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  • Meredith Salenger on Barriss’ Big Moment in Tales of the Empire

    Meredith Salenger on Barriss’ Big Moment in Tales of the Empire

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    As Tales of the Empire digs its way through the story of Barriss Offee—and her quest to survive the rise of the Empire, at any cost—there comes a moment that climaxes a decade-plus wait for fans who’ve wanted to see what happened to the former Jedi Padawan after the shocking conclusion of her story in Clone Wars. It’s a moment long in the making, and one that was crucial to the actress behind her as well.

    That moment comes at the climax of the second of Barriss’ three episodes in Tales of the Empire, “Realization.” Having already accepted—and survived—the offer of joining the new Imperial Inquisitorius after the Republic’s fall, while on a mission to hunt down a Jedi in hiding alongside the Fourth Sister (Rya Kihlstedt), Barriss is horrified by the Inquistors’ violence and chooses to go rogue herself, flinging the Fourth Sister off a cliff face with a push of the Force, and throwing her own helmet down with her.

    In the next episode, “The Way Out,” we meet Barriss as we’ve never had the chance to see her before. An undisclosed number of years later, she has had the chance to live and grow older. She’s cut her hair, and on a distant, icy world, she has become a spiritual healer, a wise woman who cures and advises the people who seek her in need. It’s a huge moment, not just to see Barriss flourish and thrive, but to see her committed to the the ideal of the Jedi—the ideal she’d so fiercely believe the Order had fallen away from in its participation in the Clone War—and become someone who knows when to fight and when to offer an open hand. She’s a long way from being a young woman so shocked and horrified by what she saw the Order becoming, her only response to its participation in interstellar war could be violence in kind. And for Meredith Salenger—who has thought about the choices Barriss made in Clone Wars for as long as fans have—it was a powerful moment to be a part of.

    Image for article titled Meredith Salenger on Barriss' Big Moment in Tales of the Empire

    Screenshot: Lucasfilm

    “I mean, I think it’s like in life—as you go through your life, when you’re a teenager you’ve got this energy to fight, to become combative, and I think for Barriss, she was always so… methodical and conservative in her training and wanting to do the right thing, playing everything by the book,” Salenger recently told io9 about getting to see Barriss grow and become the wise woman we meet in “The Way Out.” “I think as you grow and learn, and as you get older, Barriss makes mistakes—wanting to do things the way they’re done—but all of it can only change if there is an underlying love for everyone and wanting to shift people’s perspectives to being more caring and more healing. Instead of doing this by violence, let’s do it by changing people’ hearts and minds and showing compassion. Helping.”

    It’s a shift in perspective that gives Barriss an opportunity to be explored further in Star Wars’ future. In a mirror to the climax of “Realization,” when the Fourth Sister finally tracks Barriss down for her betrayal, their encounter culminates with the former accidentally managing to stab the later—and in doing so realizing that Barriss’ pleas to her to change and see a new path were possible. Tales of the Empire concludes with the Fourth Sister, reclaiming her former identity as Lyn Rakish, carrying a wounded—but seemingly still alive—Barriss to aid. It was a long time coming, but at last, Star Wars fans got to see what became of the wayward Padawan… and how she became a Jedi far beyond anything the Order she grew disillusioned with could imagine.

    Star Wars: Tales of the Empire is streaming on Disney+.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    James Whitbrook

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  • X-Men ’97’s New Costumes Go Back to the ’80s

    X-Men ’97’s New Costumes Go Back to the ’80s

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    Image: Disney+

    The wait is almost over. X-Men ‘97‘s three-part finale continues tomorrow when “Tolerance Is Extinction, Pt. 2” drops on Disney+.

    Marvel’s animated series has continued the tales of the X-Men from the ‘90s cartoon, adding in timely relevance with great aplomb. Here’s a short tease of the next installment, featuring a fashion shake-up as well as more hints about the story, which finds humanity needing to trust in the X-Men once more. As tends to be the case, they may be the best hope the world has to survive.

    Marvel Animation’s X-Men ‘97 | Official Clip ‘Trust In The X-Men’ | Disney+

    To avoid early anxiety about what is actually going to happen in the next episode, let’s just geek out for a moment about the costumes here. We see Jean reach for her mask without her Dolly Parton-sized wig, Wolverine grab his red-tinged gloves, Storm put on her crown, and Cyclops don his visor. We see you, Marvel: using the old costumes for the main team from the 1980s Uncanny X-Men era. It’s just really cool to see the show pay homage to the comics and iconography in this way.

    Image for article titled X-Men '97's New Costumes Go Back to the '80s

    Image: Disney+

    “Tolerence Is Extinction, Pt. 2,” the second piece of X-Men ‘97‘s three-part finale, starts streaming May 8 only on Disney+.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Sabina Graves

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  • Hey, Vin Diesel’s New Riddick Movie Is Really Happening

    Hey, Vin Diesel’s New Riddick Movie Is Really Happening

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    Riddick (2013)
    Image: Universal Pictures

    It’s been over a decade since we last caught up with Vin Diesel’s sci-fi antihero Richard B. Riddick—Diesel’s been spending most of his time voicing Marvel’s Groot and doing Fast & Furious movies—but it’s time to dig those goggles out of storage. The fourth film in the series, titled Riddick: Furya, is officially on the way.

    This isn’t the first time we’re hearing about Furya; over a year ago, it was reported that Diesel was planning to re-team with writer-director David Twohy, who co-wrote and directed 2000’s Pitch Black, and wrote and directed 2004’s The Chronicles of Riddick and 2013’s Riddick. At the time, a press release described the film as “a return to Riddick’s homeworld, where we finally get to explore Riddick’s genesis.”

    Today’s update, reported in Deadline, affirms it’s full speed ahead for the sci-fi sequel, which begins production in late August. The description remains virtually the same as the one we already knew: “In Riddick: Furya, Riddick finally returns to his home world, a place he barely remembers and one he fears might be left in ruins. But there he finds other Furyans fighting for their existence against a new monster. And some of these Furyans are more like Riddick than he could have ever imagined.”

    Are you looking forward to seeing Diesel return to the role of Riddick? Will there be anything as bonkers in Furya as Judi Dench’s cameo in The Chronicles of Riddick? Share your thoughts below.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Cheryl Eddy

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  • Watch Live: Boeing’s Nail-Biting First Crewed Launch Attempt to the ISS

    Watch Live: Boeing’s Nail-Biting First Crewed Launch Attempt to the ISS

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    It’s been over a decade in the making, but Boeing is finally ready to launch its first crewed test flight to the International Space Station (ISS) as part of its agreement with NASA.

