Disney+ New Releases: July 2025

The three-episode season finale of Marvel’s Ironheart is the biggest release on Disney+ this month, premiering on July 1. After being expelled from MIT, genius inventor and tech prodigy Riri Williams (Dominique Thorne) struggles to find a way to still use her skills to help people. When she crosses paths with the mysterious vigilante The Hood (Anthony Ramos), she learns that maybe they aren’t so different after all.

For younger Disney+ viewers, ZOMBIES 4: Dawn of the Vampires premieres on July 11. The fourth movie in the hit musical franchise follows Zed and Addison as their summer road trip takes an unexpected detour. Tensions flare as they find themselves caught up in a rivalry between Daywalkers and Vampires, and the couple must find a way to unite these warring supernatural factions before it’s too late.

In preparation for the new ZOMBIES movie, sing-along versions of the first three films will be available on Disney+ starting July 2.

Here’s everything coming to Disney+ this July.

Disney+ New Releases – July 2025

July 1
Critter Fixers: Country Vets (S6, 12 episodes)
Lost Treasures of Egypt (S5, 10 episodes)
Ironheart (Episodes 4-6 at 6pm PT)

July 2
Miraculous Tales of Ladybug & Cat Noir (S6, 8 episodes)
ZOMBIES (Sing-Along Version)
ZOMBIES 2 (Sing-Along Version)
ZOMBIES 3 (Sing-Along Version)

July 6
Investigation Shark Attack (S1, 6 episodes)
Shark Quest: Hunt for the Apex Predator (S1, 2 episodes)
Sharks of the North
Sharks Up Close with Bertie Gregory
Super Shark Highway (S1, 6 episodes)

July 9
Ancient Aliens: Origins (S1, 12 episodes)
People and Places: Shorts (Premiere)

July 10
Summer Baking Championship (S1, 8 episodes)
Suspicious Minds (Premiere)

July 11
Jaws @ 50: The Definitive Inside Story
ZOMBIES 4: Dawn of the Vampires (Premiere)

July 17
America’s Funniest Home Videos (S13-15, 67 episodes)
Disneyland Resort P.O.V. Walkthroughs (Premiere)

July 18
Megastructures: Real Madrid Super Stadium

July 22
Mickey Mouse Clubhouse+ (Premiere)

July 23
Kiff (Season 2 Premiere)

July 26
BBQ Brawl (S1-2, 14 episodes)
Theme Song Takeover (S4, 6 episodes)
Ultimate Summer Cook-Off (S1, 4 episodes)

July 28
Hurricane Katrina: Race Against Time (S1, 5 episodes)

July 30
Big City Greens (S4, 10 episodes)
StuGo: Shorts (S1, 6 episodes)
StuGo (Premiere)

July 31
Project Runway (S1-4, 51 episodes)
Project Runway (Season 21, Two-Episode Premiere, Episode 1 at 9pm PT, Episode 2 at 10pm PT)

Hulu New Releases: July 2025

Will Momtok survive this? The Secret Lives of Mormon Wives: Season 2 Reunion arrives on Hulu July 1 and it promises to give us all the insight into the drama we saw this season. The first reunion special for the reality series, the season 2 reunion is bringing back all of Momtok and Dadtok to uncover secrets, reveal never-before-seen footage, and give the fans a surprise announcement.

Season 17 of FX’s It’s Always Sunny in Philadelphia premieres on July 9 with two episodes, starting with the second part of the Abbott Elementary crossover.

Movies coming to Hulu this month include the recent spy thriller The Amateur (July 17) starring Rami Malek and the psychological thriller The Assessment (July 19) starring Elizabeth Olsen and Himesh Patel.

Here’s everything that’s coming to (and leaving) Hulu in July.

Hulu New Releases – July 2025

July 1
The Secret Lives of Mormon Wives: Season 2 Reunion Premiere
Lies Hidden In My Garden: Complete Season 1 (SUBBED)
Adam (2009)
Alita: Battle Angel (2019)
Bride Wars (2009)
Bridesmaids (2011)
The Bounty Hunter (2010)
The Call (2013)
Catch and Release (2007)
The Comedian (2017)
Country Strong (2010)
Daddy Day Camp (2007)
The Day After Tomorrow (2004)
Dear White People (2014)
Demolition (2016)
Dirty Dancing (1987)
Dirty Dancing 2: Havana Nights (2004)
Dodgeball: A True Underdog Story (2004)
Easy A (2010)
The Equalizer 3 (2023)
Flight Of The Phoenix (2004)
Ford v Ferrari (2019)
Friends With Benefits (2011)
Fruitvale Station (2013)
Garden State (2004)
The Hitchhiker’s Guide To The Galaxy (2005)
Home Alone (1990)
Home Alone 2: Lost In New York (1992)
Home Alone 3 (1997)
Honest Thief (2020)
The Internship (2013)
“I Love You, Man” (2009)
I Origins (2014)
I, Robot (2004)
I Saw the Light (2016)
King Arthur (2004)
Kingdom Come (2001)
Kingdom Of Heaven (2005)
The League Of Extraordinary Gentlemen (2003)
The Longest Yard (2005)
The Man Who Knew Too Little (1997)
Mission To Mars (2000)
Pixels (2015)
The Pledge (2001)
Prometheus (2012)
Puss In Boots (2011)
Real Steel (2011)
Ruby Sparks (2012)
The Sandlot (1993)
Shanghai Knights (2003)
Shanghai Noon (2000)
Sisters (2015)
Sugar (2009)
Sunshine (2007)
Tammy (2014)
Taxi (2004)
Ted (2012)
Ted 2 (2018)
The Way Way Back (2013)
Wrath Of Man (2021)

July 2
Dragon Ball DAIMA: Complete Series (Dubbed)

July 3
The American Soldier: Complete Season 1
Aaron Hernandez and the Untold Murders of Bristol: Complete Season 1
America The Story Of US: Complete Season 1
America: Promised Land: Season 1
Barack Obama: Season 1
Black Patriots: Heroes of the Civil War: Season 1
Black Patriots: Heroes of the Revolution: Season 1
Codes and Conspiracies: Complete Seasons 1 and 2
Community: Complete Series
Dan Da Dan: Season 2 Premiere (Subbed & Dubbed)
Days That Shaped America: Complete Season 1
The First 48 Presents Critical Minutes: Complete Season 3C
The Proof Is Out There: Coomplete Season 4B
The Secret History of Air Force One: Complete Season 1
The Secret History of the Civil War: Complete Season 1
761st Tank Battalion: The Original Black Panthers: Complete Season 1
Who is Luigi Mangione?: Complete Season 1
Mia and Me: The Hero of Centopia (2022)

July 4
Abraham Lincoln: Vampire Hunter (2012)
The Abyss (1989)
The Day The Earth Stood Still (2008)
In the Lost Lands (2025)

July 5
Cold Case Files: The Grim Sleeper: Complete Season 1
The Idaho College Murders: Complete Season 1
The Lake Erie Murders: Complete Seasons 1and 2
The Perfect Murder: Complete Seasons 1 and 2
Untitled Maxine Project: Complete Season 1

July 6
Cults and Extreme Belief: Complete Season 1
Killer Cases: Complete Season 6a
Toilet Bound Hanako-Kun: Season 2 Sequel Premiere (SUBBED)

July 7
Such Brave Girls: Complete Season 2
Deep Sea Detectives: Complete Season 1
Travel Texas: Complete Season 1

July 8
Bachelor in Paradise: Season 10 Premiere
Born to be Viral: The Real Lives of Kidfluencers: Complete Docuseries
Marked Men (2025)

July 9
FX’s It’s Always Sunny in Philadelphia: Season 17 Premiere
Ancient Aliens: Origins: Complete Season 1
Insomnia (UK): Complete Season 1
Matched in Manhattan: Complete Season 1
Team Players: Complete Season 1

July 10
Anthony Bourdain: No Reservations: Complete Seasons 5 and 6
Extreme Road Ragers: Complete Season 1A
Summer Baking Championship: Complete Season 1
Suspicious Minds: Complete Season 1
Parkland (2013)
Buffaloed (2019)

July 11
Celebrity Family Feud: Season 11 Premiere
Mountain Men: Complete Season 13
Big Momma’s House (2000)
Big Momma’s House 2 (2006)
The Hot Chick (2002)
LOL Live with Chico Bean (2025)
LOL Live with Chinedu Unaka (2025)
Marmaduke (2010)
MR-9: Do or Die (2023)
Riff Raff (2024)

July 12
90 Day Fiance: Complete Season 6
90 Day Fiance UK: Complete Season 3
Prison Wives Club: Complete Season 1
A Quiet Place Part II (2021)

July 13
Deep Sea Detectives: Complete Season 2
Dumb Money (2023)

July 14
Fugitives Caught on Tape: Complete Season 1
Stags (UK): Complete Season 1

July 15
Her Last Broadcast: The Abduction of Jodi Huisentruit: Complete Docuseries
Rachael Ray’s Holidays: Complete Season 1
Get Away (2024)
SAS: Red Notice (2021)

July 16
Rachael Ray’s Meals in Minutes: Complete Season 2A
Unexpected Loves: Complete Season 1

July 17
Baylen Out Loud: Complete Season 1
Jake Makes It Easy: Complete Season 1
My 600-lb Life: Complete Season 3
My 600-lb Life: Where Are They Now?: Complete Season 2
Polyfamily: Complete Season 1
Snake Eyes G.I. Joe Origins (2021)

July 18
High Rollers (2024)

July 19
Homicide Hunter: Lt. Joe Kenda: Complete Seasons 6 and 7
The Assessment (2024)

July 20
Smurfs: The Lost Village (2017)

July 21
Trophy Wife: Murder on Safari: Complete Docuseries

July 22
Red Eye (UK): Complete Seasons 1 and 2

July 23
Washington Black: Complete Season 1

July 24
Match Game: Season 6 Premiere
Who Wants to Be a Millionaire: Season 4 Premiere
Bakeaway Camp with Martha Stewart: Complete Season 1
Mad About You: Complete Seasons 1-7
Summer Baking Championship: Complete Season 2

July 26
BBQ Brawl: Complete Seasons 1 and 2
Chopped: Complete Season 61
Tournament Of Champions: Complete Season 6
Tournament of Champions VI: The Qualifiers: Complete Season 6
Ultimate Summer Cook-Off: Complete Season 1

July 28
The Wonderfully Weird World of Gumball: Season 1A
Operation Fortune (2023)

July 29
Dope Girls (UK): Complete Season 1
Memoir of a Snail (2024)

July 30
Mr & Mrs Murder: Complete Docuseries
The Bachelor (Australia): Complete Seasons 3-5
The Bachelorette (Australia): Complete Seasons 3-4

July 31
Diners, Drive-Ins, and Dives: Complete Season 5
Guy’s Grocery Games: Complete Seasons 21, 22, and 38
Mad About You (2019): Complete Series

Leaving Hulu – July 2025

July 1
Asking For It (2021)

July 6
Ultrasound (2021)

July 7
Minamata (2022)

July 12
Vesper (2022)

July 14
Supercell (2023)

July 15
God’s Country (2022)

July 17
The Hater (2022)

July 18
The Cursed (2021)

July 19
Old Man (2022)

July 20
You Are Not My Mother (2021)

July 21
American Night (2021)

July 22
All My Friends Hate Me (2021)

July 23
My Happy Ending (2023)

July 24
Topside (2022)

July 25
The Lair (2022)

July 29
Hatching (2022)

July 30
A Day to Die (2022)

HBO and Max New Releases: July 2025

Ryan Coogler’s Sinners arrives on Max July 4, just in time for the holiday weekend. This vampiric horror movie set in 1930s Mississippi has been making waves, so whether you missed out on its theatrical run or simply want to relive the thrills and impeccable performances by Michael B. Jordan, Hailee Steinfeld, Wunmi Mosaku, and the rest of the cast, Max has you covered.

Another recent horror film coming to Max this month is A24’s Death of a Unicorn (July 25). Starring Paul Rudd and Jenna Ortega, this dark comedy-horror follows a father and daughter (Rudd and Ortega, respectively) who accidentally hit and kill a unicorn on their way to a weekend retreat. A bloody fight for survival ensues as they realize this unicorn wasn’t alone, and its family wants revenge.

Here’s everything coming to HBO and Max in July.

HBO and Max New Releases – July 2025

July 1
Annabelle (2014)
Better off Dead…
Big Star: Nothing Can Hurt Me
Canyon River
Carol
Chopped: Volume 4, Season 61 (FOOD Network)
Cunningham
Dames
Dances With Wolves
Dances With Wolves: Extended Cut
Film Geek
Get Out
Get Shorty (1995)
In Time
Insidious
Jewel Robbery
Jimmy the Gent
Lady Killer
Lawyer Man
Life as We Know It
Love & Other Drugs
Love Crazy
Moana with Sound (1926)
Mortal Kombat (1995)
Mortal Kombat (2021)
Mortal Kombat Legends: Battle of the Realms
Mortal Kombat Legends: Cage Match
Mortal Kombat Legends: Scorpion’s Revenge
Mortal Kombat Legends: Snow Blind
Mortal Kombat: Annihilation
Napoleon Dynamite
One Way Passage
Other Men’s Women
Picture Snatcher
Private Detective 62
Red Dawn (1984)
Shadow of the Thin Man
Shaun the Sheep Movie
Showgirls
Sinner’s Holiday
Smart Money
Snatched (2017)
Song of the Thin Man
Suicide Squad: Hell to Pay
Taxi! (1932)
The Amityville Horror (1979)
The Amityville Horror (2005)
The Big Lebowski
The Brink (2019)
The Great Wall
The Kennel Murder Case
The Key
The Last House on the Left
The Meg
The Public Enemy
The Road to Singapore (1931)
The St. Louis Kid
The Strawberry Blonde
The Thin Man Goes Home
The Three Stooges
Toni Morrison: The Pieces I Am
Torrid Zone
Two O’Clock Courage
Tyrel
Valentine’s Day
Valley of the Sun (1942)
What’s Your Number?
What’s Your Number? Ex-tended Edition
Winner Take All (1932)
Woman at War

July 2
Dear Ms.: A Revolution in Print (HBO Original)
My Big Fat Fabulous Life, Season 13 (TLC)

July 3
Batman Ninja vs. Yakuza League
The Deep Three, Season 3

July 4
On Becoming a Guinea Fowl (A24)
Sinners (2025)

July 7
90 Day Fiance: Happily Ever After?, Season 9 (TLC)
Wardens of the North, Season 4 (Animal Planet)

July 10
Back to the Frontier, Season 1 (Max Original, Magnolia Network)
Celebrity IOU, Season 10 (HGTV)
Isadora Moon, Season 1B (Max Original)

July 11
Chasing the West, Season 1 (HGTV)
House Hunters International: Volume 9, Season 202 (HGTV)
House Hunters: Volume 10, Season 243 (HGTV)
Opus (A24)
Rage (Furia), Season 1 (HBO Original)

July 12
Gold Rush: Mine Rescue with Freddy & Juan, Season 5 (Discovery)

July 14
Evil Lives Here, Season 18 (ID)
Naked and Afraid: Last One Standing, Season 3 (Discovery)
Two Guys Garage, Season 24

July 15
A Killer Among Friends, Season 1 (ID)

July 16
911: Did the Killer Call?, Season 1 (ID)

July 17
Beat Bobby Flay, Season 38 (FOOD Network)

July 18
Billy Joel: And So It Goes (HBO Original)
Diners, Drive-Ins, and Dives, Season 51 (FOOD Network)
Family Recipe Showdown, Season 1 (FOOD Network)
I Love You Forever (2024)

July 19
Guy’s Ranch Kitchen, Season 7B (FOOD Network)
Zillow Gone Wild, Season 2 (HGTV)

July 20
Shark Week 2025 (Discovery)
Teen Titans Go!, Season 9C (Cartoon Network)

July 22
Eva Longoria: Searching For Spain, Season 1 (CNN)

July 23
Welcome to Plathville, Season 7 (TLC)

July 25
AEW Special Events, 2023C (2023)
AEW Special Events, 2024C (2024)
Care Bears: Unlock the Magic S1F: The No Heart Games (2024)
Death of a Unicorn (A24)

July 26
The Pioneer Woman, Season 39 (FOOD Network)

July 29
Worst Cooks in America, Season 29 (FOOD Network)

July 31
Don’t Hate Your House with the Property Brothers, Season 2 (HGTV)

Netflix New Releases: July 2025

The final season of The Sandman arrives in two parts (and a bonus episode) this July. Part 1 premieres July 3, Part 2 premieres July 24, and the bonus episode drops on July 31. The story begins only a few weeks from where season 1 left off as Dream (Tom Sturridge) looks to rebuild his kingdom in the Dreaming and leave the past behind. Though the past, and his family The Endless, have other plans.

The long-awaited sequel to The Old Guard premieres on Netflix July 2. The Old Guard 2 follows Andy (Charlize Theron) and her team of immortal warriors as they face off against a new foe who might be even older than all of them.

The unexpected sequel to Happy Gilmore, Happy Gilmore 2, premieres on July 25, with Adam Sandler returning in the titular role.

Here’s everything else coming to Netflix this month. Note that Netflix marks its international offerings with that respective country’s two-letter country code. You can find a list of those abbreviations here.

