Even before the Disney+ series released this past December, the Percy Jackson universe seemed primed to expand with movie trilogy for the Kane Chronicles books over at Netflix. But four years after that reveal, author Rick Riordan has revealed the streamer won’t be going forward with that endeavor.
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Speaking to a curious fan on Goodreads, Riordan said Netflix ultimately decided to pass on bringing those books to the small screen, and ultimately let the project lapse in optioning hell for a few years. As a result, any studio that’d like to go ahead and make the films would have to cover preproduction costs before actually doing anything with them. It’s “not at all unusual,” according to him, and he was frank in saying all of streaming was tightening their belt and cancelling whatever they can to save money.
Even with the recent season two renewal for Percy Jackson & the Olympians, it didn’t stop Kane from getting the boot. As for the other planned spinoff for fellow universe character Magnus Chase that Riordan’s mentioned in the past, that one’s being “[held] in reserve. I don’t want to do that until I have enough bandwidth to do it properly,” he admitted, “and as you may have guessed, I’m pretty busy!”
The Kane Chronicles focus on magician siblings Carter and Sadie who, like Percy, are the descendants of gods. But where Percy and the immediate characters in his orbit come from Greek deities, the Kane siblings are descended from Narmer and Ramses the Great, and their adventures are more centered around Egyptian history and mythology. Their trilogy of books (and accompanying short stories) also have more of a YA bent than the mothership series.
With Percy already on Disney+, it wouldn’t be surprising if Disney decided to get Kane and just have the entire enterprise be under its banner. But it all depends on the future of the streaming industry and how long Disney is willing to stick with Percy Jackson to begin with.
Elon Musk has shared a new video on Saturday featuring Optimus, the robot Tesla has been working on since 2021. But anyone who tries to watch the video will immediately notice something weird. The clip of Optimus is so low quality and pixelated that it looks like it was shot on a flip-phone from two decades ago.
Mr. Tweet Fumbles Super Bowl Tweet
The new video was posted in the early morning hours of Saturday and has been viewed over 35 million times as of this writing. But the video appears to show Optimus just walking around without doing much of anything. That would have been quite impressive around 2013 or so, since it’s relatively difficult to get machines to walk like humans, but it’s not entirely clear why Musk would want the world to see Optimus walking like this.
Update, 3:58 p.m. ET: At some point in the past 30 minutes or so Elon Musk’s video was swapped out to include a higher resolution version. Curiously, tweets that have been edited will typically show a note at the bottom that says a tweet has been edited and the time it occurred, but Musk’s tweet doesn’t indicate anything has been changed.
The screenshots below show a side-by-side of what the tweet looked like before it was changed to include a higher resolution video.
Screenshot: Elon Musk / X
We’ve reached out to Twitter to see if Musk has special rules as owner of the social media platform and will update this post if we hear back. The rest of this post is being kept up for posterity.
Incremental technical achievements aside, why does this video look so terrible? We weren’t the only ones to notice the bizarrely pixelated quality, as plenty of Musk fans made jokes about the blurriness.
“Was this filmed with a potato?” one user quipped.
“Same photographer?” another X user quipped with a photo of Bigfoot.
Tesla didn’t immediately respond to questions about this new video of Optimus emailed Saturday.
Musk unveiled Optimus with an unconventional presentation in the summer of 2021 that really felt like the billionaire was desperate to hype virtually anything futuristic. Tesla’s AI Day that year didn’t feature a real robot, but rather someone dressed in a white and black suit moving around like a stereotypical robot before starting to dance a jig.
Tesla’s robot has made progress since that first jokey unveiling, but Optimus still has quite a ways to go before it can catch up to the most cutting edge robots of the 2020s. Atlas, a humanoid robot made by Boston Dynamics, started learning how to pick itself up in 2016, standing on one leg that same year, doing backflips in 2017, and achieved parkour-style jumping in 2018.
And Atlas is still making progress in ways that rival how humans actually move. Last year, the Atlas robot showed off its ability to manipulate its environment to navigate complex worksites.
Optimus has made improvements since it was first announced but it has quite a ways to go if it wants to catch up to a company like Boston Dynamics. Arguably the most impressive thing we’ve seen Optimus do is fold laundry, but if you take a close look at the video, there was a person standing just off-screen mimicking the movements. And, frankly, that’s technology that’s been possible since the 1960s.
Can Tesla develop a truly autonomous robot that can work as a household servant, just as Musk has promised? Only time will tell. But we’ve been waiting on that version of the future for over a century now. Robotics is hard. But we can certainly keep dreaming.
Last year’s Fast Xcame and went with a more muted fanfare than we typically get form the long-running franchise. In the months since its release, Universal’s been relatively mum on the series’ next installment, Fast XI, but leading man Vin Diesel is reaffirming that the film will be a definitive end for the series—and possibly give him a reason to bow out altogether.
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On Friday, he posted on Instagram about a meeting he’d had with the Fast writers and teams, wherein he really underlined that Fast XI will close the door on the series. “To say the excitement for our finale was incredibly powerful is an understatement,” he wrote. “This grand finale is not just an ending; it’s a celebration of the incredible family we’ve built together. Hope to make you proud!”
Diesel’s post serves as the first real status update on the series after he’d been sued last December by an ex-assistant for sexual battery during Fast Five’s production. Because he’salso been a producer on the films since Fast 4, it’s been a mystery as to how that suit would affect the franchise. At the time, he’d denied the allegations, but he’s largely stayed out of the spotlight—as noted by the Hollywood Reporter, last week’s American Cinematheque Awards marked his first public appearance since the suit in December.
At time of writing, Dwayne Johnson is still meant to headline another spinoff focused on his character Luke Hobbs, and it’s likely Universal will eventually resurrect the entire series after a few years. Fast XI, meanwhile, is still on scheduled to release on April 4, 2025, with the primary Fast X cast all currently set to return.
Intuitive Machines’ private lander stumbled on its way down to the lunar surface and is possibly leaning over on a rock on the Moon. The vehicle is still operational and flight engineers are working to gather more data on its less than ideal position, the company said.
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Odysseus landed on the Moon on Thursday, overcoming a glitch that jeopardized its ability to safely touch down. Although it made it to the surface, Odie’s landing was not so smooth, with the vehicle getting one of its legs caught, causing it to tip over on its side and possibly end up laying on a rock, Intuitive Machines CEO Steve Altemus revealed during a press conference on Friday.
