You probably weren't waiting for earbuds designed by a reality-TV-star-slash-entrepreneur, but here they are. Kim Kardashian has teamed up with Apple on a custom version of the Beats Fit Pro. The new Beats x Kim collab is available in a trio of skin colors (Moon, Dune and Earth) that are meant to either "blend in or stand out," as Kardashian puts it. In other words, they look less like electronics and more like cosmetics.

They're functionally identical to the regular Beats Fit Pro, although that's not a bad thing. We found the normal ones more comfortable than AirPods, with strong bass (this is Beats, after all) and solid active noise cancelation. You'll also get the usual tight integration with Apple's other devices, although the earbuds will still work properly with Android. You're mainly missing out on wireless charging and that signature AirPods look.

The Beats x Kim models will be available through Apple's online store on August 16th at 10AM Eastern, and they'll sell at the Fit Pro's standard $200 price in the US, UK, Canada, France, Germany and Japan. Don't expect to find them at all the usual locations when they hit retail on August 17th, however. In-person sales are limited to 10 Apple stores (including 5th Avenue, Regent Street and Champs-Élysées) as well as fashion chains and department stores like Selfridges (in the UK) and SSENSE (in Canada). You can also buy through Amazon in North America, or WeChat in China.

These aren't the first flesh-colored earbuds in recent memory, and they certainly aren't the most affordable. JLab partnered with the nail care brand ORLY to unveil the $20 Go Air Tones in December. The Beats Fit Pro might be the best-sounding, though, and Kim Kardashian's name recognition is bound to give Apple a gigantic marketing advantage.

Hulu has ordered a limited series adaptation of Devil in the White City, which will star Keanu Reeves and be executive produced by Martin Scorsese and Leonardo DiCaprio. The streamer announced the news today at the Television Critics Association’s summer tour. Based on the book of the same name by Erik Larson about the 1893 World’s Fair in Chicago, the series will be the first time the work is adapted for the screen after more than a decade’s worth of deals and bidding by numerous studios. Todd Field (In the Bedroom,Little Children) is set to direct the series. Deadlinereported that the eight-episode series is aiming for a 2024 release.

As The Hollywood Reporternotes, DiCaprio first optioned the rights to the book in 2010, and was set to star in a feature film adaptation that would be directed by Scorcese. Now, both men will executive produce the limited series, which will be a co-production of Paramount Television Studios and Disney’s ABC Signature.

Disney signed a deal with Comcast where it will buy its 33 percent stake in Hulu in 2024 — granting it full operational control of the streamer. But as CNBC notes, the deal was signed before the launch of Disney+, and there’s current confusion over what role another streaming service will play in the vast Disney empire. Hulu also houses a number of critically-acclaimed series, including Dopesick, The Dropout and The Handmaid’s Tale. With Devil in the White City, it seems Disney is attempting to position Hulu within the crowded streaming landscape as an adult-oriented platform for prestige TV.

TikTok has teamed up with Ticketmaster to help users discover events and buy tickets directly through the app. Creators such as music artists, comedians, sports teams and venues can search for relevant Ticketmaster events and link to them on their videos. The feature is only open to select creators at the outset, though more will gain access over time.

Demi Lovato, OneRepublic, Usher, the Backstreet Boys and WWE are among those who can use the feature at the jump. Event links will appear on the bottom left of the screen. Users can tap or click through to an in-app browser to buy a ticket.

Ticketmaster says the partnership with TikTok will help event organizers and creators reach more fans and potential ticket buyers. Along similar lines, Snapchat added a Ticketmaster Mini app in February to help users find events.

Earlier this week, it emerged that TikTok may be working on its own music streaming service. According to a trademark filing, the mooted TikTok Music service would allow folks to "purchase, play, share, download music, songs, albums, lyrics... live stream audio and video... edit and upload photographs as the cover of playlists... [and] comment on music, songs and albums."

It's only been a few days since Netflix started streaming The Gray Man, its most expensive film to date, but the company has already announced plans to turn it into a major franchise. A sequel is in the works with star Ryan Gosling and directors Joe and Anthony Russo returning. Netflix didn't say when the follow-up is expected to arrive.

A spin-off from Zombieland and Deadpool screenwriters Paul Wernick and Rhett Reese is in development too. Netflix says that movie will explore a different aspect of The Gray Man universe, but it's keeping quiet on the details for now.

While critics by and large had a lukewarm reaction to The Gray Man, the film appears to be a hit with viewers. It has a 91 percent audience score on Rotten Tomatoes. It debuted as the number one movie on Netflix in 92 countries when it was released last Friday. Netflix hasn't revealed more specific viewership data as yet.

