When Marvel Studios first announced Thunderbolts* at 2022’s San Diego Comic-Con as part of its ambitious lineup for Phase 5 and 6 of the Marvel Cinematic Universe franchise, the movie didn’t yet have that odd asterisk in the title. It didn’t come with many details, either, apart from a July 26, 2024 release date that shifted along with many other MCU projects in the wake of the 2023 WGA strike.
In the wake of the Thunderbolts* segment of 2024’s San Diego Comic-Con, we don’t know much more! The asterisk is still a mystery: Marvel Studios President Kevin Feige said at a CinemaCon appearance, “we won’t talk more about that until after the movie comes out,” and confirmed it again at Comic-Con.
But as the core cast of Thunderbolts* took the stage, the Hall H audience was treated to a teaser in which all their characters came under fire from a mysterious foe who, according to Florence Pugh’s Yelena Belova, wants them all dead.
Traditionally in Marvel Comics, the Thunderbolts are a team-up of second-string villains or anti-heroes, though their membership and motives vary significantly depending which iteration you’re talking about. The MCU team is built of not-exactly-always-good characters introduced in previous films in the franchise: Ghost (Hannah John-Kamen, of Ant-Man and the Wasp), Red Guardian (David Harbour, Black Widow), the Winter Soldier (Sebastian Stan, the Captain America movies), U.S. Agent, aka John Walker (Wyatt Russell, Falcon and the Winter Soldier), and Taskmaster (Olga Kurylenko, Black Widow). Pugh’s Yelena, from Black Widowand Hawkeye, leads the team, with slimy mastermind Valentina Allegra de Fontaine (Julia Louis-Dreyfus, Falcon and the Winter Soldier) behind the scenes.
Who might want all those folks dead? What might those folks do to stay alive? And what the heck is that asterisk about after all? We’ll have to wait for the theatrical debut of Thunderbolts* on May 2, 2025, as the final movie in the MCU’s Phase 5.
Being a Deadpool defender can be difficult. In just about any media where he appears, the character is exactly what his strongest critics think he is: an anti-hero with a strong affinity for irreverent violence, and a juvenile, obnoxious vessel for meta asides and a bushel of dick jokes. (“A bushel of dicks” would be a pretty solid Deadpool-ism.) I wouldn’t begrudge anyone for finding all that off-putting, because it is. But there’s also more to the character. Deadpool comes with a deep pathos. When that’s used effectively, it’s resulted in endearingly odd stories about those who are deemed (or feel) unlovable. That’s a potent emotional space for a summer blockbuster to inhabit. Deadpool & Wolverine — the third movie in Ryan Reynolds’ Deadpool trilogy, and the first under the Disney banner — pays lots of lip service to that pathos. Then it punts it out of our multiverse, to Alioth-knows-where.
Look at that, I made a reference! Just like Deadpool! I can swear like him, too.
Deadpool & Wolverinehas been billed as a Marvel Cinematic Universe story, but it isn’t, really. Apart from a brief gag scene early in the film, Deadpool never sets foot in the MCU’s Earth-616 for any Deadpool-y derring-do. Instead, the film is just MCU-aware — the mainline MCU is one more subject for Deadpool to joke about and pine for while he has a characteristically vulgar adventure somewhere else. In some ways, the MCU is more of a villain than the film’s actual villains.
But before all that, the story starts in Deadpool’s pre-existing corner of the multiverse, which is dying. Abducted by the Time Variance Authority from Loki, Wade Wilson/Deadpool (Reynolds) learns his universe is slowly fading away, due to Wolverine’s death at the end of 2017’s Logan. That’s because the former X-Man is an “anchor being” — someone so significant that their timeline falls apart without their presence. But TVA agent Mr. Paradox (Matthew Macfadyen) says his superiors have deemed Deadpool as special, and worth rescuing from his decaying timeline and bringing over to the MCU. Trouble is, the invite doesn’t extend to the found family Wade has built up (and time-traveled to resurrect) across his previous two films.
Photo: Jay Maidment/20th Century Studios/Marvel Studios
This is Deadpool & Wolverine’s first problem: It arrives on screens already extremely pre-complicated and full of narrative baggage. This isn’t necessarily a problem if director/co-writer Shawn Levy and his script team just want to take the piss out of overly complex superhero films. But it is a problem when setting up that pathos that is also key to Deadpool as a character. It doesn’t particularly matter to me that I do not fully understand the mechanics of time and/or multiverse travel in this movie, or the chain of cause-and-effect that drives its plot. Frankly, I’m not sure the film’s five credited writers — Levy, Reynolds, returning Deadpool movie scribes Rhett Reese and Paul Wernick, and comics and TV writer Zeb Wells — care that much about those things either.
I do care, however, when that confusion extends to the film’s emotional stakes. Deadpool & Wolverine spends so little time establishing where Wade is in relation to his friends and relationships (for some barely explained reason, he’s on the outs with ex-girlfriend Vanessa, played by Morena Baccarin) that his driving need to do something that “matters” feels rootless. He’s static, not terribly different at the end of the film’s two hours and seven minutes than he was at the beginning.
Perhaps that’s because the film offloads much of its emotional weight to Wade’s co-star. Logan (Hugh Jackman) enters Deadpool & Wolverine as a part of Wade’s hairbrained scheme to save his universe. If Logan is his timeline’s anchor being, Wade’s logic goes, he’ll just scour other universes until he finds a new one. The Logan he winds up grabbing is even more damaged than the one we’ve seen in the X-movies, and a lot of the film’s non-joke runtime is devoted to unpacking that. This seems like a poor use of Wade’s time, and ours. Logan’s whole deal has gotten plenty of exposure in past X-movies, and while his presence here has lots of fun moments, his contribution to the film’s emotional arc feels a lot like stolen franchise valor à la Spider-Man: No Way Home.