“Yesterday we thought we were upright,” Altemus said. “When we worked through the night to get other telemetry data, we noticed that in this direction [pointing downwards] is where we’re seeing the tank residuals and so that’s what tells us with fairly certain terms the orientation of the vehicle.”
Intuitive Machines CEO Steve Altemus explaining the orientation of the vehicle. Screenshot: NASA TV
“It was a quite a spicy seven-day mission to get to the Moon,” Altemus added, and he is not wrong. Intuitive Machines was racing to the lunar surface to become the first private company to land on the Moon following a series of failures by others. In January, Astrobotic failed in its attempt to reach the Moon due to a valve issue with its Peregrine spacecraft. In April 2023, Japan’s ispace Hakuto-R M1 crashed on the lunar surface, and Israel’s SpaceIL Beresheet lander met a similar fate in April 2019.
This time around, the Moon still put up a fight. Just hours before its scheduled descent, Odysseus’ laser rangefinders, which are designed to assess the Moon’s terrain to identify a safe landing spot, malfunctioned. In order to help guide the lander to the surface, flight engineers uploaded a software patch to repurpose a secondary laser on a NASA instrument that’s on board Odysseus.
The Houston-based company seemingly broke the lunar curse with Thursday’s touchdown, despite it not being entirely perfect. With the lander on its side, it is still receiving sunlight to its horizontal solar panel, and all of its active payloads are facing away from the surface and could therefore be able to operate from the Moon, according to Altemus.
Intuitive Machines secured a faint signal from its lander but it is still waiting on more data to be downlinked from Odysseus. Some of the antennas that the lander is designed to use to communicate with Earth, however, are pointed downward, which limits the mission’s ability to transmit data.
The IM-1 mission is part of NASA’s Commercial Lunar Payload Services (CLPS) initiative, which aims to have a constant flow of private landers headed to the Moon to deliver government-owned and commercial payloads. With each private trip that launches to the Moon, NASA and its partner companies collect data to feed into the next mission.
“As landers come down, we would ideally like to have them come straight down,” Prasun Desai, deputy associate administrator of Space Technology Mission Directorate at NASA, said during the press conference. “But because there’s errors in the operations of the system, you wind up going laterally…[we’re trying to] get an understanding of that lateral movement so that the system can counteract that and zero out that lateral motion to come straight down.”
Odysseus is designed to operate on the lunar surface for around a week, or until the Sun sets on the Moon’s south polar region. Intuitive Machines is hoping that the lander’s solar panels will be able to receive enough sunlight in their current position to power the lander through the coming days.
For more spaceflight in your life, follow us on X (formerly Twitter) and bookmark Gizmodo’s dedicated Spaceflight page.
To celebrate the upcoming digital, Blu-ray, and DVD release of Poor Things, io9 attended a party inspired by the Emma Stone-starring film directed by Yorgos Lanthimos. The cinematic soiree was delightfully twisted, just like the parties Stone’s Fraken-creation Bella Baxter enjoys—complete with immersive actors portraying her role.
The mini-gala, held in Los Angeles, CA, showcased the Oscar-nominated film’s costumes, both on the wandering Bellas as well as displayed on mannequins, allowing attendees to get a close-up look at Holly Waddington’s fanciful designs. To cap the night, Dancing with the Stars’ Val Chmerkovskiy and Jenna Johnson performed their take on the film’s memorable duet between Stone and Mark Ruffalo’s characters.
Check out this gallery for a peek at the night’s fun, filled with vibes evoking the unique world of Lanthimos’ film.
Wireless customers with AT&T, Cricket Wireless, T-Mobile, and Verizon all reported outages across the country this morning. And just like clockwork, some folks online pounced on the disruption as evidence of a global conspiracy.
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Alex Jones, arguably America’s most popular conspiracy theorist, believes the telecom outage is a direct result of Chinese hackers.
“Is it a cyber attack? AT&T is being very tight-lipped,” Jones insisted in a web broadcast on Thursday in his typical “just asking questions” style.
In fact, even people who aren’t known conspiracy theorists were bringing up the apocalyptic Netflix movie Leave the World Behind, causing the title to trend on X.
“Predictive programming from the Netflix movie ‘Leave The World Behind,’” a prominent X account that shares QAnon conspiracy theories wrote on Thursday.
“No internet. No phones. No going back to normal,” the account continued, echoing the movie’s promotional tagline.
And while that really is how the movie is promoted on Netflix, there’s no evidence this outage is “predictive programming,” a term used by some conspiracy theorists to explain how speculative fiction sometimes accurately predicts events in the real world. In the real world, sometimes artists simply predict events because they’re because they’re lucky or have a good handle on things likely to happen in the future.
Leave the World Behind movie stars Julia Roberts, Ethan Hawke, and Mahershala Ali, and follows two families as they try to navigate the world after a mysterious attack, possibly by a foreign adversary, destroys modern technology like cellphone service, internet access, and TV broadcasts.
Believe it or not, the movie was already a popular movie with people who might have a screw loose. Why? It was executive produced by Barack and Michelle Obama, who have a producing deal with Netflix. The Obamas figure prominently in baseless conspiracy theories that hinge on a worldwide network of pedophiles controlling the world and that Michelle Obama is transgender. Not to mention the birther conspiracy theory, an idea that President Obama wasn’t born in the U.S. which President Donald Trump helped spread.
But it wasn’t just conspiracy theorists who were comparing this outage to Leave the World Behind. Apocalyptic movies work by tapping into our greatest fears for the future. In this case, the movie did a good job of making viewers feel like they weren’t sure what was happening. And when it’s difficult to get real information—as it obviously was for the characters in the movie—several conflicting narratives can start to spread, including rumors about who or what was actually causing the communications breakdown.
We use movies like Leave the World Behind as cultural touchstones—a shared shorthand when something scary or unjust happens. If the movie is popular enough, it makes sense and everyone instantly knows what you’re getting at, like when the Syrian refugee crisis hit Europe in 2015 and people were comparing the horrific photos that were emerging to the 2006 dystopian film Children of Men.