    Boeing Starliner spacecraft is set for launch on Monday at 10:34 p.m. ET from Cape Canaveral Space Force Station in Florida. The crew capsule will ride atop United Launch Alliance’s Atlas V rocket, carrying NASA astronauts Butch Wilmore and Suni Williams to the space station and back.

    NASA will broadcast the launch live on its website and the space agency’s YouTube channel, and you can also tune in through the feed below. The launch coverage will begin at 6:30 p.m. ET.

    NASA’s Boeing Starliner Crew Flight Test Launch

    Boeing’s Crewed Flight Test is part of NASA’s Commercial Crew Program, and is meant to transport crew and cargo to and from the ISS under a $4.3 billion contract with the space agency. NASA’s other commercial partner, SpaceX, just launched its eighth crew to the space station.

    It’s been a rough journey for Boeing to make it to this point. Starliner’s first uncrewed test flight in 2019 managed to reach space, but a software automation glitch caused the spacecraft to burn excess fuel, preventing it from making it to the ISS. Starliner miscalculated its location in space due to a glitch caused by a faulty mission elapsed timer.

    The botched first flight prompted NASA to call for a second test flight of the empty spacecraft before a crew rides on board. In May 2022, Boeing completed the Orbital Flight Test-2 (OFT-2), the second uncrewed test flight of Starliner, setting the stage for a crewed test flight. But OFT-2 suffered a few hiccups, including the failure of a thruster used for orbital maneuvering.

    Boeing’s crewed Starliner launch was initially set for February 2023, then postponed to late April, and finally rescheduled for July 21, 2023. A few weeks before liftoff, however, the company announced that it was standing down from the launch attempt to address newfound issues with the crew vehicle.

    The program has suffered from a slew of problems and delays from the start, which makes Monday’s launch an absolute nail-biter.

    For more spaceflight in your life, follow us on X and bookmark Gizmodo’s dedicated Spaceflight page.

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    Passant Rabie

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  • Fall Guy and Phantom Menace’s Muted Opens Kick Off the Summer Season

    Fall Guy and Phantom Menace’s Muted Opens Kick Off the Summer Season

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    Image: Universal Pictures

    Last summer was pretty packed with big movies, from the likes of Guardians of the Galaxy Vol. 3 to Across the Spider-Verse and Barbie. 2024’s summer movie season began this weekend with The Fall Guy and a re-release of Star Wars: The Phantom Menace. With two throwback movies coming out in the same weekend—one based on an old ‘80s TV show and the other that first released in ‘99—you’d think we were in for another big summer, but so far, things aren’t hitting quite as hard in terms of box office.

    Individually, those two movies did fairly solid: Fall Guy (headlined by Ryan Gosling and Emily Blunt) ended up with $65.4 million worldwide, with $28.5 million of it coming from North America. While it fell just shy of initial projections of $30-40 million domestically, it’s still got pretty good reviews, and word of mouth may help get it across the finish line. In second place came Phantom with $8.1 million for North America and $14.5 million overall. A growing prequel fondness goes a decent way, as does attaching a preview of June’s The Acolyte series for Disney+.

    But in Fall Guy’s case, its opening numbers mark a sharp falloff (heh) from that of 2023 and 2022. In both instances, Marvel kicked things off: Guardians opened last year on May 5 to $118.4 million, and Doctor Strange 2 saw $187.4 millon. Deadpool & Wolverine was once meant to come out this weekend as well alongside Fall Guy, but production was suspended that July due to the strikes, and it had just over a month’s worth of shooting left. So with no Marvel movie taking up a May slot as per usual, this year’s numbers are down by 53% (for 2022) and 66% (2022), making for what Variety called the softest start for summer movies in around 15 years.

    Looking ahead, the rest of May is well-stocked with blockbusters. Kingdom of the Planet of the Apes releases next week with strong buzz behind it, followed by The Strangers: Chapter One and If on May 17. Furiosa will close things out on May 24, riding right into Memorial Day weekend. Come June 7, that first weekend’s packed with three big movies: Will Smith and Martin Lawrence return with Bad Boys: Ride or Die, the Shyamalan family trot out The Watchers, and Russell Crowe returns to horror with The Exorcism.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • X-Men ’97 May Set Up a War With the Avengers

    X-Men ’97 May Set Up a War With the Avengers

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    Like the original series, X-Men ‘97 has been adapting a variety of comic book storylines from the 90s. Thus far, the likes of Inferno, The Trial of Magneto, and Grant Morrison and Frank Quietly’s New X-Men run have been brought to life, with varying levels of time and success. The show has a lot of stories it can tell, and one of them may bring the team in conflict with Earth’s Mightiest Heroes.

    Speaking to ComicBook, Ross Marquand (who voices Professor X) indicated there was a “real chance” the show gets to adapt Avengers vs. X-Men. Speaking to Captain America’s appearance in the seventh episode “Bright Eyes,” Marquand noted how it could be the first step toward adapting that storyline. “[Rogue] threw [his shield] in the side of a snowy mountain,” he said. “He ain’t gonna find that shield. It’s not like Mjolnir where you can just like pull it back, it’s stuck in that thing. He’s gonna be pissed at Rogue for a while.”

    Released in 2012, the Avengers vs. X-Men storyline—from writers and artists like Brian Michael Bendis, Jonathan Hickman, Matt Fraction, Adam Kubert, and Olivier Coipel—was arguably the last big event before Marvel went into its MCU synergy phase. Like the title implies, the two teams went to war over the returning Phoenix Force, which eventually split itself into five pieces that bond with Colossus, Magik, Emma Frost, Namor, and Cyclops. Things eventually end with the Phoenix Force restoring the then-dwindling mutant population, Cyclops as a mutant revolutionary, and Cap forming the Uncanny Avengers to mend fences with mutants.

    What makes a potential adaptation interesting in the context of X-Men ‘97 is that it’d how, by design, the X-Men’s POV would take center stage instead of the Avengers like in the comics. The show’s shown how characters like Rogue and Cyclops are fed up with how mutants are currently treated, and how Cap’s “by the book” approach with violent acts against them is unacceptable. If anything, its version of the storyline would be titled X-Men vs. Avengers, and make whatever the late 90s/early 2000s version of the Avengers out to only stick their neck of mutants if they get to look good.

