Samara Weaving as the MCU Emma Frost Is Perfect X-Men Casting
Bow down, peasants. The White Queen has arrived.
While Spider-Man: Brand New Day had to swing into theaters through a cloud of rumors about Sadie Sink playing Jean Grey, Marvel has no intention of playing such games for another lady love in the life of Scott Summers. Deadline is reporting that Samara Weaving, best known for the Ready or Not films, has been cast as Emma Frost, the haughty mutant telepath who has fought with and against Marvel’s Mighty Mutants. And it’s hard to think of a better casting choice.
Frost made her debut in the all-time classic Uncanny X-Men #129 by Chris Claremont and John Byrne, the 1979 issue that also introduced the Hellfire Club and Kitty Pryde. Based on the sex club featured in an episode of the 1960s British TV show, The Avengers, the Hellfire Club was a social club for the most wealthy and powerful people in the world. The exterior of the Hellfire Club makes it seem like an organization for the rich to indulge their fantasies, complete with men dressed in 18th century garb and women in lingerie. However, the inner circle of the Hellfire Club is run by influential mutants, most notably the Black King Sebastian Shaw and the White Queen, Emma Frost.
In those early stories, Emma plays like a straightforward supervillain in a skimpy white outfit. She uses her telepathy and her army of Hellfire Club soldiers to attack the X-Men and shore up her power, mocking her enemies for daring to stand up to her. But Claremont soon begins fleshing out Emma, first by introducing the Massachusetts Academy, an elite prep school for young mutants that Frost operates as counter to Xavier’s School for Youngsters. Even in these stories, Emma reveals herself to be someone who cares deeply about young mutants and, despite her love of money and power, wants only the best for the next generation. When her young students, the Hellions, get slaughtered by a rival group called the Upstarts, Emma teams with former X-Man Banshee to create Generation X, a new group of young mutants that includes Jubilee.
Ever since then, Emma has moved into the center of the X-Men universe, becoming a traditionally heroic figure that best serves mutant children. However, she has lost none of her snarkiness, even when teaching a group of platinum blonde teen telepaths called the Stepford Cuckoos or having a psychic affair with Cyclops, with whom she has a long and rich romance after Jean’s death. She even managed to form a strong friendship with the now-grown Kitty Pryde, the girl she once tried to kill, who can appreciate Emma’s snobbiness and also remind Ms. Frost that she’s just a Bostonian who puts on airs.
In short, Emma Frost must be at once arrogant and vulnerable, domineering and funny. And that’s what makes Weaving such a great choice. Where X-Men: First Class didn’t give January Jones much space to build her disaffected take on Emma, one imagines Weaving will get a lot to do. The Australian actress has made a name for herself in horror and thrillers like Ash vs. Evil Dead and The Babysitter. She also has revealed a sense of humor that can be goofy (see her self-deprecating cameos in Babylon or Scream VI) or absolutely ruthless in a way that Ms. Frost would appreciate. Her role in the recent Over Your Dead Body, where she plays an unhappy spouse who realizes her husband is trying to kill her and decides… to screw with him before offing him instead is pitch black fun, especially when Weaving is at her iciest.
She also proved in the more recent Ready or Not 2that she has more than enough charisma to anchor an entire franchise of demonic mischief, finding space to play both the comedy and humanity of a woman who married into the eccentricities of the wealthy and damned.
Weaving makes so much sense as Emma Frost that we really only have one question: who can be the more powerful telepath, Emma or Jean Grey? For that, we’ll have to wait until the X-Men fully arrive on screen in the upcoming movie from Jake Schreier.
X-Men is now in pre-production.
Spider-Man: Brand New Day – How Sadie Sink’s Character Will Change the MCU Forever
This article contains spoilers for Spider-Man: Brand New Day.
After months of speculation, we can finally say for sure that the X-Men have arrived to the Marvel Cinematic Universe. Well, one of them, anyway, but it’s a founding member! Sadie Sink is indeed Jean Grey in Spider-Man: Brand New Day, a mutant telepath and one of the most important characters in X-Men history.
Even so, and with Jean Grey at the center of the movie, the film didn’t actually do much setting up for the future of the X-Men. Neither Cyclops nor Wolverine appeared, and the post-credit scene didn’t involve her getting an acceptance letter for Xavier’s School for Gifted Youngsters. We didn’t even see an exit sign for Salem Center, New York, when Jean rode away on a bus presumably upstate. But the mere existence of a high-profile mutant in the MCU means that the universe will be changed forever. Here’s how.
Feared and Hated?
In a lot of ways, the original Fox movies had it easy. When Senator Kelly complains about mutants who can walk through walls and into any house, or even control someone’s mind, at the start of 2000’s X-Men, we understand why people would be afraid. Such powers are new to human characters we meet in the movie, and they’ve never seen anything like this before, used for good or ill.
But that’s not the case in the MCU. Over the course of 36 movies, the MCU has shown time and again how people with incredible abilities can help regular people. Even though the citizens of the MCU have seen villains like Thanos and Loki try to wipe them out of existence, they’ve also watched the Avengers save the universe again and again. Moreover, regular people celebrate the powerful, enshrining them with celebrations like AvengerCon (seen in Ms. Marvel) and Rogers: The Musical (seen in Hawkeye).
So what makes mutants different? Why would someone love Thor but fear Storm?
Brand New Day gives us an answer. As an impulsive teenager, Jean will stop at nothing to retrieve her sister, Sara. She hops into anybody that suits her needs, treating even people who just happen to be on the street nearby as a tool. Consider the young man who talks to Peter after the first failed suppressor field test. As far as we can see, the man did nothing to threaten Jean or Sara. And yet, Jean took over his body, used him to threaten Peter, and allowed him to get stuck in Spider-Man’s webbing.
The climax, with Jean’s psychic attack only intensifies this fear. Hundreds of people who had nothing to do with Damage Control or its treatment are trapped in a bubble, held frozen but conscious and, if the tears on MJ’s face are any indication, terrified. To his credit, Brand New Day director Destin Daniel Cretton pays attention to the average people in New York in a way we haven’t seen since the days of the Sam RaimiSpider-Man movies. The camera holds on the faces of the frozen people, even before Punisher walks us through them, showing us how regular people react to this attack upon their lives. This attention to regular folk helps Jean’s attack feel more immediate than even the climax of Thunderbolts*, when the Void zapped away citizens, but did it while floating above them.
In Brand New Day, we can see why people in the MCU consider mutants something strange, different, and scary.
Mutants Among Us
Surely, the decision to make Jean Grey a central character in a Spider-Man movie will rankle some. While there’s certainly something to be said for letting Spidey get all the attention and letting Jean co-exist with Cyclops, Beast, Iceman, and Angel, the strategy works for building up the mystery of the mutants. Spider-Man does not recognize Jean and Sara as harbingers of an evolutionary step up. He just sees them as two girls who happen to have powers.
Jean may be the most prominent X-Men to officially appear in the MCU—X-Men ’97 and Deadpool & Wolverine don’t count—but she’s not the only mutant. We’ve already confirmed that Namor and Ms. Marvel are mutants, and the same might be true of She-Hulk: Attorney at Lawguest characters Mr. Immortal and El-Aguila, even if they aren’t identified as such in the show. What happens if the information from Damage Control leaked to Detective Jean DeWolff got out into the public, and they saw that these five people were all just born with their powers? What seemed like a random coincidence starts to feel like a pattern—and then it becomes scary.
Jean’s introduction in Brand New Day could set the model for bringing mutants into the MCU. We could have Hank McCoy show up as a science student in VisionQuest. Warren Worthington III could be hiding his wings at a high society event with his father on season three of Daredevil: Born Again. In Black Panther III, T’Challa’s son could encounter a white-haired thief called Ororo Munroe, on the run from a mysterious villain.
For those dying to see the X-Men in the MCU, this drip-drop approach is likely maddening. But it would replicate the feeling that regular citizens have in the Marvel Universe when they slowly realize that mutants have become more prominent. Instead of comparing these adolescents to the super soldiers, Asgardian gods, and tech geniuses who make up the Avengers, mutants will feel like something uncontrollable, slowly taking over their lives.
The Dawn of the Dream
Even though Brand New Day wisely revealed their Homeland Security analogue Damage Control and its ICE-styled agents were the true bad guys, the film did not hesitate to show just how much damage a mutant like Jean can do. On first glance, that seems like a strange place to properly introduce the X-Men, some of the most popular heroes in all of comics. However, making the first major mutant feel so scary is exactly how the MCU can show the importance of Professor X and his school.
Professor Charles Xavier built his School for Gifted Youngsters to advance his dream, a dream of mutants and humans living together in peace. Using the supercomputer Cerebro to enhance his formidable mental abilities, Xavier finds young mutants and brings them to the school where he can provide shelter and community for them while teaching them to control those powers. From that group, he selects his X-Men, a superhero team who shows the world they have nothing to fear from mutants by using their powers to help people.
In a vacuum, Xavier’s dream can feel like optimistic nonsense. But after Brand New Day, his dream seems urgent, difficult, and necessary. If Jean is just the first of the young mutants to show up in the MCU with incredible powers, then there is already a need for someplace where mutants can see themselves as heroes instead of villains, safe instead of feared; a way for them to turn the things that make them different into a force for good.
Xavier’s school is exactly that place and the X-Men are exactly that way. And one by one, movie by movie, Xavier can start recruiting these kids to a better future, not unlike a guy name Nick Fury did once upon a time. Thanks to Jean’s arrival in Brand New Day, the MCU is ready to evolve, ready to finally realize the X-Men’s dream.
Spider-Man: Brand New Day is now playing in theaters.
Everything We Saw At San Diego Comic-Con 2026
Perhaps it’s not surprising to learn that, for a website called “Den of Geek,” San Diego Comic-Con is basically our Super Bowl (or Champions League Finals or something for you Brits).
No event on the pop culture calendar commands more nerd respect than SDCC. So, just as we’ve done every year for more than a decade, we hit the streets of San Diego and the halls of the Hilton Bayfront to cover it all. Whether it was hosting our own video interview and portrait studio, attending panels and press rooms, or dropping by some screenings, we made sure to take in everything we could.
Base Edition: Free with purchase at select stores within the Den of Geek Comic Store network nationwide and was distributed for free to fans in San Diego’s Gaslamp Quarter via the Den of Geek brand ambassador team.
Now, please enjoy our recap of San Diego Comic-Con 2026.
Den of Geek Studio Interview
Air Bud Returns
Iconic Air Bud golden retriever Buddy made an unforgettable entrance at the Den of Geek studio in San Diego decked out in his Timber-Wolves basketball jersey, brand new sneakers, and in tail with his best bud and director Robert Vince. After Buddy’s incredible modeling in the photo booth and listening skills he can officially be crowned the “good boy” of actors.
Vince discussed the excitement of coming back to the Air Bud franchise and the good memories tied into making movies over the last 30 years. The story Vince has crafted for Buddy’s return is a special one, inspired by paralympics wheelchair basketball. Vince has always been inspired by stories featuring the “underdogs” (no pun intended), so Buddy’s newest basketball teammate is Jacob, played by Aydin Artis, a wheelchair-user and basketball player on team RMF
Air Budfans are truly in for a treat with his return and bond between his new friend Jacob. Vince has captured another classic story giving the underdogs the spotlight and proving that your goals are not far from reach. Stay tuned for Air Bud Returns coming January 22, 2027. – Grace Schmidt
“Kick it up a notch,” showrunner James Tucker says. “More of everything: more action, more mystery, more messed up Batman stuff. We thought ‘how can we pull him as far away from humanity as possible?’”
“It’s a story of a man learning to be a person,” adds new season 2 head writer Geoffrey Thorne about the show’s Bruce Wayne (played by Midnight Mass’ Hamish Linklater). “He learns more about what it’s like to be a person among other people, but in the process, fights a lot of other people in spandex and blows stuff up.”
Developed by Tucker and Bruce Timm, who created beloved ‘90s animation Batman: The Animated Series, Caped Crusader borrows the Art Deco aesthetics from its acclaimed predecessor while moving the story more explicitly into a 1940s timeline filled with organized crime and sleazy, self-dealing politicians for Linklater’s Bruce Wayne to deal with. Now, in season 2, Batman will have to confront an even more challenging force. That’s right: it’s Joker time.”
“Yeah, it’s fine. It’s no big deal really,” Mathew Needham (House of the Dragon) jokes about stepping into the role of comics’ most iconic villain “It’s still surreal. It’s so strange. The audition was very clear and had two instructions [for how to voice the Joker]: European and ludicrous.”
European? Ludicrous? Count us in. – Alec Bojalad
Batman: Knightfall
Michael Mando, supervising producer Rick Morales, and producer Jim Krieg discussed Batman: Knightfall – Part 1: Knightfall, the first installment in an animated film trilogy adapting the classic 1993-04 comic storyline, which follows Batman as he’s pushed to his physical and mental limits while confronting the escaped inmates of Arkham Asylum freed by Bane.
Asked how the dense source material was balanced for both longtime readers and newcomers, Krieg acknowledged the challenge of stepping outside personal familiarity with the comics. “That is a challenge because most of us who work on [the film series] know this material really well. You do have to take a step back and not assume the audience is going to know who these characters are.”
Morales added that the team had to boil down decades of storytelling to its core to achieve equilibrium, explaining, “There’s so much in the series that was done over multiple years with a bunch of different creators that we want to try to get as much of that into [the films] as we can, but you have to distill it down to what’s the essence of the story.”
For Mando, voicing Bane opposite of Batman carried personal weight. “Batman’s been a part of my life since a very young age, and I had one of the biggest geek out moments of my career when I saw the playback of what we had done with Bane,” Mando said. “That’s when it hit me, and I said, ‘That’s my childhood, and it’s just beautiful.’”
Mando also spoke to what makes Bane compelling beyond the muscle. “Bane is not a villain, his point of view is actually very intelligent and relevant, and he says ‘Listen, Batman runs the underworld, the underworld is chaotic. Bruce Wayne runs the overworld, the overworld is corrupt. Something in the power structure needs to change. I need to break the power structure.’ And he’s not completely wrong in that.”
Knightfall arrives to break the internet digitally on August 25, 2026. – Isabella Ardetto
Blade Runner 2099
The Blade Runner story is continuing 50 years after the events of sequel Blade Runner 2048 in Prime Video’s Blade Runner 2099. The series is set in a post-war world in which humanity’s greatest fear is now reality: Replicants are the dominant species. The audience follows Cora (Hunter Schafer) a human on the run disguising herself amongst the replicants and Olen (Michelle Yeoh), a replicant at the end of her life.
Shaffer and Yeoh’s respect for one another and the franchise was evident in the Den of Geek studio at Comic-Con, and Yeoh credits showrunner Silka Luisa’s passion for the successful execution of the series “I think my biggest thanks would be to Silka, who imagined this new TV series which gave us a very good and solid premise to play on.”
Schafer and Yeoh gave the studio a look into their characters’ interesting partnership at the center of this series. Yeoh explained that Hunter’s character blends in with the replicants “because she’s been running away so much, she’s lost her humanity in some way that even Olen cannot detect anything in her anymore.”
The set design played a huge role in fully immersing the actors and their characters into the previously established setting, but Luisa brought her own life to it by making the weather hot and sticky, different from the previous movies gloomy and cold weather. “There’s something about having very volatile weather. You know, it’s like it creates this sense of unease all the time.”
More is yet to be revealed leading up to the show’s release date on November 25 but the sneak peaks shown at Comic-Con and their further input on the series at the Den of Geek studio leaves fans highly eager to step back into this franchise. – GS
Brian Volk-Weiss
Nacelle Company founder Brain Volk-Weiss came to the Den of Geek studio at San Diego Comic-Con with a lot up his sleeve.
When it comes to creating toys for Star Trek, Volk-Weiss is vocal that he makes the toys he has always wanted to see on the shelves, “I’m friends with a lot of people that either work at toy companies or even own toy companies and what I would say to them for years, ‘Why don’t you do Captain Garrett? Why don’t you do Captain Jellico? I said that for years and, right or wrong, no one listened to me, which was very good for us.”
And Volk-Weiss was right: the fan response has been overwhelmingly supportive. “We came here fully loaded, this is the first time we’ve actually had product at a convention to sell, and we’re sold out and we have two days left,” he says.
Volk-Weiss has gone from making toy documentaries to selling the toys at Comic-Con and he describes witnessing that instant gratification, “It doesn’t feel real. I hope next year or a year from now, if I’m lucky enough they want to talk to me, I won’t keep saying this over and over again how surreal it is.” – GS
Carrie
As coined by Den of Geek‘s own Sam Stone, Carrie (2026) creator Mike Flanagan is bringing blazing heat to Prime Video, adding another cataclysmic addition to his “Armageddon Era.” Stepping away a bit from the original Stephen King novel, Flanagan is making his own spin on the iconic traumatized teenage telepath with a cast of rising female stars and some iconic horror OGs.
Summer H. Howell stars as the tale’s iconic protagonist Carrie White with Samantha Sloyan playing Carrie’s religious fanatic mother, Margaret White. Amber Midthunder plays Carrie’s gym teacher, Miss Desjardin; Alison Thornton plays Chris Hargensen, Carrie’s primary antagonist; Siena Agudong is Sue Snell; Joel Oulette is Tommy Ross, Sue’s boyfriend and Carrie’s prom date; and beloved Scream star Matthew Lillard plays Principal Grayle.
The eight-episode miniseries will take a new look at the source material, reimagining it for a modern Chamberlain, Maine, and examining how the landscape of social media changes the dynamics of Carrie’s bullying.
When talking with Den of Geek, Howell explained that she intentionally stayed away from the previous incarnations of Carrie to stay true to the new version they were creating, relying on Flanagan’s writing and the chemistry of the cast to portray a modern teenage girl who deals with bullies, love, and public school all while having special abilities.
“I mainly went off of the writing, and the writing was so good,” Howell says. “I felt so connected to Carrie from the start. She starts off so optimistic and curious about the world because she’s finally stepping into it. And I mean, it’s a public high school. She has no idea what she’s getting into. So yeah, just, just working with the girls and feeding off of their [energy]. It felt easy.”
Sloyan also talked about playing a vastly different Margaret White than has been previously portrayed; instead of being a religious fanatic, Margaret will be a mother who genuinely worries, protects, and advocates for her daughter.
“This is a new Margaret. This Margaret actually loves [Carrie], she’s her protector, she’s her advocate, and I feel like that just changes the whole game of who Margaret is,” Sloyan says. “I think both of us didn’t want to just bring you the same character or a similar character.”
Carrie will make her next bloody on-screen appearance on Prime Video on October 7. – Nyla Gilbert
Coyote vs. Acme
After being scrapped by Warner Bros. Discovery as a tax write-off, Dave Green’s Coyote vs. Acme is set to hit theaters August 28, documenting the explosive lawsuit between one Wylie E. Coyote and major Looney Tunes tech conglomerate Acme. Green, along with To All The Boys I’ve Loved Before star Lana Condor, who plays law student Paige, talked to Den of Geek about the comedic hybrid animated movie’s journey to the big screen.
The chaotic feel-good film stars Will Forte as an attorney who takes on Coyote as a client and faces the public pressure and private pressures of going against a major tech giant whose technology isn’t just untrustworthy, but nefarious. John Cena plays Acme’s corporate counsel and does everything in his power to stop Coyote from exposing Acme’s felonious catastrophes.
Green, inspired by the 1990 New Yorker short story Coyote v. Acme, stuck true to the source material to give viewers a creative and honorable representation of the Looney Tunes’ iconic “super-genius” resource-hunting schemer.
“It really set the tone for the whole project, and I think the thing that made that piece so great was that it really did honor the tone of the original Looney Tunes,” Green says. “We were really taking notes from that piece, and taking notes from the original Chuck Jones shorts the whole time and really doing our best to honor that kind of wry sarcasm, the kind of blunt animation style that was like quick and snappy and violent and funny, so it really, it really set the tone the whole time, that first piece.”
Fans are in for a treat, with this fun and adventurous new addition to the Tunes verse that gives heartwarming and emotional meaning to the life of Wylie E. Coyote. Coyote vs. Acme is set to crash into theaters on August 28. – NG
The Cycle
Deborah Ann Woll and writer-director Jordan Downey joined Den of Geek for a studio interview to discuss Shudder’s upcoming supernatural horror-thriller, The Cycle.
The Cycle follows Woll as Meg, who investigates her estranged father’s disappearance after his body turns up 36 years later at the scene of a bizarre crime. It falls to Meg to confront her family’s secrets as her father’s dark past unravels before her, unearthing the life he kept hidden for so long.
Woll described Meg as defined above all by her curiosity. “She is a curious person. She’s an investigative person, and I think, in a way, a mystery is her greatest vulnerability, because she never lets a question go unanswered,” she says.
To prepare, Woll and the team consulted real forensic anthropologists, and came away struck by their objective relationships with death. “Their perspective on death is kind of matter-of-fact. There isn’t much fear or unknown wrapped up in it, and it’s a little rock and roll, you know? It was metalForesenic anthropology is totally metal.”
The choice to root the story in Meg’s expertise also shaped how Downey built suspense for the film. Rather than letting the audience get ahead of her, he kept their understanding directly tied to Meg’s. “We’re ideally not too far ahead of her when we’re watching the movie, so that as she is uncovering things, we are uncovering things,” Downey says. “I find that more compelling, so that we’re all in on it together. It’s a shared experience with the crowd and the people on the screen as well.”
Follow Meg as she endeavors to uncover the truth of her father’s death and life when The Cycle releases October 23, 2026, exclusively on Shudder. – IA
Dark Matter
No matter the medium, the multiverse continues to be one of the most captivating concepts of the 21st century. Now Apple TV’s Dark Matter season 2 is taking audiences to multi-dimensional new heights. The cast of the show, based on Blake Crouch’s best-selling novel, spoke to Den of Geek about their experiences taking on these challenging characters, while also telling deeply profound human stories about identity and family.
“It’s a very exciting show, and it keeps you on your toes,” Joel Edgerton, who plays Jason Dessen, says. “And I think through that it gets to constantly return to exploring very real human questions that we ask daily.”
The show centers around Jason Dessen, a Chicago physicist whose life is upended when he is abducted by an alternate-dimension version of himself, known as Jason 2. Jason discovers that his alternate version has made different decisions, flipping his world upside down and threatening the safety of his wife Daniella (Jennifer Connelly) and son Charlie (Oakes Fegley). Season 2 picks up where the first season left off, showing the family now on the run from the Jasons while having to figure out a way to survive.
The cast is tasked with playing multiple versions of themselves, while also navigating interacting with multiple versions of each other while challenging.
“I’ve heard many of the cast say why we got on board is for that very reason — take one character and look at all the different dimensions… look at what they might be like under different circumstances and under different pressure. That has always been one of the joys of it,” Edgerton says.
This season has given cast members even more dynamics to explore, including personal conflicts that, while challenging, have left the actors gratified.
“It was a really rewarding experience,” Connelly says. “I really loved the scenes, and I loved being able to dive into the marriage a little bit more in this season and explorewhat she was going through personally and how the fallout of all these experiences impacted the marriage.”
Answering and exploring questions about humanity in ways that would never happen in real life, at least in the foreseeable future, the cast does an amazing job showcasing how our decisions mold who we become.
Dark Matter season 2 begins streaming on Apple TV on August 28. – NG
Dugout Dads
Fans of the classic 1993 film The Sandlot are finally getting a win; a free YouTube television show directed by Patrick Renna will be coming to the platform August 28. Starring several of the original cast members including Renna, who played Ham in the original Sandlot, Dugout Dads is a retelling of its source material for the modern era of youth sports.
Dugout Dads follows Renna, who plays a frustrated dad taking over the coaching duties of his son’s baseball team and to encourage its young players to focus more on having fun and less on winning. He and his wife, played by Danielle Fishel, confront a new challenge keeping this goal from coming to fruition: their fellow parents. Made up of several five-minute episodes that will be released directly weekly on Renna’s YouTube, Dugout Dads promises to be a romp about rowdy parents, twisting the original concept of The Sandlot for a new sports landscape.
Renna and Fishel joined Den of Geek for a studio interview where they discussed the nostalgia of reuniting The Sandlot, what real-life inspiration they drew on for Dugout Dads, and what fans can look forward to when the series makes its debut.
“You want your kids to do well, so you take it a little too serious,” Renna says. “You want to watch them grow, and I think, you know, when, when you watch your kids, they are hopefully just having fun, and they sort of leave it behind them the second they get off the field. The parents, on the other hand, don’t, so it kind of was a show that needed to be made.” – Jackson McCoy
Eternally Yours
The TV pilot process goes pretty smoothly most of the time. Step 1: Somebody writes a script. Step 2: A network likes that script and commissions a pilot episode. 3. The final result either makes it to series or ends up in the pilot dustbin of history alongside Mockingbird Lane and Peyton Place: The Next Generation. CBS’ latest comedy Eternally Yours, however, isn’t like all those other pilots.