Whether that apparent success translates into helping Netflix retain subscribers and attract new ones remains to be seen. The company lost almost a million subscribers last quarter, though the attrition wasn't as bad as Netflix feared.

Netflix spent a reported $200 million to make The Gray Man. So, along with moves the company is making elsewhere, it's not a huge shock that Netflix is turning it into a franchise. Sequels to other Netflix blockbusters are in the pipeline, including follow-ups to Extraction and Army of the Dead. Netflix also snapped up the sequels to the terrific murder mystery film Knives Out.

In case it's not clear, Netflix is very eager to build beloved franchises of its own. "We want to have our version of Star Wars or our version of Harry Potter, and we're working very hard to build that,” the company's vice president of original series Matthew Thunell told Reuters last week.

Netflix does have a few hit franchises already. A Stranger Things spin-off series and stage play are in development. The company has made a Korean version of La Casa de Papel and is working on a spin-off. It's expanding Squid Game, Bridgerton and The Witcher beyond the core shows as well.

The BBC has already started preparing for Facebook's 20th anniversary in 2024: The broadcaster has announced that its factual entertainment team has commissioned a three-part documentary about Mark Zuckerberg and the social network he founded. Facebook's story is pretty well-known at this point, and it's common knowledge that Zuckerberg originally designed it to connect students at Harvard. And that the Winklevoss twins sued the Meta chief, claiming he stole their idea. BBC, however, aims to present a "definitive account" of Mark Zuckerberg and the social network he founded. 

That means no dramatized events like in the 2010 David Fincher-directed film starring Jesse Eisenberg. Instead, BBC promises access to "key players, insider testimony, personal journals and rare archive material." Mindhouse, the TV production company behind the project, will also examine the rise of the social media and how it has changed human behavior and interaction. It's unclear if the documentary will also examine Facebook's role in spreading fake news around the world. 

Nancy Strang, Minhouse Creative Director, Mindhouse, said in a statement: 

"The remarkable story of Mark Zuckerberg and Facebook is one of the tales of our time. He has arguably done more to transform human behaviour and connectivity than any other person this century. I'm thrilled that we've been given this opportunity to tell the extraordinary inside story of the social media giant, and the man behind it."

The docuseries, which has a working title of Zuckerberg, has no premiere date yet. But it will air on BBC Two and will be streamable from BBC iPlayer when it comes out.

San Diego Comic-Con 2022 kicked off with a trailer for the movie Dungeons & Dragons: Honor Among Thieves, and it... actually looks promising? The upcoming film has an all-star cast with Chris Pine, Michelle Rodriguez, Regé-Jean Page and Hugh Grant, and blends action, fantasy, comedy and some of D&D's most iconic monsters. 

"A charming thief and a band of unlikely adventurers undertake an epic heist to retrieve a lost relic, but things go dangerously awry when they run afoul of the wrong people," the description reads. "Dungeons & Dragons: Honor Among Thieves brings the rich world and playful spirit of the legendary roleplaying game to the big screen in a hilarious and action-packed adventure."

The trailer delivers the dragons you'd expect, including possibly an acid-breathing Ancient Black Dragon and a Red Dragon. We also see a Mimic disguised as a treasure chest, a Displacer Beast, a Gelatinous Cube and an Owlbear — a beast that goes back to the original D&D game. As for realms and spells, there's what looks like the Underdark, a Heat Metal spell, Dimension Door spell and others. 

The film is being produced and distributed by Paramount and Hasbro, which controls the rights of the game and recently acquired the popular digital game-playing toolset D&D Beyond. Hasbro is also working on other film and TV adaptations for its toys including Transformers and My Little Pony. 

We hope you weren't expecting to play Avatar: Frontiers of Pandora before the next movie arrives. Ubisoft and Massive Entertainment have delayed the Avatar game to 2023 or 2024. The developers pinned the setback on "ongoing constraints" affecting game production across the industry. Ubisoft said it was still "committed" to creating a next-gen game and saw James Cameron's franchise as a "multi-year opportunity."

Other projects are facing delays or even cancellations. Axios' Stephen Totilo noted that Ubisoft has cancelled its battle royale brawler Ghost Recon Frontline and Splinter Cell VR. The company also dropped two unannounced games, and has pushed back a lower-profile "premium" game from a 2022-2023 release window to 2023-2024.

The decisions come as Ubisoft tries to turn around its fortunes. While it did see "better than expected" sales from the Assassin's Creed series and Rainbow Six Siege in the first quarter, its net bookings dipped 10 percent compared to a year earlier. Ubisoft's business isn't booming, and the delays for games like Frontiers of Pandora only increase the pressure to cut costs.

