Shooting for the first feature-length movie in space has wrapped. Space.comreports Russian actress Yulia Pereslid, producer Klim Shipenko and cosmonaut Oleg Novitskiy have returned to Earth after the first two spent 12 days filming their movie The Challenge aboard the International Space Station. The three left the ISS in a Soyuz spacecraft at 9:14PM Eastern on October 16th and landed in Kazakhstan just a few hours later, at 12:35AM.

Pereslid and Shipenko arrived on October 5th through an agreement between the Russian space agency Roscosmos, the TV network Channel One and the production studio Yellow, Black and White. Novitskiy had been there since April 9th as part of his regular duties, although he also played a key role — the movie has Pereslid play a surgeon who makes an emergency visit to the ISS to operate on the cosmonaut.

The filming required significant sacrifices for some of the ISS crew. NASA astronaut Mark Vande Hei and Russian cosmonaut Pyotr Dubrov were originally slated to return aboard the Soyuz capsule, but both have had their stays extended by six months to accommodate the film producers. Vande Hei will set a record for the longest spaceflight by a US astronaut as a result, spending exactly one year in orbit. Pereslid also broke ground as the first professional actor to visit space, beating William Shatner by roughly a week.

It will be a while before The Challenge is ready to watch, and it's safe to say the production is aimed primarily at a Russian audience. It's a major milestone for private uses of space, though, and hints at a future when Tom Cruise and other stars are frequently blasting off to produce shows in orbit.

Sadly, we're note getting Mindhunter season 3. After a short tease yesterday, Netflix just revealed its next project from renowned filmmaker David Fincher: VOIR, a collection of visual essays about the love of cinema. The short teaser doesn't tell us much, sadly. But according to writer and film critic Drew McWeeny, who's working on one episode of the series, VOIR will feature standalone explorations about different aspects of movies. 

"We’re not trying to sell you anything, and we’re not interviewing anyone about what Marvel movies they’re doing," McWeeny wrote in his newsletter, Formerly Dangerous. "We’re each tackling a totally different idea, something that intrigues us or upsets us or that has to do with our connection to the movies."

Much like Love, Death and Robots, the animated sci-fi series from Fincher and Tim Miller (Deadpool), VOIR episodes will range from 10 to 30 minutes. The series is also co-created by David Prior, the director of the recent cult horror hit The Empty Man. Tony Zhou and Taylor Ramos, The duo behind the excellent YouTube series Every Frame a Painting, Taylor Ramos and Tony Zhou, are also listed as directors. VOIR will premiere at LA's AFI Fest in November, and Netflix says it'll be heading to the streaming service soon.

Nightdive Studios’ immersive sim franchise System Shock franchise is being turned into a live-action TV show. You'll be able to watch it on the upcoming streaming service Binge, which is also working on a show based on Ubisoft's Driver.

More details about the System Shock TV show will be revealed in due course. It will tell "a harrowing story of Citadel Station and its rogue AI that subjects the crew to unimaginable horror," Binge said. The service, which is set to launch next year, didn't reveal when the series will premiere.

Meanwhile, Nightdive is working on a System Shock remake. The game was supposed to arrive this past summer, but it's now scheduled to debut by the end of 2021.

System Shock joins a long list of shows and movies based on games that are in the pipeline. Among them are Twisted Metal, Firewatch, Disco Elysium and a ton of Netflix projects, like League of Legends series Arcane. Rumors are also floating around that Epic Games might be making a Fortnite movie.

Elsewhere, Sony is supposed to release the Uncharted film in February at long, long last. Has, uh, anyone happened to see a trailer lying around somewhere?

At one point in No Time to Die, Daniel Craig's final entry as James Bond, you can see a sleek supercar in the background. It's the Aston Martin Valhalla, a 937hp beast of a plug-in hybrid, and it's just sitting there, with nowhere to go. If you've seen a Bond film before, you can imagine it's holding a slew of killer gadgets (though hopefully not invisibility). Surely it would appear later in the film, perhaps just in time to save our hero before he sips a martini from a built-in fridge. But no—nobody drives the car throughout the film's 163-minute runtime. We never even see it in motion. (Though that's not stopping Rocket League from pitching it as a Bond vehicle.)

