Spoilers for “Lucky Day.”

When the writers for this season of Doctor Who were announced, one name in the roster put me instantly on edge. Pete McTighe may have a distinguished filmography but, in this house, he’s known as the person who wrote “Kerblam.” That’s the Chibnall-era episode summed up as “Space Amazon is great and the people protesting poor working conditions and mass-layoffs are the real villains.” Imagine then, my delighted surprise when “Lucky Day” doesn’t just get its politics right, but it does so with molotov cocktails in hand.

James Pardon/BBC Studios/Disney/Bad Wolf

It’s 2007 and the Doctor and Belinda land in London as the clock strikes midnight on New Year’s Day. The Doctor, Vindicator in hand, gets another set of coordinates before realizing a small boy, Conrad Clack, saw the TARDIS land. He hands Conrad a 50 pence piece and tells him it’s his “lucky day,” before the boy sprints back to his mother. But she’s not interested in his story about a magical blue box, striking the boy and saying she’s had enough of his lies.

Conrad next encounters the TARDIS 17 years later when he spots it parked down a dark alley. There's a nearby door with a broken lock and he ventures inside to a closed down department store, where he’s stalked by an unseen monster. After a few seconds, the monster brushes past Conrad, leaving green slime on his neck — which is how it marks its prey. When the creature, the Shreek, emerges into the open ready to strike, it’s zapped away by the Doctor and Ruby.

From the shadows, Conrad watches the Doctor hand Ruby a vial of antidote as she, too, was marked as prey. He stalks them back to the TARDIS and overhears their conversation — half an hour prior, she was hanging out with the Beatles, putting this just after “The Devil’s Chord.” He snaps a picture of Ruby and puts it online, asking the internet if anyone has seen this woman.

He tracks down Ruby at some point after she stops traveling in the TARDIS, and invites her onto his podcast. Conrad tries to flirt with his guest, and a quick montage shows them date and start to get serious about each other. He even confesses he was present during that first encounter with the Shreek, and Ruby hands him a vial of antidote. She says the Shreek, which had tagged him with green slime, was preparing to return to this dimension to hunt him again. But UNIT — the Doctor’s military allies here on Earth — captured it (off-screen).

The pair go to a countryside village where Conrad introduces her to his friends in a quiet pub. But, as night draws in, the lights begin to flicker, and the blink-and-you-miss-it blurs of scary monsters appear outside. One of Conrad’s friends, Sparky, goes missing, and Ruby calls UNIT who leap into action despite no signs of a Shreek incursion. Conrad confesses to Ruby he didn’t take the antidote, wanting to prove to her he was as brave as the Doctor to win her heart.

When UNIT arrives, soldiers face off with a pair of Shreek monsters until they reveal they’re just Conrad’s stooges in rubber suits. Conrad isn’t an innocent caught up in a crisis he can’t comprehend, he’s a conspiracy theorist streamer claiming UNIT is a sham organization. He’s the type to engineer stunts and deceptively edit the resulting footage to smear his targets. I won’t name the real world figures Conrad is inspired by as we’d get angry emails from their lawyers, but I’m sure you can work out who they are.

Conrad’s encounter with UNIT was livestreamed, and there’s another montage of people talking to their generic social media followers decrying the organization. He’s arrested, but quickly released, and given a welcome press tour by the British media, including a favorable BBC News report and a joke on the UK version of The Masked Singer. Conrad even gets consoled during an interview on The One Show — a prime time talk / magazine show — by its real presenter Alex Jones (not that one).

UNIT’s overseers in the UK government and Geneva buckle to public pressure to put UNIT under close scrutiny. As its head, Kate Lethbridge-Stewart says, imagine the fate of the world if any dictator got their hands on UNIT’s arsenal of captured alien technology. Someone senior at UNIT demands the caged (and real) Shreek captured off-screen be removed from London and brought up to the helipad ready for transit. Meanwhile, Conrad has a man on the inside, who has been radicalized into believing his own employers are a sham, who helps him break into UNIT HQ.

Kate refuses to lock the building down, insisting that it’s time the issue was solved once and for all. Conrad, with a stolen UNIT rifle in hand, tries to bait Kate into attacking her on camera with some vicious slander about her father, the legendary Brigadier. Kate is happy the Doctor isn’t here, since he won’t stop her from doing what the audience has been demanding she do for the last few minutes. She opens the cage holding the Shreek and lets it go for Conrad.

