Disney and Scarlett Johansson are no longer on the outs. The parties have reached a settlement for the lawsuit Johansson filed over the hybrid release strategy used for Black Widow. If you'll recall, the actor sued Disney over the company's decision to release her movie in theaters and on Disney+ at the same time, accusing the entertainment giant of breach of contract. 

Johansson's camp argued that Black Widow was supposed to be released in theaters exclusively under her deal with Marvel. According to the lawsuit she filed, she could lose as much as $50 million due to the hybrid release, seeing as her compensation is tied directly with the movie's box office success and doesn't include a cut from what Disney would make from streaming. People have had to pay $30 for a Premier Access pass to watch the movie on Disney+, and the company said Black Widow earned $60 million from streaming during its opening weekend. 

Her lawsuit also said that her camp tried to contact Disney and Marvel to re-negotiate their deal, but they were allegedly unresponsive. Neither party disclosed the terms of their agreement, but both issued a statement mentioning future collaborations. Alan Bergman, chairman of Walt Disney Studios, said he looks "forward to working together on a number of upcoming projects, including Disney's Tower of Terror."

Meanwhile, entertainment workers are gearing up for a strike because studios like Disney are rapidly producing content after pandemic-related restrictions had lifted. The situation led to poor working conditions with long hours and no breaks for production crew. Entertainment unions are hoping to convince studios to make changes, including ending the lower pay scale for smaller streaming services. Under the current rules, streaming services with fewer than 20 million subscribers like Apple TV+ does can pay their workers lower wages.

After introducing cross-messaging between Messenger and Instagram last year, Facebook has made it more useful with the addition of cross-app group chats. With the new feature, you'll be able to start a group chats and loop in both Messenger and Instagram contacts. In addition, you'll be able to run Messenger-style polls in both Instagram DMs and cross-app group chats if your group needs to decide whether to get pizza, tacos or both, for instance (both, obviously).

Meanwhile, Instagram gets an exclusive new feature called "Watch Together." To use it, you just start a video chat within Instagram, scroll to the post you want to share then click on the share button and "Watch Together." Instagram has added some new content from Steve Aoki, Travis Barker and Cardi B. 

Other new additions include group typing indicators available in cross-app group chats for both Messenger and in Instagram DMs. Facebook also brought in new chat themes for Messenger and Instagram DMs, including "Cottagecore" and a theme centered around Columbian singer J Balvin. There's also a new Astrology art suite, with an Astrology group chat theme, AR effect and sticker pack. The new features roll out for Messenger and Instagram today. 

Disney said The Book of Boba Fett would premiere this December, and it's making good on its promise — if only just. The media giant has revealed that the Mandalorian spin-off will debut December 29th on Disney+. The art accompanying the release date doesn't show much, but you can assume Boba Fett won't suffer fools lightly. (Caution: mild Mandalorian spoliers ahead.)

The series follows Boba Fett and his mercenary ally Fennec Shand shortly after the end of Mandalorian season two, as the pair return to Tatooine and lay claim to Jabba the Hutt's former territory. Temeura Morrison and Ming-Na Wen will reprise their respective roles. Producers from the earlier show are helming this latest project, including Jon Favreau, Robert Rodriguez and Kathleen Kennedy.

This won't satisfy fans looking for Mandalorian season three, which will only arrive afterBoba Fett. It does give fans another Star Wars fix before the end of 2021, at least, and it ensures you'll have another major Disney+ show to watch once you've finished with Hawkeye.

Samsung wants you to increase your freezer's temperature to lower our collective carbon footprint, and it has enlisted Vanilla Ice's help to convince you. The rapper has re-released his 1990 hit song Ice Ice Baby as Reduce Your Ice, Ice Baby, both to call on everyone to adjust their freezer's temp and to promote its new Bespoke Refrigerator range. "Turn down the freeze, and I'll glow. Jus' one degree, I raise the temp like a vandal, climate friendly, wax a chump like a candle," Vanilla Ice raps in the song. 

Based on a study the tech giant conducted using European Commission data, if every household in Europe alone increases its freezer's temperature by one degree Celsius, it could lower humanity's carbon emissions by over a million tons annually. The company says that's equivalent to the amount of carbon dioxide emitting by over 217,000 passenger vehicles being driven for an entire year. That's also equivalent to the yearly energy usage of over 120,000 homes combined. While it's hoping to convince you to adjust your freezer's temperature a bit, it does have a recommended minimum setting of -17 degrees Celsius or 1.4 degrees Fahrenheit.

