For years, the Tron franchise has existed in a strange liminal space as half-cult classic, half-Hollywood curiosity. After Steven Lisberger’s pioneering 1982 original film and Joseph Kosinski’s neon-drenched 2010 sequel Tron: Legacy, fans have been left waiting for over a decade for Disney to commit to a third chapter. Like a hidden surprise uncovered in a video game, the upcoming Tron: Ares is just on the horizon, but along with the nostalgia also comes questions as to what happened to Kosinski’s planned but ultimately unmade sequel, Tron: Ascension.

When Disney unveiled the Tron: Ares trailer earlier this year, fans of the Grid were split. The visuals impressed, but the absence of familiar characters like Garrett Hedlund’s (Mudbound) Sam Flynn and Olivia Wilde’s (Don’t Worry Darling) Quorra was conspicuous. For those who had tracked Ascension’s development, the new film felt less like a continuation of Legacy and more like a soft reboot, with Jared Leto’s (Morbius) Ares front and centre. It left many wondering what exactly happened to Tron: Ascension, and how its vision of Sam and Quorra navigating the real world transformed into a Leto-led odyssey.

The answer begins in 2010. Despite mixed reviews, Tron: Legacy grossed nearly US$400 million worldwide on a US$170 million budget. Its dazzling visuals, immersive world-building, and Daft Punk’s pulsating score cemented it as a cult favourite. In the years that followed, Disney actively explored a third instalment, and by 2015, Kosinski was deep in development on Ascension, with a script co-written by Legacy scribes Adam Horowitz and Edward Kitsis, with the core cast set to return. The pieces seemed to be in place for Tron’s long-awaited evolution.

Kosinski himself has been candid about how close they came. “I got so close. I really tried. I got close in 2015, and Disney pulled the plug on it. I hadn’t built anything, but I had the whole movie storyboarded and written,” he revealed in an exclusive interview with Vulture in 2022. 

“The movie was called, ‘TRON: Ascension’, I think that’s out there. I think we got the script to about 80%. We were in good shape.”

The story, which Kosinski explained in an interview with Collider, was envisioned as an “invasion movie” with a bold three-act structure. “The idea for Ascension was [that its] first act was in the real world, the second act was in the world of TRON, or multiple worlds of TRON, and the third act was totally in the real world.”

The hook, he explained, lay in Wilde’s Quorra, the first “digital-human hybrid,” learning to adapt outside the Grid. 

“There’s also a really interesting character study in Quorra and a ‘stranger in a strange land,’ trying to figure out where she belongs having lived in the real world for a few years, and where does she fit in.” 

Kosinski also explained that Quorra’s narrative importance for Ascension lay in her ability to exist outside of the Grid, emphasising that “in her DNA itself, her being the first digital-human hybrid, there’s something in her being that allows objects from inside the Grid to exist in the real world and makes them permanent, so that was the idea”. 

Wilde herself stated in a separate interview with Collider that she was thrilled by the challenge. “I think it’s an interesting concept. I’m fascinated by all the discussions of AI, and especially today and now, with virtual reality becoming something that’s like a personal device, I think it’s the time to tell this story,” she explained.

That story would have drawn from threads planted in Legacy and its companion short, Tron: The Next Day. Sam Flynn was poised to reshape ENCOM, aided by Alan Bradley (Bruce Boxleitner, The Orville), while Cillian Murphy’s (Oppenheimer) Edward Dillinger Jr., who was teased in Legacy in a tantalising cameo, was expected to emerge as a major antagonist. Boxleitner himself hinted at Murphy’s expanded role – “Let’s just say… Cillian Murphy doesn’t do cameos.” 

Meanwhile, Horowitz and Kitsis also cryptically teased Jeff Bridges’ (Iron Man) return, noting, “I would say the definition of life and death in the digital realm […] will be explored in the sequel!”

With Wilde, Hedlund, Boxleitner, Murphy, and Bridges all lined up, Ascension was meant to be a direct continuation of Legacy’s narrative, with Kosinski at the helm once again. The plan was to shoot in Vancouver in the fall of 2015, but just as production neared, disaster struck. Brad Bird’s Tomorrowland (2015), another effects-driven Disney sci-fi project with a hefty budget, underperformed at the box office. 

Suddenly, a new chapter for Tron looked risky.

“When the next Tron was supposed to start — we were greenlit and ready to go — and then [Disney] had troubles with how Tomorrowland did,” Garrett Hedlund later recalled in an interview with MTV’s Happy Sad Confused podcast. 

“And I think they asked them to give them like a hundred reasons why they should do [Tron 3].” 

Within weeks, Disney shelved Ascension, redirecting resources to surer bets like Marvel and Star Wars. From there, Ascension lingered in limbo, but some of its DNA survived. By 2017, reports emerged that Disney was considering a new iteration built partly on Kosinski’s script, with Leto circling a lead role as Ares. 

But unlike Ascension, which would have been defined by Quorra’s hybrid existence and Sam’s struggle to reshape ENCOM, this new project, titled Tron: Ares, placed Ares at the forefront of the narrative.