Like all two-bit bullies, Conrad crumbles in the face of real danger and starts begging for mercy but Kate refuses. Sadly, Shirley hands Ruby a taser, which she uses to knock out the Shreek before it can bite Conrad’s head off. Now that his life has been saved, Conrad goes back to playing up for the livestream, boasting that UNIT’s “special effects” have gotten better. At which point the Shreek wakes up and bites his arm off.

There’s a sharp cut, and next we see Conrad waking up in a prison cell with a contraption around his arm, presumably keeping it joined to his elbow. Suddenly, he hears the TARDIS noise and is brought aboard for the Doctor to tell him that he’s a bitter, sad person who will die in prison. But Conrad is unrepentant and says he “rejects” the Doctor’s “reality.” After he’s returned to the cell, he’s visited by Mrs. Flood, who confirms what he saw was real, and that she’s letting him free as it’s his “lucky day.”

Lara Cornell/BBC Studios/Disney/Bad Wolf

It does appear as if I owe Pete McTighe a fulsome apology and must assume he isn’t at fault for all of the reactionary politics of “Kerblam.” “Lucky Day” is both a worthy sequel to “73 Yards” and a sign that, if Doctor Who is just weeks from an enforced hiatus, then it’s going out swinging. It’s got a lot of targets, including the BBC’s habitual reputation-laundering of unsavory characters. The notion of who is in “the wrong” is made explicitly clear here, too, and Conrad occupies the same political (and narrative) circles as Roger ap Gwillam (Albion TV gets a reference).

Like a lot of this year’s run, the episode feels like an overstuffed script which was then cut down to fit a specific runtime. But the structural work underpinning things feel more solid here, so while a lot of the connective tissue is absent, it’s not to the detriment of the story. Kate’s decision to unleash the Shreek may have been well-telegraphed but it’s better than the solution appearing out of nowhere because there’s five minutes left to run.

There’s an element of the show playing to its strengths, and the genre savviness of its audience here as well. If you know the beats of a girl-meets-boy romance movie, then you’ll spot this is a cracked-ish mirror version of that. And we don’t need much evidence of Conrad’s villainy — calling the Doctor, UNIT and Kate a bunch of frauds to make money from his online audience — since we know they are our heroes. Plus, anyone who slanders Brigadier Lethbridge-Stewart, after all, deserves to get what’s coming to them.

“Lucky Day” is smart about how it introduces us to Conrad, too, giving us obvious red flags from the get-go. Adult Conrad has no reservations about taking a picture of a stranger and sharing it online for the internet to identify on his behalf. There’s a hint of judgment in how he asks about her relationship to and with the Doctor, mirroring the way Alan Budd flirted with Belinda in “The Robot Revolution.” In fact, it’s an interesting counterpoint to that episode, since we get enough time with Conrad early on to learn to at least be wary of him, rather than it being a fairly unsupported third-act twist.

If there’s one downside, it’s that the episode leans on the trope that survivors of abuse perpetuate that cycle of abuse. Conrad gets hit in the head by his mother and while it’s hard to assume a pattern of behavior from one scene, it didn’t seem like it was the first time. Much as we saw in “Lux,” there are limits to the storytelling possibilities inherent in a series about an immortal science clown traveling anywhere in time and space in a blue box.

This episode is also focused on Ruby’s post-TARDIS life, which has left her in a vulnerable position. As she admits at the end of the episode, her time with the Doctor was spent in a constant state of panic and peril. She’s tired, she’s alone and the first man she tried to form a relationship with turned out to be using her. That’s bound to leave a scar, but the after effects of a trip in the TARDIS is rarely discussed in the context of the series itself. The majority of the classic series' companions lacked detailed interior lives, while modern day ones often move on to other “exciting” things rather than back to a normal life.

Mrs. Flood Corner 

BBC Studios/Disney/Bad Wolf

It does appear as if the structure of the series isn’t just Russell T. Davies relying on a familiar rhythm but something more deliberate. “Lucky Day” is the fourth in a row that shares themes and elements with the same numbered episode in last year’s lineup. It’ll be interesting to see how much of next week’s “The Story and the Engine,” and the following week’s “The Interstellar Song Contest” shares with their counterparts from the first series.

