Warner Bros.

supergirl-teaser-gives-us-a-likably-imperfect-kara-zor-el

Supergirl teaser gives us a likably imperfect Kara Zor-El

We met Alcock’s Supergirl briefly at the end of Superman, when she showed up to collect her dog Krypto, still a bit hung over from partying on a red-sun planet. She is more jaded than her cousin, having witnessed the destruction of Krypton and the loss of everything and everyone she loved. “He sees the good in everyone and I see the truth,” she says in the teaser.

Kara, aka Supergirl, is turning 23 and declares it will be the best year yet, which is admittedly “not a very high bar to clear.” While she might not be too keen on the prospect, she’s going to be a superhero nonetheless. Per the longline: “When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.”

In addition to Alcock, the cast includes Matthias Schoenaerts as chief villain Krem of the Yellow Hills; Eve Ridley as Ruthye Marye Knoll, the aforementioned “unlikely companion” who meets and bonds with Supergirl over the course of the film; Ferdinand Kingsley as Ruthye’s father Elias; and David Krumholtz and Emily Beecham as Supergirl’s parents, Zor-El and Alura In-Ze. Jason Momoa also makes an appearance as Lobo, an alien bounty hunter from the planet Czarnia. We catch a brief, blurry glimpse of Momoa’s well-muscled mercenary with the glowing red eyes in the teaser. And of course, our favorite misbehaving pupster Krypto is returning, too; he kicks off the teaser by peeing on a newspaper.

Supergirl hits theaters on June 26, 2026.

post art showcasing the character of supergirl for the movie of the same name

Credit: Warner Bros.

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netflix’s-$72b-wb-acquisition-confounds-the-future-of-movie-theaters,-streaming

Netflix’s $72B WB acquisition confounds the future of movie theaters, streaming


Netflix’s plans to own HBO Max, DC Comics, Harry Potter to face regulatory scrutiny.

The bidding war is over, and Netflix has been declared the winner.

After flirting with Paramount Skydance and Comcast, Warner Bros. Discovery (WBD) has decided to sell its streaming and movie studios business to Netflix. If approved, the deal is set to overturn the media landscape and create ripples that will affect Hollywood for years.

$72 billion acquisition

Netflix will pay an equity value of $72 billion, or an approximate total enterprise value of $82.7 billion, for Warner Bros. All of WBD has a $60 billion market value, NBC News notes.

The acquisition will take place after WBD completes the split of its streaming and studios businesses, which includes its film and TV libraries and the HBO channel, and its other TV networks, including CNN and TBS, into separate companies (Warner Bros. and Discovery Global, respectively). WBD’s split is expected to finish in Q3 2026.

Additionally, Netflix’s acquisition is subject to regulatory approvals, WBD shareholder approval, and other “customary closing conditions.”

Netflix expects the purchase to net it more subscribers, higher engagement, and “at least $2–3 billion of cost savings per year by the third year,” its announcement said.

Netflix co-CEO Greg Peters said in a statement that Netflix will use its global reach and business model to bring WB content to “a broader audience.”

The announcement didn’t specify what this means for current WBD staff, including WBD’s current president and CEO, David Zaslav. Gunnar Wiedenfels, who is currently CFO of WBD, is expected to be the CEO of Discovery Global after WBD split.

Netflix to own HBO Max

Netflix will have to overcome regulatory hurdles to complete this deal, which would evolve it from a streaming king to an entertainment juggernaut. If completed, the world’s largest streaming service by subscribers (301.63 million as of January) will own its third biggest rival (WBD has 128 million streaming subscribers, most of which are HBO Max users).

The acquisition would also give Netflix power over a mountain of current and incoming titles, including massive global franchises DC Comics, Game of Thrones, and Harry Potter.

If the deal goes through, Netflix said it will incorporate content from WB Studios, HBO Max, and HBO into Netflix. Netflix is expected to keep HBO Max available as a separate service, at least for the near term, Variety reported today. However, it’s easy to see a future where Netflix tries to push subscriptions bundling Netflix and HBO Max before consolidating the services into one product that would likely be more expensive than Netflix is today. Disney is setting the precedent with its bundles of Disney+ and the recently acquired Hulu, and by featuring a Hulu section within the Disney+ app.

Before today’s announcement, industry folks were concerned about Netflix potentially owning that much content while dominating streaming. However, Netflix said today that buying WB would enable it to “significantly expand US production capacity and continue to grow investment in original content over the long term, which will create jobs and strengthen the entertainment industry.”

Uniting Netflix and HBO Max’s libraries could make it easier for streaming subscribers to find content with fewer apps and fewer subscriptions. However, subscribers could also be negatively impacted (especially around pricing) if Netflix gains too much power, both as a streaming company and media rights holder.

In WBD’s most recent earnings report, its streaming business reported $45 million in quarterly earnings before interest, taxes, depreciation, and amortization. Netflix reported a quarterly net income of $2.55 billion in its most recent earnings report.

Netflix hasn’t detailed plans for the HBO cable channel. But given Netflix’s streaming ethos, the linear network may not endure in the long term. But since the HBO brand is valuable, we expect the name to persist, even if it’s just as a section of prestige titles within Netflix.

“A noose around the theatrical marketplace”

Among the stakeholders most in arms about the planned acquisition is the movie theater industry. Netflix’s co-CEO Ted Sarandos has historically seen minimal value in theaters as a distribution method. In April, he said that making movies “for movie theaters, for the communal experience” is “an outmoded idea.”