Years of false starts followed, including a brief stint with director Garth Davis (Lion, Mary Magdalene) in 2020. Finally, in 2023, Disney said Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) would direct, with Jesse Wigutow and Jack Thorne scripting. Casting announcements trickled in: Evan Peters (Dahmer – Monster: The Jeffrey Dahmer Story), Greta Lee (Past Lives), Jodie Turner-Smith (Bad Monkey), and Gillian Anderson (The X-Files). Then, at D23 in 2024, the bombshell reveal – Nine Inch Nails’ Trent Reznor and Atticus Ross would score Tron: Ares, taking the baton from Daft Punk’s legendary work on Legacy.

Yet the changes have been polarising. For many longtime fans, the pivot from Sam and Quorra to Ares didn’t sit well considering Legacy’s dangling threads. Why didn’t the team pick up the baton from Legacy and continue that story? And what happened to Sam and Quorra?

Boxleitner himself has voiced his concerns. Frustrated by the constant false starts, he told SlashFilm in 2015: “I’m done with it. I’ve moved on. I hate to say that, but it’s been too up and down for me. To have a Tron sequel without the iconic Tron all feels rather wrong.”

The trailer for Ares only deepened those questions. Bridges’ voice is heard briefly, but his character’s return is puzzling, given Kevin Flynn’s sacrifice at the end of Legacy. Peters’ Julian Dillinger appears to supplant Murphy’s Edward Dillinger Jr., while Lee seems to represent ENCOM’s leadership. Wilde, Hedlund, and Boxleitner are absent, leaving Leto as the lone focal point.

So where does that leave Tron? On one hand, Ares boasts pedigree talent, a potentially thrilling soundtrack, and the same unique world-bending narrative. On the other hand, it forgoes much of what Kosinski had constructed in Ascension, from Quorra’s unprecedented arc to Dillinger Jr.’s teased villainy. 

Fifteen years after Legacy, Tron: Ares is finally set for release on 9 October 2025. Whether it can satisfy both new audiences and die-hard fans who still mourn Ascension remains to be seen. What’s certain is that in its long, turbulent journey from cult sequel to rebooted spectacle, the Tron franchise has illuminated both the possibilities and perils of visionary sci-fi under the glare of the Disney machine.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post Charting The Journey, Legacy & Lost Ascension Leading To ‘Tron: Ares’ appeared first on Geek Culture.

Chris Pratt (Jurassic World: Dominion) won’t be brooding under the cowl anytime soon. James Gunn, co-chair of DC Studios, has shut down speculation that his longtime Marvel collaborator is destined to play Batman in the new DC Universe (DCU).

Asked directly in an interview with YouTuber PelucheEn ElEstuche, Gunn made it clear Pratt isn’t on the table for Gotham’s vigilante. But when pressed on whether the actor could appear in another role, his response was far more playful: “As something else? Yes.”

The comment comes as no surprise given Pratt’s close ties to Gunn, having starred in all three Guardians of the Galaxy films as Star-Lord, along with Avengers: Infinity War (2018) and Avengers: Endgame (2019). Yet his Marvel future remains a question mark. Pratt’s name was notably absent from Marvel’s early Avengers: Doomsday announcement, a moment he later laughed off with Collider:

“I don’t know! I think it was, like, far off. They must have cut away from it. I don’t know what happened. I don’t know. It was there. I’m sure it was there.”

Marvel has hinted that additional casting news is still to come, leaving the door open for Pratt to potentially balance both superhero universes. Meanwhile, Batman continues to be the DCU’s thorniest problem. Gunn has been candid about the challenges of introducing a new Dark Knight while Matt Reeves’ Batman Epic Crime Saga moves forward separately with Robert Pattinson. “Batman’s my biggest issue in all of DC right now,” Gunn admitted earlier this year while promoting Superman.

That new Batman will headline The Brave and the Bold, a film that both Gunn and co-CEO Peter Safran have described as “very active” in development. While Gunn isn’t penning the script himself, he stressed, “I’m very, very actively involved in that script. I am working with the writer of Batman and trying to get it right, because he’s incredibly important to DC, as is Wonder Woman.”

Gunn also teased the kind of Batman he’s aiming to deliver. “Batman has to have a reason for existing, right? So Batman can’t just be, ‘Oh, we’re making a Batman movie because Batman’s the biggest character in all of Warner Bros.,’ which he is. But because there’s a need for him in the DCU… But yet he’s not a campy Batman. I’m not interested in that. I’m not interested in a funny, campy Batman, really. So we’re dealing with that. I think I have a way in, by the way. I think I really know what it’s — I just am dealing with the writer to make sure that we can make it a reality.”

As the DCU maps out its vision of the Caped Crusader, Pratt’s next confirmed gig is a lighter one: reprising his voice role as Mario, after his first outing in The Super Mario Bros. Movie (2023), in the coming The Super Mario Bros. Movie 2, which will be due out next year.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post James Gunn Rules Out Chris Pratt As Batman, Has Other Plans For Him In DCU appeared first on Geek Culture.