New on Netflix – July 2025

July 1
Attack on London: Hunting The 7/7 Bombers (GB) — NETFLIX DOCUMENTARY
Trainwreck: The Cult of American Apparel (GB) — NETFLIX DOCUMENTARY
17 Again
Annie (1982)
Blow
Born on the Fourth of July
Captain Phillips
The Deer Hunter
Friday Night Lights
Here Comes the Boom
The Hitman’s Bodyguard
The Hitman’s Wife’s Bodyguard
Horrible Bosses
The Karate Kid
The Karate Kid
The Karate Kid Part II
The Karate Kid Part III
Mission: Impossible
Mission: Impossible II
Mission: Impossible III
Mission: Impossible – Ghost Protocol
Mission: Impossible – Rogue Nation
Mom: Seasons 1-8
The Notebook
Pacific Rim
PAW Patrol Seasons 2-3
Portlandia: Seasons 1-8
The Sweetest Thing
Tangerine
V for Vendetta
White Chicks
Yellowjackets: Season 2
Zathura: A Space Adventure

July 2
The Old Guard 2 — NETFLIX FILM
Tour de France: Unchained: Season 3 (GB) — NETFLIX DOCUMENTARY

July 3
Countdown: Taylor vs. Serrano — NETFLIX SPORTS SERIES
Mr. Robot: Seasons 1-4
The Sandman: Season 2 Volume 1 — NETFLIX SERIES

July 4
All the Sharks — NETFLIX DOCUMENTARY

July 5
The Summer Hikaru Died (JP) — NETFLIX ANIME

July 8
A Star Is Born (2018)
Better Late Than Single (KR) — NETFLIX SERIES
Nate Jackson: Super Funny — NETFLIX COMEDY SPECIAL
Quarterback: Season 2 — NETFLIX SPORTS SERIES
Sullivan’s Crossing: Seasons 1-2
Trainwreck: The Real Project X (GB) — NETFLIX DOCUMENTARY

July 9
Building The Band — NETFLIX SERIES
The Gringo Hunters (MX) — NETFLIX SERIES
Mad Max: Fury Road
Under a Dark Sun (FR) — NETFLIX SERIES
Ziam (TH) — NETFLIX FILM

July 10
7 Bears (FR) — NETFLIX FAMILY
Brick (DE) — NETFLIX FILM
Leviathan (JP) — NETFLIX ANIME
Off Road (IL) — NETFLIX SERIES
Sneaky Pete: Seasons 1-3
Too Much (GB) — NETFLIX SERIES

July 11
Aap Jaisa Koi (IN) — NETFLIX FILM
Almost Cops (NL) — NETFLIX FILM
Katie Taylor vs. Amanda Serrano 3 — NETFLIX LIVE EVENT
Tyler Perry’s Madea’s Destination Wedding — NETFLIX FILM

July 14
Apocalypse in the Tropics (BR) — NETFLIX DOCUMENTARY
SAKAMOTO DAYS: Season 1 Part 2 (JP) — NETFLIX ANIME

July 15
Entitled: Season 1
Jaws
Jaws 2
Jaws 3
Jaws: The Revenge
Trainwreck: Balloon Boy (GB) — NETFLIX DOCUMENTARY

July 16
Amy Bradley Is Missing — NETFLIX DOCUMENTARY
Mamma Mia!
Wanted

July 17
Catalog (EG) — NETFLIX SERIES
Community Squad: Season 2 (AR) — NETFLIX SERIES
UNTAMED — NETFLIX SERIES

July 18
Almost Family (BR) — NETFLIX FILM
Delirium (CO) — NETFLIX SERIES
I’m Still a Superstar (ES) — NETFLIX DOCUMENTARY
Superstar (ES) — NETFLIX SERIES
Vir Das: Fool Volume (IN) — NETFLIX COMEDY SPECIAL
Wall to Wall (KR) — NETFLIX FILM

July 19
Eight for Silver

July 21
The Hunting Wives: Season 1
The Steve Harvey Show: Seasons 1-6

July 22
Trainwreck: P.I. Moms (GB) — NETFLIX DOCUMENTARY

July 23
Critical: Between Life and Death (GB) — NETFLIX DOCUMENTARY
Hightown: Seasons 1-3
House of Lies: Seasons 1-5
Letters From The Past (TR) — NETFLIX SERIES

July 24
A Normal Woman (ID) — NETFLIX FILM
Hitmakers — NETFLIX SERIES
My Melody & Kuromi (JP) — NETFLIX ANIME
The Sandman: Season 2 Volume 2 — NETFLIX SERIES

July 25
Happy Gilmore 2 — NETFLIX FILM
Happy Gilmore returns!
Trigger (KR) — NETFLIX SERIES
The Winning Try (KR) — NETFLIX SERIES

July 28
The Lazarus Project: Seasons 1-2

July 29
Dusty Slay: Wet Heat — NETFLIX COMEDY SPECIAL
Trainwreck: Storm Area 51 (GB) — NETFLIX DOCUMENTARY
WWE: Unreal — NETFLIX SPORTS SERIES

July 30
Conversations with a Killer: The Son of Sam Tapes — NETFLIX DOCUMENTARY
Unspeakable Sins (MX) — NETFLIX SERIES

July 31
An Honest Life (SE) — NETFLIX FILM
Glass Heart — NETFLIX SERIES
Leanne — NETFLIX SERIES
Marked (ZA) — NETFLIX SERIES
The Sandman: Season 2: Special Episode — NETFLIX SERIES

Leaving Netflix – July 2025

July 1
13 Going on 30
28 Days
3 Ninjas: Kick Back
Annabelle
Colombiana
Constantine
Couples Retreat
Crazy, Stupid, Love.
Do the Right Thing
Draft Day
Dune: Part Two
Friends with Money
Geostorm
Get Him to the Greek
Hotel Transylvania
Hotel Transylvania 2
I Know What You Did Last Summer
Loudermilk: Seasons 1-3
The Net
The Nun
Obsessed
Ocean’s Eleven
Ocean’s Thirteen
Ocean’s Twelve
Resident Evil: Retribution
Runaway Jury
Sicario: Day of the Soldado
Sisters
Twilight
The Twilight Saga: New Moon
The Twilight Saga: Eclipse
The Twilight Saga: Breaking Dawn: Part 1
The Twilight Saga: Breaking Dawn: Part 2
The Wonder Years: Seasons 1-2

July 3
Insecure: Seasons 1-5

July 4
80 for Brady

July 5
The Addams Family

July 8
This Is Us: Seasons 1-6

July 13
Life or Something Like It

July 15
Barbie

July 16
Furiosa: A Mad Max Saga

July 22
Call My Agent!: Seasons 1-4

July 25
Scream VI

July 26
Wynonna Earp: Seasons 1-4

July 28
Sonic the Hedgehog 2

July 30
The Kingdom

TV Premiere Dates: 2025 Calendar

Wondering when your favorite shows are coming back and what new series you can look forward to? We’ve got you covered with the Den of Geek 2025 TV Premiere Dates Calendar, where we keep track of TV series premiere dates, return dates, and more for the year and beyond. 

We’ll continue to update this page weekly as networks announce dates. A lot of these shows we’ll be watching or covering, so be sure to follow along with us! 

Please note that all times are ET. 

Note: These are U.S. releases. For upcoming British releases, head on over here.

DATESHOWNETWORK
Tuesday, July 1Detectives These Days Are Crazy!Crunchyroll
Tuesday, July 1Necronomico and the Cosmic Horror ShowCrunchyroll
Tuesday, July 1Rent-a-Girlfriend Season 4Crunchyroll
Wednesday, July 2ClevatessCrunchyroll
Wednesday, July 2Onmyo Kaiten Re:Birth VerseCrunchyroll
Wednesday, July 2New SagaCrunchyroll
Wednesday, July 2Reborn as a Vending Machine, I Now Wander the Dungeon Season 2Crunchyroll
Thursday, July 3The Sandman Season 2 Volume 1Netflix
Thursday, July 3DAN DA DAN Season 2Netflix | Crunchyroll
Thursday, July 3The Water MagicianCrunchyroll
Thursday, July 3Welcome to the Outcast’s Restaurant!Crunchyroll
Thursday, July 3KAMITSUBAKI CITY UNDER CONSTRUCTIONCrunchyroll
Friday, July 4All the SharksNetflix
Friday, July 4Secrets of the Silent WitchCrunchyroll
Friday, July 4Arknights: RISE FROM EMBERCrunchyroll
Friday, July 4Watari-kun’s Is About to CollapseCrunchyroll
Friday, July 4Betrothed to My Sister’s ExCrunchyroll
Saturday, July 5The Summer Hikaru DiedNetflix
Saturday, July 5My Dress-Up Darling Season 2Crunchyroll
Saturday, July 5Rascal Does Not Dream of Santa ClausCrunchyroll
Saturday, July 5With You and the RainCrunchyroll
Saturday, July 5The Shy Hero and the Assassin PrincessesCrunchyroll
Saturday, July 5Scooped Up By an S-Ranked AdventurerCrunchyroll
Saturday, July 5Private Tutor to the Duke’s DaughterCrunchyroll
Saturday, July 5Scooped Up By an S-Ranked AdventurerCrunchyroll
Sunday, July 6GachiakutaCrunchyroll
Sunday, July 6Nyaight of the Living CatCrunchyroll
Sunday, July 6Toilet-bound Hanako-kun Season 2Crunchyroll
Sunday, July 6Hotel InhumansCrunchyroll
Sunday, July 6Apocalypse Bringer Mynoghra: World Conquest Starts with the Civilization of RuinCrunchyroll
Sunday, July 6Ruri RocksCrunchyroll
Sunday, July 6Cultural Exchange with a Game Centre GirlCrunchyroll
Monday, July 7Jim Thorpe: Lit by Lightning (8:00 p.m.)History
Monday, July 7Bachelor in Paradise Season 10 (8:00 p.m.)ABC
Monday, July 7Grand Blue Dreaming Season 2Crunchyroll
Monday, July 7Dekin no Mogura: The Earthbound MoleCrunchyroll
Tuesday, July 8Turkey! Time to StrikeCrunchyroll
Tuesday, July 8A Couple of Cuckoos Season 2Crunchyroll
Wednesday, July 9It’s Always Sunny in Philadelphia Season 17 (9:00 p.m.)FXX
Wednesday, July 9South Park Season 27Comedy Central
Wednesday, July 9The Rising of the Shield Hero Season 4Crunchyroll
Wednesday, July 9I Was Reincarnated as the 7th Prince So I Can Take My Time Perfecting My Magical Ability Season 2Crunchyroll
Wednesday, July 9Dealing with Mikadono Sisters Is a BreezeCrunchyroll
Thursday, July 10Too MuchNetflix
Thursday, July 10LeviathanNetflix
Thursday, July 107 BearsNetflix
Thursday, July 10Suspicious MindsHulu
Thursday, July 10Dr. STONE SCIENCE FUTURE Cour 2Crunchyroll
Thursday, July 10Solo Camping for TwoCrunchyroll
Thursday, July 10Big Brother Season 27 (8:00 p.m.)CBS
Thursday, July 10Celebrity Family Feud Season 11 (8:00 p.m.)ABC
Thursday, July 10Press Your Luck Season 6 (9:00 p.m.)ABC
Thursday, July 10Electric Bloom (8:35 p.m.)Disney Channel
Friday, July 11RageMax
Friday, July 11Foundation Season 3Apple TV+
Friday, July 11The Wild OnesApple TV+
Friday, July 11Dexter: ResurrectionParamount+
Sunday, July 13The Institute (9:00 p.m.)MGM+
Sunday, July 13Love Island: Beyond the Villa (9:00 p.m.)Peacock
Monday, July 14Sakamoto Days Part 2Netflix
Wednesday, July 16The Summer I Turned PrettyPrime Video
Thursday, July 17Homicide Squad New Orleans Season 2 (9:00 p.m.)A&E
Thursday, July 17UntamedNetflix
Thursday, July 17Star Trek: Strange New Worlds Season 3Paramount+
Friday, July 18Snoopy Presents: A Summer MusicalApple TV+
Saturday, July 19Kaiju No. 8 Season 2Crunchyroll
Tuesday, July 22Welcome to Plathville Season 7 (10:00 p.m.)TLC
Wednesday, July 23Acapulco Season 4Apple TV+
Wednesday, July 23Who Wants to Be a Millionaire Season 4 (8:00 p.m.)ABC
Wednesday, July 23Match Game (9:00 p.m.)ABC
Thursday, July 24The Sandman Season 2 Volume 2Netflix
Thursday, July 24My Melody & KuromiNetflix
Thursday, July 24Let’s Go Karaoke!Crunchyroll
Wednesday, July 30The Challenge: Vets and New Threats (8:00 p.m.)MTV
Thursday, July 31LeanneNetflix
Thursday, July 31Twisted Metal Season 2Peacock
Thursday, July 31Project Runway Season 21 (9:00 p.m.)Freeform
Friday, August 1Stillwater Season 4Apple TV+
Friday, August 1Chief of WarApple TV+
Monday, August 4CoComelon Lane Season 5Netflix
Monday, August 4King of the Hill Season 14Hulu
Tuesday, August 5Las Culturistas Culture Awards (9:00 p.m.)Bravo
Wednesday, August 6Wednesday Season 2 Part 1Netflix
Wednesday, August 6Eyes of WakandaDisney+
Wednesday, August 6Platonic Season 2Apple TV+
Friday, August 8Outlander: Blood of My Blood Season 1 (8:00 p.m.)Starz
Wednesday, August 11Irish BloodAcorn TV
Tuesday, August 12Alien: Earth (8:00 p.m.)FX | Hulu
Wednesday, August 13FixedNetflix
Thursday, August 14She the PeopleNetflix
Friday, August 15The Rainmaker (10:00 p.m.)USA
Sunday, August 17Women Wearing Shoulder Pads (12:00 a.m.)Adult Swim
Wednesday, August 20The Twisted Tale of Amanda KnoxHulu
Wednesday, August 20Captivated, By YouCrunchyroll
Thursday, August 21Peacemaker Season 2Max
Friday, August 22Long Story ShortNetflix
Sunday, August 24Barbie Mysteries: Beach DetectivesNetflix
Sunday, August 24Professor T Season 4 (8:00 p.m.)PBS
Sunday, August 24The Marlow Murder Club Season 3 (9:00 p.m.)PBS
Sunday, August 24Unforgotten Season 6 (10:00 p.m.)PBS
Wednesday, September 3Wednesday Season 2 Part 2Netflix
Sunday, September 7The Walking Dead: Daryl Dixon Season 3 (9:00 p.m.)AMC
Wednesday, September 17The Morning Show Season 4Apple TV+
Thursday, September 18Black RabbitB
Friday, September 19Haunted HotelNetflix
Friday, September 19Lego Star Wars Rebuild the Galaxy: Pieces of the PastDisney+
Tuesday, September 23The Lowdown (9:00 p.m.)FX
Wednesday, September 24Slow Horses Season 5Apple TV+
Tuesday, September 30Chad PowersHulu
Friday, October 23Nobody Wants This Season 2Netflix
Thursday, November 13Unicorn Academy – “Winter Solstice”Netflix
Monday, November 17Gabby’s Dollhouse Season 12Netflix
Thursday, November 20Jurassic World: Chaos Theory Season 4Netflix
Wednesday, November 26Stranger Things Season 5 Volume 1Netflix
Thursday, December 25Stranger Things Season 5 Volume 2Netflix
Monday, December 1CoComelon Lane Season 5Netflix
Monday, December 15The Creature Cases: Chapter 6Netflix
Wednesday, December 31Stranger Things Season 5 Volume 3Netflix

If we’ve forgotten a show, feel free to drop a reminder in the comment section below!

Want to know what big movies are coming out in 2024? We’ve got you covered here.

Squid Game Season 3 Has a Perfect Ending…For Now

This article contains spoilers for Squid Game season 3.

All Seong Gi-hun (Lee Jung-jae) wanted to do was save lives.

That is Player 456’s singular focus from the moment he wins the 33rd edition of the titular games in Squid Game season 1 and persists through the 36th edition of the games in season 2 and season 3. Though he could have easily absconded to Los Angeles to reunite with his estranged daughter, Gi-hun uses his ₩45.6 billion prize winnings to establish a sophisticated surveillance apparatus to find the mysterious Recruiter (Gong Yoo) and infiltrate the contest. Upon donning his “456” green tracksuit once again, Gi-hun does whatever he can to convince his competitors that he’s “PLAYED THESE GAMES BEFORE!” and that they really need to listen to him to save their own skins.

Of course, humans are … well, humans are complicated and none of Gi-hun’s fellow humans heed his warning. The candidate pool of lives to be saved shrinks from round to round as the piggy bank prize pot grows. By the time the Squid Game competitors respond to the introduction of a literal infant as Player 222 into the game with murderous rage, Gi-hun knows he has to switch tactics. He was never going to be able to save everyone and perhaps not even most of them. The best he can do now is to save someone. So he does exactly that, making it to the very last round of the games once again and sacrificing himself to save the most vulnerable soul.

And that’s why Squid Game has a happy ending! OK, that’s obviously not quite true. As we mentioned in our season 3 review, Squid Game is one of the most intensely dark and cynical pieces of popular mass media ever produced. No story boasting close to a 99.8% morality rate could ever end “happily.” Still, that doesn’t mean it can’t end with at least some semblance of victory or hope.