Today, Sarandos said that under Netflix, all WB movies will still hit theaters as planned, which brings us through 2029, per Variety.

During a conference call today, Sarandos said he has no “opposition to movies in theaters,” adding, per Variety:

My pushback has been mostly in the fact of the long exclusive windows, which we don’t really think are that consumer-friendly. But when we talk about keeping HBO operating, largely as it is, that also includes their output movie deal with Warner Bros., which includes a life cycle that starts in the movie theater, which we’re going to continue to support.

Notably, the executive said that “Netflix movies will take the same strides they have, which is, some of them do have a short run in the theater beforehand.”

Anticipating today’s announcement, the movie theater industry has been pushing for regulatory scrutiny over the sale of WB.

Michael O’Leary, CEO and president of Cinema United, the biggest exhibition trade organization, said in a statement today about the Netflix acquisition:

Regulators must look closely at the specifics of this proposed transaction and understand the negative impact it will have on consumers, exhibition, and the entertainment industry.

In a letter sent to Congress members this month, an anonymous group that described itself as “concerned feature film producers” wrote that Netflix’s purchase of WB would “effectively hold a noose around the theatrical marketplace” by reducing the number of theatrical releases and driving down the price of licensing fees for films after their theatrical release, as reported by Variety.

Up next: Regulatory hurdles

In the coming weeks, we’ll get a clearer idea of how antitrust concerns and politics may affect Netflix’s acquisition plans.

Recently, other media companies, such as Paramount, have been accused of trying to curry favor with US President Donald Trump in order to get deals approved. The US Department of Justice (DOJ) could try to block Netflix’s acquisition of WB. But there’s reason for Netflix and WB to remain optimistic if that happens. In 2017, Time Warner and AT&T successfully defeated the DOJ’s attempted merger block.

Still, Netflix and WB have their work cut out for them, as skepticism around the deal grows. Last month, US Senators Elizabeth Warren (D-Mass.), Richard Blumenthal (D-Conn.), and Bernie Sanders (I-Vt.) wrote to the DOJ’s antitrust division urging that any WB deal “is grounded in the law, not President Trump’s political favoritism.”

In a letter to Attorney General Pam Bondi last month, Rep. Darrel Issa (R-Calif.) said that buying WB would “enhance” Netflix’s “unequaled market power” and be “presumptively problematic under antitrust law.”

In a statement about Netflix’s announcement shared by NBC News today, a spokesperson for the California attorney general’s office said:

“The Department of Justice believes further consolidation in markets that are central to American economic life—whether in the financial, airline, grocery, or broadcasting and entertainment markets—does not serve the American economy, consumers, or competition well.”

Netflix’s rivals may also seek to challenge the deal. Attorneys for Paramount questioned the “fairness and adequacy” of WBD’s sales process ahead of today’s announcement.

Photo of Scharon Harding

Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She’s been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK.

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warner-bros.-sues-midjourney-to-stop-ai-knockoffs-of-batman,-scooby-doo

Warner Bros. sues Midjourney to stop AI knockoffs of Batman, Scooby-Doo


AI would’ve gotten away with it too…

Warner Bros. case builds on arguments raised in a Disney/Universal lawsuit.

DVD art for the animated movie Scooby-Doo & Batman: The Brave and the Bold. Credit: Warner Bros. Discovery

Warner Bros. hit Midjourney with a lawsuit Thursday, crafting a complaint that strives to shoot down defenses that the AI company has already raised in a similar lawsuit filed by Disney and Universal Studios earlier this year.

The big film studios have alleged that Midjourney profits off image generation models trained to produce outputs of popular characters. For Disney and Universal, intellectual property rights to pop icons like Darth Vader and the Simpsons were allegedly infringed. And now, the WB complaint defends rights over comic characters like Superman, Wonder Woman, and Batman, as well as characters considered “pillars of pop culture with a lasting impact on generations,” like Scooby-Doo and Bugs Bunny, and modern cartoon characters like Rick and Morty.

“Midjourney brazenly dispenses Warner Bros. Discovery’s intellectual property as if it were its own,” the WB complaint said, accusing Midjourney of allowing subscribers to “pick iconic” copyrighted characters and generate them in “every imaginable scene.”

Planning to seize Midjourney’s profits from allegedly using beloved characters to promote its service, Warner Bros. described Midjourney as “defiant and undeterred” by the Disney/Universal lawsuit. Despite that litigation, WB claimed that Midjourney has recently removed copyright protections in its supposedly shameful ongoing bid for profits. Nothing but a permanent injunction will end Midjourney’s outputs of allegedly “countless infringing images,” WB argued, branding Midjourney’s alleged infringements as “vast, intentional, and unrelenting.”

Examples of closely matching outputs include prompts for “screencaps” showing specific movie frames, a search term that at least one artist, Reid Southen, had optimistically predicted Midjourney would block last year, but it apparently did not.

Here are some examples included in WB’s complaint:

Midjourney’s output for the prompt, “Superman, classic cartoon character, DC comics.”

Midjourney could face devastating financial consequences in a loss. At trial, WB is hoping discovery will show the true extent of Midjourney’s alleged infringement, asking the court for maximum statutory damages, at $150,000 per infringing output. Just 2,000 infringing outputs unearthed could cost Midjourney more than its total revenue for 2024, which was approximately $300 million, the WB complaint said.