Other times the meaning of a film requires a lot more interpretation, like when I argued in 2018 that Bird Box, the Netflix movie starring Sandra Bullock, was the first great monster movie where the unseen horror was social media. But whether it’s Bird Box or Leave the World Behind, we clearly live in an era of incredible unease around technology. We’re all staring at our phones and other screens for hours each day and none of this “connection” is making us feel any more connected to other humans.
It’s that alienation that can drive many people further into conspiracy theories in a vicious cycle that’s enticing for its simplicity. But why would President Obama help make an entire movie about a plan to disrupt communications and then actually carry out that plan? Apparently in the minds of conspiracy theorists, guys like Obama are all villains in a James Bond movie who tell you their entire plot before they carry it out, giving the hero just enough time to save the day.
Again, there’s no evidence that anything happening with today’s telecom outage is anything but a normal service disruption. But if you start seeing hundreds of self-driving Teslas piling up with no humans inside, then you can start to worry.
Update, 9:50 p.m. ET: AT&T has released a statement to explain that today’s outage wasn’t a cyberattack.
For the past several months, Tesla has been locked in a battle of wills with the labor unions of Sweden. The company’s refusal to ratify a collective bargaining agreement with a small number of workers associated with the Swedish union IF Metall has led to boycotts by other regional unions, turning what should have been a quickly resolved dispute into an ongoing disaster for the electric car company.
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This week, yet another humiliation was visited upon the firm: An additional labor union has decided to take action against the car manufacturer, and this time the end result could be the stifling of Tesla charging stations throughout the country. The Swedish Union for Service and Communications Employees, or Seko, published a statement Wednesday, announcing it would be initiating a “sympathy” action against Tesla over its anti-union policies:
“IF Metall’s fight is also our fight. By refusing to comply with the rules of the game here in Sweden, Tesla is trying to gain a competitive advantage by giving the workers worse wages and conditions than they would have with a collective agreement. It is of course completely unacceptable. The fight that IF Metall is now taking is important for the entire Swedish collective agreement model. That is why we have chosen to issue another sympathy notice and increase the pressure on Tesla.”
The impact here could be bad for Tesla, as Seko, which does important electrical work throughout the country, has promised to halt all “planning, preparation, new connections, network expansion, service, maintenance and repairs regarding all of the car brand Tesla’s charging stations in Sweden.” Elektrek has noted that the move could stop the launch of all new Tesla Superchargers within the country.
Over the past several months, unions throughout Sweden and other parts of Europe have banded together to protect Scandinavia’s labor model from Tesla’s attempted disruption. So-called “sympathy” actions or strikes are a method by which unions not directly connected to a particular conflict can express their support and put pressure on an offending company. As a result, Tesla’s headquarters in Sweden have been subjected to a number of actions. Dock workers, electricians, postal workers, and even garbage collectors have all abandoned the company’s offices, causing serious issues for the company.
Tesla’s CEO, Elon Musk, has made it clear that he doesn’t like unions—which doesn’t make him particularly unique, as far as the billionaire-class goes. That said, Musk’s anti-union stance is particularly pronounced, even among his peers. He has repeatedly expressed his disdain for collective bargaining and, during one particularly inspired bout of rhetorical bullshit, said of organized labor: “I just don’t like anything which creates kind of a lords and peasants sort of thing”—which is an amazing statement coming from a guy whose cumulative wealth rivals that of any feudal lord in history.
Will Stancil, a man who’s made a name for himself online as a feisty defender of President Joe Biden and Democratic policies, announced Wednesday that he’s running for a seat in the Minnesota House of Representatives. But Stancil says social media platforms like X, formerly known as Twitter, aren’t going to be a very important part of his upstart campaign.
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“Well it’s out there now! Yep, I’m running for Minnesota House District 61A. More info very soon. This campaign won’t be conducted on Twitter, but if you like what I’m generally about, or like metro planning and dislike far-right extremism, here you go,” Stancil tweeted on Wednesday with a link to donate to his campaign.
Stancil, who’s doubled his follower count on X in the past year, has become a lightning rod of controversy as a staunch advocate for Biden’s re-election in November. Stancil believes Biden should get more credit for the economy, which has delivered strong growth and low unemployment. And while Stancil is often attacked from the right by bigots and other Trump-aligned malcontents, the 38-year-old also gets flak from the left for insisting many people who are upset about the U.S. economy only feel that way due to distorted media portrayals.
Reached over email late Wednesday, Stancil explained to Gizmodo what he meant by saying his campaign for the Minnesota House won’t be centered around X, the platform that’s gained him an enormous amount of attention in political circles lately.
“I just mean this is a local race, it’s going be decided by talking to neighbors, and I’m going to run it the old-fashioned way by calling people and going to doors,” Stancil wrote.
“Very few votes will be won or lost on social media at this level and my recent Twitter notoriety has essentially no bearing on my decision to run or how I’ll run it. I’ll probably tweet about it a little but if I’m doing it right I should be too busy to pay close attention to social media,” the candidate continued.
Stancil says he wants to focus his campaign on “building urban prosperity with smart housing choices” as well as supporting public education and public educators. The candidate also wants to accelerate the decarbonization of the economy, a goal that likely resonates in liberal-leaning Minneapolis, which has seen an unusually odd winter almost completely devoid of snow.
The Minnesota House District 61A covers an area just south of downtown Minneapolis and is currently represented by Frank Hornstein, a Democrat who was first elected in 2002. Hornstein’s website includes a press release dated February 16 announcing that he won’t be seeking another term in 2024.
“With this week’s start of the legislative session, I have come to the realization that it is time to reorder my life’s priorities and to pass the torch to new leadership after 22 years of legislative service,” Hornstein’s statement reads. It does not provide any details on why he’s choosing not to run.
Stancil plans to launch a campaign website, though he warns he’ll be spending a lot less time on X as he focuses on winning a seat in the next election. But we’ll believe it when we see it. Whatever you think of Stancil’s politics, there’s no denying he’s a born poster. And while posters can certainly resolve to do less posting, they find it extremely difficult to resist the siren song of retweets and little digital hearts.
Stancil’s tweet announcing his run for local office in Minnesota has received roughly 900,000 views at the time of this writing, a number that’s wildly out of proportion for the political job he seeks. And while online engagement doesn’t mean much of anything in the grand scheme of things, Stancil’s popularity online is an interesting thing to witness in an era where capturing attention valued so highly as a goal unto itself.
