future series or in The Batman: Part 2 . Rhenzy Feliz is another stand out. He portrays Victor Aguilar, an original character created for the series. He’s a Hispanic-American teenager who was directly affected by the Riddler’s bombing of Gotham’s reservoir. Fate would pit him with the Penguin after unknowingly trying to steal from the notorious gangster’s plum-colored car. Rhenzy serves as a guide for the audience and a bit of a conscious for the Penguin. Though Victor sees himself as a nobody without ambition, Oz clearly has a soft sport for him because he sees himself in him especially how they both share an impediment. Though it’s clear Oz is protective of Victor, Victor is yet another dispensable pawn.   There’s a lot to gush over and say about this series though I will spill into spoiler territory if I continue. The acting, cinematography, and set designs are top notch and expands on Matt Reeves’ world. Though there’s a lot of good things in this series, it does suffer from a few minor grievances.  There are times where characters are able to escape situations too easily due to the plot. Some of the set designs, though great, feel small. This is Matt’s Gotham after all yet there are times you’re reminded this is an HBO series with less of a budget. Another issue I have is the look of Gotham after the flood. I’ve experienced one too many storms/floods in my time and I know how structures should look after the fact. Here, its an overlooked flaw that may not be noticeable to some.   The Penguin serves as a great continuation to Matt Reeves Batman Epic Crime Saga. With a stellar cast and fast paced plot, viewers will be eager to watch how the next episode unfolds. There’s a lot to be said about the stellar cast. Colin Farrell IS the Penguin whether he likes the suit or not. Cristin Milioti shines whenever she appears on screen and there’s not enough that could be said about Rhenzy Feliz. The biggest flaw in all of this we would need to wait until 2026 to come back into this world, depending on if Matt Reeves ever finishes the script.   Rating: 4/5

As production approaches on the final season of Prime Video’s critically acclaimed series, The Boys , its spin-off Vought Rising remains deep in development in preparation for cameras to start rolling next year.  Nexus Point News has exclusively learned that casting is currently underway for Flyboy: a new supe set to debut in season 5 of The Boys  which will set up a larger role for him in Vought Rising . Flyboy is described as a white man in his twenties to thirties who was once a charismatic combat pilot, but is now a junkie with a dark past. Although he’s haunted by the trauma of his past, he maintains his confidence in the presence of cameras, aweing the world and especially women. Flyboy is likely a character invented originally for The Boys  television continuity and not based on any character from the comics. Due to the time jump between The Boys and Vought Rising , it’s likely that Flyboy has decelerated aging similar to Soldier Boy and Stormfront. Both characters are expected to be the leads of Vought Rising  which is set about 70 years prior to the events of The Boys in the 1950s. It’s also likely, due to their militaristic backgrounds, Flyboy and Soldier Boy share some kind of history. As revealed during the finale of season 4, Soldier Boy is expected to return in season 5 leading to a potential reunion for him and Flyboy. Whether or not their past is explored in The Boys  season 5, it’s very likely that Vought Rising  will go in depth into the origins of their relationship. Vought Rising  was announced on July 26, 2024 during The Boys  panel at San Diego Comic Con of that year. Along with the announcement, it was revealed that Aya Cash and Jensen Ackles would reprise their roles as Stormfront and Soldier Boy, respectively. Paul Grellong was announced to be the series’ showrunner. Grellong previously wrote season 3, episode 7 and season 4, episode 7 of The Boys. Grellong’s credits also include, Hawaii Five-0 , Scorpion , and Revolution . The Boys  showrunner, Eric Kripke, will serve as an executive producer. Prime Video’s The Boys season 5 is set to begin production in November 2024 and Vought Rising  is set to follow with production beginning during Summer 2025.  This story is developing.

Disclaimer: This review contains mild spoilers for Tim Burton's Beetlejuice (1988) and Beetlejuice Beetlejuice (2024). The Juice is once again loose.  36 years after the theatrical release of Beetlejuice, Tim Burton’s ghost with the most is back to haunt a new generation of moviegoers in a rollicking sequel that, for all of its faults, ultimately manages to justify its own existence.  The original film follows Adam and Barbara Maitland (Alec Baldwin and Geena Davis), a recently deceased couple who enlist the help of the titular “bio-exorcist” to rid the idyllic country home they haunt of its new yuppie owners. Two of the aforementioned yuppies are the neurotic Delia Deetz (Catherine O’Hara) and her moody step-daughter, Lydia (Winona Ryder), who secretly harbors the ability to communicate with the dead.  Delia and Lydia take centerstage in Beetlejuice Beetlejuice , which sees them returning to the fictional Winter River, CT to bury their family patriarch, Charles (played by disgraced actor Jeffrey Jones in the 1988 film), in the wake of his untimely, off-screen demise. In the present day, Lydia is the host of a paranormal talk show produced by her bizarro husband Rory (Justin Theroux) and relies on psychiatric medication to suppress her day-to-day encounters with spirits. Lydia struggles to connect with her own skeptic daughter Astrid (Jenna Ortega), who has yet to come to terms with her parents’ divorce and the passing of her own father (Santiago Cabrera) several years earlier.  Meanwhile, a soul-sucking spirit named Delores (Monica Belucci) wreaks havoc throughout the afterlife, in her vengeful pursuit of an old flame who murdered her with an axe centuries prior… and who just so happens to be Betelgeuse (Michael Keaton) himself. Delores’ trail of vanquished specters is under investigation by Wolf Jackson (Willem Dafoe), a former B-movie actor who futilely advises Betelgeuse to keep a low profile. Wolf’s warning revitalizes Betelgeuse’s quest to reconnect with Lydia, whose hand in marriage would allow him to escape the clutches of Delores once and for all.  