Lucasfilm is officially charting a new course in its galaxy far, far away. Cameras are rolling in the U.K. on Star Wars: Starfighter, with Ryan Gosling (The Fall Guy) leading the latest chapter under the direction of Shawn Levy (Deadpool & Wolverine).

“For me, this experience has been a dream come true, creatively and personally,” Levy said as production was announced. “From the day Kathy Kennedy called me up, inviting me to develop an original adventure in this incredible Star Wars galaxy, this experience has been a dream come true, creatively and personally. Star Wars shaped my sense of what story can do, how characters and cinematic moments can live with us forever. To join this storytelling galaxy with such brilliant collaborators onscreen and off is the thrill of a lifetime.”

Gosling will be joined on screen by an ensemble that includes Amy Adams (Arrival), Aaron Pierre (Rebel Ridge), Flynn Gray (Wednesday), Simon Bird (The Inbetweeners), Jamael Westman (Good Grief), and Daniel Ings (The Gentlemen). Matt Smith (House of the Dragon) and Mia Goth (MaXXXine), already confirmed for the project, round out the lineup. Jonathan Tropper (The Adam Project) penned the script, with Levy producing alongside Lucasfilm president Kathleen Kennedy.

To celebrate the start of filming, Lucasfilm released the first official still: Gosling and Gray standing beside a landspeeder that echoes Luke Skywalker’s vehicle from 1977’s A New Hope. While the image leans into nostalgia, the studio emphasised that Starfighter is “an entirely original story set in a period of time never before explored in Star Wars.” The decision to feature Gray in the initial reveal hints at the young actor’s importance to the story.

The project is slated to arrive just a year after The Mandalorian and Grogu premieres in May 2026. That release will mark the franchise’s long-awaited return to cinemas following The Rise of Skywalker in 2019.

Star Wars: Starfighter will jet into theatres on 28 May 2027.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘Star Wars: Starfighter’ Taps Amy Adams & Aaron Pierre As First Look Of Ryan Gosling Unveiled appeared first on Geek Culture.

The rise of Rocky, both on screen and behind the scenes, has become a Hollywood legend. Now, Amazon MGM is turning that origin story into a feature film, with Anthony Ippolito stepping into the gloves of Sylvester Stallone.

Titled I Play Rocky, the drama will chronicle Stallone’s uphill battle to bring his story to life in 1976. At the time, he was an unknown actor, yet unwavering in his conviction that he was not just the writer of Rocky, but the only man who could play Rocky Balboa. Despite constant rejection, he refused to sell his script unless he could star. The gamble paid off spectacularly when Rocky went on to win Best Picture at the Academy Awards and spark one of the most lucrative sports franchises in film history, grossing more than US$1.7 billion worldwide across sequels and Creed spin-offs.

Behind the camera is Peter Farrelly, the Oscar-winning filmmaker of Green Book (2019). The project is produced by former Warner Bros. Pictures Group chairman Toby Emmerich alongside Christian Baha, with Peter Gamble (House of Sand and Fog) penning the screenplay. Amazon MGM is planning a theatrical release.

Per The Hollywood Reporter, in a fitting parallel to the film’s underdog spirit, Ippolito is said to have fought for the role with Stallone-like tenacity. After hearing about the project, he created and submitted his own unsolicited audition tape directly to producers, a bold move that ultimately earned him the part.

Ippolito has already shown a knack for portraying icons, having played Al Pacino in Paramount+’s The Offer (2022), a limited series about the making of The Godfather. His other credits include Netflix’s romantic drama Purple Hearts (2022), David Chase’s Not Fade Away (2012), and playing a young version of Adam Sandler’s character in Pixels (2015).

I Play Rocky promises to capture not just the making of an Oscar-winning classic, but also the relentless determination that made Stallone, and his most famous character, symbols of the ultimate underdog triumph.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post Anthony Ippolito To Play Sylvester Stallone In Amazon’s Making Of ‘Rocky’ Film appeared first on Geek Culture.

Experimenting with AI just got a whole lot easier with Opal, Google Labs’ new no-code tool that turns simple prompts into fully functional mini-apps. Whether you want to prototype an idea, showcase a proof of concept, or build a custom AI workflow to boost productivity, Opal makes it possible with no coding experience required. The platform is currently in public beta in the U.S., giving early adopters a first look at what Google hopes will be a game-changer for creators.

Getting started is straightforward. Users describe what they want their app to do in plain language, and Opal transforms those instructions into a visual workflow. Each step represents an action, from user inputs to AI model calls and outputs, and can be tweaked, added to, or rearranged through a drag-and-drop interface. For those who prefer to type their way through changes, Opal also supports conversational mode, letting you update workflows with natural-language commands. Once finished, your mini-app can be shared with friends or colleagues via a link, allowing them to test it with their own Google account.