Minnesota’s own governor, Tim Walz, has recent tweets that have received just 27,000 views, 13,000 views, and 22,000 views respectively. Look out, Walz. If he can pull of a local win in November and establish a name for himself outside of X, Stancil might be eyeing your job next.
Earlier in the week, My Dad the Bounty Hunter creator Patrick Harpin and Yuhki Demers, a visual artist on Sony Animation’s Spider-Verse films, revealed their concept art for an animated Batman Beyond movie they’re trying to get made. They’re both fully aware nothing might come of this, and talks are still happening. But it didn’t stop said art from going viral, both because it looks really cool, and also because it’s Batman Beyond, a fan-favorite character who’s always felt like he’s within spitting distance of a big bat-break.
If you work in a creative field, you likely have to pitch something to your boss before actually starting on it. That’s particularly true in animation, and that’s doubtful to change anytime soon. But there’s something ugly, for lack of a better word, in seeing Harpin and Demers have to publicly rally for support to prove their project’s “worthy” in this way to WB. It wasn’t that long ago that we learned the studio’s executives, led by Warner Bros. Discovery CEO David Zaslav, are likely going to cancel Coyote vs. Acmewithout really considering any of the deals offered to them, or having actually seen the film. The people in charge of WB seem very anti-art in a way that makes this all come off as rather cruel, especially when folks have been so vocal about their love for Batman Beyond over the years.
Legacy superheroes have become so widespread nowadays, but Terry McGinnis was an early example of that working to great success. Separate from their love of Batman: The Animated Series, fans have had an affection for 1999-2001 animated series BatmanBeyond and Terry’s exploits as the Batman of Neo-Gotham. It wasn’t just that the show was offering a new take on the Dark Knight, it was also really good and not just coasting off the novelty of a teenager in a high-tech Batsuit. And while he briefly showed up in Justice League Unlimited, DC didn’t make any active moves to continue Terry’s story, and largely closed the book on him after JLU revealed he was Bruce’s son.
Comics-wise, Terry’s actually been doing fairly well for himself in the past decade, where he was weaved into the prime DC universe. In his recent solo runs, he’s crossed paths with more recent Batman mainstays like Damian Wayne and the Court of Owls, and he’s now at the point where he’s on his own now that Bruce is dead. Yet even with that, WB has never tried to give him a bigger presence outside of the comics: a live-acton Batman Beyond movie was junked several years ago, much like an animated one rumored in 2019. He hasn’t been revived via the animated movies that WB likes to put out three or four of every year, and he doesn’t even have a video game presence beyond being costumes for Bruce in the Lego or Arkham games.
Outside of comics, WB has always handled Batman’s supporting cast oddly. Sometimes it puts embargoes on specific characters so there can’t be multiple versions; sometimes other characters can headline shows for about half a decade or be a supporting player in the story of another, bigger Batman character. The studio constantly overcomplicates itself for no real reason, and the same is true here—it loves Batman to death, and DC’s often been at its best when animated. Harpin and Demers’ hypothetical movie checks both those boxes, and gives audiences something they’ve never seen in theaters before: Batman being a detective in the cyberpunk future is a cool idea! And again, folks have been clamoring for more Terry for years.
Image: Warner Bros. Animation
In a sane universe, a Batman Beyond movie in a Spider-Verse art style would probably be out by now. But this WB is trying to burn money and stall for time ahead of a likely buyout, so we’re watching an interesting idea by a pair of creators more than eager to work on it be held hostage. Batman Beyond isn’t owed this just because Harpin and Demers asked, or even because he’s been around for 25 years. What he’s owed is a legitimate chance to have something with him move forward with people who care about the property at the helm. But the focus on the bottom line means WB will be making moves that are more dystopian than the actual dystopia of Gotham City 2049.
Stop me if you’ve heard this before: the Bad Batch find themselves up against, and running away from, some kind of giant creature. “Why,” grunts Wrecker, the team’s beefy strongman as he huffs along, “why is there always a huge monster?” It’s a fun gag, because really, with The Bad Batch, there almost always is a huge monster. But it’s also an awkward truth of the show at large.
Bad Batch has struggled to find a balance between telling a variety of one-off stories of the week (like, say, the perpetual huge monster the ragtag clones always seem to find regardless of what their mission was) and a larger narrative with its titular heroes.
Image: Lucasfilm
It’s why, for the most part, the series and its characters have largely felt stuck in place, even as the relentless Rise of the Empire encroaches further and further on the world and surviving characters of the Clone Wars—save for Omega (Michelle Ang) and conflicted team turncoat Crosshair (Dee Bradley Baker, perpetual voice of every Star Wars clone), the team hasn’t really grown in character beyond their initial introductions. It’s also why arguably the most interesting plotlines the series has developed so far—like seeing the young Hera Syndulla and the burgeoning re-emergence of Ryloth’s resistance groups in season one, or season two’s plotline about the lack of social welfare for Clones as the Empire turns towards its Stormtrooper program—have, by and large, not involved the Batch at all. The series has mostly kept its momentum restrained, content to only barely advance its world and characters as it distracts itself with another monster of the week.
All that changes in its third and final season—which returns today on Disney+ with a three-episode premiere, the first batch of 15 episodes—even though the huge monsters are definitely still there (in the first eight episodes, provided for review, there are at least five, depending on your hugeness threshold). Coalescing around the fallout of that three-part premiere, which itself focuses on the captured Omega and Crosshair as they reconnect and endure their separate lives in the underbelly of the Empire’s mysterious cloning research facility at Mount Tantiss, The Bad Batch’s final outing takes a more serialized approach than its predecessors, deftly drawing together plot elements that have built in fits and starts over the show so far. It’s been a long time coming, and occasionally to the show’s own frustration in the past, but even as season three moves on from one story to the next, everything feels like it’s coming together to focus on one particular endgame—one with potentially huge ramifications for both the characters we’ve come to know over the course of the show and the wider connective world of Star Wars in this tumultuous time period.