It’s plausible that the time fracture that was featured in “The Robot Revolution” has, somehow, knocked the series off its previously-planned course. That either within the show’s fiction or in its metafiction, we’re explicitly seeing parallel versions of those previous episodes. If you recall from that episode, too, the Doctor says he was told to meet Belinda by an unknown person. What if he was chasing down Conrad’s lead, and if so, would that be enough to create a paradox (even if the TARDIS can avoid such obstacles)?

Then there’s the fact Conrad says he explicitly rejects the Doctor’s “reality,” which feels like a telling way of wording things. Especially as this season’s two-part finale is titled “Wish World” and “The Reality War,” although that title is hardly a massive clue. After all, last season’s finale was “Empire of Death,” as opposed to “The one in which it turns out Stuekh has been clinging to the TARDIS roof for God knows however long.”

I’m not sure I want to read too much into Mrs. Flood releasing Conrad since that, like last week, could simply be a topper to the story. It may be that she’s simply letting him out to wreak more havoc and undermine UNIT and the Doctor’s goals rather than anything specific. Not to mention that if Mrs. Flood is a dimension-surfing entity hell-bent on destroying the Doctor, she’s hardly going to have much use for a schmucky YouTuber.

This week, the BBC announced that “The Reality War” would not be getting its customary early in the day stream online. Instead, it’ll hit the iPlayer and Disney+ at the same time as the UK broadcast, and both episodes are being lined up for a small cinema release. That’s reserved for big event episodes, and it adds more weight to the rumor Gatwa has already left the show. Not to mention he’s starring in the play Born With Teeth from August 13 through November 11 — which would prevent him from shooting a season for 2026.

Outside the mystery box elements of the show, this season feels as if it’s having a meta conversation with itself. “Lucky Day,” for instance, takes a similar premise as “Love and Monsters,” a Doctor-lite episode focusing on one of the so-called ordinary people who are peripherally involved in the Doctor’s adventures. Conrad is initially presented as one of the lost souls who are drawn to the Doctor — you could almost describe them as fans — but who don’t shine brightly enough to get the Time Lord’s special attention.

Oh, and I can’t think of any reason beyond silly fan service that Conrad’s streaming outfit is called “Think Tank” beyond a deep cut nod to 1974’s “Robot.” After all, there’s almost nothing in common between the two entities and their goals are ostensibly in conflict.

Spotify is getting into gameplay — kind of — through a partnership with EA Sports. The music streaming platform has teamed up with the sports video game maker to give users integrated streaming access while playing EA Sports FC 25. 

This partnership should allow players on the PS5 and Xbox Series X or S to access Spotify music, podcasts and audiobooks. The only catch? It's currently a pilot program and only available to users in Australia and Saudi Arabia. Oh and it's exclusive to Spotify Premium subscribers. 

Applicable players will see a new Spotify tab in the main menu section and can log into their accounts there. They can then access Spotify from the set-up or pause menus — so they will have to interrupt gameplay to choose a song. The latter is also where gamers can skip or pick a new track. These tracks will show up as a small icon at the top of the screen. 

Players can opt out of the game's default audio in favor of their Spotify playlist. However, Spotify cautions that "certain music" won't be available right now. 

X (formerly Twitter) has been leaning into video content more and more since Elon Musk took over. The latest shift, announced by X's engineering account, sees the platform rolling out 4K video uploads to some of its creators. 

The new video resolution should soon be available for all premium subscribers. Currently, they can share videos in 1080p that are a max of 8GB in size and about three hours in length. X has also taken steps such as creating a vertical videos feed a la TikTok and Instagram Reels. 

If you're one of the many people done with the platform — and want nothing to do with Musk — then you can delete your X account. We have a step-by-step guide on how to fully deactivate your profile and clear most of your tweets (posts?) from X. 

Wholesome Direct, an annual showcase of cute and cozy games, is returning on Saturday, June 7 at 12PM ET / 9AM PT. This year's event will show off "a vibrant lineup of artistic, uplifting, and emotionally resonant games from developers of all sizes from around the world," according to Wholesome Games' announcement post. 

