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This review contains minor spoilers for 'It Was Just an Accident.' It Was Just an Accident © Memento Distribution It Was Just an Accident is a film about conflicting emotions. Sentiments like rancor and kindness, conviction and uncertainty, loathing and understanding should repel one another like oil and water, but in Jafar Panahi’s Palme d’Or Winner they converge in the messiest ways. Rather than defining themselves by their antagonism to one another, these ideas often find themselves under the same spotlight, where partial truths can become excuses, and mere accidents might mean so much more. The Iranian film follows a group of people with little in common, except for their shared traumatic past as political prisoners all tortured by the same intelligence officer, whose identity they must confirm, and whose fate they must decide together. Only able to identify their torturer, known as Eghbal (“Peg Leg”), by the sound of his squeaky prosthetic leg, the man they captured could be innocent, setting the stage for a political revenge tale full of doubt and contradiction. It Was Just an Accident is drenched in the same anxiety-inducing back-and-forths as the films of Asghar Farhadi such as The Salesman, A Hero, and A Separation , and examined through the documentarian-esque gaze historically inherited from the country’s influential Iranian New Wave. Vahid Mobasseri as Vahid and Hadis Pakbaten as Golrokh in It Was Just an Accident. © Memento Distribution The writer-director Panahi is no stranger to art as political resistance. The Iranian government has imprisoned him and attempted to censor his art countless times. Clearly, that hasn’t stopped him, and that punk ethos is present here, as the film was produced without official government permission. The women here don't always wear a hijab, which is punishable with prison time in Iran. Panahi’s film is a clandestine exercise on protest in more ways than one, but his delicate political commentary is beautifully rendered. Similar to last year’s The Seed of the Sacred Fig , directed by Iranian filmmaker Mohammad Rasoulof, who’s also been arrested several times, Panahi’s story studies the consequences of individual acts by agents of a repressive state as parables for wider conflicts. Mariam Afshari’s phenomenal character, Shiva, wonders whether retaliating against individual agents of the State is enough to substantially fracture the broader socio-political structure in which they’re merely cogs. It most likely isn’t enough, but can that partial truth disarm the victims’ immediate need for justice and resolution? It doesn’t even seem to work for Shiva, whose own stance on violence changes later on. In the opening scene, we see the man believed to be Eghbal driving a car, accompanied by his pregnant wife and young daughter. It’s a pitch-black night outside. They run over something - we hear a whimpering dog, then silence. “It was just an accident”, the mother says. “Whatever will be, will be. God didn’t place him in our path for no reason.” But the child doesn’t buy it. Her father killed a dog. God had nothing to do with it. Who is to blame: the flawed driver or the path devoid of light? Can someone surrounded by blinding darkness be exonerated from the harm they bring to others? Who accounts for what is done in God’s name, but outside His light? Panahi’s film asks all of these questions, and in an act of artistic maturity, answers none of them. It Was Just an Accident is refreshingly uninterested in pedestrian statements on religion. It critiques the misuse of faith as a tool for political repression and dehumanisation. The film illustrates the dialectical relationship between forces like faith and suspicion, and how atrocities can happen in between. The intelligence agent believes that if the prisoners he tortured were guilty, their punishment was justified, but if innocent, they will receive justice in heaven. Almost as if, like the dog killed earlier, they couldn’t have been placed on his path “for no reason." In this belief, he’s comforted by a sense of righteous certainty, while the victims now deciding his fate must grapple with doubt. Vahid Mobasseri as Vahid in It Was Just an Accident. © Memento Distribution The narrative exposes the irony of the contradictions intrinsic to being human. Vahid, the car mechanic who serves as the closest thing to a protagonist in this near-ensemble cast, materialises the concurrent movements of opposing sentiments. The faceless torturer ruined Vahid’s life, permanently injuring his back and leading his wife to suicide. Eghbal scarred him in ways he can never heal. Vahid begins the day nearly burying alive this man he suspects to be Eghbal. Cut to nightfall, and he’s desperately driving his suspected torturer’s pregnant wife to the hospital. Vahid Mobasseri brings to the screen one of the strongest performances of the year, imbuing so much life to this fascinating character. He might kill you but would also buy cake to celebrate the birth of your child because it’s the considerate thing to do. That's not the film's only instance of accidental humour cemented by that disconnect between words and actions. Throughout the film, Shiva’s ex-lover Hamid is the most vocal about enacting the violent revenge the presumed torturer deserves. Haunted by nightmares, he’s desperate for resolution. Mohammad Ali Elyasmehr's fantastic acting injects every scene with tension, a human stick of dynamite that ironically fizzles out the moment his feelings are hurt. Much of the cast's most pivotal moments expand on this fundamental dichotomy between their need for revenge and their mundane preoccupations. Goli, exquisitely played by Hadis Pakbaten, is a bride-to-be running around in a wedding dress discussing murder. A brilliant visual gag that also advances the film’s powerful moral provocations. Vahid Mobasseri as Vahid, Majid Panahi as Ali, Mohamad Ali Elyasmehr as Hamid, and Hadis Pakbaten as Golrokh in It Was Just an Accident. © Memento Distribution She makes it clear to her fiancé just how much revenge means to her, even if it costs them their wedding. She demands closure before starting a new life because, for the characters in It Was Just an Accident , revenge can mean several things. For Vahid, it's about payment for what was lost: a ruined life begets the end of another. For others in the group, it can mean new beginnings, though we can’t be certain they believe it themselves. The killing of the dog echoes through the final sequence of the film, as the alleged torturer awaits his judgement, tied to a tree while illuminated by the red lights from the car. The confrontation is lit with the same colour and contrast ratio as the scene in which the man examined the dog’s offscreen corpse earlier, a visual synonym that links the lives of the two and ties the film together. We remember the partial truths raised after the dog’s death. It is true, after all, that the path was dark - much like Iran’s political climate. It’s also true that the man couldn’t see what was ahead - similar to the individual agents that side with a status quo for which there are no alternatives in sight. But ultimately, the little girl’s words ring equally true: God had nothing to do with it. A man killed a dog. A man tortured people. All of these partial truths intertwine, and two questions are left: Is the truth enough? And can the light of forgiveness be found at the end of that dark road? It Was Just an Accident © Memento Distribution About It Was Just an Accident Premiere Date:  May 20, 2025 (Cannes Film Festival), October 1, 2025 (France) Writer: Jafar Panahi Director: Jafar Panahi Producers: Jafar Panahi, Phillippe Martin Production:   Jafar Panahi Productions, Les Films Pelléas, Bidibul Productions, Pio & Co, Arte France Cinéma Distribution:  Memento Distribution Cast:   Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, Mohamad Ali Elyasmehr, Delnaz Najafi, Afssaneh Najmabadi, Georges Hashemzadeh Synopsis: A small mishap triggers a chain reaction of ever-growing problems.