SoundCloud has found a powerful partner for its unusual royalty system that ensures lesser-known artists and indie acts are getting the money they deserve. The service has signed a global licensing agreement with Warner Music Group, making the company the first record label to adopt its Fan-Powered Royalties model. Some of the record label's most popular acts are Ed Sheeran, Coldplay, Cher, Gorillaz, Hayley Kiyoko, Kelly Clarkson and Lizzo. However, it's most likely the artists who aren't quite as well-known who would benefit the most from the scheme.

This deal ensures every artist across the label's roster gets paid based on users' listening habits. Most streaming services' pro-rata model puts their ad earnings and their customers' subscription payments in one big pot used to pay artists based on their share of total plays across the service. SoundCloud's system, however, sends listeners' subscription money directly to the artists they're listening to. 

The service launched the new model in 2021 and implemented it for performers using SoundCloud Premier, Repost and Repost Select. Back then, it said artists could collect as much as five times their previous royalties under the scheme. Company President Eliah Seton said in a statement: "Warner Music Group is known for developing some of today's biggest superstars and helping them build long-term careers by investing in technologies and models which grow and support their fan communities. This makes them an ideal partner for SoundCloud... [The company] is known for our community of music-loving fans and this partnership aligns with our commitment to a fan-powered, artist-centric business."

When SoundCloud introduced the fan-powered royalties model, critics noted that it might potentially be expensive to operate and, while it looks good on paper, it may not work well in practice. Warner signing the deal adds weight to the royalties scheme, though, and other major labels might be more inclined to follow suit.

Lightyear didn't hit the box office heights Disney hoped for, despite it being the first Pixar movie to debut exclusively in theaters in over two years. You won't have to wait too much longer to stream the movie at home, though. It's coming to Disney+ on August 3rd, 47 days after it landed in theaters.

While it's technically a Toy Story spinoff, it has a meta element to it. The action figure in the Toy Story movies is supposedly based on Lightyear, an in-universe film characters like Andy seemingly watched (making this a quasi-prequel). This time around, Buzz is in human form and is voiced by Chris Evans. He's an astronaut who, along with his crew and commander, gets stuck on a strange planet and needs to find a way home. The cast also includes Keke Palmer, Peter Sohn, Taika Waititi, Dale Soules, James Brolin and Uzo Aduba.

The following article contains really significant spoilers for ‘A Quality of Mercy.’

We’re living in the age of the prequel, with studios exploiting every scrap of existing material where there’s an audience already in place to enjoy it. But the low-hanging fruit and easy cash a prequel promises severely limits the storytelling opportunities for those properties. Obi-Wan Kenobi can’t die (or do anything of consequence) during his own prestige miniseries since his fate was preordained in 1977. Ewan McGregor has to age into Sir Alec Guinness and die at Darth Vader’s hand, and that’s that. Sure, there are some things creative teams can play fast and loose with, but the big things – the ones that permeate the culture at large – are set in stone.

Ever since Star Trek: Strange New Worlds was announced, it was blighted by this same hard stop, one dictated back in November 1966. Movies aside, until 2018, Christopher Pike was little more than a pub trivia answer to the question “Who was the first captain of the Enterprise?” (It’ll provoke an argument between the folks who just about remember Jeffrey Hunter was there before William Shatner, while the folks who know Robert April was first sit smugly on the sidelines.) But Pike’s fate wasn’t necessarily immutable until the second season of Discovery reaffirmed that he was going to get his radiation dose. But that didn’t matter until the fans, production team and executives found that they liked Anson Mount, and could easily watch a whole series of pre-Kirk adventures with him on the Enterprise.

I wouldn’t have been surprised if the creative team looked for a way to prolong the series beyond its narrative end point. The show has already dangled a few ways that Pike could survive the incident, and made it clear that there are still seven years left to go. Seven years being the old-fashioned point where a TV show could make it in syndication, and the duration that all three Silver Age Trek series reached. Strange New Worlds could just as easily slow its timeline down and spend five, seven, ten or seventeen seasons filling the next six years of Pike’s life or find a way to remove such an arbitrary deadline.

And yet, the show’s season finale “A Quality of Mercy” decides to take advantage of the limits imposed upon it, making it clear to both Pike, and us, that there are no get outs. We begin at a base on the edge of the Romulan neutral zone, where the son of Commander Hansen will, when he grows up, be one of the cadets who dies in the radiation leak. Pike decides that it’s only logical to dissuade the kid from joining Starfleet and, therefore, save his life, but as he’s writing a letter to the boy to warn him of his fate, an older Pike appears in his quarters. And we know he’s older, because he’s wearing one of Robert Fletcher’s gorgeous 2278-era Starfleet uniforms, albeit restyled to suit the nu-Trek era.