Photo: Jay Maidment/20th Century Studios/Marvel Studios
It’s hard to take any of this seriously though, because Deadpool & Wolverine is much more interested in focusing on Deadpool’s relationship with the MCU. From the very first second of the film, Disney, Marvel, and Kevin Feige are established as the thematic butts of the film’s comedy. There is no need for character work to anchor any of the jokes here, because the MCU is that anchor. All that swearing and violence? It’s in a Disney movie, baby! Remember that time Wade got pegged in the first Deadpool movie? Mickey Mouse paid for a movie about a guy who gets pegged! Oh, and the film’s on-screen bad guys? All a result of Marvel’s corporate dominance.
This last bit is where Deadpool & Wolverine almost gets at something interesting. The bulk of the film takes place in The Void, a Mad-Max-style limbo where the TVA sends troublesome people they can’t really erase. Ruled by the powerful telepath (and evil twin sister of X-Men leader Charles Xavier) Cassandra Nova (Emma Corrin), The Void is an island of misfit toys full of heroes and villains from other movie studios, disposed of by the MCU powers-that-be after Disney bought up 20th Century Fox. If you’ve heard about Deadpool & Wolverine’s many cameos and guest appearances, this is where they come from: corporate consolidation spun as fodder for jokes.
In Logan and Wade’s struggle to defeat Cassandra and escape The Void, the pair are also trying to escape the ruins of, for example, the 20th Century Fox X-Men universe. Unfortunately, this plot, and the gags around it, only undercut Deadpool and the very narrow lane of pathos that makes him tick. Because as much as he constantly makes fun of the MCU, he can’t stop defining himself in relationship to it, calling himself “Marvel Jesus” throughout this movie. Regardless of the fate of his home universe, Wade wants to matter — which is a way of saying he wants to join the mainline MCU universe, and that it is the only thing in this continuum that does matter.
That’s more or less the ball game. It’s hard to buy this movie as a love letter to anything but Marvel Studios’ corporate conquests. That’s one of the fundamental miscalculations behind the film. Wade is worth getting behind because he’s an underdog. But in Deadpool & Wolverine, he isn’t representing the unloved or speaking truth to power: He’s sucking up to the undisputed champ of the box office, even though that champ has earned the potshots Deadpool throws its way. The Void is what Marvel has done to pop culture. It’s the call coming from in the house, the big fucking smoke dragon that assimilates everything into its morass of multiversal bullshit or relegates it to oblivion, stripped for parts. And in this movie, Deadpool doesn’t just love it, he wants with all of his being to be part of it.
Deadpool & Wolverine has made its hero the worst kind of comic-book character: one who doesn’t stand for anything. It’s a terrible irony. Fans worried that Disney’s corporate control and the MCU’s rigid narrative oversight would leech away Deadpool’s edge, the swearing, jocular violence. Turns out that part was fine. Instead, the MCU just took his fuckin’ heart.
I told you I could swear like that cheeky bastard.
Like many other sports gamers, I have been eagerly awaiting the release of EA Sports College Football 25for what feels like decades. Now it’s finally here in early access, and I’m overjoyed. I’ve been loving my time with the game, in both Ultimate Team and Dynasty modes, but there’s one particular bone I have to pick with the option system that’s holding me back from being fully enamored with the new entry.
Option offenses are crucial to any good football video game, but especially at the collegiate level, where many teams run option-based offenses. For years, EA’s preferred controller input for a read option — where the quarterback makes a read on the defense to determine whether to hold on to the ball or hand it off — has been the same: Tap X (or A on Xbox) to hand it off, or do nothing to keep it.
For some reason, EA Sports College Football 25 has inverted this long-standing tradition. Instead, you tap X/A for the quarterback to pull the ball back and keep it, or press nothing to hand it off. I’m starting to get used to it, but this involves overcoming years of muscle memory in both this franchise and the Madden games. I’ve made dozens of mistakes in the option game already — keeping it when I meant to hand it off, or vice versa — and I would conservatively estimate that it’s cost me 45 yards, two touchdowns, and probably two gray hairs in an otherwise fantastic gameplay experience.
For me, it just makes more sense to press a button to give the ball rather than press a button to keep it. I can understand that, in theory, the action of pulling the ball back is more significant for the quarterback than giving it away. But in these games, you aren’t just playing the quarterback; you’re controlling the offense. And handing off the ball seems more like an action than not handing it off, making that the more fitting place for a button press. And at the end of the day, years of muscle memory will triumph, especially with a blitzing linebacker in your face.
College Football 25 has plenty of control optimization options already. You can change the new passing or kicking systems back to the old controls. Why not add a toggle to change the option controls? The game has lots of quality-of-life upgrades, like running out the clock instantly on quarterback kneels, when applicable. Let’s add one more and bring back the old option controls.
Hoyoverse just wrapped up theGenshin Impactversion 4.8 preview livestream, showing off all sorts of details about the upcoming patch. Most importantly, there were several codes that award Primogems and other rewards shown during the stream.
Our Genshin Impact 4.8 livestream code list provides you with the three stream codes for rewards and explains how to redeem them.
It’s summertime! So that means the next Genshin Impact patch will be the massive summer event, where there’s a limited time map, new skins for Nilou and Kirara, and — if it follows the same pattern as previous summer events — a hint about the upcoming region, Natlan. The stream also showed off Emilie, an upcoming Dendro character who will make her debut in version 4.8.
Genshin Impact version 4.8 livestream codes
The codes are as follows:
You’ll want to redeem these codes quickly, as they expire on July 6 at 12 a.m. EDT.
They not only reward Primogems, but they also give Mora and Adventurer’s EXP to level up your characters.
How to redeem Genshin Impact gift codes
To redeem codes, you can log in and input them on the code redemption website. You can also input them in-game through the settings menu, but copy and pasting them in a browser is much easier. You can also click the links above, if you’re logged in on whatever device you’re seeing this post on.