© Disney We recently launched our Nexus Off The Record segment, which covers news we cannot fully confirm or stories that are still developing. Entertainment industry changes constantly. Deals fall apart, shortlists shift, scheduling conflicts happen, and so on… The point is that you can report something that is accurate at the time, but by the time it becomes public, the situation may have changed and it can look as though the initial report was incorrect. A clear example occurred last year when we reported that Rodo Sayagues was set to write DC Studios’ The Brave and the Bold. DC Studios head James Gunn immediately refuted the claim. His response was valid based on the situation at that time, but the information we received had been accurate earlier in the process. The project’s status shifted, as is common in development, and the result was a discrepancy between what we knew then and what was true later. Experiences like this, along with several stories we held back that were eventually confirmed, led us to launch this segment, which brings us to today’s subject: Tangled. A live-action version of Tangled has been in development for several years. The project first gained traction internally but was reported to be placed on indefinite hold this past April. In early October, new information emerged indicating that the film had quietly resumed development and that Scarlett Johansson was attached to portray Mother Gothel. These details were not surprising given Disney’s interest in revisiting its animated catalogue. What followed was an extensive search for Rapunzel, a process that remains active. Screen tests and audition sessions are underway, but no definitive choices have been made, which has naturally led to speculation regarding potential candidates. We have gathered several names that are being eyed. One of the most prominently mentioned names is Sadie Sink, who gained widespread recognition through her breakout role in Stranger Things. Sink has spent the past year filming the Disney and Sony collaboration Spider-Man: Brand New Day, and she previously starred in Searchlight Pictures’ O’Dessa, which premiered earlier this year on Hulu. Given these collaborations, it is clear that Sink has been within Disney’s orbit for some time, which gives weight to the idea that she would be considered for one of the studio’s most iconic princess roles. Another name we have heard is Mckenna Grace. Grace appeared in Five Nights at Freddy’s 2 and Regretting You this year, and she recently completed filming Sunrise on the Reaping, the highly anticipated Hunger Games prequel. Grace was the go-to choice for studios seeking a child actor to portray younger versions of blonde characters, and she has already worked with Disney in that capacity through her portrayal of young Carol Danvers in Captain Marvel. Visually, she aligns closely with traditional interpretations of Rapunzel, which has led many to describe her as a natural fit. Emma Myers is also in consideration. Myers had her breakout role in Netflix’s global phenomenon Wednesday, where she became an immediate fan favorite. Following her success on that series, Myers secured the lead role in A Good Girl’s Guide to Murder, a Netflix adaptation that has already been greenlit for a second season. She has also starred in A Minecraft Movie, the second-highest-grossing video game film of all time . The final name on our list is Isabel May, known for her roles in Taylor Sheridan’s 1883 and 1923 series. She can next be seen in Scream 7 as the daughter of Sidney Prescott, played by Neve Campbell. At this time, it remains unclear whether any of these actresses have formally screen tested for the role of Rapunzel. What we can confirm is that all four have been discussed internally and are among the names circulating through various channels. Of the names shared with us, Sadie Sink was referenced most consistently, with several independent sources mentioning her in relation to the project. As is always the case with Nexus Off The Record, the details we present reflect the state of conversations at the time of publication. These situations evolve quickly, and what is accurate today may shift tomorrow.

The Abandons © Netflix Kurt Sutter made his name with Sons of Anarchy , a gritty, character-driven series that received both critical and audience love. Eleven years after the end of Sons of Anarchy , he is back with The Abandons , a new Netflix Western-Drama, which is unfortunately nowhere near the quality fans might expect from him. Set in the 1850s and following clashes between outlaw groups in the Old West, the series promises scale, style, and tension, yet delivers something closer to a cheap, soapy network Western dressed up with a bigger cast and bigger sets. The problems start immediately with what might be one of the worst pilots in recent memory. Predictable with a capital P , the opening episode sets the tone for a show that has no real depth, no emotional hook, and no sense of danger. The writing never gives you a reason to root for most of its characters. Aisling Franciosi’s Patricia Van Ness is perhaps the lone exception, but even she gets bogged down by poor writing. The show is full of half-baked subplots and inconsistent character motivations that take you out of the experience. Big names like Michiel Huisman and Nick Robinson are completely wasted, barely given anything meaningful to play. Gillian Anderson as Constance Van Ness and Michael Greyeyes as Jack Cree in The Abandons. © Netflix Gillian Anderson is the only cast member who appears genuinely invested, sinking her teeth into a character that’s easily the show’s most interesting, though that’s an admittedly low bar. Lena Headey, meanwhile, is saddled with a frustrating, unlikeable role that makes it nearly impossible to feel invested in her arc. Even when the acting isn’t outright bad, it rarely rises above bland, and the show’s self-serious tone only highlights the lack of charisma across the board. While the middle batch of episodes is marginally more watchable, The Abandons  never finds its footing. There’s a standout scene between Headey and Anderson in episode three that briefly sparks to life, hinting at the deeper, grittier drama the show could  have been. But it’s an exception in an otherwise forgettable stretch of television. The pacing is an ongoing issue, with the narrative meandering without building tension. And for a Western, the lack of action is baffling. What we get instead are half-hearted relationships that go nowhere and plot developments you can see coming from miles away. Visually, the show is surprisingly unimpressive. Despite Netflix’s budget, the cinematography lacks texture and atmosphere; nothing lingers, nothing immerses. The only real technical strengths are the costumes and the production design, which do a commendable job of capturing the era. But even those elements can’t make up for the flat direction and uninspired storytelling. Clayton Cardenas as Quentin Serra, Elle-Máijá Tailfeathers as Oma Serra, Katelyn Wells as Samara Alderton, Lena Headey as Fiona Nolan, Nick Robinson as Elias Teller, and Diana Silvers as Dahlia Teller in The Abandons. © Netflix At just seven episodes, The Abandons   sounds  like the kind of show built for a quick binge, but the silly, off-putting cliffhanger it ends on makes the journey feel even less worthwhile. It’s not the first time Netflix has tried a Western like this — the Australian series Territory  comes to mind, and that one was cancelled after a single season. This show might face a similar fate, and even its big-name cast might not be able to save it. It’s concerning to see Netflix moving in this direction: high-profile creators delivering low-effort, derivative projects that feel like algorithm-generated mashups of better shows. The Abandons  is dull, uninspired, and completely forgettable — a messy blend of recent Western and period dramas without the heart, grit, or originality needed to stand out. Don’t be surprised if it ends up on several “Worst TV Shows of the Year” lists. The Abandons © Netflix About The Abandons Premiere Date:  December 4, 2025 Episode Count:  7 Showrunner: Kurt Sutter Executive Producers:  Stephen Surjik, Otto Bathurst, Emmy Grinwis, Jon Paré Production:     Sutter Ink Distribution:  Netflix Cast:   Lena Headey, Gillian Anderson, Nick Robinson, Diana Silvers, Lamar Johnson, Natalia del Riego, Lucas Till, Aisling Franciosi, Toby Hemingway, Michael Greyeyes, Ryan Hurst, Katelyn Wells, Clayton Cardenas, Elle-Maija Tailfeathers, Brían F. O'Byrne, Marc Menchaca, Patton Oswalt, Michael Ornstein, Jonathan Koensgen, Jack Doolan, Michiel Huisman, Haig Sutherland and Sarah White.