As for the fridge Samsung is promoting, the new Bespoke Refrigerator has a modular design with interchangeable panels in 14 different colors and a range of finishes. The company says it could help reduce waste, because you'll be able to upgrade the fridge in the future instead of replacing it completely. You can see the fridge in Vanilla Ice's '90s style music video for Reduce Your Ice, Ice Baby below.

During Thursday's latest Nintendo Direct event, acclaimed video game designer Miyamoto Shigeru announced that the company's upcoming feature length animation project — in conjunction with American film studio, Illumination — now has a firm North American theatrical release date of December 21st, 2022.

While release dates for Europe, Japan, and other markets have yet to be revealed, Miyamoto did share the studio's key character casting decisions. Chris Pratt will voice Mario. "He's so cool," Miyamoto commented. Anya Taylor-Joy, star of Netflix's hit series Queen's Gambit will portray Princess Peach while It's Always Sunny in Philadelphia star Charlie Day will voice Luigi. Jack Black will of course be the voice behind series villain, Bowser, while Keegan Michael-Key has been cast as Toad. And, for some reason, Seth Rogan will be in this too as Donkey Kong? The company is also bringing back long-time voice actor Charles Martinet — who has portrayed Mario and the rest of his cohort in a number of games to date — to fill in on various cameos throughout the film.

The following contains spoilers for episode three of 'Star Wars: Visions' and episode seven of 'What If...?'

Back in the days when DVD was king, I remember there was a trend of making animated tie-ins for live-action franchises. There were direct-to-video features for Chronicles of Riddick, Van Helsing and, the most famous project of them all, The Animatrix. Nearly 20 years later, streaming reigns supreme and services like Disney+ seem to be returning to the idea, but bigger and grander with shows like Marvel’s What If…? and Star Wars: Visions.

Visions, premiering this week, is probably the more ambitious of the two, enlisting talent from various Japanese anime studios to create short films about different aspects of the Star Wars universe. The list includes juggernauts like Trigger (Kill la Kill, Promare) Production I.G (Ghost in the Shell: Stand Alone Complex, Haikyu!!) and Science SARU (Devilman Crybaby, Keep Your Hands Off Eizouken!). Unlike The Animatrix, Lucasfilm was content to mostly hand over the reins to these studios, creating shorts that differ in tone, style and, most notably, continuity.

Robot Jedi? Sith twins? Intergalactic rock band whose members include a Hutt and a former Jedi padawan? It’s an intriguing array of concepts, but as a long-time Star Wars fan I couldn’t tell you how they fit into the timeline. If they fit in, at all. Visions is more about taking some base concepts — the Force, the Jedi, the Sith — and playing around with them in each studio’s unique style. It reminds me the most of Batman: Gotham Knight from 2008, a collection of shorts also by various anime studios, including Production I.G. The one thing that DC Entertainment has always had going for it is the variety of TV and movie adaptations it’s had going on independently of each other, where audiences just understood that these weren’t meant to be connected in any way.

Lucasfilm

However, even for DC things have been changing in that regard, especially after last year’s “Crisis on Infinite Earths” crossover. For years now, the TV “Berlanti-verse” has been flirting with continuity, not just in how The Flash was a spinoff of Arrow and Legends of Tomorrow was a spinoff of both, but even having the Flash and Supergirl meet up even though they were on different networks and in different universes.

DC

“Crisis” upped the ante by merging these separate worlds in the end, while also confirming almost every other DC-based TV show as part of the bigger multiverse. It was great for fans who obsessively watch every comic book program they can, but less so for people who would rather keep their viewing limited and compartmentalized.

On the other side, Marvel didn’t have the same deep catalog as DC did, with its live-action MCU franchise only taking off 13 years ago. Marvel Studios was perfectly happy to wipe the slate clean of everything that had come before, from the 1989 Punisher film to 2007’s Ghost Rider with Nicolas Cage. Since then everything live-action has tied into the universe somehow, including Netflix shows like Daredevil, Hulu shows like Runaways and the Freeform show Cloak & Dagger. This was great for someone committed to the franchise, but could be daunting to casual viewers.