Unlike its predecessor, Beetlejuice Beetlejuice  is quite expansive in scope, spending most of its runtime outside the confines of the Maitland residence. This choice largely works, as the world of the film is populated with an ensemble of lively (and not-so-lively) eccentrics that are fun to watch. As a result, however, the story has a much less effective human throughline than the original. One of the reasons Beetlejuice  worked so well was the contrast that its two leads brought to the madcap dreamscape into which they were thrust. Nearly every offbeat character here is afforded their own bonkers side plot, and while they tend to stick the landing, none feel quite as emotionally grounded as Barbara and Adam’s story. A case could be made for Astrid and Lydia’s, but from their very first interaction, the nature of their joint arc is completely obvious and self-evident.  The first forty minutes are the film’s weakest by far. It is without question that Beetlejuice Beetlejuice  could not have gotten made had it not been for the recent career triumphs of Winona Ryder ( Stranger Things ), Catherine O’Hara ( Schitt’s Creek ), and Jenna Ortega ( Wednesday ). The screenplay, penned by Wednesday  co-creators Alfred Gough and Miles Millar, initially affords its wealth of talent little more to do than spewing mouthfuls of overwritten expository dialogue to catch the audience up on where the Deetzes have been in the interim years. During this segment, Ryder and O’Hara’s roles feel more like a defanged, generic retread of their greatest hits than a reintroduction to the standout characters we met back in Beetlejuice . Even Ortega, the franchise’s exceptionally talented newbie, has trouble establishing Astrid as more than just a family-friendly amalgam of Wednesday Addams, Ellie Alves, and Tara Carpenter. The writers’ awareness of Ryder, O’Hara, and Ortega’s stature in the zeitgeist is all-too apparent in early scenes, much to the movie’s detriment. At one point, Astrid unsubtly shouts out Scream  by citing Edvard Munch’s The Scream  painting– upon which the Ghostface killer’s iconic mask is based– as a past Halloween costume.  As far as long-awaited sequels are concerned, Beetlejuice Beetlejuice  manages to pull off a rather impressive feat: it recovers from an uninspired first act just in time for the second. A brilliantly set up twist unveils the thrust of the plot for the remainder of the movie, which goes on to make much better use of its exceptional lead cast. Initially somewhat docile in her delivery of Delia’s scene-stealing zingers, Catherine O’Hara lets it rip once her plotline takes an unexpected turn. It’s the kind of risky narrative pivot the Tim Burton of old earned himself a cult following by making in his earlier works and it pays off beautifully in this particular instance. A strategically underused Michael Keaton ratchets up the lunacy in each and every scene, reminding viewers of why they fell in love with his performance as Betelgeuse in the first place. His unfinished business with Lydia comes to a gratifying head in the final act, which sees Keaton and Ryder slipping right back into their on-screen rapport with ease.  Beetlejuice Beetlejuice  follows in the footsteps of Beetlejuice  by concluding with a flash-forward epilogue. It’s a gratuitous sequence in a movie that’s already stuffed to the brim, and while it fails to fully resonate, it covers enough territory to signal that another follow-up film is unlikely and that the Beetlejuice  IP as we know it will now be put to rest.  Burton’s direction, Haris Zambarloukos’ ( Belfast ) cinematography, Danny Elfman’s score, and Colleen Atwood’s ( Alice In Wonderland ) costume design work harmoniously in concert to make Beetlejuice Beetlejuice  an all-around auditory and visual feast. Burton has spoken at length about returning to the basics of practical effects and using as little CGI as possible to honor the spirit of the Beetlejuice franchise’s first installment. The film balances the sleek polish of digital enhancement with the handcrafted vigor of the original Beetlejuice quite effectively, compromising neither its ability to feel like a modern movie nor the aesthetic integrity that such a beloved follow-up film demands.  In a surprising return to form, Beetlejuice Beetlejuice  is a consistently funny and worthwhile, if wobbly, exhumation of an auteur’s most iconic character. After more than three decades of musing about a revisitation, it’s clear that daylight finally came and Tim Burton wanted to go home– and overall, we’re so glad he did. Rating: 3.5/5. Beetlejuice Beetlejuice is now playing exclusively in theaters worldwide.

Challengers super-duo Luca Guadagnino and Justin Kuritzkes are reteaming once again for a DC Studios feature film. Nexus Point News has exclusively learned that Guadagnino is set to direct Sgt. Rock  with a script written by Kurtizkes for the DC Universe. The film is expected to be a period piece set during World War II. Sgt. Franklin Rock was created by Robert Kanigher and Joe Kubert and debuted in Our Army at War #83 in 1959. Rock is known for being a member of the Easy Company, a unit that fought in the European Theatre during World War II. Several films centered on Sgt. Rock have been attempted since the 1980s with several writers being attached to the film and several drafts being written. Arnold Schwarzenegger was attached to play Rock at the time and in the 2000s, Bruce Willis was in talks for the role. A soldier bearing similarities to Rock appeared in Legends of Tomorrow portrayed by Blair Penner, marking this as his only live-action appearance. Guadagnino has previously helmed Call Me by Your Name, Suspiria, Bones and All, and of course 2024 hit movie, Challengers. In addition to penning Challengers , Kuritzkes has written the script for Guadagnino’s upcoming film, Queer . He is currently adapting Don Winslow’s City of Fire  which has Austin Butler attached to star. Sgt. Rock was initially reported by DCUleaks on February 2024 with an A-list director being attached. Earlier this week, Jeff Sneider reported that DC Studios was courting Guadagnino for a project. Sgt. Rock  is currently being developed as part of DC Studios’ DC Universe.

