This article contains some Mission: Impossible – The Final reckoning spoilers. In the most recent and supposedly final Mission: Impossible film, Ethan Hunt receives his briefing on a VHS cassette tape. That is a marvelous wink to the era in whichMission: Impossible, but these films have remained consistently at the zenith of quality blockbuster cinema. And through it all remains Tom Cruise, running, gunning, and smoldering with his various, luxuriant haircuts. Indeed, the first M:I picture was also Cruise’s first as a producer, made under the banner of Cruise/Wagner productions. Perhaps for that reason, he has stayed committed to what was once viewed as simply a “television adaptation.” It might have begun as TV IP, but in Cruise’s hands it has become a cinematic magnum opus that sequel after sequel, and decade after decade, has blossomed into one of the most inventive and satisfying spectacles ever produced in the Hollywood system. The final decade of the series’ run in particular has been groundbreaking. After five movies with five very different directors, aesthetics, and sensibilities, Christopher McQuarrie stuck around—alongside stunt coordinator Wade Eastwood. Together with Cruise, they turned the series into an old-fashioned, in-camera spectacle that harkens back to the earliest days of cinema. In the process, Cruise has added another chapter to his career, that of an onscreen daredevil like Harold Lloyd or Douglas Fairbanks. It’s been an amazing run, and honestly it’s a bit arbitrary to quantify it with any sort of ranking. But if we were going to do such a thing, here is how it should go… 8. Mission: Impossible II (2000) It’s hardly controversial to put John Woo’s Mission: Impossible II dead last. From its overabundance of slow-mo action—complete with Woo’s signature flying doves—to its use of Limp Bizkit, and even that nonsensical plot about manmade viruses that still doesn’t feel timely on the other side of 2020, MI:-2 is a relic of late ‘90s Hollywood excess. On the one hand, it’s kind of marvelous that Cruise let Woo completely tear down and rebuild a successful franchise-starter in the Hong Kong filmmaker’s own image. On the other, it’s perhaps telling of where Cruise’s ego was at that time since Woo used this opportunity to transform the original all-American Ethan Hunt into a god of celluloid marble. And make no mistake, there is something godlike to how Woo’s camera fetishizes Cruise’s sunglasses and new, luxuriant mane of jet black hair during Hunt’s big introduction where he is seen free-climbing across a rock face without rope. It would come to work as metaphor for the rest of the movie where, despite ostensibly being the leader of a team, Ethan is mostly going it alone as he does ridiculous things like have a medieval duel against his evil doppelgänger (Dougray Scott), only both men now ride motorcycles instead of horses. The onscreen team, meanwhile, stares slack-jawed as Ethan finds his inner-Arnold Schwarzenegger and massacres entire scores of faceless mercenaries in multiple shootouts. While gunplay has always been an element of modern spy thrillers, the Mission: Impossible movies work best when the characters use their wits (and the stunt team’s ingenuity) to escape elaborate, tricky situations. So there’s something banal about the way M:I-2 resembles any other late ‘90s and early ‘00s actioner that might’ve starred Nicolas Cage or Bruce Willis. Technically the plot, which involves Ethan’s reluctance to send new flame Nyah Hall (Thandiwe Newton) into the lion’s den as an informant, has classical pedigree. The movie remakes Alfred Hitchcock’s Notorious (1946) in all but name. However, the movie is so in love with its movie star deity that even the supposedly central romance is cast in ambivalent shadow. 7. Mission: Impossible – The Final Reckoning (2025) Yes, we admit to also being surprised that what is allegedly intended to be the last Mission: Impossible movie is finishing near the very bottom of this list. Which is not to say that The Final Reckoning is a bad movie. It’s just a messy one—and disappointing too. Perhaps the expectations were too high for a film with “final” in the title. Also its reportedly eye-popping $400 million only fueled the hype. But whereas the three previous Mission films directed by Christopher McQuarrie, including Dead Reckoning, had a light playfulness about them, The Final Reckoning gets lost in its own self-importance and grandiosity. Once again we have a Mission flick determined to deify Ethan Hunt with McQuarrie’s “gambler” from the last couple movies taking on the imagery of the messiah. Now the AI fate of the world lies in his literal hands. This approach leads to many long expository sequences where characters blather endlessly about the motivations of an abstract artificial intelligence. Meanwhile far too little time is spent on the sweet spot for this series: Cruise’s chemistry with co-stars when he isn’t hanging from some death-defying height. In fact, Ethan goes it pretty much alone in this one, staring down generals, submarine captains, and American presidents—fools all to think for one instance Ethan isn’t the guy sent to redeem them for their sins. The action sequences are still jaw-dropping when they finally come, and it is always good to see co-stars Simon Pegg, Hayley Atwell, and an all too briefly used Ving Rhames again, but this feels less like a finale than a breaking point. If Mission does come back, it will have to be as something wildly different (and presumably less expensive). 6. Mission: Impossible III (2006) Before he transformed Star Trek and Star Wars into remarkably similar franchises, writer-director J.J. Abrams made his big screen debut by doing much the same to the Mission: Impossible franchise. With his emphasis on extreme close-ups, heavy expository dialogue dumps, and intentionally vague motivations for his villains that seem to always have something to do with the War on Terror, Abrams remade the M:I franchise in the image of his TV shows, particularly Alias. This included turning Woo’s Übermensch from the last movie into the kind of suburban everyman who scores well with the Nielsen ratings and who has a sweet girl-next-door fiancée (Michelle Monaghan). Join our mailing list Get the best of Den of Geek delivered right to your inbox! Your mileage may vary with this approach, but personally we found M:I-3 to be too much of a piece with mid-2000s television and lacking in a certain degree of movie magic. With that said, the movie has two fantastic aces up its sleeve. The first and most significant is a deliciously boorish