Last year's Wholesome Direct covered over 30 games, including updates to already released titles and the reveal of entirely new games. The definition of "wholesome" is generally as broad as event organizer Wholesome Games needs it to be, but Kamaeru: A Frog Refuge from the 2024 Direct is a good example of the kind of game this showcase likes to feature. It's a cute concept (a management game about running a wildlife refuge), has a beautifully illustrated art style and features relaxed, but deep gameplay. Many of the projects that fill out the average Wholesome Direct lineup fit a similar description.

Wholesome Games hasn't yet announced which developers will be featured during the Wholesome Direct, but the odds are good that its own Wholesome Games Present publishing label will have some games in the mix. Is This Seat Taken?, a puzzle game about figuring out seating arrangements, doesn't have a release date yet and would be a natural fit for the show.

Wholesome Direct 2025 will stream on YouTube and Twitch on June 7 at 12PM ET / 9AM PT. The showcase falls right in the middle of Summer Game Fest, a group of loosely-affiliated game showcases that start airing on June 6, 2025.

4chan, the infamous forum known for its anonymous user base posting unhinged material, has made its comeback. A post on the website’s official blog, titled “Still Standing,” detailed the timeline of events that led to 4chan’s shutdown earlier this month. According to the site’s own status checker, the boards and front page are up, but posting and images are still down.

According to the 4chan blog post, moderators shut down the servers on April 14 to prevent any more damage after a serious database attack where hackers gained access to the site’s source code. The blog post labelled the incident “catastrophic” since it breached a ton of 4chan’s databases along with its most important server. The hack even vandalized the website and revealed personal information of the 4chan moderation team and many of its users.

The blog post attributed the hack to the site’s inability to update the code and infrastructure due to a lack of "skilled man-hours." Unsurprisingly, the site was starved for money to address these concerns since it’s hard for 4chan to find willing financial backers. “Advertisers and payment providers willing to work with 4chan are rare, and are quickly pressured by activists into cancelling their services,” the blog post read. “Putting together the money for new equipment took nearly a decade.”

Now that the website is back, there will be some crucial changes. According to the blog post, the /f/ board will stay shut down since the 4chan team can’t prevent exploits related to the commonly-posted .swf file format. For similar reasons, the resurrected 4chan will also disable PDF uploads for now, but will reintroduce them in the near future. Moving forward, 4chan says it is bringing on volunteers to keep up with the workload of putting the website back together. The moderation team apparently isn’t going to let 4chan die easily — the blog post read “no matter how hard it is, we are not giving up.” Still, it feels inevitable that 4chan will run into a similar problem in the future, considering it hasn’t solved the root issue of securing money to keep its servers up-to-date.

It’s safe to say people are loving Clair Obscur: Expedition 33 so far. The turn-based RPG — which is the debut game from French developer Sandfall — has been racking up rave reviews in the days around its release, and already soared past some big sales milestones. On Sunday morning, publisher Kepler Interactive shared on social media that the game has sold a million copies since its release on April 24. It hit the first 500,000 in one day. On the game’s BlueSky account, the team said that the latest figure “includes units shipped to retailers, and does not encompass our awesome GamePass players!”

Expedition 33 follows a group of Expeditioners who have set out to destroy the entity known as the Paintress, who every year paints a number on a monolith that dooms everyone of that age to death, whittling down the population down as the number gets smaller and smaller. Engadget’s Mat Smith called Expedition 33 “a gorgeously made and well-considered world,” and found it to be “a a solid, enjoyable RPG.” The game is available now for PC, Xbox Series X/S and PlayStation 5.

Spoilers for “The Well.”

Sometimes, in fiction, you don’t need to say a Very Important Thing in a Very Important Way to make a good point, just ask how a thing would work if it played out in the world. This week’s episode of Doctor Who, “The Well,” does exactly that, and brilliantly.

Picking up straight after “Lux,” the Doctor and Belinda, still in their ‘50s outfits, are trying to get the TARDIS to work. Belinda helps with the controls, but the vessel still refuses to land on May 24, 2025, which panics the nurse even more. If the TARDIS isn’t broken, she assumes that the date or the Earth itself could be broken, and frets about her parents. The Doctor shares her concerns, but promises that she will be reunited with her family.