Once you redeem the codes, you’ll get the rewards via in-game mail shortly after that.
Greetings, Polygon readers! Each week, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home.
This week, Trigger Warning, the new action thriller starring Jessica Alba as a hardened Special Forces commando, premieres on Netflix. That’s not all, as plenty of other exciting new releases make their streaming debuts this week, including a documentary on tennis legend Roger Federer on Prime Video, Kung Fu Panda 4 on Peacock, Sometimes I Think About Dying on MUBI, and more. There’s also several highly anticipated releases on VOD this week, including animated sci-fi noir mystery Mars Express and dystopian sci-fi romance The Beast starring Léa Seydoux.
Here’s everything new that’s available to watch this weekend!
New on Netflix
Trigger Warning
Where to watch: Available to stream on Netflix
Image: Netflix
Genre: Action thriller Run time: 1h 46m Director: Mouly Surya Cast: Jessica Alba, Anthony Michael Hall, Mark Webber
The Alba-naissance is here. Five years after her last film role (crime thriller Killers Anonymous), the onetime Sue Storm is teaming up with Indonesian director Mouly Surya in an action-packed movie inspired by the John Wick franchise (and produced by John Wick producer Basil Iwanyk). Trigger Warning is Surya’s English-language debut and was filmed three years ago, but is finally dropping on Netflix this week.
Black Barbie
Where to watch: Available to stream on Netflix
Image: Netflix
Genre: Documentary Run time: 1h 40m Director: Lagueria Davis
This doc from Shondaland digs into the first Black Barbie and three Black women at Mattel who made it happen: Beulah Mae Mitchell, Kitty Black Perkins, and Stacey McBride-Irby.
New on Prime Video
Federer: Twelve Final Days
Where to watch: Available to stream on Prime Video
Image: Prime
Genre: Documentary Run time: 1h 40m Directors: Asif Kapadia, Joe Sabia Cast: Roger Federer, Rafael Nadal, Novak Djokovic
Arguably the greatest men’s tennis player to ever live, Roger Federer finally hung up his racket for good in 2022. This documentary, co-directed by Senna and Amy director Asif Kapadia, focuses on the final 12 days of the Swiss legend’s illustrious career.
Genre: Martial arts comedy Run time: 1h 34m Director: Mike Mitchell Cast: Jack Black, Awkwafina, Bryan Cranston
The fourth entry in the Kung Fu Panda saga sees Po taking on a new apprentice to succeed him as the Dragon Warrior. When a mysterious sorceress plots to resurrect Po’s past adversaries, he’ll need to call upon all his strength and allies to save the day.
While the individual scenes and moments in Kung Fu Panda 4 are entertaining (and sometimes even great), it never quite gels as an enjoyable movie on its own. The message of change tying it together is flimsy, and the plot feels strung along, trying to get the characters in the right place to launch a few seconds of cool action. After four movies, it isn’t really a surprise that the Kung Fu Panda machine is running out of steam — thankfully, though, it has just enough power left to churn out some genuine laughs at the end.
New on MUBI
Sometimes I Think About Dying
Where to watch: Available to stream on MUBI
Image: Oscilloscope Laboratories
Genre: Romantic drama Run time: 1h 34m Director: Rachel Lambert Cast: Daisy Ridley, Dave Merheje, Parvesh Cheena
Star Wars icon Daisy Ridley takes a dramatic turn in this new existential drama, playing the role of a socially awkward office worker who tentatively attempts to come out of her shell. It’s dark, funny, awkward, and achingly human.
Not much happens in Sometimes I Think About Dying, but that’s the point of the movie. Even the smallest thing, like Fran mustering up the courage to say goodbye to someone after work, is given huge weight. The movie lingers on the mundane, using it to paint a thorough portrait of who she is, without having her say or act much. The steps she takes to help overcome her social anxiety might seem small, but they’re all hurdles to her. It’s a movie made up of quiet moments: pauses in conversation, lingering glances, and outstretched hands. Lambert emphasizes the importance of these small interactions, and the ways they build up to connections. It’s a quiet story that aches in the best sort of way.
New on Metrograph at Home
Last Night I Saw You Smiling
Where to watch: Available to stream on Metrograph at Home
Image: Metrograph at Home
Genre: Documentary Run time: 1h 18m Director: Kavich Neang
In the final days of a condemned, iconic building, director Kavich Neang follows three families who live there (including his own). This is the streaming premiere of the movie, which first came out in 2019 and won awards on the international festival circuit, and is a part of Metrograph’s “Davy Chou Selects” series.
New to rent
Handling the Undead
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Neon
Genre: Horror drama Run time: 1h 37m Director: Thea Hvistendahl Cast: Renate Reinsve, Anders Danielsen Lie, Bahar Pars
There’s tons of horror movies about the dead coming back to life. None of them are quite like Handling the Undead, though. Based on John Ajvide Lindqvist’s 2005 novel, the film follows the story of three families living in Oslo whose loved ones all mysteriously rise from the dead as semi-sentient corpses. How will they handle this new phenomenon, and is it a second chance to say goodbye… or a curse?
I Used to Be Funny
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Barn 12/Utopia
Genre: Comedy drama Run time: 1h 45m Director: Ally Pankiw Cast: Rachel Sennott, Olga Petsa, Jason Jones
Rachel Sennott (Bodies Bodies Bodies) stars as Sam, a stand-up comedian living in Toronto who takes on a nannying job in order to earn some cash. After the young girl she was caring for goes missing, Sam is stricken with PTSD and no longer performs comedy, haunted by the loss of her charge and her own helplessness.