First written in 2015 by Joe Port and Joe Wiseman, Eternally Yours was well-received but its story about a vampire couple experiencing the 500-year itch didn’t feel quite fresh enough in the wake of the release of 2014 vampire mockumentary What We Do in the Shadows. The project was revived during a podcast taping in 2019 only to be hamstrung once again by a near-identical foe: the TV adaptation of What We Do in the Shadows.
Now, following multiple false starts, two Hollywood work stoppages, and a pandemic, the little pilot that could is finally able to see the light of day (or more accurately: the light of the moon for its characters’ safety). And it’s largely thanks to the success of another supernatural CBS comedy produced by Port and Wiseman.
“I did a podcast called Dead Pilots Society,” Eternally Yours star Ed Weeks explains. “My buddy Andrew Reich does staged readings of pilots that were never picked up, and this was one of them. I kind of thought I did a terrible job. Then seven years later it showed up again in my inbox. I guess, in the interim, Ghosts had become a huge success and CBS gave Eternally Yours another chance. It’s been a dream.”
When stopping by the Den of Geek studio to discuss their show’s journey, stars Weeks, Allegra Edwards, Helen J. Shen, and Parker Young were sure to pay proper homage to their ghostly ancestors… even if Young objected to the behavior he witnessed from the Ghosts cast towards yours truly in the preceding interview.
“They’re our big brother. We’re excited to be here but I was nervous so I was going to watch what they did [in their Den of Geek interview]. And I watched them be so unprofessional with you! Like they were just cracking jokes, talking about being pantless and stuff. They haven’t been helpful at all.”
Thank you, Mr. Young. I appreciate the support. [Important Editor’s Note: That was all a joke, obviously. We had a blast with the cast of Ghosts, as you are about to discover in 3… 2… 1…] – AB
Ghosts
As it is wont to do, CBS comedy Ghosts ended its fifth season on a major cliffhanger. Viewers could only watch in horror as fan-favorite specter Pete (Richie Moriarty) slowly disappeared into nothingness, having seemingly been “sucked off” to paranormal parts unknown. That’s why, when it came time to speak with actors Utkarsh Ambudkar, Román Zaragoza, and Asher Grodman about the show’s incoming sixth season, we just had to ask the question on everyone’s minds: how did Knicks superfan Jay Arondekar (Ambudkar) watch his team win the NBA Finals?
“Probably on his phone on the toilet,” Ambudkar says. “That’s probably what he was doing – hiding in some nook and cranny of the mansion where WiFi actually is connected, silently screaming because he’s the only Knicks fan in the house.”
OK so we didn’t ask about Pete. Sorry about that. But if it’s any consolation, the Ghosts team assured us they wouldn’t have answered any questions about that anyway. What they did answer, however, was what it is like to act on a show in which their incorporeal characters can’t interact with the environment around them.
“I haven’t used props for the last six years or even interacted with set pieces. I’m terrified to work on other projects,” Zaragoza says.
Adds Grodman: “I did this episode of Bookie where the shot was simply to just move a suitcase from one car to another car. For me it was like a three-act play because I hadn’t held anything in so long.”
Will a ghost finally be able to touch an item? Tune in to season 6 to find out! – AB
Grimm
NBC’s Grimm celebrates its 15th anniversary this year, with the cast reuniting at San Diego Comic-Con 2026 for a panel to support their still energetic fan base. The cast joined Den of Geek at San Diego Comic-Con for an interview about the urban fantasy show’s legacy and updates on announced new projects. Grimm stars David Giuntoli as Nick Burkhardt, a Portland detective who discovers he is the latest in his family to take on the mantle of “Grimm,” a lineage of guardians tasked with keeping the balance between humans and supernatural creatures called “wesen.”
Alongside Giuntoli, Silas Weir Mitchell (Monroe), Russell Hornsby (Hank Griffin), Sasha Roiz (Captain Sean Renard), Reggie Lee (Sgt. Wu), Elizabeth “Bitsie” Tulloch (Eve/Julliette Silverton), and Bree Turner (Rosalee Calvert) thanked fans for their long lasting support of the show, and spoke on the long lasting friendships that they have carried with them nine years after the show’s ending.
“I think that there’s always a dream that the cast that you fall in love with, they’re all friends in real life, and I don’t think that’s always true. In our case it really is, and what you’re seeing on the screen is genuine love,” Ginutoli says. “And we wanna say, I would imagine we all do, thank you so sincerely to the fans.”
While fans can enjoy seeing their favorite castmembers back in the whimsical spotlight; there is an update on the Grimm movie in development at Peacock that was announced a year and a half ago now. “It hasn’t been greenlit. We don’t know what’s happening,” Tulloch says.
It seems as though fans must keep the momentum going to hopefully see this joyful cast back on their screens, maybe with even more Grimm projects in the future. – NG
House of R
No disrespect intended to any of the talented artists who stop by Den of Geek studio to talk shop but it’s always extra special when our fellow geeks come over… especially podcasting geeks. Joke about the medium all you like but podcasts can be intimate experiences – one-sided conversations about the topics you most love from the voices you grow accustomed to and fond of. That’s why it was a particular joy to welcome in pop culture experts Joanna Robinson and Mallory Rubin, hosts of Spotify’s Ringer-verse podcast House of R, among many other Ringer pursuits.
Mal, Jo, and an increasingly giddy interviewer discussed the Comic-Con experience and the state of nerd culture. Topics included the hype for A Knight of the Seven Kingdoms season 2, predictions for the upcoming Marvel panel (of which we were all incredibly wrong), and even a proposed MLB baseball trade. Suddenly that one-sided podcast conversation wasn’t so one-sided at all! – AB
Ice Cream Man – Eli Roth
Eli Roth visited the Den of Geek studio to discuss his new horror film coming August 7, Ice Cream Man. Roth got the inspiration for Ice Cream Man during the Cabin Fever press tour.
“It was during the summer, I saw an ice cream truck, and that music just makes you want to eat ice cream,” he says. “We don’t know who that dude is, that guy could be a serial killer. I thought ‘what if he was like the Pied Piper and somehow the combo of the music and the ice cream could program the children to kill?'”
Ice Cream Man follows in the footsteps of witchcraft cinema. Roth says he was thinking about how “stick break horror” in movies like Obsession and Weapons have become a subgenre that “works so well.” And it seems for this movie the stick break for these children is the ice cream man’s music. He admits leaning more into the supernatural elements in this horror film because, “especially with kids going crazy, there has to be a slight supernatural element for you to enjoy it.”
The movie is an exciting new paranormal adventure for Eli Roth adding a horror twist into a previously beloved childhood memory and may give the classic ice cream truck tune an all new creepy undertone. – GS
Mayday
Directors John Francis Daley and Jonathan Goldstein sat down at the Den of Geek studio to discuss their new Apple Original film, Mayday. The action-comedy stars Ryan Reynolds as a Navy pilot stranded behind enemy lines during the Cold War who forms an unlikely alliance with a gruff ex-KGB agent, played by Kenneth Branagh, to survive.
Asked what he hoped to bring to the action comedy genre, Daley (who co-directed previous action comedies Game Night and Dungeons & Dragons: Honor Among Thievesalongside Goldstein) pointed to a lack of care in recent entries. “Comedy has gotten such a bad rep lately, and I think part of that is because it has been done somewhat lazily, especially in the action-comedy world,” he says “It was really important to us to bring the amount of time and work that we would spend on either genre by itself. It just requires a lot more planning, a lot more prep, but ultimately I think it pays off.”
Adding to that sentiment, Goldstein expressed being proud that the film exists in an industry increasingly resistant to originals. “The studios these days are not eager to make things without IP behind them, without a book or a comic book or a video game,” he says. “This was just an idea that we had, and somehow we got it turned into this giant movie, and that’s exciting in this climate to be able to do that.”
Mayday crash-lands on Apple TV globally September 4, 2026. – IA
Onslaught
The incoming subversive horror action thriller directed by Adam Wingard is set to be a bloodsoaked hit. Wingard, joined by cast members Adria Arjona, Dan Stevens, Rebecca Hall, and Drew Starkey, spoke at length about their individual inspirations for the film and the worldbuilding that went into its creation.
“Well, you know, with this film I really wanted to reinvent the slasher genre in a way that I think the closest thing I’ve ever seen was like Terminator,” Wingard said. “Normally the slasher villains are kind of serial killer adjacent and for me as a filmmaker…some of my favorite movies are things like Halloween; I love the aesthetic, that John Carpenter thing, he’s obviously a big inspiration. But I’m looking at ‘What’s the modern-day version of that?’”
In Onslaught, a small group of genetically engineered super soldiers break loose from a government lab and raise hell across the desert. It’s up to a former U.S. Army sniper, played by Arjona, to stop them and protect her young daughter.
Despite the very inhuman forces attempting to wreak havoc on the trailer park Arjona’s character Celeste has found herself in, the cast emphasized the movie has a very human core. Onslaught explores historical injustices, the military industrial complex, and the horrors of war.
“(Celeste’s) post-traumatic stress has taken a huge toll on her, and I don’t think she wants to pass that down to her child, so she believes staying a little bit back is helpful,” Arjona said. “I think she’s trying really, really, really hard, until, you know, we have these people coming into our trailer park and they did mess with the wrong trailer park.” – JM
Ray Gunn
Few artistic collaborations have proven as fruitful as the one between writer/director/animator Brad Bird and composer Michael Giacchino. Together the duo have provided the sights and sounds of some of the century’s most beloved films like The Incredibles and Ratatouille. Now they’re teaming up again for Ray Gunn, an epic retrofuturistic neo noir that Bird has had rattling around his head for three decades.
“People are surprised that I could stay interested in an idea that long. But if something is interesting, I always find it interesting,” Bird tells us during his and Giacchino’s trip to the Den of Geek studio.
And Ray Gunn is nothing if not interesting. Starring Sam Rockwell as the titular ray gun-wielding private detective and arriving to Netflix this December, the project brings together many of its creator and composer’s shared sensibilities…including an appreciation for a very particular aesthetic.
“Art Deco is kind of a utopian thing,” Bird says. “There’s something romantic about it and I just think that it’s time was too short. Ray Gunn is asking ‘What if World War II didn’t happen and Art Deco just kept going? Buildings got to be a mile high, cars could fly, and jetpacks were something everyone had.’ I thought it would be interesting to have utopia and still have desperate characters and an underbelly with corruption. Those two ideas were rubbing up against each other in a good way.”
“It’s in the same way that we approached Ratatouille,” Giacchino adds about the film’s music. “You go into the kitchen, see what you have available, and make anything you can with the ingredients you have. Go into the noir store – get a side of action, maybe a little bit of comedy for dessert, and sprinkle some theremin in there as well.”
A little bit of sci-fi, a little bit of art deco, a little bit of theremin – that’s a Ratatouille-quality recipe right there. – AB
Robert Kirkman
Co-creator of the Invincible franchise and prolific comic writer Robert Kirkman joined Den of Geek in the interview studio to talk about a wide range of current projects, including more than just the expansion of Invincible into the video game world. Announcements about the Energon Universe (including a new Transformers comic arc) as well as the world of Invincible filtered through excitement about his new comic series Terminal.
The first issue of Terminal hit shelves the first day of Comic-Con, bringing completely new characters to the thousands of attendees and fans of Image Comics everywhere. Kirkman shared the inspirations he and series co-writer Joe Casey pulled from for their new story.
“The ‘90s era of the X-Men, when you had Rob Liefeld and Jim Lee and Chris Claremont and Marc Silvestri and everybody firing on all cylinders. There were guys like Andy Kubert; we had Arthur Adams in the mix, and then later on David Finch doing things. There was just this really complex ornate story that was going on, but it had so many different characters and separate storylines, and there was such a deep mythology at work there and it was just really special,”
Kirkman assured fans of Invincible that they had much to look forward to in the near future, ranging from comics to the expanding Invincible VS world to the hugely successful TV show.
“If you saw the conclusion of season 4, and that truce between Thragg and Invincible, you’re very aware that the Viltrumites are now on Earth, and I think that there’s unlimited possibilities with that revelation into the story,” Kirkman says. – JM
Star Trek: Strange New Worlds
The cast and executive producers of Star Trek: Strange New Worlds, including Anson Mount, Ethan Peck, Celia Rose Gooding, Paul Wesley, Melissa Navia, Christina Chong, Akiva Goldsman, and Henry Alonso Myers, landed in the studio to discuss season 4, which premiered on July 23 on Paramount+ and continues the prequel’s build toward the crew fans know from The Original Series.
Asked about playing a younger, rawer version of Kirk, Wesley said the goal is uncovering the vulnerabilities beneath the icon. “That’s the whole point of this prequel for my character. It is to dig into the vulnerabilities of Kirk to understand why he is the Kirk that we know from TOS, who is a much more poised, decision-driven man,” he says. “He seems infallible in a way, and we wanted to show his vulnerabilities and the things that led him to embrace that sort of shell that he creates.”
Peck spoke about Spock’s evolving dynamic with Kirk, praising the chemistry he and Wesley naturally share off-screen. “We get to bring a lot of our off-screen chemistry to screen,” he said. “I enjoy the job of scrutinizing Kirk and his rash decision-making and impulsive behavior. Kirk has this belief and trust in Spock right away, and he’s kind of amused. Spock’s very skeptical and uncertain of what this is.”
New episodes of Star Trek: Strange New Worlds beam down to Paramount+ every Thursday. – IA
Stuart Fails to Save the Universe
Anything is possible in the multiverse. Even a spinoff of a popular network sitcom that recasts a deep background character as a timeline-hopping hero. That’s the premise of HBO Max’s Stuart Fails to Save the Universe, which plucks Stuart Bloom (Kevin Sussman), The Big Bang Theory’s mild-mannered owner of The Comic Center of Pasadena, and sends him off on an unlikely multiversal adventure to rescue his girlfriend Denise (Lauren Lapkus).
When stopping by Den of Geek studio, the series star reflected on what it was like to move from the bottom of the callsheet to the center of building-sized billboards for his own show.
“It hit me on the first day of work when I showed up to the studio and all the little golf carts driving around had my character’s name on it. ‘I was like ‘holy moly, can I even handle this?’ But it really is such an ensemble show. Just being able to work with these guys who I’ve known for years it became about how fun it was to work on the show,” Sussman says.
Similarly excited was Lapkus, an accomplished comedic improviser who appreciates the “yes and” storytelling opportunities the multiverse has to offer.
“It’s so fun! One of the things I really love about this show is that every episode is so different from the one before. We meet my character in different universes, so there’s variations on who she is. I really, really enjoyed that as an improviser and getting to work with these guys who are all so funny.”
Of course, access to the multiverse means that plenty of other Big Bang Theory favorites can stop by for a high-stakes cameo or two.
“The [Big Bang Theory] people who came to do the show were so excited to do something weird,” co-creator Bill Prady says. “One of our legacy cast got to do some motion capture work. She was having such a good time that she didn’t want to stop. They said ‘Oh we got it, we got it’ and she was like “No, I’m gonna keep going. I’m having fun.” – AB
Super Troopers 3
The newest film to follow state troopers in Vermont is here and is set to be as outrageous as its predecessors. Super Troopers 3 will be just as raunchy and immature as the cast was all the way back in 2001 when the first film released.
“When people ask us if we’ve matured, generally speaking, we all say no because I think our sense of humor has not matured, and I say that as a compliment to all of us,” Paul Soter said. “But I think we are all a lot further along in life.”
Super Troopers 3 follows the chaos of Farva’s extravagant Indian engagement to Thorny’s sister and Thorny’s subsequent scheming. It reunites the original cast alongside newcomers such as Chace Crawford (of “The Deep” onThe Boys fame).
Steve Lemme, who reprises his role as the prankster Mac, said the new film builds on the best parts of the franchise.
“If this was happening in real life we wouldn’t be helping him break up the wedding, we would be absolutely thrilled that they would say, even in conversations that have nothing to do with it, we’d be like, and by the way, ‘Farva’s sleeping with your sister’ and you’d walk out the door,” Lemme said. “That’s what a real group of friends would do and I think that’s what resonates with the audience is about all the Super Troopers movies, it’s about watching a real group of friends go through life together.” – JM
Around the Con
Apple TV
Apple TV made its star-studded San Diego Comic-Con debut this year with a bang! Premiering and promoting brand new seasons of shows such as Silo, Dark Matter, and Widow’s Bay. It also announced some brand new films driving in this fall such as Jonathan Goldstein and John Francis Daley’s genre-bending action packed buddy comedy, Mayday. Ryan Reynolds and Kenneth Branagh star in this genre-bending action packed buddy comedy on September 4 on Apple TV.
Mattel’s Matchbox the Movie premiered a trailer for the new film during the convention as well. The action film details lead actor, John Cena, as an ex-CIA agent who returns back to his hometown with his childhood friends, and lead to be tasked with an international pursuit in saving the world. Alongside Cena, fans can expect to see Arturo Castro, Jessica Biel, Sam Richardson, Teyonah Parris, Corey Stoll, Bill Camp, Danai Gurira and Golshifteh Farahani when the film premieres on October 9. – Matthias Agganis
Attack of the Killer Tomatoes: Organic Intelligence
Clad in identical tomato-themed letterman jackets that have me kicking myself for not requesting a photo (see above for a promo image), three stars of upcoming comedy horror flick Attack of the Killer Tomatoes: Organic Intelligence caught up with Den of Geek at this year’s con. The topic that the trio – Dan Bakkedahl, Myrna Velasco, and Noor Razooky – wanted to discuss? The deadly serious business of killer tomatoes and how they attack.
Dan Bakkedahl: “I read the script and realized, ‘oh, this is an attempt to expose the cover-up, to spread the truth about the dangers [of killer tomaotes].’ I hope this doesn’t affect my career trying to get the truth out there, but you do what you have to.”
Myrna Velasco: “We need every single person who is willing and capable to stomp a tomato to please make that your mission as a human being.”
Noor Razooky: “It’s us against them.”
From indie cult classic in 1978 to brave, unflinching documentary in 2026 – the Attack of the Killer Tomatoes franchise has truly come a long way. – AB
Bear McCreary
Composer Bear McCreary is no stranger to scoring epic fictional works. He’s worked on the music for Outlander, Percy Jackson and the Olympians, and God of War. Now, he’s combining the symphonic and the heavy for his second studio album, The Singularity: Ekleipsis.
McCreary talked about working with rock stars like Duff McKagan and bringing his passion for film scoring to a studio album, focusing on his love for melody and narrative in music.
“It’s incredible the power that music has and melody is a big part of how that works,” McCreary says. “So you make those assignments. Look at the God of War scores. When that first was unveiled to the world in 2016, when we were rebooting God of War, Kratos walks into the screen and you hear ‘bom bom bom.’ To the point of almost being a joke, like, literally every time he walks in a room, I do that. I am not subtle about it, right?
“It’s conditioning,” McCreary continues. “It teaches you that melody teaches you something about him. It sticks to him, and then you can use it in other contexts because you’ll always have all those memories.”
He also discussed his previous work bridging the gap between medieval aesthetics and modern pop artists, avoiding AI in film and television, and his upcoming score on the new season of Lord of the Rings: Rings of Power.
“I want to write music for the people of Númenor, for the Harfoots, for Sauron, for Gandalf, and I want to write music that is meaningful to me, that lives up to my standard and makes me feel something,” McCreary says. “And if I do that, I feel confident it will make other people feel something, but that is all I have to put blinders on to the rest.” – JM
Bill Sienkiewicz
“At one point in time, every one of these was the most important piece in the world to me.”
Ahead of the release of Bill Sienkiewicz: That Polish Guy, the documentary movie about his life and career as an artist, Bill Sienkiewicz reflected on his celebrated work in comic books. Sitting down with us, he shared his personal inspirations, offered insight on his creative process, and reflected on his own multimedia legacy and growing influence.
“People would ask me early on when I first started what my drugs of choice were because they thought my work was just so crazy. It was disconcerting for them to hear that the work was the drug.”
Sienkiewicz also revealed the origins of the documentary and how it contrasted his own tendencies not to look to the past but instead focus on the here and now. – Sam Stone
The Guild: Reunion Movie with Felicia Day
Felicia Day’s 2007 web series The Guild has gathered many fans throughout the years who have grown attached to her story and goal to “change the stereotype of gamers in Hollywood.” Now, 20 years since its debut, The Guild is making a reunion movie with Day returning to her beloved story and more excited than ever.
“We did a 12-hour live stream at the launch and just realizing that people were showing up, and they were showing up in incredible numbers with incredible support, at one point I just started sobbing,” Day says.
Day looks back on the memories made in the last 20 years with so much pride for her story and the viewers’ support of it. One of her favorite moments being the outpouring support she got in 2008 for her viral music video, “Do You Want to Date My Avatar.” That year Comic-Con gave her a small room for her panel, “We were in this small room of 250 people and there were literally, I’m not kidding, 1,000 people outside waiting to get in. It was probably the most electric cool moment I’ve ever had in my life,” she says.
There is no denying that Day has received an overwhelming amount of support for her upcoming project and fans are excited for her to bring her story back to life in The Guild: Ren Faire’d. – GS
Hannah Rose May
Hannah Rose May, Irish model and actress-turned-comics writer behind The Exorcism at 1600 Penn discussed writing Smile: For The Camera, her new series Fatal Fest, and seeing her breakout comic head to film.
Smile: For The Camera is a 2005-set prequel following international models during Fashion Month in New York, before the events of Smile and Smile 2. May built the series around the franchise’s infamous death toll, but grounded each death in character exploration, explaining, “I wanted to make sure that we were delivering a death every issue…but for them to die, you have to see what’s traumatic to them, what their past trauma is on the surface. It’s not just girl number 3.”
Her new series, Fatal Fest, follows six emerging horror filmmakers competing at a mysterious festival where the producer’s one rule is that true fear must be experienced firsthand. While no concrete release date has been set, May promises the series will push the horror and gore to the absolute limit. “I hope that you read one issue and you’re like, ‘Oh my God, I wasn’t expecting that,” May says.
Meanwhile, her comic The Exorcism at 1600 Penn, about the first female U.S. president facing a demonic White House, is being adapted into a film by Blumhouse and Atomic Monster, though no release date has been announced for this project either.
When asked how the film might attract Gen Z, who seem the prime audience for horror now, May explains that the film’s appeal actually spans generations, since viewers can relate to the characters themselves rather than the specifics of their circumstances: “Parents will be able to relate to our first female president, our first gentleman, and Gen Z will be able to relate to being those children and the expectations that are set for you.” – IA
Liam McIntyre and Krizia Bajos
The stars of Sony’s upcoming Marvel’s Wolverine game, Liam McIntyre (Wolverine) and Krizia Bajos (Jean Grey), brought infectious energy to a sit-down interview that covered everything from their impressive careers to changing the landscape of voice acting.
McIntyre, who has played many iconic characters including Spartacus, Weather Wizard, and Aquaman, spoke in depth about how understanding the character is key to some of his most iconic roles. He emphasized that, despite the differences between on-camera and voice performances, the fundamentals of acting remain the same.
“I think it starts at trying to find the heart of the character, like ‘what are they about? What matters to them?’ You know, it’s their worldview kind of thing,” McIntyre says. “But acting is acting at the end of the day. I started on stage. That’s quite pure and organic You sort of get used to building your imagination and trying to create things. It’s that old cliché of acting is reacting.”
Both McIntyre and Bajos highlighted the importance of collaboration and finding joy in creative work — with strong performance coming from genuine human connection bleeding into their works. McIntyre praised Critical Role in particular, as the group of friends made a multi-million dollar company by connecting through a game of Dungeons & Dragons, which has created a community of loyal and welcoming fans. Bajos’ impressive 181 acting credits include Hulu’s Fright Krewe, which she shared was meaningful to play a nurturing maternal figure who led in a position of high regard in her community, while also being able to honor elements of her Latin American heritage. Fright Krewe stands out for its vibrant animation, nostalgic coming-of-age atmosphere, and supernatural horror elements, blending heartfelt and heart-arching friendships with spooky adventures. It is a truly enjoyable watch.
Beyond acting, Bajos founded an educational program called Voiceover Camp in 2020 during the COVID-19 pandemic with the goal of helping aspiring performers to build confidence in their voice acting abilities. What started as informal coaching for friends evolved into a thriving community focused on mentorship, growth, and acceptance.
“I have a lot of fun on that side, but I will say the community on this side, to me, it is very near and dear to my heart. It’s like where all the beloved weirdos live, and I am 100% one of them. Everybody comes as they are,” Bajos said. “And I love teaching people that they don’t even want to be voice actors. It’s just they want to build more confidence.”
You can check out more of this duo’s amazing chemistry in the upcoming release of Marvel’s Wolverine on September 15. – NG
The Lord of the Rings: The Rings of Power
Prime Video’s The Lord of the Rings: The Rings of Power had a big presence at San Diego Comic-Con to promote its upcoming third season. And, by all indications, it’s going to be a big third season. We caught up with showrunners J. D. Payne and Patrick McKay and many of the series’ stars to talk about the show’s five-year time jump forward to properly settle into the war between Sauron and the Elves and the forging of the One Ring itself.