Warner Bros. hopes to hobble Midjourney’s best defense

For Midjourney, the WB complaint could potentially hit harder than the Disney/Universal lawsuit. WB’s complaint shows how closely studios are monitoring AI copyright litigation, likely choosing ideal moments to strike when studios feel they can better defend their property. So, while much of WB’s complaint echoes Disney and Universal’s arguments—which Midjourney has already begun defending against—IP attorney Randy McCarthy suggested in statements provided to Ars that WB also looked for seemingly smart ways to potentially overcome some of Midjourney’s best defenses when filing its complaint.

WB likely took note when Midjourney filed its response to the Disney/Universal lawsuit last month, arguing that its system is “trained on billions of publicly available images” and generates images not by retrieving a copy of an image in its database but based on “complex statistical relationships between visual features and words in the text-image pairs are encoded within the model.”

This defense could allow Midjourney to avoid claims that it copied WB images and distributes copies through its models. But hoping to dodge this defense, WB didn’t argue that Midjourney retains copies of its images. Rather, the entertainment giant raised a more nuanced argument that:

Midjourney used software, servers, and other technology to store and fix data associated with Warner Bros. Discovery’s Copyrighted Works in such a manner that those works are thereby embodied in the model, from which Midjourney is then able to generate, reproduce, publicly display, and distribute unlimited “copies” and “derivative works” of Warner Bros. Discovery’s works as defined by the Copyright Act.”

McCarthy noted that WB’s argument pushes the court to at least consider that even though “Midjourney does not store copies of the works in its model,” its system “nonetheless accesses the data relating to the works that are stored by Midjourney’s system.”

“This seems to be a very clever way to counter MJ’s ‘statistical pattern analysis’ arguments,” McCarthy said.

If it’s a winning argument, that could give WB a path to wipe Midjourney’s models. WB argued that each time Midjourney provides a “substantially new” version of its image generator, it “repeats this process.” And that ongoing activity—due to Midjourney’s initial allegedly “massive copying” of WB works—allows Midjourney to “further reproduce, publicly display, publicly perform, and distribute image and video outputs that are identical or virtually identical to Warner Bros. Discovery’s Copyrighted Works in response to simple prompts from subscribers.”

Perhaps further strengthening the WB’s argument, the lawsuit noted that Midjourney promotes allegedly infringing outputs on its 24/7 YouTube channel and appears to have plans to compete with traditional TV and streaming services. Asking the court to block Midjourney’s outputs instead, WB claims it’s already been “substantially and irreparably harmed” and risks further damages if the AI image generator is left unchecked.

As alleged proof that the AI company knows its tool is being used to infringe WB property, WB pointed to Midjourney’s own Discord server and subreddit, where users post outputs depicting WB characters and share tips to help others do the same. They also called out Midjourney’s “Explore” page, which allows users to drop a WB-referencing output into the prompt field to generate similar images.

“It is hard to imagine copyright infringement that is any more willful than what Midjourney is doing here,” the WB complaint said.

WB and Midjourney did not immediately respond to Ars’ request to comment.

Midjourney slammed for promising “fewer blocked jobs”

McCarthy noted that WB’s legal strategy differs in other ways from the arguments Midjourney’s already weighed in the Disney/Universal lawsuit.

The WB complaint also anticipates Midjourney’s likely defense that users are generating infringing outputs, not Midjourney, which could invalidate any charges of direct copyright infringement.

In the Disney/Universal lawsuit, Midjourney argued that courts have recently found that AI tools referencing copyrighted works is “a quintessentially transformative fair use,” accusing studios of trying to censor “an instrument for user expression.” They claim that Midjourney cannot know about infringing outputs unless studios use the company’s DMCA process, while noting that subscribers have “any number of legitimate, noninfringing grounds to create images incorporating characters from popular culture,” including “non-commercial fan art, experimentation and ideation, and social commentary and criticism.”

To avoid losing on that front, the WB complaint doesn’t depend on a ruling that Midjourney directly infringed copyrights. Instead, the complaint “more fully” emphasizes how Midjourney may be “secondarily liable for infringement via contributory, inducement and/or vicarious liability by inducing its users to directly infringe,” McCarthy suggested.

Additionally, WB’s complaint “seems to be emphasizing” that Midjourney “allegedly has the technical means to prevent its system from accepting prompts that directly reference copyrighted characters,” and “that would prevent infringing outputs from being displayed,” McCarthy said.

The complaint noted that Midjourney is in full control of what outputs can be generated. Noting that Midjourney “temporarily refused to ‘animate'” outputs of WB characters after launching video generations, the lawsuit appears to have been filed in response to Midjourney “deliberately” removing those protections and then announcing that subscribers would experience “fewer blocked jobs.”

Together, these arguments “appear to be intended to lead to the inference that Midjourney is willfully enticing its users to infringe,” McCarthy said.

WB’s complaint details simple user prompts that generate allegedly infringing outputs without any need to manipulate the system. The ease of generating popular characters seems to make Midjourney a destination for users frustrated by other AI image generators that make it harder to generate infringing outputs, WB alleged.

On top of that, Midjourney also infringes copyrights by generating WB characters, “even in response to generic prompts like ‘classic comic book superhero battle.'” And while Midjourney has seemingly taken steps to block WB characters from appearing on its “Explore” page, where users can find inspiration for prompts, these guardrails aren’t perfect, but rather “spotty and suspicious,” WB alleged. Supposedly, searches for correctly spelled character names like “Batman” are blocked, but any user who accidentally or intentionally mispells a character’s name like “Batma” can learn an easy way to work around that block.

