While IO Interactive may be heavily focused on its inaugural James Bond game, 2026’s 007 First Light, it’s still providing ambitious new levels and updates for Hitman: World of Assassination and its new science fiction action game MindsEye. To continue to build hype for First Light and IOI’s growing partnership with the James Bond brand, the latest World of Assassination level is a Bond crossover, as Hitman protagonist Agent 47 targets Le Chiffre, the main villain of the 2006 movie Casino Royale. Available through July 6, 2025, the Le Chiffre event in World of Assassination features actor Mads Mikkelsen reprising his fan-favorite Bond villain role, not only providing his likeness but voicing the character as he confronts the contract killer in France. Den of Geek attended the first-ever in-person IO Interactive Showcase, a partner event with Summer Game Fest held at The Roosevelt Hotel in Hollywood. Mikkelsen and the developers shared insight on the surprise new World of Assassination level, with the level itself playable in its entirety to attendees on the Nintendo Switch 2 and PlayStation Portal. The developers also included an extended gameplay preview for MindsEye, ahead of its June 10 launch, while sharing some details about the techno-thriller. Matching his background from Casino Royale, Le Chiffre is a terrorist financier who manipulates the stock market by any means necessary to benefit himself and his clients. After an investment deal goes wrong, Le Chiffre tries to recoup a brutal client’s losses through a high-stakes poker game in France, with Agent 47 hired to assassinate the criminal mastermind on behalf of an unidentified backer. The level opens with 47 infiltrating a high society gala linked to the poker game, with the contract killer entering under his oft-used assumed name of Tobias Rieper, a facade that Le Chiffre immediately sees through. At the IO Interactive Showcase panel, Mikkelsen observed that the character of Le Chiffre is always one that he enjoyed and held a special place for him and his career. Reprising his villainous role also gave Mikkelsen the chance to reunite with longtime Agent 47 voice actor David Bateson since their ‘90s short film Tom Merritt, though both actors recorded their respective lines separately. Mikkelsen enjoyed that Le Chiffre’s appearance in World of Assassination gave him a more physical role than he had in Casino Royale, rather than largely placing him at a poker table. Of course, like most Hitman levels, there are multiple different ways that players can accomplish their main objective of killing Le Chiffre and escaping the premises. The game certainly gives players multiple avenues to confront the evil financier over a game of poker before closing in for the kill, but it’s by no means the only way to successfully assassinate him. We won’t give away how we ultimately pulled off the assassination, but rest assured that it took multiple tries, careful plotting, and with all the usual trial-and-error that comes from playing one of Hitman’s more difficult and immersively involved levels. Moving away from its more grounded action titles, IO Interactive also provided a deeper look at its new sci-fi game MindsEye, developed by Build a Rocket Boy. Set in the fictional Redrock City, the extended gameplay sneak peek at the showcase featured protagonist Adam Diaz fighting shadowy enemies in the futuristic city’s largely abandoned streets. While there were no hands-on demos at the showcase itself, the preview demonstrated Diaz using his abilities and equipment, including an accompanying drone, to navigate the city from a third-person perspective and use an array of weapons to dispatch those trying to hunt him down. MindsEye marks the first game published through IOI Partners, an initiative that has IOI publish games from smaller, external developers. The game did not have a hands-on demo at the showcase and, given its bug-heavy and poorly-received launch, this distinction is not particularly surprising. Build a Robot Boy has since pledged to support the game through June to fix its technical issues but, given the game’s hands-on access at the IOI Showcase, there were already red flags surrounding the game’s performance. With that in mind, most of the buzz at the showcase was unsurprisingly centered around 007 First Light and updates to Hitman: World of Assassination, and IO Interactive did not disappoint in that regard. Even with Hitman: World of Assassination over four years old now, the game continues to receive impressive post-release support from IO Interactive, both in bringing the title to the Nintendo Switch 2 and with additional DLC. At the showcase, IOI hinted at additional special levels for World of Assassintation with high-profile guest targets like Le Chiffre, without identifying who or if they’re also explicitly tied to the James Bond franchise. But with 007 First Light slated for its eagerly anticipated launch next year, it’s a safe bet that IOI has further plans to hype its own role in building out the James Bond legacy for the foreseeable future. The Hitman: World of Assassination special Le Chiffre level is available now through July 6, 2025 on all the game’s major platforms, including the Nintendo Switch 2. MindsEye is now on sale for PlayStation 5, Xbox Series X|S, and PC.

Pixar has been delighting audiences with its house animation style and world-building for three decades, and the Disney-owned animation studio is showing no signs of slowing down. And unlike Andy, they haven’t aged out of playing with their toys.  At the Annecy’s International Animation Film Festival, Pixar dropped a series of announcements, teasers, and special previews of their upcoming slate, including the much-anticipated first-look at Toy Story 5.  Den of Geek attended a private screening, with remarks from Pixar’s Chief Creative Officer, Pete Docter, in early June ahead of the festival. During the presentation to the press, Docter hinted at the company putting its focus and energy to its theatrical slate, a notable change after recent releases like Dream Productions, set in the Inside Out universe, and the original Win or Lose debuted in early 2025. It’s a telling sign for Disney’s shifting approach to Disney+. The studio’s latest film, Elio, hit theaters on June 20th. “Our hope is that we can somehow tap into the things that people remember about the communal experience of seeing things together,” Docter said. “It’s different than sitting at home on your computer watching something [compared to] when you sit with other human beings in the dark and watch the flickering light on the screen. There’s something kind of magic about that.”  Pixar is aiming to be back on a timeline of three films every two years, with Toy Story 5 and an original story titled Hoppers releasing in 2026, and another original, Gatto, hitting theaters in 2027.  Docter boldly stated that Pixar is “standing on one of the strongest slates we’ve ever had.” While bullish for a studio that has had an unprecedented run of success in the world of animated features, the early footage we saw leaves plenty of room for optimism. Is Pixar so back? Here’s what we learned from the presentation and footage…  Toy Story 5 – June 19, 2026  Woody, Buzz, Jesse and the gang will all be returning for the fifth feature film in one of Pixar’s most beloved franchises. Docter confirmed Tom Hanks, Tim Allen and Joan Cusack will reprise their respective roles. Written and directed by Andrew Stanton, who has worked on all of the films, and co-directed by McKenna Harris, Toy Story 5 catches up to our modern, tech-oriented world, and how that affects children’s interests. Bonnie, now eight, is given a brand new, shiny tablet, called a Lily Pad. The new tech allows Bonnie to stay connected and chat with all of her friends, slowly detaching her from her old toys. But just like all the other toys, Lily can talk, and she’s quite sneaky. Lily believes Bonnie needs to get rid of her old, childish toys completely. Feeling Bonnie slipping away, the toys call Woody for back up, but after not seeing Buzz for some time, the two go back to their old ways of constantly butting heads.  “With some films, you’ll struggle to find new things to talk about. And you know, this is [Toy Story 5]. We still are finding new aspects of what it is to be a toy… There’s more of a spotlight on Jesse, so there’s that’s a whole nother facet to it as well. And she’s just such a rich, wonderful character to see on screen,” Docter says. Pixar screened the opening scene for press, which saw a fresh pallet of new Buzz Lightyear figures washed up in a shipping container on a remote island. Think Toy Story meets Cast Away as the Lightyears band together to concoct a way to get home, wherever that might be, in an unexpectedly gripping start to the fifth installment. Join our mailing list Get the best of Den of Geek delivered right to your inbox! HOPPERS – © 2025 Disney/Pixar. All Rights Reserved. Hoppers – March 6, 2026  Preceding Toy Story 5 and kicking off 2026 for Pixar will be an all-new story, Hoppers.  The film follows Mabel (Piper Curda), a college student and nature enthusiast as she fights to save a beloved glade near her childhood home from a highway project that will bulldoze through it– brought forth by the greedy mayor voiced by Jon Hamm. With little support from those around her, Mabel enlists the help of “hoppers,” a clever group of scientists who’ve found a way to “hop” their minds into robots. When Mabel hops into the body of a beaver, she sets off to get other animals to return to the glade, hopefully halting construction. The animals take her to meet their rather conflict-avoidant leader, King George (Bobby Moynihan), and she soon learns that the animal world is a lot more complex than she had thought.  The footage screened saw Jon Hamm’s mayor abducted by beavers in a slapstick scene that corroborated Docter’s excitement for the project. Like Pixar’s highest highs, Hoppers appears to be charming and big-hearted, and it certainly won’t hurt merchandise sales at the Disney parks with the adorably designed animals in this film. Docter compared Hoppers to Mission Impossible meets Planet Earth. We’re locked in.  GATTO – © 2025 Disney/Pixar. All Rights Reserved. Gatto – Summer 2027  In maybe the most creatively intriguing announcement, a new film titled Gatto is in production from the team behind Luca. Gatto will employ the same classic Pixar animation-style, but with a painterly twist to match the artistic vibe of Venice. The art direction shown in short clips was stunning and unique spin on Pixar’s house style. The film is set in Venice, Italy, a destination popular for its stunning architecture and romantic ambience, that some only dream of visiting one day. It’s not so ideal, however, for Nero, the protagonist of the upcoming Pixar-original film, Gato. Nero is a black cat, who people turn the other way from because they fear he’s bad luck. With no other options, Nero turns to the seedier side of the stray cat scene in Venice, where he soon finds himself in hot water with Rocco, a cat mob boss. The heart of the film is Nero’s love for music, and his budding friendship with a street musician named Maya, who is also an outsider.