Nicola Dove/DANJAQ, MGM

That undriven Chekhov's car makes one thing clear: No Time to Die, directed by Cary Joji-Fukunaga (True Detective, Beasts of No Nation), isn't your usual Bond movie. And as I watched the film, a momentous occasion after years of delays, I was struck by how few gadgets there were. Sure, Bond gets a cool watch, a classic bulletproof (and gun-equipped) Aston Martin and he rides in something called a gravity plane, but they come few and far in between. Instead, the film focuses on Bond's human drama: His inability to trust; his persistent death-wish; the danger he brings to others.

Craig's Bond was different from the beginning. In 2006's Casino Royale, he was a fledgling agent he hadn't yet earned his 00 status. He was gruff and dirty, more used to getting into Bourne-esque fights instead of wearing a tux. But the Bond writer's and producers could never quite settle on how they wanted to transform the character. 2008's Quantum of Solace was a disaster mired by the Hollywood writer's strike (not to mentioned completely incomprehensible action). Skyfall was a return to form, elevating the franchise with Roger Deakin's Oscar-nominated cinematography. But the series hit a new low with 2015's Spectre, a boring and regressive film I haven't had the heart to revisit.

Strangely, even though No Time to Die is Craig's final entry, it never tries to one-up the set pieces of its predecessors. There's a thrilling motorcycle chase early on, which features an astounding practical jump up a flight of stairs, a balletic shoot-out in Cuba, and a few smaller sequences later on. But the film cares less about spectacle than it does setting a mood. That may make it a divisive entry for some, but as someone fascinated by emotional action movies, like Michael Mann's much-maligned Miami Vice reboot, I found it endlessly compelling. (It helps that No Time to Die, like Casino Royale before it, actually makes you care about Bond and everyone in his orbit.)

When I chatted with No Time to Die's VFX supervisor, Charlie Noble, he had a hard time pointing to a specific whiz-bang set-piece. Unlike Tom Cruise's latest Mission Impossible movies, this Bond outing isn't built around a specific stunt or gadget. And after the emptiness of Spectre, I'm all for that. Noble says he's more concerned with subtle VFX work, like adding additional cars to the background of a chase, or removing wires from a dangerous stunt. Sometimes the best visual effects are the ones you don't even notice.

There's something genuinely refreshing about No Time to Die's practically lo-fi approach to action, especially after living through more than a decade of the Marvel Cinematic Universe's often weightless CG. Even something that's genuinely high-tech in the film, like a series of magnets the villains use to jump down an elevator shaft, aren't dwelled upon. Instead, the focus is on what that action means (in this case, it's a group of baddies stealing a potentially world-ending nanovirus from a high-security research facility.)

Nicola Dove/DANJAQ, MGM

Now don't get me wrong, I love a good Bond gadget or two. But for an aging franchise that seriously needs to reckon with its sexist and colonialist origins, I'm glad that No Time to Die decided to focus more on its characters. That includes Lashana Lynch's Nomi, who wastes no time taking up the 007 mantle when Bond disappears, as well as Paloma, a fresh spy recruit who joins for an action romp in Cuba. 

Daniel Craig may no longer be Bond, but this is a fitting end for his tenure. And the toys aren't going anywhere—now anyone can use them.

Resident Evil: Welcome to Raccoon City, a reboot of the movie series, will hit theaters on November 24th, and Sony Pictures has provided a taste of what's in store with the first trailer. Writer and director Johannes Roberts (47 Meters Down) indicated earlier this year that he was taking things back to the franchise's horror roots and the trailer offers some positive signs that he's achieved his goal.

The film is based on the first two games in the classic series and it's a complete reset following the six (6) Paul W.S. Anderson movies. In case there was any ambiguity about Roberts starting over, the trailer's opening voiceover puts that firmly to bed. "Every story has a beginning," one character, perhaps Claire Redfield, says. "Discover the origin of evil."