Whether the dumbass VIPs who watch these deadly games realize it or not, Seong Gi-hun won the 36th Squid Game competition. Sure, his name won’t go down in the ledger of winners and his next of kin won’t receive any additional prize winnings (beyond his 2021 purse, of course) but he won them all the same. That’s because he did the one thing that the game is designed specifically to discourage: he made a sacrifice.

Time and time again in Squid Game, players are given the opportunity to make the selfless choice – from offering mercy to a wounded opponent to voting to end the contest altogether – and every time they balk at the chance. This is not because they are bad people. It’s because they’re simply people. The same circumstances that made them desperate enough to enter the games in the first place persist throughout and make them desperate enough to continue. The game’s creators, now represented by Front Man Hwang In-ho (Lee Byung-hun), understand that dynamic and design the games to exploit it. It’s not enough for a rich VIP to torture some poor wretch. They could do that in the privacy of their own mansion. What’s truly satisfying to them is to put on a grand, expensive production in which people are prompted to torture themselves.

Gi-hun’s sacrifice, however, breaks that kayfabe. He opts out. He doesn’t play the game. And for that, he “wins” even as he dies. The Front Man, who like Player 456 has also “PLAYED THESE GAMES” immediately understands the impact of Gi-hun’s choice in a way that the other observing VIPs don’t. As the arrival of the Coast Guard triggers an evacuation sequence, Hwang In-ho goes through the motions, a defeated man. He barely even responds as his brother Hwang Jun-ho (Wi Ha-joon) appears and trains a rifle on him. Instead he silently exits the island, “winner” 222 in tow, and heads off to safety.

Later on he takes the extraordinary measure of breaking into Seong Gi-hun’s motel hideout and stealing what remains of his original ₩45.6 billion to gift to his surviving family in Los Angeles. This is almost certainly not standard operating procedure for Squid Games. Surely, the Front Man’s responsibilities don’t extend to finding the next of kin for every former winner and delivering them in a bespoke Squid Game-branded box upon their passing. This seems very much like a freelance operation and it’s an acknowledgement that something has changed here.

Seong Gi-hun not only “won” the 36th edition of Squid Game, he introduced doubt into the system that could one day provide kindling for the games’ ultimate demise. After all, the number of folks who are aware of the games existence and are invested in their destruction has now grown from roughly one (Jun-ho) to many (Park Gyu-young’s Pink Guard 011 No-Eul, Jun Suk-ho’s Woo-seok, Lee Jin-uk’s Player 246 Gyeong-seok, and presumably Player 222 herself eventually). That’s not enough to mark the end of the games, but it just might mark the beginning of the end of them.

The only question now, however, is if Netflix will ever let that end arrive. The streamer, bless it, has been accommodating and patient about allowing Squid Game creator Hwang Dong-hyuk to refer to season 3 as the ultimate end of the story. Because it is for him. Give or take a prequel or two years down the line, Hwang has expressed that season 3 represents the conclusion to this saga even as a glance at Netflix’s earnings results reveals there’s no way that that can be the case. The presence of a certain Hollywood megastar in season 3’s final scene makes that extra clear.

Squid Games. Cate Blanchett in episode 306 of Squid Game. Cr. Courtesy of Netflix © 2025

Interestingly though, the gobsmacking inclusion of Cate Blanchett as a new recruiter in the final moments of season 3 appears to have been a Hwang-led choice and not a Netflix one, with the writer/director telling The Hollywood Reporter:

“I didn’t end it on that note in order to deliberately leave room for further stories to happen. Gi-hun and Front Man, through these characters, the Games in Korea have ended. And because this story started out with me wanting to tackle issues about the limitless competition and the system that’s created in late capitalism, I wanted to leave it on a note highlighting the fact that these systems, even if one comes down, it’s not easy to dismantle the whole system — it will always repeat itself. That’s why I wanted to end it with an American recruiter. And I wrote that scene wanting an impactful ending for the show, not in order to open rooms for anything else.”

The presence of a recruiter in Los Angeles presumably recruiting for an American Squid Game doesn’t immediately repudiate Gi-hun’s victory. As Hwang himself says “it’s not easy to dismantle the whole system.” Gi-hun’s sacrifice won’t immediately bring the games to a halt. Hopefully, however, it will be the opening salvo in a grander political awakening that will one day take down that system. Maybe a contestant in the Cate Blanchett games will pick up the torch and continue the mission. Or maybe they won’t. What matters in the moment of Squid Game‘s ending is that the games’ demise is a distinct possibility for the viewer to dream upon.

But of course, the rest of the story won’t reside in the viewer’s imagination forever. As sure as the sun will rise tomorrow there will be more Squid Game on the way. Even if Cate Blanchett doesn’t make her way into David Fincher’s rumored American Squid Game, there will be an American Squid Game and that will undoubtedly be followed by titles like Squid Game: London, Squid Game: Paris, Squid Game: Tokyo, and gods knows what else.

Squid Game going global coincides with the series’ themes nicely. After all, it’s not like the vagaries of modern capitalism are isolated only to Seoul. At the same time, however, Seong Gi-hun’s sacrifice will become more and more diluted as fresh iterations of Squid Game arrive without a clear ending in sight. Perhaps that was always the fate of a global phenomenon on a streaming service. For now though, the show’s ending works and Gi-hun’s sacrifice matters. Let’s try to remember it while we can.

All six episodes of Squid Game season 3 are available to stream on Netflix now.

Jurassic World Rebirth Review: Nearly a New Beginning

In its first two scenes, Jurassic World Rebirth doesn’t feel very much like a rebirth at all. In the first, a mutant hybrid dinosaur called the Distortus rex gets loose from its pen and wreaks havoc on a bunch of scientists. In the second, New Yorkers complain about a traffic jam caused by a dying brontosaurus.

Both the idea that humans have grown tired of the dinosaurs who were resurrected in 1993’s Jurassic Park and the flashy mutant dinos created by scientists were major parts of the Jurassic World trilogy masterminded by Colin Trevorrow. By the time that cycle concluded with Jurassic World Dominion, released just three years ago, we were inundated with bland mutants, little girl clones, and giant locusts, all a far cry from the original premise of dinosaurs in the modern world.

Fortunately, Jurassic World Rebirth bucks that trend with a pulpy adventure that (mostly) focuses on classic dinosaurs doing dino things. Of course Rebirth never reaches the majesty of Steven Spielberg’s original film, but it is never as crass as the Jurassic World movies were. Instead Rebirth understands that cool set pieces and awesome dinos are all we really need for an entertaining couple hours out at the park.

After a bit of place-setting, Rebirth kicks in when smarmy pharmaceutical exec Martin Krebs (Rupert Friend) hires adventurers Zora Bennett (Scarlett Johansson) and Duncan Kincaid (Mahershala Ali), along with paleontologist Henry Loomis (Jonathan Bailey), to sneak onto a dino-infested island to take samples from three specific species, which Krebs’ company can use to make expensive heart medicine.

Also in tow are Kincaid’s crew (Ed Skrein, Philippine Velge, Bechir Sylvain), each of whom are so marked for death that it’s shocking they never wear red shirts. Along the way, the team picks up a stranded family consisting of loving, if unwise, father Rueben (Manuel Garcia-Rulfo), his daughters (Luna Blaise and Audrina Miranda), and the older girl’s doofy boyfriend (David Iacono).

If that sounds overstuffed, that’s because it is. Rebirth marks screenwriter David Koepp’s return to the franchise after Koepp co-wrote the 1993 film with Michael Crichton and has a solo credit on The Lost World: Jurassic Park. Koepp has also worked on some of the biggest blockbusters of the past 30 years, including 1996’s Mission: Impossible and 2002’s Spider-Man, and he clearly has the chops to craft a propulsive popcorn film. Yet he remains an incredibly uneven screenwriter, as he reminded us in his two collaborations with Steven Soderbergh released this year, the dull Presence and the thrilling Black Bag.

Rebirth finds Koepp at his best and his worst. The plot has video game clarity and the dialogue is functional, with most of the gags and one-liners landing. Most importantly, the script leaves ample room for strong set pieces in which people scramble to stay atop a boat capsized by a mosasaur, evade a T-Rex while riding the rapids, or dodge a quetzalcoatlus while rappelling down a cliff.

These sequences also show off the talents of director Gareth Edwards, who proved his ability to shoot massive figures in Godzilla (2014) and Rogue One: A Star Wars Story (2016). In Rebirth, the mere sight of the mosasaur’s back emerging from the depths is enough to fill the viewer with terror. Later in the film, a T-Rex rises from his slumber and moves toward a potential meal, looking bigger and more menacing that it did even in Spielberg’s movies.

So great is Edwards’ ability to capture scale that Rebirth’s best callback to the first movie actually works. When the team finds a pack of massive plant eaters in a field, we viewers once again get that sense of awe, and not just because composer Alexandre Desplat (whose solid score is strangely underutilized in the movie) reuses John WilliamsJurassic Park theme. Between Edwards’ camera and the elation of Bailey’s Loomis, we once again are reminded that dinosaurs are amazing.

Sadly Rebirth doesn’t always have the wisdom to stay focused on dinosaurs. Despite the big names in the cast, none of the human characters stand out. In and of itself that isn’t a problem; we’re here for the dinosaurs. But Koepp constantly pauses the story for long stretches so Johansson and Ali can share their traumas, and Bailey can lecture the audience about medical ethics. The latter is forgivable because Bailey sells his character’s wide-eyed conviction, making his performance—along with those of Garcia-Rulfo and Iacono—the best in the film. Ali and Johansson, however, could not be less interested in their one-note characters, a point underscored by the latter’s strange decision to play the supposedly troubled Zora like a chipper Midwestern mom.

And then there are the mutant dinosaurs. To its credit, Rebirth builds most of its adventure scenes around traditional dinos or chimeras whose mutations aren’t terribly important (see: the whip-like tails added to the bronto-types in the aforementioned field). But it can’t keep the mutants off screen forever, and they all converge with the humans in the movie’s climax.

For the most part, the climax is well-choreographed and well-conceived, save for a couple unnecessary winks to the first movie. But no amount of visual storytelling fundamentals can make up for the fact that the mutant dinos are ugly and uninspired. The finale includes several winged creatures with raptor talons and big, stupid bullfrog necks. Worse is the much-hyped Distortus rex, a lumbering doofus with a bulbous head and extraneous arms. Edwards has talked about the creature’s classic horror inspirations, and the D-rex does feel a bit menacing when obscured by red smoke. But once viewed in full, the D-rex disappoints, looking less like any of its antecedents and more like a bunch of clay dinosaurs smushed together by some glue-eating dimwit in kindergarten class.

The mutant-filled climax frustrates not just because the D-rex is an excessive and ugly monster; it frustrates because it succinctly captures everything wrong with Jurassic World Rebirth. There is an excellent B-movie dinosaur picture here with functional characters, clear stakes, and fantastic adventure set pieces. These moments understand that dinosaurs are cool, raging rapids are cool, and jungles are cool—all time-tested truths that go back to the early days of cinema. But the movie constantly stops so Duncan can remember his dead kid (as if he needs motivation to not let the family get eaten?), or so we can see some uninspired new mutant.

If we take the movie’s name literally, then most of its missteps can be forgiven as the mess that comes with the birthing process. Perhaps the movie’s use of mutant dinos and its bloated story with too much non-character development are the shell from which the true thing emerges, the pulp adventure that these movies are meant to be. Hopefully, when the inevitable sequel comes, it will follow Jurassic Park Rebirth‘s march away from the problems of the previous Jurassic World movies and back to the fun, dinosaur-centric heart of Jurassic Park.

Jurassic Park Rebirth opens in theaters on July 2, 2025.

Hideo Kojima Games Ranked from Great to Masterpiece

Making video games very much requires a team effort, but there are still a few creators whose vision and innovation is unmistakable. These are directors who are household names almost on par with film legends like Steven Spielberg and Guillermo del Toro. And in the video game world, there is perhaps no bigger name than Hideo Kojima.

While mostly known for his work on the Metal Gear Solid series, Kojima has led development of more than a dozen titles during his legendary career, receiving universal acclaim for his work. With the impending release of his latest game, Death Stranding 2: On the Beach finally here, we figured it was time to look back at these titles. These are the games directed by Hideo Kojima ranked from worst to best.

Honorable Mention: Boktai: The Sun is in Your Hand (2003)

Boktai wasn’t actually directed by Kojima, so it doesn’t quite qualify for this list, but Kojima did design it and act as producer, and his fingerprints can clearly be seen all over it. Essentially a stealth action game (like most of his titles), the pull of Boktai is the light sensor included on the Game Boy Advance cartridge. You need to actually go outside during the day to charge the solar weapons in the game used to slay the undead, which makes it much easier to play.

Yeah, it’s gimmicky but also really fun, and given the current trajectory of handheld gaming, we’ll probably never see another game quite like it. Even if emulators can take away the need for the light sensor, it’s still worth tracking down a GBA and an original cartridge to experience this one as it’s meant to be played.

12. Metal Gear (1987)

Kojima’s very first game is by no means bad, it’s just a little dated, which of course isn’t surprising given that it came out in 1987. And hey, something has to go at the bottom of this list. The graphics and music is actually still pretty good, and the stealth gameplay is easy to pick up. This is, after all, the foundation that pretty much all stealth games are still built around.

It’s just that it’s easy to get stuck at times. Some clues about what to do next are almost impossible to figure out without looking them up. And if you do use a guide, it’s a pretty short game. Still, the game is now readily available in the recently released Metal Gear Solid: Master Collection, so it’s worth checking it out there.

11. Metal Gear 2: Solid Snake (1990)

What’s really impressive about Metal Gear 2: Solid Snake is just how much more advanced it is over its predecessor, even though it also released on the underpowered MSX2. Enemies can now spot you more readily and follow you between screens and there are a lot of options to evade and distract them as well. 

Then there’s the story, exploring the nature of warfare which is a common theme for Kojima games, is surprisingly mature for its time. Despite the constraints of being made for an eight-bit computer in 1990, Metal Gear 2 felt years ahead of its time and is truly one of the best games of the era.

10. Policenauts (1994)

More than 30 years after its initial release, Policenauts remains Kojima’s only game never officially released in the West. That has nothing to do with its quality though. In fact, it features some of the best writing of any of the games he’s directed. Best described as a visual novel or an interactive movie, the game is a hard science fiction story about a police officer returning to Earth after more than 20 years in cryosleep.

It’s kind of like Blade Runner but with a lot of Lethal Weapon sprinkled in for good measure. A Sega Saturn version was announced for North America in 1996 but apparently the way it was programmed made the translation from Japanese to English too difficult and costly. While there’s certainly still some interest in seeing the title here, it doesn’t seem like that’s going to happen any time soon.

9. Metal Gear Solid 4: Guns of the Patriots (2008)

Every single Metal Gear Solid game that Kojima has directed has been hailed as a masterpiece, so it gets a little tricky to give them any sort of ranking. Still, Metal Gear Solid 4 is just a bit below the other titles in the series. While currently stranded on the PlayStation 3, the game is still an incredible showcase for what that console was capable of, with stunning graphics that still hold up well today.

The problem is that Guns of the Patriots is a little too self-indulgent. Kojima wanted this to be the most epic of conclusions to Solid Snake’s story, which meant tying up every last loose end in the convoluted story. There are some very unnecessarily long cutscenes here to the point that they get in the way of the game’s pacing. It’s still a great finale. It could just use a little trimming. 

8. Metal Gear Solid 2: Sons of Liberty (2001)

Metal Gear Solid 2 is still somewhat divisive among fans. When it was released, a lot of people wanted a next-gen version of Metal Gear Solid, which had come to define the first PlayStation. And that’s exactly what they got at the start of the game. Then comes the infamous protagonist switch. It turns out that Solid Snake isn’t actually the star of the game. Instead it’s Raiden, a character who was brand new at the time.

But once you accept Sons of Liberty for what it is, and not what you might have wanted it to be, it’s one of the most prescient games ever made. Released in 2001, years before social media took over our lives, it predicted the rise of echo chambers, how they could be used to manipulate public opinion, and even warned of the dangers of AI. Even in 2025, there are few games that feel as relevant.

7. Metal Gear Solid V: The Phantom Pain/Metal Gear: Ground Zeroes (2014)

Yes, we’re going to lump Ground Zeroes together with The Phantom Pain, as it’s really more of a prologue than an entirely separate entity, and the gameplay is largely the same. Luckily, the gameplay really is the star here. The Phantom Pain and Ground Zeroes feel like titles that pushed the longstanding ideas of the series forward. There are numerous ways to tackle each mission, and somehow, the enemy AI always seems to adapt to your choices. These are the most open ended Metal Gear games to date.

But what’s really incredible about The Phantom Pain in particular is just how good it is given that it appears to have been rushed through the final phases of development due to the crumbling relationship between Kojima and publisher Konami. If the game was closer to Kojima’s vision, it might even be a little higher on this list. 

6. Snatcher (1988)

Another visual novel, Snatcher was the first title that really allowed Kojima to explore the close relationship between video games and cinema. The tale of robot “Snatchers” that kill and replace humans was remarkably mature for the era, and didn’t even change much for the Sega CD release in North America, which was a common practice at the time.

Yes, it can get a little tiresome to play a game that’s largely a text-based affair, but the writing is so strong, and the cyberpunk atmosphere is so moody, that it’s easy to get hooked on this one. It’s just a shame that it’s not more readily available on modern platforms, especially with a completed English language translation.

