A full trailer just dropped for the upcoming animated show based on the popular game Dead Cells, and it looks like the creators have made a few unexpected choices. For one, the Beheaded can apparently talk. 

Dead Cells: Immortalis is being produced by Bobbypills, the studio behind the game’s animated trailers, and the French streaming service, Animation Digital Network. Along with the trailer, the series now has a release date: June 19. It’ll come out in French first, with English subtitles, before getting an English-language release later this year, according to Dead Cells developer Motion Twin.

The trailer shows a different animation style than we saw in the teaser that came out last year when the series was first announced. As hinted back then, the main character — who the show introduces now as “The Chosen One” — takes on the purple-flame-headed Bobby design. He’s accompanied by a character named Laurie Esposito, Guardian of the Truth. There’s an overall silliness to the trailer, too, so while it looks like there will be plenty of action, don’t expect the show to take itself too seriously.

The following article discusses spoilers for the first season of X-Men ‘97.

I was excited about the return of the ‘90s Saturday morning cartoon version of the X-Men. Still, I wasn’t sure Marvel, under the auspices of Disney, could deliver on the flavor of the original while also making a modern show that older fans, now adults in their 30s and 40s, could enjoy. And X-Men '97 is a total play on our nostalgia, which makes it even odder that it delivers. And is better than the original in pretty much every way.

And of all the Marvel baubles that needed some affection, the X-Men arguably needed it most. The ten-episode run managed to cram in so many plotlines, cameos, comic sagas, villains, plot twists and even deaths that, at times, it was hard to process everything — but I utterly loved how relentless it all was. X-Men ‘97 goes hard, especially if you’re already an obsessive fan.

When Marvel first launched an all-you-can-read comic book app, I went in hard on the X-Men back catalog, especially stories by Chris Claremont and Grant Morrison, two of my favorite writers. X-Men ’97 mines a lot of my favorite characters and stories. Magneto is put on trial, and begins a (brief?) redemption arc, Jean Grey turns out to be a clone, and the cartoon crammed a roughly-year-long comic arc, Inferno, into a single episode. Other arcs either included wholesale, or with some riffs, include Lifedeath, Fatal Attractions, Motendo, Operation: Zero Tolerance and more.

The highlight of this first season (a second is already underway) has to be the crushing episode 5, where the mutant nation of Genosha is devastated by a high-powered sentinel mothership… thing. Just before the attack destroys mutant adults, mutant children and eventually even an X-man, Cable, the time-traveling son of Scott Summers and Jean’s clone. (See: Inferno, mentioned above) reappears to stop the attack. But he fails again and his mother dies.

Magneto is left helpless as mutants are slaughtered and he’s forced to relive the genocide he suffered as a child. Eventually, Gambit sacrifices himself and lights up the entire robot with his mutant ability. This is after Rogue reignites a romance with Magento, changes her mind, and decides to be with Gambit. As I said, each episode is a lot.

I may be alone in this, but I still prefer the older series’ animation style and look. A cartoon can look a little scrappy, in my opinion —or maybe I’m just 39 and also not a Disney executive. The majority of the action scenes are great, too. Cyclops is finally not done dirty and gets to thrive in fights. There are some great combination attacks comparable to the iconic fastball special.

Sometimes, the show can feel a bit too “anime” (And I love anime, don’t at me!), where the ridiculous scale of the fight removed a lot of my interest in it. Cool, Bastian has metal wings in the final episode. Yes, yes, very cool. But didn’t one of his super sentinel underlings wipe the floor with the X-Men mid-series? And did we need the Phoenix to reappear (again!) so that Jean can save her 50-something son from the future? Probably not.

But, it’s the X-Men. It wouldn’t be the X-Men without this kind of nonsense.

I also adored the attention to detail. How Storm changed back to her original comic-book attire, Rogue transitioned to her green and white look, Magneto wore the same black-and-white costume while on trial, just like the original comic book. X-Men '97 doesn’t miss the chance to sprinkle in other Marvel characters, too. Captain America pops up a few times, we spot an out-of-costume Spider-Man, with Mary Jane Watson, watching the fall of Asteroid M. The Silver Samurai, who got his own episode in the original series, stares on as Tokyo loses power due to Magneto’s attack on the whole of Earth.