performance by Philip Seymour Hoffman as the franchise’s scariest villain. Abrams’ signature monologues have never been more chilling as when Hoffman cuts through Cruise’s matinee heroics like a knife and unsettles the protagonist and the audience with an unblinking declaration of ill-intent. Perhaps more impressively, during one of the franchise’s famed “mask” sequences where Ethan disguises himself as Hoffman’s baddie, the character actor subtly and convincingly mimics Cruise’s leading man charisma. That, plus introducing fan favorite Simon Pegg as Benji to the series (if in little more than a cameo), makes the movie worth a watch if not a regular revisit. According to more than a few critics in 2023, the then-newest installment in the series was also the best one. I respectfully disagree. The first half of writer-director Christopher McQuarrie and Cruise’s Dead Reckoning In terms of old school spectacle and breakneck pacing, Dead Reckoning is easily the most entertaining action movie of summer 2023’s offerings. However, when compared to the best entries in the M:I franchise, Dead Reckoning leaves something be desired. While McQuarrie’s counterintuitive instinct to script the scenes after designing the set pieces, and essentially make it up as they went along, paid off in dividends in Fallout, the narrative of Dead Reckoning’s first half is shaggy and muddled. The second act is especially disjointed when the film arrives in Venice, and the actors seem as uncertain as the script is over what exactly the film’s nefarious A.I. villain, codename: “The Entity,” wants. That this is the portion of the film which also thanklessly kills off fan favorite Ilsa Faust (Rebecca Ferguson) does the movie no favors. Elsewhere in the film, Hayley Atwell proves a fantastic addition in her own right as Grace—essentially a civilian and audience surrogate who gets wrapped up in the M:I series’ craziness long enough to stare at Cruise in incredulity—but the inference that she is here to simply interchangeably replace Ilsa gives the film a sour subtext. Still, Atwell’s Grace is great, Cruise’s Ethan is as mad as ever with his stunts, and even as the rest of the ensemble feels underutilized, seeing the team back together makes this a good time—while the unexpected return of Henry Czerny as Eugene Kittridge is downright great. 4. Mission: Impossible – Ghost Protocol (2011) There are many fans who will tell you that the Mission: Impossible franchise as we know it really started with this Brad Bird entry at the beginning of the 2010s, and it’s easy to see why. As the first installment made with a newly chastened Cruise—who Paramount Pictures had just spent years trying to fire from the series—it’s also the installment where the movie star remade his persona as a modern day Douglas Fairbanks. Here he becomes the guy you could count on to commit the most absurdly dangerous and ridiculous stunts for our entertainment. What a mensch. And in terms of set pieces, nothing in the series may top this movie’s second act where Cruise is asked to become a real-life Spider-Man and wall-crawl—as well as swing and skip—along the tallest building in the world, the Burj Khalifa in Dubai. It’s a genuine showstopper that looms over the rest of the movie. Not that there isn’t a lot to enjoy elsewhere as Bird brings a slightly more sci-fi and cartoonish cheek to the proceedings with amusing gadgets like those aforementioned “blue means glue” Spidey gloves. Even more amusingly, the damn things never seem to work properly. This is also the first Mission: Impossible movie where the whole team feels vital to the success of the adventure, including a now proper sidekick in the returning Pegg and some solid support from Paula Patton and Jeremy Renner. For a certain breed of fan that makes this the best, but we would argue the team dynamics were fleshed out a little better down the road, and in movies that have more than one stunning set piece to their name. 3. Mission: Impossible (1996) The last four entries of the series have been so good that it’s become common for folks to overlook the movie that started it all, Brian De Palma’s endlessly stylish Mission: Impossible. That’s a shame since there’s something admirably blasphemous to this day about a movie that would take an ancient pop culture property and throw the fundamentals out the window. In this case, that meant turning the original show’s hero, Jim Phelps (played by Jon Voight here), into the villain while completely rewriting the rulebook about what the concept of “Mission: Impossible” is. It’s the bold kind of creative move studios would never dare make now, but that’s what opened up the space to transform a novelty of ‘60s spymania TV into a ‘90s action classic, complete with heavy emphasis on techno espionage babble and post-Cold War politics. The movie can at times appear dated given the emphasis on floppy disks and AOL email accounts, but it’s also got a brisk energy that never goes out of style thanks to De Palma’s ability to frame a knotty script by David Koepp and Robert Towne (the latter of whom penned Chinatown) into a breathlessly paced thriller filled with paranoia, double crosses, femme fatales, and horrifying dream sequences. In other words, it’s a De Palma special! The filmmaker and Cruise also craft a series of set pieces that would become the series’ defining trademark. The finale with a fistfight atop a speeding train beneath the English Channel is great, but the quiet as a church mouse midpoint where Cruise’s hero dangles over the pressure-sensitive floor of a CIA vault—and with a drop of sweat dripping just out of reach!—is the stuff of popcorn myth. It’s how M:I also became as much a great heist series as shoot ‘em up. Plus, this movie gave us Ving Rhames’ stealth MVP hacker, Luther Stickell. 