The Doctor persists with his plan to land in a few more spots with the Vindicator (the gadget he built last week) to orient the TARDIS. This time, it’s 500,000 years in the future, and Belinda asks if humanity even exists by now. He assures her it does, as humans spread to the stars and wormed themselves into every corner of the universe. The pair head to the TARDIS wardrobe to get into some appropriate clothes before heading out.

They step out onto the gantry of a spaceship where an advance party of marines are leaping into the void. With no choice but to join them, they land on the planet below, enabling the Doctor to take the Vindicator reading. But, alas, the planet’s heavy radiation means the ship (and by extension, the TARDIS) has to glide down slowly over the next five hours. So they tag along with the mission, the Psychic Paper enabling the Doctor and Belinda to insinuate themselves with the team.

The planet is inhospitable, occupied only by a small mining colony that has dug down into the world to extract its last remaining useful resources. The colony went silent a few days before and, before you can say “Oh, is this going to be an(other) Aliens riff?” one of the marines suggests it would have been wiser to “nuke the site from orbit.”

All of the colonists are dead, half from gunfire, half from injuries that look like they fell and broke every bone in their body. The mirrors are all smashed and the systems are offline, the records of what went on inaccessible. But there is one survivor, the colony’s chef, Aliss Bethick (Rose Ayling-Ellis) who, like the actress who portrays her, is deaf. Aliss has been waiting in the middle of a large cargo turntable (which reads on camera as a big circle) for days.

Aliss is isolated, both physically in the staging and because of her hearing loss, and while she can lipread, it’s still a barrier between her and the soldiers. The Doctor can communicate with Aliss in sign, and the soldiers all have their own captioning screens on their lapels. Much of the second act is taken up with the interrogation of Aliss as the marines work through the logistics of how to communicate with her. For instance, getting her attention by casting to another soldier’s screen in her eye-line to get her to turn around. Belinda enters the circle to treat Aliss’ injuries but keeps seeing something lurking behind her new patient.

It isn’t long before the Doctor learns that the desolate planet they stand on was once covered in diamonds. This is the planet Midnight from the series four episode of the same name when the Doctor, trapped in a shuttle, tries and ultimately fails to defeat a sinister entity that possessed one of the passengers. Like then, the Doctor’s pleas for calm fail. Two of the soldiers mutiny and attempt to lure the entity out and kill it. They do not survive.

It’s Belinda who works out and explains the rules: If you imagine the host — Aliss — at the center of a clock, then whoever stands directly behind her is attacked by the unseen monster. If you stand at six o’clock then you’re fine, but “you’ll die at midnight.” Quite literally, as whoever is in the entity’s way gets thrown around like a ragdoll — half the crew shooting each other to kill the entity, the other half getting minced by the alien.

The Doctor approaches Aliss to speak to the monster but since it’s time for the third act to start wrapping up, he just stares for a bit before working out the solution. In order to mine the diamonds the colonists would dump down mercury, using a pipe which is conveniently running behind Aliss’ head. Shooting the pipe will cause a river of mercury to cascade down, creating a mirror that should be enough to banish the monster.

They make their escape, but the Doctor can’t help but wait behind to see the monster, giving it a chance to latch onto Belinda. The captain of the marines shoots Belinda enough that the entity thinks she’s about to die and switches hosts, after which point they leap into the mineshaft. Belinda wakes up in the TARDIS in the Doctor’s care, ready for the next adventure. Meanwhile, the marines debrief their boss — Mrs. Flood! Who knows all about the Vindicator, too — before revealing the alien did make it on board their spaceship after all.

One of the threads in the episode is Belinda keeps discussing human terms and superstitions to shrugs from everyone around her. It’s something that’s got both her and The Doctor puzzled, as there seems to be something very wrong with all of reality.

You die at midnight...

James Pardon / BBC Studios / Disney / Bad Wolf

Showrunner Russell T. Davies was asked about bad faith criticisms that the show had somehow gone woke. “Someone always brings up matters of diversity and there are online warriors accusing us of diversity and wokeness and involving messaging and issues and I have no time for this,” he said. “What you might call ‘diversity’ I just call an open door,” he added, “it’s cold and it’s bracing and there’s a world in front of you! There’s a blue sky, there’s clouds and there’s noise, there’s birdsong, there’s people arguing.”