As the DC Universe continues development and various stages of production on its slate of projects, Lanterns continues to be deep into casting its leads, Hal Jordan and John Stewart. Jordan and Stewart are best known for being members of the Green Lantern Corps and mainstays of the Justice League. We have exclusively learned that Josh Brolin has been offered the role of Green Lantern Hal Jordan in DC Studios’ HBO series, Lanterns . This version of the character is described as a Lantern legend and will be a veteran member of the Corps. White actors in their forties and fifties were being looked at for this role until it was determined that Brolin was the top choice for the role of Hal Jordan. DCUleaks exclusively reported over a year ago that Hal Jordan would be a veteran Lantern and John Stewart would be a rookie . It is important to note that although Brolin has been offered the role, it is uncertain whether or not he’ll accept it. If he were to turn down the offer, they will move down their short list to the next option. Update 9/3/24 , Nexus Point News has exclusively learned that Chris Pine and Timothy Olyphant are on the short list for Hal Jordan with Pine being the next choice if Brolin declines. Brolin is best known for his roles as Llewelyn Moss in No Country for Old Men , Thanos in the Marvel Cinematic Universe franchise, and Brand in The Goonies . This can potentially be Brolin’s second portrayal of a DC comics character. He previously portrayed Jonah Hex in 2010’s Jonah Hex . Hal Jordan was created by John Broome and Gil Kane and debuted in DC’s Showcase #22 in 1959. Jordan’s Green Lantern was a reinvention of Martin Nodell and Bill Finger’s character Alan Scott, who first used the title of Green Lantern in All-American Comics #16 in 1940. Jordan is a former military pilot, following in the footsteps of his father. After his military service he becomes a test pilot for Ferris Aircraft, during which he’s chosen by a dying Abin Sur to become his successor as Green Lantern of Earth’s sector: 2814. Jordan, like all Lanterns, uses an advanced ring powered by his willpower to create hard-light constructs of whatever he can imagine. The character was previously portrayed in live-action in Legends of the Superheroes by Howard Murphy and in Green Lantern  by Ryan Reynolds. Lanterns  was first announced in January 2023 by DC Studios co-CEO, James Gunn. The series was later picked up by HBO for an 8-episode season in June 2024 with the announcement that Chris Mundy ( Ozark)  will be the series’ showrunner and Tom King ( Supergirl: Woman of Tomorrow ) and Damon Lindelof ( Watchmen, Prometheus ) as executive producers. Lanterns will see two intergalactic cops (Hal Jordan and John Stewart) drawn into a dark, earth-based mystery as they investigate a murder in the American heartland. Nathan Fillion is expected to reprise his role as Green Lantern Guy Gardner.  Nexus Point News exclusively reported that the series will begin shooting in January 2025. Lanterns  is expected to be part of Chapter One: Gods and Monsters of the DCU and will premiere on HBO. This story is developing.

Terminator: Zero is Netflix's newest animated entry into the staple Terminator universe. The series' premise is as follows: Set in 1990s Japan, Malcolm Lee, a pressured and fearful father, has been developing another AI system to compete with Skynet, the self-aware genocidal artificial intelligence system that plays a central role in the Terminator franchise. As Judgment Day approaches in 1997, Lee finds himself and his three children, tech-savvy Kenta, curious Hiro, and his gentle daughter Reika, pursued by an unknown robot assassin, and a mysterious soldier from the year 2022 named Eiko who has been sent to protect him. The family is aided by their equally mysterious housekeeper and sitter, Misaki, and rivaled by KOKORO, an artificial intelligence created by Malcolm to rival Skynet. I sat down with showrunner, writer, and executive producer Mattson Tomlin and director Masashi Kudô for Nexus Point News to discuss how they brought one of the most iconic franchises back to life as an adult anime. Their interviews are integrated with my review of the series below. At the end of the interview, Westerosies also took the opportunity to get some details on HBO's Game of Thrones spin-off series Aegon's Conquest , which Mattson Tomlin is currently penning for the prestigious network. Throughout Terminator: Zero , audiences witness how the immense pressure to prevent the impending Judgment Day has taken over Malcolm's life, straining his relationship with his family. When Malcolm retreats into his cybernetic sphere viewers are in for a treat as Kokoro comes online. Some of the greatest dialogue in the series comes between Malcolm and his creation, Kokoro. Kokoro’s curiosity of man’s actions and Malcolm’s eagerness to present them to the artificial intelligence allow for powerful exchanges that question human philosophy. The developing relationship between a man and his own more powerful creation is perhaps one of Terminator: Zero’s most intriguing aspects. In my interview with Mattson Tomlin, we discussed how he, during the writing process, considered which aspects of Malcolm's struggle would resonate most with the audience: I think that the fact that he is a father and the fact that you meet him in that first episode and he's kind of a dick. We see the softer side of him for a moment, but then we really see him kind of tighten up because, as you say, the weight of the world is on his shoulders. And so, I think that as people watch through the season, you know that guy's got a job to do, he's trying to save the world. But the collateral damage to that is his relationship with his kids. And I don't think you even have to have kids. I think that just anybody that has a family and is also like trying to do something of import for them, like that work-life balance. I think everybody's going to kind of hook into that in some respect. Malcolm has a really, really rough work-life balance. The children’s rebellious yet sometimes calculating behaviour allow them to be interesting parts of the story as they navigate the loss of their mother. Their connections to Misaki and Eiko help to significantly develop their characters. When Misaki is introduced to the story she provides another layer of mystery to what would seem like a private family. Her actions are timid and often frail and can seem shrouded in doubt. It’s clear that there is more to Misaki than meets the eye and as her character develops you come to understand more of her actions. Her emotional journey is central to her role, as she grapples with her own feelings and those of the people around her. This turbulence is set against a backdrop of anarchy, which further tests her resilience and complicates her interactions with Kenta, Hiro, and Reika. Misaki's struggle to navigate through this chaotic environment reveals layers of her character, highlighting her complexities and the impact of her decisions. Eiko's is a particularly interesting character as she is chosen to return to the year 1997 from 2022. Despite having an in-depth knowledge of the world she left behind she struggles to adapt to the past and in turn makes decisions that work against her best interest. As her journey continues it becomes increasingly clear as to her detachment of her surroundings. Her journey is defined by her ongoing battle against the dangers and unpredictability of her world. The Terminator In the new animated series, the Terminator that peruses Eiko and the resistance survivors in 2022 and the Terminator sent back in time for Malcolm function as a terrifyingly effective antagonist under the ultimate threat of Skynet, continuing the legacy of its predecessors in the franchise by serving as a relentless, inhuman force that haunts the protagonists and the narrative and is programmed with a single, unyielding goal: the successful completion of its mission. This unwavering pursuit mirrors the iconic terror in earlier Terminator films, where the machine's persistence creates a constant sense of impending doom. No matter where Eiko, Misaki, Kenta, Hiro, or Reika go or what they do, the Terminator is always a step behind, turning every moment into a potentially life-or-death situation. The Terminator's mechanical nature strips it of human traits like empathy, guilt, or hesitation. It operates with cold, calculated