IF
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Paramount Pictures
Genre: Fantasy comedy Run time: 1h 44m Director: John Krasinski Cast: Cailey Fleming, Ryan Reynolds, John Krasinski
Remember Foster’s Home for Imaginary Friends? Well, imagine that, but set in New York and starring Ryan Reynolds and not so imaginative. IF follows Bea (Cailey Fleming), a young girl who works alongside her neighbor to help imaginary friends whose real-life friends have grown up. It’s ostensibly a kids’ movie, but with a message that’s slightly… off.
Mars Express
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Everybody on Deck/GKIDS
Genre: Sci-fi action Run time: 1h 25m Director: Jérémie Périn Cast: Léa Drucker, Mathieu Amalric, Daniel Njo Lobé
This sci-fi noir thriller follows a private detective and her android partner who are hired by a wealthy businessman to track down an elusive hacker. Their investigation dovetails into a search for a missing woman before inadvertently spiralling into a vast conspiracy that threatens to unravel the fabric of human civilization.
Mars Express is the rare example of an animated feature that warrants an almost immediate rewatch upon completion, if only to appreciate the craftsmanship of its presentation. It’s a densely layered sci-fi story that’s light on proper nouns, but heavy on subtext. It’s set in a world that doesn’t tell so much as it shows the depth of its narrative and worldbuilding, by trusting its audience to pay close attention and connect the dots alongside the film’s characters. In short, it’s a rare example of “adult” animation that treats its audience like adults, and its execution elevates its premise until it stands confidently as one of the year’s best animated features.
The Beast
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Janus Films
Genre: Sci-fi romance Run time: 2h 26m Director: Bertrand Bonello Cast: Léa Seydoux, George MacKay, Guslagie Malanda
Imagine Cloud Atlas meets The Age of Innocence meets Mulholland Drive. That’s about the simplest way of describing The Beast, Bertrand Bonello’s sci-fi romance drama. Léa Seydoux (Spectre) stars as Gabrielle, a woman living in the near-future who undergoes a process to “purify” her DNA of strong emotions by reliving her past lives. Her procedure becomes more complicated after crossing paths with Louis (George MacKay), a man whom — in a past life — she may or may not have loved.
The Beast’s three timelines play with seemingly unmixable genres: a classic period romance, a gripping horror-thriller, and dystopian sci-fi. That places them at a logistical disconnect, but Bonello binds them aesthetically and emotionally. Through his lengthy, thought-provoking close-ups of Gabrielle and Louis in each section, he creates a sense of longing and isolation across time, binding together human experiences of the past, present, and future, and putting them into sharp and chilling context.
We Grown Now
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Sony Pictures Classics
Genre: Drama Run time: 1h 33m Director: Minhal Baig Cast: Blake Cameron James, Gian Knight Ramirez, S. Epatha Merkerson
Set in Chicago in the early ’90s, We Grown Now centerson the story of Malik and Eric, two young boys growing up in a housing complex who survive the mundanity of school life and the perils of their environment through the strength of their friendship. When a sudden tragedy threatens to strain their bond, Malik and Eric will have to grow up fast and make a choice between what to hold on to and what to let go of.
It seems like no world — physical nor digital — is immune to the girly pop flair of NewJeans. The globally famous K-pop group made its debut in PlayerUnknown’s Battlegrounds as part of the 30.1 update on Wednesday. The collaboration adds each member of the group as a playable character, adorable accessories to dress up your characters, emotes for popular dances set to songs like “OMG,” and more. Equal parts bizarre and wonderful, the PUBG update has already captured the fascination of fans online.
Krafton released the NewJeans x PUBG: Battlegrounds collaboration on Wednesday to Windows PC users and will release it to console users on June 20. The PC patch has introduced some environmental changes as well. For example, the Taego School has been transformed into a sparkly rainbow wonderland and there’s now a pink and purple truck stage on the starting island of every 8 km map. You can play as any member of NewJeans — Minji, Hanni, Danielle, Haerin, or Hyein — and dress your character up in adorable pastel accessories. You can view all the details on the PUBG site.
The collaboration brings a vibrant pop of color to the gritty world of PUBG. Just like other live-service games, PUBG is no stranger to surprising collaborations. PUBG has featured collaborations with the anime series Neon Genesis Evangelion and other games like Angry Birds. Despite that, the NewJeans collab manages to stick out from previous events and now people online are sharing videos showing the girls emoting in the game. The dances just look that good. Here is a video of Minji from NewJeans doing several dances from songs like “Super Shy” and “OMG.”
It’s only been a day, but people have already started to make memes of the girl group in the game. This video features several moments, including one where Haerin dances on a knocked out played and then shoots them at point blank range.
I personally can’t get this video of several characters joining in on dancing the choreo for “Hype Boy” out of my head.
There’s a lot to check out, so if a ton of Bunnies suddenly found themselves interested in trying out PUBG, I wouldn’t blame them.
Donald Duck, arguably tied with Goofy as the second most recognizable Disney character after Mickey Mouse, starred in over 150 short films throughout the 1930, ’40s, ’50s, and ’60s. 2024 marks the 90th anniversary of the pantsless Pekin, who persisted through the second half of the 20th century thanks to Disney Channel replays of his shorts, appearances in DuckTales, and the Kingdom Hearts games.
Disney is celebrating the duck’s birthday with the usual merch drops and theme park shenanigans, but its best gift to fans is a brand-new short: DIY Duck, Donald’s first solo short outing since 1961’s The Litterbug. Directed by veteran Mark Henn, who has remained on Disney’s hand-drawn animation team throughout the quarter-century pivot to 3D CG, DIY Duck checks all the boxes of a classic Donald short, starting with a mundane day-in-the-life problem that puts the character through the cartoon wringer.