5. Metal Gear Solid: Peace Walker (2010)

To be perfectly frank, the PSP was home to a lot of half-assed spinoffs of major franchises. And initially Kojima planned to step back as director from Peace Walker. We’re glad he stayed on though, because the final result is an interesting mix of ideas from the later Metal Gear Solid titles, along with a design that takes full advantage of the strengths of a portable.

Gameplay is somewhere between the fourth and fifth MGS games, focusing on shorter missions, but with the addition of co-op for most of them. Yes, it gets a little grindy toward the end, but at least it’s playable in smaller chunks. And it’s really worth checking out to better understand Big Boss and his motivations in the entire saga. 

4. P.T. (2014)

I can think of exactly one time that a demo that was only officially available for a few months has been called one of the greatest and most influential games of all time, but P.T. is just that amazing. Playing with perspective, and the nature of time, P.T. (short for “Playable Teaser”)is meant to constantly disorient the player. It is remarkably simple in its gameplay too, only allowing for walking and zooming in on the scenery. Yet it’s also consistently terrifying and unnerving as you never quite know what the game will throw at you next.

All of this was meant to get people excited for a Kojima-directed Silent Hill game starring Norman Reedus as the protagonist. Unfortunately, Kojima and publisher Konami parted ways a few months after P.T. was released exclusively for the PSN. The game was canceled, and you can’t even redownload P.T. if you didn’t snag it for the few months it was available in 2014 and 2015. But from the ashes of P.T., we ended up getting an even better Kojima game starring Norman Reedus…

3. Death Stranding (2019)

Death Stranding is admittedly not a game for everyone. Certainly it contains some stealth elements but it’s not fully a stealth game like other Kojima titles. There’s multiplayer, but it’s also unlike his past work. There’s a lot of walking from place to place, but it’s not really fair to call it a walking simulator. The best description is that this is a wholly unique action-adventure game with invisible enemies, the need to balance the packages, and the  all important “bridge baby” along for the ride. 

The story can be borderline incomprehensible at times, even if you’re paying close attention, and yet there are unmistakable themes. It especially hit home after the COVID pandemic began just a few months following the game’s release. Death Stranding may not click for you, but if it does, it’s one of Kojima’s best and most addictive games yet.

2. Metal Gear Solid (1998)

You can actually divide the video game industry into everything that came before and after Metal Gear Solid. Before Kojima’s PlayStation 1 masterpiece, video games tended to lack in the presentation department. You’d get told where to go, maybe a little cutscene would play (usually with poor voice acting), and you’d be on your way. But Metal Gear Solid was among the first titles that really invested in voice acting and direction to prove games could be just as cinematic as the best Hollywood movies.

There’s a real sense of urgency to Snake’s mission, and some pitch perfect pacing. This is Kojima as a storyteller at his most disciplined. And then there was the gameplay. Much of it was evolved from the first 2D Metal Gear titles, but the little meta touches, like needing to look up a Codec frequency on the back of the game’s case, or switching controller ports to defeat Psycho Mantis, demonstrated a level of ingenuity and understanding of the medium that’s still far beyond most developers today.

1. Metal Gear Solid 3: Snake Eater (2004)

Most Kojima games explore near future settings and question the trajectory of technological advancement. And yet, his very best game is set in the 1960s during the Cold War and strips away the sci-fi trappings for a powerful tale about loyalty, sacrifice, and the nature of patriotism. In Snake Eater, you play as Big Boss back when he was known as “Naked Snake,” and indeed this is Metal Gear Solid stripped down to its bare essentials.Instead of relying on high-tech gadgets, you’re crawling through the jungle, camouflaging yourself and hunting wildlife to stay alive. It’s a raw and memorable experience, and the best possible prequel to the entire Metal Gear Solid. Maybe one day Kojima will top this epic, but after two decades it still remains his very best game.

Tribeca Festival 2025 Round-Up: Everything We Saw

The 2025 Tribeca Festival might have been the busiest and most power packed it has been in the last 10 years. As it inched closer to its quarter decade of existence, the Tribeca Festival has been a successful melting pot of film, music, sports, and video games. While the 2025 edition had all these avenues of entertainment available for the viewing public, its film offerings were jam-packed with big premieres and top tier talent.

Den of Geek was privileged to have a smattering of some of our favorite stars and talent join us in our Manhattan studio to discuss their movies, shows, and favorite things about the industry in general. You can find clips and videos of all these wonderful interviews on YouTube, TikTok, Instagram, or wherever you find your favorite media clips of the day. But we’re also pleased to share with you some choice highlights below from our guests’ stop over at the Den of Geek Studio. 

Long Live the State

Guests: Thomas Lennon, Kerri Kenney-Silver, David Wain, Todd Holoubek, Ken Marino, Michael Patrick Jann, Michael Ian Black, and director Matthew Perniciaro

These days, members of comedy troupe The State are probably more well known for projects like Reno 911!, Brooklyn Nine-Nine, Wet Hot American Summer, and many, many, many other beloved comedy titles. But they all got their start creating and starring in the MTV mid-’90s sketch comedy show, The State.

That is certainly where this writer knows them from and the same goes for the director of the new documentary about the show, Matt Perniciaro. “Everyone knows members of this group, but they don’t necessarily know where it all started,” he says. Their style of comedy also grew from a place that most comedy groups don’t jump start their careers from. David Wain explains, “We came up as a sketch group made up of film students at NYU. It wasn’t an improv group. We were as much about making film shorts, as we were about creating sketches.”

While their style may be well known and almost mainstream to many viewers now, that wasn’t the case when they first started. It was almost as if they were the punk rock kids of comedy. “We thought we were really cool. We started out of the gate with this anti-establishment mentality,” Kerri Kenny-Silver says. “I think it’s possibly from high school and feeling like you don’t necessarily fit in here and then you find this band of weirdos.” Fellow cast member Todd Holoubeck follows up, “Nobody asked for The Sex Pistols but they got The Sex Pistols. Nobody asked for The State, but they got The State.”

Whether you’re a massive fan of The State or just someone who recognizes some of the most well known faces in comedy, you’re doing yourself a disservice by not checking out Long Live The State once you can.

Rosemead

Guests: Lucy Liu and Eric Lin

Modern day perceptions of mental health care are much kinder and more open-minded than they once were. Still, too many stigmas persist throughout the general public. Based on real events, this directorial debut of cinematographer Eric Lin focuses on the lives of Irene (Lucy Liu), and her son Joe (Lawrence Shou), a diagnosed schizophrenic who battles with his condition since the passing of his father. Hiding her own terminal cancer diagnosis from many, including Joe, Irene fights to take care of Joe as his mental state spirals out of control. 

While the themes of Rosemead are universal, Lucy Liu reports that the film speaks directly to some stigmas that perpetuate the Chinese community. “It is a stigma that is very current…a lot of times people say there is just a lot of pressure and stress from school; it’s going to be fine. Just keep pushing through it,” Liu says. “And I think that is what this movie is trying to bring to light. The idea that it’s something we sweep under the rug and we find embarrassing and we try to create a face that is different from what is reality.”

Portraying schizophrenia in a realistic way was also on the forefront of everyone’s minds when making this film. As director Eric Lin puts it, “We did a lot of research on people’s experiences with schizophrenia and I will say that maybe one of the positive things about YouTube is that a lot of people record their psychotic episodes and put it online to talk people through it.” 

Rosemead is prepped to both impress audiences with its realistic depictions of life and its overarching themes of both the light and the dark.

Seasoned

Guests: Mandy Patinkin, Kathryn Grody, Gideon Grody-Patankin, Ewen Wright

It would be safe to say that Mandy Patinkin and Kathryn Grody are two actors you never thought would become social media stars. Thanks to their son Gideon Grody-Patinkin (and Covid in a strange “Thanks, Covid” moment), however, Mandy and Kathryn’s social media profile become a thing of beauty and now has now led to Seasoned, a new TV show that had its pilot play at the 2025 Tribeca Festival.

Seasoned is not merely the Mandy and Kathryn TikTok show put into a half-hour format. And thankfully, it isn’t what a lot of people pitched to the family first. “We were getting approached a lot for reality television shows and we had no interest in that,” explains Gideon Grody-Patankin. While this is a scripted show and not reality television, the way director Ewen Wright describes it, it is still very much Mandy and Kathryn. “The script is in their bones, but they’re dancing on top of it with the way they’d like to say something or add a line there,” he says. 

Adding on to what is already there seems to be part of Mandy Patinkin’s work ethic, too. As he likes to tell it, while there is always pressure to get things in on time, he wants to get as many options out into the air as possible, “My attitude is give them every possibility I can before we leave that angle. The clock is ticking, the sand’s running through the hourglass, we’ve got to move on.”

Though not exactly in the same realm, once Seasoned hits that airwaves, it will be a perfect replacement for people who want more Curb Your Enthusiasm

Paradise Records

Guests: Logic and T Man the Wizard

Paradise Records is not a biopic but it is in many ways based on the life of its writer/director/producer/star Logic. Some may wonder why, on his first film ever, Logic would put the weight of all those jobs on his shoulders. The performer has always known what he is capable of because he’s hit those barriers from others in the past, “I’ve been told ‘NO’ a lot,” he says. “And I get it. I’m like, ‘hey man, I rap, but I got this idea for a movie and I wrote the script and I want to direct it and I want to star in it and I want full creative control.’ You’d be like, ‘fuck you.”

And this is not a one time outing for Logic, either. Movies are just as important to him as music. He also is going to keep giving roles to people you may not expect to see cross over into acting, “As long as I’m blessed to keep making movies, I’m going to keep taking people that you might not typically see or may have never seen in a film and shed light on them.”

One of those people is his best friend, Tramayne Hudson, a.k.a T Man the Wizard. And while Logic (whose given name is Sir Robert Benson Hall II), had a lot of top tier talent to work with on Paradise Records, T Man knew he had something special none of those other actors had, “I had a cheat code because Bob is my best friend. So he could talk to me a little differently than he could talk to everybody else on the set.”

Fior Di Latte 

Guests: Tim Heidecker, Marta Pozzan, and Charlotte Ercoli

Sense memory can be quite strong. We’ve all had those moments where a single scent (good or bad) unlocks a memory or state of being. For Max (Tim Heidecker) though, a single scent has overtaken his life in the new comedy written and directed by Charlotte Ercoli, Fior Di Latte.

“If you point to any corner of this movie it’s either something that I’ve experienced or something that I’m interested in,” Ercoli says. And even though the lives of the film’s characters may be a little out there, they still remind the actors of themselves. Lead Marta Pozzan puts it best by saying, “I actually feel like Francesca’s a younger version of me. I don’t know if I’ll ever be that girl again but it was lovely to play her.”

For as important as it is to have people like Marta and Tim carry your film, it also is a great honor to have the great Kevin Kline take part in the process as well; a joy that isn’t lost on sometime likeTim Heidecker, “Kevin Kline was one of my heroes growing up, one of the greats. To work with him, it was a dream come true.” 

The Sixth Borough

Guests: Jason Pollard, Julian Petty, and Andrew Theodorakis

Fact: Hip-Hop was born in the South Bronx. You’d be hard pressed to find anyone who would say otherwise…and if they do, they’re wrong. And while the art form grew and evolved in other areas of the world, there is one spot of the globe that doesn’t get credit for birthing some of the most important artists; Long Island. 

Producer Julian Petty puts the blight of Long Island’s recognition pretty succinctly, “One of the most famous songs, ‘The Bridge is Over,’ is KRS-One and Boogie Down Productions talking about the Bronx, and this is where Hip-Hop originated and they were dissing MC Shan in Queens. So that whole concept of where you’re from defines you and defines your importance in Hip-Hop. And, Long Island just got ignored and left behind.”

Through the vision of director Jason Pollard, The Sixth Borough documents the history of some of the most important rap acts that were birthed in Long Island. So many people will know the names Public Enemy, De La Soul, EPMD, Eric B. and Rakim. But too many people don’t realize they all grew up and started their careers just minutes from each other in different Long Island towns. As Jason puts it, “Rakim is the godfather of lyrical dexterity…without Rakim you don’t have the artists that you have now, expanding the art form the way they are. So he deserves all the props we can give him.”

Oh, Hi!

Guests: Molly Gordon, Logan Lerman, and Sophie Brooks

Relationships can be hard. That shouldn’t be a shocking statement to anyone. Yet, we still live in a world where playing weird relationship games/being woefully non-committal is a thing. And when Isaac (Logan Lerman) drops the bomb of how he sees his relationship with Iris (Molly Gordon) whilst in a very compromising position…things don’t go the way anyone planned.

From a script co-written between Gordon and director Sophie Brooks, Oh, Hi! takes a high concept look at relationships. While the situations are heightened, everything starts from a real place for its creators, “The true jumping off point for this was that Sophie and I had relationships in our 20s that ended and we weren’t able to have a conversation that we wanted to have with them,” explains Gordon. Expanding on top of that, Sophie Brooks describes how that blossoms into what we see on screen, “There was certainly an element of wish fulfillment: In our darkest moments what would we do to try and keep someone’s attention?”

It also may be hard to find the right tone for telling a story like this. Do you go for the over the top comedy? Or do we make this a horror film? Sometimes these decisions come out of the shooting and editing process and not just the script. As Logan Lerman puts it, “There’s so many movies you could make out of the stuff we shot. Went in so many directions with it, tonally.”

No matter what you personally take away from Oh, Hi! you’re in for a treat because no character holds back in this one. Just take Molly’s word for it, “It was so fun to get to play a character that would say some of the things that I would actually say because I have a very dirty, wild humor.”

Man Finds Tape

Guests: Peter Hall and Paul Gandersman

Man Finds Tape isn’t necessarily a found footage film but rather a faux documentary about a man who notices some very strange things around his town, all compounded by a mysterious tape he finds in his basement. 

Though it is in essence a mockumentary, most people would think of a comedy when you use that term. Co-director Peter Hall explains how he and Paul found their footing for this film’s presentation, “The way we wrote this movie was we wrote essentially the events that happen. Then we had to reframe it as if documentarians found that footage. How would they go about making a documentary about it? This would be the found footage version of it.”

The film also has some very familiar names attached to it as producers such as C. Robert and Jessica Cargill as well as Justin Benson and Aaron Moorehead. “Justin and Aaron flew from the set of filming Daredevil: Born Again straight to us. It was crazy that they left Daredevil, came straight to us and they were doing things like carrying gear and ripping gaffer tape up.” 

But Justin and Aaron did have suggestions, they weren’t there just to break down a set, Peter continues, “They really wanted us to lean into the weirdness of the film, to keep things enigmatic. Anytime we thought we had to over explain or pander to the audience, they were like, ‘no guys.’” Paul follows up with just how important it is to have great collaborators, “It was incredible working with producers that just told you to make it weirder and answer less.”

When Man Finds Tape finds its way onto your screens, you’ll have to tell Peter and Paul if they answered too much, or they followed Benson and Moorhead’s advice to a T.

How Squid Game Season 3 Honors The Series’ Breakout Character

This article contains spoilers for Squid Game season 3.

By the show’s very nature, Squid Game is no stranger to ripping beloved characters from our grasp just as we’ve come to appreciate them. Even the characters we love to hate tend to come and go just as quickly, forcing us and the other players to leave them behind and move forward. But with season 3 picking up where the game left off in season 2, it’s not quite as easy to leave some of these fallen players behind, especially not a personality as big as Thanos (T.O.P.) was.

Thankfully, season 3 finds some unique ways to carry on the complicated legacy of Player 230 Choi Su-bong a.k.a. Thanos. Nam-gyu (player 124) and Min-su (player 125) both handle their “grief” with markedly different approaches. In episode 1 “Keys and Knives,” Nam-gyu (Roh Jae-won) tries to appeal to Min-su (Lee David) as Thanos did, even going so far as to do an impression of his fallen friend to try and lighten the mood.

In the next episode, Nam-gyu takes his Thanos mimicry to another level by spending the entire game getting wasted on Thanos’ drugs and doing yet another impression of his friend, as though embodying his personality is enough to bring him back to life. He says “I’m Thanos. Let’s go another way. We’ve got to kill half of humanity, but we’re running out of time,” which is surprisingly layered for someone high out of their mind. It’s not only a commentary on the Hide-and-Seek game they are currently playing, but also refers to the ethos of Marvel’s Thanos, the character that his friend named himself after.

A few episodes later and it’s Min-su’s turn for a drug and grief-fueled spiral. Min-su finds himself in possession of Thanos’ drugs in episode 4 and spends the rest of his time on the show zooted and paranoid, just as Thanos was before he was killed (the Squid Game Thanos, that is – we don’t know what kind of drugs the actual Mad Titan was on, if any). 

But whereas all of these callbacks to Thanos and his big personality have been done by other characters, the legend himself finds a way to make an appearance in episode 5. High on the mysterious pills, Min-su hallucinates Thanos and T.O.P. actually returns to reprise his role for this brief cameo, telling Min-su “My brother, I missed you.”

No matter your feelings about Thanos as a character, his presence – literal, imagined, and otherwise – is important to the final two seasons of the show. Losing him affects Nam-gyu and Min-su profoundly and influences their decisions moving forward.

