In early 2004, after defeating Krona, the Justice League and the Avengers said their goodbyes as each team returned to their proper universe. It was the last time that Marvel and DC would cross paths in any official capacity for decades. Well, unless you count the roundabout way of having them duke it out with Fortnite skins. In terms of comics, the two industry giants would keep separate, especially once Marvel was scooped up by Disney. After 21 years, the two worlds will collide once again. In September, Marvel is releasing Deadpool/Batman, written by Zeb Wells with art by Greg Capullo (including backup stories featuring talent like Kevin Smith, Chip Zdarsky, Adam Kubert, and more). Then in November, DC is doing Batman/Deadpool, written by Grant Morrison with art by Dan Mora. On top of that, this is apparently only the beginning, as there will be Marvel/DC crossovers happening on an annual basis. That does bring into question some choice narration from Doctor Manhattan in 2017’s Doomsday Clock. In the DC Universe/Watchmen event, the omnipotent, blue-donged god noted that in 2030 there would be an event known as “The Secret Crisis,” which would involve Superman fighting Thor across the universe and the heroic sacrifice of one unnamed green behemoth. A hopeful joke or something more? Regardless of what the future brings, starting things off with dual meetings between the Dark Knight and the Merc with a Mouth is a brilliant choice. They could have had Superman team up with Spider-Man all over again or something just as on the nose, but this is fresh and has tons of potential. Here are some reasons why. Deadpool Missed Out The first crossover between the companies was 1976’s Superman vs. The Amazing Spider-Man. While there had been a few other attempts in the ‘70s and ‘80s, it wasn’t until the mid-’90s that they went absolutely ham with it. Over a six-year stretch starting in 1994, there were fifteen different team-ups and cross-company battles. This includes the memorable and oh-so-dated Marvel vs. DC event and its dip into Amalgam, the merged reality where Dark Claw (Wolverine/Batman) and his sidekick Sparrow (Jubilee/Robin) fight Hyena (Sabretooth/Joker). Meanwhile, though Deadpool was introduced in 1990, he wasn’t really cared about among comic fans until the 1997 solo run by Joe Kelly and Ed McGuinness. By the time Deadpool really picked up steam in popularity (Deadpool actually won a fight based on reader votes against Daredevil in 1999’s Contest of Champions II), the DC alliance was on its way out. The poor guy didn’t even get to be in Amalgam. They merged Deathstroke the Terminator with Daredevil instead. Centering this Batman story on a mainstream hero who wasn’t mainstream enough back in the ‘90s only adds a new coat of paint onto this novelty. The Previous Batman and Deadpool Crossover Then again, this wouldn’t exactly be the first time Batman and Deadpool have crossed paths. In an unofficial way, they have met. Sort of. As mentioned, the Kelly/McGuinness run of Deadpool was iconic and character-defining. That same creative team worked on Superman/Batman Annual #1 back in 2006. In a modern retelling of the pre-Crisis storyline where Bruce and Clark discovered each other’s secret identities on a cruise, the two had to deal with both Deathstroke and Deathstroke’s heroic Earth-3 doppelganger. Outside of the blue and orange color scheme, Earth-3 Deathstroke was Deadpool in as many ways as they could legally get away with. This included constantly getting interrupted with extreme violence whenever he was about to say his actual name. Still, even being in a separate company never stopped Deadpool from razzing on Batman. In his movies alone, he’s made fun of how dark the DC Universe is, crapped on the ending of Batman v Superman: Dawn of Justice, and joked about how Wolverine’s mask is like Batman’s with actual neck mobility. Speaking of… The Writers Understand the Assignment Zeb Wells might not be the most popular comic writer right now due to reasons involving Ms. Marvel’s death and… Paul. Still, he was one of the writers of Deadpool & Wolverine. People seemed to like that one. The guy knows a thing or two about putting Deadpool with a gruff, brooding superhero with reluctant father issues. This one will probably have less mutual bludgeoning… er, at least I hope it will. Join our mailing list Get the best of Den of Geek delivered right to your inbox! On the other side of things, we have Grant Morrison. Morrison is no stranger to the X-Men corner of Marvel, but he’s strangely never touched Deadpool before. Considering how much Morrison loves playing with the fourth wall and the boundaries between reality and fiction (Animal Man, Flex Mentallo, Seven Soldiers: Zatanna), it’s a real surprise that they never got to write for Marvel’s most self-aware antihero. Letting Deadpool Loose in Gotham On paper, the idea of having Deadpool specifically mixing things up with Harley Quinn might have made for a more fitting crossover. Unfortunately, DC kind of beat that into the ground with their “we can rip off your guy more blatantly than you can rip off ours” creation Red Tool, a regular in Harley’s comics. Regardless, having Deadpool mix it up with the worst of Gotham has legs. If anything, the very idea of Deadpool antagonizing the Joker is enough to sell issues. We could see him make Bane look nearly useless by recovering from a broken spine in seconds. We could find out what happens when Wade huffs fear gas. He could brutalize a confused Penguin for what happened to Victor in the HBO Max season finale. An official Deadpool vs. Deathstroke showdown is on the table. The possibilities are endless! As for Batman, he could… um… He… could fight… huh. Is T-Ray still a thing? Deadpool/Batman #1 will be released on September 17, 2025. Batman/Deadpool #1 is set to arrive in November.