In other episodes, an aged Polaris, Rachel Grey and more mutants briefly appear in a vision of the future. The series is bursting at the seams with references, easter eggs and surprises. Did you know that Bastian is briefly, obliquely, on-screen during the horrific attack on Genosha, long before he’s revealed as the X-Men’s primary antagonist? Well, he is. It’s a show that’s ripe for debate and discussion in an era of Reddit, Discord and YouTube reactions.

Marvel Studios President Kevin Feige stipulated that both the cast and the music had to return for the project to happen. I’m glad it did and I’m glad the theme song still slaps.

The following contains spoilers for “Boom.”

It should be a given any new series needs time to find its footing, even when it’s a revival of an already-running hit. The first three episodes of “new” Doctor Who have been fun, but not without their own idiosyncrasies that made them hard to love. Now it’s time for Steven Moffat, the series’ greatest 21st century writer, to show what this new season can do. There’s the usual degree of showboating and cleverness, but it’s hard to deny the man’s genius when he pens the first genuine classic of the Disney+ era. Bloody hell.

“Boom” thrusts the Doctor and Ruby into the smallest corner of a war, and lets it play out in microcosm. This is an angry story about how money, power and cruelty make people inhuman, and is the sort of episode Doctor Who excels at. This story makes no bones about the pointlessness of war and why money is the engine that keeps it going. Its framing may be modern — there’s one too many uses of the word “algorithm” here — but its central thesis is timeless.

Bad Wolf / BBC Studios

In a wasteland battlefield on Kastarian 3, two militarized Anglican clerics are walking back to base. Carson (Majid Mahdizadeh-Valoujerdy) is leading his friend, John Francis Vater (Joe Anderson) who has been blinded in the fighting, an injury that’ll take four weeks to recover from. In the distance, they spot an ambulance but seem afraid of it and look to go the long way around it. Carson loses his footing and slips into a small crater, activating a land mine that instantly obliterates him. The disturbance summons the ambulance, a tank-tracked device with a large screen with an apparently friendly avatar (Susan Twist) which injects its tendrils into Vater, identifying his injury. It decides that four weeks is an unacceptable amount of time for recovery and terminates him instead. His scream is heard by the Doctor, who sprints out of the TARDIS to help but winds up putting one foot on the exact same mine that killed Carson.

Ruby arrives to find the Doctor frozen in place, asking her to describe what he’s standing on: A Villengard mine. It’s an anti-personnel explosive made by a notorious weapons manufacturer that Moffat has referenced several times before. The Doctor asks Ruby to find something heavy for him to hold, so that he can shift his weight and put his foot down without triggering the mine. What she finds is Vater’s compacted remains bolted to an AI canister containing a simulacrum of Vater. The Doctor asks Ruby to throw it to him, but she instead opts to walk within the blast range and hand it over. It affirms the dynamic that as Gatwa’s Doctor has vacated the role of big-chested hero, Ruby has stepped in to fill the void.

The mine is, however, unsure if the Doctor is a viable target, and so remains frozen on the edge of activation. Villengard’s weapons are notoriously vicious and the company has created a warfare algorithm to limit the number of bodies in the battle zone at one time, while also dragging wars on profitably and indefinitely. It gives the company license to slay the wounded rather than spending the cash to cure them.

Bad Wolf / BBC Studios

Before he died, Vater was speaking to his daughter Splice (Caoilnn Springall), who was brought along to the war as there was no-one else to look after her. While her father was on patrol, she had been left in the care of Mundy (Varada Sethu), a lower-ranking soldier in the army. But she slips her minder to reach the last GPS-tagged location of her father. She arrives, triggering the hologram attached to Vater’s remains that delivers his valediction to his daughter.

Soon after, Mundy tracks down her wayward ward and is able to explain the rest of the plot to the TARDIS crew. The Anglicans have been fighting a war for six months against an enemy that’s never seen or heard. Mundy and the Doctor spar on the nature of religion and how faith — in more than just a higher power — helps create willing material for the meat grinder of war. Mundy’s skeptical about the Doctor and Ruby but is quickly convinced when she scans the Doctor to see he’s not just going to explode on the mine. As a complex space-time event, the mine’s activation won’t just kill him but destroy half of the planet. It gets worse: The mine is going to time out and go off anyway after its stuttering activation.