To this day, Jaws remains the best example of Steven Spielberg‘s genius as a filmmaker. He somehow took a middling pulp novel about a killer shark and turned it into a thrilling adventure about masculinity and economic desperation. And to the surprise of no one, the massive success of Jaws spawned a lot of knockoffs, a glut of movies about animals terrorizing communities. None of these reach the majesty of Jaws, of course. But here’s the thing—none of them had to be Jaws. Sure, it’s nice that Spielberg’s film has impeccably designed set pieces and compelling characters, but that’s not the main reason people go to animal attack movies. We really just want to watch people get attacked. And eaten. With such standards duly lowered, let’s take a look at the best animal attack movies that came out in the past half-century since Jaws first scared us out of the water. Of course this list doesn’t cover every movie inspired by Jaws ( for example Godzilla Minus One, which devotes its middle act to a wonderful Jaws riff), and some can argue that these movies were less inspired by Jaws than other nature revolts features, such as Alfred Hitchcock‘s The Birds. But every one of these flicks owes a debt to Jaws, either in inspiration or simply getting people interested in movies about animals eating people. Those warning aside, lets make like drunken revelers on Amity Island and dive right in! 20. Sharknado (2013) Sharknado almost doesn’t belong on this list because it’s less a movie and more of a meme, a precursor to Vines and TikTok trends. Yes, many fantastic movies have been made off of an incredibly high concept and a painfully low budget. Heck, that approach made Roger Corman’s career. But Sharknado‘s high concept—a tornado sweeps over the ocean and launches ravenous sharks into the mainland—comes with a self-satisfied smirk. Somehow, Sharknado managed to capture the imagination of the public, making it popular enough to launch five sequels. At the time, viewers defended it as a so bad it’s good-style movie like The Room. But today Sharknado‘s obvious attempts to be wacky are just bad, making the franchise one more embarrassing trend, ready to be forgotten. 19. Orca (1977) For a long time, Orca had a reputation for being the most obvious Jaws ripoff, and with good reason—Italian producer Dino De Laurentiis, who would go on to support Flash Gordon, Manhunter, and truly launch David Lynch‘s career with Blue Velvet, wanted his own version of the Spielberg hit. On paper he had all the right ingredients, including a great cast with Richard Harris and Charlotte Rampling, and another oceanic threat, this time a killer whale. Orca boasts some impressive underwater cinematography, something that even Jaws largely lacks. But that’s the one thing Orca does better than Jaws. Everything else—character-building, suspense and scare scenes, basic plotting and storytelling—is done in such a haphazard manner that Orca plays more like an early mockbuster from the Asylum production company (makers of Sharknado) than it does a product from a future Hollywood player. 18. Tentacles (1977) Another Italian cheapie riding off the success of Jaws, Tentacles at least manages to be fun in its ineptitude. A giant octopus feature, Tentacles is directed by Ovidio G. Assonitis, a man whose greatest claim to fame is that he annoyed first-time director James Cameron so much on Piranha II: The Spawning that he activated the future legend’s infamous refusal to compromise with studios and producers. Tentacles somehow has a pretty impressive cast, including John Huston, Shelly Winters, and Henry Fonda all picking up paychecks. None of them really do any hard work in Tentacles, but there’s something fun about watching these greats shake the the octopus limbs that are supposed to be attacking them, as if they’re in an Ed Wood picture. 17. Kingdom of the Spiders (1977) Spielberg famously couldn’t get his mechanical shark to work, a happy accident that he overcame with incredibly tense scenes that merely suggested the monster’s presence. For his arachnids on the forgotten movie Kingdom of the Spiders, director John “Bud” Cardos has an even more formative tool to make up for the lack of effects magic: William Shatner. Shatner plays Rack Hansen, a veterinarian who discovers that the overuse of pesticides has killed off smaller insects and forced the tarantula population to seek larger prey, including humans. These types of ecological messages are common among creature features of the late ’70s, and they usually clang with hollow self-righteousness. But in Kingdom of the Spiders, Shatner delivers his lines with such blown out conviction that we enjoy his bluster, even if we don’t quite buy it. 16. The Meg (2018) The idea of Jason Statham fighting a giant prehistoric shark is an idea so awesome, it’s shocking that his character from Spy didn’t already pitch it. And The Meg certainly does deliver when Statham’s character does commit to battle with the creature in the movie’s climax. The problem is that moment of absurd heroism comes only after a lot of long sappy nonsense. Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s hard to figure out who is to blame for The Meg‘s failure. Director Jon Turteltaub hails from well-remembered Disney classics Cool Runnings and National Treasure. But too often he forgets how to pace an adventure film and gives into his most saccharine instincts here. One of the many Chinese/Hollywood co-produced blockbusters of the 2010s, The Meg also suffers from trying to innocuously please too wide an audience. Whatever the source, The Meg only fleetingly delivers on the promise of big time peril, wasting too much time on thin character beats. 15. Lake Placid (1999) I know already some people reading this are taking exception to Lake Placid‘s low ranking, complaining that this list isn’t showing enough respect to what they consider a zippy, irreverent take on a creature feature, one written by Ally McBeal creator David E. Kelley and co-starring Betty White. To those people, I can only say, “Please rewatch Lake Placid and then consider its ranking.” Lake Placid certainly has its fun moments, helped along by White as a kindly grandmother who keeps feeding a giant croc, Bill Pullman as a dumbfounded simple sheriff, and Oliver Platt as a rich adventurer. Their various one-liners are a pleasure to remember. But within the context of a movie stuffed with late ’90s irony, the constant snark gets tiresome, sapping out all the fun of a killer crocodile film. 14. Open Water (2003) Like Sharknado, Open Water had its fans for a few years but has fallen in most moviegoers’ esteem. Unlike Sharknado, Open Water is a real movie, just one that can’t sustain its premise for its entire runtime. Writer and director Chris Kentis draws inspiration from a real-life story about a husband and wife who were accidentally abandoned in the middle of the ocean by their scuba excursion group. The same thing happens to the movie’s Susan Watkins (Blanchard Ryan) and Daniel Travis (Daniel Kintner), who respond to their predicament by airing out their relationship grievances, even as sharks start to surround them. Kentis commits to the reality of the couple’s bleak situation, which sets Open Water apart from the thrill-a-minute movies that mostly make up this list. But even with some shocking set pieces, Open Water feels too much like being stuck in car with a couple who hates each other and not enough like a shark attack thriller. 13. Eaten Alive (1976) Spielberg’s artful execution of Jaws led many of the filmmakers who followed to attempt some semblance of character development and prestige, even if done without enthusiasm (see: Orca). Not so with Tobe Hooper, who followed up the genre-defining The Texas Chainsaw Massacre with Eaten Alive. Then again, Hooper draws just as much from Psycho as he does Jaws. Neville Brand plays Judd, the proprietor of a sleazy hotel on the bayou where slimy yokels do horrible things to one another. Amity Island, this is not. But when one of the visitors annoy Judd, he feeds them to the pet croc kept in the back. Eaten Alive is a nasty bit of work, but like most of Hooper’s oeuvre, it’s a lot of fun. 12. Prophecy (1979) Directed by John Frankenheimer of The Manchurian Candidate and Grand Prix fame, Prophecy is easily the best of the more high-minded animal attack movies that followed Jaws. This landlocked film, written by David Seltzer, stars Robert Foxworth as Dr. Robert Verne, a veterinarian hired by the EPA to investigate bear attacks against loggers on a mountain in Maine. Along with his wife Maggie (Talia Shire), Verne finds himself thrown into a conflict between the mining company and the local Indigenous population who resist them. Prophecy drips with an American hippy mentality that reads as pretty conservative today (“your body, your choice” one of Maggie’s friends tells her… to urge her against getting an abortion), making its depictions of Native people, including the leader played by Italian American actor Armand Assante, pretty embarrassing. But there is a mutant bear on the loose and Frankenheimer knows how to stage an exciting sequence, which makes Prophecy a worthwhile watch. 11. Piranha 3D (2010) Piranha 3D begins with a denim-wearing fisherman named Matt, played by Richard Dreyfuss no less, falling into the water and immediately getting devoured by the titular flesh-eaters. This weird nod to Matt Hooper and Jaws instead of Joe Dante’s Piranha, the movie Piranha 3D is supposed to be remaking, is just one of the many oddities at play yhere. Screenwriters Pete Goldfinger and Josh Stolberg have some of the wacky energy and social satire of the original film, but director Alexandre Aja, a veteran of the French Extreme movement, includes so much nastiness in Piranha 3D that we’re not sure if we want to laugh or throw up. Still, there’s no denying the power of Piranha 3D‘s set pieces, including a shocking sequence in which the titular beasties attack an MTV/Girls Gone Wild Spring Break party and chaos ensues. Furthermore, Piranha 3D benefits from a strong cast, which includes Elizabeth Shue, Adam Scott, and Ving Rhames. 10. Anaconda (1997) With its many scenes involving an animal attacking a ragtag group on a boat, Anaconda clearly owes a debt to Jaws. However, with its corny characters and shoddy late ’90s CGI, Anaconda feels today less like a Jaws knockoff and more like a forerunner to Sharknado and the boom of lazy Syfy and Redbox horror movies that followed. Whatever its influences and legacy, there’s no denying that Anaconda is, itself, a pretty fun movie. Giant snakes make for good movie monsters, and the special effects have become dated in a way that feels charming. Moreover, Anaconda boasts a enjoyably unlikely cast, including Eric Stoltz as a scientist, Owen Wilson and Ice Cube as members of a documentary crew, and Jon Voight as what might be the most unhinged character of his career, second only to his crossbow enthusiast from Megalopolis. 9. The Shallows (2016) The Shallows isn’t the highest-ranking shark attack movie on this list but it’s definitely the most frightening shark attack thriller since Jaws. That’s high praise, indeed, but The Shallows benefits from a lean and mean premise and clear direction by Jaume Collet-Serra, who has made some solid modern thrillers. The Shallows focuses almost entirely on med student Nancy Adams (Blake Lively), who gets caught far from shore after the tide comes in and is hunted by a shark. A lot of the pleasure of The Shallows comes from seeing how Collet-Serra and screenwriter Anthony Jaswinski avoid the problems that plague many of the movies on this list. Adams is an incredibly competent character, and we pull for her even after the mistake that leaves her stranded. Moreover, The Shallows perfectly balances thrill sequences with character moments, making for one of the more well-rounded creature features of the past decade. 8. Razorback (1984) Jaws, of course, has a fantastic opening scene, a thrilling sequence in which the shark kills a drunken skinny dipper. Of the movies on this list, only Razorback comes close to matching the original’s power, and it does so because director Russell Mulcahy, who would make Highlander next, goes for glossy absurdity. In the Razorback‘s first three minutes, a hulking wild boar smashes through the rural home of an elderly man in the Australian outback, carrying away his young grandson. Over the sounds of a synth score, the old man stumbles away from his now-burning house, screaming up into the sky. Sadly, the rest of Razorback cannot top that moment. Mulcahy directs the picture with lots of glossy style, while retaining the grit of the Australian New Wave movement. But budget restrictions keep the titular beast from really looking as cool as one would hope, and the movie’s loud, crazy tone can’t rely on Jaws-like power of suggestion. 7. Crawl (2019) Alexandre Aja’s second movie on this list earns its high rank precisely because it does away with the tonal inconsistencies that plagued Piranha 3D and leans into what the French filmmaker does so well: slicked down and mean horror. Set in the middle of a Florida hurricane, Crawl stars Kaya Scodelario as competitive swimmer Haley and always-welcome character actor Barry Pepper as her father Dave, who get trapped in a flooding basement that’s menaced by alligators. Yet as grimy as Crawl can get, Aja also executes the strong character work in the script by Michael Rasmussen and Shawn Rasmussen. Dave and Haley are real people, not just gator-bait, making their peril feel all the more real, and their triumphs all the sweeter. 6. Piranha (1978) Piranha is the only entry on this list to get a seal of approval from Stephen Spielberg himself, who not only praised the movie, even as Universal Pictures planned to sue the production, but also got director Joe Dante to later helm Gremlins. It’s not hard to see why Piranha charmed Spielberg, a man who loves wacky comedy. Dante’s Looney Tunes approach is on full display in some of the movie’s best set pieces. But Piranha is special because it also comes from legendary screenwriter John Sayles, who infuses the story with social satire and cynicism that somehow blends with Dante’s approach. The result is a film about piranha developed by the U.S. military to kill the Vietnamese getting unleashed into an American river and making their way to a children’s summer camp, a horrifying idea that Dante turns into good clean fun. 5. Slugs (1988) If we’re talking about well-made movies, then Slugs belongs way below any of the movies on this list, somewhere around the killer earthworm picture Squirm. But if we’re thinking about pure enjoyable spectacle, it’s hard to top Slugs, a movie about, yes, flesh-eating slugs. Yes, it’s very funny to think about people getting terrorized by creatures that are famous for moving very, very slowly. But Spanish director Juan Piquer Simón, perhaps best known for his equally bugnuts giallo Pieces (1982), pays as little attention to realism as he does to good taste. Slugs is filled with insane and ghastly sequences of killer slugs ending up in unlikely places, swarming the floor of someone’s bedroom or inside a fancy restaurant, and then devouring people, one methodical bite at a time. 4. Deep Blue Sea (1999) When it comes to goofy ’90s CGI action, it’s hard to top Deep Blue Sea, directed by Renny Harlin and featuring sharks with genetically enhanced brains. Deep Blue Sea doesn’t have a strong sense of pacing, it lacks any sort of believable character development, and the effects looked terrible even in 1999. But it’s also the only movie on this list that features LL Cool J as a cool chef who recites a violent version of the 23rd Psalm and almost gets cooked alive in an oven by a genius-level shark. It’s scenes like the oven sequence that makes Deep Blue Sea such a delight, despite its many, many flaws. The movie tries to do the most at every turn, whether that’s clearly reediting the movie in postproduction so that LL Cool J’s chef becomes a central character, stealing the spotlight form intended star Saffron Burrows, or a ridiculous Samuel L. Jackson monologue with a delightfully unexpected climax. 3. Alligator (1980) In many ways, Alligator feels like screenwriter John Sayles’ rejoinder to Piranha. If Joe Dante sanded down Piranha‘s sharp edges with his goofy humor, then Alligator is so filled with mean-spiritedness that no director could dilute it. Not that Lewis Teague, a solid action helmer who we’ll talk about again shortly, would do that. Alligator transports the old adage about gators in the sewers from New York to Chicago where the titular beast, the subject of experiments to increase its size, begins preying on the innocent. And on the not so innocent. Alligator shows no respect for the good or the bad, and the film is filled with scenes of people getting devoured, whether it’s a young boy who becomes a snack during a birthday party prank or an elderly mafioso who tries to abandon his family during the gator’s rampage. 2. Grizzly (1976) Grizzly stands as the greatest of the movies obviously ripping off Jaws precisely because it understands its limitations. It takes what it can from Spielberg’s masterpiece, including the general premise of an animal hunting in a tourist location, and ignores what it can’t pull off, namely three-dimensional characters. This clear-eyed understanding of everyone’s abilities makes Grizzly a lean, mean, and satisfying thriller. Directed by blaxploitation vet William Girdler and written by Harvey Flaxman and David Sheldon, Grizzly stars ’70s low-budget king Christopher George as a park ranger investigating unusually vicious bear attacks on campers. That’s not the richest concept in the world, but Girdler and co. execute their ideas with such precision, and George plays his character with just the right amount of machismo, that Grizzly manages to deliver on everything you want from an animal attack. 1. Cujo (1983) To some modern readers, it might seem absurd to put Cujo on a list of Jaws knockoffs. After all, Stephen King is a franchise unto himself and he certainly doesn’t need another movie’s success to get a greenlight for any of his projects. But you have to remember that Cujo came out in 1983 and was just the third of his works to get adapted theatrically, which makes its Jaws connection more valid. After all, the main section of the film—in which mom (Dee Wallace) and her son Tad (Danny Pintauro) are trapped in their car and menaced by the titular St. Bernard—replicates the isolation on Quint’s fishing vessel, the Orca, better than any other film on this list. However, it’s not just director Lewis Teague’s ability to create tension that puts Cujo at the top. Writers Don Carlos Dunaway and Lauren Currier key into the complicated familial dynamics of King’s story, giving the characters surprising depth. It’s no wonder that Spielberg would cast Wallace as another overwhelmed mom for E.T. The Extraterrestrial the very next year, proving that he still has a soft spot for animal attack movies—even if none of them came close to matching the power of Jaws.

Most of what you need to know about the Nintendo Switch 2 is right there in the name: this is the direct sequel to the Switch. It’s bigger, more powerful, more refined, and builds on a strong foundation. If you liked the first Switch, you’re almost certainly going to like the Switch 2. But whether it’s worth upgrading immediately is going to depend a lot on your current gaming library and how much you’re willing to spend for a small library of first party titles.  The Hardware From an ergonomic perspective, the Switch 2 is a definite upgrade over the original with a nicer looking, rounded off cradle, a bigger screen, and new magnetically attached Joy-cons that are a breeze to connect and remove. Also a really underrated new feature is the more flexible kickstand, which lets you play the Switch 2 from multiple angles if you’re into that sort of thing. While it didn’t really get much coverage in previews, I was also pleasantly surprised by a sturdier cover for game cards that will better lock them into place. That’s not hugely important, but it does show how much thought Nintendo put into the system to address almost every criticism of the original Switch, which was a pretty great portable to begin with. Furthermore, the sound quality of the Switch 2 in portable mode is surprisingly better than the old model. Oddly enough though, as good as the sound is, the HDR implementation is surprisingly underwhelming in this initial batch of games. That’s really not a huge deal, but it’s odd that Nintendo even pushed it at all given how barely noticeable it is right now. Maybe future games (or a future Switch 2 refresh) will improve on it. My only real gripe about the Switch 2 is that it’s maybe too big. I’m a six-foot and two inches, 270 pound professional wrestler in my spare time, and this thing is almost too big for my hands. It starts to feel a little heavy after an hour of playtime. At least the battery life is rock solid, however, which has always been a strong point of Nintendo portables, though the console does run noticeably warmer than its predecessor.  Set Up and the Switch 2 Experience Getting started with the Switch 2 is simple, although not without a bit of the typical Nintendo weirdness. By logging into my Wi-Fi and My Nintendo account, I transferred everything from my original Switch to the Switch 2 in a little over 10 minutes. All I had to do was plug in both consoles and move them within a few feet of each other. The one downside of this is that the Switch 2 then immediately decided to start downloading a few dozen of the most recent games I’ve played. That’s good in theory, but since the Switch 2 only comes with 256GB of internal storage, I didn’t want all those old games on my new console. If there’s an easier way than going through the game library and canceling all of those individual downloads, I couldn’t find it. Still, this made clear just how much space is going to be an issue with the new console. After downloading updates and just a handful of my older titles, I was down to only 175GB of space. When some launch titles are already clocking in at 60 gigs, it’s clear that a MicroSD Express card is going to be a necessity for a lot of gamers. Given the price of those, I do wish the Switch 2 had a port for older SD cards that could play original Switch games, or allowed for a hard drive in docked mode. Maybe that’s something we’ll see in an update down the line. Anyway, once I had downloaded what I wanted and canceled everything else, it was time to dive into the Switch 2 dashboard… which actually looks a lot like the original Switch’s. All of the icons are rounder, just like the cradle and system itself. The eShop doesn’t slow down anymore, and everything else is pretty much where it was on the first Switch. If you ever upgraded from an Xbox One to an Xbox Series X, it’s a similar type of negligible change.   What’s New with the Switch 2 Unlike some past Nintendo consoles like the Wii, the Switch 2 doesn’t have any major new gimmicks, but there are a couple of interesting new features. The upgraded Joy-Cons can now be used like computer mice. There’s also GameChat, a new way to communicate with other players during gameplay through video and audio. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Honestly, I didn’t spend a lot of time with either of these features. They work as advertised, they’re just not exactly revolutionary, especially given that Microsoft and Sony have allowed this type of communication while gaming for years. There’s definitely promise to these ideas down the line, but they’re not exactly day one system sellers. It’s probably 50-50 whether we see games that take advantage of these features, or if developers just ignore them entirely. Switch 2 Games, Old and New The Switch 2 is launching with an impressive collection of more than two dozen games. Many like Street Fighter 6, Hogwarts Legacy, and Hitman are ports of games that have been available elsewhere for awhile now. I picked up Mario Kart World, Bravely Default HD, and Cyberpunk 2077. I’ll have fuller thoughts on Mario Kart World in a few days, but for now I’ll say it’s a very fun game that doesn’t necessarily do a whole lot to show off its console’s power. The other two games are excellent ports of older titles, with Cyberpunk 2077 in particular offering some enjoyable new control options thanks to the upgraded Joy-Cons. What’s especially impressive at launch are the upgrades to The Legend of Zelda: Breath of the Wild and Tears of the Kingdom. Available for $10 each, or as part of an annual Nintendo Switch Online + Expansion Pack membership. These almost look like brand new games with higher resolution and frame rates that now put them on par with a lot of the best looking games on Xbox or PlayStation.  Even in handheld mode, the Zelda titles look noticeably better than on the original Switch. The free upgrades I checked out in New Super Mario Bros. U, Super Mario Odyssey, and Super Mario 3D World + Bowser’s Fury don’t go quite that far in terms of improvements, but the games definitely do perform better. It was actually kind of rough going back to Switch games like Splatoon 3 and Xenoblade Chronicles X that don’t have enhancements of any kind, and still having to deal with their little graphical hiccups on the Switch 2. But I didn’t notice any issues with backwards compatibility. Original Switch games seem to play flawlessly on the new console. Another reason to check out the Switch 2 is GameCube games for Expansion Pack members. I played a few minutes each of The Legend of Zelda: The Wind Waker, F-Zero GX, and SoulCalibur II and I’m pleased to report that they all performed admirably. Whatever emulator Nintendo is using doesn’t make these games look like full-on remasters, but they do look very sharp on a 4K TV, and I’m excited to see what other classic titles get added in the future. Is the Switch 2 Worth Buying? Whether you should pick up a Switch 2 right now (if you can even find one) really depends. If you always wanted a Switch but for some reason never got one, a Switch 2 is an absolute no brainer. It’s going to be the best way to experience some Switch classics like Breath of the Wild and Super Mario Odyssey. If you haven’t had any other way to play great games like Cyberpunk 2077, Yakuza 0, or Hogwarts Legacy, then yes, the Switch 2 is an excellent purchase, and it’s cheaper than either a PlayStation 5 or Xbox Series X.But if you’ve played your original Switch to death and have any other current gen console, a solid gaming PC, or a Steam Deck, the Switch 2 is a dicier proposition. Some great looking games like Donkey Kong Bananza, Metroid Prime 4, and Hyrule Warriors: Age of Imprisonment are on the horizon, and I have no doubt the Switch 2 will be worth the purchase over time, but $450 and up is a lot to ask for what the console offers at the moment.