Image: Lucasfilm
Everything matters here, and not simply in a quantifiable, wikiable “canon” way—it’s just that instead with this tight focus on its endgame drawing together myriad characters and stories at the nexus of Mount Tantiss and what the sinister Doctor Hemlock (Jimmi Simpson) has in store beneath its peaks, Bad Batch finally feels like it’s making effective use of the time it’s got. From the big monster action sequences, to character threads coming home to roost as the Batch reckons with the loss of Tech in season two’s climax while also dealing with the return of the lost members to its fold, season three spends its first half in service of starting to dig back into its characters in ways it rarely has so far, using the pressure cooker of its overarching scenario to really put the screws on its characters, and explore in what ways they really have changed in the long days since Order 66. Once again, this is in large part done most well through the lens of Omega and Crosshair, but this unlikely duo doesn’t just bring out the best in themselves but also draws that out in the rest of the crew, leading to some really satisfying moments of character work that feel like earned payoffs given how scattershot the series’ episodic nature has been in service of those characters in the past.
And while yes, there are some fun one-offs in these first eight episodes—a particular highlight sees Hunter and Wrecker begrudgingly team up with Fennec Shand (Ming-Na Wen) in a desperate bid for information—none of it feels necessarily “wasted,” in either distracting from the central plot or away from digging into its characters more, all weaving itself into this singular path towards Tantiss and Hemlock, again and again. It works, not just because it means we actually get to sit with our heroes and watch them develop and bounce off each other more, but because it effectively sets the stakes for the season at large as something that really matters—grand in the scheme of Star Wars itself, and The Bad Batch’s place in its timeline, but more crucially grand in terms of what matters to our heroes as people, especially.
Image: Lucasfilm
Where the show has previously struggled to make its most interesting worldbuilding personally matter to the Batch, season three marries the personal and galactic stakes together perfectly, keeping everything compelling as it ticks over from week to week. It’s a reflection of a much stronger, more confident show, one that feels like it’s finally ready to nail down the story it wants to tell with its characters and is laser focused on doing so. Time will tell if the back half of the season will effectively pick up on the strengths of its front—but The Bad Batch has set a stage brimming with potential for an incredibly satisfying end to this chapter of Star Wars animation if it sticks the landing.
Star Wars: The Bad Batch’s third and final season begins streaming on Disney+ today, February 21, with a three-episode premiere.
The first human implanted with a Neuralink brain chip can control a computer mouse with their thoughts, Elon Musk claimed in an X Spaces event Monday. The anonymous patient has recovered fully, according to Musk, after having a Neuralink chip implanted into their brain just a few weeks ago.
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“Progress is good, patient seems to have made a full recovery … and is able to control the mouse, move the mouse around the screen just by thinking,” said Musk in a conversation on X Monday night.
Neuralink is working with the patient to get as many “button presses” as possible, purely by thinking, according to Musk. These include the patient moving a mouse around, clicking, and dragging a cursor solely with their brain. There is no evidence for these claims besides what Musk is announcing in brief snippets on X, so these claims should be taken with a grain of salt. However, if true, Neuralink’s advancements would be a major step forward for technology.
In late January, Musk announced that the first human patient had received a Nueralink implant via a tweet on X. The experimental surgery installs a microchip into the top layer of a person’s skull. Musk revealed little else about the identity of the initial patient.
Neuralink’s first product is called “Telepathy,” according to Musk, and it’s specifically designed for people who have lost the use of their limbs. The cursor movement described by Musk appears to be the very first progress on Neuralink’s Telepathy.
“Imagine if Stephen Hawking could communicate faster than a speed typist or auctioneer,” said Musk in a tweet. “That is the goal.”
“Opening up the brain of a living human being to insert a device, particularly someone with serious medical problems, deserves more than a two-sentence report on what is, in effect, a proprietary social media platform not distinguished for its reliability where facts are concerned,” the Center said.
The Hastings Center noted that Neuralink has not publicly shared what it plans to do if things go wrong, nor has the company shared the findings of its animal research that justified this experiment in the first place.
Despite the novelty of this human experiment from Musk and Neuralink, we still don’t know much. The company continues to only share bits of information through Musk’s X account, which is highly unusual for the scientific community but is par for the course from Musk.
Spring break is on the horizon and with the upcoming releases of Deadpool and Wolverineas well as Godzilla x Kong,online fandom clothier RSVLTS has you covered. Its latestDeadpool andGodzilla-inspired collections have dropped online and are quickly selling out. With their signature short sleeve button-ups and polo gear, get ready for convention and movie seasons with this epic ‘fits.
Here’s a gallery highlighting the drop, which you can shop for through RSVLTS online.
Once Star Wars: The Force Awakensbrought back Luke, Han, and Leia to massive box office success, legacy sequels really started working overtime to keep the original (and available) franchise stars around when possible. Ghostbusters: Afterlife brought back the still-living Ghostbusters from the original two movies, and they’re back again alongside an also-returning Annie Potts for March’s Ghostbusters: Frozen Empire.
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Talking to SFX Magazine, director Gil Kenan promised the fifth film will do right by the original cast by having them be actual characters. Some legacy sequels bring back the older stars just to collect a paycheck, but Kenan promised the veterans would be “more fully fleshed out” here. “We had a duty to make those legendary characters integral to this story.”
Kenan co-wrote both Afterlife and Frozen Empire with Jason Reitman (who directed the former). As a fan of the series, having Winston, Venkman, and Ray show up in Afterlife was “really thrilling,” because he felt the film “redefine itself” with their arrival. “[They]grew and became more fully fleshed out in a way that speaks to the promise of the original Ghostbusters and Ghostbusters 2,” said Kenan. “There’s a direct line from there into who they are now and how they act here in our new story.”
Afterlife was dinged for overly relying on fan service, a criticism that’s stuck to Frozen Empire with some of its marketing so far. If the new film is going to have more to offer than seeing the original cast suit up One Last Time (again), hopefully that’s better conveyed so audiences know what to expect.
Ghostbusters: Frozen Empire releases in theaters on March 22.
The CW’s Arrowverse was once the talk of the superhero town, and arguably DC’s more successful live-action venture in the 2010s. But in recent years, the network’s superhero outings have all been shuttered, with Superman & Lois standing as the last Arrowverse hurrah for one more season.
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In a recent interview with TheWrap, CW’s entertainment president Brad Schwartz and overall company president Dennis Miller talked about keeping some shows from the old regime. Superman & Lois has apparently performed quite well in previous seasons, but it was allegedly Warner Bros.’ call to cap it at four seasons. “They don’t want a competing Superman product in the marketplace,” Schwartz explained, effectively laying the blame for the show’s end at 2025’s Superman: Legacyfrom James Gunn.