Having detected the fracas, an ambulance arrives and jams its menacing tendrils into the Doctor. Ruby, again refusing to allow anyone else control the narrative, grabs Mundy’s rifle and tries to create a distraction to no effect. Mundy tells Ruby to shoot her using the rife’s lowest setting which would draw the ambulance without being fatal. But, as Ruby takes aim, Canterbury (Bhav Joshi) arrives just in time to misappraise the scene and shoot Ruby to defend his fellow soldier. Ruby, on the edge of death, generates more snow but is fading fast

The Doctor has worked out the problem, which is that there’s no enemy on the planet at all — it’s barren. Villengard's algorithm is sending soldiers out to die with the traps they themselves bought and probably placed. The only solution is to surrender but that’s not something Mundy is willing, or empowered, to do, so the Doctor needs to find proof to show to the senior cleric. He uses the AI of Vater, appealing to his duty as a father and whatever humanity is left inside to search through the military database to find evidence there is no enemy at all.

More ambulances arrive in an attempt to overwhelm the people in the crater, looming down on them all. As Mundy and Canterbury speak, the latter is suddenly minced for reasons that boil down to… we’re in the final few minutes of the episode. In the chaos, it looks as if all is lost, but as the Villengard AI projects a hologram, it’s quickly taken over by Vater, whose love for his daughter has hopefully triggered some sort of feedback loop, ending the war and disabling the mine. As the war is ended, Ruby is resurrected by the ambulance and the four survivors are able to enjoy the beautiful view in the skies over Kastarian 3.

There’s even time for the Doctor to mention a “grumpy old man” who told him once that “what will survive of us is love.” That’s a reference to notoriously acerbic poet Philip Larkin’s work An Arundel Tomb, referencing a long-decayed sculpture of two people lying in state. The Doctor mentions Splice may have a bright future ahead of her, and gets ready to head off to their next adventure.

Bad Wolf / BBC Studios

There’s no good place to address this later, so I’ll add that Varada Sethu has also been cast as a new companion for Doctor Who’s second season. Initial rumors suggested she was replacing Millie Gibson but the BBC said last month the trio would travel together. It’s not uncommon for an actor to play a minor role in one episode and then return as a member of the core cast. Peter Capaldi, Karen Gillan, Freema Agyeman and Colin Baker all played one-off roles before joining as a Doctor or as a companion. I have no idea if Mundy will return, or if Sethu will play a new character, but I’m not sure Mundy was a compelling enough character to warrant a revisit.

Bad Wolf / BBC Studios

“Boom” is a masterclass in perpetually-building tension in a way that Doctor Who has rarely attempted. I wouldn’t want to experience this level of stress every single week, but it’s a wonderful change from the status quo. The one thing that doesn’t quite work with the episode is the uneven pacing. For all the effort put into building the tension, the ending just seems to happen.

I feel like Moffat was straining against the running time, since the last few minutes are just dashed off without as much attention as I’d have liked. Interestingly, the other times Moffat has written stories that are this bleak, like “The Empty Child / The Doctor Dances” and “World Enough and Time / The Doctor Falls,” they were both two-parters. I’m not sure “Boom” needed 90 minutes, but an extra 10 or so might have helped things breathe.

Despite being rooted to one spot for most of the story, Gatwa’s Doctor still commands every frame he occupies. There’s enough chemistry between him and Millie Gibson that the pair’s interactions are entirely believable. The rest of the cast, however, don’t really get as much time to shine, given the limited focus and the stock roles they play in the narrative.

It’s entirely in keeping with Moffat’s style that he’d come back to a show, now equipped with a Disney-sized budget, only to make an episode set in one location. As a writer, he’s always enjoyed tying one hand behind his back and then allowing those restrictions to force him to be better. It was his Swiss watch plotting, smart storylines and snappy dialog that has always ensured his episodes are events. History has also silenced his critics: Last year, Doctor Who Magazine polled readers to rank every episode of the show made. Staggeringly, of the top 10, Moffat was credited with five, knocking Robert Holmes, the show’s greatest writer, off his perch.