Percy Jackson and the Olympians Season 2 © Disney + Percy Jackson and his Half-Blood comrades are back to show the Gods what true power and responsibility look like in the sophomore season of Percy Jackson and the Olympians . This time, our heroes sail the Sea of Monsters with more adrenaline-pumping action and higher stakes to treat those who have been hungry for a quest. Naturally, season two is based on Rick Riordan's second novel in his acclaimed Percy Jackson series, The Sea of Monsters. Shortly after meeting his Half-Blood, cyclops, half-brother, Tyson, Percy is haunted by prophetic dreams warning him of imminent danger involving his best friend, Grover. His quest to rescue the only satyr who has been more like a brother to him than his actual brother becomes intertwined with a journey across the Sea of Monsters to retrieve the Golden Fleece, to save the soul of Camp Half-Blood. Percy Jackson and the Olympians stars Walker Scobell as the titular hero, with Leah Sava Jeffries and Aryan Simhadri as fellow heroes Annabeth Chase and Grover. Daniel Diemer joins the gang as Percy's brother, Tyson. Stars returning include Charlie Bushnell as Luke Castellan and Dior Goodjohn as Clarisse La Rue. A New, Better Beginning Walker Scobell as Percy Jackson in Percy Jackson and the Olympians Season Two. © Disney+ The first couple of episodes of season two brilliantly set the stage for what's to come in this new saga for Percy Jackson and the Olympians. The writers find a middle ground for longtime book fans, new fans, and casual viewers. The story respects fans by exploring the established world without wasting time rehashing season one's events or alienating newcomers. While it is better to watch season one first, anyone can jump to season two and follow along. Without going too much into spoiler territory, season two immediately introduces Percy's brother, Tyson, reintroduces a battle-ready Annabeth, and establishes a new threat to Camp Half-Blood within a matter of minutes through clever exposition before our heroes are thrust into a heated situation. When the dust settles for three seconds, Poseidon confirms that Tyson is indeed his biological son, giving Percy emotional whiplash. There is not a single dull moment here. The new season feels slightly more like a soft reboot than a sequel. Despite most of the original cast returning, the journey into the Sea of Monsters marks a creative metamorphosis for the series, as season two dives deeper into action, adventure, and fantasy. Percy and his friends are not the same kids we met two years ago. They are older, wiser, but more traumatized than they realize, which is expected considering that they are child soldiers born to Greek Gods. Half-Blooded, Whole Heroes Walker Scobell as Percy Jackson and Leah Sava Jeffries as Annabeth Chase in Percy Jackson and the Olympians Season Two. © Disney+ Walker Scobell's Percy Jackson behaves as any normal teenage boy would when he discovers he has a cyclops half-brother two years after finding out that his father is the God of the Sea. All jokes aside, Scobell once again does justice to the titular character while showcasing different sides of his self that complement his growth. Circumstances forced him out of having an innocent childhood, so naturally, he is more stoic and cynical, but he is also more courageous and confident, with his loyalty and humour remaining intact. Leah Sava Jeffries's Annabeth Chase is almost exactly how we met her two years ago, except more extreme. Annabeth has always been like how Percy is now, multiplied by ten. Jeffries characterizes Chase as a veteran soldier struggling with PTSD, making her equally tragic and vulnerable. Despite her demons, she never runs from a fight; she is always ready to protect the ones she considers family, making her the perfect deuteragonist to Percy Jackson. Her organic chemistry with him, complemented by their characters' history, proves they are kindred spirits drawn to protect each other. Daniel Diemer is a wonderful addition to the family as Tyson, the brother Percy did not know he needed. He is a jolly giant who happens to be Percy's little and big brother at the same time, struggling to find his place in the world, or worlds. He does not seem to fit in anywhere unless it's by Percy's side. Given that Tyson is a cyclops, Diemer's ability to emote with his eyes seems restricted. However, Diemer lives up to the challenge, adapting with the rest of his body to humanize his character as much as possible. Diemer presents Tyson with child-like wonder and a wide emotional range that invites fans to adore this character when many other characters shun him. Ancient Fantasy in Today's Reality Daniel Diemer as Tyson in Percy Jackson and the Olympians Season Two. © Disney+ In an age when movie magic seems dominated by green screens and CGI, and while the threat of AI looms like a virus, Percy Jackson and the Olympians showrunners Jonathan E. Steinberg and Dan Shotz set out to remind everyone of the irreplaceable beauty of practical effects in the world we continue to take for granted. The Percy Jackson crew   took full advantage of their locations in Vancouver to create stunning set pieces on a TV budget to invoke the spirit of Ancient Greece, while the makeup department brought monsters to life on an award-worthy scale. The series is still obviously not without its CGI and VFX, and there is room for improvement in those areas. Certain shots of Tyson have him looking like his eye is photoshopped. However, the magnificence of the practical nature makes those hiccups forgettable. There is a clear preference to take filmmaking back to its roots to deliver an authentic, tangible viewing experience. The crew's efforts do not go in vain; the result is a fantastic experience that pays tribute to the golden age of cinema. Final Verdict Walker Scobell as Percy Jackson in Percy Jackson and the Olympians Season Two. © Disney+ Percy Jackson and the Olympians delivered an amazing first season, but the writers don't concern themselves too much with how to make a better season. Instead, they focus on what comes next and how to make Percy and his supporting cast better equipped to deal with it. The grander story, evolution, action sequences, and personal growth are results of the time invested in the characters and lore Rick Riordan has crafted. If the first two episodes are any indication, fans old and new will love Percy Jackson and the Olympians Season Two. Percy Jackson and the Olympians Season Two premieres on December 10 on Disney+. Percy Jackson & the Olympians Season 2 © Disney + About Percy Jackson and the Olympians Season 2 Premiere Date:  December 10, 2025 Based on: The Book series, Percy Jackson and the Olympians, by Rick Riordan Episode Count:  8 Showrunners: Jonathan E. Steinberg, Dan Shotz Writers: Jonathan E. Steinberg, Joe Tracz, Monica Owusu-Breen, Andrew Miller, Craig Silverstein, Directors: James Bobin, Anders Engström, Jet Wilkinson Production:   Co-Lab21, The Gotham Group, Mythomagic, Quaker Moving Pictures, Quaker Moving Pictures, 20th Television Distribution:  Disney Branded Television, Disney+ Cast:   Walker Scobell, Leah Sava Jeffries, Aryan Simhadri, Daniel Diemer, Charlie Bushnell, Dior Goodjohn Synopsis: Percy Jackson sails to the Sea of Monsters to rescue his friend Grover and save Camp Half-Blood.