Even at first glance, there’s something off about the body on the street. The white sheet it’s under is a little too clean, and the officers’ movements are totally devoid of purpose. “We need to clear the street,” one of them says with a firm hand gesture, though her lips don’t move. It’s AI, alright. But here’s the kicker: my prompt didn’t include any dialogue.Veo 3, Google’s new AI video generation model, added that line all on its own. Over the past 24 hours I’ve created a dozen clips depicting news reports, disasters, and goofy cartoon cats with convincing audio — some of which the model invented all on its own. It’s more than a little creepy and way more sophisticated than I had imagined. And while I don’t think it’s going to propel us to a misinformation doomsday just yet, Veo 3 strikes me as an absolute AI slop machine.AI generated video: Made with Veo 3Google introduced Veo 3 at I/O this week, highlighting its most important new capability: generating sound to go with your AI video. “We’re entering a new era of creation,” Google’s VP of Gemini, Josh Woodward, explained in the keynote, calling it “incredibly realistic.” I wasn’t completely sold, but then, a few days later, I had Veo 3 generate a video of a news anchor announcing a fire at the Space Needle. All it took was a basic text prompt, a few minutes, and an expensive subscription to Google’s AI Ultra plan. And you know what? Woodward wasn’t exaggerating. It’s realistic as hell.I tried the news anchor prompt after seeing what Alejandra Caraballo, a clinical instructor at Harvard Law School’s Cyberlaw Clinic, was able to produce. One of her clips features a news anchor announcing the death of US Secretary of Defense Pete Hegseth. He is not dead, but the clip is incredibly convincing. A post including a string of videos with AI-generated characters protesting the prompts used to create them has 50,000 upvotes on Reddit. The scenes include disasters, a woman in a hospital bed using a breathing tube, and a character being threatened at gunpoint — all with spoken dialogue and realistic background sounds. Real lighthearted stuff!Maybe I’m being naive, but after playing around with Veo 3 I’m not quite as concerned as I was at first. For starters, the obvious guardrails are in place. You can’t prompt it to create a video of Biden tripping and falling. You can’t have a news anchor announce the assassination of the president, or even generate a video of a T-shirt-and-chain-wearing tech company CEO laughing while dollar bills rain down around him. That’s a start.That said, you can generate some troubling shit. Without any clever workarounds I prompted Veo 3 to create a video of the Space Needle on fire. Starting with my own photo of Mount Rainier, I generated a video of it erupting with smoke and lava. Coupled with a clip of a news anchor announcing said disaster, I can see how you could seed some mischief real easily with this tool.AI generated video: Made with Veo 3Here’s the better news: it doesn’t seem like a ready-made deepfake machine. I gave it a couple of photos of myself and asked it to generate a video with specific dialogue and it wouldn’t comply. I also asked it to bring a pair of giant boots in a photo to life and have them walk out of the scene; it managed one boot stomping across the sidewalk with some comical crunching noises in the background.AI generated video: Made with Veo 3I had an easier time generating videos when my prompts were less specific, which is how I confirmed something my colleague Andrew Marino pointed out: Veo 3 is excellent at creating the kind of lowest-common-denominator YouTube content aimed at kids.If you’ve never been subjected to the endless pit of garbage on YouTube Kids, let me enlighten you. Imagine watching the worst 3D rendering of a monster truck driving down a ramp, landing in a vat of colored paint. Next to it, another monster truck drives down another ramp into another vat of paint — this time, a different color. Now watch that again. And again. And again. There are hours of this stuff on YouTube designed to mesmerize toddlers. These videos are usually harmless, just empty calories designed to rack up views that make Cocomelon look like Citizen Kane. In about 10 minutes with Veo 3, I threw together a clip following the same basic formula — complete with jaunty background music. But the clip that’s even more troubling to me is the two cartoon cats on a pier.AI generated video: Made with Veo 3I thought it would be funny to have the cats complain to each other that the fish aren’t biting. In just a couple of minutes, I had a clip complete with two cats and some AI-generated dialogue that I never wrote. If it’s this easy to make a 10-second clip, stretching it out to a seven-minute