Sadly, Admiral Pike isn’t here to congratulate his younger self on a job well done, but warn him of the consequences of futzing with time. Thanks to a Klingon Time Crystal from Boreth, Pike gets All Good Things-ed into his own future, six months after the radiation leak. If your fan antennae started tingling at the date, it’s because Pike is running the Enterprise in 2266, during the first season of classic Star Trek. In fact, it’s worse than that, because he’s been thrust straight into the episode of “Balance of Terror”, except he has to win the way his way instead of Kirk’s. As Pike says, the only way to discover why this future is terrible, is to live it.

(“Balance of Terror” is widely regarded to be one of the top three best episodes from the classic series. It’s the one where the Enterprise plays a tense game of cat-and-mouse with a new Romulan warbird equipped with a cloaking device and a powerful weapon capable of shredding starships in one shot.)

Now, if there’s one thing this episode does better than, well, most of nu-Trek, it’s the fact that all of the characters make smart choices. Pike, thrown into the future, instantly confides in Spock and when he’s met with resistance, immediately recommends a mind-meld. Caught up to speed, Spock becomes Pike’s co-confidant in the altered future, helping him to work out what exactly he needs to do here.

Pike’s survival has caused plenty of things to change in the timeline: James Kirk is the captain of the USS Farragut, which has survived in this version of the future. And, mercifully, the ship is in the vicinity, meaning that Kirk and Pike get to work together to solve the problem of the rogue Romulan Warbird with its devastating new weapon. Meanwhile, the beats from “Balance of Terror” get replayed – with Ortegas replacing Lt. Stiles as the on-bridge racist with angry eyes pointed at Spock.

Understandably, given the conflicts between Pike’s folksy diplomacy and Kirk’s more action-y approach, nobody wins. The Romulans get a signal out to the fleet, who realize that the Federation is weak enough to wage total war upon. In many ways, this episode serves up its own indictment of Pike, showing that his don’t-shoot-first approach has a limit. (And it also puts some clearer water between Pike and Kirk, since one was the replacement for the other back in the ‘60s.) Naturally, the episode ends with Pike opting to return to his own time and understand that he can’t simply back out of his preordained fate.

This is the second episode of Strange New Worlds co-written by the polarizing Akiva Goldsman, and many of his hallmarks are on full show here. There’s the misplaced reverence for franchise iconography, Great Man Of History mythologizing (this time with Spock) and a face off between two copy-and-paste CGI space fleets. Even so, given the risk of what this episode could have been, especially threading a new narrative through one of the sacred texts of the original series, this worked pretty well. (Given Goldsman’s previous Trek work, I’m giving all of the credit to showrunner and co-writer Henry Alonso Myers here.)

I can’t really give much comment on Paul Wesley’s performance as Kirk here, since he’s handed the most poisoned of chalices. William Shatner, even at his worst, never played Kirk as big as the stereotype has become, and Chris Pine’s performance dialed down Kirk’s bookish, warrior-poet side. Go too far on either side and it’ll become an impression, especially since he’s only got around 10 minutes of screentime in the whole episode. That’s why he essentially plays Kirk as someone who is both stalwart but also endlessly looking for a third option, emphasizing his inventiveness.

The episode ends with a twist – somehow, Number One’s past has been revealed (like when she just told everyone who would listen in "Ghosts of Illyria"), and she’s arrested by Starfleet. Pike nearly breaks a security guard’s hand preventing the arrest but is talked down by Una on the pad before he declares that things aren’t over. I’ll be very curious to see how this particular storyline gets resolved, especially considering my perpetual wondering about Rebecca Romijn’s absence from the show. The fact that Paul Wesley was tipped to recur in season two might suggest Kirk’s coming on board as her replacement, but that feels a bit too excessive in its fan service. 

Fundamentally, however, Strange New Worlds wraps up its first season with something that’s better than it had any right to be. As I wrote back at the beginning, the first five episodes all have something good going on, but often trip over their own shoelaces. Ever since “Spock Amok”, however, the show has started to find its feet, with less awkward dialogue, a more relaxed groove and the courage to go for high camp and comedy just as regularly as it does high drama. Every episode in the back half of the first season has been better than its immediate predecessor, even if there’s some very obvious kinks that still need to be worked out. Whisper it, friends, but, Strange New Worlds might actually be good?