Additionally, WB alleged, “the outputs often contain extensive nuance and detail, background elements, costumes, and accessories beyond what was specified in the prompt.” And every time that Midjourney outputs an allegedly infringing image, it “also trains on the outputs it has generated,” the lawsuit noted, creating a never-ending cycle of continually enhanced AI fakes of pop icons.

Midjourney could slow down the cycle and “minimize” these allegedly infringing outputs, if it cannot automatically block them all, WB suggested. But instead, “Midjourney has made a calculated and profit-driven decision to offer zero protection for copyright owners even though Midjourney knows about the breathtaking scope of its piracy and copyright infringement,” WB alleged.

Fearing a supposed scheme to replace WB in the market by stealing its best-known characters, WB accused Midjourney of willfully allowing WB characters to be generated in order to “generate more money for Midjourney” to potentially compete in streaming markets.

Midjourney will remove protections “on a whim”

As Midjourney’s efforts to expand its features escalate, WB claimed that trust is lost. Even if Midjourney takes steps to address rightsholders’ concerns, WB argued, studios must remain watchful of every upgrade, since apparently, “Midjourney can and will remove copyright protection measures on a whim.”

The complaint noted that Midjourney just this week announced “plans to continue deploying new versions” of its image generator, promising to make it easier to search for and save popular artists’ styles—updating a feature that many artists loathe.

Without an injunction, Midjourney’s alleged infringement could interfere with WB’s licensing opportunities for its content, while “illegally and unfairly” diverting customers who buy WB products like posters, wall art, prints, and coloring books, the complaint said.

Perhaps Midjourney’s strongest defense could be efforts to prove that WB benefits from its image generator. In the Disney/Universal lawsuit, Midjourney pointed out that studios “benefit from generative AI models,” claiming that “many dozens of Midjourney subscribers are associated with” Disney and Universal corporate email addresses. If WB corporate email addresses are found among subscribers, Midjourney could claim that WB is trying to “have it both ways” by “seeking to profit” from AI tools while preventing Midjourney and its subscribers from doing the same.

McCarthy suggested it’s too soon to say how the WB battle will play out, but Midjourney’s response will reveal how it intends to shift tactics to avoid courts potentially picking apart its defense of its training data, while keeping any blame for copyright-infringing outputs squarely on users.

“As with the Disney/Universal lawsuit, we need to wait to see how Midjourney answers these latest allegations,” McCarthy said. “It is definitely an interesting development that will have widespread implications for many sectors of our society.”

Photo of Ashley Belanger

Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.

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Review: Stellar cast makes Superman shine bright

I’ll be frank: I had mixed feelings, based solely on the trailers, about James Gunn’s Superman reboot. Sure, the casting seemed great, Gunn has a winning track record on superhero fare, and Krypto the dog stole the show every time he appeared. The trailers struck a nice balance between action, humor, and heart. Yet the film also seemed overpacked with super-character cameos, and it was hard to get any sense of the actual plot.

I’ve now seen the film, and those impressions were largely correct. But I’m happy to report that the positives far outweigh any negatives. Superman is a super-fun ride that unabashedly embraces its early comic book roots, naive optimism and all.

(Spoilers below, but no major reveals.)

Gunn has described his take as less of an origin story and more of a journey, with Superman (David Corenswet) struggling to reconcile his Kryptonian heritage and aristocratic origins with his small-town adoptive human family. In fact, Gunn wanted to avoid the origin story entirely, asserting (correctly, in my opinion) that it has already been depicted multiple times and there is no need to cover the same ground.

So the film opens in medias res, with Superman’s first defeat in battle against a metahuman dubbed the “Hammer of Boravia.” We see him fall into the snow, bloodied and battered, and whistle for Krypto. The plucky little superdog drags Superman to the Fortress of Solitude, where he is treated by a posse of robots. Then he heads out again for Round 2—only to once again be thrashed by his rival metahuman (codename: Ultraman) who, we learn, is being controlled by Lex Luthor (Nicholas Hoult) for mysterious and no doubt nefarious purposes.

Why is Ultraman attacking Metropolis? Because a few weeks before, Superman had foiled the Boravian army’s invasion of the neighboring country of Jarhanpur, avoiding pointless bloodshed but drawing criticism for interfering in a foreign war when he lacked any governmental authority to do so. Naturally, Luthor expertly manipulates the media coverage against Superman while trying to convince the Pentagon that Superman poses a major threat to national security. The idealistic and naively optimistic Superman walks right into the trap.

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the-perfect-new-year’s-eve-comedy-turns-30

The perfect New Year’s Eve comedy turns 30

There aren’t that many movies specifically set on New Year’s Eve, but one of the best is The Hudsucker Proxy (1994), Joel and Ethan Coen’s visually striking, affectionate homage to classic Hollywood screwball comedies. The film turned 30 this year, so it’s the perfect opportunity for a rewatch.

(WARNING: Spoilers below.)

The Coen brothers started writing the script for The Hudsucker Proxy when Joel was working as an assistant editor on Sam Raimi’s The Evil Dead (1981). Raimi ended up co-writing the script, as well as making a cameo appearance as a brainstorming marketing executive.  The Coen brothers took their inspiration from the films of Preston Sturgess and Frank Capra, among others, but the intent was never to satirize or parody those films. “It’s the case where, having seen those movies, we say ‘They’re really fun—let’s do one!’; as opposed to “They’re really fun—let’s comment upon them,'” Ethan Coen has said.

They finished the script in 1985, but at the time they were small indie film directors. It wasn’t until the critical and commercial success of 1991’s Barton Fink that the Coen brothers had the juice in Hollywood to finally make The Hudsucker Proxy. Warner Bros. greenlit the project and producer Joel Silver gave the brothers complete creative control, particularly over the final cut.