© DC Studios Pre-production on the highly anticipated sequel to The Batman  finally ramps up with the first bit of casting news. Sources tell Nexus Point News that Scarlett Johansson is in talks to join The Batman - Part II . Details on who Johansson would potentially portray are being kept under wraps, but the role may be a new love interest to Bruce Wayne. Like the first film, Matt Reeves returns to direct with a script co-written by him and Mattson Tomlin ( Project Power , Terminator Zero ). Reeves will produce through his 6th & Idaho production company alongside producing partner Lynn Harris. Dylan Clark, who produced the first film, will produce the sequel as well. With the film now being under DC Studios, co-heads, James Gunn and Peter Safran, will serve as producers on the project as well. Confirmed cast returning for the sequel are Robert Pattinson, Jeffrey Wright, Andy Serkis, and Colin Farrell as Bruce Wayne / Batman, Jim Gordon, Alfred Pennyworth, and Oswald “Oz” Cobb / The Penguin. At the moment, Zoe Kravitz is not expected to return as Selina Kyle / Catwoman. Production is expected to begin in late April 2026 and continue into Fall at Warner Bros.’ Leavesden studio. Potential characters that Johannson could be portraying are Andrea Beaumont / The Phantasm, Pamela Isley / Poison Ivy, Vicki Vale, or Julie Madison.  Beaumont made her debut in the animated film, Batman: The Mask of the Phantasm in 1993 and was created by Alan Burnett, Paul Dini, and Bruce Timm. Beaumont was a past love interest to Bruce who later breaks off her engagement to him to go into hiding with her father to escape Gotham’s mobs. Years later, she reappears in Bruce’s life alongside the mysterious vigilante, the Phantasm who is revealed to be Beaumont, who is now on a mission to hunt down her father’s enemies. Beaumont would later debut in the comics in Tom King’s Batman/Catwoman series.  Poison Ivy debuted in Batman #181 in 1966 and was created by Robert Kanigher, Carmine Infantino, and Sheldon Moldoff. Ivy is a former botanist turned super-powered ecoterrorist. Over the years she’s been portrayed by a variety of actresses in several forms of media. Vicki Vale debuted in Batman  #49 in 1948 and was created by Bill Finger, Bob Kane, and Lew Schwartz. Vicki is a reporter for the Gotham Gazette and an occasional love interest to Bruce. Vale has been portrayed by Jane Adams and Kim Bassinger in Batman and Robin  (1949) and Batman (1989), respectively.  Julie Madison debuted in Detective Comics  #31 in 1939 and was created by Gardner Fox, Bob Kane, and Sheldon Moldoff. Madison is often depicted as a socialite or actress and is known for being Bruce’s first love interest in the comics. Madison has been portrayed by Elle Macpherson in Batman & Robin  (1997). Johansson is best known for her role as Natasha Romanoff/Black Widow in the Marvel Cinematic Universe, which she has portrayed in nine films across the franchise. Her other credits include Her , Under the Skin , Lucy , Jojo Rabbit , and Marriage Story . She was most recently seen starring in the latest entry in the Jurassic Park  franchise, Jurassic World Rebirth  and will next be seen leading Mike Flanagan’s upcoming The Exorcist  film. Johansson is repped by CAA and Yorn Levine LLC. The Batman - Part II is scheduled to be released on October 1, 2027 by DC Studios and Warner Bros. Pictures.

© Marvel After two decades of appearing in comic books, Wiccan is finally headlining a story of his own with Wiccan: Witches’ Road by writer Wyatt Kennedy and artist Andy Pereira. The pressure is on for this comic to deliver, as longtime fans have been asking for this for years, and many new fans are eager for a jumping-on point to start reading comics after Wiccan’s live-action debut in Marvel Studios’ Agatha All Along . The basic premise of Wiccan: Witches’ Road #1 is that Wiccan, aka Billy Kaplan-Altman, and Hulkling aka Teddy Kaplan-Altman are injured and crash down from space after the events of Imperial . This signifies a larger status-quo shift for these two as Marvel is bringing them back to Earth after their time as the Kings of Space. Time is of the essence to heal Hulkling as our heroes fight to overcome their new dangerous environment. More importantly, Wiccan and Hulkling are written extremely authentically. Wyatt Kennedy’s dialogue is the standout here as he builds on Billy and Teddy’s honest, playful, loving relationship that Allan Heinberg set the foundation for long ago in Young Avengers that writers like Kieron Gillen, Al Ewing, and Anthony Oliveira have shepherded forward. I particularly enjoy how Kennedy isn’t afraid to have Billy and Teddy verbally jab each other just a bit, in a way any longtime couple would. But there is no maliciousness or bitterness to be found, their love shines through as bright as ever. On top of that, this book has a few great jokes that made me actually laugh… or maybe groan with a smile –yes, one was the line about a tent, you’ll know when you see it. Wiccan himself feels very familiar. He has his kindness, his confidence, a touch of arrogance, his talkativeness, and an eagerness that feels appropriate for a 20-something year old. Kennedy’s writing and Pereira’s drawing work in tandem here, always making it clear how Billy feels. Billy is definitely at a disadvantage in the story given his lack of magic, but his quickness to adapt to things like using a sword just feels right for an Avenger who has years of battle experience under his belt at this point. And, it’s just plain cool. However, this comic isn’t just for longtime fans; it works well as a jumping-on point for new readers too. Kennedy starts by quickly catching readers up on the background you need to know – with a creative way of explaining Wiccan’s complicated origin – and then drops you right into a new, fresh story. Sure, there are details that longtime fans will appreciate, but this story intentionally stands on its own and does not require any prior knowledge outside of what is told to you in the exposition. Wiccan: Witches’ Road #1 is a strong Marvel Comics debut for artist Andy Pereira. Billy and Teddy are drawn in a visually pleasing way with detailed emotion and expression packed into each panel. The settings and environments are given lots of care too, successfully setting the mood for this witchy story. The action sequences in particular are top-notch and feel like a step up from a lot of the medium right now. Bryan Valenza’s colors feel painterly, properly supporting a fairy tale-esque story. The way that he does warm, gradient skies and lighting that contrast with spooky environments feels especially unique here and helps this comic stand out. Ariana Maher’s letters are strong, giving appropriate emphasis and dramatizing lines where impactful. I am curious to see how she will depict Billy’s magic later in the story. Note that the following sections contain heavy plot spoilers. The very initial setup of the plot does contradict the ending of Imperial , confirmed to be due to a communication error between the teams. Teddy is injured, not Billy, and they appear to have crashed rather than America Chavez portaling them as the ending of Imperial suggests. The plot also hinges on Wiccan and Hulkling being in a pretty weakened and injured state. Reality warpers like Wiccan being limited is a common trope in comics. While this is narratively important for the story at hand and the arc Kennedy is crafting, I do hope this does not last the entire series, as I really felt the absence of Billy’s spellcasting and reality warping in this issue. When we only have five issues, visual and narrative real estate is limited. Kennedy still provides the magic both with the setting, and an intriguing antagonist at the end in Baba Yaga, who shows off some unique and exciting witchy action. Her words about Wiccan having a responsibility to Earth’s elements are perhaps the most relevant for Wiccan’s future. I suspect Kennedy may be weaving a throughline between Billy’s past elemental affinity in lightning and his overall reality warping and destiny as the Demiurge. About Wiccan: Witchesʼ Road #1 Release Date:  December 03, 2025 Written by:  Wyatt Kennedy Art by: Andy Pereira Cover by: Lucas Werneck Page Count: 28 Synopsis:  SOMETHING WICCAN THIS WAY COMES! A dark, macabre adventure awaits down the Witches' Road that will reshape Wiccan- and the magical fabric of the Marvel Universe- forever… Wiccan and Hulkling arrive back on Earth…but nothing can ever be easy for Marvel's favorite (former) space emperors! With Hulkling grievously wounded, it's up to Wiccan to save the day - but what lengths will he be willing to go to do so?