This isn’t the first time the Arrowverse has been put in this position: WB asked Arrow’s creators to put in several Suicide Squad regulars like Deadshot and Amanda Waller in its show to get audiences used to them before their silver screen debut. The show was also apparently keen to do something with Harley Quinn, but those plans had to be junked once she was a principal lead in the film. Both Deadshot and Waller, along with Katana, were killed off or disappeared. The same was true of Deathstroke, who was a recurring character on the show: when it seemed like he’d be getting a solo movie (or be the villain in a planned solo movie for Ben Affleck’s Batman), Arrow’s Deathstroke had to walk into the mist, never to be seen again.
It’s a weird situation DC has put the Arrowverse in, least of all because it let Grant Gustin’s version of the Flash stick around for Ezra Miller’s (possible) entire tenure as the Flash in the movies. Batman’s also been fairly exempt from this rule, since Gotham was on during Affleck’s Bat-tenure, and Robert Pattinson’s version is getting to co-exist with the evental Bats who’ll headline The Brave & the Bold.
However, it’s also worth noting that the new CW regime is about saving (and eventually making) money lost by the old bosses. Schwartz even admitted when he and Miller came onboard, the network had “lost a lot of money.” And like WB Discovery, it’s in a penny-pinching move: Superman & Loishas had to dump several longtime series regulars and writers for its final season, and the episode count has been slimmed down from a standard 13-15 range to just 10. Schwartz similarly told TheWrap other veteran shows like All American and Walker will stick around on the network…as long as their budgets stay relatively the same.
Either way, four seasons is a solid run for any show, and getting too long in the tooth has long been an issue with the medium (especially ones on this network). It’s not ideal, but at least Superman & Lois gets to go out on its own terms and deliver as much of an ending as it can.
Image: Francois G. Durand/Getty Images (Getty Images)
There’ve been a lot of versions of Dracula running around in pop culture. Within the past decade, he’s been on a boat, ran a hotel, and been incredibly depressed after his wife was murdered, and we eat it up (almost) every time. Folks love themselves some Drac, and you can count Luc Besson among them, because he’s be cooking up a Dracula movie of his own.
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Per Variety, the Valerian director will direct an adaptation of the 1897 Bram Stoker novel. Titled Dracula – A Love Tale, the upcoming film is being billed as a “big-budget reimagining” that functions as an origin story for the Prince of Darkness. Caleb Landry Jones, who’s already worked with Besson on 2023’s DogMan, will play 15th century Prince Vladimir, who becomes a vampire after cursing God for the death of his wife. Centuries later in 19th century London, he discovers a woman who looks just like his lost love and makes her the object of his affection obsession.
At present, Jones is only joined by Christoph Waltz, though it’s unclear what role the No Time to Die actor will have in the story. Deadline further reports other “buzzy” cast members are being talked to for key roles, and the film will lean more into the gothic romance elements of the character.
The next few years are going to big for fans of classic horror icons. Along with Universal’s Abigailin April (a reimagining of the studio’s 1936 film Dracula’s Daughter), Robert Eggers has his own Dracula movie in Nosferatu, which is expected to drop sometime this year. Maggie Gyllenhaal is doing a Bride of Frankenstein movie as Guillermo del Toro handles a separate Frankenstein adaptation, and a Wolf Man movie from Leigh Whannell is currently set to launch in October.
If you’ve ever wanted to become fully immersed in the world of John Wick, Lionsgate has got you covered. Later this year, the action franchise is getting an “immersive and interactive” tourist attraction in Las Vegas.
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Per the press release, the John Wick Experience was made in collaboration with series director Chad Stahelski and his production company 87Eleven. The i12,000 square ft. exhibit on the city’s AREA15 campus have visitors “navigate a high stakes adventure as well as visit a themed bar and retail shop open to the general public.” Guests will be given specific missions that involve characters and iconography from the films. They’ll also brush shoulders with Continental staff, crime bosses, and other assassins who (presumably) didn’t get on Wick’s bad side at any point in the films, all in the name of getting access to private Continental areas and learning juicy secrets.
Jenefer Brown, Lionsgate’s executive VP for global products, said a Wick experience felt like a natural move for a series built on “a whole world of alliances and vengeance hiding in plain sight. […] This experience draws fans into that world like never before, and AREA15 is an ideal place for fans to live out the fantasy, action and danger portrayed in the films.”
In 2018, Lionsgate launched a Saw-themed escape room in Vegas, and one for Blair Witch in 2021. The studio has experience with theme park attractions, and Wick is an admitted fit for the ever-expanding concept. And it also helps keep the franchise in folks’ minds as Lionsgate tries to whip up a future for the larger franchise, including a potential fifth mainline movie and a video game.
Adaptations can be tricky, particularly when the source material is animated. More often than not, they’re reviled upon reveal, because they often feel like they’re going through the motions or twisting the original thing into something it’s not. It can be a dismal prospect to see something you grew up with lose its identity, and things get even worse when you can’t really let it go.
How The Last Airbender Inspired Lisette Olivera
Last weekend, I watched The Last Airbender, M. Night Shyamalan’s 2010 adaptation of Nickelodeon’s Avatar series. I’d made an active choice to avoid the movie back then, largely because the cast was whitewashed as hell. And beyond catching the last 15 minutes on TV forever ago, I hadn’t ever seen the full thing. Now that I’ve done so, after years of hearing it described as the worst thing ever… it’s just a mediocre adaptation. There’s nothing remarkable about it being bad, other than how it sucking was definitive for an entire generation of kids. To be honest, I was a little disappointed it wasn’t actively worse, but then I started to think about why the movie and its badness stuck around in audiences’ minds for so long.
In the mid and late-2000s, studios were trying to anything that could possibly strike with the same impact as Harry Potter movies. At the time, films based on kids books like Eragon and The Spiderwick Chronicles did okay or fizzled out, and while Dragonball Evolution hurt anime’s Hollywood aspirations for a decade, the medium wasn’t quite a juggernaut yet. The original Avatar show arrived at the right time in 2005: it looked enough like anime to stand out, but came without having any of the negative baggage attached to anime back then. And what made it feel even more special back then was how it was actively aging up with its audience, something cartoons weren’t really doing at the time.