    AvX is a big story, and it’d probably be easier (and more fun) to pull off in animation than the movies. Recent episodes have had no problem showing that characters like Scott and Magneto are right in their anger and actions, and one can imagine that it’d find an interesting way to present those viewpoints (and those who are swayed to their side) when they’re influenced by the ever-corrupting power of the Phoenix Force.

    X-Men ‘97’s already got a second season secured, and it may have a third under its belt as well. Let us know in the comments how you think it’d do tackling Avengers vs. X-Men, or if it’s even worth doing in the first place.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • Detective Pikachu Was a Small, But Potent Jolt for Pokémon

    Detective Pikachu Was a Small, But Potent Jolt for Pokémon

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    Nintendo’s Pokémon series has had a powerful grip on pop culture for decades, and it’s doubtful to change anytime soon. The bulk of that power comes from the video and trading card games, along with the eternally ongoing anime and the movies and shows that’ve spun out of that. So how do you make one of the biggest video game properties even bigger? You take the big, bold jump to Hollywood.

    First released in Japan on May 3, 2019 and then the following week in the US, Detective Pikachu was the first ever live-action Pokémon movie, and also Nintendo’s first video game movie since Super Mario Bros. If anyone ever thought Pokémon would get a big budget flick, they probably didn’t think it’d come courtesy of Warner Bros. and Legendary Pictures, let alone based off a 2016 spinoff game where brand mascot Pikachu is a private eye with the voice of Ryan Reynolds. Yeah, the monsters all looked impressively real and tangible in ways fans had always dreamed, but having Deadpool as the leading ‘mon could’ve undercut everything. Was this going to work?

    Image: Warner Bros./Legendary Pictures/The Pokémon Company

    The answer turned out to be “yes”: Detective Pikachu netted fairly positive reviews and made $450.1 million worldwide. Back then, it’d been the highest-grossing video game movie of its time, at least until the Super Mario movie knocked it off its pedestal last year. If the world hadn’t been hit with the pandemic and Hollywood strikes in the 2020s so far, we’d likely have a sequel by now; Portlandia co-creator Jonathan Krisel was tapped to direct it last year working off a script by Chris Galetta, but it seems at least two years off, minimum. (Coming out as Avengers: Endgame was still in theaters probably wasn’t right move, either.) As is, it’s a well-regarded movie that made a decent impression in the video game movie space whose future got buried underneath some bad luck.

    At the same time, it appears to have made a decent impact when it comes to Pokémon’s transmedia output. The anime was always going to persist whether it did well or not, but the film’s success has certainly helped open Nintendo’s mind to the possibilities of what this franchise could be. Without it, we likely wouldn’t have Pokémon Concierge or the original drama series Pocket ni Bōken wo Tsumekonde, which is about the reach and impact of Pokémon rather than being set in its world. And this is just what we know about—a Pokémon Direct or two from now, we may learn that Nintendo’s got plans of doing up a movie universe in the vein of what Paramount’s doing with Sonic the Hedgehog.

    Image for article titled Detective Pikachu Was a Small, But Potent Jolt for Pokémon

    Image: Warner Bros./Legendary Pictures/The Pokémon Company

    Compared to other video game adaptations like Fallout and The Last of Us, or even Arcane, it wouldn’t be wrong to feel like Detective Pikachu has gotten overlooked. Its time in the sun will surely come whenever that sequel rolls around. In that way, it’s like the anime: whatever comes next will hopefully be an evolution that buils upon the winning formula of its predecessor. And if not, well, at least we’ve got a video of Pikachu dancing to brighten the day.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • Megalopolis’ First Look Teases a Time-Stopping Journey

    Megalopolis’ First Look Teases a Time-Stopping Journey

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    At the start of the year, it was reported that Francis Ford Coppola’s long-awaited sci-fi flick Megalopolis might finally see the light of day. That day appears to be pretty soon, because Coppola’s production banner American Zoetrope released first-ever footage of the film that gives an idea of its scope.

    In the clip, Adam Driver’s Cesar heads to the roof of a New York skyscraper. Absolutely terrified out of his mind, he eventually works up the courage to take a step off the ledge, only to nearly plummet to his death before shouting, “Time, stop!” Time does indeed stop—along with gravity, it seems, allowing him to get back on his feet and not wind up a pancake. With a snap of his fingers, time resumes once again, and Cesar’s awestruck at his own power—whatever it is.

    MEGALOPOLIS | Les premières images

    Megalopolis has been previously described as a sci-fi love story between Cesar and Julia Cicero (Nathalie Emmanuel). Caught between Cesar and her father Frank’s (Giancarlo Esposito) opposing visions for New York, she embarks on a journey to figure out her own path as the two men still fight over the city. Screenings were recently held for studio executives and some press, and impressions were reportedly mixed across the board: some respected how imaginative and “unflinchingly batshit crazy” it was, others thought it went all over the place and a likely dud at the box office.

    At time of writing, Megalopolis doesn’t have a North American distributor—Amazon MGM and Apple have both reportedly shown interest—but it is set to premiere at Cannes on May 17. However things shake out, Coppola’s proud of it: the film is dedicated to his late wife Eleanor Neil, who passed last month, and considers the preview above a “gift on her behalf.”


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • The Maze Runner Movies are Running Towards a Reboot

    The Maze Runner Movies are Running Towards a Reboot

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    Image: 20th Century Studios

    It’s now been five years since Disney bought 20th Century Fox, and we’re finally seeing that really pay off on the movie side. Kingdom of the Planet of the Apes is hitting theaters next week, Alien: Romulus and Deadpool & Wolverine are later this summer. What Fox movies are due next for a comeback? The Maze Runner series, naturally.

    Per the Hollywood Reporter, 20th Century Studios is looking to reboot the YA sci-fi movies for a new generation. Heading up those efforts is writer Jack Paglen, best known for 2014’s si-fi thriller Transcendence starring Johnny Depp. Sources speaking to THR claim the reboot will look to continue the original story while also returning to the roots of that original film.

    In case you’ve forgotten, the original Maze Runner—directed by Wes Ball, who’s helming Kingdom (and eventually Legend of Zelda), and will produce this new flick—released in 2014 and was based on the dystopian YA books written by James Dashner. Dylan O’Brien starred as an amnesiac kid named Thomas who woke up in up in a big grass area home to other boys that’s also surrounded by a massive maze. Deeply curious and unable to shake that something was going on, Thomas worked to uncover the maze’s secrets and find a way for him and the other Gladers to escape.