© Marvel Comics Peach Momoko’s Ultimate X-Men  run has been a standout, impressive even among the bold reinventions across the Ultimate line’s four core titles. The book’s distinctive Japanese setting and all-female cast already set it apart, but Momoko handling both writing and art has allowed her to craft something unmistakably her own. The result feels uniquely “Momoko,” yet remains accessible and entertaining for longtime X-Men fans and newcomers alike. In Ultimate X-Men #22 , Momoko circles back to the core conflict that hooked readers from the very beginning: the tension between Hisako and Kageyama. Last issue pitted the X-Men against the Children of the Atom, empowered by the MY-X biological weapon. The children proved an issue until Kageyama, the Shadow King, arrived and neutralized their powers. Since the MY-X formula originated from his abilities, he was able to clear the battlefield of everyone, but Armor and the X-Men. Kageyama’s fixation on Hisako is as unsettling as ever, and their clash dominates the issue, echoing their confrontation in Ultimate X-Men #1 . Back then, Hisako’s armor gave her the edge she needed to survive. But both she and the boy who became the Shadow King have evolved since that first encounter, and the outcome this time is far from certain. Hisako may have her friends beside her, but Kageyama continues to show just how overwhelming his power can be. Ultimate X-Men #22 © Marvel Comics The final pages of the battle land with a ton of force – shocking, but clearly foreshadowed if you revisit the series’ opening issue. It’s an emotional chapter, and Momoko delivers on every level. The art is stunning, especially during the climactic showdown between Armor and the Shadow King, and the writing and panel layouts amplify each emotional beat, even when the palette turns muted and gray. Though this issue feels like an ending, the story isn’t over yet as the Ultimate Universe carries on for a few more months. While I’m eager to see how far our heroines are pushed, I do hope they survive the experience. Ultimate X-Men #22  © Marvel Comics About Ultimate X-Men #22 Release Date:  December 03, 2025 Written by:  Peach Momoko Art by: Peach Momoko Cover by: Peach Momoko Page Count: 27 Synopsis :  THE FINAL SHOWDOWN BETWEEN ARMOR AND SHADOW KING! Kageyama has proclaimed death to Hisako! But the X-Men aren't going to go down without a fight!

Oh. What. Fun. © Amazon MGM Studios Christmas time often maintains the illusion of the perfect a holiday; great food, reuniting with family, celebration, and best of all, presents. Every year a palpable anticipation builds around late September, as supermarkets start stocking seasonal varieties of their usual goods, spawning the usual “but it’s not even Halloween yet!” comments from nearby shoppers. Eventually, this chaotic madness spreads like a plague, each victim coming down with a head-bobbing inducing fever as Mariah Carey inevitably returns to the charts and households are driven to their wits' end with music repeats and stress. Oh. What. Fun.  harnesses this anarchy with a terrifying realism. Claire Clauster (Michelle Pfeiffer) is the core of her orderless family, with children at wildly different stages of life, some even having their own kids, she manages to reunite the family tree over the holiday period. Her loving contributions are endless, from perfected baked goods to beautifully wrapped presents and an overly competitive feud with the neighbour across the road, Christmas wouldn’t be the same without Claire and her non-stop festivities. With many mothers guaranteed to relate, Claire feels underappreciated and forgotten, a feeling that becomes reality when her family leave her behind on a special outing she organised. Taking this in her stride, Claire embarks on an adventure to rekindle her spark and discover the wonders of an unplanned Christmas alone.  Oh. What. Fun. ©Amazon MGM Studios Beginning with a slower tempo (the calm before the storm), Oh. What. Fun. allows audiences to gel with family-feuds and relationships before the drama occurs. Perhaps this elongated build up is unconventional in a Christmas flick, of which are usually snappy and carry an energetic bounce, but this ultimately lends a hand to the narrative that otherwise struggles. The foundation of success within Amazon MGM Studio’s latest release stems from these dynamics, in the duller moments audiences will remain intrigued thanks to the delightful comedy sewn throughout, even if they are unable to cover up the flaws of a muddled script. Due to a relaxed opening, the later minutes carry a cumbersome challenge occuring at a heart attack inducing pace, unable to wrap individual sub-plots in ways that feel unique and deserving for each character, resulting in a somewhat generic and unearned conclusion.  Accompanying the legendary Michelle Pfieffer ( Batman Returns ) within the film is her on-screen children; Sammy (Dominic Sessa), Channing (Felicity Jones) and Taylor (Chloë Grace Mortez), as well as recognizable stars within Jason Schwartzman  (Spider-Man: Across the Spiderverse),  Eva Longoria ( Brooklyn Nine-Nine)  and Denis Leary  (Ice Age ). Together the cast blend together seamlessly, portraying a belligerently bickering cohort of relatives that deliver an outstandingly accurate depiction of a panicked, stressed and hungry family over this festive period. Unexpectedly, Pfieffer ( Scarface ) furnishes the film with a stunning performance as an overworked mother, yet Dominic Sessa brings an equally brilliant and much welcome witty charm and zing to the picture. One similar to that of his role as schoolboy Angus Tully in 2024’s Academy Award nominated The Holdovers .  Frustratingly, as Oh. What. Fun. progresses it becomes evidently clear that the Christmas excitement relies heavily on the cast’s delectable chemistry and unearned relatability for achievement, as the actual narrative of adventure and deeper discovery of purpose becomes entirely lost around the halfway mark. Clocking in with a runtime of 1 hour 46 minutes, Oh. What. Fun. possesses enough opportunity for further exploration of Michelle Pfieffer’s Claire outside the familial setting, yet this never occurs.  Instead, a hasty storyline involving her connection to a beloved talk show replaces any potential. As this gains traction, audiences may find themselves relying more on the secondary events and people Claire meets for entertainment, rather than the film’s main plot. Instead, the scriptwriters focus on not straying too far from obvious source inspiration within Christmas classics, such as Home Alone  (1990), attempting, and failing, to replicate their magic.  Oh. What. Fun.  © Amazon MGM Studios Overall, Oh. What. Fun. carries enough charisma and laughs to cross the finish line and deliver a fun entry to the library of modern Christmas entertainment. Unfortunately, however, rather than removing training wheels as the plot progresses, it adds even more stabilizers, afraid of offering a final product too unconventional, stinking of ‘streaming safety’ - the concept of avoiding anything ambitious and thus falling into genericity. This isn't helped by bland cinematography and colour grading equivalent to a Hallmark movie. Thankfully, the first half establishes likeable enough characters and relationships that carry the picture through, even if it never gives illustrious stars, such as Academy Award nominee Felicity Jones ( The Brutalist ), enough meat in their writing to match the incredible talent they possess.  Oh. What. Fun. © Amazon MGM Studios About Oh. What. Fun. Premiere Date:  December 3, 2025 Writer: Chandler Baker & Michael Showalter Director: Chandler Baker & Michael Showalter Production:   Metro-Goldwyn-Mayer,Semi Formal Productions, TriBeCa Productions Distribution:  Amazon MGM Studios Cast:   Michelle Pfeiffer, Felicity Jones, Chloë Grace Moretz, Denis Leary, Dominic Sessa, Danielle Brooks, Devery Jacobs, Havana Rose Liu, Maude Apatow, with Jason Schwartzman with Eva Longoria and Joan Chen.