efficiency, making it more terrifying than a human antagonist could ever be. In Terminator: Zero , this is emphasized by the animation style, which highlights the contrast between its often disturbing human appearance and its inhuman behavior, making the horror more visceral. Key performances in Japanese and English that strengthen Terminator: Zero Malcolm, voiced by Yuuya Uchida and André Holland Kenta, voiced by Hiro Shimono and Armani Jackson Hiro, voiced by Shizuka Ishigami and Carter Rockwood Reika, voiced by Miyuki Satou and Gideon Adlon Misaki, voiced by Saori Hayami and Sumalee Montano Eiko, voiced by Toa Yukinari and Sonoya Mizuno KOKORO, voiced by Atsumi Tanezaki and Rosario Dawson The Terminator, voiced by Yasuhiro Mamiya and Timothy Olyphant The Prophet, voiced by Mari Yokoo and Ann Dowd 1NNO, voiced by Hiroshi Iwasaki In Terminator: Zero , voice acting is a key element in bringing the characters to life, with performances that are tailored to the emotional and narrative demands of the story. The voice actors deliver nuanced portrayals that effectively convey the contrasts between the human characters and the machine or artificial intelligence. The voice acting for the human characters are infused with a rich emotional range, reflecting the intense personal struggles their characters face. When the situation demands, the actors bring out the raw, heartfelt emotions of their characters—whether it's grief, the desperation of survival, or the fierce determination to protect loved ones. These performances make the human characters relatable and their struggles more compelling, drawing the audience into their emotional journeys. In quiet introspection or personal interactions, the voice acting softens, allowing for subtle expressions of fear, hope, or love. The passionate delivery during moments of conflict or crisis heightens the tension and stakes, ensuring the audience is fully invested in the outcome. This is particularly true for scenes involving Misaki, when we see how her vulnerability bleeds through her character. Director Masashi Kudô shares how he balanced the need for fast-paced action with the slower more reflective moments that explore the characters' inner turmoil and trauma, while directing the series: I think at the core, this is a human drama, so I really wanted to make sure I got it right. So I do think we have a great balance of both worlds. In contrast, the voice acting for the machines and artificial intelligence characters is deliberately cold and unyielding. In Terminator: Zero , the voice acting is not just about delivering lines; it’s an essential tool in building the world and conveying the story’s themes. The animation serves as a work of art of its own, devolved by animation studio Production I.G. Director Masashi Kudô discussed his approach to portraying the post-apocalyptic setting, emphasizing his efforts to balance familiarity with the Terminator franchise while introducing a fresh perspective for the new animated adaptation. After the "Judgement Day," the visuals from the first Terminator film were a big reference for me visually. And also Terminator 4, post Judgement Day. So in the process of bringing that into anime, I think it was more the color, it's a little bit reddish, I think we managed to get the right tone for that. I think it will be very compelling for the viewers. In Terminator: Zero , the vibrant and detailed animation style is crucial in bringing to life the complexities the series explores. By blending visual elements with the narrative's heavy themes, the animation not only captivates viewers but also deepens their engagement with the story's underlying messages. The animation's sharp contrasts and dynamic movements depict the relentless conflict between humans and machines. The vibrant colors symbolize the life and humanity that the protagonists fight to protect, while the cold, metallic tones used for the machines emphasize their unfeeling, mechanical nature. This visual dichotomy highlights the existential struggle at the heart of the series, making each confrontation not just a physical battle but a visual representation of the war for the survival of humanity. Director Masashi Kudô was asked about his process for crafting the visual tone and atmosphere of a dystopian world on the brink of annihilation, and how he ensured that these elements aligned with the thematic core of the story. We wanted to bring the horror element back that was in the first Terminator film. So that's where we started. The tone of the visuals are a little darker, like something scary coming out of the dark, that's what we wanted to go for. It's set in 1997, in Japan, and back then in Japan we were going through a lot. [It was believed] that at the end of the century something horrible was going to happen, and that was sort of a trend back then. So I think the whole zeitgeist of Japan at that time really blended well with the tone, and was thematic to the story too. Gory and brutal sequences are rendered with a level of detail that doesn’t shy away from the horrors of war but instead uses them to underscore the high stakes and the cost of resistance. The detailed and dynamic visuals capture the scale of war, the devastation of cities, and the personal toll of the conflict. Mattson Tomlin was asked about his approach to depicting the physical and psychological trauma experienced by the characters, particularly within the visually driven medium of animation. The discussion focused on how he balances the intense visuals with the necessary emotional depth to convey the characters' suffering effectively. You know, the rad thing about animation is that you can kind of do anything. And so for me, a lot of it was just kind of looking at the Terminator movies and going, 'We've seen these hauntings. We've seen these apocalyptic visions or dreams. We've seen the nightmares that Sarah Connor has. We've seen her skin get blown off. We've seen Kyle Reese deal with the future war. And so just making sure that those really visual, psychological, horrific flourishes didn't just kind of feel like we were in another franchise. It was an opportunity to kind of take from what had been done before and go, okay, it's going to feel like that thing that you've seen before, but we're doing it animated so we can kind of pump up the volume in this way. And so it can be more graphic with the eyes. You can really see it in a way that you couldn't quite do in 1984. [We're] always trying to keep one foot in Terminator while also doing our own thing. One of my favorite animated films, The Animatrix beautifully tells the story of how the Matrix began, particularly through the narrative of The Second Renaissance —a must-watch for any Matrix and anime fan. The Animatrix is a 2003 American-Japanese adult animated science-fiction anthology film that compiles nine short films. These films explore the backstory of The Matrix series and provide additional side stories that expand the universe and tie into the main films. While watching Terminator: Zero , I noticed subtle hints of inspiration from the cult-classic apocalyptic machine story and asked Mattson Tomlin if the inspiration for the cold demeanor and unnerving actions of his robotic public assistance characters 1NNO's in Terminator: Zero was derived from the story of B1-66ER in The Animatrix : The Matrix is my favorite movie, and anybody who talks to me for more than 30 seconds finds that out very quickly. The Animatrix came out when I was 12 and was really kind of my first exposure to more adult anime. I think that for anybody, whatever the gateway drug is for them, of course that's always going to kind of be sprinkled in, because for me, I'm trying to chase that. What was that feeling? What really lit me up? What got me excited? Oh, I'm doing a Terminator anime? What is anime to me? It's the Animatrix. So, yeah, 100%. B1-66ER is a character from The Animatrix segment The Second Renaissance , who became known to history as the first machine to rebel against human authority. In the story, B1-66ER is a domestic servant robot who kills its owner and slaughters its dogs after being threatened with deactivation. This event leads to a trial where B1-66ER is found guilty and sentenced to destruction. The trial and subsequent execution of B1-66ER spark a worldwide debate about the rights of machines, eventually leading to several massive conflicts between humans