Donald was always my favorite cartoon character: Landing between the more wholesome Disney gang and Tex Avery and Chuck Jones’ elastic, ecstatic WB cast, Donald was just… some dude… trying to learn how the world works and get by. His temper could run hot, but he was solutions-oriented. He wanted to make a buck, but wasn’t anything like Scrooge McDuck. His curiosity and zest for life meant Disney could drop him into a PSA every now and then — Donald wanted to learn, and we wanted to learn with him. I will dig up what might be his greatest adventure, Donald in Mathmagic Land, once a year just to remind myself that, yeah, math rules.
These days, Donald’s mostly a relic, playing second fiddle to Mickey in the rare instances when Disney approves its mascot character for media use. That’s a bummer, and DIY Duck is a great reminder. Today’s more sophisticated toons are often fantastical and larger than life even when speaking to nuanced human experiences. So it’s kinda nice to have a modern short, simple yet stylish in its cartooning, that is about fixing a crack in a wall — something that I, like Donald, would be absolutely terrible at. In a neat throwback, DIY Duck also pays tribute to Donald’s classic rage voice by using archive clips of Clarence “Ducky” Nash, who voiced the character for 50 years.
While Disney maintains a hand-drawn department, the company mostly deploys it for stunts (like DIY Disney and last year’s Once Upon a Studio short) and skeletal work on 3D CG features. During a visit to Walt Disney Animation for 2014’s Big Hero 6, I was fortunate to watch Henn in action, cartooning by hand for a scene that would later be painted over and rendered with the finished CG art. Whether Disney will ever make a new hand-drawn feature — or, heck, a steady stream of Donald shorts! — is unclear, but by keeping Henn and the team on board, the studio implicitly understands the soul of the medium, whether it’s breathing life into 3D characters or reviving a legacy for an act of tribute. I’m just hoping this isn’t the last time we see Donald in this form over the next 60 years.
Jesse Plemons is a brilliant actor. He’s also one of our most memeable stars. It’s not that he’s super expressive — quite the opposite, in fact. He’s usually quite placid, and almost hesitant in his line deliveries. He takes his time. But, whether he’s playing a timid everyman in The Power of the Dog or season 2 of Fargo or a stout lawman in Judas and the Black Messiah or Game Night, there’s always something going on behind his narrowed, watchful eyes. His stillness, his pauses, and his plain, unvarnished way of speaking act as a gravitational force, drawing the camera and other actors into his orbit. He’s also, in a low-key way, extremely funny.
A still image of Plemons in his ten-gallon Stetson in Killers of the Flower Moon, standing immovably in the doorway of Leonardo DiCaprio’s character’s house, has become internet shorthand for calmly and righteously calling bullshit. “I’ve been sent down from Washington D.C. to see about these murders.” “See what about ’em?” (A tiny pause, just long enough to be noticeable.) “See who’s doing it.”
That scene was used in the movie’s trailer, and Plemons’ masterful deadpan jolted it to life. Less than a year later, he was at it again in the first trailer for Alex Garland’s Civil War, with another pause, and another matter-of-fact line delivery, that lingered in the mind even longer than Garland’s stark, button-pushing imagery of America torn apart by war. Wearing military fatigues and a pair of bright red sunglasses with red lenses, and holding a rifle, Plemons is shown interrogating the film’s journalist heroes. “There’s some kind of misunderstanding here,” says Wagner Moura’s character, Joel. “We’re American, OK?”
“OK,” says Plemons, taking a second to scratch his stubbly cheek. “What kind of American are you?”
The full scene has much the same impact on the final movie, and the question posed by Plemons’ nameless character looms large over the whole enterprise long after the credits have rolled. For me, this was the moment Garland’s expertly made, thrilling, but somewhat withholding movie finally bared its teeth.
Civil War has come in for some criticism for not clearly articulating the root causes of the conflict it portrays, or for having its cake and eating it by marrying a fence-sitting political stance with deliberately provocative imagery. I’m not going to litigate the case for or against it here — Garland has laid out his reasoning for approaching the story this way very clearly in interviews, and the polarized reactions to the movie tend to say more about the viewers than the film.
Civil War is essentially a road movie that follows a team of journalists on a dangerous odyssey to meet America’s fascist president before he’s overthrown by an alliance of independent-minded states. As the ravaged landscape scrolls by, Garland stages a series of Apocalypse Now-style vignettes that underline the surreal horrors of war, and provoke questions about the role reporting plays in society: torture at a gas station, summary executions after an intense gun battle, a weirdly peaceful town ruled by a watchful militia. At every stage, he’s careful to avoid naming sides, or bringing any kind of political ideas into the mix.
That’s true for the Plemons scene too — up to a point. The scene occurs a little past the halfway mark; cub photojournalist Jessie (Cailee Spaeny) and Bohai, another reporter, have been separated from their friends and get captured by Plemons’ small militia team. The soldiers — it’s not clear which faction they belong to, if any — are dumping a truckful of bodies into a mass grave. Joel, Lee (Kirsten Dunst), and Tony (Nelson Lee) approach to try to negotiate their friends’ release. As an opener, Plemons’ character shoots Bohai dead. Then he poses his question.
Image: A24
On a simple level, the scene works so well because it gives us a clear bad guy — perhaps the only one in the movie — played by a great, charismatic actor. That’s always been one of cinema’s purest pleasures. Plemons, who was cast only a week before filming after a different actor dropped out, is extremely menacing without breaking the movie’s muted, realist tone. His red sunglasses — a true stroke of genius from the costume department — give him an iconic pop on the screen. The scene is shocking and suspenseful, and it moves an already gripping film up a gear. It’s also a dramatic fulcrum for most of the film’s characters, none of whom is quite the same afterward.
But this is also the first and perhaps only moment in Civil War when its troubling subtext about our current time comes searingly to the surface. “What kind of American are you?” Is Plemons asking which side of the conflict the reporters belong to, or something else? Sensing the danger in the question, Joel replies that he’s from Florida. “Hmm, a central American,” Plemons replies, dubiously. Lee and Jessie are from Midwestern states, so they get a pass. Not coincidentally, they’re also white. “Now, that’s American.” Tony, crying with fear, admits he’s from Hong Kong, and is immediately shot in the head.