2. Mission: Impossible – Rogue Nation (2015) In retrospect there is something faintly low-key about Rogue Nation, as ludicrous as that might be to say about a movie that begins with its star literally clinging for dear life to the outside of a plane at take off. Yet given how grand newcomer director Christopher McQuarrie would take things in the following three Mission films, his more restrained first iteration seems charmingly small scale in comparison. Even so, it remains an action marvel in its own right, as well as the most balanced and well-structured adventure in the series. It’s the one where the project of making Ethan Hunt a tangible character began. Rightly assessing Ethan to be a “gambler” based on his inconsistent yet continuously deranged earlier appearances, McQuarrie spins a web where Hunt’s dicey lifestyle comes back to haunt him when facing a villain who turns those showboat instincts in on themselves, and which pairs Ethan for the first time against the best supporting character in the series, Rebecca Ferguson as Ilsa Faust. There’s a reason Ferguson’s MI6 double (triple, quadruple?) agent was the first leading lady in the series to become a recurring character. She gives a star-making turn as a woman who is in every way Ethan’s equal while keeping him and the audience on their toes. She, alongside a returning Simon Pegg and Ving Rhames, solidify the definitive Mission team, all while McQuarrie crafts elegant set pieces with classical flair, including a night at the opera that homages and one-ups Alfred Hitchcock’s influential sequence from The Man Who Knew Too Much (1956), as well as a Casablanca chase between Ethan and Ilsa that’s the best motorcycle sequence in the series (if only they stopped by Rick’s). Also McQuarrie’s script ultimately figures out who Ethan Hunt truly is by letting all those around him realize he’s a madman. And Alec Baldwin’s Alan Hunley gets this gem of a line to sums the series up in total: “Hunt is uniquely trained and highly motivated, a specialist without equal, immune to any countermeasures. There is no secret he cannot extract, no security he cannot breach, no person he cannot become. He has most likely anticipated this very conversation and is waiting to strike in whatever direction we move. Sir, Hunt is the living manifestation of destiny—and he has made you his mission.” 1. Mission: Impossible – Fallout (2018) If one were to rank these movies simply by virtue of set pieces and stunts, pound for pound it’s impossible to top Mission: Impossible – Fallout (forgive the pun). A virtuoso showcase in action movie bliss, there are too many giddy mic drop moments to list, but among our favorites are: Tom Cruise doing a real HALO jump out of a plane at 25,000 feet and which was captured by camera operator Craig O’Brien, who had an IMAX camera strapped to his head; the extended fight sequence between Cruise, Henry Cavill, and Liam Yang in a bathroom where the music completely drops out so we can hear every punch, kick, and that surreal moment where Cavill needs to reload his biceps like they’re shotguns; and did you see Cruise’s ankle bend the wrong way in that building to building jump?! For action junkies, there was no better adrenaline kick out of Hollywood in the 2010s than this flick, and that is in large part a credit to writer-director Christopher McQuarrie. As the first filmmaker to helm more than one M:I movie, McQuarrie had the seemingly counterintuitive innovation to meticulously hammer out all of the above action sequences as well as others—such as a motorcycle chase across the cobblestones of Paris and a helicopter climax where Cruise is really flying his chopper at low altitudes—with stunt coordinator Wade Eastwood and Cruise, and then retroactively pen a surprisingly tight and satisfying screenplay that continues to deconstruct the Ethan Hunt archetype into a man of flesh and blood. McQuarrie also reunites all the best supporting players in the series—Rhames, Pegg, and his own additions of Rebecca Ferguson as the ambiguous Ilsa Faust and Sean Harris as the dastardly Solomon Lane—into a yarn that is as zippy and sharp as you might expect from the screenwriter of The Usual Suspects, but which lets each action sequence unfurl with all the pageantry of an old school Gene Kelly musical number. Many will call this the best Mission: Impossible movie, and we won’t quibble the point.

Three years after suing to block Microsoft from buying one of the biggest names in video games, the U.S. government is finally giving up. The FTC announced plans Thursday to drop a Biden-era case against Microsoft over its $69 billion acquisition of game maker Activision Blizzard, a decision the regulator said now best serves the public interest.  In 2022, the FTC first announced that it would try to kill Microsoft’s planned acquisition of the gaming giant, which makes hit games like Call of Duty and World of Warcraft. The following year, after the FTC failed to secure a preliminary injunction to stop it, Microsoft actually finalized the massive deal, but the regulator vowed to continue appealing that decision.  Earlier this month, the 9th Circuit Court of Appeals upheld the lower court’s order denying the injunction, ruling that the FTC’s claims that the deal would limit competition in the gaming industry were weak. The acquisition was destined for intense scrutiny from day one, both for its size and its potential to totally reshape the landscape for one of tech’s hottest sectors.  Microsoft swooped in to save Activision Blizzard from itself When Microsoft announced its plan to buy Activision Blizzard in January 2022, the smaller company had been rocked by emerging allegations of systemic sexual harassment and discrimination in the workplace. Those ongoing scandals eventually forced longtime CEO Bobby Kotick out of the company as Microsoft cleaned house leading into the merger.  Microsoft also had to clear major regulatory hurdles in the U.K., resolving antitrust concerns there over its cloud gaming services before getting the green light to close the deal. That bit of regulatory maneuvering resulted in an unusual arrangement to offload cloud streaming rights for its games to competitor Ubisoft in order to appease the Competition and Markets Authority, the U.K.’s powerful trust buster. (This portion of the deal isn’t great news for anyone who’s wrestled with Ubisoft’s awkward online gaming service over the years.) A boost to Microsoft’s online gaming roadmap By bringing Activision Blizzard under its wing, Microsoft can also bring the company’s many hit titles into the popular Xbox Game Pass service, which gives players unlimited access to games for a monthly subscription fee.  Gaming companies have increasingly turned to monthly subscriptions and live service games over the last decade and many of Activision Blizzard’s hit franchises revolve around online multiplayer, including Call of Duty, Overwatch, Diablo and World of Warcraft. Activision Blizzard also owns Candy Crush, a colorful tile-matching game that’s still synonymous with mobile gaming almost a decade after Activision Blizzard bought its developer King for a then whopping $5.9 billion. Microsoft President Brad Smith described his company as “grateful” to the FTC for its decision to allow the acquisition to settle. “Today’s decision is a victory for players across the country and for common sense in Washington, D.C.,” Smith said.