For inspiration, Opal features a gallery of starter templates, ready to use as-is or remix to your liking. It’s a perfect way to jump in without getting bogged down, while still giving power users full creative control. Google positions Opal as a tool to accelerate AI prototyping, streamline workflows, and even explore new productivity hacks.

The app arrives during a surge in interest around AI-powered creation tools, joining competitors like Canva, Figma, and Replit, all of which aim to make app-building accessible to non-technical users. AI Developer Karim Chaanine commented, “Interesting positioning against Microsoft’s recent moves. Opal feels like Google’s answer to Power Platform + Copilot Studio, with natural language app building and Gemini models underneath.” Venture capitalist Nabeel Hyatt added, “Interesting experiment in the AI apps workflow builder category.”

Whether you’re a developer, designer, or simply curious about AI, Opal lets you bring your ideas to life visually, quickly, and collaboratively. It’s an inviting playground for creativity, offering a fun, low-pressure way to experiment with AI applications without needing coding skills.

Google Opal is now available in public beta for U.S. users.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post App Of The Month: Google’s Opal (Aug 2025) appeared first on Geek Culture.

Marvel fans can expect some serious martial arts flair in Spider-Man: Brand New Day, as Jackie Chan has confirmed that his world-famous stunt team is behind the film’s action sequences.

Speaking with Chinese outlet HK01, the screen legend revealed he recently paid a visit to the London set. “I went to London for a meeting and took the chance to visit the Jackie Chan Stunt Team,” Chan said. “The team was busy filming Spider-Man, and they are behind the action choreography for this film. I went to watch their rehearsals, and the director was so shocked and excited when he saw me, to know that I’m directly affiliated with the team.”

Chan, who recently received the Honorary Golden Leopard Award for Lifetime Achievement at the Locarno Film Festival in Switzerland, has also emphasised that, though he is not directly involved in the filming process, having been under his tutelage and instruction, the Jackie Chan Stunt Team is more than well-equipped to do an exemplary job coordinating the action for Brand New Day.

The Jackie Chan Stunt Team, responsible for classics like Police Story, Rush Hour, Shanghai Noon and more, has become synonymous with inventive, high-energy fight choreography. Their history with Marvel isn’t new either, as director Destin Daniel Cretton had previously worked with them on Shang-Chi and the Legend of the Ten Rings (2021), which earned widespread praise for its dynamic action, especially the standout bus fighting sequence. Given this past successful collaboration, it seems that reuniting for Brand New Day was merely a natural evolution, and also in line with the film’s approach to old-school filmmaking.

Tom Holland (The Crowded Room) returns as Peter Parker in this fourth solo outing, with the story promising to scale things down after the multiversal chaos of Spider-Man: No Way Home (2021). Cretton is aiming for a more grounded, street-level tale, exploring Spider-Man’s role as the “Friendly Neighbourhood” hero. That shift makes Chan’s stunt team an especially strong fit, as their trademark style blends practical stunts, fluid acrobatics, and environmental combat in ways that suit Spidey’s agile fighting style.

The movie won’t be short on other Marvel heavyweights either. Jacob Batalon (Novocaine) and Zendaya (Dune: Part Two) are back as Ned and MJ, respectively, though it remains to be seen how their characters will interact with the titular character, given that Ned and MJ no longer remember Peter’s identity. Meanwhile, Jon Bernthal (The Accountant 2) reprises his role as the Punisher. The inclusion of such distinct characters could allow Chan’s team to showcase a variety of fighting styles, from Spider-Man’s acrobatics to Punisher’s grit.

With set footage already teasing explosive street chases and real-world stunt work, Spider-Man: Brand New Day is shaping up to deliver Marvel’s most inventive Spidey action yet. The film swings into theatres on 31 July 2026.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘Spider-Man: Brand New Day’ Taps Jackie Chan Stunt Team With Action Star Visiting UK Set appeared first on Geek Culture.

Spotify is adding a new way for listeners to connect without leaving the platform. The streaming giant has announced the launch of Messages, a direct messaging tool that lets users share music, podcasts, and audiobooks straight through the app. The feature begins rolling out this week in “select markets,” and will be accessible on mobile to both Free and Premium subscribers aged 16 and above.

According to the music streaming service, Sharing works directly from the Now Playing screen. By tapping the share icon, listeners can send a track, podcast, or audiobook to friends within Spotify. Eligible recipients include people on the same Spotify plan, as well as users connected through Jams, Blends, or Collaborative Playlists. Once sent, all exchanges appear in the new Messages inbox, located under the profile picture in the top-left corner of the app. This hub allows users to revisit content recommendations without having to dig through texts or third-party apps.

The system is designed to simplify the recommendation process, which Spotify notes already happens across multiple platforms. Messages support 1:1 conversations, text replies, and emoji reactions, with all exchanges protected by “industry-standard encryption” to keep chats secure.

User safety tools are also built in. Message requests can be accepted or rejected, and anyone can be blocked or reported. Content moderation will extend further, with Spotify confirming it will “proactively scan Messages for certain unlawful and harmful content” and manually review flagged reports. To make reporting simple, users can hold down on any message to flag problematic accounts or material.

