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discworld,-daleks,-and-deep-13:-a-geeky-holiday-tv-and-movie-watchlist

Discworld, Daleks, and Deep 13: A geeky holiday TV and movie watchlist


There’s obviously more to Christmas flicks than Netflix romcoms.

I promise that most of this list is better than the Star Wars Holiday Special. Credit: Disney

‘Tis the season for all kinds of festive titles to start appearing in our to-watch queues. For folks who celebrate Christmas in any form, there are a million different movies and TV specials vying for your attention. There are the beloved favorites that we’ll make the time to revisit year after year, plus the seemingly endless number of new titles arriving on the various streaming services this season.

But in all honesty, most of these movies are made for and by the mainstream. So if you don’t want a broad family slapstick or yet another big city girl going back to her small town to learn the meaning of Christmas, here are a few options to bring some geekiness to your screen. Make the season nerdy and bright!

Let’s get it out of the way immediately: Star Wars Holiday Special

It’s almost too bizarre to be believed, but yes, this was a thing that existed, and it lives on in legend. The cast of Star Wars returned for this TV special, where the gang goes to the Wookie planet Kashyyyk to celebrate Life Day. They’re joined by some surprising guests. Golden Girls icon Bea Arthur is in it alongside The Honeymooners’ Art Carney, acclaimed multi-disciplinary performer Diahann Carroll, and the band Jefferson Starship.

Let’s not mince words. The holiday special is bad. But it’s bad in a strangely riveting way that’s kind of hard not to enjoy. And at least it falls chronologically before The Empire Strikes Back, so you can immediately cleanse your viewing palate with one of the series’ best after one of its lowest moments. And the ice planet of Hoth practically makes Empire a Christmas movie of its own, so commit to the double feature for a full night of sci-fi.

Babylon 5‘s surprising “Fall of Night”

For most TV shows, a holiday episode is an outlier that exists separately from the main story arcs. Not so for Babylon 5. “Fall of Night” closes the show’s second season, and it manages to tie together many of the loose ends in a satisfying conclusion while also blending in many of the themes you’d expect from a Christmas episode.

It’s a bit unusual, but it’s definitely a Christmas episode. Credit: Warner Bros Discovery

There’s angelic intervention and gift-giving between Sheridan and Ivanova alongside the heavier topics of interstellar politics. The references to World War II aren’t terribly subtle, but the desperate yearning for peace in the galaxy also makes this a solid choice for science fiction fans to queue up this season.

Doctor Who, many times over

The Time Lords have gifted viewers with more than a dozen festive episodes over the many iterations of Doctor Who. Fans of the old-school series only have one true Christmas episode from the original 1960s run to check out: “The Feast of Steven.” In the modern era, though, the holidays are often when a Doctor passes the mantle to the next in line, so there are plenty of chances to cap off the starring actor’s work in fine style.

Current viewers may most closely connect the Christmas specials to the David Tennant era thanks to episodes like “The Christmas Invasion,” “The Runaway Bride,” and the epic two-parter “The End of Time.” Matt Smith also takes a turn in several strong holiday outings, particularly “The Time of the Doctor.”

The Doctor walks through a Christmas scene

Just one of several Doctor Who Christmas episodes. Credit: BBC

This is one of the few television series to treat New Year’s Eve as a winter holiday worthy of its own showpieces, particularly in the past few years. Jodie Whittaker got the NYE treatment with a trio of Dalek-centric stories, most notably with the very funny “Eve of the Daleks” episode.

Hogfather, for a Terry Pratchett Christmas

The wildly funny fantasy author Terry Pratchett is beloved by many readers for his sprawling Discworld novels. A few directors have made the leap from page to screen with Pratchett’s stories, and Hogfather is one of the best adaptations. That could be partly because Death and Susan are two of the best characters in the whole Discworld universe, and they figure prominently in this Christmas tale. They’re also perfectly cast: Susan is played by Michelle Dockery before her rise to Downton Abbey fame, and Death is voiced by stage and screen actor Ian Richardson.

Terry Pratchett. That’s all you likely need to know. Credit: Sky One

In this Discworld take on Christmas, a shadowy group called The Auditors orders the kidnapping of the Hogfather (who bears no small resemblance to Santa Claus). To avert a holiday catastrophe, Death himself takes over the role of delivering presents on Hogswatchnight. This two-part TV movie captures all the irreverent humor that has won Pratchett so many fans over the years, and it’s a must-watch for anyone who adores that peculiar world atop the Great A’Tuin and its quartet of elephants.

Gremlins, the dark horse cult classic option

Gremlins is a cult classic for a reason and one of the more enduring movies for those who aren’t looking for everything to be bright, cheery fun during the holidays.

A gremlin with a Christmas hat

Fun fact: This film managed to scandalize so much that it partially led to the creation of the PG-13 rating. Credit: Disney

You can read it as a send-up of Christmas consumerism, a wacky horror-comedy flick, an impressive showcase of movie puppetry, or all three at once. Plus, it’s just so very, very ’80s. I doubt I have to say much more to sell you on it, because I’d guess most Ars readers already watch it on the regular.