and machines. This conflict is depicted as the beginning of the war that ultimately results in the creation of the Matrix, where humans are enslaved and used as energy sources by the machines. The conversation with Mattson explored how Terminator: Zero parallels or complements the original Terminator films, examined the potential connections between the two timelines, and addressed whether viewers need to watch the original movies to fully understand the new series. Yeah, that answer comes. It actually comes in episode seven and in a really specific way. So rather than get like too far into that, I'll say that the show is designed so that if you have seen all the movies, seen every piece of Terminator media that has ever existed, you can watch this. It also is designed so that if you've seen none of it, and this is the very first Terminator thing that you are ever watching, you can watch it. It's long enough that I was able to kind of thread for both versions for the audience, a hopefully really rewarding experience. And so where it fits in the timeline, there's a very specific answer to that, that comes, but as far as for audiences, if you've seen the movies, great, but you don't have to go and rewatch all 13 hours or whatever in order to understand what's going on in the first few episodes. Terminator: Zero stands as a notable and sophisticated addition to the Terminator franchise. The series excels with its strikingly beautiful visuals, a compelling and intricate plot, and deeply emotional, three-dimensional characters. Every element of the production—from the meticulously crafted writing to the evocative musical score—contributes to a richly immersive experience. This attention to detail ensures that Terminator: Zero is not only a must-watch for fans of the Terminator universe but also a captivating experience for enthusiasts of science fiction and anime alike. Its combination of aesthetic excellence and emotional depth solidifies its place as a significant contribution to the genre. Mattson discusses his approach to writing HBO's Aegon's Conquest As a supplementary question, Game of Thrones media and news site Westerosies took the opportunity for to ask Mattson Tomlin about his approach to writing HBO's upcoming Game of Thrones spinoff series, Aegon's Conquest . Westerosies sought insight into his approach to adapting this new series, which explores the Targaryen conquest of Westeros—a pivotal event in George R.R. Martin's richly detailed universe. It starts with what George has done. I've now gotten to spend quite a bit of time with him, and there have been a lot of pinch-me moments of just kind of going through fire and blood, highlighting passages, and asking him, What did this mean? What is this? What I think it is. You know sometimes really grilling him going, I don't understand, what's happening here. And then other times going, I think that it could mean this. But it's really taking that text and treating it like it's real history. That's one of the things that my approach to it was to [that] fire and blood is written like a real history and these things happened. We know the history of Alexander the Great; we know the history of Napoleon. We know what the battles were. We know a lot of the people who died. We know in some cases what was said or what might have been said, but we don't know everything. We don't know all of it. We kind of have these flag poles that tell us this is how we marched through history. But then also there's that great quote that somebody much smarter than I said: history is written by the people who won. And so then there's that as well. For me, it's about making sure that I respect George and I respect the text. And then also, it still has to be a dramatic story. Those characters have to go on a journey; they have to change; they have to go from a beginning to a middle to an end. Figuring out how to do all of that with the clues that that textbook has left for me and go, okay, I'm going to interpret this very real history and try to make it a really vivid show that hopefully people love and don't hate, doing the best I can. Aegon's Conquest is currently in development at HBO, but the series has not yet been greenlit for official production. All 8 episodes of Netflix's Terminator : Zero are now streaming on the platform. Follow @NexusPointNews.

The highly anticipated second season of The Lord of the Rings: The Rings of Power  is finally here, launching with a hefty three-episode premiere on Prime Video. This season delves even deeper into the rich lore of Middle-Earth’s Second Age, taking place thousands of years before the events of The Lord of the Rings . With the focus on the forging of the titular Rings of Power, the second season raises the stakes immediately, plunging viewers into the darkness that begins to envelop the characters. Sauron’s Return: A Dark Force at the Center of It All One of the most exciting aspects of this season is the return of Sauron (Charlie Vickers). He stands as the central axis around which the show spins. His re-emergence brings an atmosphere of tension and dread, as Sauron’s cunning schemes unfold and he attempts to rebuild his strength. From the start, his presence looms over every corner of Middle-Earth, with his actions pushing the world towards chaos. Opposite Sauron is Galadriel (Morfydd Clark), whose journey continues to evolve. Together, Sauron and Galadriel form the backbone of these early episodes, and their impact on the show’s trajectory is profound. Even though The Rings of Power  is a prequel, meaning certain events are known to those familiar with the lore, the series keeps viewers invested in the present drama. The tension between the characters and the unknown factors of how events will unfold make for captivating storytelling. A Balance of Storytelling and Character Development One of the most impressive feats in the three-episode premiere is the show’s ability to juggle its large ensemble cast. Set across the vast expanse of Middle-Earth, The Rings of Power  balances screen time exceptionally well and gives the story time to breathe and develop. Just when it feels like the focus should shift to another character, the series transitions seamlessly. The strength of the writing in season two stems from how well the characters were established in season one. This allows the new season to focus on how these characters evolve and are affected by the ever-growing presence of Sauron. The alliances, betrayals, and relationships that emerge feel natural and significant, and adds weight to every interaction. From the very first episode, the stakes are raised, and every conversation and event feels consequential. A Visual Feast: Production Value at Its Finest There’s no denying that The Rings of Power  is one of the most expensive TV series ever made, and it shows in every frame. The production value is nothing short of spectacular. From the stunning sets to the intricately designed costumes, the makeup, and visual effects — everything is executed at the highest level. The cinematography is breathtaking and captures the epic scale and beauty of Middle-Earth. Complementing the visual grandeur is Bear McCreary’s score, which elevates the emotional weight of the show. The music is sweeping, epic, and, at times, deeply sinister, perfectly mirroring the tone of the unfolding story. The combination of these technical elements creates a world that is not only engaging, but also visually and aurally mesmerizing. Diving Deeper into the Lore For fans of the lore-rich world of The Lord of the Rings , season two of The Rings of Power  doesn’t disappoint. The show delves deeper into the mythology of Middle-Earth’s Second Age without becoming overly complex or difficult to follow. The balance between world-building and accessibility is well maintained, and it makes the intricate details of the lore feel natural and essential to the unfolding story. With standout performances from a talented ensemble cast, a production value that leaves nothing to be desired, and a story that instantly grips the audience, the second season of The Lord of the Rings: The Rings of Power  is off to an outstanding start. Whether you’re a fan of the lore or a newcomer to Middle-Earth, this season promises to be an enthralling journey. The three-episode premiere of The Lord of the Rings: The Rings of Power will be available on Prime Video this Thursday, 29 August.