Norville Barnes (Tim Robbins) is an ambitious, idealistic recent graduate of a business college in Muncie, Indiana, who takes a job as a mailroom clerk at Hudsucker Industries in New York, intent on working his way to the top. That ascent happens much sooner than expected. On the same December day in 1958, the company’s founder and president, Waring Hudsucker (Charles Durning), leaps to his death from the boardroom on the 44th floor (not counting the mezzanine).

A meteoric rise

Norville Barnes (Tim Robbins) gets a job at Hudsucker Industries Warner Bros.

To keep the company’s stock from going public as the bylaws dictate, board member Sidney Mussburger (Paul Newman) proposes they elect a patsy as the next president—someone so incompetent it will spook investors and temporarily depress the stock so the board can buy up controlling shares on the cheap. Enter Norville, who takes the opportunity of delivering a Blue Letter to Mussburger to pitch a new product, represented by a simple circle drawn on a piece of paper: “You know… for kids!” Thinking he’s found his imbecilic patsy, Mussburger names Norville the new president.

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minecraft-movie-trailer-explores-the-origins-of-steve

Minecraft Movie trailer explores the origins of Steve

Jack Black stars as Steve in A Minecraft Movie.

The first teaser for A Minecraft Movie released in September to some decidedly mixed reactions, particularly concerning the CGI and character design and especially Jason Momoa’s hair. And yes, there were many ridiculous memes. We were inclined to give it a chance based on the casting of Momoa and Jack Black. Now the full trailer has dropped, and honestly, odd design choices aside—and they are indeed odd—it looks like a perfectly acceptable fun family film and not much more, albeit very light on actual plot.

As previously reported, once the film went into development, Jared Hess (who worked with star Jack Black on Nacho Libre) ended up directing. The COVID pandemic and 2023 SAG-AFTRA strike delayed things further, but filming finally wrapped earlier this year in Auckland, New Zealand—just in time for a spring 2025 theatrical release. Per the official premise:

Welcome to the world of Minecraft, where creativity doesn’t just help you craft, it’s essential to one’s survival! Four misfits—Garrett “The Garbage Man” Garrison (Jason Momoa), Henry (Sebastian Eugene Hansen), Natalie (Emma Myers) and Dawn (Danielle Brooks)—find themselves struggling with ordinary problems when they are suddenly pulled through a mysterious portal into the Overworld: a bizarre, cubic wonderland that thrives on imagination. To get back home, they’ll have to master this world (and protect it from evil things like Piglins and Zombies, too) while embarking on a magical quest with an unexpected, expert crafter, Steve (Jack Black). Together, their adventure will challenge all five to be bold and to reconnect with the qualities that make each of them uniquely creative… the very skills they need to thrive back in the real world.

Game players will recognize Steve as one of the default characters in Minecraft. The teaser was set to The Beatles’ “Magical Mystery Tour” and showed our misfits encountering a fantastical Tolkien-esque landscape—only with a lot more cube-like shapes, like a pink sheep with a cubed head.

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robert-pattinson-gets-the-crappiest-immortality-in-trailer-for-mickey-17

Robert Pattinson gets the crappiest immortality in trailer for Mickey 17

How (un)lucky can one guy get? —

“Let’s blow up these second-hand baloney boys.”

Robert Pattinson’s character didn’t read his contract’s fine print in Mickey 17, director Bong Joon-ho’s latest film.

It has been five long years since director Bong Joon-ho’s film Parasite topped Ars’ list for best films of the year, whose prior work on Snowpiercer and Okja are also staff favorites. We’re finally getting a new film from this gifted director: the sci-fi comedy Mickey 17, based on the 2022 novel Mickey7 by Edward Ashton. Judging by the trailer that recently dropped, it feels a bit like a darkly comic version of Duncan Jones’ 2009 film Moon, with a bit of the surreal absurdity of Terry Gilliam’s Brazil (1985) thrown in for good measure. And the visuals are terrific.

Ashton’s inspiration for the novel was the teletransportation paradox—a thought experiment pondering the philosophy of identity that challenges certain notions of the self and consciousness. It started as a short story about what Ashton called “a crappy immortality” and expanded from there into a full-length novel.

Ashton told Nerdist last year that Bong’s adaptation would “change a lot of the book,” but he considered the director a “genius” and wasn’t concerned about those changes. The basic premise remains the same. Robert Pattinson plays the space colonist named Mickey Barnes, who is so eager to escape Earth that he signs up to be an “expendable” without reading the fine print.

Expendables are basically disposable employees (aka “second-hand baloney boys”). If they happen to die on the job, their consciousness is uploaded to a new body, and the cycle starts all over again. When a multiple unexpectedly survives while on an expedition to colonize the ice world Niflheim, Mickeys 17 and 18 discover that the policy in such cases is to exterminate all the multiples, and they must fight for their right to keep existing.

In addition to Pattinson, the cast includes Steven Yeun as Berto, Toni Collette as Gwen Johansen, Mark Ruffalo as Hieronymous Marshall, Naomi Ackie as Nasha Adjaya, Holliday Grainger as Red Hair, Angus Imrie as Shrimp Eyes, and Steve Park as Agent Zeke. Anamaria Vartolomei, Thomas Turgoose, Patsy Ferran, and Daniel Henshall have also been cast in as-yet-undisclosed roles. Perhaps one of them plays the person in the giant pigeon costume who briefly appears in the trailer.