In a show that usually forces us to move on from one gruesome death to the next in rapid succession, bringing Thanos back (among others) in these various forms was a welcome change of pace. It lets us see that these deaths do affect the players – even those who seem to relish all of the bloodshed and the money it brings them. We’ve seen the grief of the games in the aftermath through Seong Gi-hun (Lee Jung-jae), but now we get to see how grief manifests while the games are still happening. It reminds us that even the “villains” of the games care about each other in their own strange ways.

Level Infinite Introduces Warhammer 40,000: Darktide’s Very Good Doggy

Level Infinite definitely came to play at Summer Game Fest 2025, boasting one of the larger areas at the Play Days campus, with multiple stations for both of the titles it was highlighting. These games were the upcoming tactical extraction shooter Exoborne, developed by Sharkmob AB, and ambitious updates to the popular cooperative shooter Warhammer 40,000: Darktide, developed by Fatshark. Den of Geek got to play both demos available at SGF 2025 and spoke to the developers of each title about their respective projects.

Exoborne takes place in a near-future ravaged by extreme weather, most notably powerful cyclones that can form and tear across the landscape in a given moment. Players choose between three distinct classes as they load up their customized exo-rigs that allow them to not only brave the elements but give them an edge as they battle hostile rival factions across the rapidly changing conditions. For Sharkmob AB, creating the world and gameplay of Exoborne deftly threads the needle between more realistic extraction shooters and their deliberately cartoonish counterparts.

“We see a lot of either very stylized games out there or very realistic games out there. What we’re trying to do is something that involves fantastic realism, where you have a grounded element. You have this world that you can recognize and know and, on top of that, we sprinkle these fantastical elements,” explains Sharkmob art director Erik Nilsson. “It creates this interesting visual where there’s familiarity, but there’s also this new thing that you want to explore. It’s the same thing with the characters. We didn’t want to do mech suits where you don’t see the person. We wanted to see that there’s a person inside of there.”

In sitting down and playing Exoborne, the game’s unique ways to navigate its wind-swept open-world environment were not only easy to learn on the fly, but quickly proved fun to execute. Using grappling hooks from the exo-rig, I was catapulting myself into the air and deploying my glider to catch winds from nearby cyclones to traverse the map before landing into a firefight and catching my enemies off-guard. This process is not only seamless but really rewards players while adding a sense of unpredictability to how fights can go, with players able to use the shifting weather conditions to their advantage in combat.

“There are different layers in it,” observes Nilsson before giving an in-game example. “You’ll have events, like three tornados coming in and going towards as you’re trying to extract and get to the dropship. One of the tornados picks you up and throws you away from the dropship. Suddenly, one of your enemies throws an incendiary grenade in front of the tornado and it turns into a fire-nado.”

With both the online functionality working well in the demo and the game just easy and fun to pick up and play, Exoborne is shaping up to be a solid live game experience when it makes its full launch. Meanwhile, Warhammer 40,000: Darktide has recently unveiled its latest update and it’s a doozy, including the addition of a fifth playable class, the Arbitrator, who has their own weapons and combat pet, a Cyber-Mastiff. For inspiration, the development team looked not only at the extensive Warhammer lore but also the game’s sister title Warhammer: Vermintide 2.

“We knew from Vermintide that the pet class was very popular,” explains Darktide design director Victor Magnuson. “The Necromancer character is one of the most popular characters in Vermintide. We thought a pet class would be cool and we started to look at what we could do. We found the Arbites and thought him with a Cyber-Mastiff would be a really cool combination.”

In addition to re adding a new character class, Darktide has significantly refined the overall gameplay experience since its launch in 2022, reworking talent trees and adding the Havoc Game Mode that noticeably raises the game’s difficulty. In addition to the team’s hard work, Magnuson credits coordinating with community testers, a small group of hardcore players, when trying out new content and changes to Darktide to see how they’ll connect with the larger population. This has led to the game building from its launch to developing a stable and growing player base as it approaches its third anniversary.

“We’re in a really good state. Players are generally quite happy with what we do, which is really fun because then it doesn’t feel as hard to do stuff,” reflects Magnuson, who has been working on Darktide for the past seven years. “It’s about coming up with fun ideas rather than working on fixing problems.”

Working closely with longtime Warhammer writers Dan Abnett and Matt Ward, Darktide celebrates the legacy of Warhammer 40,000 with action-packed missions, brutal weaponry, and character classes true to the lore. And even if you missed Darktide at launch, the game has only become more accessible to new players, with a whole host of new content and the tightest the gameplay and technical presentation has ever been.

There is currently no release date for Exoborne, but it is slated for release on PC, PlayStation 5, and Xbox Series X|S.

Warhammer 40,000: Darktide is available now for PC, Xbox Series X|S, and PlayStation 5.

Squid Game Season 3: The Final Three Games Revealed

This article contains spoilers regarding the games introduced in SQUID GAME season 3 (but no major spoilers about their results). 

Squid Game season 3 is unique among the global phenomenon’s three seasons. Not only does this batch of six episodes represent the ultimate end of the series (or so Netflix claims), it’s also the first season to not begin with a new edition of the titular games. That’s because creator Hwang Dong-hyuk’s vision for a season 1 follow-up grew so large that it needed to be split in two. Why the 2024 edition of Squid Game became two separate seasons and not merely a “Part 1” and “Part 2” is anyone’s guess…but hopefully it means Hwang got paid more.

In any case, Squid Game season 3 introduces fewer games than either season before it. But what these final three matches lack in quantity, they more than make up for with bloody carnage. This is another round of terrifying children’s games, curated for maximum tragedy. Read on for our breakdown of every game included in Squid Game season 3 below and get a reminder of season 2’s contests here.

Squid Game S3 Kang Ha-neul as Dae-ho in Squid Game S3 Cr. No Ju-han/Netflix © 2025

Game Four – Hide-and-Seek

While some Squid Game contests are highly specific to the show’s South Korean setting, others are more widely found on playgrounds the world over. “Hide-and-Seek” is one such game. Among the most famous children’s games ever (possibly second only to “tag”), Hide-and-Seek is very simple: hiders hide and seekers seek. If a hider stays hidden for the duration of the game, they win. If a hider is discovered by a seeker, they are eliminated. And this being Squid Game, “elimination” takes on a very literal context.

In Squid Game‘s version of this event, teams are divided into hiders and seekers through use of a gumball machine. Those who receive a red ball are assigned as seekers and given a small knife to kill their prey once found. Those who receive a blue ball are assigned as hiders and given a key that will open one of the many doors in the maze-like play area to hide. Unfortunately, a door can be unlocked only once and not re-locked, making sedentary hiders particularly vulnerable … unless they team up to find the maze’s promised exit.

Game Five – Jump Rope

As teased in season 2’s post-credit scene, the iconic “Red Light, Green Light” doll Young-hee gets a new assignment in this edition of Squid Game. She holds one end of a rope suspended over an elevated platform while her “boyfriend” Cheol-su holds the other end. You can kind of see where this is going, right?

Yes, game 5 is a relatively straightforward game of jump rope with typically deadly consequences. Players must advance from one end of a thin walking bridge while periodically jumping to avoid Young-hee and Cheol-su’s swinging rope. If they make it to the other side, they move on to the next round. If they don’t, they fall to their deaths. Notably, the fifth game of season 5 “Glass Stepping Stones” also incorporated height as a deadly element. Jump rope, however, does not assign players a crossing order – creating predictable chaos.

Squid Game S3 Lee Byung-hun as Frontman in Squid Game S3 Cr. No Ju-han/Netflix © 2025

Game Six – Sky Squid Game

The final game in the 2024 edition of Squid Game is similar to the final game of the 2021 edition but with one major addition. It’s “Squid Game” played in the sky. The rules of squid game were slightly confusing to many Western viewers who weren’t familiar with the four square-esque format that involved players prowling around an interconnected circle, square, and triangle.

Sky squid game simplifies things by separating the circle, square, and triangle into isolated platforms high up from the ground. The players first gather on the square and at least one must be pushed off for all surviving players to advance to the triangle. Then at least one player must be eliminated again within the time limit for the surviving players to advance to the final circle. If at least one player is eliminated from the circle within the time limit, whoever remains is the ultimate winner of the games.

The careful wording of “at least one” player must be ejected from each shape creates for much politicking and treachery.

All six episodes of Squid Game season 3 are available to stream on Netflix now.

Squid Game Season 3 Review: … Have Violent Ends

This review contains no spoilers for Squid Game season 3.

Squid Game is one of the most bracingly cynical pieces of mass popular media ever produced.

At its best (which is most of the time), the Netflix survival drama feels like creator Hwang Dong-hyuk screaming “And another thing that fucking sucks!” into a bullhorn over and over again as the viewer nods in agreement. Why the show’s depiction of modern capitalism as literal bloodsport came to resonate with global audiences is a topic best left for sociologists. The question the rest of us are left to ponder, however, is how can such an ugly little story about desperate people killing one another possibly generate a satisfying conclusion? That question is answered with style and skill in Squid Game season 3.

It’s certainly not a spoiler to say that Squid Game season 3 provides no happy ending to this saga, as happy endings are antithetical to the show’s premise. It’s also not a spoiler to point out that the season may not even offer much of an ending at all. The “franchisification” of Netflix’s streaming golden goose is well underway with a David Fincher-produced spinoff already announced and many more projects sure to come. But Hwang Dong-hyuk has made clear that season 3 represents the terminus of the path he first set upon with the show’s first season. And reader, what a conclusion it ends up being!

Squid Game season 3 picks up in the immediate aftermath of season 2’s bloody, but failed rebellion. Player 456 Seong Gi-hun (Lee Jung-jae) is forced back into the competition as his archenemy Hwang In-ho a.k.a. The Front Man (Lee Byung-hun) correctly surmises that living is a much more painful punishment than dying. Astute viewers will clock that there are at least three more deadly children’s games to endure and indeed three immensely creative, cruel matches are sprinkled throughout these final six episodes – culminating in a climactic game that notably improves upon season 1’s confusing concluding duel.

Through it all, the cast of this edition of Squid Game continues to shine. Several villains and rogues step up in the absence of season 2 breakout Player 230 “Thanos” (T.O.P.), in some cases even bolstered by his necklace full of drugs. Player 222 Kim Jun-hee (Jo Yu-ri) takes on an elevated role as the doomsday clock that is her very pregnant belly inches closer to midnight. Player 120 Cho Hyun-ju (Park Sung-hoon) once again proves worthy of her status as a fan favorite.

The most useful tool in Squid Game season 3’s ensemble, however, is its lead. Lee Jung-jae’s performance as Seong Gi-hun in Squid Game season 1 was remarkable precisely because of how unremarkable it was…right down to the character’s afterthought of a number. Player 456 won the 33rd edition of the games not through athleticism or shrewd gamesmanship but rather through childlike innocence and dumb luck. This time around, however, he operates with a ruthless efficiency that causes his peers to view him as something between a Terminator and a Baba Yaga. Combined with his uncompromising and well-earned moral code, Mr. Seong establishes himself as one of the more interesting heroes of the streaming era.

By the commandment of Netflix’s spoiler embargo and just plain old good manners, we’ve been deliberately vague about specific season 3 plot points thus far and will continue to do so. Suffice it to say that anyone invested enough in the story could probably accurately compose a rough outline of these final six episodes themselves. That is not to criticize the series’ writing. In fact, it’s to praise it. Hwang, who again writes and directs all episodes this season, has a tremendous sense of dramatic inevitability. Events occur throughout season 3 because they simply have to happen this way.

It’s not a novel observation that Squid Game, the series, frequently operates like Squid Game, the games, but it still bears repeating. Players and audiences alike are promised a series of deadly, yet ultimately equitable games and they receive exactly that. At the same time, the game’s conductors – Hwangs In-ho and Dong-hyuk – understand that the VIPs must be entertained, whether those VIPs be rich douchebags wearing animal masks or working class schlubs using their mom’s Netflix password.

At one point in season 3, the Front Man assures his guests that the next game will take place despite the remaining players’ seeming squishiness to continue. How does he know that they won’t vote “X” this time around? To borrow a phrase from another veteran: he’s played these games before. He understands that any population of people can be prodded into a desired outcome from bad actors. At the end of the day, folks can’t help but look for their happy ending, despite all the mounting evidence that it will never arrive.

While season 3 likely isn’t the end of Squid Game as exploitable IP for Netflix, it still deserves as enthusiastic a eulogy as we can deliver. One thing that often gets lost in examining Squid Game as a cultural phenomenon is just how great it actually is as episodic television. The series stands tall as the ultimate synthesis of fundamentally-sound storytelling technique, iconic production design, and righteous fury at The Way Things Are.

Our children’s children will wear numbered green tracksuits on Halloween and adorn their phone cases with pink triangles, circles, and squares. Hopefully the show’s themes of economic inequality will feel as foreign to them as George Lucas’ Vietnam War commentary feels to the storm trooper armor-wearing cosplayers of today.

All six episodes of Squid Game season 3 premiere Friday, June 27 on Netflix.

This Old Star Wars Quiz Book Shows Just How Much the Franchise Has Changed

It might be hard to imagine but there was a time before the internet, before the prequels, even before Revenge of the Jedi was renamed Return of the Jedi. It was a time when Star Wars was something of a new phenomenon. And back then, one of the franchise’s biggest fans was an 11-year-old boy named Rusty Miller who decided he was going to author the first Star Wars quiz book and made it happen. 

In a 2020 interview with Skywalking Through Neverland, Matt (née Rusty) explained, “The inspiration came when I saw a trivia book about the works of J.R.R. Tolkien, of which I was also a big fan. And since a trivia book hadn’t been done for Star Wars, I spent the Summer of 1981 coming up with over 600 questions. After finishing the book, my parents sent a manuscript to Del Rey who in turn sent it to Lucasfilm.”

Perhaps unsurprisingly, the book almost didn’t happen in the more innocent wilds of 1982 (at least in terms of pop culture band-building). Lucasfilm saw little reason to publish the work of tweenage fan—that is until none other than George Lucas himself heard about the project and saved it from cancellation. Shortly thereafter The Jedi Master’s Quizbook debuted on the New York Times bestseller list, and according to its author sold over a million copies. 

In 2025 the only copy of the Jedi Master’s Quizbook that you’re likely to find will be in the thrift store, your fave second hand online book store, or the local Friends of the Library store, which is exactly how I got my own copy. The dog-eared paperback is very well loved and once belonged to someone whose name is scrawled in pencil multiple times throughout the pages.

As I scoured through it for the first time in many years, I was blown away not just by Rusty’s extensive Star Wars knowledge but also by what the book said about how fandom, franchises, the concept of canon, and Star Wars itself has changed over the years. 

Questions like “Who did Bend fend off at the Cantina?” and its answer “Snaggletooth,” the name of the character that was packaged with the Kenner toy of the character, are a great example of how some things never change. Toys have always played a massive part in determining and revealing canon. That’s something that readers, fans, and filmmakers all still deal with today. But while the struggles of creating art under capitalism are the same, the answer to Rusty’s question is different. Now Snaggletooth is nothing but the nickname of the Snivvian male named Zutton. 

This was decades before the internet, so Rusty diligently explored what existed at the time: Star Wars, The Empire Strikes Back, and any info he could find about the upcoming third film, as well as the burgeoning Star Wars publishing initiatives. In another delightful time capsule, as many Star Wars lovers know, Return of the Jedi was then going to be called Revenge of the Jedi. That’s what Rusty put for his answer because the title hadn’t yet been changed due to the decision by Lucas that Jedi cannot feel or seek revenge. Hence that word was saved for decades until we got Revenge of the Sith.

That notion of the ever-shifting nature of canon and even titling is present throughout the book. But it also reminds us that despite all of that, some things never change, or at least they change enough to return back to where they started.

When Miller was collating the Jedi Master’s Quiz Book, Marvel Comics was behind the popular Star Wars comics, something Miller included and that which is a factoid that proves true in 2025. However, as someone who has lived through almost four decades of Star Wars fandom, I can tell you that hasn’t always been the case. Many of the most famous and well-known Star Wars comics for instance were published by Dark Horse. But as the tides go in and out, so do publishing trends. After the sale of Lucasfilm to Disney, Marvel—itself a new Disney subsidiary at the time—took the Star Wars comic book license back from Dark Horse, only for it to currently be shared by both publishers in the present.

It’s an unwritten rule, but in 2025 to make a Star Wars project is to make a story by committee, with decades of canon and continuity to contend with. Conversely, in The Jedi Master’s Quiz Book Miller seemed almost to be the sole holder of the canon of Star Wars, something most fans could never dream of. His dedication and commitment to a galaxy far, far away meant that for many kids growing up, they too got to open up this tome and become keepers of all the facts and canon within it. In an era before Wikipedia and the internet in general, Rusty Miller became one of the earliest in a grand tradition of fans to take canon, sort it, and define it with his own hands. 

One of the most fun things about Miller’s work is that you can discover new facts or history that begin to slide into your own personal Star Wars canon. For example in Rusty’s quiz book the answer to “What is Artoo’s robot classification?” is “Thermocapsulary dehousing assister,” as that’s what he was named in the novelization of the movie. That long winded classification would soon be completely replaced with Astromech—at least until the “full” title was referenced in the 2015 Star Wars comics. There are also intriguing things to learn about what was considered canon and what would later be relegated to the non-canon world of Legends. 