© DC As announced last month, DC Studios is currently casting Brainiac, the lead villain to Man of Tomorrow .  Sources tell Nexus Point News that Claes Bang, Matt Smith, and Sam Rockwell are among those on the short list for the highly anticipated Superman antagonist. However, we should note that some of the names we have mentioned have not been independently verified fully, as casting remains ongoing and no offers have been made. One piece of information told to NPN was budget restrictions at DC Studios may prevent certain desirable names to be cast. Claes Bang is best known for starring in The Square  and BBC’s Dracula series. He also portrayed the antagonist in Robert Eggers’ The Northman . Matt Smith is best known for his work on Doctor Who  where he portrayed the titular Eleventh Doctor and The Crown where he portrayed Prince Philip. His credits also include House of the Dragon , Morbius , and Caught Stealing . Sam Rockwell most recently was featured in the latest season of The White Lotus  which earned him an Emmy nomination. He’s known for his roles in Iron Man 2 , Vice , and Three Billboards Outside Ebbing, Missouri which earned him an Academy Award for Best Supporting Actor in 2017. James Gunn is set to write, direct, and produce the film. DC Studios’s co-CEO and chairman, Peter Safran, will produce along with Gunn. David Corenswet and Nicholas Hoult are set to reprise their roles as Clark Kent/Superman and Lex Luthor, respectively and will serve as co-leads of the film. Additionally, Frank Grillo is confirmed to return as Rick Flag Sr. Although the film will continue their rivalry and feature Lex as an antagonist, rumors suggest they will also join forces as well. Although unverified, NPN exclusively reported that Supergirl (Milly Alcock), Lobo (Jason Momoa), and Peacemaker (John Cena) will have roles in the film as well. Production for the film is set to begin in April in Atlanta and shoot through the summer.  Superman released on July 11, 2025 as the first feature film from DC Studios and the first film of the newly launched DCU. In addition to Superman and Luthor, the film introduced fans to the DCU’s Lois Lane (Rachel Brosnahan), Jimmy Olsen (Skyler Gisondo), Mister Terrific (Edi Gathegi), Guy Gardner/Green Lantern (Nathan Fillion), Hawkgirl, Supergirl, Perry White (Wendell Pierce), and more. The film had a $225 million budget and earned $616 million in its global theatrical run. Threads of the storyline introduced in Superman  will be explored in season 2 of Peacemaker , which recently concluded. Future DCU projects include HBO’s Lanterns and Supergirl  which are currently in post-production and Clayface  which is currently shooting in Liverpool. DC Studios’ Man of Tomorrow is set to be released by Warner Bros. Discovery on July 9, 2027.

© Hanna-Barbera Frank Welker, the legendary voice actor who has portrayed both Fred Jones and Scooby-Doo for more than five decades, has joined Netflix’s upcoming live-action Scooby-Doo series, lending his voice once again to the titular Great Dane. Netflix first unveiled the project in March, confirming that Josh Appelbaum and Scott Rosenberg are set to serve as showrunners on what’s being described as a “modern reimagining of the iconic mystery-solving group of teens and their very special dog.” The series logline teases a darker, heightened take on the beloved franchise: During their final summer at Camp Ruby-Spears, old friends Shaggy and Daphne become entangled in a haunting mystery involving a lonely Great Dane puppy who may have witnessed a supernatural murder. Alongside pragmatic townie Velma and the enigmatic new kid Freddy, the group is pulled into a chilling investigation that threatens to unravel the secrets each of them is hiding. After months of silence, movement on the project has finally begun. Sources tell us the production is currently casting teen actors to play the high-school-aged leads, with the creative team seeking fresh faces for the ensemble. Screen tests are now underway. Filming is expected to begin in April 2026 in Atlanta. Based on the classic Hanna-Barbera characters, the live-action adaptation is produced by Appelbaum and Rosenberg along with their production company. Greg Berlanti, Sarah Schechter, and Leigh London Redman will executive produce via Berlanti Productions, with André Nemec and Jeff Pinkner on board through Midnight Radio. Warner Bros. Television and Netflix are co-producing. Welker, one of the most prolific voice actors in Hollywood, is widely recognized for his decades-long tenure as Fred and Scooby-Doo across animated series and films. His extensive credits also include iconic roles such as Megatron and Soundwave in the Transformers franchise, Abu and Rajah in Disney’s Aladdin , Nibbler in Futurama , and Garfield in Garfield Gets Real and Garfield's Fun Fest , among hundreds of others. He is repped by Tisherman Gilbert Motley Drozdoski Talent Agency (TGMD). Netflix has not yet announced a release date for the series.