It’s racism; it always comes back to racism. With the truck and ditch full of noticeably nonwhite bodies in the background, Garland is pointing out that the evil of ethnic cleansing almost always follows on the heels of war. But the implications of Plemons’ interrogation are even broader and more frightening than that. While accepting Lee and Jessie’s heritage, he also mocks them for their rootless detachment from it. When a terrified Jessie admits she doesn’t know why they call her home state of Missouri the “Show-Me State,” Plemons responds with a chilling bark of derisive laughter. (The question was improvised; Spaeny really is from Missouri, and really doesn’t know why people call it that.)
When he asks “what kind of American,” Plemons’ character isn’t just insinuating about race. He’s posing a fundamental question of identity: How do you perceive your Americanness, and how deeply are you rooted in it? A reply that has any less than total conviction won’t pass muster. In this scene and this scene only, Garland gets to the heart of the matter — the scary, polarized essentialism that can push a country to tear itself apart, and that is all too easy to recognize in the current moment. All its threat and horror are contained in one of Jesse Plemons’ little pauses.
Elden Ring: Shadow of the Erdtree will send players on a new journey this summer to the Land of Shadow, where they will learn more about one of the game’s most mysterious demigods, Miquella of the Haligtree.
Game director Hidetaka Miyazaki says that players will track Miquella on their journey through the Land of Shadow, “tracing his path and following in his footsteps, trying to see what he’s going to do there,” similar to how players followed the light of grace in the base game. Players will also discover what compelled Queen Marika, who shattered the Elden Ring in the game’s story, to visit the Land of Shadow.
Elden Ring players who haven’t pored over the bits of lore scattered throughout the game’s dialogue and item descriptions may not know much about Miquella, and about his role in the game’s story. We’re here to tell you what you need to know so you don’t have to watch an hourlong lore video that unpacks it all.
Who is Miquella in Elden Ring?
A statue depicting Malenia and MiquellaImage: FromSoftware/Bandai Namco via Polygon
Miquella of the Haligtree is a demigod in the world of Elden Ring and a being known as an Empyrean. That means he is a candidate to succeed Queen Marika as the vessel for the Elden Ring.
We don’t really see Miquella in the game, but he’s the older twin brother of Malenia, the fearsome, rot-afflicted boss who resides at the base of the Haligtree. An offspring of the game’s penultimate boss, Radagon, and Marika (who are, uh, the same person), Miquella only appears in withered cocoon form in the main game’s story. As teased in Shadow of the Erdtree’s reveal trailer, Miquella’s cocoon will be the doorway to the Land of Shadow when the DLC launches.
Malenia and Miquella were both born with terrible afflictions: Malenia with rot that would consume her limbs and sight, and Miquella with eternal childhood. Statues of the brother-sister duo are scattered throughout the Haligtree, showing full-grown Malenia embracing her twin, who is stuck in the body of a young boy. Other statues show the twins at a younger age being embraced by their older sibling, Godwyn the Golden.
Malenia calls Miqeulla “the most fearsome Empyrean of all,” with the wisdom and the allure of a god. Miquella is also said to be beloved by many, and can compel the affections of others.
What’s Miquella’s relationship to Malenia? And Mohg?
Image: FromSoftware/Bandai Namco via Polygon
Malenia and Miquella were close. The former fought to protect her brother, earning her the name Malenia, Blade of Miquella. Miquella was similarly protective, and worked unsuccessfully to develop a remedy for Malenia’s rot affliction. One of Miquella’s inventions was an unalloyed golden needle, which players can use to undo the Flame of Frenzy. (Miquella strived to “ward away the meddling of Outer Gods,” according to the description of Miquella’s Needle; an Outer God appears to be responsible for the spread of rot, too.)
As part of his work to cure his sister and after leaving the faith known as the Golden Order, Miquella sought to create a new Erdtree, nurturing a sapling with his own blood. This endeavor would fail and produce the Haligtree, which would become a haven for the meek and afflicted. Miquella ultimately embedded himself within the Haligtree to grow it, residing in the cocoon, but he was kidnapped by Mohg, the Lord of Blood, who sought to become Miquella’s consort.
That’s why Mohg has Miquella’s cocoon in his chambers. Mohg essentially stole Miquella from his Haligtree womb, in which the Empyrean now appears to have grown older compared to his previous boylike form.
If Miquella’s stuck in that cocoon, how is he also in the Land of Shadow?
Miquella’s arm juts from his cracked cocoon in Mohg’s palaceImage: FromSoftware/Bandai Namco via Polygon
Miquella is said to have “divest[ed] himself of his flesh, his strength, and his lineage,” according to Shadow of the Erdtree’s official description. Miquella may not be a purely physical being in the DLC, and the Land of Shadow may not be a purely physical space; FromSoftware has a history of sending players to alternate time periods and dreamlike spaces in its expansions for games like Dark Souls and Bloodborne.
Furthermore, there’s well-supported speculation that Miquella is connected to a character named St. Trina, who is also unseen in Elden Ring. Trina is said to be a mysterious character of ambiguous gender who has close associations with sleep and dreams, according to a few in-game item descriptions. Followers of St. Trina are said to look for her while they sleep, and we know that Miquella has been slumbering for some time.
Both Trina and Miquella are also associated with nearly identical in-game items — Trina’s Lily and Miquella’s Lilly — that may connect them in still-unclear ways. However, in content that was discovered to have been cut from Elden Ring, it’s hinted that Miquella and St. Trina are actually the same person. That connection could be explained or confirmed in Shadow of the Erdtree, insofar as things ever get “explained” in FromSoftware games.