Capcom’s remaster of 2002 PS2 hack and slash adventure Onimusha 2: Samurai’s Destiny is a classic, though it does show its age at some points—particularly with its fixed camera angles and gameplay that certainly feels more than 20 years old. But it still has plenty of charming characters and replayability.Suggested ReadingThe 3 Best And 3 Worst Korok Challenges In Tears Of The Kingdom Share SubtitlesOffEnglishview videoSuggested ReadingThe 3 Best And 3 Worst Korok Challenges In Tears Of The Kingdom Share SubtitlesOffEnglishIf you’re looking for a nostalgic experience, or are playing it for the first time, Onimusha 2: Samurai’s Destiny offers a straightforward-yet-healthy runtime for both veterans and newcomers. Like many other adventure games of its era, Onimusha 2 doesn’t take that long to beat, but its branching story paths make it worth revisiting over and over again. Onimusha 2: Samurai’s Destiny?A standard playthrough of Onimusha 2: Samurai’s Destiny can take about 10 to 15 hours to beat if you’re just focusing on the story and if it’s your first time. It’s quite similar to Capcom’s most notable franchise, Resident Evil, where repeated playthroughs will increase your familiarity, allowing you to beat it quicker on subsequent runs. Speedrunners have completed this game in under than five hours. In fact, the remaster has an achievement for finishing the game within that time.If you want to earn all the Achievements and/or Trophies, you’ll also have to beat the game on Ultimate mode, as well as finish a complete playthrough without enhancing any of your weapons or using any jewels. All of these additional playthroughs can add up to 20 more hours of playtime to the total count. You’ll also need to collect all files and maps for their respective completion achievements/trophies, which can take multiple playthroughs if you somehow miss any of them.Screenshot: CapcomThere are also multiple endings depending on your friendship with various characters like Ekei, Kotaro, and Magoichi. Throughout the game, you can give them gifts in order to raise their friendship levels and influence which ending you’ll get. There’s also an ending for when you don’t give any of them gifts.If you’re a completionist, get ready to spend quite a few hours with Onimusha 2: Samurai’s Destiny. There’s still plenty of time before the next entry, Onimusha: Way of the Sword, launches in 2026. For now, though, join Jubei as he gets his revenge on Nobunaga Oda!Onimusha 2: Samurai’s Destiny is available now on PS5, Xbox Series X/S, Switch, and Windows PCs.

Tryfonov - stock.adobe.com Opinion Microsoft's ICC email block reignites European data sovereignty concerns Why Microsoft's rhetoric on protecting European users from US government actions does not quite ring true By Owen Sayers, Secon Solutions Published: 23 May 2025 During his recent visit to Brussels, Microsoft chief Brad Smith committed his company to defending European interests from ‘geopolitical volatility’, including the impact of potential US administration interventions. Suggesting that Microsoft is ‘critically dependent on sustaining the trust of customers, countries, and government across Europe’, anyone leaving his session with EU leaders should have reasonably felt buoyed up by his words; but might also have sensibly awaited evidence of the commitments being applied in practice before relying upon them. If so, the news that the International Criminal Court (ICC) chief prosecutor and his staff have had their Microsoft email and services cancelled in direct response to US government sanctions might come as an unwelcome reality check. According to media reports, ICC chief prosecutor Karim Khan had his Microsoft email and other services suspended after the US applied sanctions in February to all ICC staff in response to their investigations into key Israeli politicians. The circumstances of the situation that gave rise to those sanctions are outside the scope of this article, and largely irrelevant to the problems these service suspensions indicate, however. Regardless of the ‘why’, what the service suspensions demonstrate is that Microsoft has the means (and when it comes down to it also possess the will) to do the US government’s bidding and disrupt services to any party deemed to be unacceptable. This is almost exactly contrary to the assurances Brad Smith so very recently gave. The disconnection of prosecutor Khan is a mouse-click heard around the world, and will undoubtedly give anyone using or currently considering the adoption of Microsoft cloud technologies pause for thought. By disconnecting the ICC staff in this way, Microsoft has done themselves some serious damage, and how much may take some time yet to become clear. Immediately after the disconnection became public, the Dutch government and public bodies are reported to have accelerated their examination of non-Microsoft and EU-located alternative services. Meanwhile, several suppliers have indicated an uptick in requests for backup of key data to protect against possible Microsoft disconnections. Press coverage in Germany suggests these concerns are rippling out to them also, whilst the Nordics and France have long made clear that they see a future that is distinctly less Azure in colour. The likelihood or otherwise of further disconnections is unclear, and for most users it should be considered very unlikely that Microsoft will start switching off services for no good reason. With 25% of Microsoft’s global revenues coming from European customers, it is unlikely to act rashly to damage that market, and can generally be counted on to be sensible and not commit commercial suicide – so most customers should not be worried. Nonetheless much of the damage to the confidence of public sector bodies might well have already been done. Governments like to be in control of their own destiny and that extends to digital services and data. When a key supplier they have relied upon for many years shows themselves to be subject to the whims and foibles of a foreign government – friendly or otherwise – most public sector buyers intuitively know it’s time to find an alternative provider “just-in-case”. Having a plan B option is just common sense. The big problem for Microsoft is that in the IT sector “just-in-case” or plan B options, often become strategic plan A directions of travel. And a trickle of departures can quite soon become a flood. Governments are herd animals – when one turns they all tend to follow. I’m not by any measure suggesting we are going to see an overnight exodus. Even if that was technically feasible (which it isn’t in most cases), these organisations are a bit concerned, not panicked. However, these previously affirmed Microsoft user groups are now openly talking about the need for alternatives to the Redmond cloud provider, and that should have Microsoft worried. Concerns that US hyperscalers might be subjected to pressure from US authorities to disclose information have existed for some time but have been broadly assuaged by repeated promises and commitments from Amazon Web Services (AWS), Google Cloud Platform (GCP), and Microsoft that they would resist such requests and protect their customers. When it has come to the acid test, however, many clearly feel that Microsoft has failed, and that instead of protecting the ICC as a key pillar of the global legal community, instead acted as an instrument of US policy. To restore his own email access, prosecutor Khan reportedly turned to Proton Mail, the Swiss end-to-end encrypted mail service beloved of whistleblowers and other digital refugees. Proton Mail operate under its own constraints and obligations to disclose information to the Swiss government on demand, but this is limited to IP address info, rather than email payloads, which it is generally accepted they cannot access. In doing so it’s likely that Mr Khan has had to forgo some user functionality and ease of use – but he may feel that’s a small price to pay to protect his office and role from US government influence. That might be a choice others have to make in the months and years to come, since regardless of their choice of cloud provider, the lesson here is that we cannot always trust them to rigorously and strongly protect our data or our services, despite what they may say, or how often they do so. In this case, Microsoft’s actions sadly speak a lot louder than Mr Smith’s words. Read more about Microsoft Microsoft’s hold on government IT is under scrutiny, following a disclosure to a Scottish policing body that saw the software giant advise that it cannot guarantee data sovereignty in its cloud-based Microsoft 365 suite Documents show Microsoft’s lawyers admitted to Scottish policing bodies that the company cannot guarantee sensitive law enforcement data will remain in the UK, despite long-standing public claims to the contrary In The Current Issue: UK critical systems at risk from ‘digital divide’ created by AI threats UK at risk of Russian cyber and physical attacks as Ukraine seeks peace deal Standard Chartered grounds AI ambitions in data governance Download Current Issue SAP Sapphire 2025: Developers take centre stage as AI integration deepens – CW Developer Network Microsoft entices developers to build more Windows AI apps – Cliff Saran's Enterprise blog View All Blogs