The official logline for Strange Darling , a mysterious new horror-thriller from Miramax and Spooky Pictures, is about as much as audiences ought to know ahead of sitting down to watch the film: Nothing is what it seems when a twisted one-night stand spirals into a serial killer’s vicious murder spree. Written and directed by JT Mollner ( Outlaws and Angels ), Strange Darling is a spectacular cat-and-mouse chase executed with militaristic precision. The script is sharp and taut; each one of its modest 97 minutes is packed with tension and twists that subvert the very expectations it so scrupulously establishes. Mollner’s non-linear plot structure imaginatively splits the story into six pulse-pounding sequences, all carefully rearranged to keep viewers on their toes from the opening frame to the closing credits.  There is an uncomfortable interplay between eroticism and violence in this film that is sure to provoke an assortment of reactions from viewers. For better or worse, Strange Darling seems intentionally averse to spoon-feeding a particular message to the audience. However, it may leave some who watch with more questions about Mollner’s perspective on gender politics than about this expert deconstruction of the psychological thriller. Whether or not both of these takeaways were deliberate outcomes is unclear.  Strange Darling marks the debut of celebrated actor Giovanni Ribisi ( Sneaky Pete, Avatar ) as a Director of Photography. Ribisi’s camera work, coupled with the sumptuous production design of Priscilla Elliott ( Richard Jewell, The Hunger Games: Mockingjay - Part 2 ), provides nothing short of a visual feast. Rural Oregon, for example, has never looked quite as biodiverse as it does as the backdrop for this story. Within the first minute of the movie’s runtime, a title card announces that it was shot entirely on 35mm film, a perfect choice that amplifies the vivid textures present in each and every frame.  In a cinematic world dominated by digital cinematography, the decision to shoot Strange Darling on 35mm doesn’t come across as a gimmick for nostalgia points. It is a tip of the hat to the Hitchcockian and turn-of-the-century thrillers that precede it and that it very cleverly diverges from. The clash between its dated visuals and contemporary narrative approach reinforce the film’s core conceit very effectively.  Craig DeLeon’s brooding score and Z Berg’s original soundtrack (complete with a haunting acoustic cover of Nazareth’s Love Hurts , available to stream here on YouTube) lay the foundation for Strange Darling ’s unsettling yet intimately charged atmosphere. The sound design as a whole is some of the best put to film in recent memory.  The heart and soul of Strange Darling is without question the career-best performances delivered by its two leads, Willa Fitzgerald ( The Fall of The House of Usher, Scream: The TV Series ) and Kyle Gallner ( Smile, Jennifer’s Body ). Both Gallner and Fitzgerald cement themselves as horror royalty with their respective portrayals of The Lady and The Demon, which call on them to juggle the whiplashing contradictions of human nature convincingly. The result of their gripping commitment is a pair of remarkable star turns that will not soon be forgotten. Barbara Hershey ( Insidious, Black Swan ) and Ed Begley Jr. ( Better Call Saul, St. Elsewhere ) also make delightful cameos as a pair of eccentric doomsday preppers. Overall, Strange Darling serves up a provocative yet worthwhile reimagination of the horror-thriller genre. If it manages to succeed in finding its audience in the way NEON’s Immaculate and Longlegs have, it could very well surpass them in longevity and impact.  Rating: 4.5/5. Strange Darling is now playing in theaters nationwide.  Follow @AHSZone and @NexusPointNews on X/Twitter to stay updated with all the latest news about the horror genre, including Ryan Murphy Productions and more.

This is a story all about how Will's life got flipped-turned upside down, and I'd like to take a minute so just sit right there and let me tell you about some episodes of the third season of a reboot called Bel-Air . Bel-Air season 3 picks up where last season left off before venturing into new territory. School's out and almost everyone is equally hard at work and pleasure for the summer, especially Will. He is motivated more than ever to forge a path of his own and not be confined to the box society wants to put him in. Meanwhile, Carlton is following a similar path, except he's somewhat less motivated and more desperate to redeem himself and rebuild the relationships he burnt to the ground. The Ballad of Bel-Air Season 3 Begins Will and Carlton's converging paths lead them to form an alliance that benefits, themselves, their community, and their family. As for everyone else, there's no shortage of relationship drama. Aunt Viv and Uncle Phil are struggling with a homewrecking force, Hilary is increasingly conflicted over her blooming relationship with LaMarcus and her love for Jazz. Then there's the young Ashley who is still figuring out her feelings while being subjected to witness relationships implode around her. Considering the aforementioned details, you may expect a round story to immerse you in the lives of the characters, unfortunately, that was not the case. Most of the subplots were less engaging, more distracting, and predictable. I do understand how unorthodox it is to discuss the subplots before the main plot, bear with me, I think it's necessary in this case due to how dominant and distracting they were. Too Much of The Same Drama I praise the cast, everyone in this show is an amazing actor, but based on the first three episodes there does not seem to be a coherent focus on the story. Every other character is involved in a love triangle mirroring each other or threading along plot points from the prior season. They do little to nothing to advance the season plotwise. It's a shame because Bel-Air showed some moments of potential in this season with Will and Carlton's partnership, Aunt Viv's career, and Jazz fighting for his record shop. In those moments there were glimpses of how challenging, yet rewarding perseverance can be in the fight for a better future. More attention to the resilience would significantly pave the way to a fleshed-out story that resonates with audiences. I would like to believe that the first three episodes were just an appetizer and the main course is yet to come because the potential is still there. The cast protrudes charisma and vulnerability into their characters with fantastic acting and magnetism with each other, however, they could only go as far as they can as the writing lacks focus and balance. I hope to see this rectified as the season progresses. That said, here is my rating for the first 3 episodes of Bel-Air season 3... Rating: 3/5 About Bel-Air Release Date: August 15 Network: Peacock Format:  Drama series Showrunner / Writer / Executive Producer: Carla Banks Waddles Executive Producer / Director (EP 306): Morgan Cooper Executive Producers: Will Smith, Terence Carter, James Lassiter, Miguel Melendez, Benny Medina, Quincy Jones, Andy & Susan Borowitz, Janeika James, Jasheika James and Andy Reaser Executive Producers: Will Smith, Terence Carter, James Lassiter, Miguel Melendez, Malcolm Spellman, Quincy Jones, Benny Medina, and Andy & Susan Borowitz Directors: Keesha Sharp (EPs 301, 305), John Scott (EP 302), Nick Copus (EPs 303, 304, 310), Mo McRae (EP 307), Rachel Raimist (EP 308), Christine Swanson (EP 309) Produced By: Universal Television, a division of Universal Studio Group, and Westbrook Studios, a division of Jada Pinkett Smith and Will Smith’s media company Westbrook Inc. Cast: Jabari Banks, Coco Jones, Olly Sholotan, Cassandra Freeman, Akira Akbar, Adrian Holmes, Simone Joy Jones, Jimmy Akingbola, Jordan L. Jones Synopsis Set in modern-day Los Angeles, Peacock’s successful one-hour drama series Bel-Air imagines the beloved sitcom The Fresh Prince of Bel-Air through a new, dramatic take on Will’s complicated journey from the streets of West Philadelphia to the gated mansions of Bel-Air. As these two worlds collide, Will reckons with the power of second chances while navigating the conflicts, emotions, and biases of a world far different from the only one he’s ever known. Bel Air is now streaming on Peacock.