    The Maze Runner franchise was one of many trying to chase after Hunger Games and Twilight money, and ended up succeeding. Its first movie made $348.3 million (against a $34 million budget), and its two sequels—2015’s Scorch Trials and 2018’s Death Cure—were equally big at $312.3 million and $288.2 million, respectively. (The latter film was infamously delayed after O’Brien was hospitalized for serious injuries and had to recover).

    Not long after the merger completed, Disney confirmed it’d eventually spin up new Maze Runner movies. Instead of pulling a Hunger Games and doing a movie or two based on the previously released prequel books The Kill Order and Fever Code, it looks like Disney’s decided to start anew. Rebooting not-that-old YA fare appears to be the move nowadays, if Twilight and (arguably) Percy Jackson are any indication. The original Maze movies were pretty fun, solid films, so here’s hoping the same is true of this reboot whenever it runs into theaters.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • Ashley Madison Is Still Around, a Powerful Chatbot Disappeared, Elon Musk Lays Off More Workers and More

    Ashley Madison Is Still Around, a Powerful Chatbot Disappeared, Elon Musk Lays Off More Workers and More

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    Illustration: Vicky Leta, Photo: Patrick T. Fallon/Bloomberg (Getty Images), Said Fx (Getty Images), Chip Somodevilla (Getty Images), Mario Tama / Staff (Getty Images), Axelle/Bauer-Griffin/FilmMagic (Getty Images), David Paul Morris/Bloomberg (Getty Images), Dimitrios Kambouris for The Met Musuem/Vogue (Getty Images), Bene Riobó via Wikimedia Commons, Screenshot: YouTube / Mint Mobile

    This week saw a blast from the past as we told the tales of numerous fraud victims who were targeted by scammers on the cheating site, Ashley Madison. A new chatbot came and went leaving so many people with questions. And then there’s Elon Musk who went “hardcore” with layoffs he even got rid of those pesky interns that really hit a company’s bottom line with those big salaries given to college students. Here are the top tech stories of the week.

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    Gizmodo Staff

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  • Grant Morrison’s Manifesto for the X-Men Is a Fascinating Read

    Grant Morrison’s Manifesto for the X-Men Is a Fascinating Read

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    The X-Men find themselves, perhaps almost always, on the precipice of great change. But right now they really do feel like they’re on the edge of something new again. In the comics, after years rejuvenated by the Krakoan Age, they’re ready to rise from the ashes of tragedy once more. On the big screen, we’re ready to bid farewell to the Fox X-Men era in Deadpool & Wolverine this summer. And on TV, mutantkind rides high with X-Men ‘97‘s re-imagining of an animated classic.

    If anything, there are so many parallels in 2024 to the turn of the 21st century, when Grant Morrison was preparing to take on writing a new generation of X-Men comics with what would eventually become New X-Men in the summer of 2001. Alongside Frank Quitely and other artists, New X-Men boldly redefined what the X-Men’s stories were about for the modern age, emboldened further by the cultural moment the X-Men found themselves in. While the ‘90s were very good to the X-Men in terms of comics sales for the most part—and of course you had ancillary support in wider culture from the explosions of things like X-Men: The Animated Series and the iconic Jim Lee trading cards—mutantkind hit the mainstream even harder with the release of the first X-Men movie in 2000.

    The herald of a new age of superhero moviemaking, X-Men was, in Morrison’s eyes, equally a shot in the arm and warning alike of what had to change in the comics, so they could try and match the audience the movie had enraptured all over again. “Let’s aim for the big audiences. Let’s push books we can be proud of on every level. Books that kids will dig for their sheer gee-whizz, kinetic strut, which college kids will buy for the rebel irony and adults will love for the distraction, just like the movies and the TV shows—just like when Stan [Lee] was doin’ it!!!” Morrison wrote in their pitch bible for New X-Men—which has floated around online for a few years now, but becomes especially potent reading in the crossroads Marvel’s mutants find themselves in in 2024, as a comics reset looms and a future in Marvel’s vaunted cinematic universe looms. “I believe we have a rare opportunity to bust some self-imposed barriers and run screaming through the streets if we just cut loose a little and do work aimed at the mainstream, media-literate audience of kids, teenagers, and adults with disposable income.”

    In this part pitch bible—including some early descriptions of story arcs and characters that would go on to appear in the book, like “Charlie X,” an early identity for Cassandra Nova—part manifesto, Morrison charismatically weaves an argument for a truly 21st century vision of the X-Men, galvanized by the embrace of the franchise’s core concepts and characters in the movie. “To make the X-Men feel fresh once more, we need to take a closer, harsher look at what’s not working in this book and the comics field in general,” they write in part. “The recent X-Men stuff has been written in an old-fashioned, over-dense style for one, and we need to update, streamline, and demystify the storytelling techniques considerably to appeal to modern sensibilities.”

    Image: Frank Quitely, Tim Townsend, Hi-Fi, and Saida/Marvel Comics

    It’s full of Morrison’s thoughts on what they thought worked and was worth revisiting in X-Menpointing to Chris Claremont and John Byrne’s legendary run on Giant Sized and eventually Uncanny X-Men in the late ‘70s and early ‘80s as a touchstone (“they had the freedom to create new material, reconceptualize the old stuff which still worked and ignoring the outmoded elements which had sapped the original series of its vitality”)—and what had to be left behind in the ‘90s. “In the last decade or so, the tendency at Marvel has been intensely conservative; comics like X-Men have gone from freewheeling, overdriven pop to cautious, dodgy retro,” Morrison argued. “…The comic has turned inwards and gone septic like a toenail… X-Men, for all it was still Marvel’s bestseller, had become a watchword for undiluted geekery before the movie gave us another electroshock jolt.”

    To Morrison, the movie represented so much of what they wanted to bring to New X-Men’s cultural and aesthetic presence. Beyond a feeling of contemporary cool that had defined the Claremont era of the franchise, mutant stories that still reflected these heroes less inwardly as superheroes, but people of the modern world, it was also important to them that X-Men felt less like a superhero comic, and more like a sci-fi epic, something that resonates in New X-Men’s eventual approach to things like the Sentinels or its grasp on the Shi’ar Empire, but also how it divided mutant culture as something distinct from humanity, on both a societal and evolutionary level. Above all though? Morrison adored the ideas behind those movie suits.