YouTube video would be trivial. In its current form, clips revert to Veo 2 when you try to extend them into longer scenes, which removes the audio. But the way that Google has been pushing these tools forward relentlessly, I can’t imagine it’ll be long before you can edit a full feature-length video with Veo 3.Honestly, I wonder if this sort of use for AI-generated video is a feature and not a bug. Google showed us some fancy AI-generated video from real filmmakers, including Eliza McNitt, who is working with Darren Aronofsky on a new film with some AI-generated elements. And sure, AI video could be an interesting tool in the right hands. But I think what we’re most likely to see is a proliferation of the kind of bland imagery that AI is so good at generating — this time, in stereo.See More:

Even at first glance, there’s something off about the body on the street. The white sheet it’s under is a little too clean, and the officers’ movements are totally devoid of purpose. “We need to clear the street,” one of them says with a firm hand gesture, though her lips don’t move. It’s AI, alright. But here’s the kicker: my prompt didn’t include any dialogue.Veo 3, Google’s new AI video generation model, added that line all on its own. Over the past 24 hours I’ve created a dozen clips depicting news reports, disasters, and goofy cartoon cats with convincing audio — some of which the model invented all on its own. It’s more than a little creepy and way more sophisticated than I had imagined. And while I don’t think it’s going to propel us to a misinformation doomsday just yet, Veo 3 strikes me as an absolute AI slop machine.AI generated video: Made with Veo 3Google introduced Veo 3 at I/O this week, highlighting its most important new capability: generating sound to go with your AI video. “We’re entering a new era of creation,” Google’s VP of Gemini, Josh Woodward, explained in the keynote, calling it “incredibly realistic.” I wasn’t completely sold, but then, a few days later, I had Veo 3 generate a video of a news anchor announcing a fire at the Space Needle. All it took was a basic text prompt, a few minutes, and an expensive subscription to Google’s AI Ultra plan. And you know what? Woodward wasn’t exaggerating. It’s realistic as hell.I tried the news anchor prompt after seeing what Alejandra Caraballo, a clinical instructor at Harvard Law School’s Cyberlaw Clinic, was able to produce. One of her clips features a news anchor announcing the death of US Secretary of Defense Pete Hegseth. He is not dead, but the clip is incredibly convincing. A post including a string of videos with AI-generated characters protesting the prompts used to create them has 50,000 upvotes on Reddit. The scenes include disasters, a woman in a hospital bed using a breathing tube, and a character being threatened at gunpoint — all with spoken dialogue and realistic background sounds. Real lighthearted stuff!Maybe I’m being naive, but after playing around with Veo 3 I’m not quite as concerned as I was at first. For starters, the obvious guardrails are in place. You can’t prompt it to create a video of Biden tripping and falling. You can’t have a news anchor announce the assassination of the president, or even generate a video of a T-shirt-and-chain-wearing tech company CEO laughing while dollar bills rain down around him. That’s a start.That said, you can generate some troubling shit. Without any clever workarounds I prompted Veo 3 to create a video of the Space Needle on fire. Starting with my own photo of Mount Rainier, I generated a video of it erupting with smoke and lava. Coupled with a clip of a news anchor announcing said disaster, I can see how you could seed some mischief real easily with this tool.AI generated video: Made with Veo 3Here’s the better news: it doesn’t seem like a ready-made deepfake machine. I gave it a couple of photos of myself and asked it to generate a video with specific dialogue and it wouldn’t comply. I also asked it to bring a pair of giant boots in a photo to life and have them walk out of the scene; it managed one boot stomping across the sidewalk with some comical crunching noises in the background.AI generated video: Made with Veo 3I had an easier time generating videos when my prompts were less specific, which is how I confirmed something my colleague Andrew Marino pointed out: Veo 3 is excellent at creating the kind of lowest-common-denominator YouTube content aimed at kids.If you’ve never been subjected to the endless pit of garbage on YouTube Kids, let me enlighten you. Imagine watching the worst 3D rendering of a monster truck driving down a ramp, landing in a vat of colored paint. Next to it, another monster truck drives down another ramp into another vat of paint — this