At launch, it remains uncertain whether artists will be able to interact with fans using Messages. For now, Spotify emphasises that the feature is not meant to replace existing communication channels, but rather to complement them. As explained, Messages was designed to “complement” sharing via Instagram, Facebook, WhatsApp, Snapchat, and TikTok, acknowledging that users already recommend music and podcasts through those platforms.

The arrival of direct messaging marks a notable step in Spotify’s evolution beyond streaming. By giving even free users access to this social layer, the company may be setting the groundwork for richer person-to-person interaction in the future.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post Spotify Rolls Out Direct Messaging Feature appeared first on Geek Culture.

The creative minds behind Netflix’s Cobra Kai are setting their sights on another ‘80s classic. After turning The Karate Kid into a new pop-culture phenomenon, Jon Hurwitz, Hayden Schlossberg, and Josh Heald are now preparing to bring Knight Rider to the big screen for Universal Pictures.

Industry reports confirm the trio will not only write and produce the feature, but that Hurwitz and Schlossberg are expected to step behind the camera as directors. Their reputation as revival specialists was cemented with Cobra Kai, the Netflix hit that picked up the story of karate rivals Daniel LaRusso (Ralph Macchio, Karate Kid: Legends) and Johnny Lawrence (William Zabka, Hot Tub Time Machine). With six seasons now complete, the team has already lined up additional nostalgia-fueled projects, including a Ferris Bueller’s Day Off spin-off following the infamous valet drivers and a new interpretation of Harold and Kumar Go to White Castle.

The project also enlisted seasoned action filmmaker David Leitch as producer. Leitch, known for translating beloved properties into modern blockbusters, recently turned another ‘80s TV staple, The Fall Guy (2024), into a feature, making him a natural fit to guide Knight Rider’s return.

Originally created by Glen A. Larson in 1982, Knight Rider became one of NBC’s most distinctive dramas of the decade. The show introduced audiences to police officer Michael Long (David Hasselhoff, Baywatch), who, after a near-fatal encounter, is saved by the high-tech Foundation for Law and Government (FLAG). Reborn as Michael Knight through reconstructive surgery, he is partnered with KITT, a Pontiac Trans Am equipped with sophisticated weaponry and voiced by William Daniels (Boy Meets World). Together, Knight and KITT cruised across America, foiling villains from corrupt masterminds to Knight’s sinister double, Garthe (also played by Hasselhoff), while facing KITT’s menacing counterpart KARR, voiced by Peter Cullen (Transformers: Rise of the Beasts).

The original series spanned four seasons between 1982 and 1986 before being cancelled. Nevertheless, its cult following inspired multiple revivals from the TV movie Knight Rider 2000 (1991) to the loosely related Knight Rider 2010 (1994), the ensemble-driven Team Knight Rider (1997), and NBC’s 2008 reboot with Justin Bruening (Sweet Magnolias) as Michael Knight’s son and Val Kilmer (Top Gun: Maverick) as the voice of a new KITT.

With Universal backing and the Cobra Kai creators at the wheel, the legendary partnership between man and machine looks primed to accelerate into a new era.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘Cobra Kai’ Team Driving ‘Knight Rider’ Film Adaptation appeared first on Geek Culture.

Marvel Studios has long been preparing for the arrival of the X-Men in the Marvel Cinematic Universe (MCU). Since Disney acquired Fox, the groundwork has been laid for mutants to reshape the Marvel universe. While details remain scarce, one significant announcement has already been made: Thunderbolts* filmmaker Jake Schreier will direct the highly anticipated X-Men feature.

Speaking with Empire, Schreier expressed his belief that his experience with Thunderbolts* will help guide his approach to Marvel’s ensemble of mutants. “There are so many things that I didn’t know about before I started [Thunderbolts*],” he admitted, reflecting on the challenges of orchestrating a large-scale team movie.

“The biggest learning curve for me was the proportion of the action to the more emotional, character-driven scenes, and how, even though it’s more shooting days than I’ve ever had, they get eaten up quite quickly by the action stuff. By the time we got to the end of it, it felt like, ‘Oh, now I feel like we get how to do this a little bit better.’”

For Schreier, the balance of spectacle and heart is central to the Marvel formula, and his time directing massive set pieces for Thunderbolts* has been invaluable. “Look, who gets to do that?” he said of the blockbuster-scale shoots. “[On Thunderbolts*] we’re in the middle of nowhere in Utah, in a gorgeous location, owning a road, and filming in 100-degree heat, or finding yourself on the second-tallest building in the world. These are very special experiences.”

Schreier also revealed that early work on the project is already underway. “I can’t say anything about it, but we’ve started work on X-Men, and that’s obviously very, very exciting,” he confirmed.

Armed with those lessons and opportunities, Schreier is now turning his attention to one of Marvel’s most beloved properties. While secrecy surrounds the project, his excitement is clear, and fans can only hope his ensemble expertise helps deliver an X-Men film worthy of the wait.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘Thunderbolts*’ Director Jake Schreier Excited To Apply Ensemble Experience In X-Men Movie appeared first on Geek Culture.