It also presented some creative constraints. Everything Marvel now had to fit in with the larger MCU somehow, so once a character appeared another movie or show couldn’t present its own take on the same person (alas, poor Inhumans). They couldn’t have world-shaking events outside of, say, the Avengers films — at least, not without making some kind of excuse why Captain America or Thor couldn’t just come charging in. Everything had to be carefully planned out as the universe expanded and connected internally.

That’s partly why the show What If…? exists. Sure, it’s based on a pre-existing comic series, but what both show and comic do is allow creators free rein with the characters and events of the Marvel Universe, experimenting to see what would happen if you change one or two things. Though this week’s is hardly a “slight” difference.

Marvel Studios

The point of divergence here is that Odin doesn’t adopt Loki as his son, leaving Thor to become an arrogant, spoiled child who prefers to party rather than take his duties as the would-be king of Asgard seriously. How is he still worthy of Mjolnir? We have no idea and the episode isn’t interested in telling us. Instead we’re shown how Thor likes to take the Warriors Three on long benders across the galaxy, with his next destination being the “backwater” of Earth. And everyone’s invited — Drax, Rocket, Howard the Duck, the Grandmaster and even Loki and the other ice giants who somehow, are friends with Thor anyway in this reality. When you consider why and how these characters got involved in the “main” timeline in the first place, it really doesn’t add up.

Marvel Studios

You could just try to enjoy it at face value, as just a silly story with no larger bearing on continuity. However, the point has been made repeatedly that this show is technically, in continuity, and not just in the sense that the Marvel Universe consists of many realities and everything is valid somewhere. While other comics and shows can be given an official universe “number” like 616 or 1,999,999 and just written off as a huge divergence from what we know, the concept of What If…? is that it shows us incremental changes from the MCU in particular. But the divergences shown in this week’s episode are far more than incremental, with an offbeat, cartoonish tone to match. It’s the least What If-like What If…? installment so far.

Unfortunately, like most of the episodes so far, it still ends on a downbeat, one that’s sort of rushed in and not explained. I can’t even imagine how we ended up with a Vision-Ultron hybrid in possession of the Infinity Stones and, unless this episode gets a sequel, it doesn’t really matter. The ending is just a non sequitur to affirm, as every episode does, that the regular MCU sequence of events is the “correct one.” It’s tacked on, and makes what was already a messy adventure even worse.

Lucasfilm

This is where the strength of Star Wars: Visions lies. There’s no attempt to tie the episodes to each other or the larger Star Wars universe. It lets each installment stand on its own as an homage to the larger “ideas” of Star Wars, while also showcasing the idiosyncrasies of each studio. The third episode, “The Twins,” is a great example of this in action. There’s a lightsaber fight on the hull of a Star Destroyer! No one is wearing environmental suits! They’re yelling at each other despite a lack of air! People’s clothes explode off their bodies! It doesn’t make a damn lick of sense, but it doesn’t have to, because it’s not meant to be more than a bit of fun.

Marvel and SiriusXM have opened a new Apple Podcasts channel, which includes a paid tier. The free Marvel channel includes Marvel's Wolverine: The Long Night and the sequel, Marvel's Wolverine: The Lost Trail. You'll be able to listen to Marvel/Method, in which Method Man interviews celebrities about Marvel, and This Week in Marvel, a weekly show about the latest news in the company's ecosystem.

Other podcasts on the channel includeWomen of Marvel, Marvel's Voices and Marvel's Pull List. In addition, you can check out the first episode of the Marvel's Wastelanders: Star-Lord podcast, which stars Timothy Busfield as Peter Quill, as well as Chris Elliott (Rocket), Danny Glover (Red) and Vanessa Williams (Emma Frost).

The paid tier, Marvel Podcasts Unlimited, offers early and exclusive access to a selection of shows. It features new scripted and unscripted podcast series, such as Marvel's Wolverine: La Larga Noche, a Spanish-language version of Wolverine: The Long Night, which is available today. You'll also be able to listen to exclusive programming, such as the documentary series Marvel's Declassified, which delves into the history of Marvel Comics.

On October 4th, subscribers will get early access to the first two episodes of Marvel's Wastelanders: Hawkeye, which features Stephen Lang as Hawkeye and Sasha Lane as his estranged 17-year-old daughter Ash. You'll be able to listen to future installments of Marvel's Wastelanders, including ones centered around Black Widow, Wolverine and Doctor Doom, before they're available elsewhere. Other podcasts are on the way too.