Mystery Science Theater 3000, naturally

Whether it’s in the Satellite of Love or the Gizmoplex, the hilarious brains behind Mystery Science Theater 3000 can spoof any and all terrible movies, including the festive ones. I often enjoy some MST3K as a kickoff to the holiday season with the group’s Thanksgiving shows, but there’s also plenty of bad movie fun to be had in December.

There are a few standouts for true Christmas movie episodes. Experiment 321 sees Joel and bots watching Santa Claus Conquers the Martians, a truly terrible flick from the 1960s in which a Martian leader captures old Saint Nick to try and make the children on the red planet happier. For Mike fans, check out experiment 521, where the film is Santa Claus and even the host skits have a festive theme. Finally, from the Netflix era, Jonah and the bots suffer through The Christmas That Almost Wasn’t in experiment 1113. All three are excellent episodes despite the movies being the cinematic equivalent of a lump of coal in your stocking.

Joel and the bots by a Christmas tree

Joel doesn’t exactly exude holiday cheer, but that’s kind of the joke. Credit: Satellite of Love

But that’s just the tip of the iceberg. Some of the other experiments have movies set at Christmastime or sneak in occasional festive jokes from the cast. And if that’s still not enough to satisfy, there’s also nearly endless fodder you can find digging through the RiffTrax library—they even spoofed the Star Wars Holiday Special.

The Lion, the Witch, and the Wardrobe (with some Turkish delight)

Many directors have created their own spin on this C.S. Lewis story over the decades, and any of them make for a quality addition to your holiday lineup. It works for any attitude toward holiday time. If you prefer to be agnostic about it, just soak up the winter vibes created by the White Witch and maybe treat yourself to some Turkish delight while you watch. If you’re all about the presents, be sure to watch one of the versions that adheres to the books by having Father Christmas make an appearance. And if you want to honor the religious history, then enjoy the lion Aslan as a non-too-subtle analog for Jesus.

A character from Narnia

The classic BBC series probably won’t work for younger audiences today, but you had to be there, and some of us were indeed there. Credit: BBC

I’m partial to the 1988 BBC adaptation because it was the first one I saw, but the 2005 Disney film is pretty decent as well. Or, if you’ve already seen all of the Doctor Who specials enough times to quote them verbatim, make your viewing choice based on the acting crossovers, because something about Aslan seems to draw performers with ties to that show. In the animated 1979 version, Whovian actor Stephen Thorne voiced the lion, while Ronald Pickup played him in the 1988 adaptation and its sequels.

8-Bit Christmas, A Christmas Story for the ’80s

Remaking a classic is a bold endeavor. We’ve seen many an effort fall flat, especially when the source material is a near-perfect comedy like A Christmas Story. But against the odds, 8-Bit Christmas pulls off the high-wire act with charm and warmth. This version reframes the dream of the unattainable Christmas present by leaping forward a few decades. Rather than Ralphie’s quest for the Red Ryder rifle, Jake wants the latest and greatest in gaming: a Nintendo Entertainment System.

Now, if you were a gamer in your youth, there are some scenes here that will speak to your soul. There’s an early moment where Jake and the other kids on his suburban block are hanging out in the basement of one lucky boy who has an NES of his own. They’re gathered shoulder to shoulder around the tube TV, arguing over who should get the controller next. Every detail in this scene, from the sweaters and the set dressing to the look of rapture as the kids experience the power of a new console for the first time is just perfection.

A kid celebrates playing Nintendo

The film is at least a great concept, and it delivers pretty well on it. Credit: HBO Max

There are also other cute ’80s nods; for instance, while Jake is lusting after an NES, his sister wants a Cabbage Patch doll with the same single-minded desire. Those of us who grew up in the ’80s know that feeling well. Heck, those of us who were huddled over our browsers refreshing in a panic hoping to snag the Switch 2 just earlier this year know that feeling. This geeky tale was a pleasant surprise to find among the modern-day Christmas movie productions.

The otaku choice: Tokyo Godfathers

The otaku nerds surely already know this one well, but I would be remiss not to include this anime masterwork. It’s a poignant addition to anyone’s Christmas viewing list, geek or otherwise. The film is by legendary manga artist and anime director Satoshi Kon, and it received a new English dub a few years ago that’s particularly recommended.

The film is dripping with atmosphere and creative ideas. Credit: Sony

As with so many of the best movies, it’s probably best to go in without knowing too much. The first key point is: It’s a story of three people living on the streets of Tokyo on Christmas Eve. And the second is: while the phrase is trite, Tokyo Godfathers genuinely can and will make you laugh and make you cry.

In Daria, “Depth Takes a Holiday”

In the ’90s, Daria Morgendorffer was the queen of the teenage outcasts, even though she would have hated having that title. The irreverent animated series from MTV holds up impressively well under modern scrutiny. (Although yes, in most available ways to rewatch it, the licensed music is gone. Just cue up the most important tracks you remember when you watch.)