This article contains spoilers for St. Denis Medical  S2E6. Mekki Leeper as Matt and Kahyun Kim as Serena in St. Denis Medical © NBC Season 2 of St. Denis Medical  has allowed the series to settle comfortably and confidently into its rhythm after a promising first season. The ensemble remains reliably strong, but until now, the audience has been offered limited insight into many of the characters’ lives beyond the hospital floor. “I Left a Woman on the Table” changes that, delivering the most character-driven episode to date as Matt (Mekki Leeper) is confronted by an unexpected piece of his past, something that quickly becomes the talk of the hospital. The episode sets this in motion from the outset, when Violet (Jessica Lowe) finds herself in the ER. She insists to Alex (Allison Tolman) and Serena (Kahyun Kim) that she isn’t physically hurt because the real pain is in her soul after she and her husband, who works at the hospital, got into a big fight. Violet is adamant that she’ll win him back, which immediately piques the curiosity of both women, who want to know who the unidentified man is. The husband of Violet in question is Matt, who walks by mid-conversation, spots his ex, and immediately crashes into a gurney. It’s an excellent bit of physical comedy that also underlines how unprepared he is for her return into his life. We soon learn that the pair were married for a couple of years before separating when Matt left their community to attend nursing school. The revelation shocks St. Denis, with Bruce (Josh Lawson) baffled at the prospect of a human woman having married Matt, highlighting his continual insecurities, particularly surrounding Matt's perceived success. Elsewhere, Joyce (Wendi McLendon-Covey) approaches Alex to discuss slow patient turnover. She insists she’s not blaming Alex, only the nurses under her, a dig aimed at Val (Kaliko Kauahi), who refused to leave during the conversation. Joyce frames the issue as one of attitude rather than staffing, arguing that the department’s nurses need more pep. Alex counters with the obvious: they need to hire more staff. Joyce wants them to hit 50 discharged patients per shift, which is doable, given their average is 40. However, with the news that they’re already a nurse down, Joyce responds by becoming Nurse Henderson, MD, throwing herself into the ED. It’s an amusing exaggeration of managerial disconnect (and someone trying to work within their means budgetarily), but it works because McLendon-Covey plays the scenario with such earnestness. For viewers invested in even the slightest development between Matt and Serena, you're in luck this week. Serena is stunned that Matt never mentioned his marriage, and he admits he didn’t want to seem like the weird guy. Ron (David Alan Grier) dryly counters that he is the weird guy, and that his marital status wouldn’t have changed a thing. Matt’s hesitance grows when he asks Ron for advice about exes wanting to reconcile, only to receive a hilariously bleak anecdote about his ex-wife and life insurance payout. Serena offers clearer guidance, advising Matt not to revisit the relationship unless he’s genuinely still in love with Violet. It’s the level-headed answer you’d expect from her, but also for someone pining for the other.  With Matt’s former marital status rattling him, Bruce reaches out to an ex, Dr. Emerson (Ariana Madix), only to be reminded that she left him because he wasn’t emotionally available. His confession that her dirty car gave him “the ick” summarises Bruce’s knack for self-sabotage. She’s already dating Chaplain Steve (Stephen Schneider), leading to an absurd but entertaining dance-off between the two men, set to the Brandy song Baby . Emerson walks away from them, mortified to have dated either man. The subplot is slight but highly entertaining, ending with an unlikely friendship between Bruce and Steve that eases the latter's loneliness. Stephen Schneider as Chaplain Steve, Ariana Madix as Dr. Emerson, and Josh Lawson as Dr. Bruce in St. Denis Medical © NBC Meanwhile, Joyce remains determined to hit her self-imposed goal of discharging 50 patients. Alex and Val realise that if she succeeds, St. Denis will use the milestone to justify not hiring more nurses. They devise a tactic to have Joyce call an insurance company to authorise a patient's MRI. The scan can’t be deemed necessary without the MRI, but the insurer won’t approve the MRI unless it’s already deemed necessary, a catch-22. However, to Joyce’s credit, she reaches her target, despite looking unwell from the effort. She offers only an additional half-shift per week to help staff out, a realistic compromise neither she nor Alex is happy with. While all this unfolds, Matt insists that he and Violet no longer have a real connection. But when Ron suspects that Violet has a gallbladder infection due to her high white blood cell count and will need an ultrasound, Matt’s attitude changes as Violet and the isolated community they grew up in do not trust conventional medicine. Ron’s tactless response, “Does inbreeding improve the immune system?”, is the episode’s biggest laugh, even if it’s followed by an unexpected change of opinion when he selfishly tries to learn more about the Northern Montana Homesteads. His enthusiasm wavers when he learns that moving there requires being double circumcised, another hilarious turn in a strong episode. When Violet decides to leave, Matt panics. He backtracks on his earlier dismissal, not to rekindle their romance but to keep her in the building long enough to receive treatment. He takes her hand and asks Ron to arrange the ultrasound, unaware that Serena sees it and misinterprets the gesture. It’s a classic sitcom misunderstanding, which nudges Matt and Serena’s slow-burn storyline forward, especially when the latter acts out of jealousy. Violet eventually realises that Matt is overstating his feelings to convince her to stay, influenced by Serena’s frustration at the suggestion that he still loved her. When Matt kisses her to settle the issue, she recognises that the spark they once shared is gone. Jessica Lowe as Violet, Mekki Leeper as Matt, and Kahyun Kim as Serena in St. Denis Medical. © NBC The episode closes with Matt telling Serena that he didn’t give Violet the “full Matt magic” in the kiss, a phrase the show will almost certainly revisit once the pair finally acknowledge their feelings. Violet, for her part, recognises that Matt’s life at St. Denis suits him. The hospital, she observes, is his family now. What ultimately makes “I Left a Woman on the Table” a standout episode is the way it deepens our understanding of the people who fill the halls of St. Denis. It’s funny, revealing, and heartfelt, giving Matt a moment of vulnerability while laying the groundwork for meaningful developments across the ensemble. If the series continues to build on this, St. Denis Medical may well secure its place as one of network television’s most quietly rewarding comedies. St. Denis Medical . © NBC Universal About St. Denis Medical Premiere Date:  1 December 2025 Episode Count:  18 Showrunner: Eric Ledgin Executive Producers:   Eric Ledgin, Justin Spitzer, Simon Heuer, Ruben Fleischer, Bridget Kyle, and Vicky Luu. Production:   Universal Television, a division of Universal Studio Group, More Bees, Inc. and Spitzer Holding Company. Cast:   Wendi McLendon-Covey, David Alan Grier, Allison Tolman, Josh Lawson, Kahyun Kim, Mekki Leeper, and Kaliko Kauahi. Synopsis: St. Denis Medical  is a mockumentary about an underfunded, understaffed Oregon hospital where the dedicated doctors and nurses try their best to treat patients while maintaining their own sanity. In season two, after receiving a large private donation, hospital administrator Joyce bites off more than she can chew while her employees navigate staff shortages, office conflicts and their own personal lives.