    “The movie had it almost right: I think we should go for hardcore bike style exo-rubber uniforms, maybe military pants and wrestling style boots… the look’s brutalist and military and I think the X-Men should reflect that to stay on the cutting edge of cool,” Morrison writes, before adding that not everything the movie did design wise quite worked for them. “I’d like to see some yellow in paneling or detailing on the costumes—if only to avoid the dull black leather look of every film superhero—but it should be pop art dayglo yellow, the kind cyclists and bikers wear to be seen… X-Men is a soap opera about super-people in the same way that Dallas was a soap about oil people. The oil only provided window-dressing and an excuse to look great.”

    In hindsight, Morrison’s bold bet paid off. While not every aspect of their run on New X-Men escaped controversy, the book endures as one of the definitive 21st century X-Men texts, an influence that is still felt in the comics today—and elsewhere, in things like Deadpool & Wolverine’s use of Cassandra Nova, or X-Men ‘97‘s examination of the Genoshan genocide. As the X-Men once again find themselves thrust towards the potential of a mainstream embrace arguably not seen since the early aughts, Morrison’s words resonate—and perhaps make for a fine set of watchwords as we see where Marvel Studios and Marvel Comics alike take mutantkind’s evolution next.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    James Whitbrook

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  • Kevin Feige Told Hugh Jackman Not to Come Back as Wolverine

    Kevin Feige Told Hugh Jackman Not to Come Back as Wolverine

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    Screenshot: Marvel

    Hugh Jackman’s Wolverine has defined the Fox era of X-Men movies. His storied tenure from the 2000 film all the way up to Logan gave us perhaps one of the most definitive live-action superhero performances of our lifetime. That makes the temptation of his return in Deadpool & Wolverine so potent—but for Marvel Studios’ head honcho, it was almost a curse.

    “I said, ‘Let me give you a piece of advice, Hugh. Don’t come back’,” Feige recently told Empire about advising Jackman on a potential return to the character he’d stunningly bid farewell to in 2017’s Logan. “‘You had the greatest ending in history with Logan. That’s not something we should undo.’” But Feige’s advice actually pushed Jackman to really consider what he’d want out of a return.

    “I was about an hour into the drive,” Jackman said of his headspace after initial pitches. “And that question came into my head: ‘What do I want to do?’ And as soon as I asked the question, I wanted to do Deadpool & Wolverine. I just knew it. I drove for another hour. Couldn’t stop thinking about it. And I got out of the car, called Ryan [Reynolds], and said, ‘Ryan, if you’ll have me, I’m in.’”

    What Jackman wanted to do was not actually return to the same character we saw perish in Logan, but offer a new take on Wolverine that, while drawing on his presence in the history of the Fox X-Men saga and its myriad permutations, also did something new with the character. Even if that ‘new’ was something as simple as finally letting Jackman put on the yellow spandex Logan and Cyclops had joked about way back in the first X-Men film. “We almost [had the suit on] in The Wolverine,” Jackman added. “But from the moment I put it on here, I was like, ‘How did we never do this?’ It looked so right, it felt so right. I was like, ‘That’s him.’ There are different sides of Wolverine we haven’t seen before in the movies. It was exciting for me.”

    Hopefully we’ll see many more sides of Logan beyond just a costume change when Deadpool & Wolverine hits theaters July 26.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    James Whitbrook

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  • ‘Banned’ Bluey Episode ‘Dad Baby’ Is Finally Viewable in the U.S.

    ‘Banned’ Bluey Episode ‘Dad Baby’ Is Finally Viewable in the U.S.

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    Image: Bluey – Official Channel

    A Bluey episode originally released in 2020 everywhere except the United States finally gets the green light to be seen—with a catch: it’s only online (for now).

    “Dad Baby” was among a number of banned or altered episodes of the hit Ludo Studio global phenomenon that never made it onto Disney+ or the Disney cable channels when it was acquired by the streamer. It’s curious as to why because the official description on Bluey’s official YouTube channel is pretty straightforward: “When Dad shows the kids how to use their old baby-harness, a new game is born: Dad Baby! But dad is unprepared for the harsh realities of giving birth to a baby Bingo.”

    It can be suggested that perhaps Disney initially didn’t want to include a very lightly sex-ed centered episode on the show aimed at their kid demographic. io9 watched the now-available episode and it’s not as much of a big deal as the banning was made out to be. “Dad Baby” is a relatable, hilarious depiction of a pregnancy—particularly from the point of view of kids who remember their younger siblings being born. Even the comedic bits—like when Bluey’s dad Bandit carries her sister Bingo as a baby in the “womb” and recalls what he witnessed with his wife Chili—are silly and inoffensive. And yes, he does go through it all down to “pushing” Bingo out, which leans more into the kids’ playacting aspect of Bluey wanting to know how babies come into the world. It’s cute, endearing, and a good emotional episode from the show that’s proved that it knows what it’s doing. If you wanna see if for yourself watch it below!

    Dad Baby | Full Episode | Bluey

    Most episodes of Bluey are now streaming on Disney+.


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    Sabina Graves

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  • Paleontologists Disagree About What This Exquisite Shark Fossil Actually Is

    Paleontologists Disagree About What This Exquisite Shark Fossil Actually Is

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    The fossil shark Ptychodus was first identified 190 years ago, but in the intervening centuries of paleontological inquiry, a comprehensive look at the ancient fish has been hard to come by. Until now. In a paper published last week in the Proceedings of the Royal Society B, a team of researchers describe an exceptionally well-preserved Ptychodus, fossilized from its nose to the tip of its tail.

    In their research, the paleontologists analyzed six near-complete Ptychodus specimens excavated from Vallecillo, Mexico, over the last decade. The specimens reveal the sharks’ skeletal components as well as their preserved body outlines. The team used the fossils to determine new information about the sharks’ anatomy and their place in the shark family tree.

    “This new study provides crucial information on the affinities [evolutionary relations] and the paleoecology of Ptychodus,” said Romain Vullo, a paleontologist at the University of Rennes in France and lead author of the paper, in an email to Gizmodo. “So far, this Cretaceous shark was only known from isolated teeth, dentitions [sets of teeth], and a few skeletal elements such as vertebrae.”

    “The complete specimens from Mexico reveal that Ptychodus was a fast-swimming open water shark (similar in shape to the living porbeagle), which likely used its grinding dentition to feed mostly on ammonites and sea turtles,” Vullo added.