“It’s amazing,” Sauron actor Charlie Vickers says of beholding the One Ring. “It took a while through the season before I got to actually hold it. But when I stepped onto that set and I knew I would be forging the Ring, I knew it would be incredibly special. Being able to eventually hold the Ring…it really is the most important prop in the whole universe, right?”
Meanwhile, the One Ring isn’t the only bit of jewelry to play a prominent role this season. Sauron has been busy passing out the Nine Rings of Men to very important, very corruptible mortals. It won’t take long for the magical artifacts to transform them into proto-ringwraiths that the show has dubbed the nazgnagôl.
“We knew this was the season he would start giving them out,” McKay says. “He doesn’t give them to just anyone. He finds the right political place where it’s either a territory or strategic alliance or massive armies. He’s already done some of that before we even start the season. For the other ones we get to see people put on the ring for the first time. You see their bodies undergoing this strange, horrifying, metaphysical process where they’re splitting between the seen world and the unseen world. It’s incredibly painful and they’re screaming. It’s a really cool thing.”
See, this is why we love fantasy. Where else could the excruciating sundering of the human soul between the seen and unseen worlds be called “a really cool thing?” – AB
Sonic the Hedgehog x Godzilla Writer Nick Marino
Writer Nick Marino has long looked forward to the ultimate crossover featured in his comic, Sonic The Hedgehog x Godzilla. At San Diego Comic-Con, Marino dove into his interpretation of the characters and how he went about writing them for this project, especially for a monster like Godzilla who has already been interpreted so many ways.
“I know who my Godzilla I want to see on the page or the screen is, so I’m always starting from that standpoint,” he says. “I was under a unique mission for this story, which was: if you just know Sonic, you’re going to come into this and learn about Godzilla. If you already know Godzilla, you want to see the Godzilla that you care about represented, or if you’re like, ‘why are these two together? I don’t really know them, but let’s find out what happens.’ I want it to feel accessible to you.”
Despite the amount of support from fans for this crossover, Marino still had a tough time getting this story approved and officially published, “It took a lot of willpower to stick with this project because there’s a lot of people that you need to be patient with.” When asked how he says motivated he replies, “I get so much motivation from playing with themes that fascinate me. So I was so excited to play with the scale dynamics and try to imagine how does this small creature with great speed perceives a creature with great scale?”
“The scale of life” is a concept that Marino has credited as a main inspiration for this comic and he keeps that a theme throughout the first issue, “Sonic has agency in a way Godzilla doesn’t, and that’s why their scale starts to become so interesting. What do you do when a character who is minuscule, probably smaller than the size of a fly, compared to Godzilla, has complete agency and intense capabilities for their size?”
Marino’s first issue captures the fun and chaotic battle between these two very different sized characters and how a conflict between these two will likely play out, though Godzilla in his truest form is yet to appear, Marino’s first issue gives fans confidence the anticipated battle will be everything they have hoped for. – GS
Pan’s Labyrinth
Audiences across the world were enchanted by Pan’s Labyrinth after its release in 2006. The beautiful cinematography, intense and surprisingly grounded story, and incredible performances came together in a perfect symphony of fantasy and war movie sensibilities. Two of the stars of the film — Doug Jones, who plays Faun and The Pale Man, and Ivana Baquero, who plays Ofelia — alongside cinematographer Guillmero Navarro spoke with Den of Geek before the film’s 20th Anniversary Hall H panel Friday.
Baquero and Jones candidly talked about their performances and the inspirations they pull from, bringing new context to their dually foundational performances.
“[Director] Guillermo del Toro made it a point to really make sure that I understood the world and so there was a lot of inspiration that we drew from,” Baquero says. “He sent me a bunch of comic books and movies to watch. So I was aware of Ofelia’s world and the pain that she had to go through and I was very much present and connected to the material and (del Toro) guided me through that.”
Navarro also brought more information about his creative machinations behind the camera.
“The movie has different narratives,” Navarro said. “And the real reality we addressed as real reality in the fascist world and in the people’s fighting world. Since we had another narrative to take care of we had to differentiate them very well and in going through one to the other, we ended up finding the tools or the way to, to navigate that, you know. A lot of it is in the color palette, for instance. A lot of it is in the things that we fade in and fade out.” – JM
Todd McFarlane
“I just want a cool movie and if that means I don’t sell a single T-shirt, that’s okay, what do I care?”
Todd McFarlane provides a full look at what he’s been working on, including the upcoming prequel comic book series Spawn 77, reflecting his own initial designs of the hellish superhero. McFarlane also teases what fans can expect from his prolific company McFarlane Toys and its new line of figures that go above and beyond other contemporary toys. Finally, McFarlane provides an update on the long-gestating Spawn movie and explains why Jamie Foxx is still the perfect actor to play his iconic superhero.
“The next couple of years, we’ve got lots to start planning for.” – SS
VeeFriends
The ever-growing collectible “VeeFriends” brand was a smash hit with convention goers this week. This described cross between Pokémon and Sesame Street offered many exclusive offerings inside “PSA’s” booth on the show floor, with many of them selling-out within opening hours. Adamant fans of the brand could take home goodies such as a limited-run, SDCC-exclusive, PSA graded mystery box featuring the IP’s many characters as potential prizes.
One such prize was a copy of Issue #13 of the VeeFriends comic book series, co-founded by series executive creative director, DJ Coffman. He himself was making the rounds at the convention, organizing and showing up for fan meet-ups and signings. His presence was extremely personable and made its imprint on the legacy of VeeFriend and what the brand’s future may hold. – MA
Yaga
Den of Geek attended press conference with Yaga showrunner and executive producer Kat Sandler, along with cast members Noah Reid and Clark Backo. Set to premiere in October on AMC+, the eight-episode half-hour drama reimagines the myth of Baba Yaga as a contemporary mystery thriller.
Set in a small coastal town, the show follows private investigator Rapp (Reid) as he arrives to uncover the mysterious disappearance of a young heir to a powerful fisher while finding himself at odds with a local detective, an enigmatic professor, and a tangle of secrets and ancient magic.
Asked what drew her to reclaiming Baba Yaga as, in her words, “an incendiary feminist antihero,” in this cultural moment, Sandler pointed to the folklore figure’s rare distinction of having a name at all.
“Baba Yaga always has a name. She’s always named. It’s not like the Wicked Witch of the West, or the one from Hansel and Gretel, or The White Witch. I feel like witches are so often defined by geography or colors,” she said. “[Yaga] is women reclaiming a story that has always been told a certain way about them. So the ‘wicked old witch’ is really getting a voice to retell the story in her words.” – IA
Panels
Dave Bautista, Jessica Matten, Dionne Quan, Eric Nam and Román Zaragoza at the Paramount+ Avatar Aang: The Last Airbender Panel at San Diego Comic Con on Thursday, July 23, 2026 in San Diego. Photo Credit: Todd Williamson/JanuaryImagesfor Paramount+
Avatar Aang: The Last Airbender – Nyla Gilbert
Nearly two decades after we were introduced to the four nations and the disappearance of a certain young air nomad, San Diego Comic-Con gave a spotlight to Avatar Studios’ upcoming projects, including the recently released Avatar Aang: The Last Airbender film on Paramount+ and an upcoming series, Avatar: Seven Havens, starring a new avatar.
Creators Michael Dante DiMartino and Bryan Konietzko, and director Lauren Montgomery joined the film’s cast, Jessica Matten (Katara), Eric Nam (Aang), Román Zaragoza (Sokka), Dionne Quan (Toph), Steven Yeun (Zuko) and Dave Bautista (Tagah), on a panel to discuss the production of the film and the state of the Avatar universe. With the recent boom in 3D animation, the creators talked about their decision to stick to the 2D animation style that the series is known for.
“One of the first things that we talked about was what the medium was going to be, and no one told us, but we just assumed [3D]. I guess that’s what we’ll do,” Konietzko said. “We started trying to figure it out. But then one day it just hit me. I was like, ‘What are we doing?’ This is Avatar. This is a love letter to Japanese anime. This needs to stay 2D. These characters need to be hand-drawn.”
The cast and crew discussed in depth how to stay true to the original material, creating something that feels like a continuation of the franchise while remaining fresh and captivating. Bringing in new cultural and narrative devices, like the new Avatarian language, fans were also introduced to the next avatar to be given their own series.
Avatar: Seven Havens follows a young earthbender who discovers she is the next avatar after Korra, who is said to have failed the world in a calamity that merged the spirit world with Earth, creating a dangerous reality that has turned the mantle of the avatar into a destroyer rather than a savior. The story will catch up with the young avatar and her long-lost twin sister as they investigate their mysterious origins and save humanity before society collapses. – NG
Blade Runner 2099
The Blade Runner 2099 panel was hosted by Josh Hortowitz and featured cast members Hunter Schafer, Michele Yeoh, showrunner Silka Luisa, and executive producers Broderick Johnson, and Andrew Kosove.
Kosove and Johnson started the panel discussing the highly anticipated return of the franchise and finding the right story for its ultimate comeback. Luisa’s was the approach that emerged: a post-war role reversal that leaves the replicants on top and humans fighting back for their place in society. This series furthers the franchise’s question on what it means to truly be human whether robots can develop empathy. The divide between human and replicant is still evident, but may be blurred between the unlikely pairing of Cora (Schafer), a human, and Olen (Michelle Yeoh), a replicant nearing the e end of her life.
Luisa acknowledged the love and care everyone on set had for this story and doing it justice, “[Blade Runner] is the film that inspired so many of us to actually pursue anything in the arts, and it’s just one of those movies that you never forget the first time you saw it.”
Luisa made the story authentically hers while simultaneously tapping into her inspiration from the original film ,keeping the question of humanity as the focus of the series, “What I remember most was rooting for all the replicants. For Rachael, for Roy Batty, even Leon. I don’t know if that’s what everyone else was feeling, but that’s who I empathized with, and that was such an unsettling and beautiful idea that it might not be humans who teach us what humanity is.”
Yeoh discussed the impressive set design stating, “It felt so organic. I felt like I was in the future, and this is what the future could possibly look like.” Care for the set design and CGI was evident in the teasers shown throughout the panel. The setting felt organically Blade Runner while also utilizing the advancement in technology. The teasers at the panel revealed the official release date of the series to Prime Video on November 25, successfully building excitement in loyal franchise fans. – GS
Carrie
Mike Flanagan’s newest Stephen King adaptation is the writer-director’s favorite, he told attendees in Ballroom 20 of the San Diego Convention Center. Carrie, a limited series produced by Prime Video, reimagines the 50-year-old novel by King for a modern audience.
Members of the “Flanagan Family” (frequent collaborators with the director) including Samantha Sloyan and Matthew Lillard unite with young actors and actresses on this modern retelling of Carrie, which Flanagan and his ensemble say will focus on social media and isolation. It flips many of the original scenes and characters from its source material, complicating its narrative and relationships. Flanagan also said this is one of his most intensive film sets, acting as the culmination of his previous work on shows such as TheHaunting of Hill House and The Fall of the House of Usher.
Early looks at various scenes in the upcoming show revealed both classic moments and fresh nuance.
“[Margaret White] loves her daughter. She’s also a fierce woman, so it’s not that she’s a big softy by any means, but I do think that her ferocity is protecting her daughter, the thing she loves most in the world,” Sloyan said, when talking about the difference between Flanagan’s Margaret and King’s Margaret. “Just like her daughter, she has been in this house for 15 years and, you know, she had a life before, but if you just think, if you missed the past 15 years and walked outside, the like, you know, the world would be quite terrifying.” – JM
Lanterns
Lanterns had a glowing presence for HBO Max’s lineup this Comic-Con season, featuring immersive activations where attendees could be fitted with a Green Lantern Power Ring of their own, alongside a “training bootcamp” themed around the show. Fans of the DC character additionally lined up at Hall H in droves just to get a sneak preview at the show during their exclusive panel.
The panel featured show cast members Kyle Chandler, Aaron Pierre, Garrett Dillahunt, and Poorna Jagannathan answering questions and dissecting their experience working on the show. With executive producers Chris Mundy, Damon Lindelof, and Tom King offering key insights about how they transformed the world of Green Lantern into this new series. HBO Max subscribers can expect this show to premiere August 16. – MA
Pan’s Labyrinth
As acclaimed director Guillermo del Toro walked onto the stage of the prestigious Hall H, he was met with thunderous applause. Immediately asking “What the f—?” and then apologizing for cursing, del Toro’s playful attitude communicated a love for cinema unmatched by many of his contemporaries.
Flanked by Pan’s Labyrinth stars Ivana Baquero and Doug Jones, as well as the movie’s Oscar-winning cinematographer Guillermo Navarro, del Toro and co. shared stories and announcements about the film 20 years into its legacy and the upcoming theatrical rerelease. It was abundantly clear that despite the film being two decades old, the film’s cast and crew are still as close as they were when Pan’s Labyrinth first hit the big screen. It was also clear that the film hadn’t left del Toro’s mind since its release in 2006; he directly oversaw the retouches and 3D screen augmentation for the re-release.
The director also made his love for art apparent, lambasting AI in film and emphasizing the importance of connecting people to human stories.
“Art saves your life sometimes,” del Toro said. “You know, sometimes, especially when you’re young, you’re vulnerable and you’re down and you’re crushed, and in comes a piece of music, a song, a movie, an illustration, an image, a character that tells you, hang on, hang on, it gets better, you know, and, this movie connects like that with artists.” – JM
Spaceballs: The New One
Almost four decades after the release of Spaceballs, the long-joked about sequel is finally making its way to the big screen. Spaceballs: The New One is set to spoof the newest Star Wars films and television shows, focusing particularly on the sequel trilogy and the latest installments of the Skywalker Saga.
During the joke-laden Hall H panel featuring the new movie’s stars, writers, and director, it became increasingly clear that more thought went into the new Spaceballs movie than people may have expected. Writer and star Josh Gad spoke highly of original director Mel Brooks and said the new film was a tribute to his humor in addition to the comedy of John Candy. Spaceballs: The New One brings back several of the original actors, including Rick Moranis and Daphne Zuniga, who spoke on the panel.
The entire panel often felt like an homage to Brooks, who turned 100 years old in June. Clips of him reuniting with the cast of Spaceballs, meeting the sequels new cast, and doing behind-the-scenes VFX work were sprinkled between conversations with the sequel’s cast. Additionally, attendees got to see the new trailer for Spaceballs: The New One, getting exclusive early access to the Keke Palmer and Lewis Pullman-led film.
In the final half of the panel, Gad and fellow writers Dan Hernandez and Benji Samit teased the Almighty Schwartz Saga whole (ASSwhole).
“We have enough content until 2148, and we are very excited,” Gad said. – JM
Sam Reid as Lestat De Lioncourt – Anne Rice’s The Vampire Lestat _ Episode 07 – Photo Credit: Sophie Giraud/AMC
The Vampire Lestat
Like bats clustered together in a dark cave, The Vampire Lestat fans roosted in the dark, patiently awaiting for the signal for the Hall H panel to begin.
Moderated by Rotten Tomatoes editor Jacqueline Coley, the panel featured executive producers Mark Johnson and Hannah Moscovitch alongside cast members Jacob Anderson, Assad Zaman, Eric Bogosian, and Sheila Atim. Sam Reid was unable to attend due to starring in Doubt: A Parable. Giving fans a sneak peak at what they had missed, the panel opened with a highlight reel from The Vampire Lestat: One Night Only LIVE, the June 2 performance at NYC’s Beacon Theatre, which was revealed to stream exclusively on AMC+ starting August 23, 2026.
Discussion mostly centered on season 3’s final two episodes. “I didn’t know anything. I was led by [showrunner] Rolin Jones and Hannah Moscovitch down that weird road. Who takes a penultimate episode and decapitates the two leads? It’s unheard of,” Johnson said, admitting he was blindsided by the twist.
For Moscovitch, the twist was intentional all along. “We wanted episode 6 to reunite Louis and Lestat, and for us to get to see their love again. And then we wanted to cut their heads off,” she said. Moscovitch added that Lestat’s arc required him to “face his own trauma and run through the different rooms and hallways of his mind until he understood that Gabriella had been abusing him and that Louis really loved him.”
Anderson reflected on shooting intense scenes with Reid. “Weirdly, that’s the most comfortable I feel making this show. Whenever they’re screaming, just know they’re having a blast,” he said, referring to Louis and Lestat. Zaman called playing Armand’s scheming side, “very delicious,” noting he wanted to explore the character’s ability to be “way more conniving and methodical.”
When asked what his favorite line was, Bogosian revealed it was Lestat struggling to pronounce “Worcester.” “That means Massachusetts and it’s ‘Woostah.’ Very simple but he cannot get the words out,” he laughed. This prompted Anderson to add, “Can we also give it up for ‘It’s your boy, Daniel Malloy’?”
Atim discussed tackling Akasha’s four-page, punctuation free monologue, saying she focused on “charting the journey through the questions Akasha is answering.” Atim revealed that she initially paced around her hotel room while learning the speech, only to find out she would be delivering it while strapped to a stone table. To come to the role as prepared as possible, she “decided to learn [the speech] sitting on my bed with one leg up and one leg down, in the exact position I would be.”
The panel closed with the reveal of season 4, Queen of the Damned, and an exclusive trailer that sent Hall H into a frenzy. – IA
Den of Geek Events
Cracked Comedy Club
On Saturday, July 25, San Diego’s Gas Lamp Quarter got a reminder that comedy is its own kind of superpower. Cracked Comedy Club teamed up with National Lampoon’s Yellow Door for a live showcasing event.
Kicking off at 9:30 p.m., host Ryan Archuleta welcomed a lineup stacked with talent clearly on the way up: Charlie James, Mary Houlihan, Vince Caldera, Noah Findling, Fatimah Taliah, Austin Kress, Ben Brainard, Max Castillo, and Willie Macc. Each comic brought their own flavor to the stage, and the crowd, packed chair to chair, ate up every minute of it. The laughs came fast and often, and if the crowd’s reaction was any indication, don’t be surprised if a few of these names start popping up on much bigger venues very soon.
Between the packed house, the late hour, and a sharp lineup, the Yellow Door proved for one night that Comic-Con isn’t just for capes and cosplay, it’s for punchlines too! – IA
Dark Matter Season 2 Premiere Screening
Huddled together in the cavernous Ballroom 6DE of the San Diego Convention Center, fans of the Apple TV sci-fi television series Dark Matter joined together for an exclusive screening of season 2’s first episode.
A brief Q&A with Dark Matter’s cast and crewpreceded the screening, giving a few minutes for the show’s talent to talk about their ever-expanding world. Den of Geek hosted the screening, bringing only the most tireless Dark Matter fans to the after-hours event.
“It’s a very special thing to get to watch a TV show that you create with strangers,” author and co-showrunner Blake Crouch said. “You know, if you make a movie, you could always slip into a theater and see what people are feeling. In television, unless you have a premiere, which is generally friends and family and crew, you don’t get that. So to get that kind of a reaction was so gratifying.”
“Extremely humbling too, for somebody to sacrifice their Friday night at 10:00 p.m. to come out and watch our show and be a part of that. It’s everyone’s dream,” co-showrunner Jacque Ben-Zekry added.
Dark Matter follows physics professor Jason Dessen after he’s swindled into an alternate version of his life. The show is an odyssey across dimensions as Dessen tirelessly tries to return to his home reality and family.
The second season picks up shortly after where the first season left off. Without spoiling anything, viewers will get a much more paranoid, and at times desperate, ensemble of characters. – JM
eBay Live Charity Auction
This year, Den of Geek hosted a live charity auction on eBay Live, hosted by Sam Stone and Nick Morgulis. The money raised goes to the Book Industry Charitable (BINC) Foundation, whose mission is “to strengthen the bookselling and comic retailing communities through charitable programs that support employees, owners, and their families.” BINC is dedicated to helping book and comic professionals in need to keep the industry alive, and to create a caring community for people to rely on.
The auction included the extraordinary work of legendary comic creator Frank Miller. Fans had the opportunity to bid on an incredible collection of books and graphics from Miller’s career, all of which were signed by Miller himself. This collection included several signed copies of his new memoir, Push the Wall, with 1-of-1 Batman sketches that Miller personally sketched for Den of Geek during SDCC.
Miller’s autobiography includes numerous sketches of his works, as he tells his story from teenagedom to reviving the Batman comics to his retelling of the Spartans’ last stand in 300 — this goes over the complete works of his career and is a masterclass for anyone looking to join the comic industry as a storyteller.
Push the Wall: My Life, Writing, Drawing, and the Art of Storytelling is now available on Amazon, Barnes & Noble, and Audible. – NG
Live from the Con @ Mission Brewing
Den of Geek hosted a giveaway event this year at San Diego Comic-Con, “Live From the Con with Roddenberry Entertainment,” sponsored by Fourth Wing: Rise of the Wingleader. Hosted by Sam Stone alongside Elly Glitch and Nick Marino, the event celebrated the release of Goliath Games’ board game adaptation of Rebecca Yarros’ bestselling series.
The evening featured live taping of Roddenberry Entertainment and Nacelle Company’s Does It Fly? And POWER-UP by Den of Geek, putting dragon flight and game strategy under some good-natured scientific scrutiny. Oh, and of course there was some Xaden thirsting along the way that only free beer courtesy of Mission Brewing could quench.
Discussing the source material, Marino praised how the books elevate the familiar fantasy structure. “I love how this took the structure we’ve seen before but upped all the fantasy, the risks, everything going into it, it’s heightened,” he said. Glitch added that the story kept readers guessing, “It also subverted a bunch of expectations.”
Of the game itself, Marino expressed his excitement for the story being redefined into a more hands on experience for fans. “This is a story that is in a conversation with its audience, and to take that and make it interactive on a different level as a game, that’s a dope idea,” he said.
Attendees had the chance to win complete copies of the book series as well as get glimpses of the game, which is now available at all major retailers. – IA
Wattpad @ Mission Brewing
The Den of Geek and Wattpad-hosted event at Mission Brewing invited independent writers to come connect and celebrate each other’s work. The event had free Wattpad writing pads with writing prompts to spark inspiration and authors Punko, Derek V. Song, ROSEOAK, and E.M. Wilson, who had a signing table for her book Breakup For Two.
Wilson says she started her writing career reaching out to agents. After one got back to her and said, “not everybody has a strength in writing, you don’t really have an author voice that’s discernible, so maybe take a step back and see if this is something you really want to pursue,” the author thought that she had to “pack it up.” But she persisted and started writing on Wattpad, eventually getting herself a publishing deal under the Wattpad/WEBTOON umbrella.
The party was a space for authors to discuss how their love for writing began and how platforms like Wattpad aided their careers. Derek V. Song, author of Fantasy High, talked about his first memory of him writing at the age of six in the backroom of a bar his father worked at, “They had this big boxy computer that was too old to do anything but open up a Word program. So a lot of hours were spent typing because it was one of the only things I could do.”
Punko, author of Cinderella Boy, talked about how platforms like WEBTOON and Wattpad give a space for authors like her to receive constructive criticism and grow as an artist, “Your goal as a writer and creator is to create the best possible stories you can. You will not do that if all you do is seek out praise, because you don’t grow from praise, you grow from criticism.”
The Den of Geek Wattpad party was a successful gathering of independent artists that further promoted their stories and sparked inspiration in others at San Diego Comic-Con to get started on their own creations. – GS
Silent Hill: Townfall Previews an Intense Ride Through a New Haunted Town
After last year’s Silent Hill f took Konami’s long-running horror series to Japan for a terrifying expansion of what the franchise can be, Screen Burn Interactive and Annapurna Interactive are taking the series to another global location for their upcoming title Silent Hill: Townfall. Set in the Scottish coastal town of St. Amelia during the ‘90s, the game follows amnesiac protagonist Simon Ordell as he investigates the ominous hamlet to learn about his past and connection to the location. Den of Geek was invited to a special early hands-on preview of the game in Los Angeles and we’re ready to share our thoughts about it ahead of its September launch on PlayStation 5 and PC.
In a first for the venerable series, Silent Hill: Townfall is played from a first-person perspective rather than the franchise’s third-person norm, providing a much more immersive experience to players. This is aided by the game taking full advantage of the PlayStation 5 hardware and enhanced for those who play the title on a PlayStation 5 Pro, which is what I played the demo build on. With this change in perspective, environments are incredibly detailed and everything from fog and lighting effects set the eerie mood perfectly. Simply put, Townfall is a gorgeously rendered game and arguably the best-looking game in the entire Silent Hill series so far.
Several of the game’s development team at Screen Burn Interactive previously worked on 2014’s Alien: Isolation and those suspense-fueled sensibilities are apparent throughout the build that I played. Players can use a handheld CRTV which crackles with static whenever enemies or clues are nearby, in a clear nod to the classic Silent Hill mechanic of using radios for the same context clues. But aligning with Alien: Isolation, the CRTV also lets Simon glimpse where enemies are once they’re detected and plan accordingly to advance, either to confront them head-on or distract and evade them. Getting into my fair share of combat situations and resulting game over screens, believe me, evasion and stealth is an approach that is strongly encouraged.