© Apple TV Apple TV's Prehistoric Planet has become a landmark showcase of what modern technology can achieve in natural history storytelling. The series brings to life animals that vanished millions of years ago, species we will never see in the real world, yet presents them as if they were filmed today. The first two seasons transported viewers to the age of dinosaurs, narrated by none other than Sir David Attenborough, giving the prehistoric world a sense of realism and wonder. The latest season shifts closer to our own time, exploring the Ice Age, with Tom Hiddleston taking over narration. Mike Gunton, Senior Executive at the BBC Natural History Unit and Executive Producer of Prehistoric Planet, talks to us about the making of the series, the decision to change narrators, and the scientific and creative challenges behind this groundbreaking production. One of the biggest surprises this season is that Tom Hiddleston is now narrating instead of Sir David Attenborough. How did that change come about? Mike Gunton: I think it's interesting you say surprise. We're moving 58 million years further, closer to our time. I just thought it was a new series, a new era. We just thought it would be interesting to change the voice, and Tom seemed a really good choice. He's one of the Apple universe voices for Natural History, so it seemed a good choice. I think he's done a lovely job. I really like his narration on it. He definitely did! I enjoyed listening to him throughout the five episodes. Mike Gunton: Great fan as well, I should say. He's got a young son who loves this kind of prehistoric dinosaurs and woolly mammoths and things. Every time we did a narration, he'd go straight home and tell his little boy about it all, so it was lovely. Yeah, perfect choice. When you began in natural history filmmaking, the idea of doing a completely believable documentary about the distant past might have sounded impossible. How do you reflect on the fact that we now have the technology to bring that vision to life so convincingly? Mike Gunton: I think you've hit the nail on the head there, really. I've always been interested in that kind of history. As a student, I did a paleontology joint degree at one point. I've always been interested in that prehistoric past, but equally, I've always felt that I spent most of my life filming, as you say, contemporary animals, but the inspiration of this actually came whilst doing that. I was in Africa filming the opening of a series, and David Attenborough was there… We were standing on a mountain, basically on the equator, and David says something like, "Nowhere on planet Earth does nature put on a greater show than here, in Africa." I thought, "That's absolutely true, hold on a minute!" That has not always been the case. There are other times in history when that's true. The obvious time to go back to was the end of the Cretaceous, when we had the superstar dinosaurs. But having done two seasons, and this approach, which is kind of to make a Planet Earth -type show but in the past, it was only possible because of the technology to make the animals feel absolutely authentic… But also, so that we could film it and shoot it and tell the stories in a Planet Earth style, so it felt really authentic… Having done those two shows, I thought, "Well, now, technically, mammals - and I say animals - that's going to be hard. Are we ready to do that?" Talking to everybody, we thought, we now can. That's why we thought, we'll shift from 2 million years [ago] to about 10,000 years ago, and tell the story of the Ice Age, because that's the other time when the world was extraordinary. Huge climatic changes, the Earth was kind of in turmoil, and all these extraordinary creatures were prowling around, doing these amazing things. Also, it feels quite close, doesn't it? It feels like you've got to almost reach them, but that makes it even more challenging. That's why the technology had to be so good to be able to deliver this convincing representation. Prehistoric Planet: Ice Age © Apple TV We are grateful you brought this to life, because it's so educational and so beautiful. I was watching it for the interview, revisiting the old seasons, and then there was family watching, and they were so into it, and they were so intrigued that someone made something like this. Mike Gunton: It's a joy to do it, and it's a joy to hear that reaction, because part of my reason for existence is to tell people about the wonders of nature, and I've done that for many, many years about what we can see around us today. To have the opportunity to just tell people about things that they could never see until we invent a time machine, this is as close as you're gonna get to living in the Ice Age, and I think it's a pretty convincing experience. So, for people to share that experience, it's just so gratifying. It's a joy to do it. The environments and the animals are so astonishingly detailed. How did your team approach depicting these animals in a way that still feels like a wildlife documentary and not a visual effects showcase? Mike Gunton: I could talk to you for hours about that. A lot of it starts with the physical evidence. These animals have to be authentic. We want them to be as authentic a representation of these animals as scientific knowledge allows. Nobody can actually go back in that time machine, so this has to be used… This has to be on the basis of as much data as we can get. Now, some of that is actual physical fossils or other remains. One of the things [that's] nice about the Ice Age is we've literally got Ice Age animals coming out of the ice frozen solid so you can see what they actually look like. There's other evidence; there's DNA evidence, and there's other conceptual evidence about what they call phylogenetic bracketing, where you look at animals that are closely related. The other thing, which is where I can help, is that I've watched animals for so long. You can see these animals are like the animals that we've filmed and watched that live today, so you can start to imagine what they would have done, because Mother Nature is quite limited in the options she gives animals. If you have a problem, you tend to do the same sort of thing if you're a particular type of animal. These are all social [animals] - not all, but most of them are social mammals - and they have these patterns of behavior, so you can legitimately start to reveal it like that. The other thing is the photography. In a visual effects world, you can do anything in theory. You can tell any story, and you can put a camera anywhere. We don't do that. The stories we tell have to feel like we could have filmed them. They have to feel authentic. The same with the photography - the cameras - we compromise ourselves. We say, "Of course you could put a camera in a VFX world right next to a saber-toothed cat while it's jumping on the back of a woolly mammoth, but you can't in real life. You'd either get trampled or eaten, or you just wouldn't be able to get the opportunity. So, where would you be able to film it? Would you be able to film it from 300 meters away, hiding behind a bush on a telephoto lens? So, that's the camera we use - the virtual camera we use - to replicate that. Also, you can't suddenly pick the camera up and run around the other side while they're doing that because it will be over. So, how do you get around that? Well, you have to do a cutaway, or you have to use a drone. All those rules that we have to apply in the real world, we then replicate in the VFX world. That's why I hope it feels like it is a real documentary. You're also collaborating with so many scientists across different fields, and there's clearly a massive amount of research behind every frame. What are some of your favorite or most surprising facts you discovered while making this? Mike Gunton: One of the things that is very gratifying about doing this is that there's an interesting kind of virtuous circle between us and the scientific community. Of course, we rely on all these extraordinary people who know things and study in such detail, but they often don't ask the questions that the average person in the street, like us, would ask. So, how does that happen? How do they do this? You know, the behavior... So sometimes, when we have to create a scene - the mechanics of the animals, but also what they do - the questions we ask make the scientists think, "Hmm, I haven't really thought about that. Well, let me have a think about that." Then they say, "Well, we don't really know about this." Then we say, "Well, look, we've built this model - this creature from the skeleton, from the musculature - so it can only operate this way. For example, there's a creature called Doedicurus, which is this giant armadillo, so we were saying, "How do they swing these clubs? This is an armadillo with a huge sort of spiky club on the back, which we think the males use in combat over females. How do they do it?" [They say], "Oh, I don't really know, we haven't really thought about that." [We say], "Well, we can show you that it can only do this certain amount of movement. Also, what happens when it actually hits one of them? Does it puncture the carapace? Does it bounce off?." [They say], "Well, we haven't really thought about that. Let's think about it." So, we then give them the problem. We also show them how we think it could work, and then between us, we come up with a scientifically-based answer, which we can then put back into the show. It's quite interesting. A number of academic publications came out of the first series, and I think the same thing will happen for this series. Prehistoric Planet has covered the age of the dinosaurs and now the Ice Age. Do you see this series continuing into the rise of humans? Mike Gunton: It's funny I keep getting asked these questions, and I would love to. I love showing things to people they can't see with their own eyes, and of course, this is the ultimate of that. We can only show it to you by this this approach, this Prehistoric Planet -universe approach. I don't know what's next, or if anything, but clearly that would be an interesting area. But there's plenty of times in the past that I would love to load the time machine up, put the crews in, and fly back and go into some more things. It was really nice to talk with you, because I love talking with people who are passionate about what they do. I also want to say I caught that Easter Egg, Bristol Flower Shop, in the series. Mike Gunton: That was not done with my permit. My colleagues did that without even telling me. The funny thing is that my grandfather had a florist shop called Gunton. So there really was one, but not in Bristol. But that was funny, I'd forgotten about that. I didn't see that until it was too late to say no. Prehistoric Planet: Ice Age is now streaming on Apple TV. This interview has been edited for clarity.