And, as I said at the top, “Boom” stands proud as the first bona fide classic of the Disney+ era.

Susan Twist Corner

This week, Susan Twist played the avatar of the sinister Villengard ambulances that roamed the battlefield. Several times, the Doctor appealed to Vater’s AI homunculus on the fact that they are, or were, both fathers. If it isn’t clear, I think the show really wants the audience to know that the Doctor is a father with a child, whereabouts unknown. The hacky premise would be that it’s Susan who has taken the mantle of “The One Who Waits,” or that she’s somehow Ruby. Yeugh.

Prime Video's Fallout series has been a hit with critics and audiences, but Microsoft and Bethesda weren't ready to fully capitalize on its success. Fallout 4 rocketed up the sales charts and Bethesda updated it for current-gen consoles, but there was no new Fallout game ready to go. In fact, the next Fallout title is several years away. Bethesda won't properly get to work on it until The Elder Scrolls 6 is done.

But there's another gaming entity ready to make the most of Fallout's upswing in popularity — Fortnite. The battle royale's X account teased a crossover ahead of the new Fortnite season, which is dubbed "Wrecked" and will go live on May 24. Epic shared an image of the Brotherhood of Steel's power armor.

It's too early to tell exactly what the Fallout crossover will entail, but Fortnite has already begun setting the stage for a possible post-apocalyptic version of the island as a sandstorm appears to be on the way. Maybe you'll be able to use Fallout-inspired weapons like mini nukes.

This is just the latest example of Epic being tapped into the zeitgeist better than just about any other publisher or studio. Meanwhile, vaulting — the term Epic uses for the act of removing items from Fortnite — could be about to get a whole new meaning if fallout shelters start popping up on the island.

On Wednesday, the US House of Representatives passed a bill that could provide at least some accountability for Ticketmaster and other live event vendors. NBC News reports the TICKET Act (not to be confused with the Senate’s separate bill with the same try-hard acronym) would mandate that ticket sellers list upfront the total cost of admission — including all fees — to buyers.

In addition to the full pricing breakdown, the bill would require sellers to indicate whether the tickets are currently in their possession. It would also ban deceptive websites from secondary vendors and force sellers to refund tickets to canceled events. The bill doesn’t appear to address price gouging or extravagant fees.

It now moves to the Senate, which is floating two separate event-reform bills: the other TICKET Act and a bipartisan Fans First Act. The latter was introduced in December to strengthen the 2016 BOTS Act that bars the use of bots to buy tickets, a practice that Taylor Swift fans (among others) can attest is still all too common.

Reforming the ticketing industry became a political point-scoring item in late 2022 after Ticketmaster’s Taylor Swift fiasco. The Live Nation-owned service, which has a stronghold on the industry, melted down as millions of fans battled “a staggering number” of bots. Ticketmaster said presale codes reached 1.5 million fans, but 14 million (including those pesky bots) tried to buy tickets.

Live Nation President and CFO Joe Berchtold testified in front of the Senate Judiciary Committee in January 2023, where he largely passed the buck to Congress to fix the mess. He suggested the government strengthen the BOTS Act, which one of the Senate’s bills would try to do. During the hearing, Senator Richard Blumenthal (D-CT) needled the executive for dodging blame, accusing the company of pointing the finger at everyone but itself.

Representatives Gus Bilirakis (R-FL), Jan Schakowsky (D-IL), Cathy McMorris Rodgers (R-WA) and Frank Pallone Jr. (D-NJ) issued a joint statement on Wednesday about the House’s TICKET Act. “This consensus legislation will end deceptive ticketing practices that frustrate consumers who simply want to enjoy a concert, show, or sporting event by restoring fairness and transparency to the ticket marketplace,” the group wrote. “After years of bipartisan work, we will now be able to enhance the customer experience of buying event tickets online. We look forward to continuing to work together to urge quick Senate passage so that we can send it to the President’s desk to be signed into law.”

Artists publicly supporting legislation to combat the ticketing industry’s failures include (among others) Billie Eilish, Lorde, Green Day, Cyndi Lauper, Jason Mraz and Dave Matthews. “We are joining together to say that the current system is broken: predatory resellers and secondary platforms engage in deceptive ticketing practices to inflate ticket prices and deprive fans of the chance to see their favorite artists at a fair price,” a joint letter from over 250 musicians reads.