Mickey 17 hits theaters in the US on January 31, 2025. It will premiere in other countries on January 28, 2025. Ashton penned a sequel, Antimatter Blues, which was published last year, so maybe Bong Joon-ho will adapt that one, too.

Listing image by YouTube/Warner Bros.

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jack-black-stars-as-expert-crafter-steve-in-a-minecraft-movie-teaser

Jack Black stars as expert crafter Steve in A Minecraft Movie teaser

Kadoosh! —

“Anything you can dream about here, you can make.”

Jason Momoa and Jack Black star in A Minecraft Movie.

Minecraft is among the most successful and influential games of the early 21st century, winning many awards and selling over 300 million copies (so far) since its 2011 release. So it was only a matter of time before Hollywood gave us a feature film based on the 3D sandbox game, simply titled A Minecraft Movie. Sure, one might have reservations about yet another video game-based movie, but on the plus side, we’ve got Jason Momoa and Jack Black co-starring. And the first teaser is full of eye-popping candy-colored cubic visuals and sly references to the game that should please fans.

Within a year of Minecraft‘s initial release, Mojang Studios was fielding offers from Hollywood producers about making a TV series based on the game, but the company wanted to wait for “the right idea.” There was a 2014 attempt to crowd-source a fan film, but game creator Markus “Notch” Persson didn’t agree to license that effort since he was already negotiating with Warner Bros. about developing a film based on the game. Thus began a long, convoluted process of directors and writers being hired and leaving the project for various reasons.

When the dust finally settled, Jared Hess (who worked with Black on Nacho Libre) ended up directing. The COVID pandemic and 2023 SAG-AFTRA strike delayed things further, but filming finally wrapped earlier this year in Auckland, New Zealand—just in time for a spring 2025 theatrical release. Per the official synopsis:

Welcome to the world of Minecraft, where creativity doesn’t just help you craft, it’s essential to one’s survival! Four misfits—Garrett “The Garbage Man” Garrison (Jason Momoa), Henry (Sebastian Eugene Hansen), Natalie (Emma Myers) and Dawn (Danielle Brooks)—find themselves struggling with ordinary problems when they are suddenly pulled through a mysterious portal into the Overworld: a bizarre, cubic wonderland that thrives on imagination. To get back home, they’ll have to master this world (and protect it from evil things like Piglins and Zombies, too) while embarking on a magical quest with an unexpected, expert crafter, Steve (Jack Black). Together, their adventure will challenge all five to be bold and to reconnect with the qualities that make each of them uniquely creative… the very skills they need to thrive back in the real world.

Game players will recognize Steve as one of the default characters in Minecraft. The teaser is set to The Beatles’ “Magical Mystery Tour” and opens with our misfits encountering a fantastical Tolkien-esque landscape—only with a lot more cube-like shapes, like a pink sheep with a cubed head.  We get the aforementioned Piglins and other creatures before Black appears and dramatically announces with great fanfare, “I…. am Steve.” Honestly, we’ll probably watch it just for Black’s performance alone.

A Minecraft Movie hits theaters in April 2025.

Listing image by YouTube/Warner Bros.

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Gaga’s Harley Quinn joins the Clown Prince of Crime in Joker: Folie à Deux trailer

a perfect match —

“For once in my life, I have someone who needs me.”

Joaquin Phoenix and Lady Gaga star in Joker: Folie à Deux.

This weekend will be all about San Diego Comic-Con and the hotly anticipated theatrical release of the summer blockbuster Deadpool and Wolverine, but Warner Bros. is already looking ahead to the fall. The studio dropped the official trailer for Joker: Folie à Deux, the sequel to 2019’s smash hit Joker, starring Joaquin Phoenix. This time, he’s joined by fellow asylum inmate Harley Quinn (Lady Gaga) to bring a comic book criminal partnership for the ages to gritty life.

(Spoilers for 2019’s Joker below.)

Joker was intended to be a standalone film—part of DC Films’ decision to move away from the shared-universe approach of its prior franchise DCEU films. (DC Studios CEO James Gunn is now calling it the “DC Elseworld” project.) It had no relation to the Justice League films that came before, so that freed Phillips to create his own darker, grittier version of this iconic character. He cited Martin Scorsese films like Taxi Driver, Raging Bull, and The King of Comedy among his influences. There’s no real origin story for the Joker in the comics—not a definitive one, anyway—so Phillips and screenwriter Scott Silver were able to cherry-pick the canonical elements they needed and make up the rest. (In Batman: The Killing Joke, for instance, the Joker is a failed comedian.)

The sequel was officially announced in 2022. In addition to Phoenix and Gaga, Zazie Beetz returns as Sophie, Arthur’s former neighbor and a single mom, on whom he had a crush, and Leigh Gill and Sharon Washington reprise their roles as Arthur’s therapist and social worker, respectively. The cast also includes Brendan Gleeson, Catherine Keener, Jacob Lofland, Steve Coogan, Ken Leung, and Harry Lawley.

Per the official premise, “Joker: Folie à Deux finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love but also finds the music that’s always been inside him.” The first teaser was released in April and showed Fleck meeting Gaga’s Dr. Harleen Quinzel, a fellow inmate who becomes increasingly obsessed with Arthur… and vice versa. It was clear the pair fed one another’s particular delusions, right down to show-stopping fantasy musical numbers.

This latest trailer, set to the dulcet tones of Frank Sinatra, mostly offers more of the same, although we do get some new footage of Joker representing himself at his trial: “Look around at all these people!” he exclaims, perhaps referring to the throngs of frenzied admirers cheering him on outside. “I will no longer allow any of you to keep me down.” With Harley by his side, he’s ready to give the people what they want. We’re guessing they’re going to choose violence.