    In 2021, Vullo was the lead author on a paper describing Aquilolamna milarcae, a bizarre-looking Cretaceous era lamniform shark that was excavated from the same sweep of eastern Mexico. In the recent paper, the team also classified Ptychodus as a lamniform—a mackerel shark—and posit that the animal’s extinction may have occurred due to competition with mosasaurs, an extinct group of giant marine reptiles.

    But the reality may be more complicated, as Tyler Greenfield, a paleontologist at the University of Wyoming, explained to Gizmodo. Instead of being a mackerel shark, Greenfield suggests Ptychodus belongs to an entirely different category.

    A well-preserved fossil of Ptychodus.
    Photo: R. Vullo

    “Sharks of the order Lamniformes have specific patterns of the sizes and shapes of the teeth, the hollow sections in the jaws that hold the rows of teeth, and the cartilage structures inside the vertebrae that Ptychodus does not have,” Greenfield, who is not affiliated with the new paper, wrote in an email. “Those features were overlooked by the authors of the new paper and they instead used certain characteristics of the cranium and jaws, which are not unique to lamniforms, to classify Ptychodus.”

    Greenfield added that, based on similarities between Ptychodus and both Squalicorax and Ptychocorax (two other species of ancient shark), the shark family including Ptychodus and the one including the latter two species ought to be placed in a separate order, Anacoraciformes, or crow sharks.

    “Anacoraciformes was named by other authors before me, but it has not been used as valid since then nor has it included ptychodontids until now,” Greenfield said, adding that the teeth built for crushing shelled prey would likely have evolved outside of Lamniformes. “Overall, my hypothesis seeks to build a more accurate picture of the relationships and diversity of prehistoric sharks,” Greenfield said.

    One might assume that such immaculately preserved fossils would settle aspects of the shark’s phylogeny, not complicate it. But regardless of how the dust settles regarding Ptychodus’ classification, it is refreshing—and indeed, incredibly fortunate—that paleontologists have such well-preserved specimens to use in making their determinations.

    More: Two Bull Sharks Swam Up the Mississippi River All the Way to St. Louis

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    Isaac Schultz

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  • Mickey Mouse Will Fight Winnie the Pooh in the Latest Public-Domain Horror Extravaganza

    Mickey Mouse Will Fight Winnie the Pooh in the Latest Public-Domain Horror Extravaganza

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    It was inevitable, really: as soon as beloved childhood characters became fair game under public domain, they’d be seized upon by horror filmmakers… and eventually, the biggest headliners would square off. The world may not be ready for Mickey vs. Winnie, but it’s coming, and its creators promise gore galore.

    Before you ask, Mickey vs. Winnie is a project separate from Mickey Mouse Trap, which announced its existence during the first week of 2024 not long after Steamboat Willie-era Mickey Mouse emerged from Disney’s copyright clutches. It’s also not part of the Twisted Childhood Universe, aka the Poohniverse, from the makers of Winnie the Pooh: Blood and Honey. This new project, which is currently in production in Michigan, is being written and directed by Glenn Douglas Packard.

    A press release provides this plot synopsis: “In the 1920s, two convicts escape into a cursed forest only to be dragged and consumed into the depths of the dark forest’s muddy heart. A century later, a group of thrill-seeking friends unknowingly venture into the same woods. Their Airbnb getaway takes a horrifying turn when the convicts mutate into twisted versions of childhood icons Mickey Mouse & Winnie-The-Pooh, and emerge to terrorize them. A night of violence and gore erupts, as the group of friends battle against their now monstrous beloved childhood characters and fight to break free from the forest’s grip. In a horrific spectacle, Mickey and Winnie clash, painting the woods in a gruesome tableau of blood—a chilling testament to the curse’s insidious power.”

    The basic plot sounds like another iteration of the ol’ “cabin in the woods” genre, and we’ve already pointed out that Mickey and Winnie are both becoming familiar faces in horror. However, in the press release Packard specifically notes that “the Mickey Mouse featured in our film is unlike any iteration audiences have encountered before. Our portrayal doesn’t involve characters donning basic masks. Instead, we present deeply transformed, live-action horror renditions of these iconic figures, weaving together elements of innocence and malevolence.”

    So far there’s no word on when Mickey vs. Winnie might hit screens or where you’ll be able to watch it. What do you think of this latest public-domain horror project?

    Image: Jerisa Macalino


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    Cheryl Eddy

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  • Star Wars’ Diana Lee Inosanto Digs Deep Into Tales of the Empire

    Star Wars’ Diana Lee Inosanto Digs Deep Into Tales of the Empire

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    Star Wars loves nothing more than understanding a villain. Part of the reason the franchise’s greatest evils are also some of its most compelling characters is because it loves to dive deep into understanding why these figures are the way they are. The time has come for Morgan Elsbeth’s turn—and for us and the actress behind her alike to lift the lid on this wayward daughter of Dathomir.

    Although we saw Morgan meet her untimely end at the climax of Ahsoka, we will finally get to see more of what makes her tick this coming weekend when Star Wars day brings Tales of the Empire to Disney+. The new six-part anthology series delves into two tales of survival in the Imperial Age: including, of course, Inosanto’s return to Morgan Elsbeth, as we see her journey from Nightsister to Magistrate—and Thrawn’s right hand. To learn more about how she prepared to return to the galaxy far, far away, io9 sat down with Inosanto over Zoom to learn more about Tales of the Empire. Check it out in full below!


    James Whitbrook, io9: Morgan has been well established in live action Star Wars. What surprised you about getting to visit her now in the realm of Star Wars animation?

    Diana Lee Inosanto: For me, it’s the details the confirmation of finally, really understanding her background—particularly going all the way back to Dathomir, and what happened in that period of time. I love the fact that we see her love for people. I think people have been used to, in the live-action, seeing this more villainous approach [to Morgan], her own agenda. But I love that we get to go back and see what her people meant to her: her love for her mother, her love for her fellow Nightsisters, and that she was, still, in her own way unique.

    As dark as it is, you understand why she had to become a survivor, and that every time, in every moment, she’s always thinking of her people, and her roots, and her heritage—that’s what I find fascinating about Morgan.

    io9: We get to see her history with the Nightsisters here—how much of that history as we saw it in Clone Wars and Rebels were you familiar with as you started to embrace this particular facet of Morgan’s character?