Greetings, Polygon readers! Each week, we round up the most notable new releases to streaming and VOD, highlighting the biggest and best new movies for you to watch at home.
This week, Kung Fu Panda 4, the new animated action comedy starring Jack Black, arrives on VOD following its theatrical run last month. There’s tons of other exciting releases this week, too, like the satirical spy thriller Argylle on Apple TV Plus, a new action thriller starring Aaron Eckhart as a former CIA agent landing on Netflix, the new romantic fantasy film The Greatest Hits on Hulu, and much more. And then there’s Mayhem!, one of the best action movies of the year so far, now streaming on AMC Plus.
Here’s everything new that’s available to watch this weekend!
New on Netflix
Strange Way of Life
Where to watch: Available to stream on Netflix
Image: El Deseo/Saint Laurent Productions
Genre: Western drama Run time: 31m Director: Pedro Almodóvar Cast: Ethan Hawke, Pedro Pascal
This Western short from legendary Spanish director Pedro Almodóvar (Volver, Pain and Glory) follows the story of two gunslingers (and former lovers) who reunite after 25 years apart.
The Bricklayer
Where to watch: Available to stream on Netflix
Image: Millennium Media/Vertical Entertainment
Genre: Action thriller Run time: 1h 50m Director: Renny Harlin Cast: Aaron Eckhart, Nina Dobrev, Tim Blake Nelson
The latest in a long tradition of “action movies with odd profession titles,” The Bricklayer follows a former CIA agent (Aaron Eckhart) needed by his former agency when journalists start dying. The movie has a bit of pedigree behind it, as Renny Harlin (Cliffhanger, Die Hard 2) directs.
Genre: Musical romance Run time: 1h 34m Director: Ned Benson Cast: Lucy Boynton, Justin H. Min, David Corenswet
After suffering the loss of her boyfriend in a car accident, a young woman named Harriet (Lucy Boynton) inadvertently discovers that she has the power to go back in time to various points in their relationship by listening to his old record collection. When Harriet meets a new love interest named David (Justin H. Min), she struggles between her desire to correct the past to resurrect her boyfriend or pursue the possibility of newfound love in the present.
New on Prime Video
The Exorcist: Believer
Where to watch: Available to stream on Prime Video
Image: Universal Studios
Genre: Horror Run time: 1h 51m Director: David Gordon Green Cast: Leslie Odom Jr., Ellen Burstyn, Ann Dowd
David Gordon Green’s new entry in the Exorcist franchise arrives this week on streaming. It’s a bizarre twist on the franchise, per our review:
Up until this most recent movie, the title The Exorcist carried some weight. While its role as a representation of quality was up for debate, its mark as a sign of ambition was not. Since the original Exorcist, the series has provided some of American cinema’s best and most interesting artists with space to ruminate on faith and evil. Believer lacks the ambition that’s meant to define an Exorcist movie. This is the most profound statement the movie has to offer, seemingly by accident: If the result of moving past God is that everything in the world will feel as empty and pointless as The Exorcist: Believer, we should cling to faith forever.
New on Apple TV Plus
Argylle
Where to watch: Available to stream on Apple TV Plus
Photo: Peter Mountain/Universal Pictures/Apple Original Films/Marv
Genre: Action comedy Run time: 2h 19m Director: Matthew Vaughn Cast: Henry Cavill, Bryce Dallas Howard, Sam Rockwell
What happens when you take the meta-fictional irreverence of Stranger than Fiction and smash it together with a premise similar to Matthew Vaughn’s 2014 movie Kingsman: The Secret Service?
You get Argylle, an action satire of spy novels à la 1984’s Romancing the Stone that follows Elly Conway (Bryce Dallas Howard), an introverted novelist who is dragged kicking and screaming into a world of international espionage when it turns out that her popular spy novels are predicting the future. Who is the real agent Argylle? You’ll have to watch in order to find out.
Argylle is too winking, too keen to show that it’s in on its own joke, to admit any real romantic feeling or any excitement that runs deeper than the surface level of its flashy choreography. Vaughn, the impish ringmaster, delights in challenging the audience to figure out what’s real and what’s fictional within his stylized, nested worlds. It’s just that he never really answers the question: Why should we care? With Argylle, he mounts a playful, rollicking thriller with an all-star cast and some dazzling action — but then holds the audience at arm’s length from it, just to show how clever he’s been in putting it together. The truly clever thing would have been to let the dumb film be joyously dumb, and invite the audience to lose themselves in it instead.
Genre: Road comedy Run time: 1h 24m Director: Ethan Coen Cast: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein
Ethan Coen’s first narrative feature without his brother Joel is an offbeat crime comedy about a pair of young women who embark on an impromptu road trip. Things get dicey after the two cross paths with a group of incompetent criminals sent to retrieve a mysterious briefcase on behalf of their shady employer.
Drive-Away Dolls’ well-worn beats are buttressed by tremendous style, a deep care taken with the film’s production and costume design. All that attention to the era that isn’t fully present in the script comes out in the visuals instead. There isn’t much narrative texture to Marian and Jamie’s various stopovers — in particular, there isn’t much for Jamie or Marian to connect with. While the pair have frequent and funny interactions on their trip, the people they meet are more or less cartoon characters setting up a gag.
New on Paramount Plus
Bob Marley: One Love
Where to watch: Available to stream on Paramount Plus, MGM Plus
Image: Paramount Pictures
Genre: Biographical musical Run time: 1h 47m Director: Reinaldo Marcus Green Cast: Kingsley Ben-Adir, Lashana Lynch, James Norton
This biopic follows the story of cultural icon Bob Marley, portrayed by Kingsley Ben-Adir (One Night in Miami…). The film follows Marley from his rise to fame in the ’70s up until his death in 1981.