What’s notable about this is that Davies’ open-minded (and open-hearted) approach to making the show creates storytelling possibilities. For instance, the last time an episode of Doctor Who featured a deaf character (2015’s “Under The Lake”), she relied upon a colleague to interpret on her behalf. And her ability to lipread wound up being part of the solution to the episode’s problem — reducing her to little more than a plot mechanism.

Here, while Aliss’ deafness is a core part of the plot, it doesn’t feel as if she’s defined by that one facet. Effort has been made to flesh out her character, and it’s more a venue to explore how technology and communication intersect with someone with different accessibility needs. Especially as (co-writers) Sharma Angel-Walfall and Russell T. Davies made the effort to think through how this would work.

BBC Studios / Disney / Bad Wolf

Whenever I’m watching an episode of nü-nü-Who, in the back of my mind I’m mulling what the injection of Disney money changed. “Midnight,” the episode “The Well” is a sequel to, was produced as a “double banked” episode — splitting the leads to shoot two episodes at a time. “Midnight” was also intended as a cheap story, with the bulk of the script taking place in a single room. If we’re being honest, “The Well” could have worked just as well given the bulk of the action takes place in a handful of rooms.

That’s not to say the extra cash lavished upon this episode is wasted: “The Well” feels almost indulgent by Doctor Who standards for the sheer breadth and depth of its sets. I can’t help but recall the Aliens riff Strange New Worlds produced in its first season, which re-used the series’ standing sets for the wreck of the USS Peregrine. It sounds weird to say that Doctor Who is luxuriating in the fact it can afford to show a trashed bunkroom for all of a minute, but it is.

Perhaps part of the reason it does feel indulgent is that this is an episode relatively low on incident and high on character. Belinda gets a real showcase here, both asserting herself on the narrative at several points, but also being rebuked for doing so. She tries to take charge to help the injured Aliss but the medical kit is so advanced she’s not able to use it. She’s smart enough to work out the rules of the alien, but also it gets the better of her in the end.

Whereas the first two episodes this season felt overstuffed and rushed, the smaller story and focus on character lets everything breathe. That an accessibility tool is a key focus of the plot and used as a venue for storytelling and character development is marvelous.

Look, I’m as bored saying it as you are reading it, but once again I can’t help but point out the influence of Steven Moffat on this season. One of the inspirations for monsters like the Weeping Angels and the Silence was the idea of them being easy to turn into a schoolyard game. The unnamed entity here, with the mechanic that if you stand directly behind the host you will die, seems perfectly in that tradition.

But “The Well” also offers instances where Davies is in conversation with the rest of this season and his earlier work. In both “Midnight” and “The Well,” the Doctor is at risk of losing his grip on the situation because the threat of the unknown makes people paranoid and jumpy. A streak of deeply dark pessimism runs through all of this work and while it’s also on show here, there’s a little more hope than there was before.

It’s also interesting how Davies, who has always structured his seasons in a fairly rigid manner, seems to be deliberately repeating motifs and beats. The parallels between this season and the last feel almost like they’re trying to draw attention to themselves. “Space Babies” and “The Robot Revolution,” “The Devil’s Chord” and “Lux” and now the “Boom” paired with “The Well” feel like episodes vying for the same space in different realities. Not to mention the repetition of moments from episode to episode — like the TARDIS wardrobe sequence and the repeated hand injuries. If next week's "Lucky Day" is predominantly featured on Ruby Sunday without the Doctor and revolves around physical distance and / or the supernatural, then perhaps we might assume that this is more than coincidence. 

Mrs. Flood Corner

I’ve always hated “The End… or is it?” fake-outs that often undermine the drama of whatever denouement they’re tacked on to. Sure, it can be effective if you want to cheapen the sacrifices your characters made to vanquish the villain, but often it comes across as hacky. Not to mention that people with poor media literacy will assume that it’s actually a teaser for a cliffhanger to be resolved the following week.

Here, eh, it’s essentially a way to shoehorn Mrs. Flood in as the soldiers' boss taking the debrief after the Doctor and Belinda depart. She knows about the Doctor’s use of the Vindicator, and has now seen it in action thanks to the soldier’s recording. But there’s no breaking the fourth wall, which means she’s operating here in the same manner as Susan Twist did last year. Which is, uh, interesting.