    Inosanto: For me, it was kind of… almost like an IV drip for me! [Laughs.] When I auditioned, I really didn’t know what I was getting into, to be honest with you. When I met with Dave [Filoni, Lucasfilm’s Chief Creative Officer and co-creator of The Mandalorian], that’s when I started learning. “Oh, she’s a Nightsister?” I understood even from the audition sides that this was a woman who was a conqueror, and that she was definitely resilient… and somewhat of a bully, in her later evolution. But I think it was down to her having to survive and being misunderstood.

    The people I really leaned on and their work… there was Timothy Zahn, with all his books—because I figured there must be something that she has in common with the people that circle around Thrawn. The second important person I leaned on was E. Anne Convery [a writer in the Clone Wars: Stories of Light and Dark anthology], where she writes about the Nightsisters in her short story “Bug.” That was very instrumental for me to understand her better. I didn’t even know if Morgan, back then, was there to see what happened to her people—I just had to find out what was the culture, and the heritage, that she’d been a part of. And it’s going to be interesting because [in Tales] we’re going to learn more about all these other clans that were there on Dathomir too.

    Image: Lucasfilm

    io9: Part of what has defined Morgan so much for people is the physicality you’ve imbued her with. What was it like for you to transition away a little from that side of her now that you’re potraying her primarily through your voice?

    Inosanto: I remember watching the behind the scenes [of The Mandalorian], of Pedro [Pascal] doing the voice of Mando, and I saw his physicality there. To me, when I’m in that recording booth, it’s still the same thing: I’m still locked up in my actor’s bubble, and I will do anything everything. I’ll get the breathing down, I’ll jump in place, I’ll move, I’ll grunt, to get everything right!

    But my hat goes off to the Lucasfilm animation team—I met with them several weeks ago and I was stunned at the martial arts [on display in the animation]. Steward Lee [Lucasfilm animation director], who ironically had met my godfather [famed martial artist Bruce Lee] as a child, really loves martial arts. Several of the team members that were just on the fight scenes for Tales alone had an understanding of martial arts, and they studied videos of me on YouTube, as well as my fight scenes in Mandalorian and Ahsoka—and there’s some homages to my godfather, and my father. I think it’s an amazing compliment when people come to me just having watched the trailer alone, with the fight scenes, and they go, “Did you do mocap?” They think it’s actually me—that’s an idea of the sophistication of the animation.

    io9: In Tales we get to see Morgan, as her story progresses, her meeting with Thrawn for the first time. Having established their relationship in Ahsoka, what was it like to play that moment for you?

    Inosanto: I love that scene with Thrawn—especially because in some ways, they’re both considered outsiders in the Empire, right? They’re two very highly intelligent people who have their specific goals.

    Lars [Mikkelsen] does such an amazing job as Thrawn, so it’s really easy to all of a sudden disappear into the space with him. When I recorded, I wasn’t with Lars, but I’d had enough time with him on Ahsoka to know and hear his voice in my head—and it came out, I feel, beautifully, in that moment, with him, and the whole Lucasfilm animation team, how they put it all so swiftly and smoothly together.

    io9: Ahsoka gave us Morgan’s untimely end, and now Tales has brought us back to parts of her life before we met her in The Mandalorian. What’s a side of Morgan you think hasn’t been explored yet, that you’d love to see in the future?

    Inosanto: If there was a chance to see her expressed somewhere in the Star Wars timeline… I always love playing characters that are a little bit vulnerable, and maybe seeing them laying down off on a trail to hell, whatever kind of people they become. That’s why I loved going back particularly to episode one [of Tales], because now you know where her vulnerability came from, her pain and the hurt and how she lost her people. It’s that reflection of her being connected to her roots, and this is really, truly what drives her. Sometimes they say that the most troubled people do what they do because they come from a place of fear and pain—we’re truly seeing a survivor [in Morgan].

    And you know, I do love though, in a way, she is a character that just does not forget. She has this whole revenge factor that’s like… wow. [Laughs.] There’s just so much more to explore about this woman. There’s a lot of different shades to her.


    Star Wars: Tales of the Empire begins streaming on Disney+ May 4.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    James Whitbrook

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  • Francis Ford Coppola’s Megalopolis Might Have Some Sci-Fi Among Its Many, Many Elements

    Francis Ford Coppola’s Megalopolis Might Have Some Sci-Fi Among Its Many, Many Elements

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    In his vast career, Francis Ford Coppola has made masterpieces (Apocalypse Now, The Godfather and The Godfather Part II, The Conversation), cult classics (Bram Stoker’s Dracula, The Outsiders), and curious whatsits (The Godfather Part III, Peggy Sue Got Married). Which will Megalopolis be? While the world waits to see the movie he’s had on his mind for decades, the writer-director is giving fans a few crumbs to go on.

    In a statement provided to Vanity Fair, along with a first-look image you can see in the magazine’s X post below, Coppola—who invested $120 million of his own money in the project, and just turned 85—gave some hope to sci-fi fans by noting Adam Driver’s character has the “power to stop time.” That’s Driver, who plays an “idealistic architect and artist planning to rebuild a city that has fallen to ruins” and Game of Thrones’ Nathalie Emmanuel, who plays the daughter of the city’s corrupt mayor (Giancarlo Esposito) and who falls in love with Driver’s character, in the photo.

    So we have a dystopian city, and a character who can “stop time” (literally or metaphorically?), as well as a cast that also includes Aubrey Plaza, Shia LaBeouf, Dustin Hoffman, Jon Voight, Laurence Fishburne, Jason Schwartzman, and others. In his statement to Vanity Fair, Coppola outlined the influences he drew on in the 40-something years he was dreaming of making Megalopolis, including 1936 sci-fi classic Things to Come, adapted by H.G. Wells himself from his book The Shape of Things to Come. “[It’s about building the world of tomorrow, and has always been with me, first as the ‘boy scientist’ I was and later as a filmmaker,” Coppola told the magazine.

    He also refers to his movie as “a Roman epic set in modern America,” tying in both ancient history and more recent New York City moments, as wide-ranging as September 11 and “the antics of Studio 54.” He did that “so that everything in my story would be true and did happen either in modern New York or in ancient Rome. To that I added everything I had ever read or learned about.”

    While we wonder what Megalopolis will be, here’s what Coppola said he hopes audiences will take away from it: “It’s my dream that Megalopolis will become a New Year’s Eve perennial favorite, with audiences discussing afterwards not their new diets or resolutions not to smoke, but rather this simple question: ‘Is the society in which we live the only one available to us?’”