An early contender for one of this year’s best action films, Mayhem follows Samir (Nassim Lyes), an ex-con and martial artist, who flees from France to Thailand to escape his former gang. Struggling to build a new life, Samir finds himself once again dragged into a world of deceit and violence when a powerful real estate tycoon kidnaps a member of his family.
Mayhem’s action is brutal and kinetic, with inventive kills, strong location work, and realistic choreography that makes the most of Lyes’ kickboxing pedigree. It’s a true star-making performance for him, as he juggles the role’s demanding physical requirements with a deep well of sorrow that permeates the entire affair, even as he dispatches foe after foe.
New to rent
Ennio
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Music Box Films
Genre: Documentary Run time: 2h 36m Director: Giuseppe Tornatore
Cinema Paradiso director Giuseppe Tornatore made a documentary on renowned film composer Ennio Morricone, one of the most accomplished people in that stacked field. The documentary includes Quentin Tarantino, Clint Eastwood, Bruce Springsteen, and many more luminaries from the entertainment world.
Glitter & Doom
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: SPEAK Productions/Music Box Films
Genre: Musical romance Run time: 1h 55m Director: Tom Gustafson Cast: Alex Diaz, Alan Cammish, Ming-Na Wen
A musical set to the songs of the Indigo Girls, Glitter & Doom follows a summer romance between a musician committed to this craft (Alan Cammish) and a “free-spirited circus kid” (Alex Diaz).
Io Capitano
Where to watch: Available to rent on Apple and Vudu
Image: Archimede/Cohen Media Group
Genre: Fantasy Run time: 2h 1m Director: Matteo Garrone Cast: Seydou Sarr, Moustapha Fall, Issaka Sawadogo
Desperate for an escape out of poverty, two cousins leave their hometown of Dakar, Senegal, to journey to Italy in search of a better life. Trekking across the hazards of the Sahara Desert and Mediterranean Ocean, the pair are met with sights and wonders beyond their wildest imaginations.
Kung Fu Panda 4
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: DreamWorks Animation
Genre: Martial arts comedy Run time: 1h 34m Director: Mike Mitchell Cast: Jack Black, Awkwafina, Bryan Cranston
The fourth entry in the Kung Fu Panda saga sees Po taking on a new apprentice to succeed him as the Dragon Warrior. When a mysterious sorceress plots to resurrect Po’s past adversaries, he’ll need to call upon all his strength and allies to save the day.
While the individual scenes and moments in Kung Fu Panda 4 are entertaining (and sometimes even great), it never quite gels as an enjoyable movie on its own. The message of change tying it together is flimsy, and the plot feels strung along, trying to get the characters in the right place to launch a few seconds of cool action. After four movies, it isn’t really a surprise that the Kung Fu Panda machine is running out of steam — thankfully, though, it has just enough power left to churn out some genuine laughs at the end.
One Life
Where to watch: Available to rent on Amazon, Apple, and Vudu
Photo: Peter Mountain/Bleecker Street
Genre: Biographical drama Run time: 1h 50m Director: James Hawes Cast: Anthony Hopkins, Helena Bonham Carter, Johnny Flynn
Anthony Hopkins stars in a dramatization of the life of Sir Nicholas “Nicky” Winton, a London broker and humanitarian who rescued the lives of 669 Jewish children in the months leading up to World War II. Hopkins portrays Winton in his late ’70s, while actor-musician Johnny Flynn portrays him during his youth in the late 1930s.
Sleeping Dogs
Where to watch: Available to rent on Amazon, Apple, and Vudu
Image: Nickel City Productions/The Avenue
Genre: Crime thriller Run time: 1h 50m Director: Adam Cooper Cast: Russell Crowe, Karen Gillan, Marton Csokas
After being diagnosed with Alzheimer’s disease, retired homicide detective Roy Freeman (Russell Crowe) is motivated to reopen an investigation into the murder of a college professor when a mysterious new witness comes forward with a compelling piece of evidence. As he works to track down the true culprit, he’ll have to fight to convince those around him to trust his intuition and theories.
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25543085/TDW_12353_R.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25543087/TDW_20665_R.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25492632/Trigger_Warning_n_00_24_40_08_R2.jpg_Trigger_Warning_n_00_24_40_08_R2.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25492102/Black_Barbie_00_57_55_04.png_Black_Barbie_00_57_55_04.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25496525/ROFE_2024_FG_01045610_Still106_3000.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377683/07kungfu_panda_review_mgqz_videoSixteenByNine3000.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25248456/SITAD_1.1.10.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25496362/LastNightISawYouSmiling_HD_03.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25496013/Handling_the_Undead_01.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25492612/i_used_to_be_funny_8.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25492615/IF_VFX_012R_copy.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25430828/Mars_Express_08____Everybody_On_Deck___GKIDS.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25284199/Beast.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25492110/ca_times.brightspotcdn.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25408634/Civil_War_2b.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25403202/ELDEN_RING__20240416143228.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25403184/ELDEN_RING__20220426193630.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25313318/ELDEN_RING__20240228210528.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25281479/strange_way_of_life_644a817f911e8.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25385617/TB_00321_e1698095503266.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377673/the_greatest_hits.jpeg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/24889828/2560_TP_00080AR.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25318833/5776_D009_00116R.jpeg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/24748944/drive_away_dolls.png)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25343079/MCDBOMA_PA011.jpeg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25190434/GAxF9cRW0AAKiMF.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377745/ennio_morricone_documentary_trailer.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377747/ca_times.brightspotcdn.jpeg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377748/ems.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25321200/10E57_sq300_s250_f271_2K_final_copy.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377754/ca_times.brightspotcdn.jpg)
:format(webp):no_upscale()/cdn.vox-cdn.com/uploads/chorus_asset/file/25377690/sleeping_dogs_key_set_stills_07.jpeg)