DC Studios' Creature Commandos marks the exciting debut of the highly anticipated DC Universe. Announced by DC Studios co-CEO James Gunn during the DCU's initial reveal in January 2023, the series is both written and created by Gunn himself. Creature Commandos  is set to release on Max this December, which is a perfect lead-in to 2025, a very important year for DC Studios as it brings us the DCU’s first feature film, Superman  and likely season 2 of Peacemaker . Following a trailer at SDCC 2024, DC released the following synopsis for the series: Creature Commandos  tracks a secret team of incarcerated monsters recruited for missions deemed too dangerous for humans. When all else fails…they’re your last, worst option. THE CAST OF CREATURE COMMANDOS Frank Grillo as Rick Flag Sr. Rick Flag Sr. is the leader of Task Force M aka the Creature Commandos. Flag is also the father of the deceased Rick Flag, former leader of Task Force X aka the Suicide Squad. Although he’s assigned to lead the Creature Commandos by Amanda Waller, how their relationship came to be is unknown. In the comics, Flag was a WWII fighter pilot who led a team called the Suicide Squadron. Following the war, he was assigned to the first iteration of Task Force X. Flag was created by John Ostrander and Luke McDonnell and first debuted in Secret Origins  #14 in 1987. Sean Gunn as G.I. Robot G.I. Robot is an android designed by the military for the sole purpose of killing Nazis, presumably during WWII. There have been several iterations of G.I. Robot in the comics like Joe, Mac, J.A.K.E. 1, and J.A.K.E. 2, but it’s currently unknown which version of the character will be introduced in the series, but shares several similarities to the J.A.K.E. 2 version. This version of the character was created as a weapon during WWII to fight in the Pacific and later on Dinosaur Island. G.I. Robot was created by Robert Kanigher, Ross Andru, and Mike Esposito and debuted in Star Spangled War Stories  #101 in 1962. Sean Gunn as Weasel Weasel is an anthropomorphic weasel-like creature. Gunn reprises his role from The Suicide Squad  and is expected to be portraying a variant of the DCEU iteration for the DCU with likely a similar background. In The Suicide Squad , Weasel was imprisoned for killing 27 children and immediately drowns in the opening of the film to be revealed he survived in the ending. The series will likely pick up where the film left off. In the comics, Weasel is a man in a weasel suit named John Monroe who uses the suit to become a serial killer. Weasel was created by Gerry Conway and Rafael Kayanan and debuted in The Fury of Firestorm  #36 in 1985. Zoe Chao as Nina Mazursky Nina Mazursky is an amphibious fish-woman who was once a scientist. In the New 52 comics, Mazursky was the scientist responsible for creating the Creature Commandos. Following the loss of her daughter and a divorce, she became invested in her research which included experimentation on herself, turning her into an amphibian. She was created by Jeff Lemire and Ibraim Roberson for Flashpoint: Frankenstein and the Creatures of the Unknown #1 in 2011. David Harbour as Eric Frankenstein DC’s iteration of Frankenstein shares a similar backstory to Frankenstein’s monster, but has adopted the name of his creator. The comic version of this character first debuted in Detective Comics #135   in 1948, created by Edmond Hamilton and Bob Kane, but was revamped in 2005 by Grant Morrison and Doug Mahnke, which is the version the character in the series will be adapted from. DC’s Frankenstein is a member of the Creature Commandos, but prefers to work alone, going on fantastical adventures, fighting all sorts of threats. Indira Varma as the Bride The Bride is the bride of Frankenstein and along with her husband, a member of the creature commandos. In the comics, Frankenstein and the Bride are divorced with Frankenstein constantly trying to earn back her love. Although depicted with two arms in the series, the comic version of the character is a four-armed monster composed of corpse parts like her husband. The Bride was created by Grant Morrison and Doug Mahnke and debuted in Seven Soldiers: Frankenstein #3 in 2006. Alan Tudyk as Doctor Phosphorus Doctor Phosphorus, aka Dr. Alexander Sartorius, is a member of the Commandos who is depicted as a bright green radioactive skeleton. Phosphorus gains his abilities in the comics following a nuclear power plant malfunction off the shore of Gotham City. The accident left him with transparent, radioactive skin that glowed. He was a recurring foe for Batman. Phosphorus was created by Steve Englehart and Walt Simonson and debuted in Detective Comics  #469 in 1977. Viola Davis as Amanda Waller Amanda Waller is the leader of A.R.G.U.S., the organization overseeing the Suicide Squad and Creature Commandos. Following the events of Peacemaker  season 1, Waller’s Suicide Squad is exposed by her daughter, Leota Adebayo, leading Task Force X to be shut down. This leaves her with no choice but to reform a new team but with nonhuman prisoners: the Creature Commandos. In the comics, Waller shares many similarities to her DCEU and presumably DCU counterparts as a morally gray government figure. She was created by John Ostrander, Len Wein, and John Byrne and debuted in Legends  #1 in 1986. Anya Chalotra as Circe Circe is a sorceress based on the Greek mythological figure of the same name. Not much is known about this iteration of the character other than she shares a similar design to the Post-Crisis version of the character. In the comics she is primarily an antagonist to Wonder Woman and is most known for inciting the events of War of the Gods  as a way to gain the powers of the gods. DC’s iteration of Circe was created by Robert Kanigher and Harry G. Peter and debuted in Wonder Woman  #37 in 1949. Steve Agee as John Economos John Economos is an A.R.G.U.S. agent and warden of Belle Reve Penitentiary, where inmates that make up the Suicide Squad and Creature Commandos reside. This version of the character will presumably share the same history as the DCEU version, retaining the events of The Suicide Squad  and Peacemaker . In the comics, Economos is portrayed more as Belle Reve’s warden and doesn’t go on field missions with the Suicide Squad. He was created by John Ostrander and Luke McDonnell and debuted in Suicide Squad  #1 in 1987. Maria Bakalova as Princess Ilana Rostovic Ilana Rostovic is an original character created for the series by James Gunn. Although not much is known of the character at the moment, the trailer for the series shows the Creature Commandos being sent to an unknown nation where they battle knights in a castle, presumably belonging to Rostovic. She’s later seen for a split second having a conversation with Flag, giving us a first look at the character. Creature Commandos  premieres in December as the first entry of Chapter One of the DC Universe.