The rise and fall of MoviePass is one of those stories just begging for the documentary treatment and, well, HBO has got you covered. The platform just set a premiere date of May 29 for MoviePass, MovieCrash, a documentary helmed by filmmaker Muta’Ali and produced by none other than Mark Wahlberg.

The film chronicles the “meteoric rise and stranger-than-fiction implosion” of the movie ticket subscription platform, which originally set the world on fire when it first launched back in 2011. However, it wasn’t long before the company realized that the “all you can eat” approach that works so well with gyms and other membership clubs is a weird fit for movie theaters, particularly at the service’s low price point. In just eight years, the company went from the fastest growing subscription service since Spotify to total bankruptcy.

As the trailer shows, the documentary will feature interviews with many of the major players involved in the various stages of MoviePass. This includes original co-founder Stacy Spikes and former CEO Mitch Lowe. There will also be plenty of interviews with journalists who covered the service, FTC personnel and former subscribers. Incidentally, the trailer promises an anecdote in which a customer sent a box of feces to the MoviePass offices, and we don’t want to miss that.

Though premiering on HBO at 9PM ET on May 29, the documentary will also be available on-demand via Max. Director Muta’Ali has made a few good documentaries, including Yusuf Hawkins: Storm Over Brooklyn and Cassius X: Becoming Ali.

As for MoviePass, well, it’s a long and complicated story. The app captured the hearts of theater-goers in 2011 by promising unlimited trips to the cinema for a single monthly subscription fee. The love affair didn’t last. The company ceased operations in 2019 and filed for bankruptcy in 2020. Between those dates, there have been reports of wire fraud, securities fraud and significant data breaches, among other outlandish scenarios. In short, it’s perfect fodder for a documentary.

MoviePass is actually still around. Co-founder Spikes recently bought the company’s assets, brought on new investors and re-launched the service. However, the updated pricing model is on the confusing side, with credits and tiers, and seems to have not captured lightning in a bottle for the second time.

Activision just announced that it's working on a brand-new IP, with a mission “to craft a franchise with an enduring legacy that resonates far beyond games.” To help steward this mysterious franchise into the world, the company has opened up a new internal studio called Elsewhere Entertainment.

The team is headquartered in Warsaw, which is where CD Projekt Red cooks up The Witcher and Cyberpunk games, with assistance from a smaller US-based group. The company hasn’t given one ounce of detail regarding the IP itself, just saying that Elsewhere is “dedicated to establishing an environment that inspires bold and diverse ideas” and that it has “full access to Activision’s resources and tools.”

The developer has suggested the final release will be a “next-gen” experience, but didn’t say whether that meant today’s next-gen or whatever consoles are coming down the pike in the next few years. This will likely be a story-driven game, as Activision has hired up folks who worked on The Last of Us, the Uncharted franchise, Cyberpunk 2077 and The Witcher 3. If you have a decent resume and a hankering to work on a new IP, here’s a likely-related job posting.

A new studio means new hires, which is great news for an industry plagued by layoffs. As a matter of fact, the formation of Elsewhere comes just over one week after Activision’s parent company Microsoft closed three Bethesda studios. This is also happening a couple of months after Toys for Bob, another Activision studio, spun off into an indie. In any event, we’ll let you know when the company drops some concrete information about the franchise itself.

Assassin's Creed Shadows will be available globally on November 15. The latest iteration of the historical murder sim will be playable on a bunch of devices, including PS5, Xbox Series X/S and PC via the Ubisoft Store and the Epic Games Store. It’ll also be available for Apple silicon Mac computers right at launch, which is something of a rarity, and on cloud gaming platforms like Amazon Luna and Ubisoft+.

If the name sounds unfamiliar, the game used to be called Assassin’s Creed Codename Red and it’s been in development since at least 2022. It’s set in feudal Japan and the developer promises “a very different type of Assassin’s Creed game.” Ubisoft Quebec is leading work on the project, suggesting it could resemble something like the expansive Assassin's Creed Odyssey more than the streamlined Assassin’s Creed Mirage.