Every Silent Hill game places an emphasis on melee combat, especially Silent Hill f, with occasional moments of gunplay. These skirmishes are never stylized, but always carry an air of brutal desperation about them, as players do whatever they can to fight to survive enemy encounters. That element is heightened in Townfall, with even crossing paths with a base enemy feeling like this grueling confrontation could result in a game if players aren’t careful. There is a guard mechanic to block incoming blows, but enemies are absolutely vicious here and naturally try to flank you to move around your guard. The foes aren’t quite as seemingly unkillable as the Alien: Isolation xenomorph, but no less tension-inducing in how formidable they are.
What that means is the game places a heavy emphasis on stealth to navigate St. Amelia – while straightforward combat is an option, an enemy can kill Simon within a handful of hits if you’re not careful and just try to go in swinging. That first-person perspective makes the whole combat and evasion experience all the more visceral, especially when you’re playing while wearing headphones like I was, trying to ascertain how close enemies were, listening to their footsteps while hiding in dingy bathrooms or behind parked cars. Yes, there is also an element of gunplay to Townfall, but I quickly realized that a gunshot can clue in multiple monsters to my immediate location so any firearms that I picked up became a last resort option.
The series’ penchant for puzzle-solving makes a return in a big way too and in my multi-hour sitdown with the game, I found myself solving several puzzles built around environmental clues in my immediate surroundings to proceed. Some puzzles also use the motion inputs within the DualSense PlayStation 5 controller, but fortunately those can be toggled on and off. The difficulty of the puzzles themselves weren’t too bad for me – I fared much better at puzzle-solving than combat – but solutions aren’t spoonfed to players either. It’s also important to note that, like other modern Silent Hill games, the difficulty in combat and puzzles in Townfall can be adjusted by players according to their individual preferences.
Arguably the most intensely challenging of the new wave of Silent Hill games that began with the 2024 Silent Hill remake, Silent Hill: Townfall has me intrigued after playing through an early build for several hours. The atmosphere hews closer to the classic aesthetics of the franchise more than the radical direction that Silent Hill f took while the series’ gleefully melancholic tone and many of its usual hallmarks are retained. I want to go back to St. Amelia and dig deeper into its sad mysteries, including how Simon is connected to it, even knowing how formidable its monsters are. Continuing Konami’s successful revival of Silent Hill, Townfall brings an exciting new perspective to the series, both literally and figuratively, while celebrating the ethos of the franchise itself.
Developed by Screen Burn Interactive and published by Konami and Annapurna Interactive, Silent Hill: Townfall releases September 24 for PlayStation 5 and PC.
Street Fighter Sneak Peak Corrects the 1994 Movie’s Biggest Mistake
The influx of Japanese culture into the United States meant lots of misunderstandings and mispronunciations happened on American schoolyards, especially around the Street Fighter franchise. We kids found the most ludicrous ways to say the words “Guile,” “Dhalsim,” and especially “Ryu.” While you can chalk most of those mistakes up to unfamiliarity with other languages, the tendency to say Rye-oo came straight from the 1994 movie, where director Steven E. de Souza treated accurate pronunciations with as little care as he did everything else in his adaptation.
But the upcoming Street Fighter movie from director Kitao Sakurai takes pains to bring the games to the big screen in every way, including pronunciations. That attention to detail is on display in the latest clip from the film, which sees M. Bison (David Dastmalchian) force Ryu (Andrew Koji) to duke it out with the Brazilian monster man Blanka (Jason Momoa). The clip shows off lots of stuff from the games, including an electrical blast from Blanka, but for ’90s kids, the most important moment occurs right at the start, when Bison addresses his combatant as “Ree-you.”
As much as we like to rib the ill-fated ’90s movie, one can understand why de Souza took so many liberties. Street Fighter has a narrative, as demonstrated by the numerous cartoons, comics, and books it has spawned. But at its heart, it’s about two outlandish characters getting into a ring and pummeling one another like so many luxury cars. Maybe expanding that premise into a tale about fake money, reporters who also do martial arts, and Jean-Claude Van Damme as an American working with the UN was a mistake, but it made for some delightful viewing.
At this point, it’s not clear how Sakurai and his co-writer T. J. Fixman, working from a story idea by Dalan Musson and Gary Dauberman, plan to construct their narrative. But it is clear that Sakurai puts a priority on faithfulness to the game, especially in the new clip. It’s not just that the fight occurs in an unlikely location—a jail cell—and surrounded by randos who get involved in one way or another. It’s that Blanka is a big green weirdo with wild orange hair.
Momoa’s take on Blanka feels like another rejoinder to the 1994 movie, which did feature Blanka as an important subplot. In fact, Guile gets involved in the mission against Bison primarily to save his old pal Charlie (Robert Mammone), who gets tortured by unwilling scientist Dr. Dhalsim (Roshan Seth) throughout the film. But when he finally emerges in his green and orange form, Blanka plays more like a tragic figure than a cool favorite player character.
As demonstrated by the latest clip, Street Fighter 2026 leans hard into the wacky fun of Blanka. It doesn’t look much better than the 1994 take—Momoa’s face peering from a green blob of CGI is unsettling in a compelling way—but it does look fun.
Will that be enough for today’s fans to pronounce Street Fighter a proper video game adaptation? We’ll find out soon!
Street Fighter blasts into theaters on October 16, 2026.
Bill Sienkiewicz Brings His Expansive Legacy Into Focus in a New Documentary
“People would ask me early on when I first started what my drugs of choice were because they thought my work was just so crazy,” recalls Bill Sienkiewicz with a smile while speaking with Den of Geek. “It was disconcerting for them to hear that the work was the drug. Everything else got in the way of that.”
Coming into the Den of Geek studios at San Diego Comic-Con 2026, Sienkiewicz certainly has a lot to smile about, remaining as busy as ever within the world of art, particularly within the comic book industry where he has been a groundbreaking staple for over 40 years, reinventing pop culture icons with his breathtakingly evocative style. But more than just showcasing his eye-catching work and catching up with fans and his fellow artists, Sienkiewicz is the subject of an eagerly anticipated new documentary film, Bill Sienkiewicz: That Polish Guy. Goodnaturedly titled after a nickname that Clint Eastwood gave him while they worked together, the documentary traces Sienkiewicz’s origins in Pennsylvania before taking the artistic lead on best-selling comic books like Moon Knight and The New Mutants.
“I wish that I could take credit for the idea of looking back or coming up with a documentary, but it wasn’t mine.” Sienkiewicz admits. “It was Sal Abbinanti, my art dealer and dear friend.”
In addition to working with Sienkiewicz, Abbinanti has also worked closely with celebrated artist Alex Ross for years and produced the 2024 documentary The Legend of Kingdom Come, chronicling the origins and legacy of the acclaimed 1996 comic book title. Comparatively, Bill Sienkiewicz: That Polish Guy goes into much more personal territory with its subject matter, both through reflections with Sienkiewicz and interviews with his peers and close friends. For his part, Sienkiewicz wasn’t so much interested in the potential for “navel-gazing” but was intrigued by the possibility of the documentary giving him a chance to talk about his process and connect his work “with the human aspect” of bringing people together.
In revisiting his professional beginnings, Sienkiewicz reflects that he and his contemporaries were from a generation who loved superheroes and saw them as their own mythology. Naming Neal Adams and Curt Swan among his major influences, Sienkiewicz approached his deep love of the characters and stories with a desire to deconstruct them and get down their respective essence. This came from stories like Daredevil: Love and War, turning the Kingpin into a literal mountain of a man, and depicting Moon Knight as a figure constantly wreathed in the shadows.
“We were literally trying to dismantle it and add our own bits and pieces to the medium and to the lore,” Sienkiewicz explains. “I do know that if I had come in with the style that I later developed, with The New Mutants and my own work, I would not have gotten hired because I literally had to come in dressed in the wolf’s clothing of Neal Adams because he was such a groundbreaking artist. He was so loved and accepted that I came in under the cloak of being like him. Underneath that, there were so many other things that I wanted to try.”
Upon getting to know and befriend Adams, Sienkiewicz continued to see him as an inspirational figure as he started his own career as a comic book artist. Sienkiewicz remembers being impressed by Adams always being visibly enthusiastic and loving his work, with a focus that Sienkiewicz has carried over into his own career and artistic process. In working and speaking with Adams, Sienkiewicz cites a specific piece of advice from his mentor and friend that he found both esoteric and versatile.
“A line represents three things: It represents the inside of the shape, the outside, and itself,” says Sienkiewicz, quoting a piece of sage wisdom from Adams. “It sounds really abstract and artsy, but there is also something very musical and a life message about that. It can be extrapolated and taken to so many different arenas.”
Of course, Sienkiewicz’s work has touched and influenced countless fans worldwide for generations. Even more saliently, Sienkiewicz’s influence and legacy can be prominently seen in movies like Spider-Man: Into the Spider-Verse and The New Mutants, as well as television shows like Legion. For his part, Sienkiewicz lauds the work of actors like Anya Taylor-Joy and Dan Stevens in breathing life into his characters and making them their own, while seeing his influence in other art and media forms informs his own continual process of self-discovery.
“It’s wonderful and more than I ever could have imagined,” Sienkiewicz smiles. “None of it is taken for granted.”
Produced by ComicBookPros, Bill Sienkiewicz: That Polish Guy is slated for release in 2026.
Star Trek: Strange New Worlds Just Complicated The Wrath of Khan
This article contains spoilers for Star Trek: Strange New Worlds season 4 episode 2
At the climax of “The Griffin Incident,” the second episode of Strange New Worlds‘s fourth season, the haunted ship that Kirk, Spock, and La’an have been investigating nearly drives two of the Starfleet officers to kill one another. La’an stabs Kirk and then stands over his body, mocking him for saying that he wants to live for his young son, David. “Your little boy is going to die just like you,” sneers La’an. “At the end of a blade, bleeding out in a dark corner of space.”
It may not be the real La’an saying these words, but they aren’t wrong. David, Kirk’s son with the scientist Carol Marcus, does indeed get killed by a Klingon d’k tahg in Star Trek III: The Search for Spock. However, everything before that moment surprises anyone who knows that movie and its predecessor, Star Trek II: The Wrath of Khan. Those films portrayed Kirk as a largely absent father, who had never worried too much about the son he left behind while traveling the galaxy with his true love, the USS Enterprise. But in “The Griffin Incident,” we get a different type of Kirk, one who wants to be a good father and hasn’t yet come to grips with the fact that he never will be.
Original Failures
The legend of James Kirk looms large for everyone who loves Star Trek, including the man who currently portrays him, Paul Wesley. “I’ve always wondered about Kirk’s relationship with his father and with his son,” Wesley explained during a press conference attended by Den of Geek. “Your relationship with your father is very important to who you become as a man. And Kirk had to go through some things in order to understand why he becomes who he is.
“What’s great about Strange New Worlds is that we have this wealth of information about Kirk. But on the Original Series, we just meet Kirk and he is who he is. He’s a sure-footed kind of man who is in command. Being able to explore some vulnerabilities with his family has, for me, and hopefully for the viewers, provided a lot of information and context as to why he became who he is.”
That context comes in “The Griffin Incident,” a favorite among the Strange New Worlds cast, for several reasons (“I enjoyed stabbing Paul,” beamed La’an’s actor Christina Chong). “The Griffin Incident” begins with Kirk, Spock, and La’an discovering a missing starship called the USS Griffin while traveling home from a retreat. As the trio investigates, they find the Griffin abandoned, with no indication of what happened to the crew. Amongst the visions and monsters that assault them, Kirk thinks that he hears the cries of a baby, cries that he believes are coming from his infant son David. Kirk had been planning on visiting Carol, with whom he has a cordial but distant relationship, and David. But instead, he agreed to attend the Future Leaders of the Federation Retreat, a decision that caused him no consternation, as he thought he could catch up with them afterward.
However, the strange effects of the Griffin cause Kirk to hear the sounds of a baby crying, sounds that he associates with David. Later, the Griffin manifests images of the Enterprise crew, including Kirk’s brother Sam. In scenes that don’t feel like horror sequences, Sam compares Kirk’s habits of bringing trinkets back to David to that of their father, whose baubles failed to make up for his absence. Worse, Sam tells Kirk that he hasn’t been able to reconcile his Starfleet duties to his family life, a confession that gains greater meaning when Sam gets sucked out into space, forever floating among the stars and away from his wife and children.
The Wrath of the Son
At the point that Sam goes through the window, we viewers know that he’s a hallucination. After all, we see Sam die in the TOS episode “Operation – Annihilate!” where he’s played by William Shatner wearing a fake mustache.
However, longtime Trekkies didn’t know that Kirk felt so deeply about his son that a haunted ship could use it as a weakness to exploit. Outside of non-canonical novels and comics, David Marcus only appears in the aforementioned two movies, where he’s played by the late Merritt Butrick. Through Butrick’s performance, we’re led to see Kirk as largely an absent father, someone whose mere existence is a problem for David. In his first scene, David stands beside his mother Carol as she listens to Chekov (secretly being controlled by Khan Noonien Singh) order her to surrender the findings of her Genesis project. When Chekov tells Carol that Admiral Kirk ordered the transfer, David’s anger at his father bubbles over, and he starts shouting about Starfleet military overriding the science division.
David’s anger doesn’t subside when Kirk himself arrives on Carol’s station, Regula I, to assure them that he did not give the order. David attacks Kirk as soon as he beams down to Regula I, and the fact that the two don’t even recognize one another only makes it worse. Throughout the movie, Kirk certainly expresses some regret about not being in David’s life more. But the narrative puts the emotional onus upon David, having him warm to Kirk over the course of the film, not so much because he feels a connection to his father, but because Jim is such an exemplary Starfleet hero.
We don’t see much change in Kirk’s demeanor at any point in David’s life. It’s only after David’s death that Kirk begins to show feelings toward his son and their relationship. He uses David’s murder as a justification for killing the Klingon commander Kruge in Search for Spock. Later, in Star Trek VI: The Undiscovered Country, Kirk’s anger about David’s death is cited in Klingon court as a reason that he cannot be trusted to advance peace between their empire and the Federation. Yet, all of this reads as guilt for something in the past. We Trekkies have questions about what Kirk thought of David during the boy’s life.
The Failure of James T. Kirk
In his final scene in “The Griffin Project,” Kirk sits alone starring at a screen displaying the words “Outgoing message.” It’s not clear what Kirk plans to say to Carol and David, and our knowledge of Wrath of Khan suggests that he won’t say anything at all, leaving David to grow up with no connection to his father.
Wrath of Khan and Search for Spock only further cement Kirk’s legend as one of pop culture’s greatest heroes. But that scene, and everything else in “The Griffin Incident” shows us something else about Kirk, that he’s conflicted, afraid, unsure… and ultimately very human.
Star Trek: Strange New Worlds streams new episodes every Thursday on Paramount+.
THE ONE PIECE: Inside Netflix’s New Anime Adaptation of a Manga Classic
This article appears in the new issue ofDEN OF GEEK magazine. Find out how you can subscribe to get the full physical copy right here!
Eiichiro Oda’s ONE PIECEisn’t just a groundbreaking pillar of the anime industry, it’s a Guinness World Record-holding pop culture sensation that’s more popular than ever. ONE PIECE’s iconMonkey D.Luffy has proudly been featured in the Macy’s Thanksgiving Day Parade, the series has inspired a New York Fashion Week runway event, and even launched a collaboration with the NBA that recently saw Luffy become an honorary member of the New York Knicks! After 22 seasons, more than 1165 episodes, and 15 movies, it’s hard for ONE PIECE to genuinely do something new at this point. So it’s perhaps only fitting for the swashbuckling shonen series to go back to where it all began – literally.
“We got a contact from Netflix,” explains George Wada, co-founder and president of WIT Studio. “They asked me if I wanted to challenge myself to a task.” And what’s a greater challenge than reinventing ONE PIECE for a whole new generation of fans?
For nearly three decades ONE PIECE has represented the epitome of action-adventure anime. Monkey D. Luffy and his intrepid Straw Hat Pirate crew have defeated incredible rivals and covered unbelievable ground since the humble start of their voyage. Now, with Oda’s manga soaring to new heights, Netflix anime THE ONE PIECE is a bold new adaptation with cutting-edge visuals and a fresh creative approach.
THE ONE PIECE turns the clock all the way back to the original manga’s introductory East Blue Saga in which Luffy assembles his Straw Hat Pirate crew and befriends evergreen allies like Nami and Zoro. Coming from the acclaimed WIT Studio, which is responsible for Ranking of Kings, Great Pretender, Bubble, and Attack on Titan’s first three seasons, THE ONE PIECE is guaranteed to be a visually beautiful reinvention of this shonen staple. The East Blue has never looked so fresh.
THE ONE PIECE comes along at a time when modern reboots of cherished classics are having a bit of a moment between Urusei Yatsura, Hell Teacher Nube, Ranma1/2, and the upcoming Dragon Ball Super reboot. What helps THE ONE PIECE stand out from its peers is the unabashed passion that’s been assembled for this exciting vision.
“I took this project because I didn’t want anyone else working on it,” admits THE ONE PIECE director Masashi Koizuka (Attack on Titan, Moonrise) who first discovered ONE PIECE when he was a teenager in high school. “I remember the feeling of this new series making a splash even among heavy hitters. It was packed with a sense of wonder, an excitement of facing the unknown.”
This passion translates into a unique identity and voice for THE ONE PIECE, albeit a spin that’s still faithful to Oda’s sensibilities. “I had to possess him [Oda] in myself,” explains Kyoji Asano, THE ONE PIECE’scharacter design and chief animation director on the unusual process of revising an iconic classic. “For these two months, I was determined to just draw ONE PIECE, which was why I shut myself in.”
Koizuka elaborates upon the unusual expectations that arise with any adaptation, let alone for ONE PIECE. “I want you all to express, rather than copy and paste the work,” is advice that Oda wished upon THE ONE PIECE’s staff, according to Koizuka. “For example, it’s creating your interpretation and expression instead of recreating a panel from the manga.”
The people working on THE ONE PIECE are genuine fans who have lived and breathed the series. This delicate balance that celebrates the original’s essence, but still pushes the source material forward, is essential for THE ONE PIECE’s success and the whole point of this project.
The sense of adventure and enthusiasm from the Straw Hat Pirates transferred over to Koizuka. “It kept me at the edge of my seat every single week, and I remember being hooked to that feeling.” Now he’s recreating that experience for a new generation. “If kids across the world could feel the same way I did when I was a high schooler, if they could experience the same thing, I’d love nothing more.”
THE ONE PIECE does take some liberties with its characters’ designs and the presentation of its iconic story. This 2027 anime doesn’t just redesign the original, but it incorporates quality of life updates that highlight how much the anime industry has evolved in the past 27 years.
Additionally, ONE PIECE’s lofty reputation precedes itself. It’s great that there’s so much of ONE PIECE to enjoy, but it’s honestly intimidating to just casually jump into an anime after hundreds of episodes. Even with guides that attempt to streamline the ONE PIECE experience, it’s still a lengthy commitment that’s enough to dissuade curious fans. THE ONE PIECE breaks down this barrier and makes ONE PIECE more accessible than it’s ever been. It is the perfect equalizer for both seasoned Straw Hat Pirate fans and those who have been curious to set sail for the Grand Line.
THE ONE PIECE will distill the manga’s first 50 chapters into seven episodes that will accumulate to around 300 minutes. THE ONE PIECE’s first season should conclude around the point in the Baratie Arc when Luffy meets Sanji – an ideal entry point for new fans, and a fresh lens through which longtime fans can experience the adventure all over again.
ONE PIECE’s East Blue Saga would be an unreasonable binge in its current state. However, THE ONE PIECE flips the script and opts for a style of frenzied, serialized viewing. Netflix will be dropping all seven episodes of THE ONE PIECE at the same time in February 2027. A weekly release model wouldn’t have been unheard of, considering that’s how ONE PIECE has aired for decades in Japan. But a deliberate shift to a binge-watch model reflects the more modern sensibility that’s being applied to THE ONE PIECE and why it’s a fresh take on this story for a new time and audience, rather than claiming to be the definitive version of Oda’s story.
With well over 1000 chapters of manga to pull from for inspiration, the sky’s the limit for THE ONE PIECE. While there were initially predictions that THE ONE PIECE would be a one-off miniseries, WIT Studio has indicated that they’d like this version of Oda’s story to run for as long as possible and are interested in bringing all of Luffy’s adventures to life, in time. In fact, the project’s size and scope continued to expand during production. “The series has a runtime of 300 minutes,” clarifies Koizuka. “It was originally planned to be shorter than that, but I had so many things I loved and wanted to include, the runtime just kept getting longer and longer.”
Koizuka and his team were determined to tap into the manga’s timeless quality and this story’s ability to connect on a universal level, “We want you to experience a new ONE PIECE from the very beginning, all over again.”
It all feeds into a grander desire for ONE PIECE to evolve into something even greater this decade. Netflix is far from finished with ONE PIECE as its universe continues to grow between the existing anime series, the live-action series, and now THE ONE PIECE. It’s an embarrassment of ONE PIECE riches that’s fit for a king of pirates.
Spider-Man: Brand New Day Post-Credits Scene Explained
This article contains Spider-Man: Brand New Day spoilers.
Spider-Man Will Return. Those words, delivered at the end of the Spider-Man: Brand New Daycredits, appear like an old-school promise of more adventure during the fade out of James Bond movies of yore. But their placement in a Marvel Studios movie, particularly on the precipice of what might be the most important MCU flick of the decade, Avengers: Doomsday, takes on a special significance during the final minutes of Spider-Man: Brand New Day.
Spidey will return, alright, but when, where, and in what form—or even what variant, you might say—is all intentionally left vague during the Spider-Man: Brand New Day end credits. That’s right, true believers, the single post-credits scene we get this time round has potentially multiverse-shattering implications…
The Spider-Man: Brand New Day Post-Credits Scene
There is only one post-credits scene in the new Spidey, with the typical MCU mid-credits gag being curiously omitted here. But for those who stick all the way to the bitter end of Brand New Day‘s closing titles, the final scene is less a live-action denouement than it is an ominous brain teaser.
Earlier in the movie, we learn that good ol’ Ned Leeds (Jacob Batalon) might have had his memory of Peter Parker wiped years ago, but his unabashed love for the guy who slings web never abated. No longer remembering Spider-Man’s secret identity, he has become obsessed with the wallcrawler, tracking his sightings and movements across New York City. He’s determined to figure out if it was more than just coincidence when the masked vigilante saved his and other classmates’ lives in Washington D.C. and Europe.
As a consequence, he built a Spidey tracker that is able to trace the Web-Head’s movements and DNA signature across great distances. And as we learn during Brand New Day’s post-credits scene, we mean really great distances. In fact, the final shot of the film is not of Holland, Batalon, or Zendaya as the perennially out of reach MJ. It’s of that Spidey tracker screen picking up a signal for a Spider-Man in space. And we mean deep space as the tracker pinpoints a Web-Head past the orbit of the moon and essentially on the second star to the right and straight on to morning. What could it mean?!
Spider-Man Will Return… But Which One?
So Peter Parker will return, but in what shape or form remains to be seen. The foreboding text “Spider-Man Will Return” not so coincidentally resembles the triumvirate of Avengers: Doomsday teasers we received last December. In each one, either Chris Evans’ Steve Rogers, Chris Hemsworth’s Thor, or James Marsden and the other O.G. X-Men cast would briefly appear along with the text, “[Insert Character] Will Return in Avengers: Doomsday.”
It is top shelf Marvel Studios marketing, and so is the way Brand New Day deliberately evokes that promise while still not confirming Spidey is returning in Doomsday. Yet if we had to guess, that is exactly what they’re setting up, if not in the way you’d expect.
As established during the post-credits scene of last year’s Thunderbolts*, to hop between realities in the multiverse sometimes requires you to enter from the stars above. Indeed, during that post-credits scene, which was so much a teaser for Doomsday that it was shot on the Avengers set by directors Joe and Anthony Russo, we learn that Pedro Pascal, Vanessa Kirby, and all the rest lineup from Fantastic Four: First Steps will be arriving in the MCU proper (aka the “sacred timeline”) by way of a space shuttle crashing from orbit.
So it seems intentionally set up for another Spider-Man besides Holland to be heading back our way in the forthcoming Avengers movies. While no Spider-Man actor has been confirmed to appear in either Doomsday or its fast 2027 follow-up, Avengers: Secret Wars, leaving out the most popular Marvel character seems close to impossible for this two-part event, albeit that doesn’t mean it has to be Holland himself.
If we are allowed to speculate, we think the table is being set for Tobey Maguire’s return for one final bow in the raised web costume in either Doomsday or Secret Wars, if not both. In Brand New Day, Holland’s Peter deliberately reminds the audience of Maguire’s classic 2000s era Spidey by developing organic web-shooters and then stating, “Peter Two had organic webbing and he was pretty cool.”
Furthermore, and perhaps most tellingly, during the recent Marvel Studios panel at San Diego Comic-Con, for the first time ever in one of Marvel’s famed Hall H panels its video sizzle reel footage of past glories wound its audience up by including Tobey Maguire’s Spider-Man from the Sam Raimi trilogy, circa 2002-2007, instead of Holland’s MCU variant.