time, a different color. Now watch that again. And again. And again. There are hours of this stuff on YouTube designed to mesmerize toddlers. These videos are usually harmless, just empty calories designed to rack up views that make Cocomelon look like Citizen Kane. In about 10 minutes with Veo 3, I threw together a clip following the same basic formula — complete with jaunty background music. But the clip that’s even more troubling to me is the two cartoon cats on a pier.AI generated video: Made with Veo 3I thought it would be funny to have the cats complain to each other that the fish aren’t biting. In just a couple of minutes, I had a clip complete with two cats and some AI-generated dialogue that I never wrote. If it’s this easy to make a 10-second clip, stretching it out to a seven-minute YouTube video would be trivial. In its current form, clips revert to Veo 2 when you try to extend them into longer scenes, which removes the audio. But the way that Google has been pushing these tools forward relentlessly, I can’t imagine it’ll be long before you can edit a full feature-length video with Veo 3.Honestly, I wonder if this sort of use for AI-generated video is a feature and not a bug. Google showed us some fancy AI-generated video from real filmmakers, including Eliza McNitt, who is working with Darren Aronofsky on a new film with some AI-generated elements. And sure, AI video could be an interesting tool in the right hands. But I think what we’re most likely to see is a proliferation of the kind of bland imagery that AI is so good at generating — this time, in stereo.See More:

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

Marvel's under-wraps TV project Vision Quest — another spin-off from hit MCU series WandaVision — is being made by a team of veteran Star Trek writers and production staff.The series, which has quietly been in development now for over a year, was previously announced as having gained Star Trek: Picard writer and later showrunner Terry Matalas.Matalas took over running Star Trek: Picard for its third (and best) season, and quickly set about reuniting the character with more of his former Star Trek: The Next Generation cast. PlayNow, Matalas will act as showrunner for the Paul Bettany-starring Vision Quest — and reunite with a number of other Star Trek writers in the process.As detailed this week by Vision Quest's listing on the Writer's Guild of America website, fellow Picard writers Chris Monfette, Cindy Appel, and Matt Okumura have also joined the new Marvel project. (It's worth noting that all of these people worked on the latter half of Picard, alongside Matalas, rather than the show's shakier first season.)Most interesting of all, perhaps, is confirmation that Battlestar Galactica, Star Trek: Deep Space 9, and Star Trek: Voyager writer Michael Taylor is also working on Vision Quest. The 25 Best MCU HeroesTaylor wrote more than a dozen episodes of Voyager and is responsible for some of the very best episodes of DS9, including In the Pale Moonlight and The Visitor, the latter of which featured the late Tony Todd as a grown-up alternate version of Jake Sisko in an alternate timeline.Filming for Vision Quest began earlier this spring, primarily based at Pinewood Studios in London (though a location shoot in Scotland has also been spotted).Marvel is yet to detail the series' story, though fans expect it will reveal the fate of Paul Bettany's White Vision, last seen flying away at the end of WandaVision. Curiously, the series is also expected to include the return of James Spader's Ultron (last seen being destroyed at the end of 2015's Avengers: Age of Ultron) and the character of Raza from the original Iron Man, who kidnapped Tony Stark and stuck him in a cave.Vision Quest is expected to be released on Disney+ at some point in 2026. And, if you're keeping track, that means it'll almost certainly now arrive before the delayed Avengers: Doomsday — although after Spider-Man: Brand New Day.Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

May 2026 was going to kick-off the next phase of the Marvel cinematic universe with the return of Robert Downey Jr. as Doctor Doom. Not anymore. Avengers: Doomsday has been delayed along with Secret Wars. Grand Theft Auto 6 will now have the month (mostly) to itself, assuming it doesn’t get delayed again as well. Suggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at $450 for Now, But Could Go HigherMarvel pushed both of its upcoming blockbusters back by seven months. Avengers: Doomsday will now arrive on December 18, 2026, followed the next year by Avengers: Secret Wars on December 17, 2027. Anonymous sources told Deadline the reason for the delay came down to both movies’ massive scope and ambition. Spider-Man: Brand New Day is still arriving in July of next year. Both Avengers movies are directed by the Russo Brothers, with Doomsday featuring cameos from the cast of the 2000s X-Men movies. At the same time, rewrites and reshoots have definitely hamstrung some movies in the MCU. I’m sure the Captain America: Brave New World team would love a mulligan, though there’s no evidence that’s the case here. We still have no real idea what this next phase of the MCU will revolve around, other than Disney seemingly going back to the well and trying to resurrect the franchise’s earlier magic. Are fans burnt out or just waiting for the right alchemy to reignite interest in the Avengers? One thing Doomsday won’t have to contend with now is the launch of GTA 6, scheduled for May 26, 2026 which is being heralded by Take-Two’s CEO as the biggest entertainment launch ever. The Mandalorian & Grogu will still be facing the full brunt of that a week after its May 22 debut. One thing the Star Wars spin-off can rest assured of is that no other major video games will be releasing around it that month. .

A cataclysmic asteroid collision may not sound like the starting place for life. But 66 million years ago, the Chicxulub impactor that wiped out the dinosaurs and much of the Cretaceous period’s fauna also kick-started a hydrothermal system that became a hotbed for life to recover in the local area. That’s the finding from a recent paper published in Nature Communications. Chicxulub Impact and Rapid RecoveryThe impact itself was truly a catastrophe, says Philippe Claeys, Chair of the Large Research Group AMGC at Vrije Universiteit Brussel and a co-author on the paper. When the asteroid – estimated at 10 to 15 kilometers [about 6 miles to 9 miles] in diameter – slammed into the earth it sent vast amounts of energy into the atmosphere, resulting in a massive cloud plume that lead to the collapse of photosynthesis, large-scale cooling, and the demise of up to 70 percent of life on earth, including the dinosaurs.  That extended to the oceans. “At least for 500,000 years, there's good evidence to show that the world's oceans were not functioning exactly as modern or Cretaceous oceans were,” Claeys says.Past research found that within decades, the waters around the site recovered quickly. This recent paper suggests that it is because the massive impact and the resultant melt sheet created a hydrothermal system that funneled hot water and nutrients to the surrounding area, enabling this surprisingly quick comeback.“What is interesting in this new paper is that we teamed up with geochemists, crater specialists, and micropalaeontologists to look at the effect on the biosphere, on the micro plankton within the region surrounding the crater in the Gulf of Mexico,” Claeys says. “The conclusion, that was a little bit surprising, is that the recovery of life seems to be accelerated compared to the rest of the oceans.”Read More: Two Asteroids May Have Wiped Out The DinosaursHydrothermal System Funneled Nutrients That multi-disciplinary team traced levels of osmium – an element found in asteroids like the Chicxulub impactor – in sediments taken from core samples in the crater. Sean Gulick, a research professor at The University of Texas at Austin’s Jackson School of Geosciences, and a co-author on the study, was part of a 2016 drill team that took core samples from the crater. These samples were vital to these recent findings.He explains that in this instance, osmium acts as a “tracer for all sorts of nutrients that might be enriching the oceans above.” That showed that the hydrothermal system following the collision was likely funneling nutrients to the ocean above for at least 700,000 years.“We do know that an asteroid impact with all of this energy, if it's large enough, can cause a mass extinction event globally, because of all the atmospheric effects,” Gulick says. “But it also turns out to be beneficial to life, at least locally.”Even though the Chicxulub impact resulted in a “kiss of death for dinosaurs,” it also acted as a “cradle for life,” Gulick says. Possibility of Life on Other Planets Their research also showed that during the time the hydrothermal system functioned, the type of marine life mainly comprised of plankton species adapted to high-nutrient environments. This shifted to species that thrive in low-nutrient environments over time.In Gulick’s view, their findings open up the possibility of a mechanism to kick-start life on other planets. “Everything out there gets smacked with objects flying around. From the original creation of the planets and from collisions in the asteroid belt and everything else,” Gulick says. “Every one of those planets has a way to have their surface changed by impact cratering that then reorganizes things, brings things to the surface, and adds heat.”  