The hit co-op adventure game Split Fiction is already headed for Hollywood with Sydney Sweeney in a starring role, according to Variety. Along with the Euphoria actor, the film adaptation welcomed Wicked’s Jon M. Chu as the project’s director and screenwriters Rhett Reese and Paul Wernick, who worked on Deadpool & Wolverine. Sweeney will also reportedly be an executive producer for the Split Fiction movie. Split Fiction features two authors named Mio and Zoe who get trapped in fictional worlds they penned up. It’s still unknown which of the two Split Fiction protagonists Sweeney will portray.

Shortly after the video game’s release in March, Variety reported on a bidding war for a film adaptation of Split Fiction. Hazelight Studios, an indie video game developer out of Sweden, created the game that centers around split-screen combat and bounces between sci-fi and fantasy worlds. The game saw early success, selling two million copies in its first week, which may have led to the quick turnaround of a proposed Hollywood adaptation. It was picked up by Story Kitchen, a studio known for adaptations of franchises like Sonic the Hedgehog and Tomb Raider, but there’s no release window yet.

New devices are still hitting our desks at Engadget at a rapid pace. Over the last two weeks, we've offered up in-depth analysis of cameras, earbuds, GPUs and a portable display. Plus, there are follow-ups on two of this spring's biggest TV shows and a little something for the gamers. Read on to catch up on everything you might've missed in the last fortnight. 

Panasonic S1R II

If you're looking for a camera that excels at both photos and video that's more affordable than what Sony, Nikon and Canon offer, contributing reporter Steve Dent recommends the S1R II. "The S1R II is Panasonic’s best hybrid mirrorless camera to date, offering a great balance of photography and video powers," he said. "It’s also the cheapest new camera in the high-resolution hybrid full-frame category, undercutting rivals like Canon’s R5 II and the Nikon Z8."

NVIDIA RTX 5060 Ti (16GB)

Devindra is back with another GPU review, and this time he put the NVIDIA RTX 5060 Ti through its paces. Price hikes are the biggest concern here amidst the current retail market (even before potential tariffs kick in). "On paper, NVIDIA has done a lot right with the 16GB GeForce RTX 5060 Ti," he explained. "It’ll be more than enough for demanding games in 1080p and 1440p, even if you let loose a bit with ray tracing. But it’s also relying on DLSS 4 upscaling for much of that performance, which may make some wary about the 5060 Ti’s actual power."

Espresso 15 Pro

Espresso Displays is an Engadget favorite as far as portable monitors are concerned, but senior reviews reporter Sam Rutherford argues the company needed to bridge the gap between its more affordable options and its priciest. The Espresso 15 Pro isn't cheap, but it does offer almost everything you'd want. "It features well above average brightness, a sleek but sturdy design and super simple setup," he said. "It also comes with a few special features like Glide and added touch support for Macs that help you get more out of the devices you already own. And thanks to a wealth of accessories, it can adapt to almost any use case."

Audio-Technica ATH-CKS50TW2

The idea of wireless earbuds with 25 hours of battery life seems impossible, but Audio-Technica made it happen. The company's ATH-CKS50TW2 lasts twice as long as more premium competition with active noise cancellation (ANC) on, but it blows them away with that mode disabled. A-T's trademark warm, inviting sound profile is on display here too. "More specifically, the stock audio isn’t overly tuned, so bass remains pleasantly thumpy when needed and dialed down when it’s not," I wrote.

The Last of Us, Andor and Clair Obscur Expedition 33

Nathan has been keeping up with season two of The Last of Us on an episode-by-episode basis and Devindra penned a full review of the new season of Andor. UK bureau chief Mat Smith spent some time playing Clair Obscur: Expedition 33, noting that the game "does a great job setting up its world in a way that allows everyone to get on board."

The Legend of Ochi feels like a film that shouldn't exist today. It's an original story, not an adaptation of an already popular book or comic. It's filled with complex puppetry and practical effects, something many films avoid because CG is simply easier to deal with. And it evokes some of the scarier children's films of the '80s and '90s, like the nightmare-inducing adaptation of Roald Dahl's The Witches.