Remember that time when good ol’ Peter Parker called a drone strike on his classmates because another guy was flirting with MJ? Well, the artificial intelligence that made it happen is back, this time in snarky Canadian form! Deadline is reporting that Schitt’s Creek alum Emily Hampshire has been cast as E.D.I.T.H. in Vision Quest, the upcoming Disney+ series starring Paul Bettany as the synthezoid Avenger. E.D.I.T.H., of course, made her debut as a pair of ugly, gaudy sunglasses the late Tony Stark bequeathed to Peter in Spider-Man: Far From Home. Through E.D.I.T.H., Peter had access to vast technological resources, resources that Mysterio wanted to use for himself. At the end of Far From Home, Peter reclaimed the E.D.I.T.H. glasses and in Spider-Man: No Way Home, a screen readout assured us that they were inactive. Moreover, No Way Home ends with Peter having his secret identity wiped from everyone’s memory and a closing shot of him hand-stitching his own costume in a dingy New York apartment, suggeting that the MCU experiment of making working-class Peter Parker into the scion of a tech bro was done. That may still be true, in which case Vision Quest is a much better place for E.D.I.T.H. to exist. Created by Terry Matalas, showrunner of the Twelve Monkeys TV series and the third season of Star Trek: Picard, Vision Quest will follow the next phase in the life of the synthezoid Vision, who was killed in Avengers: Infinity War and resurrected as an initially evil clone in WandaVision. The title Vision Quest comes from a 1989-1990 arc of West Coast Avengers, written and penciled by John Byrne, in which the U.S. government dismantles Vision and recreates him into a mindless and easily controllable form, signified by his new bleach white look. Fans of the MCU will recognize that storyline from the last episodes of WandaVision, in which S.A.B.E.R. did the same thing to Bettany’s character. However, the Vision Quest comics continued to tell the story of Vision attempting to recover the humanity and personality he’d previously gained over the years, which will presumably be the plot of Vision Quest. However, E.D.I.T.H.’s casting is just the latest in a host of synthetic characters who will appear in the show. James Spader will return as Vision’s creator Ultron, and T’Nia Miller has joined the show as Jocasta, a female synthezoid originally created as Ultron’s bride. A few humans will show up as well, including the return of Faran Tahir as Raza, the leader of the Ten Rings terrorist cell, last seen in Iron Man, and frequent Matalas collaborator Todd Stashwick as a mystery man hunting Vision. That’s a packed cast, but as anyone who recalls the Picard season 3 episode in which androids Data and Lore merged, Matalas knows how to tell an interesting story about artificial intelligence. That episode also showed that Matalas knows how to add levity to heavy conversations about existence, making Hampshire’s casting as E.D.I.T.H. a wise choice. Just don’t let her anywhere near another school bus full of teenagers. Vision Quest is slated to appear on Disney+ in 2026.

Nacelle Unveils Wave 2 of Biker Mice From Mars Action Figures  Nacelle is expanding its NacelleVerse with a new wave of Biker Mice from Mars 1/12 scale figures, now featuring iconic villains and fresh heroes. The lineup includes Charley, Carbine, Lawrence Limburger, Doctor Karbunkle (with Fred the Mutant) and Greasepit. Each action figure will be packed with eccentric accessories and interchangeable parts. Following strong fan demand, production was fast-tracked to bring more characters and long-awaited villains to shelves. The beloved animated series is also being revived by Nacelle alongside Maximum Effort’s Ryan Reynolds.  Check out the full lineup here  Kevin Bacon and Kyra Sedgwick Reunite Onscreen for The Best You Can  Kevin Bacon puts his dancing shoes back on for Michael J. Weithorn’s new film The Best You Can, which premieres at the Tribeca Film Festival on June 7. This new Bacon feature, however, is far from a musical, and it will be the first time in over 20 years that Bacon and his wife Kyra Sedgwick reunite on the screen.  The new film will follow Stan (Bacon), who is home security guard, and Cynthia (Sedgwick), a doctor who forms an unlikely bond with Stan after her home gets invaded. Their friendship is formed entirely over text following their initial encounter.  Of course, working with actors who are married in real-life can throw off the illusion of an unexpected connection that Weithorn is trying to achieve. His solution? Weithorn tells Entertainment Weekly that he asked Bacon and Sedgwick to avoid rehearsing together; he also decided to put Sedgwick in a wig (brilliant) to hopefully make her appearance foreign to Bacon, and set the scene for the two meeting for the first time– and not that they’ve been married for like 36 years.  “For Weithorn, the experience opened him up to the idea of writing a film where texting is one of the primary modes of communication between his protagonists, reflecting its prevalence in day-to-day life. ‘With new people we find that, especially someone who’s a potential friend or someone you might be dating, sometimes it’ll be very awkward and you’re trying to struggle to figure out what they meant or why they didn’t text back,’ he notes. ‘All of the politics and the nuances of texting, it’s more often than not a little clunky.’” Read more at Entertainment Weekly  Nouvelle Vague Could Be France’s First Best International Film Winner at the Oscars in Over 30 Years   It’s been over 30 years since France has received a statuette for best international film, and in 2026, it might just be an American filmmaker to make that change.  Richard Linklater’s Nouvelle Vague recently premiered at Cannes, and has since been acquired by Netflix. Despite speculation, the film is eligible to be selected by France’s Oscar committee since it was shot mostly in French. Furthermore, Linklater employed a local artistic and production team, which heavily factors into the selection committee’s decision, given the Academy of Motion Picture Arts and Sciences requires the creative control of the film be mostly in the hands of the country’s citizens. The only opposing force would be the film’s current release date, which falls after AMPAS Sept. 30 deadline.  If you’re thinking: I think I’ve seen this film before– you’re not alone. France was just inches away from scoring best international film at the 2025 Oscars with Emilia Pérez, which Netflix also acquired; it only cost them $12 million, and was one of the most controversial films of the year. One almost certain deterrent from it winning best international film was a brewing controversy over lead actress’ Karla Sofia Gascon’s offensive tweets just in time for award season.  Still, following its Cannes premiere, though it did not win any prizes at the festival, critics have been abuzz with glowing reviews for Nouvelle Vague. The premiere even visibly moved Quentin Tarantino, who then led a burst of enthusiastic applause and a long standing-ovation from the audience.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! “It would certainly be ironic — and hard to swallow for some — to finally see an American filmmaker score France’s first international feature film Oscar after more than 30 years (the last one dates back to 1993 with Regis Wargnier with ‘Indochine’).’” Read more at Variety  Warner Bros. Delays Animal Friends Release  Reviving a beloved ’90s classic about animated space mice is not the only thing Ryan Reynolds has been up to– he’s also set to star in an upcoming live-action hybrid movie directed by Peter Atencio, Animal Friends.  The film was set to premiere in theaters on Oct. 10, but that date has since been moved to May 1, 2026. Alongside Reynolds will be Aubrey Plaza, Jason Momoa, Dan Levy and TikTok star/rising pop-princess, Addison Rae.  “The road trip adventure feature is now set to hit theaters May 1, 2026, after previously having been scheduled for Oct. 10, 2025. Peter Atencio directs the film from a script by Kevin Burrows and Matt Mider.”  Read more at The Hollywood Reporter

Ballerina is what happens when a studio wants to extend a franchise but really has no reason to do so except a financial one. Subtitled From The World of John Wick, this action thriller contains too much action and precious little thrills. Directed (maybe) by Len Wiseman of Underworld fame, Ballerina is set in the same universe as the four majestic adrenaline epics starring Keanu Reeves, and incorporates as many elements from those films as possible, including the Continental Hotel and the Ruska Roma, not to mention appearances from Ian McShane, Anjelica Huston, the late, great Lance Reddick, and Mr. Reeves himself. But what is also found in ample supply in the John Wick movies and sadly missing in Ballerina is heart, character, and a sense of conviction. At the center of the movie is a miscast, utterly bland Ana de Armas as Eve Macarro, whose father’s death sent her as a little girl into the custody of McShane’s Winston Scott and, eventually, the tutelage of the Director (Huston) of the Ruska Roma ballet/assassin school. It’s there that Eve goes through the usual training montage, with her inability to dance only matched by her evident aptitude at killing and fighting. Once her training is complete, Eve is sent out into the world on Ruska Roma business, but of course her main goal is avenging her dad, who was killed by members of a mysterious cult led by the enigmatic Chancellor (Gabriel Byrne). No sooner can you say “she’s gone rogue” than she does just that, jetting off to Prague in pursuit of a cult member (Norman Reedus) who’s trying to get himself and his own little daughter out from under the Chancellor’s thumb, while finding herself at odds with the Director and pursued by the Chancellor’s minions at every turn. The movie’s thin “lady vengeance” premise, which we’ve seen countless times before, is reheated once again by screenwriter Shay Hatten, who has co-written the last two John Wick entries but seems lost here. Unlike John Wick himself, whose single-minded quest for revenge over the death of his dog took on mythic overtones as more layers to both John and the surreal world of elegant criminality in which he moved were revealed, Eve has nothing to define her that hasn’t been done or said before. It doesn’t help that Armas, while up to the role’s physicality, offers nothing in terms of personality—she’s an empty vessel. Which is a shame, since she’s displayed earthiness (Knives Out), complexity (Blonde), and a sexy playfulness (No Time to Die) in previous work. The rest of the non-Wick cast is forgettable as well, with Byrne’s Chancellor and his entire regime badly underdeveloped, and Reedus completely wasted in what amounts to maybe two scenes. McShane, Reddick, and Huston just go through their paces, spouting lots of portentous lines about “choice” and “fate” that ring mostly hollow, as does a late-stage twist that carries no weight because one of the characters involved barely registers. As for the Baba Yaga himself, the largely non-verbal Reeves is the “Chekhov’s gun” of the film: introduced briefly in the first act, he inevitably turns up again in the third act, parachuted in by the magic of rumored reshoots even though his contribution to the narrative amounts to absolutely nothing. It’s always nice to see him, but if you took him out, it wouldn’t drastically change the picture. Speaking of reshoots, there’s a Frankenstein nature to the proceedings that provides evidence for the reports that Wick director (and franchise torch-bearer) Chad Stahelski refilmed much of the movie after Wiseman’s first draft came up short. While the first act is a murky, enervated slog, things seem to pick up in the middle, with a more eye-catching color scheme (such as a sequence in a neon-lit club reminiscent of a similar scene in the magnificent John Wick: Chapter 4), a creative, free-flowing use of the camera, and some of the more inventive, oddball action that has become part and parcel of the franchise—most notably in a scene where de Armas and an enemy smash a pile of dinner plates over each other’s heads with manic Three Stooges-like energy. Unfortunately, there’s also a sadistic edge to a lot of the action this time as well, particularly in a climactic fight involving flamethrowers that badly wants to emulate the famous overhead apartment shot from John Wick: Chapter 4 but goes on for far too long and ultimately becomes actively unpleasant. That’s a problem with even the better action on hand in Ballerina, as if the filmmakers want to make up for the film’s deficiencies by overdoing what the series is best known for. Hatten’s script was an original piece that was rewritten to fit into the John Wick universe, with elements introduced in John Wick: Chapter 3 – Parabellum to pave the way for the arrival of Eve and Ballerina. But this reverse engineering highlights the pitfalls of trying to create a cinematic universe without stopping to wonder whether it’s a good idea. Watching John Wick stonily fight and slaughter his way through his off-center world and its population of funky, eccentric weirdos has been fantastic fun (the threat of an arc-undermining John Wick 5 notwithstanding) because of the unique nature of the character and that world. But dropping the more conventional, cliched tropes of Ballerina into the mix, along with a protagonist (and actor) not nearly as compelling, only exemplifies that the John Wick movies are character-driven first and foremost. All the brutal action, heavy-handed callbacks, and predictable cameos in the world can’t make this Ballerina into a better dancer. Ballerina opens in theaters in the U.S. on Friday, June 6. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Miller (Deadpool) and Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) strive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now.