It’s hard to make out any major gameplay changes from the trailer, as it’s primarily cinematics. The vibes seem pretty cool though. Also, 16th-century Japan is one heck of a great setting. Here’s hoping Ubisoft nails it. The game features two playable characters, a samurai and a shinobi assassin. Each has unique playstyles, with the assassin Naoe favoring stealth and the samurai Yasuke preferring brute force.

Assassin's Creed Shadows will also be playable a bit early for Ubisoft+ subscribers, on November 12. It’ll be available in the usual array of editions. The standard version costs $70, which has somehow become the new normal price for AAA games. The Gold Edition costs $110 and nets players a season pass for DLC, a bonus quest and early access to the game on November 12, just like Ubisoft+ subscribers.

The Ultimate Edition costs $130 and includes everything just mentioned, plus a red and black photo filter and some character skins. Finally, the Collector’s Edition comes in at a jaw-dropping $280 and adds some nifty physical trinkets, including a SteelBook case, a paper world map, figurines of the main characters, a large art book, two lithographs and more. Ubisoft promises another trailer in June that will focus on gameplay.

Another classic Tamagotchi is getting the reboot treatment. Bandai announced this week that it’s bringing back the Tamagotchi Connection to celebrate the 20th anniversary of the toy’s release. Tamagotchi Connection, which first came out in 2004, was a pivotal entry to the virtual pet family, introducing more modern capabilities like infrared pairing so two devices could link up. There were several versions over the course of the subsequent decade, but v3 brought the beloved shell design the Connection family has become known for: the recognizable Tamagotchi egg, but with a faux antenna attached. This is the style Bandai is resurrecting.

Pre-orders are now open for the English-language Tamagotchi Connection in six colors: Bubbles (light blue), Ice Cream (pink), Rainbow Sky, the multicolored Clear Retro, and Blue and Pink Graffiti. They’re $30 each, or you can get the two Graffiti shells as a pair for $58. As usual, some additional, even cuter shells appear to be coming out in Japan. 

Bandai

While the new Connection revives the v3 design, it looks like the gameplay will combine elements of a few models from the pre-color era rather than just the one, or even add some new touches. Per the materials that have been released so far, the toy will feature more than 50 characters and come with 150 in-game items to collect. Some items will be unlockable by finding passwords. And the devices will, of course, be able to connect to one another.

There are still a lot of questions about what else the new Connection will offer — especially when considering the original v3 was the first internationally released Tamagotchi to connect to a companion website, the now-defunct TamaTown. Bandai hasn’t said anything at this point about launching something similar (though eagle-eyed fans speculate it may be in the cards based on a recent trademark filing), but a girl can dream. The rerelease of Tamagotchi Connection is huge in and of itself, though; fans have been asking for exactly this for years, and now it’s actually happening.

This week, streaming services are joining linear networks in revealing some of the projects they've got coming up in an attempt to win over advertisers. After Prime Video stepped up to the plate on Tuesday, it was Warner Bros. Discovery's turn at bat on Wednesday. The company surprised many by dropping a teaser trailer for Dune: Prophecy, a six-episode Dune prequel series that's coming to Max this fall.

The spinoff is set 10,000 years before the events of the Dune movies. It follows two Harkonnen sisters who tackle a threat to humanity while setting up the sisterhood that will eventually become the Bene Gesserit. Dune: Prophecy is based on the novel Sisterhood of Dune by Brian Herbert and Kevin J. Anderson.

The series stars Emily Watson, Olivia Williams, Travis Fimmel, Jodhi May and the always-great Mark Strong. The trailer makes the show look suitably large in scope, though you'll need to wait a few more months for it to arrive.

In the meantime, you'll soon be able to watch Dune: Part Two on Max (though we recommend catching this butt-kicking epic on a giant screen if it's still showing in a theater near you). The sequel is coming to the streaming service next week, on May 21.

In addition, it might be too early for a trailer for the second season of The Last of Us, though WBD has released the first official images. The shots of Joel (Pedro Pascal) and Ellie (Bella Ramsey) don't give much away, but fans of the second game in the series might recognize those fairy lights behind Joel's magnificent mane. The Last of Us will return on HBO and Max in 2025, hopefully on January 1.

Warner Bros. Discovery

Warner Bros. Discovery