    Megalopolis will debut at the Cannes Film Festival next month; hopefully it’ll then make its way stateside for theaters and streaming.


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    Cheryl Eddy

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  • Switching Your Credit Card May Not Stop a Streaming Service’s Recurring Charges

    Switching Your Credit Card May Not Stop a Streaming Service’s Recurring Charges

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    Millions of Americans pay for streaming services, doling out anywhere from $5 to $75 a month. It’s a common belief that you can get out of recurring charges like this by switching your credit card. The streamers won’t be able to find you, and your account will just go away, right? You wouldn’t be crazy for believing it, but it’s a myth that switching a credit card will definitely stop your recurring charges.

    Nearly 46% of Americans opened a new credit card last year, according to Forbes, which means millions of Americans also canceled old ones. When you switch cards, these streaming services don’t just stop your service — they just start charging your new card. Granted, it might be easier to just cancel your subscription directly with a streamer like Netflix. There’s a largely hidden service that enables most subscription services to keep throwing charges at you indefinitely.

    “Banks may automatically update credit or debit card numbers when a new card is issued. This update allows your card to continue to be charged, even if it’s expired,” Netflix says in its help center, though it’s not alone in this feature.

    Most major card providers offer a feature that enables this, including Visa. In 2003, Visa U.S.A. started offering a new software product to merchants called Visa Account Updater (VAU), according to a 2003 American Banker article. The service works with a network of banks to create a virtual tracking service of Americans’ financial profiles. Whenever someone renews or switches a credit card within their bank, the institution automatically updates the VAU. This system lets Netflix and countless other corporations charge whatever card you have on file. It’s a seamless switch that allows the dollars to keep flowing toward corporate America, while you don’t have to lift a finger.

    “Visa understands the challenges faced by merchants when it comes to staying on top of account information changes,” Visa say in marketing materials to corporations. “VAU delivers updated cardholder account information in a timely, efficient, and cost-effective manner, benefiting all parties involved in the electronic payment process.”

    VAU was an instant success, quickly adopted by banks and corporations around the world. Visa’s service follows you whenever your issuer switches between any major credit card provider, whether it’s Discover, Mastercard, or American Express. However, if you close out an account entirely, or change to a different credit card provider yourself, the VAU will simply list your account as being closed.

    Some customers of Visa’s tracking service include Netflix, Amazon, Facebook, Google, and Disney, according to a 256-page list of the software’s adopters from 2022. VAU allows merchants to keep customers roped into their subscription services, but Visa also argues it helps customers.

    “Visa Account Updater (VAU) was built to help ease the burden on consumers of inputting a new account number and expiration date in recurring subscriptions,” said a Visa spokesperson in a statement to Gizmodo.

    Visa’s not entirely wrong about this. If your electricity or internet bill is tied to your credit card, you could be in a real bind if you forget to update your new card. However, practices like these can also keep people bound in endless cycles of payments that follow them everywhere.

    “The issuing bank determines whether to provide updated card information or to provide a closed account or contact cardholder advice through VAU,” said the spokesperson. “VAU only provides information to merchants at the direction of the issuing financial institution and only for merchants where the cardholder has already stored their payment credentials.”

    Origins of the Myth

    Before services like VAU popped up, switching your credit card was a pretty surefire way to get out of recurring charges, whether you wanted to or not. When Bank of America adopted VAU in 2003, it described the product as a solution for billing changes that had once left merchants with “unappealing choices.”

    “One would be that the merchant would shut off the customer’s service,” said a Bank of America executive in a 2003 press release. “Another would be that the merchant would continue the service but send the customer a nasty letter.”

    So VAU really came about with the onset of the internet. Practices like this have become increasingly popular in the Internet age. Subscription services have become easier to start, but increasingly difficult to stop. Recurring charges can truly follow you to the ends of the Earth unless you outright contact the company to stop them.

    Why It’s Pervasive

    Visa’s Account Updater is only really marketed to businesses, so most consumers have no idea it exists. I’d bet most people have no idea there’s a way to opt out of Visa’s credit card tracking service, and even fewer know they’re default opted in. It’s largely a hidden service to the average person, with no clear indicator from your bank or subscription service that you’re being tracked in this way.

    Credit cards are also widely regarded as a more anonymous way to move through the financial world. While they typically are more secure than using a debit card, make no mistake, banks are still tracking your every move. The VAU just allows them to coordinate with corporations to keep your financial information constantly up to date.

    The VAU undoubtedly offers some benefits to consumers. However, it’s important to understand why. The system reduces “churn” for corporations, and ensures you can keep paying them your dollars no matter what’s going on in your financial world. Banks make it effortless to keep paying these recurring charges. However, stopping them can be much harder. If you really want to stop a subscription, there’s still no substitute for calling up the company and canceling.

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    Maxwell Zeff

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  • Scooby-Doo! Is Getting a Live-Action Netflix Series

    Scooby-Doo! Is Getting a Live-Action Netflix Series

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    Scooby-Doo (2002)
    Image: Warner Bros.

    Warner Bros. has its own streaming service, sure, but Scooby-Doo! The Live-Action Series will be driving its psychedelic Mystery Machine straight to Netflix. It’ll be produced by Greg Berlanti, whose other Netflix projects include a pair of other spooky shows: Chilling Adventures of Sabrina and the current Dead Boy Detectives.

    This news comes from Deadline, which doesn’t add many details beyond it’s a “reimagining” and landed at the streamer after “a competitive situation;” it’ll be written by Josh Appelbaum and Scott Rosenberg, who likewise have a credit that dovetails here: the anime-turned-live-action Netflix series Cowboy Bebop. They’re also both executive producers on current series Citadel at Prime Video, and From at MGM+.

    If Greg Berlanti’s name sounds familiar, he’s also the guy who was behind the CW’s Arrowverse for many years, as well as the delightfully bonkers Riverdale.

    The Scooby-Doo gang has been around since 1969; their most high-profile foray into live-action was the 2002 feature film and its sequel, and there have been numerous animated reboots since its original run. Max, which you would think would be the home of any Scooby-Doo project, is where Mindy Kaling’s animated spin-off Velma just premiered its second season.

    And jinkies, yes! Your Scooby-Doo dream cast speculation is welcomed in the comments.


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    Cheryl Eddy

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