The new channels build on the partnership Marvel and SiriusXM forged in 2019. They've released original podcasts on other platforms, such as Pandora, Stitcher and, of course, SiriusXM. The companies say they'll share new episodes of podcasts elsewhere after they debut on Marvel Podcasts Unlimited.

The Marvel channel is available in more than 170 countries. You'll be able to subscribe to Marvel Podcasts Unlimited through the channel. The service costs $4/month (which may vary by country) after a seven-day trial. Marvel and SiriusXM are launching the channel and subscription three months after Apple rolled out paid channels in the Podcasts app.

Netflix has nabbed the most Emmys ever for a single platform with 44 including 11 for The Crown, more than double its nearest rival, HBO/HBO Max. The 2021 edition of the awards was also a watershed year for Apple TV+, which took home 10 Emmys including seven for its comedy series Ted Lasso.

To be sure, a huge chunk of Netflix's Emmy harvest came from the 34 Creative Arts Emmys it won last week. However, it still took a further 10 primetime Emmys including acting awards for Olivia Colman, Gillian Anderson and Josh O'Connor in The Crown, along with Ewan McGregor in Halston. The Crown also won for writing and directing, while taking the prestigious best drama series prize. Netflix's The Queen's Gambit, starring Anya Taylor-Joy, won for best limited series.

Mario Anzuoni / reuters

Meanwhile, Apple TV+ had its best Emmys yet with 10 total, including seven in primetime. It dominated the comedy series category with seven wins for Ted Lasso, including three in the acting category for Brett Goldstein and Hannah Waddingham (best supporting actors) along with Jason Sudeikis (best actor). Ted Lasso also took the award for best comedy series. 

Thanks in large part to that series, Apple TV+ fared much better than its rivals. Disney+ did beat it with 14 awards total, up from eight in 2020, but only one of those was a primetime Emmy (Hamilton for best pre-recorded variety special). Amazon and Hulu were completely shut out in 2021, after both won Emmys in 2020.  

HBO and HBO Max led all rivals with 130 nominations and took 19 Emmys, including 9 in primetime. The biggest winners last night were Jean Smart for Hacks (best actress in a comedy series) and Kate Winslet for Mare of Easstown (best actress in a limited series). After it was controversially shut out of the Golden Globes nominations, Michaela Cole took the prize for best writing in a limited series for I May Destroy You.

It was notable in 2018 when Netflix managed to tie a cable network, HBO (pre-HBO Max), for the most Emmy wins. This year, it beat all rivals by a long way, and streaming platforms overall took the top four spots. Whether that can continue when the pandemic starts to wane — and subscription growth declines — remains to be seen. 

Ken Block's Hoonigan Industries has built a fully functional Warthog vehicle, and the team is showing us the process it went through in a new series on YouTube. While it's far from the first life—size version ever made of Halo's famous armored vehicle, this one actually works — it even debuted at the world premiere of the movie Free Guy, which stars Ryan Reynolds, a bank teller who discovers he's but an NPC in an open-world game. 

The Hoonigan team created its real life Warthog using a custom rock crawler chassis. As Autoblog notes, it doesn't have a mounted gun, but it undeniably looks like the Warthog with its chunky body, futuristic shape, curved windshield and enormous tires. Even its interior is a replica of its virtual counterpart, and the team also made sure it has a four-wheel steering system. To power the beast, the team took a Ford V8 engine and added two turbos to it, giving it a 1,060 horsepower capacity.

The Warthog appears across games in the Halo franchise as a driveable military vehicle, and the Hoonigan team built a replica of it to promote the upcoming Halo Infinite game that's launching in December. Hoonigan, the brainchild of rally driver Ken Block who was also behind The Gymkhana Files, will upload new episodes showing how the Warthog was built every week until October 14th. You can watch the first one below:

David Bowie famously used a Stylophone on "Space Oddity" all the way back in 1969. Over half a century later, Stylophone maker Dubreq has released a Bowie version of the synthesizer.

Dubreq teamed up with The David Bowie Archive on the limited-edition Bowie Stylophone. It's not functionally different from a regular Stylophone, though. There's a Bowie logo and it comes with a booklet that dives into his music and features archive photos.

Still, given Bowie's long association with the instrument (he used it on the 2002 song “Slip Away” as well), it could be a neat memento for fans. You can buy the Bowie Stylophone from Dubreq's website for $40.