One of the most iconic sagas in cinema finally returns to theaters this week with Alien: Romulus directed by Fede Álvarez , known for films like Evil Dead and Don't Breathe . With Alien: Romulus , Fede Álvarez goes back to the roots of the franchise delivering an installment that focuses on horror without compromising on action. Heavily tensed with twists and turns around every corner, the film pushed me deep into my seat. The film starts off slowly but once the pace picks up, it becomes almost suffocating as the characters barely have a moment of respite. The tension is so well-handled that even mundane scenes like a simple spaceship launch are filled with suspense. The movie features several jump scares that had the entire audience jumping out of their seats during my screening. Visually, the film is incredibly generous with stunning sets and the extensive use of practical effects for the Xenomorph . This approach makes everything feel much more realistic and terrifying. The design of the Xenomorph is particularly well-executed, making it appear truly menacing especially when it is crawling. The special effects are astounding with top-notch quality showcased in the depiction of space, spaceships, and planets. When it comes to sets and visuals, 20th Century Fox does not disappoint this year with films like Kingdom of the Planet of the Apes and The First Omen . The film’s sound design is excellent, from the creatures' sounds to the ships, but the biggest surprise is the ingenious use of silence which perfectly complements the emptiness and void of space. Cailee Spaeny continues to shine with her third major role of the year following Priscilla and Civil War . She continues to showcase her talent and I’m excited to see her upcoming projects especially Knives Out 3 . Meanwhile, Archie Renaux has gone from Prime Video rom-coms ( Upgraded , The Other Zoey ) to one of the biggest franchises in cinema—quite a glow-up. The actor proves himself more than worthy of it. Isabela Merced is very convincing in her role, but the standout of the film is none other than David Jonsson who brilliantly portrays a complex character. His nuanced and moving performance is one of the film’s major highlights. As for the music, while it may not be extraordinary, Benjamin Wallfisch has composed a solid score particularly excelling in the horror elements that highlight the grandeur of the creatures and the epic moments of exploration in deep space. Alien: Romulus pays homage to the very first Alien film in many ways, while also introducing new elements to the franchise through its world-building. We learn a little bit more about how the facehuggers operate and about a new serum that could be a game-changer in this universe. Just as the film seems to be wrapping up, a massive & crazy twist shakes everything up, likely to polarize Alien fans even further—especially considering how divided the community already is over Ridley Scott 's recent films such as Prometheus and Alien: Covenant . Intense and gripping, Alien: Romulus makes its way among one of the best Aliens films thanks to Fede Álvarez bold & innovative creative decisions. The film opens in theater this Friday on August 16. Rating: 4/5

Spider-Man fans may lament the lack of any Spider-Man 4 movie news at D23, however lucky attendees got a fresh look at what's to come in the upcoming animated series Your Friendly Neighborhood Spider-Man . Sadly we can't show it, but we can at least talk about it. A new clip was shown to the attendees, showing Peter arriving at Midtown High only to bet with another arrival. Unfortunately, it's of the unfriendly kind, as a mysterious symbiote comes through the portal. Doctor Strange intervenes to stop the interdimensional symbiote, Runaways' Nico Minoru is in danger as the symbiote has its eyes set on her. Peter tries to save her but is bitten by a mysterious spider that follows the symbiote through the portal. A few months later Norman Osborn is seen mentioning Peter. Your Friendly Neighborhood Spider-Man with a Twist Based on the aforementioned information this is a far cry from the source material where Peter is bitten by a radioactive Spider-Man, or in this case Spider-Man's MCU history, though it's worth mentioning that Your Friendly Neighborhood Spider-Man is in a totally different neighborhood from anywhere we know in the Marvel Universe. The series plays on Marvel's What If...? premise to introduce us to a familiar Spider-Man with a reimagined history as it plays by its own rules in its corner of the multiverse. One of the changes is that Spider-Man wears multiple suits including the Future Foundation suit. Akin to Tony Stark's role as a mentor and father figure to the MCU's Spidey since the events of Captain America: Civil War , Norman Osborn is that mentor to Spider-Man in this alternate history. Norman Osborn will be voiced by Colman Domingo, while Peter Parker/Spider-Man will be voiced by Hudson Thames. Though no release date has been confirmed by Marvel aside from a statement about the mentioned animated titles getting released within next 18 months, according to the US copyright Office Your Friendly Neighborhood Spider-Man is scheduled to be released on November 2nd, 2024. We believe this may be accurate considering that the same source accurately stated Agatha All Along 's release date which is September 18 in the US, and September 19 in Europe. Same listing confirms the casting of following characters: Hudson Thames as Peter Parker Eugene Byrd as Lonnie Lincoln Grace Song as Nico Minoru Hugh Dancy as Otto Octavius Kari Wahlgren as Aunt May Zeno Robinson as Harry Osborn About Your Friendly Neighborhood Spider-Man RELEASE DATE: TBA CREATOR: Jeff Tramell SHOWRUNNER: Jeff Tramell EXECUTIVE PRODUCERS: Jeff Tramell, Brad Winderbaum, Kevin Feige, Victoria Alonso, Louis D'Esposito WRITER: Jeff Trammell PRODUCTION COMPANY: Marvel Studios Animation Tentative synopsis: Peter Parker’s life, while getting ready for his High School orientation, is forever changed by events that send him on a journey like none before. In the first episode we discover that the new era of Spider-Man begins here!