As long as there are fluids or ice that could result in a hydrothermal system, Gulick adds. “So, if this is a viable mechanism to get life going, then that means it's entirely possible to have life on a lot of different planets.”Read More: Did a Dust Plume Kill the Dinosaurs?Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this articleUniversity of Texas Institute of Geophysics. Life Recovered Rapidly at Site of Dino-Killing Asteroid. A Hydrothermal System May Have Helped.University of Texas Geosciences. Drilling into Dino Doomsday Sean Mowbray is a freelance writer based in Scotland. He covers the environment, archaeology, and general science topics. His work has also appeared in outlets such as Mongabay, New Scientist, Hakai Magazine, Ancient History Magazine, and others.

Let’s imagine for a second that the impressive pace of AI progress over the past few years continues for a few more. In that time period, we’ve gone from AIs that could produce a few reasonable sentences to AIs that can produce full think tank reports of reasonable quality; from AIs that couldn’t write code to AIs that can write mediocre code on a small code base; from AIs that could produce surreal, absurdist images to AIs that can produce convincing fake short video and audio clips on any topic. This story was first featured in the Future Perfect newsletter.Sign up here to explore the big, complicated problems the world faces and the most efficient ways to solve them. Sent twice a week.Companies are pouring billions of dollars and tons of talent into making these models better at what they do. So where might that take us?Imagine that later this year, some company decides to double down on one of the most economically valuable uses of AI: improving AI research. The company designs a bigger, better model, which is carefully tailored for the super-expensive yet super-valuable task of training other AI models. With this AI trainer’s help, the company pulls ahead of its competitors, releasing AIs in 2026 that work reasonably well on a wide range of tasks and that essentially function as an “employee” you can “hire.” Over the next year, the stock market soars as a near-infinite number of AI employees become suitable for a wider and wider range of jobs (including mine and, quite possibly, yours).Welcome to the (near) futureThis is the opening of AI 2027, a thoughtful and detailed near-term forecast from a group of researchers that think AI’s massive changes to our world are coming fast — and for which we’re woefully unprepared. The authors notably include Daniel Kokotajlo, a former OpenAI researcher who became famous for risking millions of dollars of his equity in the company when he refused to sign a nondisclosure agreement.“AI is coming fast” is something people have been saying for ages but often in a way that’s hard to dispute and hard to falsify. AI 2027 is an effort to go in the exact opposite direction. Like all the best forecasts, it’s built to be falsifiable — every prediction is specific and detailed enough that it will be easy to decide if it came true after the fact. (Assuming, of course, we’re all still around.) The authors describe how advances in AI will be perceived, how they’ll affect the stock market, how they’ll upset geopolitics — and they justify those predictions in hundreds of pages of appendices. AI 2027 might end up being completely wrong, but if so, it’ll be really easy to see where it went wrong.Forecasting doomsdayIt also might be right. While I’m skeptical of the group’s exact timeline, which envisions most of the pivotal moments leading us to AI catastrophe or policy intervention as happening during this presidential administration, the series of events they lay out is quite convincing to me. Any AI company would double down on an AI that improves its AI development. (And some of them may already be doing this internally.) If that happens, we’ll see improvements even faster than the improvements from 2023 to now, and within a few years, there will be massive economic disruption as an “AI employee” becomes a viable alternative to a human hire for most jobs that can be done remotely. But in this scenario, the company uses most of its new “AI employees” internally, to keep churning out new breakthroughs in AI. As a result, technological progress gets faster and faster, but our ability to apply any oversight gets weaker and weaker. We see glimpses of bizarre and troubling behavior from advanced AI systems and try to make adjustments to “fix” them. But these end up being surface-level adjustments, which just conceal the degree to which these increasingly powerful AI systems have begun pursuing their own aims — aims