Joker: Folie à Deux hits theaters overseas on October 2, 2024, followed by a US theatrical release on October 4, 2024. The film will make its world premiere at the Venice Film Festival in September.

Listing image by YouTube/Warner Bros.

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brad-pitt-stages-a-formula-one-racing-comeback-in-first-teaser-for-f1

Brad Pitt stages a Formula One racing comeback in first teaser for F1

Vroom, vroom —

Pitt: “You’ve never seen speed, you’ve never seen just the G forces like this.”

Brad Pitt and Damson Idris co-star in F1, coming to theaters next summer.

Can a washed-up Formula One driver come out of retirement to mentor a young rookie into a champion? That’s the basic premise for F1, a forthcoming film starring Brad Pitt and directed by Joseph Kosinski (Tron: Legacy, Top Gun: Maverick). Warner Bros. dropped the first teaser for the film yesterday, right before the 2024 British Grand Prix.

Pitt plays Sonny Hayes, a fictional Formula One driver who crashed horribly in the 1990s and retired from the sport. Then his longtime friend Ruben (Javier Bardem), owner of the fictional team APXGP, approaches him about coming out of retirement to mentor his team’s rookie prodigy, Joshua “Noah” Pearce (Damson Idris). “They’re a last place team, they’re 21-22 on the grid, they’ve never scored a point,” Pitt told Sky Sports last year. “But they have a young phenom (Idris) and they bring me in as kind of a Hail Mary and hijinks ensue.”

In addition to Pitt, Bardem, and Idris, the cast includes Kerry Condon as Kate; Tobias Menzies as Banning; Kim Bodnia as Kaspar; Shea Wigham as Chip Hart; Joseph Balderrama as Rica Fazio; Sarah Niles as Noah’s mother, Bernadette; Samson Kayo as Cashman; Callie Cooke as Jodie; and Layne Harper as Press.

  • Brad Pitt plays mentor to Damson Idris’ hotshot rookie driver.

    Warner Bros/Apple TV+

  • This film is really about the cars.

    YouTube/Warner Bros.

  • Racing footage was shot on location during the regular F1 season.

    YouTube/Warner Bros.

  • Ready for its closeup.

    YouTube/Warner Bros

  • In the driver’s seat.

    YouTube/Warner Bros.

Playing themselves in the film: seven-time Formula One champion Lewis Hamilton, Max Verstappen, Carlos Sainz Jr., Sergio Perez, Benoit Treluyer, and the rest of the F1 drivers and team members. Hamilton is a co-producer on the film and was also involved during the script-writing process to keep the film as realistic as possible by drawing on his own experiences. “We want everyone to love it and to really feel that we can encapsulate what the essence of this sport is about,” Hamilton said last year.

We don’t get much dialogue in this first teaser, or much information about the plot. Honestly? The teaser comes off as a bit cheesy from a marketing standpoint. (Since when do people in the racing community scoff so dismissively at safety concerns?) But that’s all real racing footage shot on actual tracks during bona fide F1 Grand Prix weekends. Pitt himself raced an adapted F2 car between practice sessions around the Northamptonshire circuit.

“There are cameras mounted all over the car,” Pitt told Sky Sports during filming at the 2023 British Grand Prix. “You’ve never seen speed; you’ve never seen just the G forces like this.” Based on the teaser, the visual efforts to immerse audiences in the F1 experience paid off. This is a film you’ll probably want to see in IMAX.

F1 arrives in theaters in the summer of 2025 and will stream on Apple TV+ sometime after that. It’s the sixth film from Apple Original Films to snag theater distribution, following in the footsteps of Martin Scorsese’s Oscar-nominated Killers of the Flower Moon and this weekend’s Fly Me to the Moon, among others.

Apple Original Films/Warner Bros.

Listing image by Warner Bros/Apple TV+

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the-“netflix-of-anime”-piracy-site-abruptly-shuts-down,-shocking-users

The “Netflix of anime” piracy site abruptly shuts down, shocking users

Disney+ promotional art for <em>The Fable</em>, an anime series that triggered Animeflix takedown notices.” src=”https://cdn.arstechnica.net/wp-content/uploads/2024/07/The-Fable-press-image-800×450.jpeg”></img><figcaption>
<p><a data-height=Enlarge / Disney+ promotional art for The Fable, an anime series that triggered Animeflix takedown notices.

Disney+

Thousands of anime fans were shocked Thursday when the popular piracy site Animeflix voluntarily shut down without explaining why, TorrentFreak reported.

“It is with a heavy heart that we announce the closure of Animeflix,” the site’s operators told users in a Discord with 35,000 members. “After careful consideration, we have decided to shut down our service effective immediately. We deeply appreciate your support and enthusiasm over the years.”

Prior to its shutdown, Animeflix attracted millions of monthly visits, TorrentFreak reported. It was preferred by some anime fans for its clean interface, with one fan on Reddit describing Animeflix as the “Netflix of anime.”

“Deadass this site was clean,” one Reddit user wrote. “The best I’ve ever seen. Sad to see it go.”

Although Animeflix operators did not connect the dots for users, TorrentFreak suggested that the piracy site chose to shut down after facing “considerable legal pressure in recent months.”