Two months ago, Marvel announced the cast for the highly-anticipate Avengers: Doomsday in a, let’s call it “unique,” manner. On social media, the studio streamed video of cast chairs with a particular actor’s name on it. The camera would hold for twelve minutes or so, and then Alan Silvestri’s Avengers theme would play and the camera would pan to the right for the next reveal. Odd as it was, the gamble mostly worked, as we nerds spend all day talking about the names on the internet. Turns out, the methodical pace of the reveal had something else to tell us about Doomsday: that we were going to have to wait a bit. Yesterday, Hollywood Reporter announced that Marvel has pushed Doomsday‘s release date from May 1, 2026 to Dec. 18, 2026 and the release date to the sequel Avengers: Secret Wars from Dec. 17, 2027 to May 7, 2027. At this point, the release date change shouldn’t be much of a surprise. After all, the fourth Avengers movie was supposed to have released a few weeks ago, on May 1, 2025. Of course, that announcement came back in 2022 and it was for Avengers: The Kang Dynasty, staring Jonathan Majors as the time-traveling baddie Kang the Conquerer. Since then, Majors’s off-screen behavior got him booted from the universe and Kang was defeated, first by Ant-Man and a giant bug in Ant-Man and the Wasp: Quantumania and then his variants were dealt with in the second season of Loki. Since then, the Avengers movie has been in creative overhaul, first by moving Kang Dynasty director Destin Daniel Cretton over to Spider-Man: Brand New Day and replacing him with Joe and Anthony Russo, who helmed Infinity War and Endgame. Further, Marvel brought back Robert Downey Jr., now as Fantastic Four arch-villain Doctor Doom, in a move that still doesn’t make sense, but hopefully will on screen. In short, Marvel’s had a lot of work to do and the pauses make sense, even if Doomsday is now currently in production. However, the decision to push back the release date is a good thing on creative level. It’s no secret that Marvel has been struggling since Endgame. It’s not just that superhero fatuige has set in and it’s not just that Endgame and it’s exit of many beloved characters gave fans a good jumping-off point. It’s that the company has spread itself too thin, drawing MCU chief Kevin Feige‘s attention away from quality and pushing out substandard entries that most people don’t want. For a while, audiences kept showing up for the good stuff, as demonstrated by the success of Guardians of the Galaxy Vol. 3 and X-Men ’97, and for stuff that resonates with them, like Spider-Man: No Way Home and Deadpool & Wolverine. But too many bland entries, such as Thor: Love and Thunder and Secret Invasion have burned the general viewer too many times, and even solid releases like Loki‘s second season went underwatched. We are starting to see that turn around. Thunderbolts* proved a hit among critics and audiences, even if it didn’t do the box office numbers of movies from the MCU’s heyday. Likewise, Daredevil: Born Again didn’t dominate the discussion, but it generated decent buzz. Marvel knows all this. They’ve been quite open about the need to slow production. They already made the bold move of revamping Daredevil: Born Again midway through production, which resulted in a first season that sometimes showed the seams of being two radically different shows stitched together, but overall gave people what they want from Marvel: likable characters, good drama, and cool superhero action. In fact, Daredevil: Born Again should be the project that fans keep in mind when they consider the Doomsday news. There’s no question that Feige et al. made the right decision when bringing on new showrunner Dario Scardapane and directing duo Aaron Benson and Justin Moorehead, who changed the series from a superhero-adjacent courtroom drama to more of a character piece about Daredevil struggling with the ethics of vigilantism. But they needed to hit their new launch date and so retained a great deal of the original footage shot by the previous creative team. So as good as the final product was, the first season of Daredevil: Born Again didn’t always feel like a coherent vision and often shifted tones wildly. Scardapane, Benson, and Morehead have been promising that season two of the series will be more coherent, and that’s a good thing. But that’s also something they can do because they’re working on a television series. The Russo brothers can’t do the same thing with a movie, even a serialized one like the Avengers films. The story that hits the screen is going to be the story. Join our mailing list Get the best of Den of Geek delivered right to your inbox! And so, we wait a bit more and we’re glad to do it. We want Marvel to get this right, to tell a high adventure story that does right by the characters we love, that makes us feel like we did when we left the theater after Infinity War. In the meantime, we can keep looking at the back of casting chairs and speculating. Avengers: Doomsday comes to theaters on May 1, 2026 Dec. 18, 2026

How deep is Sony's commitment to live-service? | Opinion Sony's live service ambitions have steadily scaled back, but questions remain about Bungie – and how much the overall PlayStation strategy hinges on live service Image credit: Sony Interactive Entertainment Feature by Rob Fahey Contributing Editor Published on May 23, 2025 In many regards, things are going very well for Sony right now. The PlayStation 5 has sold strongly, generally slightly outpacing the performance of the PS4 at equivalent points in its lifecycle despite cost pressures that have kept its retail prices high. Its biggest direct competitor, Microsoft, started the generation with a great hardware line-up but has ultimately pivoted away from console exclusive software and become one of the biggest third-party publishers on PlayStation. Sony has an enviable line-up of studios and premium first-party game franchises, has started to find success with movie and TV adaptations of some of its game IP, and is gradually building up a solid sideline business in PC versions of its blockbuster titles – not to mention that next year GTA 6 will turn up and presumably sell absolute truckloads of PS5s in the process. It's not all quite so rosy, of course. With a view to the longer term, for example, it's not unreasonable to point out that while the console business has stubbornly defied all the predictions of collapse over the past decade or two, it has certainly found itself smacking off a glass ceiling somewhere around the installed base mark achieved by the PS2, and additional growth seems elusive despite rising costs across the board. Still, within the confines of that market reality, Sony has been performing extremely well – with the arguable exception of one specific part of the company, over which hovers a question mark so big that it casts a shadow over a lot of this success. This strategic enigma is Bungie – or to be more specific, it's