Taken together, Marvel seems to be quietly revving the core fanbase to remember how much they enjoy Maguire’s Spidey because he is about to make a grand return in the upcoming finale to the multiverse shenanigans of the last six or seven years. It might seem far-fetched, but we know that Avengers: Doomsday’s titular villain is less concerned with space like Thanos than he is the multiverse and the threat of incursions. In this context, the only reason to be off-Earth is because you’re traveling to another variation on our little blue dot. And it seems that is what’s happening with some variant Spider-Man out there in the post-credits scene. Dollars to donuts, we’re saying it’s the one who once finger-pointed his way through a James Brown montage while rocking a black suit.
… That’s our theory anyway!
Batman: Caped Crusader Season 2 Reinvents the Joker for the Global Age
The Joker is one of the most important villains in history. His evil grin has appeared in everything from comics and movies and video games to every type of clothing and product to philosophical works by thinkers such as Franco Berardi. Two actors have won Academy Awards for playing the Joker on screen, and he continues to be a model for bad guys in every form of media.
So when the producers of Batman: Caped Crusader decided to include the Joker in their show’s second season, they had to think hard about a way to establish their take on the Clown Prince of Crime. According to actor Matthew Needham, best known for portraying the duplicitous Larys Strong on House of the Dragon, the audition had “two instructions” for their Joker. “He must be European and ludicrous,” Needham reveals to Den of Geek. While the latter certainly matches familiar aspects of the character, the former promises a Joker unlike anything we’ve seen before.
Of course, Caped Crusader may only have aired one season thus far, but it’s already shown a willingness to reinvent familiar parts of the Batman mythos. The series draws inspiration from the earliest Batman comics, complete with a 1940s setting and antagonists who feel more like gangsters than supervillains. The show has also had fun taking liberties with established characters, transforming the Penguin into the brassy dame Oswalda Cobblepot (Minnie Driver) and making Harley Quinn (Jamie Chung) frighteningly quiet.
By making him European, Caped Crusader clearly wants a new direction for its Joker. But Needham isn’t going to ignore what came before. “There have been so many iterations of the Joker that I love. I’m really grateful for their inspiration, and I love the direction that Caped Crusader wants to take. The idea of a cold, cool, calculating, and truly evil Joker is so exciting,” he enthuses. “I love the first animated series so much, and I really think that version of the Joker [voiced by Mark Hamill] was so much fun.”
For Batman’s voice actor Hamish Linklater, the arrival of the Joker further builds out the world of Caped Crusader because it provides the piece missing from his Batman. “When I saw the Joker for the first time, and I heard Matthew’s performance, I was like, ‘Oh, now I am complete’,” he reveals. “I had no idea what it was going to be like, and it went beyond my expectations.”
“My objective in playing this part has always been to honor Kevin Conroy,” says Linklater, paying homage to the late, great voice actor who played Batman in The Animated Series and follow-ups such as Batman Beyond and Justice League. “It’s a great honor to make more of the content I loved so much as a kid.”
Yet, Linklater doesn’t do an impression of Conroy, a feat made easier by the nature of Caped Crusader. “The period of this show really determined how Bruce Wayne was going to be. He was going to be a playboy from that period, and that was really fun. The best instruction I received during season one told me that Batman is the man and Bruce Wayne is the character he puts on. The real person is the one under the mask.”
For co-showrunner James Tucker and executive producer Geoffrey Thorne, Caped Crusader exists to upset set expectations, even those held by fans of the original animated series. “We love the quirkiness of the first season,” says Tucker. “People wanted Batman to be warm and fuzzy, strangely enough, and we thought, ‘No! How can we have him pull as far away from humanity as possible?’ Because then we can have the fun of slowly pulling him back. There’s actual humor in that, and pathos. You feel for Batman because he’s a damned soul.”
For that reason, season two of Caped Crusader will “kick it up a notch, with more of everything: more action, more mystery, more messed-up Batman stuff, with him being anti-social but fighting against it,” promises Tucker.
“We’re incrementally making it a story of a man learning to be a person,” Thorne adds. “Batman wasn’t really a person in the first season. He was all broken to pieces. And in every season—theoretically, we’ll get a million of them—he’ll become a more full human being. He’ll learn more about what it’s like to be a person among other people.
“But in the process, he’ll be fighting a lot of people and wearing spandex and blowing stuff up and all that stuff we know,” he promises with a smile.
In short, Batman: Caped Crusader season 2 will continue to explode the familiar to find new aspects of the Dark Knight’s mythos. It’s a good thing they’ve got the right Joker to help with that chaos, someone European but as ludicrous as ever.
Batman: Caped Crusader season 2 debuts on Prime Video on July 31, 2026.
Star Trek: Strange New Worlds Can Fix Modern Trek’s Biggest Problem
This article contains spoilers for Star Trek: Strange New Worlds season 4 episode 2
The latest Star Trek: Strange New Worlds episode “The Griffin Incident” builds from a classic Star Trek premise. A group of Starfleeet officers returning from a conference—in this case, Kirk, Spock, and La’an coming from the Future Leaders of the Federation Conference—encounter a strange phenomenon, namely the missing Starship the USS Griffin. As the trio begin making their way through the abandoned ship, they realize the mystery may go beyond their abilities to solve, with Spock musing, “Perhaps the answers can only be uncovered by Division 12.”
The line will likely go unnoticed by most viewers, who will find plenty to love in the episode’s horror vibes and the lore building around Kirk’s relationship with Carol Marcus and their son David. But for those who recall Erica Ortegas mentioning the unit in the season three episode “Terrarium,” Division 12 becomes all the more compelling, especially in light of the franchise’s mishandling of Starfleet’s favorite secret unit, Section 31.
For a series devoted to exploring the USS Enterprise in the years leading up to Kirk’s command, Strange New Worlds hasn’t been afraid to expand or add to the franchise’s lore. We already saw how the show used the effects of the Temporal Cold War on Star Trek: Enterprise to alter the timeline of Khan Noonien Singh and introduce a new long-living race called the Lanthemites, in the form of engineer Pelia. But Division 12 feels distinct from even these additions, precisely because of how gradually the series is revealing it.
The first mention of Division 12 occurred in “Terrarium” and, as in “The Griffin Incident,” it only comes up as an off-hand observation. When Ortegas goes through a wormhole, she notes that she’s in a region famed for its strange phenomena, “The kind of thing Division 12 usually looks into.” In that episode, Ortegas ends up encountering a Gorn, a species she and her shipmates know well, and a Metron, one of the godlike beings who pit Kirk and a Gorn against one another in the Original Series episode “Arena.”
In “The Griffin Incident,” we get at least a little more about Division 12, thanks to some follow-up dialogue. When Spock brings up the unit, La’an describes them as “Starfleet analysts that run around investigating unexplained phenomena.” La’an’s phrasing makes Division 12 sound similar to another recently-introduced part of Starfleet, Division 14. As shown in the Lower Decks episode “Much Ado About Boimler,” Division 14 focuses on scientific and medical mysteries, particularly those affecting personnel.
Certainly, whatever happened on the Griffin affected the crew. However, where Division 14 deals with strange issues that come to them, the descriptions from La’an and Ortegas suggest that Division 12 goes looking for the unexplainable, sort of like The X-Files in the world of Star Trek.
Obviously, “X-Files in Star Trek” is an elevator pitch that would make any genre nerd excited. But it’s particularly compelling given modern Star Trek‘s obsession with a different secret Starfleet division, Section 31. First introduced in the later seasons of Deep Space Nine, Section 31 is a clandestine black ops division put into place by Article 14, Section 31 of the original Starfleet Charter.
In Deep Space Nine, Section 31 was used by writers as something that tempts our heroes, but something that they ultimately overcome. Section 31 first appeared in a storyline that saw operative Luther Sloan attempt to recruit Dr. Bashir, blackmailing him by threatening to expose him as an augment, a condition that would bar him from serving in Starfleet. Sloan wanted the doctor to help him wage war against the Dominion, and Bashir’s resistance echoed the various ways Captain Sisko and others fought against their darker impulses while dealing with an overwhelming enemy. The fact that Section 31 secretly used Odo to commit genocide against the Changelings running the Dominion undercut Starfleet’s final victory, showing how war corrupts the Federation’s optimism.
While Enterprise more or less used Section 31 in the same way, later Trek has been more eager to embrace and even valorize the unit. Although Section 31 is the true big bad of the 2013 movie Star Trek Into Darkness, that thematically messy film makes all of Starfleet feel vaguely fascist, positioning Kirk and crew as outliers instead of exemplars. Discovery seems to follow suit, making a Section 31 operative its prime villain in season two and sending Empress Georgiou of the Mirror Universe’s Terran Empire to join them. But the show is too in love with edgy cool to truly critique her actions, and so Georgiou’s inclusion ends up making Section 31 feel cool, too.
Or, rather, attempt to feel cool. It’s hard to imagine anyone who saw the Section 31 movie actually enjoyed it. But it’s also hard not to see how hard the movie wanted the audience to cheer for a black ops group that gunned down its enemies, doing the “real” work so all the dorky explorers can travel the galaxy.
Given that Star Trek is all about dorky explorers who travel the galaxy, Section 31 never deserved the amount of attention it received. But if Division 12 is indeed a unit devoted to finding the strange and unexplainable, then Trek producers may have finally found the secret organization they’re looking for. Intentionally seeking out phenomena that makes no sense fits right in the Star Trek ethos, especially if its agents approach the phenomena with reason and empathy, acting out of a desire to understand instead of responding to fear.
The Event Horizon homage in “The Griffin Incident” shows how hard it is to be empathetic instead of fearful, even for the Future Leaders of the Federation. But “The Griffin Incident” also demonstrates that boldly going into scary environments can make for excellent Star Trek, in a way that Section 31 stories rarely accomplish.
Star Trek: Strange New Worlds streams new episodes every Thursday on Paramount+.
Star Trek: Strange New Worlds Season 4 Episode 2 Review — The Griffin Incident
The following contains spoilers for Star Trek: Strange New Worlds season 4, episode 2
Star Trek isn’t necessarily the first franchise you think of when it comes to scary stories to tell in the dark. But while horror is not necessarily a well that its series go to all that often, when Trekembraces the genre, it does so in fairly memorable fashion. From Star Trek: The Next Generationclassics like“Night Terrors” and “Genesis” to Star Trek: Voyager’s“The Haunting of Deck Twelve” andStar Trek:Deep Space Nine’s“Empok Nor,” the franchise has repeatedly proven that space can be a uniquely dark and frightening place. Rarely has that been more true than in Star Trek: Strange New Worlds’ “The Griffin Incident,” an hour that features everything from jump scares and steadily creeping madness to disturbing hallucinations and (a lot of) body horror. It is not an episode for the faint of heart, but it’s another shining example of the fearless way that this show plays with genre and tone on a week-by-week basis.
To be clear, this hour isn’t Strange New Worlds’s foray into horror. Season 1 episode “All Those Who Wander” is a sort of Alien vs. Predator-themed bottle episode, with literal monsters (a.k.a. The Gorn) lurking in dark corners. “The Griffin Incident” is more old-fashioned nightmare fuel, as our protagonists find themselves trapped in a familiar yet completely alien location where they ultimately can’t trust each other or their own minds. The episode’s many twists mean viewers can never entirely believe what they’re seeing either, and the fact that it’s so willing not to offer any concrete answers is just part of its overall charm.
“The Griffin Incident” is something of a genre spin on the real-life mystery of the infamous ghost ship, the Mary Celeste, which was discovered adrift near the Azores in 1872 with all the crew’s personal belongings, cargo, and provisions intact, but not a soul aboard and no sign of what happened to them. Here, the U.S.S. Griffin, a starship that was presumed lost for nearly a decade, is rediscovered in an uncharted region of space by La’an, Spock, and James Kirk on the way home from a leadership retreat. The gang notifies the Enterprise but boards the ship themselves to look for signs of what happened to the ship’s 300+ crew members, only to discover that almost everything is, as La’an puts it, “as if they’d all stepped out for a coffee break.” It’s precisely the kind of eerie setting in which strange things are almost guaranteed to happen. Which, of course, they do. Fairly immediately.
The ghost — or something like a ghost, at any rate — of the ship’s Chief Security Officer roams the Griffin’s halls. A locked and barricaded door bears mysterious phaser scorches. Did the CSO Rose Harper go crazy and murder her shipmates by transporting them straight into the vacuum of space? Or did the Griffin’s crew somehow succumb to a kind of spiraling madness as the ship’s reports of increasingly bizarre behavior — violent outbursts, incidents of self-harm — indicate? Your guess is as good as mine.
The episode’s uber-creepy atmosphere is top-notch throughout: Every scene is claustrophobic, dimly lit, and suffocating, full of strange sounds and blink-and-you’ll-miss-it shadowy figures that drift in and out of a character’s periphery. Inexplicable events keep happening: a mayday beacon that seems to have launched out of nowhere, the ship’s power impossibly working once again even though it shouldn’t, computers and communications equipment that glitch in and out at random. And that’s before everyone seems to start hallucinating.
“The Griffin Incident” is full of striking and disturbing imagery. Spock, trapped in the ship’s med bay and surrounded by body bags that ooze and drip with blood, once again wrestles with his conflicting human and Vulcan sides in an extremely visceral and violent way. (Reader, I gasped when I realized he wasn’t imagining the self-mutilation and body horror of it all.) La’an begins to see herself in the ship’s video logs in Rose Harper’s place. And Kirk is trailed by haunting sounds of a seemingly lost child crying, even within the very bowels of the ship. This is all another example of the smart way that Strange New Worlds uses its frequently outlandish adventures to explore complicated character issues, from Kirk’s fear that he’s doomed to be a deadbeat dad to Spock’s continued inner turmoil about his own identity.
The series has been hinting that La’an’s recessive augment DNA might have somehow been activated by that episode last season that saw her get turned into a Vulcan, and it’s a theory that’s backed up by her increasing distance from those around her and her constantly simmering rage. (She did punch a dinosaur in the face.) And her time on the Griffin certainly seems to be further activating that tenaciously furious aspect of herself, which, let’s face it, is probably why she managed to survive at all, but is also why Kirk got stabbed. (We just won’t talk about how her dark prediction of the way his son David will one day die is actually true. Yikes.)
Smartly, “The Griffin Incident” doesn’t attempt to provide concrete answers to the questions it raises. It’s up to the viewer to decide whether ghosts are real, if the Griffin is possessed or haunted, if the Enterprise crew is hallucinating because of madness or external forces, or if everything Rose claimed happened the way she said it did. In the end, these are the kind of questions best left to the mysterious folks of Division 12, which may or may not be the closest thing the Federation has to The X-Files. Unlike the black-ops teams of Section 31, Division 12 seems to exist to investigate the unexplainable — or at least sequester the unexplainable away from the regular world. And maybe we’re all better off for it. (Even if that is, in fact, a spinoff I would watch immediately. Pay attention, Paramount.)
New episodes of Star Trek: Strange New Worlds premiere Thursdays on Paramount+ through September 24.
X-Men ’97: Nightcrawler’s Parentage Is Even More Complicated Than You Think
This article contains spoilers for X-Men ’97 season 2 episode 7.
On its surface, the latest episode of X-Men ’97, “Strange Land, Savage Heart,” plays like a standard legal drama, just with mutants. The Catholic Nightcrawler, always the moral compass of the team, volunteers to argue in defense of the anti-mutant bigot Graydon Creed against the fundamentalist Exodus, leader of the Acolytes. Along the way, the story has plenty of space for over-the-top action, not just because the trial takes place in the Savage Land, a place in Marvel‘s Antartica that remains in its prehistoric state.
But things start to get confusing right at the beginning, when the demonic-looking, blue-fur-covered Nightcrawler refers to Southern Belle Rogue as his sister. Even more confusing, he calls the blond-haired human Creed his brother. But if you think that’s weird, just wait until you read about how Nightcrawler is kin to these and other X-characters.
Mystique’s Family Tree
When Kurt Wagner a.k.a. Nightcrawler first appeared in 1975’s Giant-Size X-Men #1, he’s alone and being chased by his German countrymen. We don’t really uncover much more about his backstory until Uncanny X-Men Annual #4 (1980), in which we learn about how he was raised by the witch Margali Szardos, alongside his “sister”/girlfriend Amanda Sefton. But almost immediately afterward, in 1981’s Uncanny X-Men #142 by Chris Claremont and John Byrne, the blue-skinned shapeshifter Mystique hinted that she and Kurt may share a familial connection.
A lot of things get hinted at during Claremont’s legendary 17-year run on Uncanny X-Men, mostly involving sexual orientation. Many of the characters were written to be queer, but Marvel editorial and the Comics Code Authority (the industry-regulated censorship board) refused any open same-sex relationships. Thus, Mystique and the seer Destiny were always explicitly described as just really good friends. However, on a less despairing note, Claremont also liked to use shadowy backstories as part of his plotting, setting up things like the truth of Wolverine’s origin or the mystery of the third Summers brother as a engine that would drive future stories.
By the mid-’90s, however, Claremont had left the franchise and others took over, people who wanted to pay off plot lines set up earlier. Thus, in 1994’s X-Men Unlimited #4, by Scott Lobdell and Richard Bennett, we finally definitively learn that Mystique is Nightcrawler’s parent. That issue also makes clear that, by extension, Nightcrawler is the brother to Rogue, in deed if not biology.
In her first appearance in 1981’s Avengers Annual #10, by Claremont and Michael Golden, Rogue was a youthful member of the Brotherhood of Evil Mutants, then led by Mystique. Shortly thereafter, Rogue has a change of heart and comes to Xavier’s, hoping they can help her break Mystique’s influence. Over the course of several decades, we learn the full story about the two, discovering that Mystique and Destiny raised Rogue after she ran away from her strict aunt. Even though she does not share Mystique’s values, Rogue remains grateful that the older woman raised her and considers Mystique her true mother, making Nightcrawler her brother.
And then there’s her other brother, Graydon Creed. Created by Lobdell and Brandon Peterson, Creed first appears in Stryfe’s Strike File #1 (1992), where he’s described as a complicating factor whose existence will tear apart the mutant community. Over the course of the Sabertooth miniseries from 1993, we learn that Creed is the son of Victor Creed a.k.a. Sabretooth, who fathered him with Mystique, then disguised as the German spy Leni Zauber. Mystique kept Graydon’s identity hidden from Sabretooth, especially when she learned that their son was a human, lacking the X-gene that made his parents mutants. Over time, Graydon grew up to lead the Friends of Humanity, an anti-mutant hate group, and his rage only grew when he learned about the rest of the family.
Father Figures
So, now that we know about how Nightcrawler is connected to Rogue and Creed through Mystique, we still have one more question: who is Nightcrawler’s father? That secret remained in place until 2003, when Chuck Austen and Takeshi Miyazawa brought us the infamously bad storyline The Draco, which ran across Uncanny X-Men #428–434. For as long as Nightcrawler has existed, his kind nature and deep faith has been a contrast to his looks, underscoring the franchise’s central message of tolerance by showing that just because someone looks like the Devil doesn’t mean that they’re actually satanic.
The Draco flushes all that away by stating that Nightcrawler looks like the Devil because his dad is the Devil. Moreover, his faith is a sham and all part of his father’s diabolical plan. The Draco states that the ageless mutant Azazel, whose red skin and forked tail inspired humanity’s ideas about the Devil, fathered Nightcrawler with Mystique, who was then married to German lord Christian Wagner. Azazel resurfaced because Nightcrawler had joined the priesthood, which would allow Azazel to bring invaders from his Hellish realm.
The Draco regularly makes the list of the worst X-Men stories ever told. Yet, Professor X and Magneto founded the nation of Krakoa in the 2019 House of X/Powers of X storyline, Azazel accepted their offer of clemency for all mutants. Writer Jonathan Hickman also had free rein to write his characters as openly queer, and even made Mystique’s fight to resurrect her wife Destiny a major plot point of the era. And with those barriers out of the way, the full truth of Nightcrawler’s history could be told.
The 2023 one-shot X-Men Blue: Origins by Si Spurrier, Wilton Santos, and Marcus To, Nightcrawler—who was, at the time, operating in the place of Spider-Man and using the code-name Creepy Crawler… we don’t have time to get into that—confronted Mystique to get the full story, a story that Claremont was rumored to have planned decades ago. Years ago, while she was married to Christian Wagner, Mystique fell in love with Irene Adler a.k.a. Destiny. She convinced Christian to hire Irene as a maid so they could be together, right under his nose.
Using her powers of precognition, Destiny foresaw Azazel’s attack and convinced Mystique to have an affair with him to prepare for his fall. But that’s not how Nighcrawler came about. Instead, the two wanted their love to produce a child, and so Mystique used her ability to control her body on a genetic level to conceive a child with Destiny. Despite Mystique’s attempts to hide Destiny’s pregnancy and the nature of their relationship, Christian confronted them, forcing her to kill him. Worse, Destiny gave birth to a completely blue baby, which required her to hide him from the townspeople. When those townspeople revolted, Destiny hid her child in the hollow of tree so she could blend in and get supplies. But when she had returned, Kurt had already been found, adopted Margali Szardos and taking the first step on the trail that would lead him to Xavier’s.
X-traordinary Love
Outside of a few nods to the familial connections between Nightcrawler, Rogue, and Creed, X-Men ’97 doesn’t get into the full history. Yet, there are some thematic similarities between Mystique’s story and “Strange Land, Savage Heart.” Fundamentally, Nightcrawler argues to both Exodus and Creed that as strange and unfamiliar as their lives have been, as different as they may look from one another, as unlikely and incompatible as their actions may be, they are all connected. And because they are connected, they must find a way to understand and accept one another.
That ethos drives everything that Nightcrawler does, from the way he practices his faith to his acrobatic swashbuckling against those who would do others harm. Turns out, he learned about the importance of love, in whatever form it takes, from his parents, Destiny and Mystique.
X-Men ’97 streams new episodes every Wednesday on Disney+.
Brad Bird Reveals How Aborted The Spirit Movie Influenced Ray Gunn (Exclusive)
After a string of blockbusters in animation, including Ratatouille and both Incredibles movies, as well as Mission: Impossible – Ghost Protocol in live action, filmmaker Brad Bird is finally getting the chance to make his dream project via Ray Gunn. The upcoming Netflix release is a blend of retro futurist science fiction and noir mystery, with the CGI animated project following the titular gumshoe (voiced by Sam Rockwell) and his alien partner Eyera (Tom Waits) as they investigate a case involving pop superstar Venus Nova (Scarlett Johansson).
Ahead of Ray Gunn’s release, we got the chance to speak to Bird about an older unmade film he worked on previously, an adaptation of Will Eisner’s legendary comic book series The Spirit. Written and drawn by Eisner throughout the 1940s and ‘50s, the original comic followed a private investigator without superpowers named Denny Colt who had been pronounced dead. Using his “resurrection” to build a supernatural mythology around himself, the Spirit went after criminals who slipped through the law’s cracks.
In the early 1980s, Bird and fellow Cal Arts grad Jerry Rees began work on an animated feature of The Spirit with Star Wars producer Gary Kurtz. An impressive pencil test animation was completed, but a studio backer could not be found. The fact that the cartoon project was geared more toward tough action/noir mystery than funny animals/songs made financiers nervous, so it was abandoned.
Bird went on to make a name for himself on television with Family Dog and The Simpsons. Eventually he took another stab at getting a more mature animated feature off the ground in the early ‘90s with Ray Gunn, which began as a hand-drawn, two-dimensional project at Turner Pictures, then at Warner Bros. before the latter studio had him pivot to The Iron Giant. With Ray Gunn now resurrected with action-packed footage presented to the public, it becomes clear that lead character Raymond Gunn definitely has Denny Colt vibes. In essence, this is a transmutation of Brad Bird’s original concept for The Spirit.
“I wasn’t consciously aware of it, but it was an unscratched itch,” admits Bird of that project’s retro pulp detective vibe. The concept for Ray Gunn was sparked by the director misinterpreting the B-52’s song “Planet Claire” (“she drove a Plymouth Satellite, faster than the speed of light”), which he mistook for the theme song from 1950s TV show Peter Gunn. The crossed wires led his mind to picture a detective like Gunn in a science fiction context.
As Bird elaborates, “Based on misunderstanding a song, I just started piling ideas into it. It wasn’t until later that I figured out, ‘Oh, it’s because you didn’t get to make The Spirit.’ It’s different from The Spirit in a lot of ways, but there was something about noir. Eisner was probably the most cinematic person to ever do a graphic novel. I found out about it because I loved movies: William Friedkin at one point wanted to do The Spirit and he said it’s the Citizen Kane of comic books, so that immediately hooked me. I was like, ‘I gotta read The Spirit.’ They started reprinting them, so I read all the reprints, and that’s how I got involved in The Spirit… but I never got to scratch that itch until now.”
His partnership with Ray Gunn co-writer Matthew Robbins (Dragonslayer, Batteries Not Included) also emerged out of the canceled project.