which we can’t fathom. This, too, has already started happening to some degree. It’s common to see complaints about AIs doing “annoying” things like faking passing code tests they don’t pass.Not only does this forecast seem plausible to me, but it also appears to be the default course for what will happen. Sure, you can debate the details of how fast it might unfold, and you can even commit to the stance that AI progress is sure to dead-end in the next year. But if AI progress does not dead-end, then it seems very hard to imagine how it won’t eventually lead us down the broad path AI 2027 envisions, sooner or later. And the forecast makes a convincing case it will happen sooner than almost anyone expects. Make no mistake: The path the authors of AI 2027 envision ends with plausible catastrophe. By 2027, enormous amounts of compute power would be dedicated to AI systems doing AI research, all of it with dwindling human oversight — not because AI companies don’t want to oversee it but because they no longer can, so advanced and so fast have their creations become. The US government would double down on winning the arms race with China, even as the decisions made by the AIs become increasingly impenetrable to humans. The authors expect signs that the new, powerful AI systems being developed are pursuing their own dangerous aims — and they worry that those signs will be ignored by people in power because of geopolitical fears about the competition catching up, as an AI existential race that leaves no margin for safety heats up.All of this, of course, sounds chillingly plausible. The question is this: Can people in power do better than the authors forecast they will? Definitely. I’d argue it wouldn’t even be that hard. But will they do better? After all, we’ve certainly failed at much easier tasks.Vice President JD Vance has reportedly read AI 2027, and he has expressed his hope that the new pope — who has already named AI as a main challenge for humanity — will exercise international leadership to try to avoid the worst outcomes it hypothesizes. We’ll see.We live in interesting (and deeply alarming) times. I think it’s highly worth giving AI 2027 a read to make the vague cloud of worry that permeates AI discourse specific and falsifiable, to understand what some senior people in the AI world and the government are paying attention to, and to decide what you’ll want to do if you see this starting to come true.A version of this story originally appeared in the Future Perfect newsletter. 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Disney's dramatic delay to Avengers: Doomsday and Avengers: Secret Wars, announced last night, means fans will wait longer to see Earth's mightiest heroes assemble again on screen. Avengers: Doomsday will now arrive seven months' later, on December 18, 2026. Secret Wars, meanwhile, will arrive a year after that, on December 17, 2027. But in among all this, fans are also talking about Spider-Man.Tom Holland's Peter Parker is also set to return next year, in the highly-anticipated Spider-Man: Brand New Day on 31 July, 2026 . This movie will pick up Peter's story following the events of No Way Home, where his identity was erased from the world's memory.PlayBefore Disney's delay, Spider-Man: Brand New Day would have arrived after Avengers: Doomsday, as a Tom Holland-flavoured MCU sandwich filling between Doomsday and Secret Wars. There had been reports that Disney and Sony had been exploring another story filled with multiversal shenanigans befitting of the MCU's current era. Now, Spider-Man: Brand New Day — which is still yet to begin filming — will arrive ahead of either Avengers movie, something fans hope gives the next Spidey story some breathing room, and potentially a more grounded narrative set at the Marvel universe's street level.Picture the previous situation for a moment. Avengers: Doomsday likely leaves audiences on a big cliffhanger, akin to Avengers: Infinity War, ensuring audiences turns up to see the resolution in the next film. Spider-Man, as a key member of the Avengers, is likely involved — or if not, his absence has to be explained. In this context, Brand New Day either has to pick up from this, somehow, be set beforehand, or ignore the stakes going on elsewhere."That completely changes things for Spider-Man 4," one fan wrote on reddit regarding the delay, and Brand New Day now coming first. "At least in the framing of how we thought it NEEDED to be in between both films timeline-wise. Now it sounds like it won't be.""If Spider-Man: Brand New Day isn't [also] delayed I think that basically would confirm it isn't a multiverse battle world movie," a third wrote, referencing the holding location Marvel's heroes are left at within the comics