the entire content strategy that was meant to be anchored around the $3.6 billion dollar acquisition of Bungie back in 2022. While this is chickenfeed compared to the money Microsoft was splashing around on gaming acquisitions during the same era, it was an enormous purchase for Sony, and it was meant to kick-start a major change in how the company would make games. Image credit: Bungie Sony got live services religion, and it got it bad; the company, or at least some influential people within the company, believed that the way to achieve the kind of break-out growth that its success in hardware and premium games was failing to deliver had to come through finding the next Fortnite. Bungie, with its experience of running the Destiny franchise and supposedly with multiple unannounced live service titles being incubated at that point, would be the lynchpin of that strategy, not only building its own live service games but also providing expertise and guidance to Sony's other studios as they worked on live service titles based on their own core IPs. In the years that have followed, that strategy has foundered somewhat – not least because rather than being the jewel in the crown of the live service effort, Sony's acquisition of Bungie appears to have resulted in constantly having to put out new fires at the company. I wonder how different Sony's strategic positioning might sound now if the release dates of Concord and Helldivers 2 had been swapped around While insight into the internal workings of the relationship is very unreliable given that most people leaking information undoubtedly have an axe to grind, one does speculate that there's a weird, destructive tug-of-war going on between Bungie's leadership and their new owners at Sony. What we can say with certainty is that revenues from Destiny 2 fluctuated wildly (as did the quality of the game and players' sentiments towards it), drawing into question just how much Sony's other studios might want to take direction on live service strategy from Bungie. Major layoffs were conducted, raising some even bigger questions about what Sony had paid all that money for, if not for acquiring a wellspring of talent and experience in the form of Bungie's now-fired employees. Despite this, however, Sony's determination that its future lies with live service releases doesn't seem to have faltered – well, at least not much. The ambitious initial plans for a dozen live service games to launch by early 2026 were scaled back to six a couple of years ago. Depending on how you're counting (bear in mind that titles like MLB The Show are considered live service, even if they may not be what jumps to mind when you think of this category), it seems pretty likely that this halved forecast will be missed by a fair bit, especially given the ignominious failure and rapid shutdown of one of the few live service games to actually launch, Concord. Image credit: PlayStation / Arrowhead Game Studios There was also a widespread suspicion that the retirement of former Sony Interactive Entertainment boss Jim Ryan a year ago might see the company quietly water down its commitment to live service. Despite this, however, Sony's messaging continues to suggest a strong focus on this sector. SIE co-CEO Hermen Hulst announced a new live-service oriented studio in the PlayStation Studios group, teamLFG, just this week. Back in 2022, the Bungie acquisition seemed to make a sort of sense. The climate around live service was extremely positive; this was long before we'd seen gigantic, costly failures like Warner's catastrophic Suicide Squad: Kill the Justice League, or indeed Sony's own Concord. Sony lacked expertise in this sector, and the Bungie deal could plug that gap. It was nonetheless risky – not least because it flew in the face of Sony's de facto policy of only buying out large studios with which they had built extremely close working relationships on successful titles over several years, despite that policy being central to building up PlayStation Studios in the first place. Today, the climate is very different around live service games, not least because of the aforementioned failures, but also because of what seems to be a fairly strong turn in consumer sentiment around these kinds of services. Sony, however, still has a multi-billion dollar studio that really only does live services attached to it, and one does have to wonder about the extent to which that creates path dependency. The new live service studio, teamLFG, is a good example in that it appears to be a direct spin-off from Bungie, so that acquisition is still very much driving Sony's engagement with this whole market sector. It's worth noting, though, that Sony did also have some beginner's luck in live services, with its first real dip into this water being the excellent and well-received Helldivers 2. In any high-risk gambling, beginner's luck is a curse, because you'll end up throwing far more of your money at the casino than the person who had a run of bad luck on their first visit and never caught the bug or tried to chase the winning feeling. I wonder how different Sony's strategic positioning might sound now if the release dates of Concord and Helldivers 2 had been swapped around. Even were it not for the need to do something with Bungie, and the sense that Helldivers 2 shows that this market sector can work for Sony, there's another logic that might underpin a continuing commitment to live service games – even despite what is now much more widely understood to be a near-suicidal risk profile for launching them. It's the logic of venture capital, which can often look quite crazy from the perspective of an ordinary investor with a regular risk appetite, but which is all about high risks and high rewards. Venture capitalists are generally not too interested in solid businesses with sober risk profiles and a decent profit margin. They're interested in crazy, fast-growing businesses that, while being incredibly likely to flare out and die, will return a hundred-fold, a thousand-fold, or an even higher upside ratio in the unlikely event that they do succeed. The logic of a venture portfolio is that losing a big chunk of money on each of 99 bankrupt companies you back is worthwhile if the 100th company in the pack strikes the jackpot for you and returns your investment a thousand-fold. Since games don't really do that – they're risky, but almost never have upside rewards on that scale – the venture capital model doesn't work terribly well for them, and that kind of VC activity has been very limited in this space over the years. Live service games, however, turn this on its head. It's extremely, vanishingly unlikely that your game will be the next Fortnite, but if it is, it will deliver exactly the kind of immense return that venture capital funds are interested in. This, I think, is a sort of thinking that's taken root in some quarters within Sony. Who cares if they back dozens of failures, if one of them becomes a new title whose recurring revenue is big enough on its own to be a whole new pillar of the business? We'll see in the coming years whether that's really the approach Sony intends to take – if it's happy to absorb more and more Concord-style failures (or, perhaps more likely, a bunch of commercially mediocre performers that stick around for a year or two before being shut down, which seems to be the general life cycle of live service games at the moment) in pursuit of that one, elusive, incredible hit. If so, it's a strategy which carries an especially extraordinary degree of risk for Sony, because while a venture capital fund can back dozens of losers without anyone really noticing or caring – that's just part of the business – it's definitely going to be noticed by Sony's consumers if PlayStation starts releasing dozens of dud live services games under its banner. Money is only one of the currencies that needs to be considered in this equation, and it's arguably the easiest one to gamble with. The prestige and reputation of the platform and the brand is a much more valuable currency, and one that would be a lot harder to earn back once lost.