“Matthew was dropping by Gary Kurtz’s company when Jerry Rees and I were doing The Spirit, and that’s how I met Matthew,” Bird says. “We just stayed in touch over the years, and early on in my career people didn’t feel comfortable with me writing something alone. They wanted somebody with more experience, which Matthew definitely has. We co-wrote the third and fourth drafts of Ray Gunn together, then I went on to do five or six drafts after that. I still see Matthew all the time and talk with him. He’s a good friend.”
While The Spirit eventually came to live-action as a 1987 TV movie starring Sam J. Jones and a failed 2008 feature directed by Frank Miller, a proper animated version closer to Eisner’s work is still a dream for many comic book fans. For Brad Bird, the spirit of his film lives on in Ray Gunn.
Ray Gunn premieres on Netflix on Dec. 18.
X-Men ’97 Just Killed One of Marvel’s Most Popular Mutants
This article contains spoilers for X-Men ’97 season 2 episode 7
A lot of the fun of the originalX-Men: The Animated Series was seeing deep-cut characters make it to the big screen, bringing weirdos like Nimrod, Mojo, and the Warwolves out of the comics. X-Men ’97 has continued and expanded the practice, not only making X-Factor and X-Force into equal players with the X-Men, but using scenes on Krakoa or in Xavier’s school to let Beak and Eyeboy have time to shine.
Of course, X-Men ’97 episodes only run about 30 mins each, and the series loves to rush through plot lines, which means that most deep-cut characters won’t get to do too much. Still, even with that caveat, it was a shock to see the seventh episode of season 2, “Strange Land, Savage Heart,” brought back Colossus’ sister Illyana Rasputin, put her in her New Mutants costume as Magik, and then killed her immediately. It was shocking because Magik is currently one of the most popular X-Men characters. But within the context of X-Men ’97, Illyana makes perfect sense as a motivator for her brother Colossus.
Bright Child, Darkchylde
Illyana originally existed as little more than an object to motivate Colossus, debuting as the unnamed little sister of Russian teen Piotr Rasputin in 1975’s Giant-Size X-Men #1, by Len Wein and Dave Cockrum. Colossus’ mutant powers activated when a runaway tractor hurtled toward little Illyana, and his skin became organic steel as he shoved it away from her. Illyana largely stayed off-screen for the next few years, eventually coming to the United States in 1981’s Uncanny X-Men #145 by Chris Claremont and Cockrum. But even then, she was a young girl, and one who could not speak English, which made her a central character in the classic “Kitty’s Fairy Tale” (Uncanny X-Men #153), but otherwise kept her in the background.
Illyana’s fate began to change in 1982’s Uncanny X-Men #160, by Claremont and Brent Andeson, in which the Satanic Belasco kidnaps the six-year-old Illyana and takes her to Limbo (Marvel’s version of Hell). Seconds later, she reappears, having aged to 14, learned to speak English, and manifested her mutant powers. Her time in Limbo doesn’t get fully revealed until the 1983 limited series Magik, by Claremont and Sal Buscema. In that story, we see how young Illyana was tormented by Belasco and his demon henchman S’ym before she was rescued by Storm and Cat, demonic (but still friendly) versions of her X-Men friends.
Thanks to her time in Limbo, Illyana has become a sorceress, which allowed her to manifest her soulsword, and she has developed a mutant ability to open portals to Limbo (which she also uses a stepping stones sometimes). Taking the codename Magik, Illyana joined the New Mutants, where she finally moved out of her brother’s shadow. In particular, Magik paired well with Magneto, then trying to turn over a new leaf as the headmaster of Xavier’s school and imperfect guardian of the New Mutants. Only he could truly understand the anger and darkness inside of her, which sometimes manifested in her demonic form, the Darkchylde.
Ironically, Illyana’s most notable moment in Marvel history also briefly removed her from a central role in the universe. Thanks to her disruption of Limbo, Illyana paved the way for the demons N’astirh and S’ym to launch their coup on the underworld, enlisting Cyclops’s wife Madelyne Pryor as a pawn. The attack resulted in the 1989 Inferno crossover, which not only encompassed all of the X-Men but the entire Marvel Universe (including Daredevil, who got beat up by a demon-possessed vacuum cleaner). By the end of the story, Illyana had reverted to her six-year-old self, all demonic traces gone.
Magik Restored
And that’s the way it stayed for more almost twenty years. Illyana fell out of favor with readers and off the page until the 2007 storyline “The Quest for Magik” from New X-Men #38–41 by Christopher Yost, Craig Kyle, and Skottie Young. The story sees Belasco recreate Illyana as the Darkchylde, leading to her return into the world of the X-Men. She became a major player during the team’s 2011 Schism era, when she joined the increasingly militant Cyclops against not just those who would harm mutants, but also Wolverine and former teammates. On the mutant soveriegn nation of Krakoa, Magik served as one of the chief military leaders.
Moreover, Magik’s become a favorite beyond the comics. Some are struck by her current, anime-inspired look, all sharp angles and giant sword. Others find her romance with Kitty Pryde compelling, something that really moved to the forefront after Kitty almost married her childhood boyfriend Piotr, Illyana’s brother in X-Men: Gold #30 (2017). Anya Taylor-Joy‘s punk take on Illyana was a standout in the dismal 2020 movie New Mutants (despite the strangely racist dialogue she’s given), and Magik has become a go-to for players of Marvel Rivals.
So if Magik is bigger than ever, why does she just get killed off again in X-Men ’97? The answer can be found in the show’s title. The series takes place in 1997, and treats the comics of the time as the touchstone. And in 1997, Illyana was dead. She died in Uncanny X-Men #303 from 1993, the first victim of the Legacy Virus, a disease that affected only mutants (and operated as a clunky AIDS metaphor).
As in “Strange Land, Savage Heart,” Illyana’s death drove Colossus to despair, leading him to briefly join the Acolytes. And as also shown in the episode, the heel-turn doesn’t last long, as Colossus soon stays with the Acolytes to care for Magneto and then his clone Joseph, but that part isn’t in X-Men ’97… yet. Until then, Magik fans annoyed by her absence on the show will just have to make do with the comics, movies, video games, and toys where she’s a very, very important character.
X-Men ’97 streams new episodes every Wednesday on Disney+.
X-Men ’97 Season 2 Episode 7 Review: Judgment Day
This post contains spoilers for X-Men ’97 season 2 episode 7.
For the most part, the seventh episode ofX-Men ’97 season 2 consists of a debate. Nightcrawler, the team’s spiritual and moral guide, defends the life of bigot Graydon Creed in a court held by the Acolytes, zealots who worship Magneto. But it also ends the way every good superhero story should, with heroes shooting lasers while riding dinosaurs and a big “boing!” sound effect playing when Beast bounces on a bad guy.
Yes, superheroes contain multitudes, the X-Men more than most. “Strange Land, Savage Heart” might be the single best distillation of the contradictions within Marvel‘s Mighty Mutants. It touches on everything from big silly action to the ever-evolving family trees and moral alignments to the philosophical debates at the heart of the franchise. And it does it all in a secret jungle world filled with dinosaurs.
On a plot level, “Strange Land, Savage Heart” largely ignores the plot points introduced in the previous episode. Yes, Val Cooper of X-Factor chides Xavier about X-Corp, and the post-credits sting sees X-Force finding a burned playing card next to the corpse of Apocalypse. But most of the episode deals with X-Men Nightcrawler, Rogue, Polaris, Bishop, and Beast going to rescue Graydon Creed, the anti-mutant demagogue who gets kidnapped by the Acolytes. With previous leader Fabian Cortez destroyed by Apocalypse in the original X-Men: The Animated Series, they now follow Exodus, who shares Creed’s penchant for using religious language to spread hatred, albeit in the opposite direction.
Most notably, former X-Man Colossus has joined the Acolytes, a response to the grief he feels after the death of his beloved sister Ilyana. Ever the sensitive soul, Colossus has experienced the same crisis that struck Polaris in the previous episode, how to live in peace with people who want to destroy you. After the destruction of Genosha and the loss of Ilyana, Colossus accepts the Acolyte’s belief that peace only comes when the oppressors have been killed.
Many of the X-Men find it hard to disagree. Polaris and Bishop certainly understand the position, as does Rogue, despite the fact that Creed is the son of Sabretooth and Mystique, the woman who raised her. Mystique’s other son Nightcrawler does not agree, in part because of his Christian faith. So to stay the execution, Nightcrawler convinces the Acolytes to hold a trial for Creed. Nightcrawler will speak in defense of Creed, and Exodus will prosecute, with Colossus serving as judge.
Such debates about the limitations of Xavier’s Dream and the demands of justice have occurred again and again in the pages of X-Men comics. But “Strange Lands” feels like nothing so much as a classic episode of Star Trek, Original Series or The Next Generation. Nightcrawler voice actor Adrian Hough keeps the Fuzzy Elf’s voice full of hope and warmth, while Bo Poraj voices Exodus as if doing an impression of all-time great bad guy (and Star Trek veteran) David Warner.
The episode can paint its good guys and bad guys so broadly because Exodus has the more salient argument. Creed wants mutants dead, and he’s getting more and more people to agree. Certainly, our world had plenty of bigots when Graydon Creed on his Friends of Humanity hate group debuted in 1992. But Creed’s Presidential run in those first comics seemed as unlikely as that of another hate monger who made a bid for the White House that year. Now, the world has caught up to Graydon Creed, and his anti-mutant rhetoric sounds less like the ravings of a mad man and more the voice of those in power, whose speech presents a real, present danger to people today.
So when Exodus contends that Creed, a bigot unrepentant even at his trial, must be executed for the sake of mutants, few would disagree. All of which makes Nightcrawler’s argument so inspiring, so heroic. Nightcrawler turns the knotty nonsense around superhero genetics into a plea for common humanity. He cannot see Creed as a monster, if only because Creed is his brother, and he won’t let Creed’s hatred deny him that familial connection.
To its credit, the episode does not end on one side or another. Nightcrawler’s final interaction with Creed makes clear that it’s only his faith that allows the bigot to live, and that faith may unravel. But it makes for thrilling superhero television… especially since it still makes room for giant dinosaurs and “boing” sound effects.
X-Men ’97 season 2 streams new episodes every Wednesday on Disney+.
X-Tra Thoughts:
Nightcrawler remains one of the most difficult characters to adapt. The movies lean so hard into his faith that they forget that he’s also a light-hearted swashbuckler, and an incorrigible lady’s man. This episode doesn’t give Kurt space to flirt with any fräulein, but at least we get to see him cross swords with Exodus.
To my knowledge, Polaris and Bishop have never been an item in the comics, and it’s not a pairing I would have expected. But darn it if I’m not pulling for these kids to get together, which is a credit to the performances of voice actors Isaac Robinson-Smith and Carolina Ravassa.
The use of the Savage Land raises an important question for the MCU: Why haven’t any Marvel movies taken place in the Savage Land? Superheroes and dinosaurs seem like a no-brainer.
Pretty bold of X-Men ’97 to kill off Magik, given what a huge character she’s become. Yet, it fits not only the immediate story—Ilyana’s death via Legacy Virus led Colossus to join the Acolytes in the comics—but also reflects the fact that she wasn’t that big of a deal in the ’90s.
Attack of the Killer Tomatoes: Organic Intelligence Stars Prepare Us for the War on Vegetables
Those pesky killer tomatoes have been quiet for a while, but like many of our cult franchise faves, they were way overdue for a reboot! Enter this year’s Attack of the Killer Tomatoes: Organic Intelligence, a fifth film in the Killer Tomatoes series that follows a young biotech prodigy developing a revolutionary genetically engineered vegetable designed to solve humanity’s problems. Fortunately, for fans of the original 1978 movie and its sequels, the experiment spirals out of control, unleashing a new generation of killer tomatoes upon us.
We caught up with Organic Intelligence stars Dan Bakkedahl, Myrna Velasco, and Noor Razooky at San Diego Comic-Con and discovered that the killer tomato situation has grown much more serious than we realized…
Den of Geek: How did this project come to your doorstep, and what was your reaction? Was it like “oh, Attack of the Killer Tomatoes! I remember those!”
Dan Bakkedahl: Well, I was eight when the original film came out, and of course it was a taboo film. It wasn’t something you could go out and rent. You had to go find it, and as a little kid, you weren’t going to be able to, but it was kind of this forbidden fruit for my whole young life, and then I got a phone call a little over a year ago saying, “They’re doing another chapter of the story? Would you be interested? I said, “Absolutely,” because it was from my childhood. You know, it was something that I remember, and then finding out that it had all been true all along was really kind of the kicker for me when I read the script and realized, “oh, this is an attempt to expose the cover-up, to spread the truth about the dangers.” So I thought, “Well, I’ll take a shot.” I hope this doesn’t affect my career trying to get the truth out there, but do what you have to.
Myrna Velasco: You know, my whole life I’ve been hearing the grumblings of the Tomato movies as well. My parents were very learned vegetable people, if you will. Not people who are made of vegetables, but people who understand vegetables. My father was a gardener, and I grew up really knowing in the back of my mind that tomatoes are out there, and this role was really kind of thrust upon me. I got the first ask to present what I thought would have been the right way to encounter killer tomatoes as a federal vegetable investigator, and the process as an actor is you go through these auditions and callbacks and whatnot, and I was just told, “This is your job now. This is what you have to do. It is your calling.” So I just took on the mantle and am really trying to make it as clear as possible that these vegetables are out here, and it’s not safe.
Noor Razooky: I play Dr. Angela in the film. I am a marine biologist. I successfully grow tomatoes in salt water. I was essentially born to play this, considering my entire life, my physics teacher father would only show respect to math and science, so it seemed like that was the path I would have to take. I grew my first tomato at a very young age, through seed and soil, traditionally, and I would check on those tomato plants every single day in my childhood bedroom through the blinds.
I’d watch its progress until one day I heard the sound of gardeners, and a weed whacker engine was roaring and rumbling and shaking my house, and I thought, “Oh my God, something must have gone wrong.” So I went back to my blinds, and I checked through my childhood window, and my tomato plant had gone. Immediately, visceral reaction. My chest got tight, my fingers started to constrict, my heart rate went up, and I was like, “They have no idea what they have done. They have no idea the retaliation that will come after this chopping, this carnage that happened in my backyard.”
And so I thought to myself, “the safest way to continue growing tomatoes going forward is in the ocean, where there will be no gardeners chopping it down, I’ll have full control over them,” until we realized that these tomatoes are actually plotting and communicating through almost like a fungal mycelium network, and like Dan said earlier, the truth came to me a little bit later. I was in it for the science, not the conspiracy, until …you know, data doesn’t lie.
This is starting to sound like your classic The Last of Us situation.That’s very troubling, I would say. You’ve mentioned gardeners a couple of times. Where are they in the context of Attack of the Killer Tomatoes? Are they allies in the fight against the tomatoes, or willing collaborators with them?
Dan Bakkedahl: Look, from eight to 80, we need as many hands as we can get, you know. So, regardless of what you do for a living, it’s your fight too. This is the fight for humanity. I mean, I would imagine that a gardener is going to have a greater knowledge, but he may also have a greater sympathy for these creatures.
Noor Razooky: Unknowingly.
Dan Bakkedahl: Yeah, unknowingly, or you know, it might be a conscious bias. But look, the fact of the matter is, if you want to remain on this planet and you’re human, you’ve got to join the fight.
Noor Razooky: It’s us against them.
Chilling stuff. Noor, I don’t want to critique your character’s approach, but bringing tomatoes out into the ocean seems kind of counterproductive. Like, you just create hydroponic tomatoes? If anything, it feels like they’d be stronger.
Noor Razooky: I mean, essentially, but that brings us back to organic intelligence and the evolution of it. Organic intelligence is something we cannot control. It’s evolved over billions and billions of years through adapting to their environments. So, if these tomato plants are just being cut down by weed whackers, they will simply adapt, roll on into the ocean where there are no weed whackers, where they can immerse themselves in a different ecosystem. So you have to roll with the punches in that sense. AI is man-made, and that’s something we can control. We can unplug it if we want to. But organic intelligence, we cannot unplug it. We have to adapt. We have to become organic with them.
Okay, I think that all makes perfect sense. Dan, can you tell us about your character, Wilbur Finletter?
Dan Bakkedahl: Yeah, Wilbur Finletter is one of the original characters in this franchise. One of the original combatants in the fight against the tomatoes in the first film, and of course, in this film we find Wilbur has retired. He’s no longer in that. He’s running a pizza shop along with a couple of his former cohorts, and he thinks it’s done, it’s all over, but he doesn’t know about the evolution. This new wrinkle brings Wilbur and his gang out of retirement. You’re scared when you haven’t done something for a while, like if you haven’t ridden a bike in a long time. Sure, you still know how to ride a bike, but are you still as good at it? That’s really the question. And it turns out it takes a little coaxing for Wilbur and his compatriots to get up to speed. But rest assured, they’re ready for the fight.
Gotcha. So, Attack of the Killer Tomatoes: Organic Intelligence is the fifth iteration in this series of…
Myrna Velasco: ….documentaries?
Yes, documentaries. So we’re five in. Why do we keep getting our asses handed to us by these tomatoes?
Myrna Velasco: Because organic intelligence knows no bounds, and you know, much like The Last of Us, you chop a tomato down, and then at the very least, you get 10 more seeds of the enemy that you have to think about and find, and it’s not easy. It’s not an easy job to eradicate the tomato villainry. It’s not, which is again why we need all hands on deck. We need every single person who is willing and capable to stomp a tomato to please make that your mission as a human being.
Dan Bakkedahl: And to be clear, it’s not all tomatoes. You know, just look out for the bad ones. That’s really what you do.
We don’t want to be bigoted against all the tomatoes, but of the “bad tomatoes,” is it limited to like heirloom? Cherry? Is it a whole wide variety we’re dealing with?
Myrna Velasco: It’s like with everybody. There’s no type of person that is bad, and there’s no one type of tomato that is bad. It really is just the organic intelligence moves through every tomato. I personally believe, and have research to back up, that they are coaxing tomatoes, as well as potentially other vegetables, into badness, into killing. It’s not every tomato, but every type of tomato has one.
Dan Bakkedahl: Just know the warning signs. You know, if you see a tomato in a place that it shouldn’t be, if you’re in a public restroom and there’s a tomato in there, you’re probably looking at a killer tomato.
Noor Razooky: They probably came from the toilet. They go through these rooting systems through the pipes, and that’s how they communicate; that’s the evolution of their intelligence and their communication networks.
Context matters.
Dan Bakkedahl: Oh, for sure. If you’re about to eat a burger and there’s a slice on there, dig in. Feel no fear. You got a little salad in front of you, and just a couple of little cherry tomatoes on there. No fear.
Noor Razooky: Certainly. We’re actually in touch with a lot of universities to start adding courses because it starts with the youth, and that’s where the movement really begins. It’s always about education, awareness, and visibility. So that’s our purpose for this film.
Myrna Velasco: What really comes to mind is: “If you see something, say something.”
On the the poster of this harrowing documentary, there’s a lot of our nation’s finest character actors who are all identified just by a project that they starred in, and for you, Dan, it just has your face and says “Veep,” which I was very appreciative of because I think that happens to be maybe the funniest thing that’s ever existed in the history of humanity.
Dan Bakkedahl: Thank you very much.
There is a line that Roger Furlong delivers in that series that I hear running through my head maybe four or five times a day. He’s speaking to Jonah Ryan, who just got assigned his own Secret Service detail because he’s a presidential candidate, and he says, “You’re still likely to get assassinated, but the killer, may God guide his hand, will just have to work a little harder.” I wanted to hear you laugh at that, and I also wanted to ask what it’s like getting to deliver lines like that.
Dan Bakkedahl: Well, that show was the thrill of a lifetime. You’d get that script, and they’d change it three times before you’d shoot it. So by the time you’re actually finally shooting it, you’re on like your third or fourth iteration of the line, and then once they get it, they would come over with a piece of paper with a bunch of alts on it and say, “Pick one,” and they’re all delicious and horrible things to say. So you kind of got to guide your own destiny in that way. You got to improvise a little bit. You got to choose a little bit. It was a lovely experience. I mean, it was a really hard job. Comedies don’t normally shoot 16-hour days, but that show did on the regular.
Comedies aren’t even usually that wordy.
Dan Bakkedahl: Well, no, that’s the other thing. It’s 50-page scripts, and it’s usually a minute per page. But with Veep, it was a 30-minute show, and the scripts were regularly 50 pages and longer because of the rapid-fire nature of the dialogue, overlapping almost like Mamet, like talking, talking, talking. I’m talking too, and we’re all talking at the same time.
Thank you so much for stopping by and telling me about the dangers of these killer tomatoes.
Dan Bakkedahl: If you’re not part of the solution, you’re part of the problem.
I’ll get the message out as best I can.
Attack of the Killer Tomatoes: Organic Intelligence is set for a limited release in New York, Los Angeles, Chicago, and San Diego on August 7.
Spider-Man: Brand New Day Review – Tom Holland’s Finest Outing in the Mask
Of the actors to play Spider-Man on the big screen, Tom Holland has always been the most perfectly cast. A dancer by training, and a gymnast by hobby, he gets the athleticism in a way few other performers have ever attempted. But he also brings the zippy joie de vivre, an exuberance of youth, that has informed the character’s enduring popularity across generations.
So it was always a bit of a shame that Holland never got to play Peter Parker. Not fully. I have a lot of admiration for his high school trilogy, as indicated in past reviews. They brought a sprightliness which previously eluded the character in cinema. But perhaps because the Marvel Studios films needed to so forcefully distinguish themselves from what were then fairly recent variations on the Web-Head, they shied away from the things past iterations got right, most especially Sam Raimi, Tobey Maguire, and their own era’s sense of longing and sacrifice. It’s those soapy melodramatic stakes that come with adolescence and thwarted dreams that makes that 2000s trilogy so special. As a consequence, Holland’s Peter and Zendaya’s MJ instead existed in a largely idyllic alternative universe with a sitcom setup where they had the resources and flippant expectations of the billionaire set—which Peter more or less was as the chosen heir apparent to Iron Man and his money is magic power fantasy. It took three films to crowbar Holland’s wallcrawler out of that synergetic trap.
I’m so glad they did, because the opening 15 minutes of reorientation into Peter’s changed status quo during this weekend’s Spider-Man: Brand New Day is something of a revelation. For this extended prologue, and large passages throughout the rest of the movie, Brand New Day is as much a homecoming for Spidey as the previous flick bearing that name. At last Holland is liberated to play the joy, as well as the agony and sorrow. It’s this multifaceted triptych that makes Peter’s crucible of growing up so relatable to anyone who ever did the same. And when Brand New Day focuses on just the intimate, messy, and definitely soapy fixations that come with that experience—when the movie is about Peter, MJ, and the other bestie Ned (Jacob Batalon)—Holland’s web has never been richer. It’s even strong enough to survive the weight of a lot of obtusely shaped MCU baggage somewhat hurriedly thrown into the silk trappings.
Operating as kind of the greatest hits of the Raimi trilogy all wrapped into one, Brand New Day finds a Peter Parker who has forsaken love, as well as friendship and all other humanity as he throws himself into full-time superhero-ing. If you do not recall the full details from Spider-Man: No Way Home, that movie concluded with Doctor Strange wiping the memory of Peter Parker from everyone in the world, including Ned and MJ. Before the magic trick (done to save the world for timey-wimey reasons), Peter swore he’d find his two soulmates and reintroduce himself. Yet after losing Aunt May (Marisa Tomei) in the same movie to the Green Goblin, he instead decides to not tell anyone his secret identity and carry the burden of Spider-Man alone.
Cut to five years later and he’s kept his self-denying promise. MJ and Ned have grown up happy and oblivious at MIT before coming back to the city, and Peter has rather miraculously been able to afford a ratty studio apartment despite having no seeming occupation other than crimefighting. Through sun, rain, and snow, we see him battle supervillains and the seasons alongside his only work colleagues, Detective Jean DeWolff (Liza Colón-Zayas) and gun-nut vigilante Punisher (a phenomenal Jon Bernthal).
Peter tells himself it’s enough, but upon seeing MJ for the first time in years in-person, his lie melts away like old webbing, leading to an identity crisis of sorts where his body rejects his bachelorhood faster than you can say neurotic New Yorker. He also has his head turned in other ways by a new enigmatic threat in town played by Sadie Sink, who I can say almost nothing about without it counting as a spoiler.
Spider-Man: Brand New Day is the first MCU Spidey directed by Destin Daniel Cretton. It is also the best looking Spidey has been since the days of Raimi, and that is no coincidence. Cretton brings a quieter, more measured gaze into Peter Parker’s world, still keeping the lightheartedness the MCU is known for, but painting in grays and blacks, and the shadings of life. The web-slinging and swinging through Manhattan is excellent, but it is how Cretton and Holland find time at last to breathe in the air of those canyons, and how they can evoke both wonder and loneliness in a lad like Peter as he broods on MJ or is exhilarated about his latest victory, which gives them a magic. That and Holland, who feels in better command of the character than ever before.