During most of the introduction to the Wake Up Dead Man portion of Saturday night’s Netflix Tudum event, writer-director Rian Johnson and his starry cast, led by a folksy Daniel Craig, had fun hiding what the third Knives Out mystery is about. In fact we really don’t know. But as judged by the first teaser trailer for the movie, it is going for a darker and more oblique tone than the general playfulness viewers remember from Knives Out and Glass Onion, marketing included. In the teaser, a church bell ominously sounds in the distance as images suffused in shadow and nocturnal rains cascade down around Craig’s unexpectedly stoic Benoit Blanc. Without a charming witticism or visual gag in sight, Blanc tersely intones during the trailer, “The impossible crime. For a man of reason this is the Holy Grail.” Through it all, a haunting hymn plays as an elegiac and Southern voice cries, “O Death, O Death, Won’t you spare me over til another year.” While we still know relatively little about the plot of Wake Up Dead Man beyond its terrific ensemble—which includes Glenn Close, Kerry Washington, Jeremy Renner, Josh Brolin, Andrew Scott, and Cailee Spaeny—the song choice might tell us a lot about the film’s setting, and possibly the dark places it intends to go. Initially speculation regarding the third Knives Out picture assumed that it would be set in England where most of the film’s production occurred. And while that might still be the case, we suspect the English countryside might be used to substitute for something a little closer to home for American viewers—and distinctly Southern. Indeed, many fans of the Coen Brothers likely recognize the song “O, Death” used in the trailer, for it is the exact version sung by the late bluegrass artist Ralph Stanley in Joel and Ethan Coen’s O Brother, Where Art Thou? (2000). Stanley, it should be stressed, is a legend in the bluegrass and folk sound of music who won a Grammy for this version of “O Death.” However, his vocals were used in O Brother (and now Wake Up Dead Man) to send a chill up the spine when sung a cappella style in the third act of the Coens’ Mississippi-set Depression fable. After all, on screen the song is being sung not by a simple musician, but by the grand wizard of a Ku Klux Klan chapter which has gathered to lynch and murder a young Black man on a trumped up accusation based in superstition. The Coens’ choice of this song to be sung by the KKK in the 1930s is probably not accidental either. The standard version of the song’s origin is that it’s a traditional Appalachian folk song written by Baptist preacher Lloyd Chandler. Chandler certainly performed the song in the 1920s in North Carolina, allegedly after receiving a vision from God of the song in 1916. However, further research has proven that Chandler’s composition bears an uncanny similarity to a 1913 printed version of a folk song (that is therefore likely much older) in Journal of American Folklore. The journal asserted the song was sung by “Eastern North Carolina Negroes.” Which is all to say, the song’s ambiguous origin is rooted in the cultural milieu and tensions of the American South during the days and decades of Jim Crow and after the Civil War. It was used by the Coens as a disturbingly beautiful song of annihilation put in the mouths of mass murdering racists, and it is now used to signal what appears to be the first Benoit Blanc mystery to return to the region of Benoit’s home: the American South. (This setting is seemingly further verified by the fact that one of the film’s law enforcement figures is dressed like someone from an American sheriff’s office as opposed to an English village.) This is all of course speculation, but to use this song and Stanley’s Grammy-winning version of it specifically is likely a deliberate choice on Johnson’s part. And given how Johnson is unafraid to use what on the surface appear to be cozy murder mysteries to interrogate larger issues of social rot and inequality in the modern world via both Knives Out and Glass Onion, we are left to wonder just how deeply Southern the roots of his third murder mystery will run. Wake Up Dead Man premieres on Dec. 12 on Netflix.

FX’s The Bear returns to Hulu for a fourth season on June 25. This season will once again test Carmy (Jeremy Allen White), Sydney (Ayo Edebiri), and the rest of The Bear crew as they try to push their restaurant, and each other, to be the best they can be. The original docuseries Call Her Alex arrives on June 10, following podcast host and media mogul Alex Cooper as she prepares for her first tour. This docuseries also tells the story of how Cooper went from the host of a successful podcast to the CEO of a media empire, all within six years. Here’s everything that’s coming to (and leaving) Hulu in June. Hulu New Releases – June 2025 June 1 Adam (2019)Alien (1979)Alien 3 (1992)Alien Resurrection (1997)Alien vs. Predator (2004)Alien: Covenant (2017)Aliens (1986)Aliens vs. Predator: Requiem (2007)Beasts Of The Southern Wild (2012)Before Midnight (2013)Betsy’s Wedding (1990)Beverly Hills Ninja (1997)Big Eden (2000)Big Fish (2003)The Big Hit (1998)Big Mommas: Like Father, Like Son (2011)Blue Jasmine (2013)Boy Meets Girl (2014)Breakin’ All the Rules (2004)The Bronze (2016)Bubble Boy (2001)Bugsy (1991)Cedar Rapids (2011)The Chronicles Of Narnia: The Voyage Of The Dawn Treader (2010)Cold Pursuit (2019)Cyrus (2010)Daddy Day Care (2003)Death on the Nile (2022)Deja Vu (2006)Delivery Man (2013)Dude, Where’s My Car? (2000)Edge of Tomorrow (2014)Elena Undone (2010)Freddy Got Fingered (2001)The Girl Next Door (2004)Grown Ups (2010)Grown Ups 2 (2013)Happy Gilmore (1996)The Heat (2013)Hitchcock (2012)Hurricane Bianca (2016)Idiocracy (2006)Independence Day (1996)The Joy Luck Club (1993)Just Go With It (2011)Kung Fu Panda 3 (2016)Let’s Be Cops (2014)Loving Annabelle (2006)Mamma Mia: Here We Go Again! (2018)Mamma Mia! (2008)The Mask (1994)Me And Earl And The Dying Girl (2015)Mirrors (2008)The Namesake (2007)A Perfect Ending (2012)Pineapple Express (2008)Predator (1987)The Predator (2018)Predator 2 (1990)Predators (2010)Pride + Prejudice + Zombies (2016)Prometheus (2012)Reno 911! Miami: The Movie (2007)Sordid Lives (2000)28 Weeks Later (2007)The War of the Roses (1989)We’re The Millers (2013)Working Girl (1988)You Don’t Mess With The Zohan (2008) June 3 I’ve Somehow Gotten Stronger When I Improved My Farm-Related Skills: Complete Season 1 (DUBBED & SUBBED)Miss Kobayashi’s Dragon Maid: Complete Season 1 (DUBBED & SUBBED)The Quiz With Balls: Season 2 PremiereSo I’m a Spider, So What?: Complete Season 1 (DUBBED & SUBBED)Wise Man’s Grandchild: Complete Season 1 (DUBBED & SUBBED)Yuri on Ice: Complete Season 1 (DUBBED & SUBBED)Presence (2025)June 4 The Great House Revival: Complete Season 5June 5 National Anthem (2023)June 6 Not Her First Rodeo: Complete Season 1Predator: Killer of Killers: Film PremiereBorat: Cultural Learnings Of America For Make Benefit Glorious Nation … (2006)Deuce Bigalow: Male Gigolo (1999)Hot Shots! (1991)Hot Shots! Part Deux (1993)Shallow Hal (2001)The Ringer (2005)June 7 Gypsy’s Revenge: Complete Season 1I (Almost) Got Away With It: Complete Season 3Kids Baking Championship: Complete Season 12Murder in the Heartland: Complete Season 1Naked and Afraid: Last One Standing: Complete Season 1Sister Wives: Complete Season 12June 8 Scream (2022) June 9 Beyblade X: Season 1B Join our mailing list Get the best of Den of Geek delivered right to your inbox! June 10 Call Her Alex: Complete DocuseriesAnd Then We Danced (2019)Clifford the Big Red Dog (2021)June 11 The Snake: Series PremiereGran Turismo (2023)June 12 The 1% Club: Season 2 PremiereJune 13 Atsuko Okatsuka: Father: Special PremiereAbsolution (2024)June 14 90 Day Fiance: Complete Season 590 Day Fiance UK: Complete Season 2Guy’s Grocery Games: Complete Seasons 32 & 33I’d Kill For You: Complete Season 3Joel McHale: Live from Pyongyang (2019) June 16 My Happy Ending: Complete Season 1 (Sub)Black Christmas (2019)June 17 SALLY (2025)Skincare (2024)June 19 The Quiet Ones (2024)June 20 The Bravest Knight: Season 2BOut Come the Wolves (2024)June 23 Barbara Walters Tell Me Everything: Documentary PremiereHelck: Complete Season 1 (DUBBED & SUBBED)My Instant Death Ability is Overpowered: Complete Season 1 (DUBBED & SUBBED)My Isekai Life : Complete Season 1 (DUBBED & SUBBED)June 24 Survive (2024) June 25 FX’s The Bear: Complete Season 4June 27 F*ck Marry Kill (2024)June 29 The Bachelor: Complete Seasons 27 & 28June 30 Boonie Bears: Time Twist (2024)Texas True Crime: Complete Season 5The Actor (2025)Leaving Hulu – June 2025 June 1 Christmas with the Campbells (2022)June 2 The Amazing Maurice (2022) June 4 Intrigo: Dear Agnes (2019)June 8 Indemnity (2021)June 10 Here Before (2021)Warhunt (2022)June 11 Intrigo: Samaria (2019)June 13 The Worst Person in the World (2021)June 17 Ted K (2021)The Ledge (2022) June 22 The Burning Sea (2021)June 24 Big Gold Brick (2022)Gasoline Alley (2022)June 25 The Desperate Hour (2022)June 30 Transfusion (2023)

There may not be a ton of new releases coming to Disney+ this month, but that doesn’t mean there isn’t plenty to be excited about. The beginning of June sees the return of Phineas and Ferb (June 6) with the first 10 episodes of season 5. This is the first time new episodes have been released since the series ended a decade ago in June 2015, but it’s sure to be an exciting new season for both new and old fans alike as Phineas, Ferb, and their friends once again try to make their summer one to remember. Dr. Doofenshmirtz and his nemesis Perry the Platypus are also set to make their return, so there will definitely be some ‘evil’ hijinks mixed in as well. A professional recording of Frozen: The Hit Broadway Musical is set to hit Disney+ on June 20. This reimagining of the animated movie features twelve new songs and thrilling surprises. Even if you’ve seen the movie a dozen times, you’ve never seen the story quite like this. To finish out the month, Marvel’s Ironheart premieres on June 24 with the first three episodes. Set after Black Panther: Wakanda Forever, this series follows genius inventor and tech prodigy Riri Williams as she returns home to Chicago and becomes caught up with the mysterious and charming Parker Robbins a.k.a. The Hood. Riri may be incredibly gifted, but her skills will be put to the ultimate test when she has to go up against some powerful magic. Here’s everything coming to Disney+ this June. Disney+ New Releases – June 2025 June 4 Pupstruction (S2, 6 episodes)June 6 Phineas and Ferb (Season 5 Premiere – First 10 Episodes)June 8 Ocean with David Attenborough (Premiere)June 17 SALLY (Premiere)June 20 Frozen: The Hit Broadway Musical (Premiere) June 24 Ironheart (Three Episode Premiere at 6pm PT) Join our mailing list Get the best of Den of Geek delivered right to your inbox! Coming in June Underdogs (Season 1)Vibe Check

Warning: contains spoilers for Doctor Who episode “The Reality War.” In Doctor Who’s frankly mind-boggling season finale, the Doctor’s epic battle with the two Ranis, Omega, Conrad and a herd of skyscraper-sized bone creatures ultimately comes down to the restoration of a single life – and will require a sacrifice nobody expected. Spoilers ahead. It’s honestly difficult to know where to start with this episode. There are so many potential jumping-off points for discussion – though, somewhat tellingly, very few of them relate to the actual story that kicked off in earnest last week, which the episode itself seems positively impatient to get out of the way. It takes about 15 minutes for the Doctor to stop hugging every member of the extended supporting cast so the titular war can kick off, then by the halfway mark it’s over. Audacious? Yes, though that’s not to say it actually works. Do we start with Billie Piper? Or the unexpected and quite charming Jodie Whittaker cameo? Or the fact that they somehow snuck Ncuti Gatwa’s regeneration onto the screen without anybody knowing? No, because this season didn’t start with Billie Piper, or Jodie Whittaker, or the Rani, or Ruby Sunday. It didn’t even start with the Doctor. It started with Belinda Chandra. A character with so much potential – compassionate, uncertain, a little bit spiky, competent in a new and interesting way, compellingly distrustful of the Doctor. Potential that has, at this point, been mostly wasted. There is a point in “The Reality War” where Belinda basically tells the Doctor “OK I think I’m done contributing to this episode, good luck tho” and is left holding the baby in a soundproofed box where she can neither affect or be affected by the story happening outside. We even have an unintentionally comical cut back to her standing in there, doing nothing, saying nothing. It’s hard to think of a more literal way to sideline a key player. This is the co-lead of the show! The companion! And instead of having any real agency, instead of contributing to the plot in any meaningful way whatsoever, she functionally stops existing as a narrative presence. She doesn’t even get to go with the Doctor when he rushes off to save what turns out to be her child. And for what? So that the companion who supposedly left the show last season can have all the big dramatic moments instead? There were no advanced screeners available for this episode – given what happens at the end, it’s easy to see what they were scared might leak – so I’m writing with less distance than usual, reacting fairly rapidly to a first watch. But even with several days to digest, it’s difficult to imagine feeling anything other than bafflement at this storytelling choice. This is what Belinda’s whole story arc was leading to? This is the big twist? It’s truly one of the most bewildering decisions that Russell T Davies has made. It already kind of felt like he’d run out of meaningful stuff for Belinda to do after “The Well”, and there have been plenty of complaints about her sidelining in “Wish World”, but nobody could have predicted this. Sorry Belinda. And sorry Varada Sethu. You both deserved better. Now to Ncuti Gatwa. It’s pointless getting into behind-the-scenes gossip, or speculating on the actor’s motivations – if he only ever wanted to do two seasons, of course that’s his choice. But what are we to take away from his brief tenure in storytelling and character terms? A Doctor defined by his joy, his exuberance, his love for people (frustratingly, a point this episode hammers until it becomes tedious). A smile as powerful as a billion supernovas. A killer wardrobe. Even in lesser episodes, Gatwa’s energy has carried us along, infectious and delightful. It’s a genuine shock and a shame to see him go. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Not least because, as with Belinda, it feels like his Doctor had unfulfilled potential. Was this episode truly a satisfying conclusion to Fifteen’s story? He gets plenty of good moments, big and small, and of course he plays the hell out of all of them. You could argue that sacrificing their life to save one child is about the most Doctor-ish thing possible. I wouldn’t necessarily argue with you. But that’s broad strokes stuff, generally applicable to any incarnation. What about this Doctor makes this specific set of circumstances a fitting send-off? Is it satisfying for this Doctor, a Doctor representing a particular streak of joyful hedonism, a Doctor who releases UNIT from their stifling roles in Conrad’s reactionary wish world via an explicit and triumphant assertion of his queerness, to go out in this way, for these reasons? It just doesn’t feel like that’s what these past two seasons – the bi-generation, his relationship with Rogue, his torturing of Kid, the seemingly forgotten Susan stuff – have been leading to. It’s a shame that the episode also feels so messy on a minute-to-minute level. There are individually effective moments – Dark Souls boss Omega is a fantastic visual, and him casually munching The Rani is enjoyably WTF (though I can’t help wishing they’d offed the other one and kept Archie Panjabi around). The moment with the Doctor and Belinda passing Poppy’s jacket back and forth and folding it until it vanishes is kind of jaw-dropping in how understated and upsetting it is. Anita’s first joke about being in hospitality is funny (the second and third iterations not so much). Millie Gibson does a great job, even if it feels like a misstep to give Ruby so much heavy lifting to do instead of Belinda. But the whole thing feels so all over the place that not even Gatwa’s megastar energy can hold it together. And now he’s gone, regenerated into Billie Piper. At this point, we have no idea when the show will be back. It’s impossible to know where this is going. And it’s hard not to feel torn – on the one hand, Billie Piper is a fantastic actor, and it’s fascinating to consider what her take on the role will be (though it should be noted that the credits pointedly don’t say “Billie Piper as The Doctor”, whatever that could mean). On the other hand, didn’t we just do this? We had the second Tennant Doctor, it was a lovely gift for fans that wrapped up some loose ends and gave everyone a big warm glow for the anniversary, and then we flew off with Ncuti Gatwa, an actor who couldn’t have screamed more loudly that things were going to be different. But now we’re looking backwards again. And as fun a surprise as Piper’s appearance is, as fully as she will no doubt own the role… it feels like another retrograde move. It’s Doctor Who celebrating itself, getting lost in its own mythos, turning inward. And so we end this oh-so promising season in a strange, unsettling place. An episode that doesn’t really seem to care that much about the story it claimed to be telling, which makes discussing it seem weirdly beside the point. A show in limbo. A whole incarnation of the Doctor gone, when we’d barely started to get to know him. A promising companion wasted. A showrunner everyone expected to be a safe pair of hands making some utterly confounding choices. Where do we go from here? Doctor Who series 15 is available to stream now on BBC iPlayer in the UK and on Disney+ around the world.