Beurer is a German manufacturer of personal care products. When they needed to update their line of men's grooming devices, they turned to Munich-based industrial design firm Fluid Design.Beurer MenCare The ChallengeCrafting the next generation of a MenCare range that seamlessly embodies the Beurer brand DNA. The SolutionBased on the newly developed Beurer Visual Design Language, we created a destinctive MenCare Line that celebrates newly established design elements. A bold design languageWe have injected a dynamic and confident expression of the Beurer design DNA into the MenCare line, giving a fresh and strong resonance to its audience. The MenCare line includes an all-in-one multi-groomer, beard trimmer, hair clipper and a rotary shaver. While each product serves a distinct function and varies in size, they share a common character that underscores their belonging to the same family. All products feature a unified front contour with a consistent 4-degree tapering angle, creating a cohesive appearance. This design includes a recessed surface on the front that serves as a functional space for ergonomic buttons and the display. On the back, the well-defined gripping ribs have been carefully incorporated to ensure a secure hold, even in situations where hands may be wet, such as in the bathroom. Additionally, the prominent red "Beurer line" serves as a defining element that also contributes to a distinctive and cohesive aesthetic across all products. ?A strategic partnership?As Beurer's strategic partner, we developed the company's newly defined design language and product design guidelines to ensure a consistent company portfolio. The MenCare Line is an excellent example to represent the new aesthetics of Beurer's design language. Highlights & CapabilitiesA pivotal design element?The red "Beurer line" separates the functional from the user interaction area, supporting intuitive handling and usability while also adding to the overall distinctive aesthetics of the product line. Multidisciplinary, full-service design?Starting with early conceptual sketches, followed by in-depth market research, gathering user insights and developing both, low and high-fidelity mockups, we seamlessly progressed to the final product. You can see more of Fluid Design's work here.

Forward-looking: Antimatter consists of particles with properties opposite to those of regular particles. It plays a central role in modern physics research and forms naturally through cosmic collisions or radioactive decay. However, studying it is difficult, as contact with normal matter results in instant annihilation. The European Organization for Nuclear Research, better known as CERN, is one of the few places on Earth capable of routinely producing antimatter from high-energy collisions with particle accelerators. Researchers there have now developed a novel method to transport small quantities of antimatter to external laboratories. This world-first achievement could enable more precise studies of the elusive antiparticles described in the Standard Model of particle physics. CERN researchers developed a two-meter containment device capable of temporarily trapping antimatter particles. They even trucked the device around the facility for four kilometers before returning it to the lab, where they confirmed the antiparticles were still intact. The brief trip required no external power source, proving that antiparticles can theoretically travel far beyond a few kilometers. It also demonstrated that antimatter can be safely transported to distant laboratories using nothing more than a standard vehicle and Europe's public road network. CERN facilities lie near Geneva, on the France – Switzerland border. Judging by the truck's route carrying the experimental containment device, the researchers likely crossed the border from France into Switzerland and back. Physicists have explained the practical application of antimatter transport in a recent study, which revealed limits to precision measurements using low-energy protons produced exclusively at CERN's Antimatter Factory. Magnetic field fluctuations from the facility's decelerators interfere with experiments, while dedicated off-site laboratories could enable more accurate results. // Related Stories Now that CERN has proven it can safely transport antiparticles beyond its grounds, it is preparing the next phase of its antimatter project. A new, state-of-the-art facility at Heinrich Heine University Düsseldorf in Germany will soon receive the first batch of antimatter cargo. The particles will travel nearly 800 kilometers to reach their destination.