Chris Columbus, the filmmaker who helped launch the Harry Potter phenomenon on the big screen, has made it clear he has no interest in returning for HBO’s upcoming small-screen reboot.

Columbus, who directed Harry Potter and the Sorcerer’s Stone (2001), Harry Potter and the Chamber of Secrets (2002) and later produced Harry Potter and the Prisoner of Azkaban (2004), said his time at Hogwarts is firmly behind him. “No, I’ve done it, you saw my version,” he told Variety while promoting Netflix’s Thursday Murder Club in London. “There’s nothing left for me to do in the world of Potter.”

That doesn’t mean he opposes the series. While he previously criticised remakes of his other work, such as the 1990 classic Home Alone, Columbus welcomes a fresh take on J.K. Rowling’s wizarding world and even admits to feeling a tinge of envy. “The great thing about it is that with the first, and second, and third books, we wanted to do it all. We wanted to bring all of that onto the screen, and we didn’t have the opportunity,” he explained.

Among the moments he regrets not being able to film are Peeves the poltergeist, who was cut from the first movie, and a tense sequence in which Harry and Hermione face the risk of poisoning while drinking potions. “We could never get that incredible scene into the film, and I’m sure it’ll be in the HBO series. So for me, it’s an opportunity to bring all those scenes to life,” Columbus said.

Seeing new cast members Dominic McLaughlin and Nick Frost (Shaun of the Dead) filming in London brought back memories of his own time shooting with Daniel Radcliffe (Guns Akimbo) and Martin Bayfield (Wrath of the Titans). “Because it was exactly where we were 20 years ago!” he recalled.

Columbus also expressed deep pride in Radcliffe’s evolution from child star to acclaimed stage performer. “We learned a valuable lesson on Home Alone, so when David Heyman and I got into Potter, I said to him, ‘We need to cast the parents as well as the children…’ So we were hoping that the kids would turn out as well as they did.” He added, “There’s a sense of pride to see Daniel Radcliffe win a Tony Award. It was just remarkable.”

On J.K. Rowling’s controversies, Columbus offered a measured response: “I like sometimes to separate the artist from the art, I think that’s important to do. It’s unfortunate, what’s happened. I certainly don’t agree with what she’s talking about. But it’s just sad, it’s very sad.”

The Harry Potter series will bring the Wizarding World back to life for a whole new generation. onto screens on HBO Max in 2027.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post Original ‘Harry Potter’ Director Chris Columbus Wants No Part In HBO Series Reboot appeared first on Geek Culture.

Two major milestones were reached over the weekend of 23 August, as Warner Bros/DC’s Superman and Apple Original Films’ F1 both crossed US$600 million worldwide.

As reported by Deadline, Superman stood at US$604.5 million as of 24 August, with the bulk of the earnings coming from domestic markets. Meanwhile, the film performed slightly weaker in the international market, garnering US$257.5 million and representing a mere 42.6 per cent of the total.

F1 has shown a very different pattern, with global grosses at US$603.4 million so far. The Joseph Kosinski-directed racing drama is heavily powered by international markets, which account for US$417.5 million, or 69 per cent of the total. The ninth weekend saw an additional US$6.1 million, marking a career high for Brad Pitt as his top-grossing film globally.

Despite these achievements, the summer box office as a whole will fall short of the coveted US$4 billion domestic benchmark, according to additional reports by Variety. Between 1 May and 24 August, revenues reached US$3.53 billion, according to Comscore. That figure marks a slight gain over 2024’s US$3.52 billion and 2022’s US$3.41 billion, but still remains well below the pre-pandemic high of US$4.38 billion set in 2019. Since the COVID lockdowns, only the 2023 “Barbenheimer” phenomenon pushed domestic summer sales above US$4 billion.

The biggest hit of the season was Disney’s Lilo & Stitch, which earned US$421 million domestically and US$1.03 billion globally. Other highlights included Jurassic World Rebirth, which netted US$844 million and How to Train Your Dragon, grossing US$626 million, adding to the achievements of F1 and Superman. These are joined by underperforming tentpoles such as Thunderbolts at US$382 million, The Fantastic Four: First Steps at US$471 million, Pixar’s Elio at US$150 million, and Mission: Impossible – The Final Reckoning, which garnered only US$597 million on a massive US$400 million budget.

“On paper, 2025 boasted one of the strongest slates of summer movies ever,” said senior Comscore analyst Paul Dergarabedian in a statement to Variety. “What was not considered was that the summer movie ecosystem is very fragile; there is no margin for error. August this year is when things really slowed down.” With only one title hitting the billion-dollar mark, industry analysts suggest Hollywood still needs to refine how to reignite global audiences.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘F1’ & ‘Superman’ Crosses US$600 Million Globally But Summer Box Office Won’t Hit US$4 Billion Milestone appeared first on Geek Culture.

James Gunn has opened up about the creative decisions behind Peacemaker season 2, including why the series has moved away from the Justice League toward the Justice Gang as part of the worldbuilding of the new DC Universe (DCU).