Although you will rarely, if ever, see Jedi Master’s Quiz Book cited as a key addition to canon now, at the time the world of Star Wars was expanding rapidly and the lore was beginning to grow. Thanks to the early interaction between the films and the novelizations, including the would-be-sequel story Splinter of the Mind’s Eye by Alan Dean Foster, and the Marvel Comics, the Expanded Universe of Star Wars had truly begun. Which would hilariously instantly cause canonical confusions, including that in the novelization of the film, X-Wing pilot Porkins was given the callsign Blue 4 when in the film he was Red 6. He wasn’t the only one either as Wedge Antilles was named Blue 2! 

In a world where we couldn’t be further from the conditions in which the Jedi Masters Quiz Book came to exist, the one thing that stays the same is that fans have always been the keepers of these franchises and their facts. It’s that passion and energy that still fuels fan wiki pages and fills convention centers all year round. Thank you for being our fandom forbearer, Rusty Miller! 

The Best Animated Fantasy TV Series You May Have Missed

There’s no doubt that this is a great time for fantasy television. From Game of Thrones and its many spinoffs to The Lord of the Rings: The Rings of Power and The Wheel of Time, there is a veritable treasure trove of fantasy TV for fans of the genre to escape into – and that’s just live action.

Animated fantasy series have also seen a surge in quality and variety in recent years. There’s plenty of anime and traditional fantasy as well as shows that blend the modern world with fantasy realms in fun and unique ways. Whether you’re trying to find something to tide you over until House of the Dragon returns or are simply looking for a fun fantasy escape, here are some of our favorite animated fantasy series.

The Owl House

The Disney Channel series The Owl House was woefully short-lived with only three seasons, but the story it tells in that time is thrilling, fantastical, and heartfelt. Set in the Boiling Isles, a realm built on the body and magic of a fallen Titan, the series follows a young human named Luz Noceda as she stumbles into the realm through a magical portal and discovers that the stories of witches and magic that she loves to read are very real, though not quite what she expected. She meets the wild witch Eda Clawthorne, whose eccentric nature and unwillingness to fall in line make her a target for the Emperor and his minions. Eda takes Luz under her wing, and the two soon discover the true nature of the Boiling Isles and the nefarious plans Emperor Belos has for its denizens.

The Owl House is about embracing the things that make us unique and standing up for our fellow “weirdos” when society shuns them. This show may technically be aimed toward a younger audience, but there’s something we can all learn from it.

The Legend of Vox Machina

The Legend of Vox Machina, on the other hand, was definitely not made for children. Based on the first Dungeons & Dragons campaign from Critical Role, this series tells the tale of Vox Machina, a group of adventurers who might not all be the sharpest sword in the bunch, but they mean well (most of the time). The group has fought necromancers, vampires, dragons, and demons over the course of the series’ first three seasons, and the adventure is just getting started.

You don’t have to know anything about Dungeons & Dragons, Critical Role, or the Vox Machina campaign to find this show entertaining. Critical Role and the creatives they work with to bring this show to life have done an incredible job of making this show accessible and fun for any fantasy fan to jump right into.

Delicious in Dungeon

Based on the manga series of the same name by Ryoko Kui, Delicious in Dungeon follows a group of adventurers as they delve into the depths of a dungeon to save their friend and fallen party member, Falin. In this world, raiding dungeons is a common way to make money and seek glory, as anyone brave enough to defeat the Lunatic Magician is promised the entire kingdom for their efforts. Most adventuring parties don’t make it that far, and a lot of them end up living out their days surviving in the upper levels of dungeons.

This adventuring party, however, must go further and further down to find their friend, fighting a number of monsters along the way. Thankfully for them, they find a dwarf named Senshi, who has been living off of the monsters in the dungeon and knows how best to prepare them to eat. That’s right, this show is all about fighting and eating monsters.

As silly as that premise may sound, Delicious in Dungeon does a wonderful job of balancing a slightly goofy tone with more serious plot points. The stakes of this mission still feel large even when Senshi is giving the wildest instructions on how to grill up the terrifying monster they just killed (and staring into your soul with the biggest puppy dog eyes you’ve ever seen).

Frieren: Beyond Journey’s End

Though a bit more somber and serious than Delicious in Dungeon, Frieren: Beyond Journey’s End is another fantasy anime series worth watching. This show follows the Elven mage Frieren as she reflects on the ten years she spent with a party of adventurers working to defeat the Demon King. The party was successful, but Frieren’s extended lifespan means that this adventure was a mere blip of time in her life whereas it took up a majority of her companion’s lives. 

The show takes place over different periods of time in Frieren’s life as she visits her former companions in the decades that pass and goes on new adventures that continue their legacy. It’s a compelling look at mortality in the fantasy genre, and well worth the watch.

Hilda

Hilda is another animated series where fantasy meets the modern world. After growing up in the woods for a lot of her life, Hilda’s mom decides that it’s time for them to spend some time in civilization and moves them to the fictional city of Trolberg. But that doesn’t mean that Hilda loses her connection with the trolls, elves, and other creatures that live around them. Despite her more urban surroundings, Hilda still finds a way to connect with the realm of fantasy hidden around her.

It’s a really cute series about embracing the whimsy and magic around you, even when society is telling you it’s time to ‘grow up.’ Things are hard for a lot of people right now, and we could all do with a little more whimsy and fun in our lives.

Over the Garden Wall

The ultimate cozy fantasy series, Over the Garden Wall follows two brothers, Wirt and Greg who become lost in a strange forest and must find their way home. Along the way, they come across a number of people and strange creatures, some of which are eager to help the boys get home while others want to keep the boys there for their own nefarious purposes. The series isn’t very long, but it’s an eerie yet compelling story about family, loss, and believing in oneself.

James Bond: May Denis Villeneuve Bring Joy Back to 007

The name is Villeneuve, Denis Villeneuve. Chances are you already knew it well, whether for some of the riveting character studies early in his career like Prisoners, Sicario, and Enemy, or more likely for his pivot to epic genre cinema via Arrival, Blade Runner 2049, and the new Dune movies (Oscar nominees all). Yet even so, we suspect you weren’t prepared for Wednesday night’s late breaking news: for his first movie since entering the sands of Arrakis, Villeneuve is going to be directing the new James Bond movie for Amazon MGM Studios.

The studio confirmed the news late Wednesday after months of speculation about what the next era of 007 would look like following the bombshell revelation that Amazon was able to buy out Barbara Broccoli and Michael G. Wilson, the heirs and caretakers of what was the family business of making Bond movies. Rumors swirled about various filmmakers like Edgar Wright and Jonathan Nolan allegedly pitching the streaming giant about what their vision for Bond would be. There is a lot riding on it since in addition to being the first Bond without the Broccolis, it will also be the first not starring Daniel Craig in what’ll be two decades years come 2026. And yet, it was the exacting and artful Canadian filmmaker who apparently won Amazon over with his vision for the 007 of tomorrow.

In a statement released by Villeneuve, the director said, “Some of my earliest movie-going memories are connected to 007. I grew up watching James Bond films with my father, ever since Dr. No with Sean Connery. I’m a die-hard Bond fan. To me, he’s sacred territory. I intend to honor the tradition and open the path for many new missions to come. This is a massive responsibility, but also, incredibly exciting for me and a huge honor.”

It’s big news and a sign that the world of James Bond is definitely changing under the new stewardship of Amy Pascal (producer on various Spider-Man and Venom movies, as well as last year’s crackling Challengers) and David Heyman (the Harry Potter films, Gravity, Barbie). For most of the past 60 years, the Broccolis have been notoriously gun shy about hiring “auteurs,” or directors with strong authorial vision and creative demands. It’s why paterfamilias Cubby Broccoli passed twice on letting Steven Spielberg realize his dream to make a Bond movie (he then famously channeled that energy into Indiana Jones), as well as why their Eon Productions company stayed pretty wary of longtime fans like Christopher Nolan and Quentin Tarantino.

In the Craig era, that certainly changed to a degree with Sam Mendes directing two 007 films, Skyfall and Spectre, but only after a franchise veteran like Martin Campbell set the tone in Craig’s debut, Casino Royale. Barbara and Wilson also then had a public falling out with Danny Boyle, who at one point was attached to helm No Time to Die.

In other ways though, it’s a fair question to wonder how much of a departure this might be from recent James Bond films. During the Craig era, beginning with Mendes’ two contributions specifically, the series veered toward a more elevated (or detractors might say precious) tone and aesthetic, with the films also getting increasingly dour until they climaxed with James Bond dying to save a child and mother he unwittingly abandoned. In other words, they were not “fun” movies, extended Ana de Armas cameo sequences notwithstanding.

As much as I admire Villeneuve’s body of work, with Arrival specifically being something of an underrated masterpiece, I also would hesitate to use the word “fun” to describe it. And frankly, a lighter touch is exactly what the Bond movies need after spending the last 19 years and counting in the shadow of Craig’s grittier interpretation.

To be sure, when Craig’s Bond launched in 2006 it felt like a jolt of kinetic energy that the franchise desperately needed as well. In many respects Pierce Brosnan remains the most perfectly obviously casting of Bond the franchise has yet enjoyed, but the jovial and lighthearted dynamic of his tenure felt out of touch in the years immediately following 9/11 (not to mention an unfortunately dire final film in Die Another Day). Yet the intuition to radically change tone and tenor was always a remarkable instinct that the Broccoli family managed to pass from one generation to the next.

Most folks forget this now, but Die Another Day was a huge hit in 2002 and the highest grossing Bond movie ever (not accounting for inflation). It was relatively well received by critics at the time, and Brosnan was so popular in the role that no less than Quentin Tarantino wanted to cast him after DAD in a Casino Royale reboot set in the 1960s. It was hard at the time to picture anyone else in the tuxedo. Barbara Broccoli could see Craig in it, however. So she ignored focus testing and pursued a casting that was met with vitriolic disgust and contempt in the British tabloids (“Blond Blond?!” they seemed to cry in unison).

The change in direction with a hard reboot reminiscent of what Christopher Nolan did barely a year earlier in Batman Begins proved apropos and set the table for what was to come. We’ve had five movies since then, released across 16 years, and just as Brosnan in turn felt fresh after the grumpy and poorly received Timothy Dalton era in the late ‘80s, it might be time to return to the lighter touch that traditionally has been 007’s bread and butter.

Well before Craig or Brosnan, after all, there was Sean Connery who set the yardstick by which all future Bonds are still and will forever be measured. He had a capacity for violence and even cruelty like Craig, but also boyish playfulness and a joie de vivre that might as well be a stranger to Craig’s interpretation of 007. There was also Roger Moore right after him who elevated the humor of Connery’s era to pure camp with the greatest number of Bond films attributed to one actor in the Eon Productions machine (seven movies in total).

Or: Bond has more often than not had a sense of humor and fun about him—which became glaringly absent in the last couple Craig entries in the series.

To be clear, Villeneuve is a master of his craft and a profoundly skilled storyteller who was able to make Frank Herbert’s foreboding and seemingly impenetrable Dune universe accessible to a mainstream Hollywood audience. And right now, only Villeneuve, Pascal, and Heyman know what the director has in mind for the next 007 adventure. We hope though that it’s something that will mark a departure not only for Bond after Craig’s run, but also for Villeneuve.

As superb as Dune Part Two is, and heartbreaking as Prisoners’ tragedy becomes, I’ve seen little of the wit that the Bond movies are traditionally known for in the director’s oeuvre to date. While it is easy to imagine him making a film that could sit comfortably alongside Skyfall, it might be more challenging to see him making something that could be a companion piece to Goldfinger or The Spy Who Loved Me.

That challenge is exciting though, and with any luck it will be met. It’s even why I was one of those genuinely intrigued to hear Villeneuve was developing a film based on Stacy Schiff’s Cleopatra: A Life. For starters, Cleopatra led a remarkable life that’s never been done justice onscreen despite some iconic movies bearing her name (and Schiff’s biography is a stunning work of scholarship). But also it would be a departure for a filmmaker who now has spent close to a decade in science fiction and franchise moviemaking.

It would seem Villeneuve will spend some more time in the world of franchises, so let’s hope that it will leave us shaken, stirred, and on fresh terrain.

M3GAN 2.0 Review: A Sci-Fi Genre Change Makes for Uneven Upgrade

Unlike Michael Myers, Jason Voorhees, Frankenstein, or plenty of other horror icons, M3GAN didn’t burst onto the scene like a lumbering, silent menace. No, this gabby doll strutted across our screens like a goddamn diva. The key appeal 2022’s M3GAN is the camp quality of being killed by a machine who is just as lethal with a mean-girl putdown as she is a machete. Still, she had a machete. She also made for a clever metaphor about the way parents are surrendering their children’s minds to technology.

The knowledge of how well that humor worked proves to be both the next model’s best weapon and greatest liability. M3GAN 2.0 definitely ups the cutting asides, the shock comic one-liners, and even the singing, but it also favors lightness to such a degree that writer-director Gerard Johnstone and co-writer Akela Cooper (who returns only for a “story by” credit this time) end up taking their jackpot creation out of the horror space entirely. With more in common now with Ethan Hunt than Freddy Krueger, M3GAN has become a synthetic superhero, or at least antihero—who also like Tom Cruise is out to save us from even more threatening AI. In that way, she also exists in a storyline that bears a striking resemblance to Terminator 2, although it feels tonally more apiece with ‘80s high-concept adventure flicks like WarGames and Short Circuit. That isn’t necessarily a full complaint, mind, but it does acknowledge this is a downgrade, especially as the pointed social satire about letting an app parent your kid is essentially recanted.

To be sure, Allison Williams’ Aunt Gemma is still the worst when it comes to taking care of her niece/veritable daughter, Cady (Violet McGraw). Hardly a day passes between Gemma discovering her homicidal AI, the so-called M3GAN, is still “alive” and Gemma slowly coming around to relying on M3GAN’s help to keep Cady safe from a new threat, as we all as communicating with the tween about what Gemma really means to say. In that way, our heroine is a bit like the modern college kid who can no longer fathom what it is to a paper without ChatGPT filling in the blanks.

The movie sets up some darkly amusing commentary there, but the film isn’t particularly interested in exploring that subtext when there’s the flashy neon shimmer of M3GAN’s charisma to enjoy. And yes, it is good to have M3GAN back on the screen as soon as possible and as physically played by actress/dancer Amie Donald and voiced by Jenna Davis with an ever winning rope-a-dope formula that bounces between singsong friendliness and sudden, devastating haymakers in cattiness. The first act of M3GAN 2.0 therefore rushes through the muddled reasons of why and how she’s back. It’s a bit hazy after the fact, but I think it has something to do the U.S. government accidentally creating an AI assassin codenamed AMELIA (Ivanna Sakhno) with M3GAN’s source code. AMELIA then, of course, immediately goes rogue by attacking the big tech masters who made her, including a scenery-chewing Jemaine Clement.

In the aftermath, Gemma and her hanger-on sidekicks (Jen Van Epps, Brian Jordan Alvarez) are put under suspicion of treason, and quickly made into M3GAN’s fleshy subordinates. The finer details of how the killer doll survived the first movie’s climax are mostly hand-waved away, but rest assured she controls the smart house Gemma and Cady livs in and is calling all the shots before Gemma inevitably agrees to build M3GAN a new body so M3GAN can fisticuff with AMELIA. Auntie also puts on some new child locks, coding M3GAN with the command to not kill anybody (again like T2), but don’t worry. M3GAN does plenty of slaying even if without the body count.

The appeal of M3GAN 2.0 time and again comes down to the bemused guffaws this killer doll elicits every time she is on the screen. There is just something eerily honest about a smartphone that has the ability, and mouth, to judge you for your life choices. Johnstone and producer Jason Blum also obviously decided to lean into that quality while, perhaps wisely, not attempting to truly replicate the first M3GAN’s TikTok virality. There is a dance sequence, but it is so flatly shot and intercut with corporate espionage that I wouldn’t suspect anyone thinks this will be the next social media craze.

What’s intriguing though is how much the world has changed in the three scant years since this bot pirouetted her way into our hearts. While AI has long been the topic of water cooler pontification in Silicon Valley, the rest of the world didn’t really start thinking about the technology’s imminent life-changing applications until November 2022 when ChatGPT launched. Remarkably that was only 10 months or so after the first M3GAN. Suddenly the abstraction of this character’s menacing sentience took on a newfound urgency. Hence in the first movie she was a metaphor for technology writ-large being placed in a child’s palm. In the sequel, she is very much the face of both our destruction and salvation in the AI wars to come.

In theory the sequel should b e more timely, not to mention terrifying. Yet while more directly paying lip service to the potential dangers of AI, M3GAN 2.0’s pivot away from horror and social commentary is all the more curious. Rather than embrace the fatalism this unlikely franchise represents, M3GAN 2.0 essentially becomes a modern tech bro’s best case solution for “acclerationism.” Yeah, AI might try to wipe us out one day (i.e. AMELIA), but we can make an app for that, and it just so happens to rock the hell out of a pixie cut (M3GAN).

It’s a strange pivot that leads to a narrative that is much more ambitious yet also somewhat muddled with its twists on twists, and double-crosses on double-crosses. The switchbacks even multiply until the movie almost touches on a brilliantly subversive idea where Auntie Gemma and M3GAN reach a bizarre and curious place of detente. M3GAN 2.0’s script lacks the courage of its conviction to walk all the way through that door, but it gives Williams one exceptionally fun scene to play.