This month on Max you’ll get the return of The Gilded Age, the historical drama about life in 1880s New York City, now entering its third season. (On Max? HBO? On HBO Max? I’m lost and confused and scared and all I’m trying to do is give you a list of movies and shows that will be available over the next few months on streaming.)You’ll also get the streaming debuts of recent films Parthenope, The Day the Earth Blew Up: A Looney Tunes Movie, and A Minecraft Movie, the 2025 blockbuster that sent TikTok teens everywhere into a frenzy. Plus a new weekly documentary series called The Mortician explores the dark secret behind a California funeral home.Here’s the full list of what’s coming to (HBO) Max in June 2025...June 1A 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)14. Hellboy (2004)Sonyloading...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)MGMMGMloading...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)HBOHBOloading...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 2BBQ Brawl, Season 6 (Food Network)June 3Bullet Train (2022) Ugliest House in America, Season 6 (HGTV)June 41000-lb Roomies, Season 1 (TLC) Fatal Destination, Season 1 (ID)June 5Bea's Block, Season 1C (Max Original) Chespirito: Not Really on Purpose, Season 1 (Max Original)A24A24loading...June 6House Hunters International: Volume 9, Season 201 (HGTV) Parthenope (A24)June 10Virgins, Season 1 (TLC)June 11Guy's Grocery Games, Season 38 (Food Network)June 12Bitchin' Rides, Season 11 Mini Beat Power Rockers: A Superheroic Night (Discovery International)June 13Cleaner (2025) House Hunters: Volume 10, Season 240 (HGTV) Maine Cabin Masters, Season 10 (Magnolia Network) Super Sara (Max Original) Toad & Friends, Season 1BJune 16Hero Ball, Season 3BJune 17Dr. 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 20House 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 21The Kitchen, Season 38 (Food Network) The Never Ever Mets, Season 2 (OWN)HBOHBOloading...June 22The Gilded Age, Season 3 (HBO Original)June 23Match Me Abroad, Season 2 (TLC)June 24Enigma (HBO Original) Mean Girl Murders, Season 3 (ID) The Invitation (2022)June 25Rehab Addict, Season 10 (HGTV)Ketchup EntertainmentKetchup Entertainmentloading...June 27House 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 3090 Day Fiancé: Pillow Talk, Season 11 (TLC) Truck U, Season 21Get our free mobile app2000s Movies That Got Bad Reviews That Are Actually GoodThese underrated films deserved better reviews than they got from most critics.

News Battlefield 6 Will Remove Weapon Restriction From Classes, Introduces Signature Weapons This change would, for example, allow a medic to avoid frontline combat by letting them use a sniper-rifle and maintain distance. Posted By Joelle Daniels | On 23rd, May. 2025 The studios that are working on the next Battlefield games have revealed some details about what players can expect from the upcoming multiplayer shooter’s class system. Detailed through a lengthy post on Reddit, the studios have described the new class system as being a “series of interconnected systems and fundamentals that shape your role on the field, while granting you the freedom to customise how you execute that role.” Customisation is going to be a big aspect of how classes function in the next Battlefield game. While the classes will retain the ability to come up with their own weapon loadouts along with class-specific gadgets, it is also worth noting that restrictions that have traditionally been placed on classes in terms of their choice of weapons are being removed. This means that a player with the Medic class, rather than being in the thick of the battle and supporting their squad mates, could instead choose to stay away from the frontlines while using a sniper rifle, making their Medic abilities more or less useless. In an attempt to gently dissuade players from making the wrong weapon choice, the upcoming Battlefield game will instead feature the concept of the Signature Weapon. With this, each class will have their own Signature Weapon with which they get added benefits. In the example provided, a Recon player with a sniper rifle can hold their breath to line-up long-distance shots for longer than another class would. The studios have said that these new class features are slated for testing in the coming weeks through Battlefield Labs, during which it will be soliciting feedback from players. The general response to this new approach to Battlefield’s traditional class system has been quite negative, with one of the top comments referring to it as the game’s “first big L.” Many of the responses are calling for weapon choices to be more restrictive, with some desiring Battlefield 4’s system, where several weapon archetypes worked as signature weapons for certain classes while being unavailable to others, while also having a variety of general weapons that everyone could use. The plan with this new system seems to be a way for the developers to discourage players from making bad decisions with their weapon loadouts with regards to class identity and teamwork, while not outright stopping them from making those decisions. Rather, with the Signature Weapon system, Battlefield wants to give players benefits for using certain weapon types with specific classes, while not giving too many drawbacks for weapon choices that could be seen as incorrect. Battlefield is on the verge of kicking off its new playtest via Battlefield Labs, this time around focusing on server performance and stability. Over the weekend, more and more players will be invited to the Battlefield Labs playtest, during which time there will be a small selection of maps and game modes that will be available to play. The next Battlefield game doesn’t yet have a solid release date. However, EA has stated that it plans on launching the multiplayer shooter later this year. Tagged With: Elden Ring: Nightreign Publisher:Bandai Namco Developer:FromSoftware Platforms:PS5, Xbox Series X, PS4, Xbox One, PCView More Borderlands 4 Publisher:2K Developer:Gearbox Entertainment Platforms:PS5, Xbox Series X, PCView More Death Stranding 2: On the Beach Publisher:Sony Developer:Kojima Productions Platforms:PS5View More Amazing Articles You Might Want To Check Out! Star Wars Battlefront 2 – Former Developer Would Like to “Get the Gang Back Together” Star Wars Battlefront 2 has been seeing a steady rise in concurrent player numbers since earlier this month, a... Battlefield 6 Will Remove Weapon Restriction From Classes, Introduces Signature Weapons This change would, for example, allow a medic to avoid frontline combat by letting them use a sniper-rifle and... Resident Evil 9 Was Going to be Open-World With Multiplayer Before 2021 Development Reboot – Rumour According to these rumours, Capcom is expected to finally unveil Resident Evil 9 to the world during the upcom... Onimusha 2: Samurai’s Destiny 2 Remaster is Out Now, New Trailer Details Gameplay Systems Available for Xbox One, PS4, Nintendo Switch, and PC, the remaster follows Jubei Yagyu on a quest to slay a de... Blades of Fire is Out Now on PC, PS5 and Xbox Series X/S Blades of Fire was launched alongside a new trailer that gave us glimpses of the title's story, forging system... Silent Hill f Panel Announced for July 4th Series producer Motoi Okamoto and composer Akira Yamaoka are confirmed alongside writer Ryukishi07 for the pan... View More