Image: Paramount
Avatar was a show for 11-year-olds, and it was formative in the way good shows often are when they hit you at the right moment. TheLast Airbender movie was very clearly aimed at fans of the show, which had wrapped in 2008. Two years was just long enough for some wistfulness for the original show to kick in… which made it all the more heartbreaking that the movie just blows. Whatever small bright spots it has, like Dev Patel and Aasif Mandvi being the only ones trying to give performances as Zuko and Zhao, are quickly overwhelmed by a film that makes it clear from the jump it’s going to be a stinker.
Condensing a 20-episode series into a film was never going to be easy, and it’d be foolish to think the movie was going to get as much in as possible. But it’s still pretty startling to see this movie adapt a handful episodes and leave it at that—something made worse by how half-hearted the effort feels. The “best” of the bunch is really only the assault on the Northern Water Tribe toward the very end, and that’s really only because the movie does a decent job at giving Aang’s waterbending big tidal wave a sense of scale. (But even that doesn’t hit the same as the giant water kaiju in the finale of the show.)
In that sense, I can get why series creators Bryan Konietzko and Michael Dante DiMartino would align with Netflix to take another live-action stab at their own work. (After a split from Netflix due to “creative differences,” they headed to Nickelodeon to head up Avatar Studios, where they’re developing an Avatar animated film, among other projects.) As for the general public, it feels weird to still give the 2010 film oxygen; at its best, Netflix’s upcoming live-action take on the material—an eight-episode series made without Konietzko and DiMartino, and arriving on the streamer February 22—can really only make us go “well, it’s better than the last one.” But the larger Avatar series pretty much recovered from it around the third season of Legend of Korra, and it’s not like this is ever going to get a reexamination like the Star Wars prequels or several pre-MCU Marvel movies from Fox.
The Last Airbender’s biggest fault was how much it didn’t really do right by the source material or even have its own novel spin on things to distract from what it lacked. As an adaptation, it commits the cardinal sin of existing for its own sake and not being additive in any real way. Overall, it’s just dull and annoying—but not enough to hold a 14-year grudge.
I don’t like big phones. They are cumbersome to carry, they don’t fit into most of my size of pockets or purses, and I’m constantly dropping them. I wasn’t made for larger phones. But I can’t deny that they have their advantages. The bigger the phone you go, the longer the battery you’ll have so you can watch TV and chortle on the train. Plus, most of the latest large phones have extra photography capabilities you won’t get with a small phone, like the ability to zoom in at a farther distance.
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Bigger phones also cost more, which can drag if you’re on a budget. So be strategic: if you go for a device with more display, you should know what the rest of the phone can do for you. Not all mega-phones are created equal—some are better at taking photos, while others exist simply for multitasking. If you’re not penny-pinching, you might also consider the latest large foldables, some of which are now offered with a discount that makes them easier to afford than when they initially debuted. Here’s what the big phone market looks like, including the ones that fold into tablets.
This year’s phones are some of the biggest they’ve ever been, though Samsung’s Galaxy S24 Ultra has the largest display as a traditional smartphone—it’s a 6.9-inch Super AMOLED display compared to, say, the iPhone 15 Pro Max’s 6.7-inch Super Retina XDR OLED display. Part of that extra screen on the Ultra makes it possible to enjoy the stowed S Pen on the bottom, which also acts as a camera remote for when you’re taking selfies from afar—I use it all the time to snap pictures of myself on my walks. How else would I prove that I take them?
The iPhone 15 Pro Max is another big phone favorite. There’s a bit more width to the Pro Max than the OnePlus 12, a narrow type of smartphone. You also get the added benefit of its three-tiered camera system and larger battery. One advantage to this big phone compared to an Android offering is the built-in Emergency SOS and Roadside Assistance via satellite offerings, which are nice to have when life gets unexpectedly perilous.
If the Pro Max’s $1,200 starting price range is a little steep and you want to stay on iOS, the iPhone 15 Plus is just as worthy. It also has a 6.7-inch display with a spectrum of pastel offerings.
The front of the OnePlus 12 is a 6.8-inch QHD+ display with up to 4,500 nits brightness in direct sunlight.Photo: Florence Ion / Gizmodo
If you’re considering carrying around this much product, you might as well get something with the best battery life. For Android users, that’s the OnePlus 12. It was the longest-lasting Android device in Gizmodo’s battery benchmarks. The OnePlus 12 is a 6.8-inch device with 16GB of RAM and a whopping 5,400 mAh battery—that’s how it managed up to 27 hours and 43 minutes of battery in our rundown tests.
Apple’s iPhone 15 Pro Max has the next best battery offering with 25 hours, followed by the newest Galaxy S24 Ultra with 23 hours and 22 minutes. Apple and Samsung devices have both been pretty steady about battery life. Your mileage will undoubtedly vary depending on how you use the devices. Our tests determine how long the phones last on screen for extended periods at around 200 nits.
How far do you want to zoom in? If you don’t mind a ton of algorithmic help, the Galaxy S24 Ultra’s four-part camera system can manage up to 100x digital zoom. If you need to peep at something too far away or too high up, that’s where the telephoto can help. It’s also nice to have different framing options offered by the Ultra’s varying focal lengths. The Ultra is capable of up to 5x optical zoom on its secondary 50-MP camera and up to 3x optical zoom on its tertiary 10-MP telephoto camera.
The iPhone 15 Pro Max has telephoto lenses that stick out and can manage up to 5x optical zoom.Photo: Florence Ion / Gizmodo
Apple’s iPhone 15 Pro Max and Pixel 8 Pro can also zoom in from far away. Both phones max out at 5x optical zoom, though the iPhone 15 Pro Max can handle up to 25x digital zoom and the Pixel 8 Pro up to 30x with “Super Res Zoom.”
I said that I don’t like big phones. But I adore the large folding ones because you can fold them up and put them into something else when you are not using the screen. I’ve shared my thoughts on Samsung’s Galaxy Z Fold 5 in our full review, and my opinion has remained largely the same: they are still too expensive to justify outright. That said, whenever I pick up the Z Fold 5, I am reminded of its utility as a tablet on the go.