Frankenstein, the post-Enlightenment novel written by a teenage girl that invented modern science fiction, has long been Guillermo del Toro’s white whale. The Mexican filmmaker has eyed adapting Mary Shelley’s story of a modern day Prometheus since the 1990s. And now it’s almost here. It’s a good feeling for the filmmaker and his admirers… but it also an opportunity of mounting excitement for fans of Shelley, too, since so much of her 1818 masterpiece remains mostly associated with the page in spite of the countless film adaptations based on the story of a man and his monster. And as judged by the first remarkable teaser trailer of Frankenstein introduced by del Toro and stars Oscar Isaac and Mia Goth at Netflix’s Tudum event Saturday night, it’s safe to stay that del Toro is pulling from Shelley directly… including a wrap-around story of hers that is seldom ever attempted on the screen. “What manner of creature is that?” a shaken voice whispers in the new Frankenstein trailer. “What manner of devil made him?” We never exactly see what countenance could earn the dehumanizing term “creature” in the trailer, but we feel his presence. He is a silhouette, a shadow—a vengeful wraith—walking across a sheet of ice with the sunset to his back. And he is approaching what is demonstrably a half-mad, frostbitten Victor Frankenstein (Oscar Isaac), who can only say in his frozen delirium “I did.” Victor is the devil who made that. For fans of Shelley’s novel, or just those with a good memory of Kenneth Branagh’s now mostly forgotten 1994 adaptation of the book, this framing device should send a chill of anticipation through the spine as giddy as any more familiar promises of gods and monsters. That’s because del Toro is adapting the cruel framing device Shelley used to introduce both Victor and the creature he pursues. Indeed, most of Frankenstein on the page is told in flashback and relayed by our protagonist Victor as a kind of last rites confession as he dies from fever and starvation after years and years of chasing his creation north. Always north. Whereas most of the novel takes place actually at the end of the Enlightenment era of the 19th century—the glory days of Mary’s famous philosophical and activist parents—the only “modern” part of the story is to compare the zeal for discovery in Victor with what was only a dawning fascination in the 19th century with discovering the North Pole (a feat that wouldn’t actually be accomplished until the early 20th century). In the book, Victor’s tale of obsession for greatness causes a captain who has led his men to becoming stuck in the Arctic ice to reflect on the potentially lethal consequences of his ambitions—especially after he meets the Monster who later verifies Victor’s story by mourning over the scientist’s body. The framing device is fascinating because of where it places the story in history, but also because it elevates the tragedy of the so-called Monster and his Creator. Who was really hunting who at the end of the world in the North Pole, and who is truly the monster? The Creature did terrible things, but how much of that is Victor’s fault for abandoning his progeny to a lifetime of loneliness hatred, and despair, including by that which gave him life? Both suffer tragic fates in the end in the cold. Unloved and unremembered, except by one sea captain no one will believe. While it remains to be seen if del Toro is doing a straight-ahead faithful adaptation of the novel—in fact we can assume he is not since Isaac’s Victor dresses more like a Victorian of the mid-19th century than a contemporary of Voltaire or Thomas Jefferson, and we also know that Burn Gorman appears in the movie as Fritz, a character created by Universal Pictures in the iconic 1931 film adaptation starring Boris Karloff—it is fascinating to see the master filmmaker returning to the source material. It also raises questions of just where he will go with Jacob Elordi’s intentionally obscured and hidden Monster. We know from the trailer’s end with the Monster attacking the crew of the North Pole-bound ship (a beat also, we might add, is not in the novel) that he has the power of speech. It will be curious indeed to learn if he proves to be a Milton-esque philosopher demon, which is also a largely ignored element of Shelley’s original story. Frankenstein is expected to premiere in November on Netflix.

HBO original The Gilded Age returns for a third season on June 22. This series tells a fictionalized story set during America’s Gilded Age. A time of rapidly increasing prosperity and industry, for those lucky enough to capitalize on it. New York City’s social scene is forced to adapt as people with old money (inherited wealth) and those with new money (wealth from rising industries) clash. Carrie Coon, Morgan Spector, Taissa Farmiga, Cynthia Nixon, and more star in this compelling drama. Fans of The Hunger Games series will be happy to find all four movies in the series on Max from the first of the month. If you need a break from Sunrise on the Reaping theories or simply want to revisit the story that started it all, Max is the place to be. A Minecraft Movie will also be available to stream on Max this month, though the date has yet to be revealed by Warner Bros. Discovery. Here’s everything coming to HBO and Max in June. HBO and Max New Releases – June 2025 June 1 A Hologram for the King (2016)A Nightmare on Elm Street (2010)A Perfect Getaway (2009)Backtrack (2016)Batman and Superman: Battle of the Super Sons (2022)Black Patch (1957)Blues in the Night (1941)Casino (1995)Fight Club (1999)Gentleman Jim (1942)Hellboy (2004)I Am Not Your Negro (2017)Igor (2008)Illegal (1955)In the Good Old Summertime (1949)Invasion of the Body Snatchers (1978)Kid Glove Killer (1942)Meet Me in St. Louis (1944)My Scientology Movie (2017)Numbered Men (1930)One Foot in Heaven (1941)Parasite (2019)Presenting Lily Mars (1943)Pride & Prejudice (2005)Public Enemies (2009)Reign of the Supermen (2019)Serenade (1956)Silver River (1948)Spaceballs (1987)Split (2017)Strike Up the Band (1940)Summer Stock (1950)Superman: Man of Tomorrow (2020)Superman: Red Son (2020)Superman: Unbound (2013)Superman/Batman: Public Enemies (2009)Thank Your Lucky Stars (1943)The Death of Superman (2018)The Fighting 69th (1940)The Harvey Girls (1946)The Hunger Games (2012)The Hunger Games: Catching Fire (2013)The Hunger Games: Mockingjay Part 1 (2014)The Hunger Games: Mockingjay Part 2 (2015)The Man Who Invented Christmas (2017)The Match King (1932)The Mayor of Hell (1933)The Mortician (HBO Original)The Nitwits (1935)The Prince and the Pauper (1937)The Sea Chase (1955)The Sea Hawk (1940)The Sunlit Night (2019)The Verdict (1946)They Made Me a Criminal (1939)This Side of the Law (1950)Three Faces East (1930)Three Strangers (1946)Total Drama Island, Season 2 (Cartoon Network)Wagons West (1952)Words and Music (1948)You’ll Find Out (1940)Ziegfeld Follies (1946)June 2 BBQ Brawl, Season 6 (Food Network)June 3 Bullet Train (2022)Ugliest House in America, Season 6 (HGTV)June 4 1000-lb Roomies, Season 1 (TLC)Fatal Destination, Season 1 (ID)June 5 Bea’s Block, Season 1C (Max Original)Chespirito: Not Really on Purpose, Season 1 (Max Original)June 6 House Hunters International: Volume 9, Season 201 (HGTV)Parthenope (A24) June 10 Virgins, Season 1 (TLC) Join our mailing list Get the best of Den of Geek delivered right to your inbox! June 11 Guy’s Grocery Games, Season 38 (Food Network)June 12 Bitchin’ Rides, Season 11Mini Beat Power Rockers: A Superheroic Night (Discovery International)June 13 Cleaner (2025)House Hunters: Volume 10, Season 240 (HGTV)Maine Cabin Masters, Season 10 (Magnolia Network)Super Sara (Max Original)Toad & Friends, Season 1BJune 16 Hero Ball, Season 3BJune 17 Dr. Sanjay Gupta Reports: Animal Pharm (CNN Originals, 2025)Super Mega Cakes, Season 1 (Food Network) June 19 Expedition Unknown, Season 15 (Discovery)Mystery At Blind Frog Ranch, Season 5 (Discovery)June 20 House Hunters: Volume 10, Season 241 (HGTV)Lu & The Bally Bunch, Season 1C (Cartoon Network)Now or Never: FC Montfermeil (Max Original)Teen Titans Go!, Season 9B (Cartoon Network)June 21 The Kitchen, Season 38 (Food Network)The Never Ever Mets, Season 2 (OWN)June 22The Gilded Age, Season 3 (HBO Original) June 23 Match Me Abroad, Season 2 (TLC)June 24 Enigma (HBO Original)Mean Girl Murders, Season 3 (ID)The Invitation (2022) June 25 Rehab Addict, Season 10 (HGTV)June 27 House Hunters: Volume 10, Season 242 (HGTV)My Mom Jayne (HBO Original)Pati, Seasons 1&2 (Max Original)The Day the Earth Blew Up: A Looney Tunes Movie (2025)June 29 #Somebody’s Son, Season 1 (OWN)Family or Fiancé, Season 4 (OWN)June 30 90 Day Fiancé: Pillow Talk, Season 11 (TLC)Truck U, Season 21