Resident Evil: Welcome to Raccoon City is set in 1998, and we see the first game's creepy mansion as well as some of the city where the sequel takes place. The trailer hits a lot of the right beats and it includes some memorable moments from the games. There's a nod to the opening scene of Resident Evil 2, in which an infected truck driver plows his tanker into Raccoon City. Despite a couple of iffy CGI shots, there's some solid creature design too, including zombie dogs and even a licker. Add in some jump scares, and it's a promising first look.

If you're craving more Resident Evil until the movie arrives, you can check out a virtual-reality version of Resident Evil 4 on Oculus Quest 2 later this month. Elsewhere, a live-action show based on the franchise is coming to Netflix. The delayed multiplayer game Resident Evil Re:Verse will arrive next year, and Capcom is working on DLC for Resident Evil Village.

Filming is underway on the first feature-length movie to be shot in space after Russian actor Yulia Sherepild and director Klim Shipenko docked at the International Space Station. Their movie, The Challenge, will feature around 35-40 minutes of scenes filmed on the space station, according to The New York Times. The film is about a surgeon (Sherepild) who goes on an emergency ISS mission to save the life of a cosmonaut (Shipenko).

The two cosmonauts who were already on the ISS captured a shot as Peresild (or her character) emerged from the capsule and entered the station. Sherepild and Shipenko will film scenes over the next couple of weeks before returning to Earth on October 17th.

Other projects have been filmed on the ISS, including documentaries, virtual reality projects and a short called Apogee of Fear. Tom Cruise hoped to make the first feature film in space with the help of NASA and SpaceX, but the Russian team beat him to the punch. Russia's Roscosmos agency announced a plan to send an actor to the ISS soon after word emerged about Cruise's movie in May 2020.

Time will tell whether The Challenge is any good. Regardless, the creatives behind the project have carved out their own little slice of history.

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.

You might not have to stay at home to watch James Bond movies if and when Amazon closes its purchase of MGM. As Deadlinereports, producer Barbara Broccoli revealed to Sky News that Amazon had committed to releasing Bond movies in theaters "in the future." Broccoli wasn't more specific than that, but it's safe to say you won't need a Prime Video subscription to watch 007's post-Daniel Craig exploits.

MGM has gone out of its way to make sure the latest Bond flick, No Time to Die, premieres in theaters. The movie was slated to debut in April 2020, but the COVID-19 pandemic prompted delays to November 2020, April 2021 and finally September 30th, 2021 for the UK. It reaches the US on October 8th. In all cases, MGM has steadfastly refused to make it available on streaming services like rival studios' blockbuster releases — Amazon might face stiff resistance if it tries digital premieres.

The news follows a familiar pattern: Hollywood studios are determined to stick to theater-first launches for as long as possible. While there was clearly some success for WarnerMedia and other studios that released movies simultaneously or exclusively on streaming services at the height of the pandemic, they clearly want to return to the pre-COVID status quo.

A three-part documentary series on DC Comics is coming to HBO Max, according to Deadline. Warner Bros. Unscripted Television is producing the documentary, which will detail the influence and legacy of DC from the time it was established and the time Superman was born in the 1930s. The division is working with Leslie Iwerks (as co-director and executive producer) and Greg Berlanti (as executive producer) for the project. 

Iwerks is known for several other high-profile documentaries, including The Pixar Story that showed audiences what happens behind the scenes at the animation studio and The Imagineering Story, which gives viewers a look at how Disney develops rides and attractions for its parks. She will co-direct the documentary with Mark Catalena, who served as editor for The Imagineering Story. Meanwhile, Berlanti is a prolific writer, director and producer who'd previously worked on Doom Patrol, Supergirl, DC's Legends of Tomorrow, Superman and Lois, The Flash and Black Lightning.

Jim Lee, DC's Publisher and Chief Creative Officer, said in a statement:

"DC has a rich legacy of over 80 years of iconic storytelling: from the introduction of the genre defining Super Hero Superman in 1938 to the amazing movies, TV shows, cartoons, games and comics which have been synonymous with superheroism for generations thereafter. We are so excited to dive into this history and bring fans along this amazing journey."

The docu series doesn't have a release date yet, but it will expand HBO Max's DC offerings further when it arrives. WarnerMedia started migrating all DC Universe content to HBO Max last year, making the former streaming platform a comics-only subscription service.

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.