According to Isaiah Saxon, the film's writer and director, it was a struggle to get The Legend of Ochi made. "The attempt to make the film took longer than the making of the film," he said in an interview on the Engadget Podcast. " I think it's extremely hard to reach kids with your first film because kids are kind of behind this kind of corporatized IP world now. But I really wanted to reach kids with my first film and, and so that's why it took so long."

Whenever he received a bit of funding for the film, Saxon says he used it to prototype creatures with London's John Nolan Studios, which has built animatronics for films like Jurassic World Dominion, as well as scouted locations in Romania. "And so, through the three-and-a-half years of this work before I got a green light [to make the film], I had then accrued this visual package that was kind of undeniable," he said. "That's when A24 finally just said, okay we're gonna be bold and risky and this isn't what anyone normally does, but we're gonna believe in you here."

The result is a film that feels incredibly personal and distinct. It centers on a young girl, Yuri (Helena Zengel), who is growing up in a tiny village on the island of Carpathia. There the people fear the Ochi, mysterious primates who live in the forests and attack farm animals. Her father Maxim (Willem Dafoe in another unhinged A24 film performance) is a conservative, overly-macho man who leads a band of boys to hunt Ochi. Oh yeah, and he occasionally wears Viking armor.

A24

The film begins with the Ochi, who from afar look like menacing monkeys. Yuri was raised to fear them, but after encountering one young Ochi, she begins to reject everything her father taught her. It also helps that the creature looks adorable, with large eyes and protruding ears, it's a bit like The Mandalorian's Grogu (AKA Baby Yoda), but with fur. The infant Ochi is also a complex puppet created by John Nolan Studios, and it looks uncanny at first, since these days we expect it to be computer generated. But it's clearly a physical object, with actual facial movements that Yuri can react to.

"Puppetry is such an ancient art form," Saxon said, when I asked why he pushed to make the Ochi a puppet and not a purely CG creature. "We've been making shadows on the cave wall for thousands of years, and our brain as we watch the human hand give life to a character is just fully accepting of it."

"And then there's also the charm of the failure space of puppetry. Even when you're not doing it just right, it feels alive. And especially for this baby primate, we found immediately as we were testing the puppet, that the little imperfections that came through rod puppeteering were actually exactly the way that a little baby monkey would be just discovering how to move their own body."

A24

Creating a believable puppet is just one problem though, another is orchestrating it effectively on a movie set. "[John Nolan Studios] pushed the limits of what you could do at a really small scale with animatronics," Saxon said. "We were able to prototype for years to build these creatures. And then on set, we have extensively rehearsed every single scene with all these puppeteers. There's five on the body led by Rob Tygner, who's doing the head, and he's kind of calling out the internal monologue of the animal — all its thinking, all its vocalization — so that everyone can sync."

Another two people control the puppet's face while staring at monitors, so there's a challenge to making them all work as one entity, Saxon says. The film's sets are also built to hold all of the people who control the Ochi puppet, and who often need to be hidden from view. And then there are the suit performers. "We have small people in ape suits with hand extensions with heavy animatronic heads that they can barely see out of. They're hot and they're out in the Carpathian wilderness in the mountains of Transylvania," Saxon said.

After seeing what he accomplished with The Legend of Ochi, it's not hard to see Disney tapping Saxon for something in the Marvel universe, like it has with so many independent filmmakers. But that likely won't happen. "I've already said no," Saxon remarked in regards to making a Marvel film, and he also has no desire to make anything based on an existing IP.

Saxon isn't entirely against using digital tools, despite his obvious love for puppetry. The Legend of Ochi still uses CG for distant shots of the Ochi, and for creating virtual sets. "I've also, over the years, learned CG and I've made purely animated 3D films. And I know the software myself and I know that it's a bespoke craft art that is tedious and full of love and attention to detail."

"It doesn't get the respect it deserves," he added. "And that's partly because there's been a kind of corporatization and overuse of CG a lot.” Saxon says he was well aware a CG character couldn’t carry the film, but he also knew that it was the best way to create a 3D river that didn’t exist in Romania. (It’s also reminiscent of the music video he directed for Bjork’s “Wanderlust.”)

"You have to look at each opportunity and come to the technique organically for the task. You can't have philosophies about this."