On June 5, after years of rumors and anticipation, Nintendo will finally launch the Nintendo Switch 2 worldwide. Preorders are already mostly sold out with millions of gamers anxiously awaiting Mario Kart World Tour and new on-the-go ports of Street Fighter 6 and Cyberpunk 2077. Of course Nintendo is no stranger to the hardware business, launching more than a dozen consoles and portables since the Nintendo Entertainment System (NES). And there have been many ups and downs over the last four decades. When considering which Nintendo system actually had the best launch, we looked at the quality and quantity of games at release, price, as well as the overall impressiveness of the hardware at launch. This retrospective also considers only the North American launches of each system. With that in mind, this is the definitive ranking of all of Nintendo’s console and portable launches since the NES gave the world a red-capped Italian plumber!  13. Virtual Boy Since entering the video game market in the 1970s, Nintendo has rarely encountered a massive failure, but it’s hard to see the Virtual Boy as anything but a colossal misstep, albeit an ambitious one. A home VR system in the mid-‘90s was literally decades ahead of its time, but nothing about it was really consumer friendly. Despite being marketed as a Game Boy successor, the Virtual Boy wasn’t really portable, and at home, it required a table to play. And while the black and white monochrome screen was fine for the original Game Boy, the Virtual Boy’s red and black monochrome display was known to just cause headaches. As for the launch games, they were aggressively… okay? Mario’s Tennis is a perfectly competent, if barebones, tennis game. Meanwhile Teleroboxer was an interesting, just not terribly compelling Punch-Out!! successor. But even if the games were decent, the controller, a god-awful monstrosity mixing the worst aspects of the SNES and N64 controllers, didn’t do these titles any favors. The launch price, equivalent to around $370 USD in 2025 dollars, was the final nail in the Virtual Boy’s coffin, and Nintendo quietly discontinued the console a year after release. 12. Wii U The Wii U is Nintendo’s worst selling console by a large margin, and the problems really were evident from the beginning. The tablet controller was an interesting idea but just not as engaging or innovative as the Wii’s motion controls. Nintendo really banked on Nintendo Land showcasing what the system could do and banked on it being their next Wii Sports, but it ended up just showing how limited the new console really was. And while Mario games have historically been system sellers, New Super Mario Bros. U was largely a rehash of its Wii predecessor, just with HD graphics. It’s a fine platformer, but a surprisingly average Mario game. Beyond that, the launch lineup was largely made up of third party ports, some of which had been available on other consoles for years at that point. It’s easy to see why so many people were confused about whether the Wii U was a new console or an upgrade of the Wii, and why so many of those who understood what it was ended up skipping it, even if the $300 launch price was competitive. 11. Game Boy Color If we were looking at the entire history of Nintendo consoles, the Game Boy Color would certainly rank higher, but Nintendo just didn’t put much effort into its launch, likely because Nintendo absolutely dominated the handheld gaming market at the time. They didn’t have to work very hard to sell this thing. They knew the players would show up. The highlight of the Game Boy Color’s launch in 1998 was Game & Watch Gallery 2, a color collection of the old handheld titles Nintendo made in the ‘80s. It actually was a very good showcase of the GBC’s better color graphics, but it wasn’t the type of game that had much staying power. The other launch titles, Pocket Bomberman, Centipede, and Tetris DX, a colorized version of the original Game Boy’s Tetris launch title, were similarly serviceable but largely forgettable, because seriously, who was dying to play a colorized version of Game Boy Tetris at that point? But at $79.95, the launch price was right, and the GBC quickly built an impressive library of exclusives. 10. Nintendo 3DS When the 3DS was first revealed in 2010, its glasses-free stereoscopic 3D generated an immense amount of buzz. Sadly, a botched launch promptly killed a lot of that momentum. Nintendo’s first party offerings were all oddly disappointing. Pilotwings had been a solid launch series in the past, but Pilotwings Resort lacked a lot of content compared to its predecessors. Steel Diver was an interesting submarine sim that just didn’t quite click. And Nintendogs + Cats, well… it was more Nintendogs for whatever that’s worth. The launch lineup wasn’t all disappointments, however. Street Fighter IV 3D Edition and Rayman 3D were excellent ports of console games, and Tom Clancy’s Ghost Recon: Shadow Wars remains an underrated gem of a tactics game. But arguably the biggest knock against the 3DS was its price. The handheld launched at $250, a price that many gamers balked at. Nintendo was forced to cut the price to $170 just a few months later. Early adopters were compensated with a collection of 20 NES and GBA games, but so many unnecessary missteps left a bad taste in the mouths of many Nintendo fans, and it seems like the 3DS never quite reached its full potential. 9. Nintendo 64 I remember first playing Super Mario 64 in a Toys ‘R Us in 1996 before the U.S. launch and being absolutely blown away. I had never used an analog controller before that let me control how fast or slow my character on screen moved. There had been plenty of 3D platformers prior to that point, but Mario’s first 3D outing truly felt like a giant leap forward for gaming thanks to its silky smooth controls and innovative open world gameplay. Join our mailing list Get the best of Den of Geek delivered right to your inbox! The problem with N64’s launch is that there just wasn’t much else to it. It only launched in the U.S. with Super Mario 64 and Pilotwings 64, which was another excellent showcase for what the console could do, but once you played through those games, new releases were sparse, and expensive, an issue that would continue to plague the console for its entire lifespan. The N64 certainly had quality games, it just could never get much quantity. And while the $250 launch price was reasonable, it was only $50 cheaper than a PlayStation at the time, and given that the PS1 had a much larger library, and its games tended to be cheaper, it’s easy to see why Sony’s console outsold Nintendo’s by a large margin in the late ‘90s. 8. Nintendo DS Nintendo didn’t really seem to know what the DS was supposed to be at first. Seemingly rushed to market in late 2004 to get ahead of the imminent Sony PSP launch, the DS was initially marketed as a “third pillar” system that would sit on shelves alongside the GameCube and Game Boy Advance, though it quickly elbowed the GBA out of the handheld space.  That wasn’t exactly thanks to a great launch lineup though. Super Mario 64 DSFeel the Magic: XY/XX was a weird and wonderful minigame showcase of the handheld’s new features, but it had little mass market appeal. And while games like Madden NFL 2005, Spider-Man 2, and Urbz: Sims in the City were all perfectly serviceable, none of them were on par with their console counterparts. But at $150, the DS was $100 cheaper than the PSP, and that easily helped it become a bestseller.  7. Nintendo Switch  In 2025 the Switch is an undisputed massive success, but its launch in 2017 was very much a mixed bag. First the good: the hardware, though underpowered compared to competitors, is fantastic. Being able to seamlessly switch between playing games on a TV and on the go is a wonderful innovation. The Switch feels great in your hands, and the Joy-Cons still offer some of the best feedback of any controller on the market. It was clear that the system had massive potential from the start, and the $300 launch price undercut both Sony and Microsoft. But the launch lineup was the definition of a one trick pony. Yes, The Legend of Zelda: The Breath of the Wild was an instant classic and absolutely deserves to be in the conversation of the greatest games of all time. But beyond that, how many people even remember the Switch’s other launch games? 1-2 Switch is a lame minigame collection. Super Bomberman R had potential as a launch exclusive, but turned out to be a middling entry in the long running franchise. And ports of Just Dance 2017 and Skylanders: Imaginators weren’t exactly moving systems. Still, the success of the Nintendo Switch makes a really good case that all a console needs to be successful is a great design and one killer app. 6. Game Boy When it launched in 1989, the Game Boy was woefully underpowered and lacked the color screen of competitors like the Sega Game Gear and Atari Lynx. It didn’t really matter though. First Nintendo understood that less power meant longer battery life, which is still about the most important feature for portable gaming. More importantly, the Game Boy had a secret weapon: Tetris.  The classic puzzler was a pack-in title for the Game Boy at launch, the equivalent of giving the first hit away for free to get gamers hooked. At $89.99, the launch bundle was an absolute steal. Along with Tetris, Super Mario Land was a quirky and unique take on the Mario series that was well worth checking out, while ports of Tennis and Baseball from the NES library kept people hooked as the Game Boy gained momentum.  5. GameCube The GameCube launch is both better and worse than you remember it. While the console was kind of knocked for not having any truly great exclusives at launch, the exclusives that were released have actually aged rather well. This was a system where you could pick up Luigi’s Mansion, Wave Race: Blue Storm, Star Wars Rogue Squadron II: Rogue Leader, and Super Monkey Ball at launch, all fantastic titles that weren’t available anywhere else. And while it launched three days after the original Xbox, it was also $100 cheaper. Admittedly, the third-party offerings were a bit slim, but Tony Hawk’s Pro Skater 3Crazy Taxi with the all important arcade soundtrack that’d been missing from more recent releases. But those ports also showed off the GameCube’s biggest weakness: there was really nothing different about these versions if you already owned them elsewhere. It’s not surprising then that after this generation, Nintendo started looking toward new gimmicks to sell consoles instead of just pushing graphics technology to its limits. 4. SNES The SNES didn’t launch with a ton of games, but there wasn’t a stinker in the bunch. Of course there was Super Mario World, still arguably the best Mario game ever made. Not only is the design of that game timeless, but the huge graphical upgrade over anything the NES could do quickly justified the upgrade to a new console. Pilotwings and F-Zero, with their revolutionary use of Mode 7 further showed off the power of the system. The $199 launch price (equivalent to around $460 today) was high for the time, but the launch lineup was so good, the price was kind of justified. Even the two games pulling up the rear, Gradius III and an SNES-exclusive version of SimCity were excellent titles worth picking up. But what’s really underrated about the SNES is how much of an improvement the controller was. It was much more ergonomic than the hard rectangle shape of the NES controller, and the addition of X and Y and shoulder buttons made it clear from the get-go that this console was going to open up a lot of new gameplay styles. 3. Game Boy Advance The Game Boy Advance had an all too brief time as Nintendo’s premiere handheld before the DS took the spotlight, but it built an impressive library during its time starting with the launch. The $100 launch price is quite possibly the best of any piece of Nintendo hardware. And the portable had a solid one, two punch out of the gate with F-Zero: Maximum Velocity, an excellent successor to the SNES title, and Super Mario Advance, a full-fledged remake of Super Mario Bros. 2 that remains the best way to experience this classic.  The 15 other titles available at launch included solid ports of games like Rayman and ChuChuRocket!, with the portability of the GBA version arguably making it more preferable to play than its bigger brother on Dreamcast. But for many, the real star of the launch was Tony Hawk’s Pro Skater 2, a technically impressive port that somehow managed to squeeze all of the gameplay of the console version into an isometric view. Before release, many were touting that the GBA was the equivalent of a handheld SNES. These early games showed that it could actually be even better than that. 2. NES By the mid-1980s, console gaming was essentially dead in North America. Atari had killed the market, flooding it with low quality games. It would take an impressive new console, genius marketing, and just a little bit of luck to bring home gaming back from the brink. The NES succeeded at a tough time for video games by trying not to be just another console. It was more of a toy, or “entertainment system,” sold alongside a Zapper light gun and R.O.B., a robot accessory. Gimmicky? Sure, but that was just the opening salvo in Nintendo’s strategy, the Trojan horse to bring consoles back into the living room. Of course, the games needed to be good for the NES to succeed, and Nintendo had that down pat, launching with 17 titles, including Super Mario Bros., Excitebike, Duck Hunt, and Ice Climbers, titles that are iconic to this day. Other titles like Baseball, Tennis, and Pinball were more perfunctory, but good enough to gain the public’s attention and prove that video games weren’t just a fad. Admittedly, the $200 launch price (equivalent to nearly $600 in today’s dollars) was high, though historically similar to many other launch prices for new consoles, and that price point clearly didn’t do much to dissuade prospective buyers. 1. Wii  Twenty years after the NES brought consoles back from the brink, Nintendo’s home console business found itself in a tough spot. Despite good reviews and a respectable library of games, the GameCube had just taken third place in a three-way fight. Clearly, just trying to build the most powerful console wasn’t the key to success. So as Sony and Microsoft turned to HD gaming, Nintendo released a console just slightly more powerful than its predecessor, but with the benefit of motion controls thanks to the Wii-mote. It sounded kinda nuts. Then people played Wii Sports and were immediately hooked. The game was a phenomenon. Not just hardcore gamers wanted to play it, but parents, and even grandparents. The Wii truly brought console gaming to the masses in a way that had previously been unthinkable thanks to an innovative new controller. Oh, and for the hardcore gamers, a little title by the name of The Legend of Zelda: Twilight PrincessExcite TruckTrauma Center: Second Opinion were more than enough to keep the console flying off shelves for years after release, especially because the older technology meant it could be sold substantially cheaper than either the Xbox 360 or the PS3.

This article contains spoilers for The Last of Us season 2. Season 2 of The Last of Us was undeniably a huge swing, as was the video game it’s based on. The Last of Us Part II features the death of the first game’s protagonist early on and forces the player to play as his killer not only before the deed is done, but for about half of the game part way through the story. It’s a narrative about cycles of violence and the lengths that people will go to protect who they love, but it’s also an exercise in empathy. There’s a difference between embodying a character for hours at a time in a video game and watching a character do the same actions in a TV show. When you spend hours living and breathing and fighting for your life as a character, it’s easy to form an attachment to them, to prescribe our own ideas onto them as our morals inform theirs. Even though there’s not really anything the player can do to affect the overall outcome of the story in The Last of Us Part II, your playstyle is going to affect your experience. One player may try to sneak by the W.L.F. and Seraphite adversaries as Ellie, trying to kill as few people as possible. Another may go in knives and guns blazing, leaving an even larger trail of bodies in their wake. Neither method is “wrong,” but it is going to affect how you interpret the story and the characters as a player. Translating this story and its structure to television was never going to be easy. The first season of The Last of Us had the luxury of adapting a beginning, middle, and end from the story of the first game. Season 1 also had nine episodes to tell the story of a roughly 10-hour (give or take) game and its approximately two-hour DLC meaning that we got to spend close to the same amount of time with the characters in the show as players do in the game. Season 2, on the other hand, is only adapting part of a game that can take upwards of 24 hours to play through, and only had seven episodes to tell this part of the story.  A lot of criticisms people have shared surrounding season 2 of the show are valid. There are parts of the story, especially when Ellie (Bella Ramsey) and Dina (Isabela Merced) get to Seattle, that feel rushed. There are some character choices that are or may seem different from those that are made in the game. But arguably, the heart of The Last of Us Part II’s story is still here, even if this season missed the mark with some aspects. Of course Ellie’s Seattle arc is going to feel rushed when we only get three approximately hour-long episodes to cover it versus the close to eleven hours of gameplay Ellie’s Seattle arc gets in the game. We’re not going to be able to see how Ellie got all of the cuts and bruises that Dina is tending to in the season finale or watch her traverse Seattle in-depth – there’s simply not enough time.  It would have been great to get more time with Ellie and Dina in Seattle. But unfortunately, 13 or even 10 episodes for one season is a luxury that most studios don’t seem to want to afford in the streaming era. Even though The Last of Us co-showrunners Craig Mazin and Neil Druckmann have said that they chose to end the season at this specific point in the story and felt like seven episodes was enough to do so, I still don’t fault them entirely. Trying to do more with less feels more like a symptom of the state of TV and the industry as a whole than something to only blame The Last of Us writers for doing. At some point you get used to doing more with less and less. With the structure of season 2, Mazin says that they “considered everything.” They thought about interlacing the stories of Ellie and Abby, but ultimately realized that switching perspectives halfway through the story is “part of the genetics of how this story functions.” But now that means “we have to take risks as a television show, and HBO is backing us taking risks. But then again, we just did kill Pedro Pascal. Like [HBO] understands that this show is going to be a different show every season, which is a tricky thing to do when you’re a hit show. You keep asking people like, ‘I know you love this, we’re taking it away and giving you this now.’” Understandably not everyone has been on board with these changes. Season 2 of The Last of Us has a consistently lower IMDb score than season 1, and it’s hard to look through any form of social media without finding a mix of reactions from fans who are enjoying the story as it is and others who think that the writers have massacred their favorite characters. But at the same time, Mazin, Druckmann, and TLOU Part II co-writer Halley Gross clearly have a deep love for this story, even if their interpretation of certain character’s decisions doesn’t always align with the audience’s. The characters in the TV show are different than the characters in the game because they experience these events differently. In the show, Ellie has to sit in a hospital recovering for three months before she can even think about chasing Abby and her crew to Seattle. Setting aside that time for recovery is not necessarily something that a video game has to think about – a physical therapy level isn’t exactly something that players of a game like this are going to be excited about.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s not that this version of Ellie is less angry than she is in the game. She’s just had three months to practice burying her anger so it’s more palatable for others. She has to convince the hospital, and Gail (Catherine O’Hara), that she’s fit enough to be released. She has to try and convince the council that she’s fit enough to lead a group to Seattle for justice. She has to convince a pregnant Dina that no matter what happens while they’re in Seattle, that this is the morally right thing for them to do. Because we don’t spend 11-plus hours literally in Ellie’s shoes while watching the TV show, her grief has to be explored in different ways. It’s shown in the brief moment she plays the guitar while waiting for Dina to triangulate a route. Even though Ellie may not be throwing the guitar across the room, there’s still clearly anger mixed with the grief on her face as she plays her and Joel’s song. We see it when she lashes out at Jesse and chooses to go to the aquarium instead of following him to find Tommy. We see it when she screams out in pain in a hospital bed in Jackson. And we see it when Dina tends to her wounds. It’s not that she’s not angry or grieving, we just don’t get to see every single moment of it that we do in the game. And of course Ellie is going to tell Abby that she didn’t mean to hurt her friends and beg her to spare their lives. Abby just shot Jesse dead in front of her and is standing over Tommy with his life in her hands just as she did with Joel. Even if this isn’t exactly how Ellie reacts in the game, it’s a logical trauma response to finally seeing Abby again. Abby was able to kill Joel – someone Ellie looked up to and probably thought was unstoppable as most kids do with their parents in their youth. It makes sense that seeing her again would trigger this kind of response in Ellie too. It’s not that she doesn’t want to kill Abby in this moment – she’s just trying to keep her and her loved ones alive for as long as she can.  We saw her do something similar with David (Scott Shepherd) in season 1. She made herself as non-threatening as possible to get him to let his guard down and then proceeded to viciously attack him. Ellie isn’t a stranger to lying and manipulating to get what she wants, even in stressful circumstances. Why should this be any different? Mazin doesn’t deny that they took some risks with season 2, admitting to The Hollywood Reporter that “I don’t think television is supposed to work like this. We’re clearly breaking quite a few rules, and I love that. And I love it because that is the point. This is not something we’re doing as a gimmick.” Mazin argues that The Last of Us forces us to interrogate what we believe about heroes and villains and see the flaws in that kind of black and white thinking, and he knows that this is “a challenging thing to keep track of emotionally” and that people are going to feel provoked by it. “But part of this story,” he says, “is about examining why we’re so comfortable with following one person’s point of view about everything.” The Last of Us season 2 was never going to be exactly like the game, and that’s okay! When you’ve already made a story that resonates with so many people, it’s not going to be easy to recreate that story in another medium – especially in the streaming era when shows don’t always know if they’re going to be able to get all the seasons they want to tell the story. Time is a luxury that television doesn’t always have. The show may not have hit a home run with every swing they took, but overall the story still lands. The heart of the game and its story of grief and loss and love and violence are still there. Hopefully fans won’t give up on the show just yet and trust that the show’s writers really do care about this story enough to do it justice.