And fun is ultimately M3GAN 2.0’s prime directive. It’s a bit cluttered, overstuffed, and totally absent of its horror roots. But it is almost always fun and ready to win an easy laugh, especially when M3GAN and AMELIA cross paths and live up to the tagline of “This Bitch vs. That Bitch.” The rivalry has all the tension of a drag race, but it also has a similar amount of gaudy style and determination to win a grin. That shameless need to please also makes it ironically the most retro of the summer movies we’ve had so far this year.

M3GAN 2.0 opens on Friday, June 27.

Ironheart Twist Features an Unexpected Throwback to the MCU’s Original Villain

This article contains spoilers for Ironheart episodes 1-3.

The Marvel Cinematic Universe is back on the smallscreen, and while output might’ve slowed, it’s clear the ambitions of these TV shows continue to be part of a much bigger picture. Fresh off the success of her MCU debut in Black Panther: Wakanda Forever, Dominique Thorne is once again suiting up as Riri Williams for Ironheart. While it’s hard to believe it’s been six years since Robert Downey Jr.’s Tony Stark bowed out in emotional scenes during Avengers: Endgame, his legacy lives on in an unexpected way. 

The crux of Ironheart focuses on Riri as she tries to step out of the shadow of Tony Stark and become the next tech whizz without his bank balance. In this mission, she seeks the help of Alden Ehrenreich’s Joe McGillicuddy to help build her own Iron Man armor. Early in episode 2, Riri and N.A.T.A.L.I.E. (Lyric Ross) note that the name Joe McGillicuddy sounds fake, leading to the big reveal that “Joe” is someone else entirely during episode 3 “We in Danger, Girl.” Harkening back to 2008’s Iron Man, it turns out Ehrenreich is playing Ezekiel Stane, the previously unseen son of Jeff Bridges’ Obadiah Stane. Riri makes the shocking realization when she comes across the late Stane’s ashes in “Joe’s” kitchen.

As a recap, Bridges’ Obadiah Stane was something of an adoptive father figure to RDJ’s Tony Stark in Iron Man, but turned out to be the villainous Iron Monger who wanted to snatch Stark Industries from under him. Obadiah Stane died when he tumbled into a giant arc reactor, which was covered up by Phil Coulson (Clark Gregg), claiming he died in a plane crash. Iron Man didn’t flesh out Stane’s home life, but it seems likely that Ezekiel knows the truth. Back when Ehrenreich was cast in Ironheart, he refused to answer whether he was playing someone fans already knew or address the rumors he was playing Stane. Interestingly, Zeke Stane was originally pitched as a villain alongside Tom Hiddleston’s Loki in 2012’s Avengers before the idea was dropped, although the character later appeared in the official video game tie-in to Iron Man 3

The comic book origins of Ezekiel Stane go back to long before his 2008 debut in The Order #8, following on from Tony Stark’s eventful showdown with Obadiah Stane in 1985’s Iron Man #200. Kitted out in his Silver Centurion armor, Stark bested Stane, with the latter choosing suicide over a life in prison. After the death of his father, Zeke sought revenge on Iron Man, but instead of wanting to kill him, Stane vowed to make the billionaire playboy obsolete. Whereas Tony Stark is ultimately a man in a suit, Zeke fused himself with biometric enhancements to bridge the gap between human and machine. It was this that led to the liquid-esque Bleeding Edge armor that we see Avengers: Infinity War and Endgame adapt as the Mark L and Mark LXXXV.

Speaking to Entertainment Weekly, Ironheart creator Chinaka Hodge explained the big Zeke twist and how the series brings things back around for the MCU: “Overall, the character of Zeke Stane as a tech ethicist … is interesting to me. [Riri and Zeke] are [both] struggling with a lot of the same, ‘Am I good or am I bad? And what’s the point of being either?’” 

We’ve already seen this as Riri buddies up with Anthony Ramos’ Parker Robbins/The Hood. As for whether Bridges could return to the role of Zeke’s daddy dearest, Hodge admitted, “One can always hope for a Zeke Stane-Obadiah Stane flashback crossover, I don’t know. It just was so much fun to open up that box of worms.” As recently as September 2024, Bridges addressed a potential MCU return when he told the Happy Sad Confused podcast about a different version of the Iron Man script that he presumably signed on for: “In the script I read and agreed to do, they pull my suit out and open it and I’m not there. But who knows? It’s all science fiction and I could pop up again.”

Currently, Ironheart’s Ezekiel is a toned-down version of his comic book counterpart, although it remains to be seen how much longer this stuttering “Live, Laugh, Love” persona will last and whether he really is a mild-mannered tech ethicist or destined to continue his father’s legacy. The other big question is about whether we’ll finally get Sacha Baron Cohen’s (rumored) Mephisto after the demonic overlord was finally mentioned in Agatha All Along. Executive producer Sev Ohanian has previously teased that Riri will ‘break bad’, suggesting she could form a Faustian bargain with Mephisto. Unlike Riri’s potential villain arc, Ezekiel claims he wants nothing to do with his father’s shadowy past and is simply concerned for what the likes of Stark and Williams are doing with this ever-advancing tech. 

Zeke Stane might be an Iron Man rogue, but with Thorne stepping up as the de facto Iron Man of the MCU’s future and a potential Young Avengers recruit, it makes sense to retool him to fit in with her story. Although the already bulging cast list of Avengers: Doomsday makes Ehrenreich’s immediate return unlikely, having him lock horns with RDJ’s Doctor Doom as a likeness of his father’s mortal enemy could be an interesting arc. While that seems unlikely, Ezekiel Stane’s affiliation with the Hellfire Club could find him a place in the upcoming Mutant Saga if Ironheart doesn’t get renewed for a second season. Whether friend or foe to Riri, we imagine she’ll soon be crossing paths with Zeke Stane before too long.

The first three episodes of Ironheart are available to stream on Disney+ now. Episodes 4-6 premiere on July 1.

New Fantastic Four Trailer Supports Dark Fan Theory

Most of the latest (and final) trailer for The Fantastic Four: First Steps is all good vibes. We’ve got Ben Grimm (Ebon Moss-Bachrach) and Johnny Storm (Joseph Quinn) bantering about the Thing’s catchphrase, “It’s clobberin’ time.” We’ve got legions of adoring fans cheering on their heroes in bright, retro-futuristic locales. We’ve got the team all affirming their love for one another as a family.

But there’s a darkness underneath these trailers, and not just because Silver Surfer arrives with terrifying tidings. Between the trailer’s main story beats with the team pledging their commitment to one another, and Reed’s uncertainty, remains the fact that the Fantastic Four will soon be coming to the mainline Marvel Cinematic Universe. So it seems inevitable, then, that Marvel’s new heroes must ultimately be the losers in their debut film. Fans online have long been speculating a despairing end to First Steps, and the trailers keep making that theory seem plausible.

What We Know About The Fantastic Four: First Steps

Before we go too far into speculation, let’s take a look at what we actually know about the movie. First we know from the post-credit scene in Thunderbolts* and the casting announcements for Avengers: Doomsday that the Fantastic Four will come to Earth-616. We don’t officially know the reason yet—it could just have something to do with their arch-enemy Victor Von Doom (Robert Downey Jr.), who obviously will be the big bad of Doomsday. We also know that First Steps involves the arrival of Galactus (Ralph Ineson), a cosmic being who must feed on planets to survive.

Next let’s take a look at how Galactus is used in the comics. Many of the visuals in the trailer borrow from Fantastic Four #48 to 50 (1966) by Stan Lee and Jack Kirby. In these issues, Galactus arrives to devour Earth, preceded by his herald the Silver Surfer (Julia Garner in the new movie). Technically, the FF do not defeat Galactus, who is far too powerful for even their abilities. Instead they chase Galactus away once Reed—with the help of the Silver Surfer and the Watcher Uatu—threatens to use a universe-ending device called the Ultimate Nullifier.

Lee and Kirby then later revealed the origin of Galactus in Thor #169 (1969), which showed that Galactus was once a scientist called Galan. Galan hales from a different reality that existed before the dawn of creation. His inventions allowed him to survive the death and rebirth of the universe but it left him cursed with the need to feed on the life-force of planets, making him into the Devourer of Worlds. Much later Fantastic Four #262 (1983) by John Byrne emphasized that Galactus is neither moral nor amoral, but is a force of nature. He must exist as part of the galactic ecology, as his world-devouring maintains a larger balance.

Of course multiple alternate universe stories have put spins on the nature of Galactus, some of which are relevant here. In Earth X (1999) by Alex Ross, Jim Kruger, and John Paul Leon, the adult Franklin Richards—Reed and Sue’s son!—becomes the new Galactus to maintain balance in the cosmos after Reed transforms Galan into a star. And in the possible future glimpsed in Jonathan Hickman and Dale Eaglesham’s stories in Fantastic Four #600 to 604 (2011-2012), the adult Franklin has made Galactus into his herald and summoned the world-devourer to battle insane Celestials. Finally, in Fantastic Four: Life Story (2021-2022), Reed spends decades preparing for the coming of Galactus, going mad and alienating his family in the process.

In short a lot of Galactus stories involve the end of the world, and the Fantastic Four don’t often stop him.

What We Can Guess About First Steps

From these known quantities, we can start to speculate on what might happen in First Steps. The title and the trailers make clear that the birth of Reed (Pedro Pascal) and Sue’s (Vanessa Kirby) son Franklin is an important part of the movie. Although we haven’t seen signs of it in the teasers, Franklin in the comics is one of the most powerful people in the universe, a mutant with the ability to create whole new realities. Thus most fans are assuming that Galactus in this film comes to Earth not just because it’s the next planet he must consume, but because the birth of Franklin is a cosmic event that requires his attention.

As in the comics, the FF are sure to fight back, but it’s hard to believe that they’ll win. The latest trailer shows the team on the surface of an alien ship, which suggests that they will have to do some exploring in response to Galactus’s coming. That tracks with the first Galactus story, and we’ll likely see the Watcher (Jeffery Wright, who voiced the character in What If…) aid in some way.

It’s certainly possible that the FF and Watcher, and probably Silver Surfer—who may mirror her comic book counterpart and turn against her master—can chase Galactus away and save the day. After all, the past few trailers have included a scene in which Reed Richards looks at the crowds and says, “We will protect you.”

But he sure doesn’t sound confident when he’s saying it. There’s a lot more conviction in Pascal’s voice when Reed says that he doesn’t know if humanity is safe. And the downbeat moments in the new trailer, which accompany images of massive machines blasting lasers into the sky (which could be some of Reed’s inventions, or they could be part of Galactus’s machines) sure make it sound like this Earth does not have much longer to go.

What This Could Mean for the First Steps

For all of those reasons, a large portion of fans online believe that the Fantastic Four will fail to save their world. Yes, the upbeat, optimistic new addition to the MCU may very well lose. The destruction of their Earth will be what sends them to 616, and the knowledge of what it’s like to lose a reality will drive their participation in the multiverse battle that is to come in Avengers: Doomsday and Avengers: Secret Wars.

That’s bleak, especially for Marvel. So there are certainly some alternative theories. One is that Franklin simply recreates the old Earth in the FF’s absence, something he’s done in the comics. Another may be that Reed and Sue, inspired by the Silver Surfer’s decision to sacrifice her life and become Galactus’ herald if he spares her world, take leave of their reality with Franklin, saving the world they love.

Neither of these responses can be understood as a victory for the FF though. Traditionally the Fantastic Four are celebrities as much as they are superheroes, something that the trailers have emphasized. If they have to leave their world and come to 616, they won’t have that status. They won’t have the uniqueness that made them special, and they won’t have the adoration that helped them cope with the strange changes their bodies experienced.

But they will have each other. And as the trailers have shown again and again, that’s what matters most.

The Fantastic Four: First Steps blasts into theaters on July 25, 2025.

Link Tank: Xbox Dives Into VR With Meta Quest 3S, Elio’s Box Office Bust, and Blade’s Future

Xbox Breaks Into VR Gaming with Meta Quest 3S

An Xbox Wire post revealed that the gaming console is partnering with Meta for a limited edition Meta Quest 3S Xbox Edition, furthering the expansion of Xbox Cloud Gaming on Meta Quest headsets. 

In what will be the first-ever limited edition release for Quest, the Meta Quest 3S Xbox Edition bundle includes: a custom 128GB Meta Quest 3S in Xbox Carbon Black and Velocity Green; matching Touch Plus controllers and a limited-edition Xbox Wireless Controller; plus, three months free access to Meta Horizon+ and Xbox Game Pass Ultimate– all for $399.99. 

Microsoft is going hard on breaking Xbox into different gaming avenues; earlier this month, it announced a new handheld device for the console. And while some critics have commented on the new VR’s screen quality– as it only has a 96-degree horizontal field of view compared to the Quest 3, which has a wider, 110-degree FOV at $500– the new console still appears to be a great bang for your buck.

“‘Over the past several years, Xbox has expanded the Xbox cloud gaming experience to more places and more players. Since the announcement of the Xbox app on Quest, our goal has been to empower more people to play their favorite games whenever and wherever they want. Today, with the Meta Quest 3S Xbox Edition, we are bringing this vision to life with a new design that celebrates Xbox’s iconic aesthetic.’”

Read more at Variety

Elio’s Box Office Flop – Why Are Original Children’s Films Tanking? 

Though Pixar is pushing for more cinematic releases rather than moving new projects straight to streaming, Elio’s latest box office flop might make them reconsider. Becoming the worst performing cinematic opening for Pixar, Elio made just $21 million at the U.S. box office following its first weekend in theaters. 

Compare that to Inside Out 2 last summer at $154 million at the box office during its opening weekend, making it 2024’s biggest worldwide film – raking in nearly $1.7 billion globally. People are beginning to notice a predictable trend playing out in the family film industry surrounding sequels and remakes post-pandemic. 

“This year, the biggest family films include A Minecraft Movie and live-action CGI remakes of Lilo & Stitch and How to Train Your Dragon. But the crashing and burning of Elio suggests that it’s much more challenging for films to succeed if they aren’t sequels, prequels, remakes, adaptations of video games, or some unholy combination of the above. When it comes to younger viewers, it seems, it’s lack of familiarity that breeds contempt.”

Read more at BBC.

Mahershala Ali Is Also Confused About What Happened With Blade 

It’s been six years since Mahershala Ali announced at San Diego Comic-Con that he would star as the titular role in Marvel’s slated Blade movie, reviving the film trilogy by David S. Goyer. Since, there have been so many unexpected setbacks to production that even Ali doesn’t know when or if the project is happening. Regardless, Ali says he’s “ready” to start production whenever the MCU gets it together. 

“‘I had my agent call Marvel and say, ‘Do you guys need any help?’ And they said, ‘We love you, but we think we’ve cracked it now, and we’re in a good place.’ And then the latest thing happened. And so no, they haven’t contacted me.”’

Read more at Forbes

Shane Gillis Set to Host the 2025 ESPY Awards 

Comedian Shane Gillis’ football career as an offensive tackle for Elon University might’ve been short-lived, but the success he’s found in his second season of Tires, a Netflix comedy, has landed him the role of emcee at the 2025 ESPY Awards

The ESPY Awards is ESPN’s annual award show, recognizing outstanding achievements in sports. In past iterations, ESPY hosts have included: Serena Williams, Steph Curry, and Peyton Manning, making Gillis a unique choice to say the least; according to ESPN’s Vice President Craig Lazarus, Gilis was actually an “easy choice to host” because he’s one of the top comedians today, and he’s a huge sports fan. Catch the 2025 ESPY Awards on July 16, at 8 p.m. ET/PT on ABC; the award show will be available for streaming the following day on Disney+, Hulu and ESPN+. 

“‘We are thrilled to work with [Shane Gillis] to create an entertaining show celebrating this year’s best moments in sports and are excited to see what he’ll do on stage.’”

Read more at The Hollywood Reporter

“It’s Akin to a Love Scene” – Eric Dane and Jensen Ackles On Countdown’s Action

Prolific TV actors Eric Dane (Grey’s Anatomy, Euphoria) and Jensen Ackles (Supernatural, The Boys) are teaming up for Amazon MGM Studios’ Countdown on Prime Video, and we’re thrilled to report that they make quite the duo as Nathan Blythe and Mark Meachum. 

The new series follows a secret task force with undercover agents from all branches of law enforcement assigned to investigate the murder of a Department of Homeland Security officer that took place in broad daylight. However, the unexpected truth seems to be far more sinister than they ever could have imagined, and now, it’s their job to save a city of millions.

To preview what fans can expect, Den of Geek had the chance to speak with the talented performers about why the project hooked them, what goes into shooting the show’s action sequences, and their characters’ evolution throughout the season. 

Congratulations on another incredible project, and to start off, without talking spoilers, the opening sequence will truly leave fans hooked. Can you tell me the first thing that hooked you when it came to the script and your characters?

Eric Dane: Huh. I love playing characters that are in the position of leadership. It’s something I don’t feel like I possess naturally, I think, and I’m not being self-deprecating. It’s just, I don’t think it’s in my DNA, but I do love playing it…

Jensen Ackles: It is. 

ED: I do love playing it.

JA: There’s a reason he’s good at it.

He is. He’s so good at it. 

ED: Thank you. I’m going to stop there.

JA: I just really like the journey this character was going on, both professionally and personally. I like the twists and the harboring of a secret of what he’s dealing with, and then trying to channel that and focus that into getting the job done. He’s like a pit bull or just somebody who doesn’t let go. I like characters that don’t have any quit in them, and are very resilient. And so, that was something that attracted me to this guy, and also the story as a whole. I like long-form storytelling, where it’s not just a case-of-the-week kind of thing. It really sets us on a journey, both personally and professionally. 