Speaking to Rotten Tomatoes, the filmmaker reflected on how the show’s first season was made at a time when the original DC Extended Universe (DCEU), predecessor to the DCU, had no clear leadership.

That absence of oversight stretched back to 2017, when Zack Snyder stepped away from Justice League (2017) and his broader role overseeing the DCEU after a family tragedy. Joss Whedon was brought in to complete the film, but no one assumed Snyder’s larger responsibilities of steering the franchise forward.

In the years that followed, Dwayne Johnson and his team made a valiant attempt to take on creative leadership of the DCEU. However, that effort quickly unravelled following the disappointing box office performance of Black Adam (2022).

Against that backdrop, Gunn recalls that Peacemaker was made in something of a creative vacuum, with little oversight and the understanding that the DCEU itself might soon be rewritten by The Flash (2023).

“Peacemaker was always in a weird place. People say he was part of the DCEU but he wasn’t really. He was part of this ‘in-between Universe’ of DC when there was nobody really making sure that everything was connected and at a time when they were going to rewrite everything with The Flash.” Gunn explained.

Gunn gave context for the ending scene of Peacemaker Season 1, saying, “We were kind of able to do whatever we wanted, and we had that brash ending, which I loved, it was one of my favourite things from the whole season, but it just didn’t fit in with the DCU. And Peacemaker, there’s hardly anything else that you need to change for him; he can slide very easily into the DCU, same with Blue Beetle. They just kind of fit in very nicely. We just have to retcon a couple of things.”

Gunn’s comments also serve as reassurance for fans of Blue Beetle (2023). Though regarded by many as one of the strongest entries to emerge from the DCEU, its release was hampered by poor timing, coming after news had already broken that the shared universe was coming to an end. Now, both characters appear well-positioned to make the leap into the DCU’s next chapter.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post James Gunn’s ‘Peacemaker’ Season 2 Retcons Justice League For Justice Gang appeared first on Geek Culture.

Production on HBO’s highly anticipated Harry Potter TV series is now underway at one of the franchise’s most iconic locations, London’s King’s Cross station. The shoot almost certainly captures Harry’s first magical journey through the hidden barrier to Platform 9¾, where students board the Hogwarts Express at the start of term.

Spotted on set were Alastair Stout, who plays Ron Weasley, alongside Gracie Cochrane as Ginny Weasley and Katherine Parkinson as family matriarch Molly Weasley, shared via a post by user @portkey on X/Twitter. In a nod to book accuracy, Stout was seen wearing a Chudley Cannons t-shirt, the emblem of Ron’s favourite Quidditch team.

It remains unclear whether filming itself will be visible to the public, as while King’s Cross is a bustling landmark and a tourist hotspot thanks to its Harry Potter legacy, security around the production is expected to be tight, especially with child actors present.

Season one of the series will adapt Harry Potter and the Philosopher’s Stone (known in the U.S. as The Sorcerer’s Stone), with cameras set to roll through spring 2026 and production on season two expected to begin shortly afterwards. Each of J.K. Rowling’s seven novels will form the basis of a single season, charting a nearly decade-long journey on screen.

John Lithgow (Conclave), who takes on the role of Albus Dumbledore, previously addressed the scale of this commitment. “Of course, it was a big decision because it’s probably the last major role I’ll play,” he said earlier this year. “It’s an eight-year commitment so I was just thinking about mortality and that this is a very good winding-down role.”

Earlier sightings have also offered fans a glimpse of Dominic McLaughlin as Harry Potter and Nick Frost (Shaun of the Dead) as Rubeus Hagrid. On 18 August, the pair were photographed filming on the busy streets of London, with Frost appearing every bit the Hogwarts gameskeeper, dressed in corduroy pants, layered jackets beneath a long khaki coat, and the character’s signature mane of hair and beard. McLaughlin, on the other hand, donned Harry’s round glasses, jeans, a collared sweater, coat, and backpack.

Frost has been candid about shaping Hagrid anew. “You get cast because you’re going to bring something to that. While I’m really aware of what went before me in terms of Robbie’s amazing performance, I’m never going to try and be Robbie,” he told Collider. “I’m going to try to do something, not ‘different’ — I think you have to be respectful to the subject matter — but within that, there’s scope for minutia.”

He added that one side of Hagrid he intends to emphasise is his sense of humour: “He’s funny! I want it to be funny and cheeky and scared and protective and childlike. That’s what I’m planning on doing.”

With cameras now rolling at King’s Cross and fans catching their first glimpse of the Weasleys, excitement is only set to build as HBO’s Harry Potter series brings the Wizarding World back to life for a whole new generation. The Harry Potter series will Apparate onto screens on HBO Max in 2027.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘Harry Potter’ TV Series Unveils First Look at Weasleys At King’s Cross Station appeared first on Geek Culture.

Netflix’s KPop Demon Hunters is ready for the takedown and has certainly proven so, with their meteoric rise over Warner Bros.’ horror movie Weapons, taking home the first place in this week’s box office numbers with an estimated US$18 million two-day opening.