Last year Hunger Games social media accounts made shocking news when they announced there would be a new book and movie in the series. Shortly afterward, Collins released the novel on March 18, 2025 where it promptly sold 1.2 million copies in its first week in the U.S.—three times more than what Mockingjay, which closed out Collins’ original Hunger Games trilogy, did in the same time frame.  Sunrise on the Reaping follows Peeta and Katniss’ mentor, Haymitch Abernathy, when he is chosen to compete in the 50th Hunger Games, which due to the anniversary means there will be double the amount of tributes. The novel tells the story of Haymitch’s life in District 12 and his rebellion against the Capitol, which led him to become the unfriendly mentor we know from the original series.  This is the second prequel Collins has released after The Ballad of Songbirds and Snakes, which followed a young Coriolanus Snow on his journey to becoming the ruthless president in the original trilogy. The Ballad of Songbirds and Snakes movie grossed $349 million worldwide, and Collins and Lionsgate are likely eager to repeat that success at the box office with a Sunrise on the Reaping film.  The most successful movie in the franchise has been The Hunger Games: Catching Fire with a worldwide box office gross of almost $845 million. Hunger Games hasn’t been able to recreate those numbers since. But the Sunrise on the Reaping movie will follow a character the audience already connects with (as opposed to despite like Coriolanus), which may encourage more casual fans to see it. The announcement of Sunrise on the Reaping release brought new life to the Hunger Games audience, with many fans speculating about casting and production choices for the already confirmed movie adaptation, which is set to release in November 2026.  The Sunrise on the Reaping movie starts production in July and reportedly has a budget of over $150 million, according to a Deadline report, which could make it the largest budget Hunger Games movie to date. Fans of the franchise have been eagerly awaiting information about the highly anticipated movie adaptation, and they won’t have to wait long to get it. Here’s a look at some of the casting choices so far and what the expectations are for the upcoming film.  Amazon Joseph Zada as Haymitch Abernathy There were many fan castings following the release of the book involving popular actors such as Outer Banks’ Rudy Pankow and Harris Dickinson from Babygirl. Instead the lead role went to industry newcomer Joseph Zada, who will bring a fresh perspective. Zada is an Australian actor who began his career in 2019 in a film directed by his father, Jeremy Cumpston. He continued acting and has only been involved in four projects before his casting in Hunger Games, two movies (Bilched and The Speedway Murders), one small role in the Australian TV show Total Control, and a lead role in the currently airing Australian show, Invisible Boys. The Sunrise on the Reaping movie will be Zada’s first Hollywood blockbuster role.    In Sunrise on the Reaping, Haymitch’s character suffers unimaginable loss and faces treacherous conditions in the arena, so it will be interesting to see what Zada brings to the emotional impact of his journey.  Zada will also be starring in another anticipated book-adaptation, We Were Liars, which is set to release in June. Also of note, at age 20, Zada is actually the appropriate age to be playing a 16-year-old, which differs from both fan casting and a franchise that previously has cast actors over 25 as teenagers. Photo by: Nick Morgulis Mckenna Grace as Maysilee Donner Maysilee is a fierce but kindhearted character, which is not uncommon ground for Mckenna Grace. Grace is one of the more well-known additions to the cast, having starred in Gifted alongside Chris Evans, Ghostbusters: Afterlife, and Ghostbusters: Frozen Empire. Many fans were in favor of this choice on social media as well.   Grace will have the task of conveying the multiple layers to Maysilee’s arc. At the start of the novel, the character is viewed as a stuck-up rich girl but as the story progresses, Haymitch realizes there is more to her that meets the eye, and the two characters form a strong bond. Grace’s performance will ride on her ability to capture Maysilee’s development in a way that will have audiences empathizing with her until the very end. Grace already has almost three million followers on Instagram and five million on TikTok because of her popularity with a Gen Z audience, which likely appealed to the Lionsgate marketing department as well. She’s also only 18 years old, making this another case of the filmmakers again avoiding the common Hollywood issue of folks pushing 30 playing teens.  A24 Jesse Plemons as Plutarch Heavensbee Plutarch is a recurring character in the original trilogy, having a pivotal role in Mockingjay where he helps Katniss take down President Snow and the Capitol. In the film version, he was played by Philip Seymour Hoffman in one of the actor’s final roles. In Sunrise on the Reaping, we see Plutarch’s rise to power and how he gained the trust of the president while also helping the rebel cause. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Jesse Plemons was cast to play a younger Plutarch in the upcoming movie. It will be hard to live up to Hoffman’s charisma and talent, but Plemons seems up for the job. In fact, Plemons and Hoffman have actually shared the screen together when Plemons played Hoffman’s son in the 2012 film The Master. Plemons has been in the industry for a while and, most notably, played a role in the popular TV series Breaking Bad. He was also nominated for an Oscar as a supporting actor in The Power of the Dog. Max/WBD Whitney Peak as Lenore Dove Whitney Peak was cast to play Lenore Dove, the musical, free-spirited girlfriend of Haymitch, who is a part of the traveling musical band in District 12, or the “Covey.” Peak is a relatively new actress, best known for her roles in teen dramas like Chilling Adventures of Sabrina on Netflix and the Gossip Girl reboot on Max.  We will see if Peak can capture the same wild, whimsical energy that Rachel Zegler did when she played a very similar role as Lucy Gray Baird in The Ballad of Songbirds and Snakes movie. Zegler captured the hearts of Hunger Games fans, helping her to land roles afterward like Y2K and the latest Broadway production of  Romeo and Juliet. Zegler has already expressed her support for Peak’s casting on social media, writing, “I know she’s gonna do the Baird name proud.” Searchlight Pictures Kelvin Harrison Jr. as Beetee Beetee is a major character in the second Hunger Games novel, Catching Fire, where he uses his intelligence and knowledge of the arena to help stop the Games. In Sunrise on the Reaping, we learn about his family and his previous involvement in the rebellion, making his actions in the original trilogy more impactful. Young Beetee will be played by Kelvin Harrison Jr. who has had roles in other major movies like Elvis, The Trial of Chicago 7, Luce, and Waves and has been acting since 2013.  The character was previously played by Jeffrey Wright in the original trilogy, who unsurprisingly did a good job of coming across as shy and dorky while simultaneously using his intelligence to take down the Capitol. Harrison will act as a mentor to young Haymitch in Sunrise on the Reaping and aid him in his rebellion against the Capitol, showing that just because he’s nerdy doesn’t mean he’s not dangerous.  Netflix Maya Hawke as Wiress  Wiress is one of Haymitch’s mentors in the novel who won the Hunger Games the year before by outsmarting the gamemakers and the other tributes. Wiress will be played by Maya Hawke, who is known for being the daughter of famous actors Ethan Hawke and Uma Thurman as well as her role in the popular TV series Stranger Things. Many fans of her and the franchise were satisfied with the charismatic choice.  Like Beetee, Wiress’s character is introduced in Catching Fire as the smart but mentally disturbed tribute from District 3. In Sunrise on the Reaping, we see that she used to be able to communicate normally before the Capitol tortured her for her involvement in the rebellion. She was played in the original movies by Amanda Plummer, who embodied her eccentric, odd demeanor well, but Hawke will be playing a more sane and coherent version of Wiress. She will have to embody the young, capable victor who encourages the District 12 kids to use their intelligence to succeed in the Hunger Games without having to kill.  Amazon Prime Lili Taylor as Mags The kind and loveable mentor Mags will be played by Lili Taylor. The American actress has had roles in many successful movies, including Mystic Pizza, The Conjuring, I Shot Andy Warhol and Dogfight. Mags was also introduced in Catching Fire as Finnick’s mentor and a sweet, maternal figure. We see more of her in Sunrise on the Reaping as she helps Haymitch and the District 12 tributes prepare and shows us what she was like before the Capitol’s influence on her.  Mags was played in the Catching Fire movie by Lynn Cohen, but she was nonverbal and frail after years of Capitol torment. The Mags in this movie will be different, more energetic and able-bodied while still retaining the same affectionate nature. We will see her taking care of the tributes and making them feel like human beings even though they are headed to almost certain death.  Sony Pictures Ben Wang as Wyatt Callow Wyatt Callow is one of the District 12 tributes and a mathematical genius. Wyatt is known to take bets on the Hunger Games and calculate the odds of each tribute for his father, which Haymitch doesn’t like. The two characters get off to a rocky start, but Haymitch eventually realizes Wyatt is a good person with how loyal he is to their group.  Ben Wang will be playing Wyatt in the upcoming adaptation. Wang is also about to star in Karate Kid: Legend and has also appeared in the Mean Girls remake and the Disney+ series American Born Chinese.  Wyatt is socially awkward, but kind-hearted, and Wang will have to portray the depth of his character beyond just his intelligence.  Focus Features Ralph Fiennes as President Snow The ruthless President Snow will be played by the legendary Ralph Fiennes. The British actor has received multiple Academy Award nominations for his roles in Schindler’s List, Conclave, and The English Patient. His legacy also extends to some of the most popular movies of the last 30 years, running the gamut from Skyfall to The Grand Budapest Hotel. Fiennes is one of the most veteran members of the cast and someone that the younger actors can look up to as a mentor.  Of course Fiennes is no stranger to playing ruthless dictators either since his transformation into the role of Voldemort in the Harry Potter series is etched into the memories of generations. Fiennes will be playing the heartless president of Panem in Sunrise on the Reaping when he confronts Haymitch, the rebellion, and the 50th Hunger Games. There is no doubt that Fiennes will be able to portray Snow in the movie just as intimidating and coldhearted as fans have imagined him to be. Hulu Elle Fanning as Effie Trinket The most recent casting announcement has been Elle Fanning as the Capitol mentor Effie Trinket. Fanning was actually who many fans suggested should play the role, and it seems like the Hunger Games producers that request seriously. Fanning is the sister of the actress Dakota Fanning and has been in a number of popular films including A Complete Unknown, Maleficent, and The Great TV series.  Effie is a constant character throughout the original series (where she is played by Elizabeth Banks onscreen), and in Sunrise on the Reaping, we get to see how she obtained her position in District 12 and her first meeting with her fellow mentor Haymitch. Effie is sympathetic toward the district kids, but the Capitol propaganda prevents her from fully understanding their struggles. She thinks it’s sad they have to go into the Hunger Games but believes it’s necessary to keep the peace. Fanning will have to play the naïve and extravagant character who has a very ignorant outlook toward the real world. HBO Kieran Culkin as Caesar Flickerman  Caesar Flickerman is the charismatic entertainer and showman we see in the original trilogy interviewing the tributes before they enter the arena. In Sunrise on the Reaping, we get to see more of a younger Caesar conducting interviews before the 50th Hunger Games, but we also get some insight into how he can manipulate and sell a certain narrative to the Capitol audience. The character was previously played by Stanley Tucci who completely transformed himself into the role and really brought the preening media personality to life. And now Kieran Culkin has been cast for the upcoming prequel where he will get the chance to commit to the same eccentric hair, makeup, and outfits that Tucci made iconic.  Culkin is a seasoned actor and will almost certainly be up for the challenge. After all, he just won an Oscar for A Real Pain, and before that he won an Emmy (and was nominated for several more) due to his turn as Roman Roy on HBO’s Succession. Of course for a whole generation of movie watchers, he will always be Fuller from Home Alone. Molly McCann as Louella McCoy and Iona Bell as Lou Lou Louella and Lou Lou are two very similar looking characters who will each have to play very different roles. Louella will be played by Molly McCann who will have to play the sweet, innocent girl who Haymitch vows to protect when she is reaped in the Hunger Games at just 13. McCann is a young Irish actress who has already been a part of 19 projects, including movies and TV shows, and nominated for an Irish Film and TV award in 2021.  On the other hand, Iona Bell is cast as Lou Lou, who is an unknown girl from District 11 who was tortured by the Capitol and has been driven to almost insanity as a result. Bell is a British actress who has only been a part of one project before this casting. The teenage actress is currently filming in a few independent films, as well as a movie with Taika Waititi (Fing!) which will come out later this year. Her character in Sunrise on the Reaping is an odd one, but you can’t help but sympathize with her because of what she’s been through. 