Going long stretches of Brand New Day wearing the mask and relying only on his body language and an almost Tramp-like sense of physical comedy (fitting since Cretton name-checked Chaplin as a reference in our new magazine) goes a long way to realizing Spidey’s Bugs Bunny influences. Peter can mope, but as Spidey he can also dominate a room with good cheer that isn’t just childish; it’s also a defense mechanism that keeps the character this movie well-balanced and grounded.
The other aspect that unsurprisingly works strongly in the movie’s favor is when, after some due patience, Holland is finally sharing scenes again with Zendaya. Peter and MJ, despite what some voices at Marvel editorial would like to hear, have for decades been the heart of Spidey mythos, and the obvious chemistry Holland and his real-life wife share only deepens that core in Brand New Day. It’s something of an irony, then, that the young married couple are forced to play total strangers—at least from MJ’s perspective—in their fourth Spidey outing. But this inversion of the soap opera dynamic where now it’s the whole world that has amnesia, rather than our hero, makes the longing and awkward pauses between the two burn with meaning. Whatever happens in the narrative they’re handed, the subtext is undeniable that they’re the true endgame around these parts.
So it’s something of a shame when Brand New Day cannot entirely drill down on just that human level where Peter, fitfully and graspingly, attempts to rekindle his kinship with both MJ and Ned, and reconcile that with his Web-Head activities. This being a superhero movie means there must needs be a villain and action sequences but, without giving anything away, the film becomes heavily preoccupied in large swaths of its run-time with subject matter fairly divorced from Peter’s central dilemmas. Instead the movie becomes a springboard to introduce new, long anticipated corners and mysteries of the MCU onto the screen. I cannot say who Sadie Sink plays, but you probably can predict it well before the revelation comes, which turns the third act of the movie into a kind of backdoor pilot for another Marvel saga entirely.
Sink is quite good in the role, and she and Holland have their own, more perilous chemistry, but the film at times feels cluttered with its meta-franchise obligations as a result. In other moments, it’s downright distracted, such as when Mark Ruffalo’s Hulk is needlessly and superfluously stuffed into the yarn almost purely for the trailer sizzle he provides, which along with all the other plates in the air leads to entire Peter-centric subplots, such as how his body is adapting to his anxiety and mental hang-ups, to feel somewhat lost in Chris McKenna and Eric Sommers’ busy screenplay. (Although if you squint you still get a better take on the Lizard archetype than what we got in The Amazing Spider-Man movie.)
But while Sink and Hulk’s characters feel like standard MCU IP-building, Bernthal’s Punisher is a genuinely wonderful addition. One of the appeals of Stan Lee, Steve Ditko, John Romita, and Jack Kirby comics is that New York City is a small town, made smaller too in the industry of superheroes. These folks are bound to run into each other, and Bernthal’s often troubled and tragic Frank Castle being recontextualized as Spidey’s quasi-demented, high-strung friend from work is a brilliant blending of the Marvel Universe tapestries. Bernthal imbues so much warmth, anger, and, well, humanity into only a handful of scenes.
That human element shared between Holland and Bernthal, or Holland and Zendaya, or Holland and Batalon, is where Brand New Day’s greatest strength lies. There’s an obvious common denominator there, and when it’s keyed into Holland’s register, this movie soars.
Spider-Man: Brand New Day opens on Friday, July 31.
Avengers, Dune, Odyssey and the Rejection of Digital in a Streaming World
As you might have heard, and despite a few bad actors on social media’s best efforts, Christopher Nolan’s The Odysseywas a hit in its first and second weekends. They respectively marked the biggest opening and drop of his career, in fact. So in the wake of the IMAX spectacle’s gargantuan grosses, which arrived only after a string of recent franchise flops and underachievers, there has been something of a come to Zeus moment in Hollywood with its various attempts to read the tea leaves.
One of the best takes I’ve seen is James Hibberd of THR suggesting the success of Odyssey—as well as 2026’s other biggest hits like Project Hail Maryand Obsession—prove that “audiences want movies made the hard way.” Which is to say, folks want to be able to see the filmmakers’ blood, sweat, and tears right up there on the screen, preferably with a marketing campaign emphasizing how difficult it was filming on actual longships across the Mediterranean.
I think there is a great deal of truth to this insight, although still only as part of a larger equation that’s shifting our current pop culture paradigm. While there is definitely a demand among some audiences to know Matt Damon was really strapped to a mast on floating waters during that Sirens scene, what I think is intuitively driving audiences is less the BTS gossip and more the innate understanding that it looks so unlike our current daily lives… and the “slop” polluting it on our devices and screens.
It’s impossible to prove causation, but it feels like more than coincidence that the year so-called superhero fatigue began spreading to various other genres is also the year public opinion on the alleged benefits of artificial intelligence reached a new nadir. There is indeed a deep skepticism about the coming impact of AI on daily life, and anything with a whiff of that artifice has become suspect.
Moving concurrently with these rhythms is what amounts to a curious inversion of the CGI revolution in first cinema and then television over the last 30 years. Way back in the day, after the one-two punch of Terminator 2 and Jurassic Park, nearly every summer blockbuster was sold on the novelty of computer-generated imagery. Finally visual effects could catch up to storytellers’ greatest flights of fancy: dinosaurs! Photorealistic tornadoes! Alien invasion on the Fourth of July! Even George Lucas was going to use it to “finish” his vision for the Star Wars trilogy, complete with digital Jabba the Hutt in one movie and a musical floor show in another. In that era, digital effects were the selling point. It’s what made Armageddon an infinitely bigger deal than when in the same month Antonio Banderas rode real horsies in real deserts, in the really much better The Mask of Zorro.
The advantage of astonishing digital tools took longer to leak down to the small screen, with CG in the ‘90s mostly being the province of TV miniseries like Sam Neill’s Merlin or (ironically) the Armand Assante-led Odyssey of 1997. Flash forward 20 years, though, and Game of Thrones floored HBO subscribers with sights of dragons burning armies.
For a generation, “visual spectacle” was defined by impossible things. What’s changed is the impossible has become overwhelmingly common, especially in this decade where franchises that once reserved their wizardry for the multiplex were now inundating Netflix, HBO Max, and most especially Disney+ on a weekly basis. The CG worlds of superheroes, and the Volume-created sets of a galaxy far, far away, are subsequently synonymous with the content you consume at home. Or AI Slop on your TikTok feed.
Conversely, some of the most popular filmmakers of our current era (and not just Nolan) have continued to rely on showing the sweat of their brow, sure, but also remaining committed to the fundamentals: striking compositions; a focus on performance and story structure; and spectacle captured in-camera. There is indeed something incredibly old-fashioned about Odyssey’s cast of stars and familiar faces in a sword and sandals epic. That was a trick also pursued by the likes of William Wyler and Cecil B. DeMille during the rise of television in the 1950s… or Denis Villeneuve a few years ago with the first two chapters in his Dune trilogy.
All of which makes the climactic box office showdown at the end of this year so intriguing. In the past two weeks, we’ve seen both halves of what social media has dubbed “Dunesday” release their trailers: Villeneuve’s Dune: Part Threeand Marvel Studios and the Russo Brothers’ Avengers: Doomsday. Both films appear to be doing what their makers have turned into calling cards for the audience. One’s a foreboding but immersive space opera filmed in real deserts with real movie stars—although now via IMAX 65mm cameras for the first time—and the other is a massive Marvel team-up/crossover event that will, sure enough, rely on beloved characters and personas standing before oceans of blue screen digital trickery.
I will not pretend to say it’s any kind of litmus test—after all, Barbenheimer proved audiences can reward two blockbusters in the same weekend with obscene riches—but in the realm of tentpole cinema it does provide an interesting A/B comparison. I expect both movies to be monstrous hits, and Doomsday especially so. It’s already outpaced Deadpool & Wolverinein opening day pre-sales, which seems to confirm Marvel naysayers on social media could be another tempest in a teacup, not unlike the alleged backlash faced by The Odyssey.
Even so, I do think audiences are increasingly rejecting anything artificial as the deluge of disposable content on their phones, in their workplace AI toolbox, or on their streaming service reaches a fever pitch. They don’t need to see blood on the screen; just something tactile is exciting enough, whether that’s a longship, a One Wish Willow box, or perhaps a Crysknife caked in UAE sand.
The Odyssey: Homer and History Experts Explain What’s Missing in Christopher Nolan Movie
Dr. Emily Hauser, a lecturer in Classics at the University of Exeter and a scholar with a career-spanning passion for Homeric epics, has an understanding when going into a movie like Christopher Nolan’s The Odyssey: these stories about Trojans and Greeks, Odysseus and Penelope, have never been defined by an exact canon or single text. Even back in the days of Homer, interpretation and reinvention were vital to the oral tradition before a poet (or a few) wrote them down in approximately the 7th century BCE—casting onto paper a reference point that future generations would quickly make their own.
“Every single reworking of The Odyssey is going to be speaking to its particular format, its particular audience, and its particular moment,” Hauser tells us. “That is as true of Homer’s Odyssey as it is of Nolan’s Odyssey. Anybody who thinks that Homer’s Odyssey as the fixed final version hasn’t plumbed the depths of all of that orality that was going on behind that tradition of multiple different stories, the fluidity, the flexibility.” The retelling of the story about a man trying to get home to Ithaca isthe lifeblood that makes it so transmutable. It’s how a poem survives millennia.
With that said, Hauser adds with a laugh, she needed to keep reminding her “Homerist heart” of this reality when she along with History Hit presenter Tristan Hughes attended The Odyssey world premiere in London earlier this month. The pair, who have collaborated on The Ancients podcast, which Hughes hosts in addition to being an author of Alexander’s Successors at War: The Perdiccas Years 323 – 320 BC, were in the room with Nolan and the cast, and experienced the film in the director’s preferred 70mm IMAX format. It was overwhelming for lifelong students of history and mythology, and also something of a relief. Whatever many changes the film made to the epic poem’s tale, our newest Odyssey revealed an artistic merit and clarity which Hauser says escaped the “full fat Hollywood” of movies like Troy.
“I was absolutely entertained,” Hughes smiles. “It just whizzed by for three hours.” More importantly though, “I’m not overly fussed with inaccuracy, as long as it’s a movie that can inspire people to want to then go and learn more about the particular area of ancient history that it’s focusing on.”
In both Hauser and Hughes’ minds, Nolan’s Odyssey is a carefully considered, even majestic work that has been folded to align with the filmmaker’s interests, perhaps most tellingly Oppenheimer. But by virtue of changing a song to fit the times, the film by definition is quite removed from Homer and plenty of the other Ancient Greek traditions that inspired it. And when it comes to evaluating Nolan’s Odyssey opposite Homer, or even the historical record of the late Bronze Age setting that Nolan plays with, there is much to be said about what gets left out…
The Use of Modern Language in the Ancient World
Perhaps one of the biggest points of topic prior to the release of Nolan’s epic was its deliberate use of a modern vernacular among characters like Odysseus’ son Telemachus (Tom Holland) and Antinous (Robert Pattinson), two Ancient Achaeans played by Brits who employ American accents while talking about “daddy.” Elsewhere in the film, Matt Damon’s Odysseus more shockingly refers to the shores of Troy as “this fucking beach” when getting ready to go home.
For some they’re jarring, but they are the type of changes that hardly trouble Hauser. They even seem trivial to someone who’s studied these stories in Ancient Greek during an academic career that includes Cambridge, Harvard, and Yale.
“It’s obviously not just a colloquialization but also an Americanization of this territory,” Hauser observes, noting it specifically draws from Dr. Emily Wilson’s 2017 translation of the epic poem. “That translation has been really praised for the directness and the straightforwardness, the accessibility of its language, and if you look at older translations, they are quite flowery, they are quite archaising. And, to me, the choice to use those colloquialisms or that kind of shorthand and slang is an extension of what we see in a translation like Wilson’s. It’s trying to emphasize that Homer is a spoken language. It’s something that Greeks would have been responding to, they would have been listening to. It wouldn’t have sounded foreign or archaic.”
The scholar is also quick to point out that while Odysseus didn’t drop F-bombs in Homer’s Odyssey, the Ancient world, including this specific poem, could be bawdier than the general polish of academia sometimes suggests.
Says Hauser, “Obviously epic [literature] is engaging in what the Greeks would have called a sort of higher register, a higher genre, than something like comedy, where you get these more earthy jokes. But we get that even in Homer. A really good example of that is there’s a moment where one of the bards tells a funny, raunchy tale about an affair between the gods, and you’ve got laughter amongst the audience. So you’ve clearly got a range that this epic is going between.”
Historical Anachronisms and Real Mysteries of the Bronze Age Collapse
If the online debate over the use of modern language can come across as a tad pedantic to actual classicist, what is a point of genuine interest is how Nolan reveals a deep understanding of scholarship about the Bronze Age, particularly with regard to theories of how it ended and the rise of the mysterious “Sea Peoples,” or as they were described in Ancient Egyptian texts, “people from/of the sea.”
“For a long time, the Sea Peoples have had quite a bad reputation as being the primary causes [of collapse],” Hughes tells us. “We don’t exactly know where they came from, but there are lists of different places… they seemed to come together and venture to the eastern Mediterranean, maybe some from Sicily, maybe some from Sardinia, maybe also some from Greece as well… and then sweeping eastwards and destroying particular cities, and fighting Bronze Age kingdoms like the Kingdom of Egypt.”
The actual root causes of the near total collapse of civilizations around this time is likely more complicated than just the simple consequence of these invaders, nonetheless Hughes was impressed by how Nolan folded in theories about some of the Sea Peoples and the Trojan War.
Says Hughes, “In the historical records that mention them in Egyptian texts, a couple of the people included are the Ekwesh and the Danaoí, which are likely names for the Achaeans or the Danaans, which suggests that it’s very likely that some Greeks, at least, were in this group known as the Sea Peoples that caused devastation further east, maybe at places like Troy.” Furthermore, the historical records confirm that some Mycenaean Greeks did fight in and around the area where Troy was located in the Late Bronze Age, which has raised eyebrows among historians for generations as to whether that creates a connection between the mythical Trojan War and the various Sea Peoples invasions.
Says Hauser, “There have been suggestions in scholarship where you look at what’s happening in The Odyssey, and you look at the fragmentation that happens at the end of Homer’s Odyssey where you have these suitors creating trouble on Ithaca, and then you get civil war, and this sense of bubbling turbulence, that has been suggested as a potential memory of what happened in the Late Bronze Age. But it’s the first time that I think we’ve seen this written across the big screen in that way.”
There are plenty of other historical details and anachronisms added throughout the movie, from the fact Damon’s Odysseus sails what is actually a Viking longship as opposed to a Greek galley—it was easier for the film production to get an already seaworthy Viking replica to take out on open water—to the fact the Laestrygonians wear what could be perceived as medieval armor. However, one of the biggest subjects of debate—if again only in the echo chambers of the internet—has been an intentionally diverse and international cast, including Oscar-winner Lupita Nyong’o as Helen of Troy and Travis Scott as a bard in Homer’s stylings. Yet Hughes and Hauser are keen to underline the Mycenaean world was far more diverse than armchair internet experts would have you believe.
Pointing to a recorded request for the delivery of a pair of shoes from the Greek Minoan island of Crete by the Babylonian ruler Hammurabi in the 18th century BCE, Hughes stresses, “You have this trade network. You have the Mycenaeans in Greece, you’ve got the Minoans on Crete as the western end of this kind of globalized eastern Mediterranean world [that extends] into Mesopotamia, and then you’ve got the Babylonians up the river Euphrates in Babylon, and the Egyptians down the River Nile, and the Hittites. They’re all corresponding with each other, at least on the highest levels, these kings, these pharaohs, they’re referring to each other as brothers, they’re exchanging gifts, there are also their marriage alliances, there’s warfare as well from time to time.”
Hauser similarly denotes the more recently discovered Uluburun shipwreck off the coast of modern-day Turkey. It was a 14th century BCE vessel that contained tin provisions from Uzbekistan and copper from Cyprus, and was likely headed to Greek islands before calamity struck. Says Hauser, “There is so much going on at this time, and I think this idea that Greece was just this little pocket of its own really misrepresents what was happening.”
Indeed, Nolan’s emphasis on this more interconnected Mediterranean led to Hughes’ favorite addition in the film: when Odysseus tells his wife Penelope (Anne Hathaway) that the supposed abduction of Helen is just a pretext to go to war for all-powerful King Agamemnon (Benny Safdie).
Enthuses Hughes, “Odysseus just says, ‘That’s an excuse. The real reason he’s doing it is for the trade routes.’ And we know that Troy was one of the main ports in that area of western Anatolia, just before the Dardanelles today. If a ship was trying to get up to the Black Sea, it would have to put in at a port like Troy before it went through the Dardanelles into the Black Sea… that is really the backdrop as to why there is a lot of fighting and probably also the inspiration for then getting the Trojan War story.”
What’s Really Missing from the Film
There is obviously much and more to praise Nolan for what’s included in The Odyssey. And yet, any lover of Homer or the other classics cannot help but feel that some things are missing while others are noticeably misrepresented. And it is on the mythological side that scholars like Hauser and Hughes get the most critical.
“If we focus on the episodes that Nolan does include but highlight the bits that are missed, I think we’ve got to talk about Polyphemus the Cyclops,” Hughes says. While the scene of the cyclops’ cave is one of the highlights of Nolan’s movie, it quite deliberately omits key elements of the same scene in Homer’s poem.
Says Hughes, “In Nolan’s Odyssey, you don’t see Odysseus actually talking with Polyphemus the Cyclops and then giving the cyclops the wine to make him drunk, and then the stake in the eye, and the rest of that story. Instead you hear this murmuring of the cyclops, who is this kind of more monstrous portrayal, in the corner, which then reveals the cyclops can actually speak.” What is missing for anyone who loves the poem is that before being blinded, the cyclops asks for Odysseus’ name and Odysseus, ever the trickster, lies and says he is “nobody” (or “no one” or “no man,” depending on the translation).
“When Polyphemus is blinded, and then he cries out to his fellow cyclopes… they say, ‘what’s wrong?’” Hughes says. “And then he replies, ‘Nobody has blinded me,’ and so they go away.” Odysseus’ cruel jape is revealed. Furthermore, Odysseus speaks again to the cyclops during his escape when, instead of taking a pot shot with the bow like in the movie, he boasts that the cyclops was blinded by Odysseus, King of Ithaca! Nolan has since told the press he tried to get some of this “pun” in the movie, but he couldn’t make it work. However, scholars might argue it is more than a simple pun.
“It’s not just like we’ve got a checklist, and we’re like, ‘Oh, that one’s missed, that one’s missed,’” argues Hauser. “The reason that that matters is because that is one of the key episodes that demonstrates how clever Odysseus is to us. And by losing that, you lose a key element of the characterization of the hero that is supposed to be cunning and clever.” Indeed, Hauser points out in Ancient Greek the word used for “nobody” is utis. “But that word can also be metis, which also means nobody, it’s just a different variation of the word. And metis can also mean ‘cunning.’ So when he says his name is ‘nobody,’ he also knows that when the cyclops speaks back to him, he’s going to call him metis, [or] cunning. So he has become the personification of the cunning, wily hero.”
Removing this aspect, as well as Odysseus’ self-destructive need to brag about being the one who blinded Polyphemus, thus damning his crew to years of agony and death at the hands of Poseidon, flattens the character in Hauser’s mind. But then she would also suggest many of the characters, including especially the women, are flattened in Nolan’s interpretation.
Hauser explains, “One that particularly irked me, and it’s a really small one, so people won’t notice it, but perhaps I think that’s why it’s more important, is that at the very end of The Odyssey, when Odysseus and Penelope meet each other, Odysseus goes through this series of tests of Penelope’s where he is basically checking that she’s been faithful to him. She does the same to him in Homer’s Odyssey. She has her own test where she basically asks about their marriage bed and pretends the marriage bed has been moved, and Odysseus gets completely flustered, and then reveals that it is, in fact, him, because he built the marriage bed.”
Perhaps Nolan wanted to wrap up his three-hour narrative neatly after the climactic bloodlust with the suitors, but it robs Penelope of a chance to demonstrate her equal footing with Odysseus..
“There is a really important dance and dialogue that is happening there between Odysseus and Penelope, in terms of both of them being cunning and clever, both of them being wily and being in control of their own fate,” Hauser says. “To me, it was the subordination of Penelope in multiple different ways, but particularly in that way, to Odysseus where she did not get the chance to recognize him but instead simply ran to him and acknowledged him entire, that I think was a shame… It somehow feels like it had to be, perhaps, washed down or diluted by Nolan, in his idea, in his mind, because Odysseus needed to be privileged. I find that a loss.”
Hauser points similarly to Nyong’o’s Helen who, while being depicted in the movie as more complex than just the dutiful wife to Menelaus—as some interpretations of Homer would have it—is also portrayed as what Hauser characterizes as “quite defeated.” The scholar suggests that’s another loss since in the epic poem, “Helen is smart as a whip. She is absolutely giving it back to Menelaus. She’s the one who recognizes Telemachus, Odysseus and Penelope’s son, who has come there; she’s the one who reflects on her role in the war. When she gives a speech, her husband says, ‘Well done, that’s a great speech!’ and he gives her a kind of accolade that is normally given to bards. So she’s really like a poet figure, she has an important voice, and I think that was perhaps an opportunity missed to give Lupita Nyong’o that kind of voice.”
Ultimately, Hauser suggests the women of Nolan’s Odyssey suffer in comparison to Homer’s. While it is a deliberate artistic choice to not show the gods other than Athena, whose manifestation in the form of Zendaya comes into serious doubt by the movie’s end, the effects of what is (probably) Zeus or Poseidon are still felt throughout the film. Conversely, a sea nymph like Charlize Theron’s Calypso is intentionally coded as a mortal where it takes a deliberate reading (or outside knowledge) to see any divinity in the character.
“Calypso is presented as a very kind of dangerous divine figure who actually could have tempted Odysseus with immortality, that’s what we’re told in Homer’s poem,” Hauser says. “So it is a very interesting difference to turn these women into less powerful women who are either almost figments of Odysseus’ imagination. With Calypso, you get this sense that he kind of dreamt her up in dealing with his trauma and what’s happened in Troy, and Athena similarly. So I think that is not as perhaps as innocent a choice as it might seem.”
In the end, however, Nolan’s Odyssey is just one more new iteration of a tradition that goes back at least 2,800 years. Nolan has modernized the material, and certainly Odysseus who is far less boastful or lusty than the version immortalized by Homer. But by making the story his own, Nolan is keeping it alive and exciting another generation that will surely pass the epic down, presumably with Blu-ray special features one day.
“Whether it’s historical or mythological, you will always have so many different interpretations of the stories from generation to generation,” Hughes says. “So we have Nolan’s Odyssey today, and the next generation may well have another kind of epic take on the Odyssey, and it’s completely different because of how we are viewing it in today’s age. So it’ll always be changing.” It’s a tradition.
Nolan’s Odyssey is currently playing in theaters. History Hit’s The Ancients podcast is also available now on all platforms.
Star Trek: Strange New Worlds Director Talks Blowing Up the Earth and Human Solutions to Tech Problems
This article contains spoilers for Star Trek: Strange New Worlds season 4 episode 1
For six decades, Star Trek has featured an array of planets, endless alien species, and countless godlike beings. But the kick-off to the fourth season of Strange New Worlds may have outdone all its predecessors. The season 4 premiere, “Valles Marineris” sends Captain Pike and the USS Enterprise back to prehistoric Earth, where they discover not just a planet ruled by dinosaurs but also a Martian military at war with enemies from another planet in our solar system, a planet heretofore unknown to us. By the end of the episode, Pike makes the hard to decision to not intervene in the Martians’ attack on their enemies, which destroys the planet and sends an asteroid toward Earth, where its collision kills the dinosaurs and jump starts human evolution.
“We certainly left no stone unturned in terms of time travel,” laughs Chris Fisher, executive producer of Strange New Worlds and director of the season 4 premiere. “We had so much fun playing with timey-wimey stuff.” One of the chief creatives of Strange New Worlds, Fisher explains to Den of Geek how Strange New Worlds got to the point where it could destroy a whole planet and bring humanity into existence, a massive feat made harder by the realities of COVID.
Fisher brings to Star Trek two decades of experience as a producing director, starting with the Syfy series Warehouse 13, and including shows such as Person of Interest and The Magicians. On the latter show, Fisher started working with Henry Alonso Myers, who became the showrunner of Strange New Worlds, alongside Akiva Goldsman. From there, Fisher joined Strange New Worlds as a producing director.
“I’m whatever the showrunners want. I’m a Swiss Army Knife,” Fisher says of his role. “My focus is really on production, what’s happening on set. I figure out what the season is going to look like in terms of visual language.
“Strange New Worlds is very unique in that regard. We don’t have a look. We have a unique way of hiring directors because we don’t hire them in blocks of multiple directors to do multiple episodes. We hire 10Star Trek directors for 10 Star Trekmovies, and they’re allowed to create their own visual language. It’s a really director-friendly show, which makes my job, obviously, a lot of fun.”