Foldables are a great way to get a big phone that can fold up and disappear. Photo: Florence Ion / Gizmodo
The Z Fold 5 has other things going for it besides its 7.6-inch inner display. If you intend to use it like a tablet, you can buy an S Pen to unlock a few extra features. (Though I would recommend toting the S Pen around some other way than the official Slim Case because it falls out periodically.) There’s also a triple-lens camera system, plus up to 3x optical zoom.
OnePlus became a contender in the foldable game when it launched the OnePlus Open, one of the best foldables we reviewed last year after the Z Fold 5. There’s plenty to like about it: a solid hinge, a screen with no discernable crease, and a UI that is quite good at handling the multi-app experience of the inside screen. It even has 16GB of RAM, a hefty amount for a device with many screens.
Also, if you like to type with both thumbs and that’s why you’re looking to adopt a larger device, the foldable is the way to go. I’ve found it much faster at typing two-handed than the iPhone 15 Pro Max or Galaxy S24 Ultra.
Circle to Search can be used with the built-in S Pen on the Galaxy S24 Ultra.Photo: Florence Ion / Gizmodo
AI is a thing in this day and age, so we might as well lean in. Android is better suited for the so-called “AI future,” as it waves the freak flag for all to see. Apple’s approach is much more subdued, with its AI offerings sprinkled throughout iOS and the rest of the well-tended walled garden.
If you want to be on the equivalent of the cutting edge, then sign up for life with the Pixel 8 Pro. It’s the flagship from Google, which means it will be the device that showcases what Google’s AI smarts can do. One of our favorite features, Circle to Search, is limited to Google’s latest, anyway, and the Galaxy S24 Ultra. But it’s hard to tell how much feature parity Samsung’s Galaxy AI will have with Google’s Pixel hardware going forward.
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Amazingly though, Godzilla himself is probably the least impressive visual effect in the entire movie. A new video released by Toho pulls back the curtain on the film’s Oscar-nominated visual effects which, yes, includes Godzilla. But also shows the incredible ways the team achieved all the water sequences, recreated old cities, and more. Plus, the video breaks down how all of this was achieved by fewer people than a Marvel movie probably has preparing its food. Check it out.
The Visual Effects of Godzilla Minus One
So, again, while Godzilla certainly looks awesome in the movie thanks to the team’s VFX, I watched this and was fascinated to see how everything else was achieved. How all of the ships were created using just one small set. How the actors themselves had to sway back and forth to simulate the waves. Just how little was shot practically of the crowd scenes compared to what we see in the movie.
Plus, the brief scenes inside the offices of director Takashi Yamazaki scooting around while everyone worked are just plain delightful. Even if those were captured after the fact, which they almost certainly were, the way it conveys the size of the team and streamlining of the process is a nice little window into the filmmaking process.
Godzilla Minus One, io9’s choice for best genre film of 2023, is still playing in some theaters. Fingers crossed we can get our hands on a physical copy sooner rather than later.
Smile 2 rounds out its cast. M3GAN 2.0 is going to take a lot longer to come out than planned. Simu Liu is teaming up with James Wan for a new sci-fi series. Doctor Who teases a mysterious new alien. Plus, what to expect on the rest of Halo season 2. To me, my spoilers!
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Smile 2
Deadline reports Raúl Castillo (Cassandro) and Miles Gutierrez-Riley (The Wilds) have joined the cast of Smile 2 in currently undisclosed roles.
Relapse
Variety has word Joseph Quinn (Fantastic Four, Stranger Things) will star in Relapse, an “elevated horror film” directed by novelist Bret Easton Ellis. Quinn will play Matt Cullen, a man “who checks into rehab after witnessing a horrific death during a debauched party. Three months later, he is set to get his life back together, staying at his parent’s mansion in the hills of Los Angeles. But things have changed around Matt and everything seems off balance. Fueled by his unstable personality and the invading power of social media, Matt’s paranoia grows, messing up with his rehabilitation program. As he starts using again, a mysterious presence starts growing around Matt, and a monster that has been haunting him since he was a teenager reveals itself. His therapist tries to help, convinced that the monster is actually in Matt’s head.”
The First Omen
According to Bloody-Disgusting, The First Omen has been rated “R” for “violent content, grisly/disturbing images, and brief graphic nudity.”
Abigail
Bloody-Disgusting additionally reports Abigail has also been rated “R” for “strong bloody violence and gore throughout, pervasive language and brief drug use.”
M3GAN 2.0
M3GAN 2.0 has been pushed back four months and will now reach theaters on May 16, 2025.
A demon named Calypso wants the soul of an Afghanistan war veteran-turned-actor in the gory, likely NSFW trailer for Laugh.
Laugh – Teaser Trailer
Untitled Simu Liu Series
TV Line reports Peacock has handed a straight-to-series order to an untiled “sci-fi thriller” starring Simu Liu. Produced by James Wan, the story is said to follow Liu as “an intelligence analyst who realizes his brain has been hacked, giving the perpetrators access to everything he sees and hears. Caught between his shadowy agency and the unknown hackers, he must maintain a performance 24/7 to flush out who’s responsible and prove where his allegiance lies.”
Bewitched
Deadline also has word a reboot of Bewitched from The Boys writer, Judalina Neira, is now in development at Sony Pictures TV.
Star Trek: Legacy
During a recent interview with Trek Movie, Terry Matalas confirmed there have still been no discussions with Paramount about developing his proposed Star Trek series.
There’s not. They have Star Trek that they are making and they only have so much money and streaming space. There’s currently not, but we’re looking forward to whatever the Star Trek universe brings … and never say never.
SurrealEstate/Reginald the Vampire/The Ark
According to TV Line, Syfy has renewed SurrealEstate, Reginald the Vampire and The Ark for new seasons.
Chucky
TV Line additionally reports the second half of Chucky’s third season will premiere Wednesday, April 10, at 10/9c on USA and Syfy.
Doctor Who
The BBC has shared Russell T. Davies’ audition script for the role of Fifteenth Doctor introducing the “Spikes” — a spiky, yet-to-be-seen monster said to be intense thoughts brought to life.
Quantum Leap
Ben leaps into the bodies of a Baltimore firefighter and a 1970’s race car driver in the trailer for next week’s two-part season finale of Quantum Leap.
Quantum Leap 2×12 “As the World Burns” / 2×13 “Against Time” Promo (HD) Season Finale
Halo
Finally, Paramount+ has released a new “this season on…” trailer for the second season of Halo.