Warning: contains finale spoilers for Dept. Q See it? Blink and you won’t have, but it was there for a good half second: a smile on the face of DCI Carl Morck. It’s a rare enough occurrence across nine episodes of this Netflix crime drama to make it worthy of note. Matthew Goode’s irascible detective frowned, scowled and spitted out sarcasm through his new department’s search for missing prosecutor Merritt Lingard, until the show’s very last moment, when he smiled. He’d earned it. Three months earlier, Morck’s cold case unit had rescued Lingard and used dirt dug up during the investigation to blackmail the Lord Advocate (the most senior law officer in Scotland) into a funding hike, a new work car, and fast-tracked DI status for Syrian copper and calmly proficient muscle Akram Salim. And now, Morck’s partner Hardy, formerly thought to have permanently lost the use of his legs after they were both shot in the line of duty, was walking again. It was a happy ending, or at least as happy as things get in a dank Edinburgh basement filled with unsolved case files detailing terrible crimes. With major Dept. Q finale spoilers, let’s dig into the revelations about Merritt’s kidnappers, what we learned about the Leith Park shooting, and more. Who Kidnapped Merritt Lingard and Why? Merritt’s kidnappers were Lyle and Ailsa Jennings, respectively the younger brother and mother of Harry Jennings, Merritt’s boyfriend as a teenager. She was being held on their property on her childhood island home of Mhòr, in a pressurised hyperbaric chamber inside a condemned building that was formerly part of Ailsa’s husband’s oceanography business Shorebird Ocean Systems – the logo for which was the cormorant symbol identified by Merritt’s brother William as on the hat of her stalker and kidnapper. Ailsa was a twisted and abusive mother to Harry and Lyle, as well as a murderer who killed her husband by burning the house down by flicking lighted matches at him while he slept. As a result, Lyle grew up to be a violent psychopath whose teenage crimes were covered up by the family and by the island’s police officer John Cunningham. John knew that Lyle was responsible for Merritt’s disappearance, but didn’t know she was still alive, having believed Lyle when he lied that Merritt had died by falling off the ferry from the mainland, just like Lyle’s brother Harry had done years earlier. Lyle and Ailsa blamed Merritt for Harry’s death because he jumped from the ferry while being pursued by John, who was chasing him because he was suspected of having severely beaten Merritt’s brother William into a coma during an interrupted robbery of the Lingard home. The robbery plan had been seeded by Merritt to steal her mother’s jewellery from her alcoholic father in order to sell for money to run away from home. In fact, Lyle was the one who had attacked William, being unhinged and thinking that he was protecting his brother. Harry and Ailsa covered up Lyle’s guilt and before his death, Harry took the blame. Lyle Jennings, Godhaven, and Sam Haig Lyle, who had a history of stalking, breaking-and-entering, and animal murder, spent time in youth psychiatric facility Godhaven, where he stalked another patient named Sam Haig. The pair fought, and Sam injured Lyle’s eye so severely that it was left permanently discoloured. Years later as an adult who had become an investigative journalist with no online presence, Sam sought Lyle out to apologise for the injury and invite him to come climbing at his favourite spot. Lyle used the information he had on Sam to assume his identity and stalk Merritt Lingard, who didn’t recognise him as an adult. He pretended to be investigating corruption at Merritt’s workplace, and targeted her, eventually starting a sexual relationship still pretending to be Sam. When Merritt told Lyle-as-Sam that she was leaving to go to Mhòr on the 10am ferry the next day, Lyle used that information to kidnap her during the crossing. Merritt’s brother William, who had been unable to speak since his teenage coma, had spotted Lyle on the ferry and because of Lyle’s distinctive hat, recognised him as the man who’d been stalking their house. He tried to communicate this to Merritt by throwing his own hat, and then struck her when he became afraid. It was when Merritt went to retrieve William’s hat that she was taken. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Two days after Lyle kidnapped Merritt, he returned to the mainland to tie up loose ends and kill the real Sam Haig. He lured Sam to a remote spot, beat him to death, staged his corpse to look as though he had been climbing, and threw it off a cliff. Eventually, Morck and co. worked out that somebody else was pretending to be Sam Haig when they had evidence that Merritt had been with “Sam” at a hotel at the same time that the real Sam was having an affair with his friend’s wife at a different hotel. What Happened to Lyle and Ailsa Jennings? Merritt’s kidnappers both died – Ailsa by her own hand as she shot herself in her car before being taken into custody by the police, and Lyle by Akram’s hand, or rather, his trigger finger. After Lyle shot buckshot into Morck’s shoulder, Akram threw a knife at him, disarmed and shot him. Previously, Lyle had brutally killed Constable John Cunningham with a hammer when he learned that Merritt was still alive. Mark Bonnar’s character Stephen Burns had disallowed the appearance of a key witness in the Graham Finch murder trial after Burns’ daughter was run off the road by one of Finch’s goons as an intimidation tactic. Prisoner Kirsty Atkins was willing to testify that she had previously met Finch’s now-dead wife at a shelter for survivors of domestic violence, and that Finch routinely hit her. Because Burns wouldn’t allow her testimony, Finch was acquitted of his wife’s murder despite clearly having been guilty of it. Perhaps he also passed on the information about Kirsty Atkins to Finch’s lawyer, which led to Kirsty being viciously attacked and partially blinded in prison on Finch’s orders to keep her quiet. Who Is the Leith Park Shooter? We still don’t know who shot PC Anderson dead, and attempted to shoot Morck and Hardy dead at the Leith Park flat. If we can take the contents of Morck’s dream as gospel, then the shooting was done on the orders of Leith Park criminal kingpin Eugene Errington, whom we’ve yet to meet. According to Morck’s dream, in which he shot Errington’s muscle Charlie Bell in the head, Errington has a baby with Caroline Kerr – the witness who was intimidated into withdrawing her statement about the shooting. We also know, or at least have a pretty good idea, that PC Anderson was a corrupt officer working for Errington, and that he may even have been the one to stab the victim – thought to have been a police informant – in the head. Anderson was a top recruit pretending to be a klutz, Morck realised, in order to cover up the fact that his fingerprints were all over the victim’s flat. He also lied about being at the flat for a routine welfare check after being alerted by the victim’s daughter – that was a quick-thinking ruse to explain his presence when Morck and Hardy showed up there unexpectedly. The last we saw of the Leith Park case, Moira looked to be taking it away from its lead investigator and possibly closing it, unsolved, which may point to her also having been compromised by Errington. As Hardy was one of the shooting’s victims, surely that can’t be the case file that she gave to Hardy to investigate without Morck in the season’s closing moments? Dept. Q is streaming now on Netflix.

Features Mission: Impossible – The Final Reckoning Fan Theory Fixes Series’ Most Controversial Twist A new fan theory about the ending of Mission: Impossible - The Final Reckoning is gaining steam online. And it would fix what some consider to be the series' biggest mistake. By Tom Chapman | May 30, 2025 | | Photo: Paramount Pictures This article contains Mission: Impossible – The Final Reckoning spoilers. For now it looks like Christopher McQuarrie’s Mission: Impossible – The Final Reckoning really could be the end of the long-running spy series. While there’s plenty of talk about Tom Cruise hanging up his badge as the Impossible Missions Force’s Ethan Hunt or possibly handing over the baton to one of the many other unwilling recruits, there’s plenty of evidence that we’re not done yet. The critic scores and box office point to an appetite for Mission: Impossible 9, and now a popular online theory is taking off that a fan-favorite could soon be back in action. After Brian De Palma’s original Mission: ImpossibleRebecca Ferguson’s Isla Faust in 2023’s Mission: Impossible – Dead Reckoning that sticks out more than most. Although Ilsa was seemingly killed by Esai Morales’ villainous Gabriel during a tense Venice action scene, the fact that her death seemed so sudden and was glossed over so quickly led many to believe she’d be back for The Final Reckoning. That’s sadly not the case, but what about in the franchise’s future? Previous outings have shown that Ethan’s dangerous career path affects his ability to hold down a relationship (Michelle Monaghan’s Julia in Mission: Impossible III). Additionally, the franchise is no stranger to bringing characters back from the dead (Jon Voight’s Jim Phelps in Mission: Impossible springs to mind). When both features are coupled with Ilsa’s somewhat underwhelming death, it’s no surprise that fans are clinging onto the idea she’ll return in the inevitable next movie. And during The Final Reckoning’s final scene, where Ethan splits from his team in London, eagle-eyed fans spotted him veering close to an unnamed woman who looks a lot like Ferguson’s dearly departed assassin. Some suggested it was Hayley Atwell’s Grace, but with her having already said her goodbyes and gone in a different direction, it clearly can’t be her. Supporters of the theory have latched onto footage of Ilsa from Fallout and compared it to the mysterious Final Reckoning woman. The stranger has a similar wavy hairstyle to Ilsa, and a choice in baggy clothes. It would also be a neat parallel of the pair parting ways and going in different directions (in London, no less) during Rogue Nation. Others have likened this theory to Christian Bale’s Bruce Wayne meeting with Anne Hathaway’s Selina Kyle after he faked his death in The Dark Knight Rises. Given Ferguson’s raised profile in Silo and the Dune movies, landing her again would be a major coup, but what has the star herself said? Ferguson has previously explained why she felt the need to step away from Mission: Impossible, telling the Unwrapped podcast how it was more than just her three-movie deal being done: “Ilsa was becoming a team player. And we all can want different things, but for me, Ilsa was rogue. Ilsa was naughty. Ilsa was unpredictable. There was a lot of characters coming in, not leaving enough space for what she had been.” We previously said how Ilsa’s Dead Reckoning death effectively ‘fridged’ her character to catapult Ethan’s arc forward and leave more room for Grace to step up as a franchise lead. Most frustratingly, after becoming a mainstay of the previous two movies, she was forced to take a backseat in the first half of Dead Reckoning and given a quick demise that was barely referenced afterward. Going against the idea that we’ll see Ilsa again, Dead Reckoning’s Arabian-set opening already had Ethan help her fake her death. It’s true that we don’t see what happens to her body, but a double fake out might be even too much for a franchise that’s taught us to never trust what we see thanks to its mask technology and old-fashioned sleight of hand.  Another reason you shouldn’t start cheering Ilsa’s welcome return to Mission: Impossible is that McQuarrie might have shut down the theory before it even got to do the rounds. The issue of Ilsa’s absence has been a hotly contested one, especially considering Ferguson only appeared via archive footage without filming anything new. Despite the controversy, McQuarrie told theHappy Sad Confused podcast that “it’s the cost versus benefit. The death of essential characters has followed Ethan [Hunt] throughout every one of these movies. I don’t think up until that point a character that resonated so deeply with the audience had died.” While the director says he understands why some were dissatisfied with how it happened, he concluded, “Which is where I thought that wouldn’t motivate me to undo the one thing that gives Mission: Impossible teeth, which is ‘death is permanent’.” It’s no secret that the Mission: Impossible movies have tried their best to tie up loose ends. Thandiwe Newton denied rumors she was asked to reprise her role as Nyah Nordoff-Hall in Mission: Impossible III, Jeremy Renner recently told the Happy Sad Confused podcast that he turned down another chance to play William Brandt because he wanted to spend more time with his daughter, and Maggie Q told Yahoo in 2020 that she had to turn down two opportunities to reappear as Zhen Li due to filming commitments. Unfortunately for Faust fans, it sounds like McQuarrie thinks she got the ending he wanted. It might be hard to keep Ferguson’s return a secret if there’s another Mission: Impossible, and we’re still a long way from potentially seeing Isla Faust again. Join our mailing list Get the best of Den of Geek delivered right to your inbox!

In 2018 Korean animator and illustrator Han Ji-won created a commercial for jewelry brand Stonehenge that follows a girl who dreams of going to space, just like her astronaut grandmother. The brief, beautiful animation caught the attention of Korean production company Climax Studios, who saw potential for a much bigger story about the human connections astronauts carry with them into space.  Seven years later, the Netflix animated film Lost in Starlight expands that near-future world into a story of two star-crossed lovers who fall in love on the neon-lit rooftops of a futuristic Seoul only to be separated by 140 million miles when one of them embarks on an expedition to Mars.  “While I was developing the script [for Lost in Starlight], a lot of things changed,” writer-director Han says In fleshing out the story, she was inspired by the individuality of Miyazaki, the edgy sentimentality of Cowboy Bebop, and the near-future worldbuilding of Her. “But, still, there were the same keywords: space, female lead, music, childhood, and love.”  Lost in Starlight centers a slice-of-life love story between astro botanist Nan-young (voiced by The Handmaiden’s Kim Tae-ri in Korean and Never Have I Ever’s Maitreyi Ramakrishnan in English) and musician Jay (voiced by Weak Hero’s Hong Kyung in Korean, and Umbrella Academy’s Justin H. Min in English). For Nan-young, who hopes to find life on the planet, Mars is personal. Her mother was part of a doomed, 2026 mission to the Red Planet. Twenty-five years later, Nan-young dreams of continuing in her mother’s footsteps, and helping the Adonis amurensis flower thrive on the alien planet.  “My character is kind of stubborn at times,” says Ramakrishnan, with a laugh. “She’s a girl boss, but she needs to take a breath.” That breath comes in the form of a return to Seoul from Houston, following low psychological exam scores that have Nan-young bumped from an upcoming Martian expedition. The driven scientist doesn’t give up on her goal, continuing her development of a Life Form Detector to try to earn a spot on the trip, but she also finds time to devote to fixing her late mother’s busted record player. When Nan-young literally bumps into Jay with the 2023 Crozby in her arms, he becomes determined to fix it for her.  “I would describe Jay as someone who doesn’t really believe in himself,” Min says of the character who is working in a vintage electronics repair shop after turning away from his passion for composing and performing music. “I think he is more concerned about the practicalities of life and just kind of getting by. I think he has a lot of dreams, but he doesn’t quite know how to act on them and fulfill them.” While Jay may be hesitant in his music, he is determined when it comes to pursuing the brilliant Nan-young. By the time he has fixed her record player, the two have fallen for one another… but can their budding relationship survive the distance between Earth and Mars? Like the short animation it stems from, Lost in Starlight is far more interested in the emotional dimensions of space travel than the logistical ones. The Martian, this is not—nor does it want to be, instead curious about the work of human connection in a sometimes unforgiving but never hopeless universe. The film’s space-scapes are vividly animated, and especially powerful in the abstract. In one climactic, hallucinatory moment, Nan-young’s vision explodes with the yellow blossoms of the flower that connects her work to her mother’s, across time and mortality. She imagines the galaxy as a spinning record, the vinyl representing connections to her mother and to Jay, as well as the natural forces that move us all along.  The story is strongest, however, in its most mundane, Earth-bound moments, and in the ways Han’s animation is able to connect the familiar with the fantastic so seamlessly. Like anime auteurs Hideko Miyazai and Makoto Shinkai before her, Han is incredibly detailed in her realization of interior spaces, bringing a sense of realism to the animated format that casts the same warm, human touch to the mise-en-scene of a Martian research facility as it does Jay’s sunlit, stickered Euljiro apartment. In 2051 Seoul, massive holographic jellyfish float through the twilight sky, but Nan-young’s aging father still sticks struggling plants in an old mug emblazoned with a heart-shaped photo of his family from decades previous. And when Nan-young takes a self-driving car home after a long day, Han focuses not on the technology but our weary protagonist toeing off her work heels. This balance between the futuristic and the familiar is further buoyed by the film’s soundtrack, which features work from Korean artists such as CIFIKA, Meego, and Wave to Earth’s Kim Daniel. “I am a little bit greedy about having really good soundtracks,” says Han. “I wanted it to be futuristic but not apocalyptic, a little bit edgy but soft at the same time.” Han chose synth-pop as the main sound, pairing the electronic sounds of the genre with subdued, dreamy beats. Korean voice actors Kim and Hong contributed some of the lyrics for the tender, lulling songs Jay writes and performs in the film. Korean media has become known internationally for its love stories, most famously depicted in the K-drama format. While Lost in Starlight borrows some of the same narrative DNA that makes those romances tick, it represents something startlingly original within a Korean animation industry that has more often been known internationally for its outsourcing work and preschool TV programs than feature films for adults. “While we still have those companies in Korea doing a lot of outsourcing work, we also have new aspiring companies that come into the picture,” says Han of the state of the Korean animation industry.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Han, who became the youngest Korean animator to direct a theatrically released feature film in 2015 with anthology Clearer Than You Think, comes from an indie background, but worked with a commercial production company to make Lost in Starlight. “We have these great artists who have a lot of potential in terms of their creativity and storytelling, and then we have these companies who are now willing to do both the pre and main production works,” says Han. “I think we need a lot of love and interest and support from a lot of different players, and I hope that it could be consistent, so that we can keep on working on our projects. If that happens, then I think we’re going to bloom like flowers.” Lost in Starlight is available to stream on Netflix starting May 30.