While Netflix has not yet reported the official numbers, the animated K-pop-inspired movie grossed approximately US$9.6 million on 23 August, according to industry sources reported by Deadline, and is estimated to have grossed US$8.4 million one day later. This is part of its limited two-day release in theatres featuring a special “Sing-Along” version of the show, which will also head to Netflix starting today.

Admissions for KPop Demon Hunters, as per EntTelligence, a telecommunication company that provides results analysis for motion picture groups and streaming services, also indicated that 1.5 million tickets were sold over the weekend, with the approximate total gross calculated based on the number of tickets sold and their associated prices.

With Warner Bros. reporting that Weapons’ third weekend stands at US$15.6 million, the preliminary estimates of KPop Demon Hunters’ box office numbers certainly seem to indicate their victory over Weapons, even despite the latter surpassing its forecasted US$13.5 million goal.

The buzz surrounding KPop Demon Hunters has been infectious, as the animated film’s hype has exploded across social platforms, with social media engagement tracker RelishMix reporting a staggering 10.5 billion reach over the past two months, driven by YouTube activity alongside TikTok, Instagram, Facebook, and X, with the surge including both songs and trailers.

According to Deadline, it also seems that Sony has no regrets about handing the project to Netflix. Part of a US$3 billion content deal, the streamer paid US$100 million plus US$25 million to Sony, with all animation handled by Sony ImageWorks. Sequels and spinoffs remain in Sony’s hands, however, and according to insiders, will still be profitable for the entertainment giant.

Netflix has only booked KPop Demon Hunters for a two-day release in theatres so far, but given the profitable opening weekend it has enjoyed, it won’t be surprising if additional screenings will be greenlit in the future.

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘Kpop Demon Hunters’ Disarms ‘Weapons’ With US$18 Million Box Office Win For Netflix appeared first on Geek Culture.

Grab your rosaries and keep the lights on, horror fans, the Warrens are back, and the hauntings have only just begun. Geek Culture, in partnership with Warner Bros., are hosting a premiere screening event for all of you horror fans to welcome the latest bone-chilling addition to The Conjuring Universe with The Conjuring: Last Rites.

Set in 1986, the film delves into the real-life Smurl haunting, where Ed (Patrick Wilson, Aquaman and the Lost Kingdom) and Lorraine Warren (Vera Farmiga, Bates Motel) confront a powerful demon terrorising a family’s home, an entity that they had previously encountered at the beginning of their paranormal investigation career in their youth. As they face their most formidable adversary yet, the Warrens will grapple with personal and professional challenges in what may perhaps be their final and most harrowing case.

In partnership with Warner Bros., we’ve got 70 pairs of tickets up for grabs to attend The Conjuring: Last Rites fan premiere screening on 2nd September at Golden Village Bugis+. Don’t miss this chance to be one of the first few in Singapore to embark on this hair-raising occult journey with the Warrens. You’ll definitely want to check out our feature that celebrates the addition of The Last Rites to 12 years of The Conjuring Universe to secure one of the 70 spots!

FAN PREMIERE EVENT DETAILS

Date: 2 September 2025, Tuesday
Time: 6.45 pm
Location: Golden Village Bugis+ (Assigned Seating)
Rating: NC16 (Horror and Violence)
Runtime: 135 min

Thankfully, it’s never just a simple screening with Geek Culture, so quicker than you can react to a jumpscare with a bloodcurdling scream, we’ve prepared 5 special The Conjuring: Last Rites T-shirts for 5 lucky winners to go home with, as part of our pre-show in-hall activities!

The Conjuring: Last Rites will eerily appear in cinemas on 4 September 2025.

ENTER NOW TO WIN

For a chance to win a pair of tickets (out of 70 pairs) to the fan screening, simply complete these steps: 

1. SHARE THIS POST and TAG a friend or more** you would like to watch the movie with.
2. FOLLOW US ON INSTAGRAM and/or TELEGRAM**.
3. Fill in the form and answer the question(s) below.

Give us a LIKE below if you haven’t done so yet, so you won’t miss out on future similar giveaways!

The giveaway is open to all residents of Singapore. The giveaway closes on 29 August 2025 @23:59hrs (GMT+8). 70 lucky winners with the correct answers will be picked at random and contacted via email by 30 August 2025. Good luck!

**These steps are entirely optional, but we greatly appreciate it if you choose to show some support to Geek Culture by sharing and tagging the post so that we may be able to bring more giveaways to you all in the future!

Ting Wei

Conversation with Ting Wei is like chatting with a weird AI bot programmed only with One Piece lore and theories, sitcom quotes and other miscellaneous pop culture references. When he’s not sleeping, he’s highly likely reading manga. In fact, the only thing he reads more than manga is the Bible, and it’s honestly pretty close.

The post ‘The Conjuring: Last Rites’ Fan Premiere Screening – Win Tickets To Geek Culture Event appeared first on Geek Culture.