Back in December, an anti-piracy group, Alliance for Creativity and Entertainment (ACE), sought to shut down Animeflix. Then in mid-May, rightsholders—including Netflix, Disney, Universal, Paramount, and Warner Bros.—won an injunction through the High Court of India against several piracy sites, including Animeflix. This briefly caused Animeflix to be unavailable until Animeflix simply switched to another domain and continued serving users, TorrentFreak reported.

Although Animeflix is not telling users why it’s choosing to shut down now, TorrentFreak—which, as its name suggests, focuses much of its coverage on copyright issues impacting file sharing online—noted that “when a pirate site shuts down, voluntarily or not, copyright issues typically play a role.”

For anime fans, the abrupt closure was disappointing because of difficulty accessing the hottest new anime titles and delays as studios work to offer translations to various regions. The delays are so bad that some studios are considering combating piracy by using AI to push out translated versions more quickly. But fans fear this will only result in low-quality subtitles, CBR reported.

On Reddit, some fans also complained after relying exclusively on Animeflix to keep track of where they left off on anime shows that often span hundreds of episodes.

Others begged to be turned onto other anime piracy sites, while some speculated whether Animeflix might eventually pop up at a new domain. TorrentFreak noted that Animeflix shut down once previously several years ago but ultimately came back. One Redditor wrote, “another hero has passed away but the will, will be passed.” On another Reddit thread asking “will Animeflix be gone forever or maybe create a new site,” one commenter commiserated, writing, “We don’t know for sure. Only time will tell.”

It’s also possible that someone else may pick up the torch and operate a new piracy site under the same name. According to TorrentFreak, this is “likely.”

Animeflix did not reassure users that it may be back, instead urging them to find other sources for their favorite shows and movies.

“We hope the joy and excitement of anime continue to brighten your days through other wonderful platforms,” Animeflix’s Discord message said.

ACE did not immediately respond to Ars’ request for comment.

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we’ve-got-a-new-trailer-for-furiosa:-a-mad-max-saga.-verdict:-not-mediocre

We’ve got a new trailer for Furiosa: A Mad Max Saga. Verdict: Not mediocre

“Where were you going, so full of hope?” —

“Whatever you have to do, however long it takes, promise you will find your way home.”

Check out the latest trailer for Furiosa: A Mad Max Saga, starring Anya Taylor-Joy.

We got the first trailer for the spinoff prequel film Furiosa: A Mad Max Saga in December, starring Anya Taylor-Joy as the younger incarnation of the character immortalized by Charlize Theron in Mad Max: Fury Road. We’re now just a couple months away from the film’s much-anticipated release—i.e., the perfect time to drop a second trailer to keep that anticipation high.

(Spoilers for Fury Road below.)

As previously reported, we met Furiosa early on in Fury Road, working logistics for Immortan Joe (the late Hugh Keays-Byrne), who charged her with ferrying oil from Gas Town to his Citadel with the help of a small crew of War Boys and one of the war rigs—basically tractor trailer trucks souped up with armor and novel weaponry. Furiosa stole the war rig instead, taking Joe’s five wives with her.

She teamed up with Max to fight off Joe’s army as they made their way to the Green Place, where Furiosa grew up. When they finally encountered the Vuvalini of Many Mothers, Furiosa learned that the Green Place was now an uninhabitable swamp. They ultimately returned to the Citadel and overthrew Immortan Joe, and our last image of her was a triumphant Furiosa on a lift rising into the Citadel.

Fury Road received almost universal critical acclaim, in no small part due to Theron’s fiery performance and director George Miller’s stunning apocalyptic vision. The film snagged 10 Oscar nominations and grossed $380 million globally. By 2019, Miller had expressed interest in making both a sequel and a prequel, with the latter focusing on Furiosa.

  • The Garden of Eden symbolism is strong in this black-and-white shot.

    YouTube/Warner Bros.

  • A young Furiosa (Alyla Browne).

    YouTube/Warner Bros.

  • Dementus (Chris Hemsworth) in his souped-up biker chariot.

    YouTube/Warner Bros.

  • Furiosa’s mother fights to get her daughter back.

    YouTube/Warner Bros.

  • The fight does not seem to be going well.

    YouTube/Warner Bros.

  • Furiosa (Anya Taylor-Joy) is out for vengeance.

    YouTube/Warner Bros.

  • “Remember me?”

    YouTube/Warner Bros.

The film is set 45 years after the Collapse. Per the official premise:

As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.

In addition to Taylor-Joy, Chris Hemsworth co-stars as Warlord Dementus, who leads the biker gang that kidnaps a young Furiosa. Nathan Jones and Angus Sampson reprise their roles as Rictus Erectus (son of Immortan Joe) and the Organic Mechanic, respectively. Lachy Hulme plays the younger Immortan Joe, and the cast also includes Daniel Webber as War Boy, David Collins as Smeg, and Alyla Browne as a young Furiosa. Tom Burke, Quaden Bayles, and Charlee Fraser have been cast in as-yet-undisclosed roles.

This latest trailer gives us a glimpse into Furiosa’s Garden of Eden-like early childhood, rendered (initially) in black and white with a young Furiosa reaching for a bright red apple. Symbolism! Dementus and his boys are nearby and snatch the young girl. Once they realize there’s a land of plenty ripe for pillage, conflict with Green Place is inevitable, with Furiosa’s mother leading the charge to get her daughter back and fend off the invaders. It doesn’t end well for Furiosa, who, as an adult, is determined to take her revenge on those who stole her mother and childhood from her.

Furiosa: A Mad Max Saga hits theaters on May 24, 2024. We can’t wait.

Listing image by YouTube/Warner Bros.

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