during the original Secret Wars storyline. How to Watch Sony's Spider-Man Universe in Chronological OrderIn general, Spider-Man fans keen to see more of the character in his own story, back swinging through the streets of New York rather than being dragged into space with the Avengers. For many, Disney's delay is a positive."This is the best Spider-Man 4 news we've gotten," wrote one fan."With [Brand New Day] coming before Doomsday this fully allows a grounded story, which lines up with the rumours and casting lately," wrote another, referencing whispers online about villains being cast to fit a regular, New York-set episode.Earlier this month, Liza Colón-Zayas, best known for playing Tina Marrero on FX’s The Bear, was reportedly cast in Brand New Day. Fans suspect she's playing the mother of Miles Morales — the alternative version of Spider-Man who is hotly-tipped to appear in live-action after the character's popularity in Sony's Spider-Verse animated films.As part of the changes to its release schedule announced last night, Disney also removed an untitled Marvel project from its schedule set to launch on February 13, 2026. Fans suspect this had been a placeholder for the long-delayed Blade reboot set to star Mahershala Ali, which now looks set to skip this saga of the MCU altogether, if it ever materialises.Other Marvel film dates, for November 6, 2026 and November 5, 2027, have also been altered to now refer to "Untitled Disney" films. If these remain projects are not linked to the Marvel universe, the MCU will have a relatively light movie schedule over the coming years. The remainder of 2025 includes The Fantastic Four: First Steps on the big screen in July, while TV series Ironheart and Wonder-Man are set to debut on Disney+.Next year's Disney+ shows will include Daredevil Born Again's second season (expected in the spring), a Punisher one-off special presentation, and Vision Quest, the Paul Bettany-fronted series that has now quietly begun filming.Tom Phillips is IGN's News Editor. You can reach Tom at tom_phillips@ign.com or find him on Bluesky @tomphillipseg.bsky.social

Marvel Studios has chosen to delay its next two high-stakes Avengers movies by seven months apiece. Avengers: Doomsday moves from May 1 to December 18, 2026, while Avengers: Secret Wars shifts from May 27, 2027 to December 17 of that year. Insiders told Deadline that the delay is just to accommodate the “gargantuan vision” of two films that will be “among the biggest ever made.” (Or maybe Marvel is scared of GTA 6.) The films are being made back-to-back by directors Joe and Anthony Russo, who directed the two previous Avengers team-up movies and Marvel’s two highest-grossing films: 2018’s Infinity War and 2019’s Endgame. Avengers: Doomsday is in production now. Marvel owner Disney won’t have any concerns about moving the Avengers movies from their traditional early summer slots to the holidays. Spider-Man: No Way Home launched in mid-December 2021 and was a massive success, becoming the third-highest-grossing Marvel film. (Avengers: Doomsday’s coveted May 1, 2026 slot will go to another big Disney movie, The Devil Wears Prada 2.) Still, the move reflects a shift from quantity to quality at Marvel Studios, which Disney CEO Bob Iger said during an investor call had “lost a little focus by making too much.” After releasing only one film in 2024 (Deadpool & Wolverine), Marvel is putting out three in fairly quick success in 2025: Captain America: Brave New World, Thunderbolts*, and the forthcoming The Fantastic Four: First Steps. But then there will be a break of a full year — long by Marvel standards — before Spider-Man: Brand New Day in July 2026, followed by another yearlong break between the two upcoming Avengers movies. Underlining this point, Variety notes that Disney has removed or swapped out several slots for “untitled Marvel” projects in 2026 and 2027, though it has three slots in 2028 reserved for Marvel films. What these might be — indeed, what the future holds generally for the Marvel Cinematic Universe after Secret Wars — remains a mystery. The status of the Armor Wars movie is unknown, to say nothing of the beleaguered Blade, while plans for Shang-Chi and Black Panther sequels remain vague. Above all this looms the specter of a possible X-Men movie, which finally seems to be coming together. The two Avengers films ought to be more than enough to look forward to in the meantime. Marvel’s announced cast for Doomsday is a multiversal pile-up of MCU veterans, newcomers from Fantastic Four and Thunderbolts*, actors from the legacy Fox X-Men movies, and wild cards like Channing Tatum’s Gambit. The cast is led by Robert Downey Jr. as Doctor Doom, not Tony Stark. They really could go anywhere from here.