Despite all the fun, Fisher also acknowledges the show has its challenges. “Every episode takes big swings,” he admits. “Even the season 4 premiere, which is in some ways a fastball down the middle for us because it’s a big action adventure episode, is very complicated.”
The same is true of one of the most famous episodes of Strange New Worlds, season 2’s “Subspace Rhapsody,” aka the musical episode. “That was incredibly challenging because it required prerecording the music and getting the director Dermott Downs and actors involved way earlier than usual, by many months. But Henry and Akiva had a firm grip on the episode, and they knew how they wanted it to come together. We poured a lot of energy into it.”
“Then there was the season 3 bottle episode “Terrarium,” with the Gorn and Ortegas on the planet together. That required a lot of additional builds from our creature designer. They put in an incredible amount of additional work designing a new Gorn that could interact with our actor that way.”
Challenging as these episodes have been, Fisher has a special turn in the form of what he calls virtual production. “A virtual production stage is, in some ways, a traditional stage in that it’s a sound stage where the director, writer, and crew will walk into. But instead of plywood or green screen walls and ceiling, it’s surrounded by LED panels,” explains Fisher. “Essentially, you’re walking into a live, interactive 3D immersive video game. All of the worlds for the episode are built in preproduction instead of post-production and then played back inside of the stage, where you shoot all the scenes.”
“Virtual production has huge benefits because it’s not just a 3D immersive world. You can do all your in-camera effects and animation on it and set the lighting. It’s not just a backdrop.”
Virtual production has been particularly effective for Strange New Worlds, precisely because of the mandate in the show’s title. Pike and the Enterprise crew have to visit various planets, and virtual production allows Fisher and his team to create those worlds.
“When people watch Strange New Worlds, they wonder why the sets look so good. And it’s because we created the worlds,” Fisher explains. “The digital assets are awesome. We spent a lot of time designing and building them, and then the actors get to walk into them, and work while being lit by these worlds. They feel very real.
“Virtual production lets you think creatively. All of our best visual storytellers—our directors, directors of photography, production designers, and art directors. These are roles that are generally left out of the post-production pipeline, because their jobs are usually done by the time the visual effects happen in post. But now, they get to be a part of it.
“There are so many benefits to virtual production and I’m a huge supporter of it, which is why I just wrote a book on it,” laughs Fisher, pointing to his new book The Producer’s Guide to Virtual Production, coming August 12, 2026.
“The real icing on the cake here is that virtual production was an extreme solution to the problem of the pandemic. We would never have done this otherwise,” he points out. “It was an incredible challenge to make Strange New Worlds then. Of course, we owe a lot of gratitude to The Mandalorian, who did it before us in 2019. But the didn’t do it during the pandemic.
“I went with a director of photography and a production designer to Ontario. We had to build a new world every week in a warehouse in Misissuaga, and we didn’t understand anything about anything. We had to work together and collaborate, taking the best of humanity to learn about this new tool,” Fisher recalls. “I’ve had people I’ve worked with on other productions ask if I want to share this technology, but I absolutely do. I want this to proliferate.”
“It’s a great way to keep production local,” he points out, before putting the process in terms that Trekkies can understand. “Virtual production is the antithesis to AI because it’s technology, but it’s completely driven by humans. And on Strange New Worlds, we use virtual production for five seasons without ever using AI.”
Facing a disaster through collaboration? Using technology to enhance humanity instead of replacing it? Discovering new life and new civilizations? Sounds like Fisher is making Strange New Worlds behind the scenes as much as he is making it on the screen.
Star Trek: Strange New Worlds streams new episodes every Thursday on Paramount+.
Kevin Feige Is Mostly Right About the Thanos and Doctor Doom Comparison
Barring an ominous but brief post-credits scene in last year’s Fantastic Four: First Steps—a cameo, we might add that featured neither a line of dialogue or closeup—Robert Downey Jr.’s Doctor Doom will not have a real introduction before the highly anticipated Marvel Studios joint bearing his name this December: Avengers: Doomsday. Off-screen, the diehard fans and even some casuals know one of the key reasons for this. Until sometime well into 2024, Downey nor Doom were expected to star in the first Avengers movie since 2019’s Endgame. But following some last-minute brainstorming and rearranging of MCU strategy, Avengers day became Doomsday.
For this reason, perhaps, some fans have been apprehensive about the upcoming Avengers movie, feeling like Downey’s villainous turn to Doctor Doom does not have enough setup like, they say, Josh Brolin’s Thanos received across the “the Infinity Saga,” the series of MCU movies released between the first Avengers in 2012 and Endgame seven years later. Yet Marvel Studios President Kevin Feige openly disputed that perception this past weekend at San Diego Comic-Con.
“The Thanos ‘build-up’ has built up in people’s heads over the years,” Feige told influencer Brandon Davis on Saturday. “He sat in a chair at the end [of The Avengers]. He pulled a gauntlet out and said, ‘I’ll do it myself’ [in Avengers: Age of Ultron], and he yelled at Ronan on a video screen briefly [in Guardians of the Galaxy] and that was kind of it. And I remember the memes making fun of Thanos for just sitting in a chair, and all he does is sit on a chair… and when we got to Infinity War, we said, ‘This really is the introduction of Thanos,’ that really is how that movie was built. That’s what we’re doing with Doom. Doomsday is the introduction and story of Doom. You peel the onion, you learn things as you go, and it is very much for audiences who know and love him from the comics and audiences who have no clue who he is.”
There has been some pushback to what comes across as a bit of a defensive statement from Feige, however he is largely in the right.
So much of the first three phases of the Marvel Cinematic Universe have been romanticized of late that the details have faded from memory. Admittedly the consistency was stronger in the era when Feige and company were only required to worry about two or three movies a year as opposed to three films, plus four TV shows due to corporate mandates at the beginning of the 2020s. Nevertheless, the “Infinity Saga” as it retroactively began to be marketed in Phase Three of the MCU (which began roughly around 2016) was never quite the straight line of escalating tension that some fans make out.
In fact, there was a common refrain in the press about whether Marvel Studios had “a villain problem” given how unremarkable many of the antagonists were, specifically during the Phase Two era with the likes of Malekith in Thor 2, Yellowjacket in Ant-Man, or indeed Ronan the Accuser in the otherwise delightful Guardians of the Galaxy. With the afterglow of Christopher Nolan’s Dark Knight trilogy still bright (think Heath Ledger’s Joker and Tom Hardy’s Bane) or the still-thriving X-Men films not fully tapping out the Magneto well, it left some debate as to why the MCU baddies were so forgettable. And in that context, many scoffed at Thanos for being little more than a guy in a chair, who also like Doom had no lines of dialogue in the first Avengers and in the second superhero team-up film, simply picked up a gauntlet that the casuals might’ve thought was an odd fashion statement.
That obviously changed in Marvel’s third phase thanks to performances and depictions like Daniel Brühl’s Zemo, Cate Blanchett’s Hela, and most especially Michael B. Jordan’s Kilmonger in Black Panther. And also Thanos.
Anecdotally, I remember personally wondering if Thanos could be a bust similar to Oscar Isaac’s Apocalypse before getting to the first scene in Avengers: Infinity War. Suddenly there was no doubt about the severity of threat Marvel could conjure by introducing him wiping out entire scores of beloved MCU characters—Loki, Heimdall, and even Hulk to a certain extent—and being played with a strangely dignified gravitas by Brolin in spite of the CG-purple-people-eater alien design.
Nowadays comic book movie fans will tell you Thanos is one of the great baddies of the big screen, but a decade ago, there was, as Feige points out, memes making fun of him for doing nothing.
With that said, Feige is overlooking how the potential threat of Thanos was laid out for several films while the character was off-screen. His post-credits cameos might have been a bit thin, but the first two Guardians of the Galaxy movies, especially the second one, did a lot of worldbuilding by revealing how horrible Thanos was to Gamora and Nebula’s characters, and the psychic scars it inflicted on his adopted “daughters.” Similarly, the Infinity Stones were being setup since Thor in 2011.
Doom does not have that kind of runway. But I’d argue while Thanos’ impact on Nebula and Gamora was great character development for them, he was still little more than an off-screen terrible father figure, and the Infinity Stones were MacGuffins only the hardcore comic book fans were keeping track of before 2018. The reason they ended up having meaning for all audiences is how they were finally employed in Infinity War. Which is to say, Marvel did miss something by not setting up Doom’s backstory with other characters in the MCU, most especially the Fantastic Four.
That Doomsday needs to both introduce Doom and in broad strokes explain his entire history with Marvel’s First Family is not an enviable task. But neither was making a purple CGI giant a figure of operatic menace. So… let’s just see how it goes, eh?
Avengers: Doomsday opens on Dec. 18.
Avengers: Doomsday Establishes a Fantastic Four Connection to Doctor Doom
This article contains potential spoilers for Avengers: Doomsday.
Judging by the first trailer for Avengers: Doomsday, Doctor Doom is a multiversal threat who battles Thor and the original Avengers. Sure, some other heroes are involved, including the X-Men and the New Avengers, but they’re mostly concerned with fighting one another. Least relevant of all, according to the trailer, are the Fantastic Four, who just hang out in the background, giving each other hugs and shaking the hands of Wakandans.
Comic book fans find this infuriating, and not just because Doctor Doom first appeared in the pages of Fantastic Four. However, according to attendees at Marvel’s panel in Hall H of SDCC, a new trailer for Doomsday showcases the connection between Doom and the Fantastic Four. Reportedly, the trailer showed Sue Storm describing Victor Von Doom as a good man and a friend, who turned when he lost his family. Further, the trailer included a scene of Reed confronting Doom about what he had done. All of this is better than ignoring the connection between Dr. Doom and the Fantastic Four, but it’s not quite enough to do the character justice.
Back in his first appearance in 1962’s Fantastic Four #5 by Stan Lee and Jack Kirby, Victor Von Doom was established as a former college classmate of Reed Richards, whose mastery of science and sorcery resulted in an accident that scarred his face. Over the years, Doom’s backstory expanded, with Reed’s role growing increasingly important. By the late 1980s, it had been established that Reed attempted to correct Doom’s calculations during the explosion that resulted in his scarring.
Unable to accept that Reed outsmarted him and horrified by the loss of his looks, Doom went insane. From there, he returned to his native Latveria to become that country’s benevolent dictator, and only further developed his scientific and magic abilities. He challenged the world time and again, often requiring all of Marvel’s heroes to repel him. He stole the power of the Beyonder, he grappled with the devil, he has become a god more than once, and he continues to long for power… all because Reed did math better than him once in college.
One of the best examples of Doom’s obsession with Reed occurs in the story that Doomsday and its successor Avengers: Secret Wars adapt. At the start of the Secret Wars series in 2015, by Jonathan Hickman and Esad Ribić, Doom has stopped the Incursions from obliterating the multiverse by stealing the power of the Beyonders and recreating the Marvel Universe in his image. As God Emperor Doom, his rule is absolute, and everyone from the Thor Corps to a cabal of villains serves him. Doom could have anyone he wanted as his family, and yet he chose to make Sue his wife and to make Franklin and Valeria Richards into his children. The realization that Doom stole his family was enough to make Reed, who survived the recreation of the universe with his memories intact, take his enemy down.
For some, a math mistake might seem like a laughably banal origin for a supervillain, but it matters precisely because it’s so petty. The low stakes of the inciting incident contrast with Doom’s monumental ambitions, allowing a guy who speaks in the third person, wears a green tunic over metal armor, and surrounds himself with an army of clones to feel somehow relatable.
Given that Doom was pointedly absent until the post-credit scene of Fantastic Four: First Steps, which included a shot of an empty chair at the Latverian embassy, it’s hard to see how Doomsday could give the relationship that it deserves. Still, the very fact that Doomsday understands that he and the Fantastic Four know one another at least opens the possibility that Doctor Doom can be more than a generic Avengers antagonist.
Avengers: Doomsday arrives in theaters on December 18, 2026.
The Man Who Inspired Steven Spielberg’s UFO Obsession
This article appears in the new issue ofDEN OF GEEK magazine. Find out how you can subscribe to get the full physical copy right here!
What if I told you that one man might be (technically) responsible for the existence of both Close Encounters of the Third Kind and E.T. the Extra-Terrestrial… and it is not Steven Spielberg? While the Disclosure Day filmmaker has had a yen for UFOs since his dad first took him to a New Jersey meteor shower as a child, astronomer J. Allen Hynek had already been examining the phenomenon for the government since 1948… the year after the term “flying saucer” was coined by pilot Kenneth Arnold.
In my upcoming book Stranded on Earth: How Night Skies Became E.T. the Extra-Terrestrial, I trace the evolution of how Spielberg’s 1982 classic came to be. And it truly begins with Professor Hynek, a civilian scientist who, after aiding the U.S. Navy during the Second World War, would see his life changed forever by the government and questions about inexplicable lights in the sky.
Following the war, Hynek found himself teaching in the Department of Physics and Astronomy at Ohio State University when the Air Force first approached him about Project Sign, a new study tasked with examining various sightings of unidentified flying objects. While the stated intent was to use the scientific method to determine whether or not there was a known/mundane explanation for any given case, his real job was to debunk first and ask questions later.
“Dr. J. Allen Hynek was initially a UFO skeptic when they enlisted him,” says Dan Harary, a co-founder of Hollywood Disclosure Alliance. “He’s like, ‘Oh, this is silly. This is nonsense.’ Then the more he researched it, the more he spoke to people on the ground who had remarkable encounters, he realized it was a real phenomenon, not people who are batshit crazy.”
Although he did not prefer the term “believer,” the logical astronomer certainly expanded his horizons as to what he accepted was within the realm of possibility.
Explains Harley Peyton, a writer and executive producer on History Channel’s fictional Project Blue Book series, “Hynek was bringing a scientific method to something that not a lot of people believed in, but when you read those stories it’s hard to ignore it. That’s clearly what happened to him. Over time, it was just impossible for him to not enter into certain belief systems based on what you’re seeing with your eyes and hearing with your ears.”
For Hynek, the line between scientific truth and convenient theories began to blur. As he became a more prominent mouthpiece for the Air Force in debunking sightings for Sign—which evolved into Project Grudge, then the infamous Project Blue Book—the explanations got more far-fetched. When Air National Guard pilot Thomas F. Mantell died chasing down an unidentified object above the Franklin, Kentucky skies in 1948, Hynek chalked it up to Mantell seeing light from Venus. In 1957, a bright hovering craft reportedly shut down the engines of at least 10 vehicles in Levelland, Texas, and Hynek told the press it was “ball lightning.” He was mocked in political cartoons by explaining away a 1966 mass sighting in Dexter, Michigan as resulting from will-o-the-wisp, or “swamp gas.”
“The turning point was when he had to tell the world a UFO sighting was swamp gas,” says Harary. “He got incredibly criticized for it. He knew it wasn’t swamp gas, but the Air Force told him, ‘You have to debunk it, that’s your job.’ He became very, very conflicted.”
“For my father, I think there was an accumulated frustration at his role of tamping down hysteria as a PR exercise,” son Paul Hynek says. “In 1952, they started the Air Intelligence Service Squadrons. They would have been the ones dispatched to crash retrieval sites; that was their charter. It wasn’t originally for UFOs, but for any kind of crash landing. They had Russian speakers and all that, probably got the pick of the litter for cases, and Project Blue Book got the ones they thought they could explain easily enough.”
Even by 1958, over a decade before Blue Book was finally shut down, Hynek expressed his resentment at the “completely negative and unyielding attitude of the Air Force. They wouldn’t give UFOs the chance of existing, even if they were flying up and down the street in broad daylight. Everything had to have an explanation.” He also was startled by “the caliber of the witnesses… quite a few instances were reported by military pilots.” He began to think maybe there was something to all this.
A few years after Blue Book was officially shuttered, all while the space program was in full swing, Hynek would publish his 1972 tome The UFO Experience: A Scientific Inquiry. This was a Divine Comedy-esque settling of scores with the Air Force’s bad faith endeavor to rubber-stamp dismissals of any experiencer’s possible close encounter. Deriding government efforts as “totally inadequate,” Hynek founded his own investigative group in 1973 called the Center for UFO Studies (CUFOS) in Evanston, Illinois. It was intended as a place where people could report their sightings without fear. Hynek became a beacon for destigmatizing the phenomenon.
As journalist Leslie Kean says in the documentary UFOs: Investigating the Unknown, “He would go on lots of TV shows and radio interviews. He was a public figure advocating for official recognition and study of UFOs.” And as luck would have it, CUFOS came about at the same time a hot young filmmaker named Steven Spielberg was hatching a big screen take on UFOs at Columbia Pictures.
Produced by the Oscar-winning team behind The Sting, Michael and Julia Phillips, the film was initially scripted by Taxi Driver’s Paul Schrader from Spielberg’s own story. It was about a government debunker not unlike Hynek. In the first draft, the fictional government coat was named J. Paul VanOwen, a skeptic who becomes a true believer in the UFO phenomenon. After this dark and unwieldy take, Schrader was shown the door, and focus shifted to the everyman Roy Neary, played by Richard Dreyfuss in the finished film.
The project was at various times titled Watch the Skies, Kingdom Come, and eventually Close Encounters of the Third Kind. The final title is derived from The UFO Experience, where what became known as the Hynek Scale was introduced to classify the intensity of any given report. It goes as follows:
1. Nocturnal lights 2. Daylight discs 3. Radar-visual 4. Close encounters of the first kind (CE1, aka “Sightings”) 5. Close encounters of the second kind (CE2, aka “Physical Evidence”) 6. Close encounters of the third kind (CE3, aka “Contact”)
After adopting that latter name, Spielberg bought the rights to use it from Hynek for $1,000. He then brought the scientist on board as the project’s official UFO consultant. Hynek also had a cameo as a pipe-smoking scientist during the 1977 movie’s finale.
Explains son Paul Hynek, “He had a lot of calls with Spielberg, met several times, and my father gave him accounts of real reports. A lot of things in the movie came from reports, like that toll booth on the border of Ohio and Pennsylvania, or the sunburned face.”
As Dr. Hynek himself explained in 1978’s Starlog #12, “Anyone who has investigated the UFO phenomenon will realize that Steve Spielberg did his homework, indeed very well. There isn’t anything in the picture that isn’t rooted or based on actual reports. The public is going to look at this as a science fiction movie, and it really is not. The various effects, the sunburn, the physical effects of the vibrations and so forth, the precognition, have all been reported. At the Center for UFO Studies, we have a computerized data bank with over 60,000 reports… going on 2,000 reports of encounters of the third kind.”
Nearly half a century later, the impact of the film is still tangible. Pointing to Contact in the Desert, an annual conference for UAP enthusiasts, Harary tells us, “If you asked 3,000 people there, most of them would say Close Encounters was their favorite movie, including myself.”
While many of the case files in The UFO Experience were translated directly to the screen, a few did not match up to CE3K’s depiction of the extraterrestrials as essentially benign. One such case in August 1955 involved a group of hostile aliens reportedly attacking the Sutton family at their Kentucky farm. The clan apparently huddled in fear throughout one long night as they warded off the invaders with shotguns and rifles. Known as the “Kelly-Hopkinsville” or “Hopkinsville Goblins” incident, Hynek described the event in The UFO Experience as “another classic Close Encounter of the Third Kind.”
Though his boots were not on the ground at the Kelly farm, Hynek coordinated a Blue Book investigation with two associates, a local Kentucky radio man named Bud Ledwith and New York-based UFO investigator Isabel Davis. Both conducted extensive interviews with the witnesses, primarily the Sutton family, and found their sketched descriptions and testimonies did not waver.
Spielberg contemplated including a terrifying alien invasion scene at a remote farmhouse for a CE3K scene involving Melinda Dillon and Cary Guffey, then decided the dramatic encounter at Kelly-Hopkinsville would make an ideal follow-up to his 1977 hit. A script was developed with writer John Sayles, initially titled Watch the Skies.
As Spielberg told Entertainment Weekly in 2011, “It’s a story that’s well-known in the world of ufology, and we based our script on that story, and Rick Baker actually started developing some of the grays.”
The project, later called Night Skies, took the essential elements of the Kelly Goblins while modernizing the family, as well as making the aliens more active and terrifying. They invade the outside and inside of the home, all while perpetrating several animal mutilations. Even with renowned production designer Ron Cobb set to direct, a young Kathleen Kennedy coordinating, and Baker already building the creatures with incredible detail, Spielberg eventually got cold feet. He cherrypicked elements of Sayles’ script, including a nice alien’s friendship with a small boy, and wildly reimagined it from a horror movie to a kid flick called A Boy’s Life, then E.T. and Me, and finally E.T. the Extra-Terrestrial. In 1982 it became the most financially successful movie ever made up to that point.
In 2009, Paul Hynek was working for Giant Studios as it did motion capture on The Adventures of Tintinwhen he was summoned by Spielberg to come by and reminisce about his father:
“Kathy Kennedy said it was Close Encounters that got her into movies, and then they both told me that Spielberg had been working with her for a year trying to do a movie about Kelly-Hopkinsville. He was very friendly, very complimentary about my dad.”
Night Skies remains one of Hollywood’s most enticing unmade films, and the myriad ways it influenced E.T., along with other projects, makes for a fascinating story. If not for the efforts of J. Allen Hynek to legitimize the study of UFOs, we might never have had Close Encounters, E.T., or even Disclosure Day—a movie where Spielberg plays with famous cases like the crash in Roswell, the fireball in Kecksburg, and the abduction of Betty Andreasson.
Building off the public’s awareness of the work of Hynek, the Hollywood Disclosure Alliance seeks these days to provide “a more unified voice in the media leading up to, and following, the impending revelation of the presence of extraterrestrial life—disclosure—through storytelling in feature films, documentaries, and TV programming.” It was founded by Harary, alongside Washington D.C.-based disclosure advocate Stephen Bassett.
Says Harary, “In May 2023, Stephen came to L.A., and we had lunch. At the end he said, ‘Dan, I’m a disclosure guy. You’re a Hollywood guy. What can we do together?’ Now we are a 501(c)(3) nonprofit with 250 members around the world, including some famous people. It’s a group where UAP and ET experiencers, researchers, and disclosure advocates can network with Hollywood writers, producers, directors, and performers to share ideas and story pitches.”
One of the founding members was writer/producer David O’Leary, who in 2018 created the two-season TV drama Project Blue Book. The original pitch was “Ufology meets Mad Men.” It centered on a highly fictionalized version of J. Allen Hynek played by Game of Thrones’ Aidan Gillen. It is appropriate that Hynek was transformed from the full-time professor/part-time UFO guy he was in real life into a Carl Kolchak-type paranoid supernatural investigator. After all, executive producer Robert Zemeckis got his start writing Kolchak: The Night Stalker.
“Kolchak is a great reference, one we talked about in the writer’s room,” says Harley Peyton, a Twin Peaks vet who served as a writer on the show. “Aidan’s such a good actor and he did the usual research one does when you’re portraying a real person, whether that’s certain habits or the pipe he smokes. Aidan’s bringing some of himself to that as well, particularly when the character is a little more active in the world than the real person was, so you try to find a good middle ground. You’ve got family members looking at your work. Paul would sometimes say, ‘Yeah, my dad would never do that.’”
Paul looks back fondly on the experience of consulting on the series, along with his brother Joel.
“We talked with our family and said, ‘Look, this is going to be most likely a positive portrayal of our parents,’” Paul says. “We got all the scripts and had a good relationship. Both actors who played my mom and dad talked to us quite a lot about what they were like so they could get a sense of their real emotional core. I think my dad would have thought, ‘Oh, it’s a damn good yarn.’ My mom would have said something like, ‘Oh, it’s a waste of time.’”
The TV version of Hynek’s adventuring even extended to a Project Blue Book episode in which he is actually in Kentucky uncovering Kelly-Hopkinsville conspiracies, while wife Mimi Hynek (Laura Mennell) does her own investigation, standing in for real-life Isabel Davis. As the episode’s writer Peyton says, “Close Encounters was fairly benign, even beautiful, but the fun thing about Hopkinsville was you were doing a horror story. That was one of the things I brought to the episode, looking for that tension.” He adds that Hopkinsville and all the other real cases explored in the show exist within the sphere of folklore that “has become a consistent part of our culture.”
While folks like Harary speak adoringly of Hynek, framing him as a pioneer in ufology, Paul views his father as a scientist first and foremost. Now a professor in his own right at Pepperdine University, Paul has been developing an offshoot of the Hynek Scale, a classification system to characterize evidence from close encounters.
“Our father was an astronomer; that’s how we thought of him,” Paul says. “He had a side gig of UFOs. He wasn’t a UFO guy to us, so I’m very comfortable with the scientific method. I’m a grant reviewer for the National Science Foundation, and I’m very comfortable with scientists. To me, it is an effort to help experiencers have better conversations with scientists so we don’t have to worry about the table scraps the government gives us.”
J. Allen Hynek’s ultimate legacy was to show that not only does science have a place in ufology, but it is also unscientific to dismiss the possibility of other life in the universe so long as there is a fragment left for us to explore.
Max Evry’s Stranded on Earth: How Night Skies Became E.T. the Extra-Terrestrial publishes in October.