What do you think is one fact about filming action sequences that fans of the genre wouldn’t pick up on from watching?

ED: Well, just right off the bat, I think it’s a lot safer than people would think it is by watching the stunts, and that’s not only a testament to how well the stunts are pulled off, but the people who set the stage for them. I mean, some of the stuff you guys do is unbelievable to me. 

JA: I mean, yeah, it looks dangerous, and it should, but it is very safe. You know, I’d say it’s akin to a love scene. It looks very romantic, but it’s really not. It is a very choreographed dance in all aspects when you’re doing stunts. Each punch is very highly choreographed and rehearsed, and rehearsed, and rehearsed. Each kiss is choreographed – ‘I’m going to go right with my head, and then it’s going to go left after two beats.’ The safety aspect and the romantic aspect of those two types of scenes are not nearly what it looks like on camera.

ED: That was a great analogy. 

If you had to pick a word or a phrase to best describe your character’s growth throughout the season, what would you pick? 

ED: You know, I know a lot of words. I’m having a hard time coming up with one right now.

JA: Yeah, there’s a few, but I would say his contentment. I think he understands what his plight is, and he’s content in just moving forward in what his condition is. 

ED: And I think for Nathan Blythe, it’s just a practice of perseverance.

The first three episodes of Countdown will premiere June 25 on Prime Video. After that, new episodes will drop weekly, leading up to the season finale on Wednesday, September 3.

Mixtape Highlights Annapurna Interactive’s Upcoming Indie Game Titles

Among the most buzzed-about publishers at Summer Game Fest 2025 was Annapurna Interactive, which brought a whole variety of games developed by their indie partners to the show. This year, Annapurna Interactive offered more details about its cozy slice-of-life title Mixtape, developed by Beethoven & Dinosaur; unveiled its heist game Snap & Grab; developed by No Goblin, and provided a hands-on demo of its mech-action game Bounty Star; developed by DINOGOD. Den of Geek talked to some of the developers for Bounty Star and Mixtape and played an early build of Bounty Star.

In the case of DINOGOD’s sun-baked mech game, Bounty Star very much feels like a futuristic Western, as its title would suggest. The game has players control Clem, a mech pilot with a traumatic past, who lives on a remote ranch in an arid environment reminiscent of the American Southwest, taking on mercenaries jobs to get by as she tries to reconcile with incidents from her life. In addition to the mech-based combat missions, there is a base-building element to the game as Clem uses her bounties to not only upgrade and customize her mech but improve her ranch.

“I was driving through Monument Valley on the border between Arizona and Utah, realizing that it was beautiful and why wasn’t there a game set there,” recalls DINOGOD creative director and game designer Ben Ruiz about the origins of Bounty Star. “In between that drive, I was thinking of what kind of game I could put inside of here and that’s when it started to form. I love mechs and Westerns already. It was just the kind of thing that gelled really organically and quickly. A month later, I got a narrative and design document down.”

Bounty Star has all the usual hallmarks of the mech combat genre, from an array of customizations and upgrades for the machines and contract-based mission that has Clem blast through waves of unique enemy types. But it was important for Ruiz and the rest of the development team to make their game more character-driven, really honing in on Clem’s personal growth and empowerment, which is particularly noticeable in the base-building moments between combat missions as players get a chance to breathe and get to know Clem. For Ruiz, he similarly looked to real-world inspiration for creating the character and this more intimate scope than the genre is usually known for.

“I’ve known a lot of real badass tough ladies, so it’s an homage to them,” Ruiz elaborates about the inspirations and narrative drive behind the game. “That’s where the base gameplay in Bounty Star comes from, which is what it actually looks like if you’re living that life, especially out in the desert where it’s a lot harder than it would be in a city environment.”

A neo-Western that takes advantage of its southwestern-inspired setting and archetypes, Bounty Star is poised to go deeper than other mech action titles. And based on the hands-on demo we got to play of the game, the combat feels smooth and intuitive while Clem’s base and its growth reflects her arc, something that additionally sets Bounty Star from its contemporaries.

Ever since it was announced at Summer Game Fest 2024, Mixtape has been garnering a lot of buzz among the indie titles linked to the event, and the hype has only grown one year later. An early build demo available at the event offered players a better idea of what to expect from the game, from its atmospheric soundtrack including classics from The Smashing Pumpkins and Siouxsie and the Banshees. Set in the last magical moments of high school, the game has three friends embark on an adventure of youthful reckless abandon in their lush town, a slice-of-life focus that the development team loved diving into.

“It’s so enjoyable to work on because you can go into each little vignette so fresh,” declares Beethoven & Dinosaur technical director Roman Maksymyschyn. “I’m not just making a man swing a sword for 40 hours. Every time we get to make something new, you go in with fresh eyes and feel inspired to make something new and cool.”

Development partially drew from the team’s own life experiences to create this memorable, pop music-infused night on the town – complete with downhill skateboarding, evading the police, and generally enjoying the freewheeling potential of youth in its twilight moments. More than just gorgeously rendered visually and matched with engaging and immersive gameplay, these emotional moments are beautifully punctuated by the game’s soundtrack. This detail was something that Beethoven & Dinosaur were keen to deliver on with Mixtape early on in its development.

“A big part of that is that everyone on the team just really loves music, so it very much is a music-first kind of game,” Maksymyschyn says. “Even the soundtrack was largely constructed first and the story and game were built around that. Being able to use all the artistic notes, for technical people who are also interested in music, it had to really be in sync. We were able to execute something quite unique.”

A celebration of youth while evoking an era infused with nostalgia and mood while staying fresh for modern audiences, Mixtape is poised to become one of the most eagerly anticipated indie releases of the year. And based on the comments for the developers and what more we’ve seen, we can’t wait to dive into those teenage glory days when anything seemed possible.

Developed by DINOGOD and published by Annapurna Interactive, Bounty Star has a TBD release date but is slated for launch on PlayStation, Xbox, and PC. Developed by Beethoven & Dinosaur and published by Annapurna Interactive, Mixtape is set for a 2025 release on PlayStation, Xbox, and PC.

Why 28 Years Later Is So Much Better Than Most Zombie Movies and Shows

This article contains a Jimmy’s worth of spoilers for 28 Years Later!

Humans are the real monster.

That’s the realization moviegoers likely had while watching 28 Days Later back in 2002. After surviving all of the horrors of the Rage Virus that overtook England, Jim (Cillian Murphy), Selena (Naomie Harris), and Hannah (Megan Burns) arrive at a military outpost operated by a seemingly kindhearted leader (Christopher Eccleston). However, they quickly learn that the soldiers there have unpleasant plans for the women, leading to a disturbing climax in which Jim proves that he’s able to access rage without the help of any virus at all.

Director Danny Boyle and writer Alex Garland repeat the idea in their sequel 28 Years Later. Late in the movie, young Spike (Alfie Williams) takes his troubled mother Isla (Jodie Comer) deep into the mainland to find Dr. Kelson (Ralph Fiennes), who others warn is just as dangerous as the infected who surround him. However, despite his strange red appearance and the towers of bones and skulls he constructs, Kelson is the exact opposite of Eccleston’s Major West. He’s an oasis of kindness and constancy in an otherwise brutal world. He is an expert and doctor who, despite what the paranoid and distrusting rant, you can trust.

With Dr. Kelson, 28 Years Later not only pivots away from its 2002 predecessor but also from the zombie stories that have saturated popular culture.

Making Movie Monsters

28 Days Later felt like a bolt of lightening when it unleashed its rage-filled zombies into the world in 2002. Back then the zombie genre was barely shambling along, having faded from the initial boom following George Romero‘s introduction of the flesh-eating zombie in 1969’s Night of the Living Dead.

Thanks to that lull in the genre, 28 Days Later‘s final twist packed a real punch, even though it was far from original. After all, humans have out-menaced the monster in horror movies ever since the 1930s when films such as Frankenstein (1931), Freaks (1932), and King Kong (1933) ruled the movie palaces. Even within the zombie subgenre, which shifted from traditional mind-controlled creatures in films such as White Zombie (1932) to flesh-eating ghouls with George Romero’s Night of the Living Dead (1968), human characters often behaved worse than the walking dead. Just look at the unhinged, racist father in Night of the Living Dead or the bikers who invade the mall in Dawn of the Dead (1978).

However, modern zombie stories don’t have that same benefit. In that many, many zombie stories that have followed in 28 Days Later‘s footsteps: humans constantly do more damage than their mindless counterparts. The Governor (David Morrissey) and Negan (Jeffrey Dean Morgan) terrorize people on The Walking Dead (2010-2022); the citizens of Centerville, Ohio, ignore the obvious warnings in The Dead Don’t Die (2019); and couple of antisocial jerks (Ty Burrell and Mekhi Phifer) disrupt what could have been a safe haven in the 2004 Dawn of the Dead remake from Zack Snyder and James Gunn.

Thus The Last of Us feels like something of a zombie itself in its recent second season when it focuses almost exclusively on the misery surrounding Ellie (Bella Ramsey) and Abby’s (Kaitlyn Dever) missions of vengeance. As theese once normal, likable people commit increasingly greater acts of brutality, we viewers are neither shocked by their actions nor challenged by the show’s depiction of society. We’re just bored by the dull, obvious storytelling.

And that’s what makes the subversion in 28 Years Later all the more compelling.

Death to Life

At the end of 28 Years Later, Dr. Kelson drugs Spike so that he can kill Isla, burn the flesh from her bones, and present the boy with his mother’s clean skull. And it is one of the most moving acts of compassion ever committed to screen. Of course Kelson drugs Spike as much as an act of necessity as kindness. Upon examining Isla, Kelson determines that cancer has infected both her body and her brain, stripping away her cognition and identity. She chooses to die on her own terms, and Kelson agrees to help her. Knowing that Spike will fight against the decision, yet also knowing what needs to be done, Kelson (with Isla’s permission) tranquilizes the boy while he and his mother embrace one last time.

Even the decision to present the boy with his mother’s skull is one of mercy. Kelson has already talked about how each skull is just a Memento mori, not the person to whom it once belonged, and that the memory of the person is what matters. By allowing Spike to carry Isla’s skull to a prominent place in the bone temple, Kelson empowers the boy to embrace his mother’s memory and to have agency amid the chaos.

To be clear, Boyle and Garland do not present Isla’s death as a pleasant or easy thing. It still occurs in response to a horrid and debilitating disease, one made worse by the fact that the United Kingdom is quarantined from the rest of the world. The movie takes time to show the sorrow gripping both Spike and Isla, giving respect to their sadness. 28 Years Later knows that the characters live in a brutal world surrounded by death, but (to borrow a phrase from another Boyle film), the movie chooses life.

In fact, much of 28 Years Later is resolutely life-affirming. There’s the beauty of the sky when Spike and his father Jamie (Aaron Taylor-Johnson) run across the bridge from an Alpha. There’s the moment of bravery when Isla comforts an infected woman giving birth. There’s the kindness that Jamie shows Spike when the boy feels guilt over his beginner’s mistakes when shooting the infected. Heck, there’s that insane ending.

28 Years Later may have zombies, but it’s fundamentally about human beings, and it celebrates the way humans continue on even at the end of the world.

Reviving a Genre

To be sure, the humans of 28 Years Later aren’t saintly. And given the Jimmy Saville-style dress and extreme brutality of Sir Jimmy (Jack O’Connell) and his merry band, there may be a lot more person-on-person nastiness to come this January when the sequel 28 Years Later: The Bone Temple hits theaters. Yet even if the story takes a more cynical look at humanity, it’s already set itself apart from the standard zombie stories that were released between 2002 and now.

Yes, humanity can be monstrous. But it also understands that humanity can be wondrous, full of kindness and caring. It’s downright raidcal that a zombie story should remember that.

Star Wars Characters That Deserve Their Own Spinoff

It’s hard to argue for more spinoffs when so much of Star Wars has become that lately. There’s The Bad Batch, a spinoff of The Clone Wars; Ahsoka a spinoff of The Mandalorian and Star Wars: Rebels; The Book of Boba Fett also a spinoff of The Mandalorian; Obi-Wan Kenobi, a spinoff of the prequel trilogy; and Andor, a spinoff of Rogue One. And yet, as much as some of these projects may feel inaccessible to more casual fans or like pure nostalgia grabs, others like Andor prove that sometimes a spinoff can add richness to the original story. All of these narratives have a place in Star Wars lore and give more characters a chance to shine and have their stories told.

Some Star Wars characters need another chance, others have juicy backstories just waiting to be explored. Here are some characters that deserve their own spinoff.

Asajj Ventress

Asajj Ventress has had one of the most compelling arcs across Star Wars media. She was first introduced to canon in Star Wars: The Clone Wars as a Sith assassin and apprentice to Count Dooku. She was ruthless and put up quite the fight against Anakin Skywalker, Obi-Wan Kenobi, and other Jedi a number of times. Eventually she became so powerful that Palpatine ordered Dooku to kill her, and her people the Nightsisters, so that they wouldn’t be a threat to his plans. She manages to escape the genocide of her people and becomes a bounty hunter.

In the novel Dark Disciple by Christie Golden, the Jedi send Quinlan Vos undercover to get to know Ventress as part of a plot to assassinate Count Dooku. The two end up falling in love before she dies tragicallyand is laid to rest on her homeworld. But recent animated series The Bad Batch and Tales of the Underworld have found a way to bring Ventress back to life. Both of these shows have laid the groundwork for a Ventress spinoff and the redemption arc she deserves, and it doesn’t seem like her story is done yet.

Quinlan Vos

A Quinlan Vos spinoff would very likely be tied to a Ventress spinoff as their stories are still intertwined, but nonetheless would still be interesting ground to explore. Like Anakin, Quinlan Vos wasn’t a fan of the rules of the Jedi Order and was swayed to the Dark Side for a time after being captured by Count Dooku, but his love for Ventress brought him back. After losing Ventress and the Jedi Order itself soon after, Vos started The Path as a route for Force Sensitive people to escape the aftermath of Order 66. A show depicting how that came to be, especially if it involved him and Ventress reconnecting, would certainly be fun to watch. There’s still so much of their story left to explore on screen, both in the “present” and their past.

Rose and Paige Tico

The Tico sisters are important members of the Resistance during the age of the First Order. Paige sacrifices herself to help the Resistance escape the D’Qar system while Rose becomes crucial to the fight, especially after helping Finn on Canto Bight. Unfortunately, Rose was somewhat sidelined in The Rise of Skywalker, and deserves more than what the sequel trilogy gives her. She and her sister Paige would be wonderful main characters for a Resistance-focused spinoff. A series set in the aftermath of the Fall of the First Order would also be a great place for Rose to shine and let us get to know her more.

Qi’ra

Qi’ra is truly one of the best parts of Solo: A Star Wars Story and would make a compelling lead in her own series. Though the end of the film showed us that Darth Maul was the true leader of the Crimson Dawn crime syndicate at the time, Qi’ra eventually becomes the leader herself. She’s made several appearances in different Star Wars comics, but deserves her own time in the spotlight.

Like Ventress, she’s a complicated character who isn’t afraid to get her hands a little dirty to get what she wants, and Star Wars needs more women like that. Sometimes doing what it takes to survive in this galaxy means operating in the grey areas between the light and the dark side. A crime drama centered around Qi’ra’s rise to power and her work with the Crimson Dawn would be fun to watch and another way to show a more grounded level of the Star Wars universe.

Padmé Amidala

Yes, Padmé was featured pretty heavily in the prequel trilogy and in Star Wars: The Clone Wars before her death, but there’s still so much of her story to explore on screen. She, Bail Organa, and Mon Mothma were close allies in the senate, which could be a fun avenue to explore, especially in the later days of the Republic. Watching them work together to try and save democracy in the face of rising fascism isn’t a likely show for Disney+ to make right now, but then again, neither was Andor.

A show about a young Padmé would also be intriguing, as we don’t get to see much of Naboo’s cultural norms in the prequel trilogy. She was elected as Queen at a fairly young age and likely went to some of the same schools as Palpatine did when he was younger. It would be interesting to see what that was like for her and how her youth shaped her into the powerful Queen and Senator we know her to be.

Riyo Chuchi

This is probably the biggest “hear me out” on this list, but seriously, hear me out on this one. Those who have watched The Clone Wars or The Bad Batch will recognize Riyo Chuchi as the young senator of the moon Pantora. She helped Pantora improve relations with the indigenous Talz people of Orto Platonia, the planet Pantora orbits. She also became an outspoken advocate for Clone rights, especially after the Clone Wars, even going so far as to speak out against Palpatine’s plans for military expansion.

We don’t get to see much of her in either of these series, but when she does appear, it’s always part of a compelling narrative. I may be the only person that would watch a West Wing-style show about the inner workings of the Galactic Senate, but that doesn’t mean I won’t argue that Riyo Chuchi would make an incredible main character for one.

Jod Na Nawood

The first season of The Skeleton Crew may have come to an end, but we still know very little about the enigmatic space pirate Jod Na Nawood, if that’s even his real name. Jude Law toes the line between scoundrel and villain quite well in the series, and really leaves us wanting to know more about this character. A prequel series following his rise from a Force-sensitive youth to an intimidating space pirate could be an incredibly fun watch.