For such an offbeat program, it’s surprising that Daria did, in fact, include a festive episode called “Depth Takes a Holiday.” In this break from the show’s usual reality, several holidays in human form appear in the Lawndale suburb, causing chaos and playing some rock music. Daria eventually agrees to help restore the natural order of things and get these holidays back to their home on Holiday Island, which is just as cliquey and pointless as Lawndale High.

Daria meets surreal mythical characters

It’s a controversial episode, but it has its merits. Credit: Paramount

“Depth Takes a Holiday” is pretty dang weird, and it’s a love-it or hate-it point in the third season. But I say it’s all the more reason to spend December revisiting some of my favorite Daria episodes alongside this. For those in the hate-it camp, you’ll enjoy the other episodes even more in contrast. And if you’re in the love-it audience, mark your calendar to also watch it on Guy Fawkes Day.

Honorable mention: A Christmas Carol audiobook

I realize that an audiobook is not viewing, but any Star Trek fan worth their replicator-made salt should have this title in their Christmas rotation. Patrick Stewart did take a turn in a Hollywood production of this classic tale in 1999, and that’s a plenty good adaptation.

But why settle for one of the great thespians and geek icons playing just a single role? Stewart also narrated an audiobook version of A Christmas Carol, and it is simply stellar. He gets to provide incredible voices for each character, plus he gets really into all the eerier parts of Charles Dickens’ holiday ghost story. Queue this up in your headphones on a snowy winter’s night, close your eyes, and you can really imagine that Captain Picard is personally reading you a bedtime story.

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Odyssey trailer brings the myth to vivid life

It’s difficult to underestimate the tremendous influence Homer’s epic has had on global culture. Nolan himself recalled seeing the Odyssey performed as a school play when he was just 5 or 6 years old. “I remember the Sirens and him being strapped to the mast and things like that,” he recently told Empire. “I think it’s in all of us, really. And when you start to break down the text and adapt it, you find that all of these other films—and all the films I’ve worked on—you know, they’re all from the Odyssey. It’s foundational.”

In addition to Damon, the cast includes Anne Hathaway as Penelope; Tom Holland as Odysseus’ son, Telemachus; Robert Pattinson as Antinous, one of Penelope’s many suitors; Jon Bernthal as the Spartan king, Menelaus; Benny Safdie as the Achaean commander during the Trojan War, Agamemnon; John Leguizamo as Odysseus’ faithful servant, Eumaeus; Himesh Patel as his second-in-command, Eurylochus; Will Yun Lee and Jimmy Gonzales as crew members; and Mia Goth as Penelope’s maid Melantho. We also have Zendaya as Athena, Charlize Theron as Circe, and Lupita Nyong’o in an as-yet-undisclosed role.

The Odyssey hits theaters on July 17, 2026.

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Strava puts popular “Year in Sport” recap behind an $80 paywall

Earlier this month, Strava, the popular fitness-tracking app, released its annual “Year in Sport” wrap-up—a cutesy, animated series of graphics summarizing each user’s athletic achievements.

But this year, for the first time, Strava made this feature available only to users with subscriptions ($80 per year), rather than making it free to everyone, as it had been historically since the review’s debut in 2016.

This decision has roiled numerous Strava users, particularly those who have relished the app’s social encouragement features. One Strava user in India, Shobhit Srivastava, “begged” Strava to “let the plebs see their Year in Sport too, please.” He later explained to Ars that having this little animated video is more than just a collection of raw numbers.

“When someone makes a video of you and your achievements and tells you that these are the people who stood right behind you, motivated you, cheered for you—that feeling is of great significance to me!” he said by email.

Strava spokesperson Chris Morris declined to answer Ars’ specific questions about why the decision to put Year in Sport behind a paywall was made now.

Other users feel that Strava is getting a bit too greedy. Dominik Sklyarov, an Estonian startup founder, wrote on X that Strava’s decision was a “money hungry move, really sad to see. Instead of shipping useful features for athletes, Strava just continues getting worse.”

Meanwhile, Reddit user “andrewthesailor” pointed out, “Well, they want me to pay to look at data I gave them (power, [heart rate] etc). And the subscription is not that cheap, especially when you consider that you are also paying with your data.”

Sana Ajani, a business student at the University of Chicago, told Ars that she used to be a premium member but isn’t anymore.

“I did notice the Year in Sport and was a little annoyed that I couldn’t unlock it,” she said in an email. “I would’ve expected some overall stats for everyone and extra stats for subscribers. Year in Review-type stuff is great content and distribution for most apps since everyone shares it on socials, so I’m surprised that Strava is limiting its reach by only letting paid subscribers see it.”

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Neural DSP models John Mayer’s entire amp and effects rig—and it sounds great


Mayer gets the “Archetype” treatment.

Guitarists today are spoiled for choice, and that goes doubly true for players who use computer-based amp modeling software. I’m one such player, and I don’t miss the size, weight, deafening volume, or cost of owning an amp and cabinet collection, to say nothing of all those pedals and cables. For clean to mid-gain tones alone, I already have more terrific options than I need, including Neural DSP’s Tone King and Cory Wong and Mateus Asato, Polychrome DSP’s Lumos, and Universal Audio’s new Paradise Guitar Studio. All work slightly differently, but they can each output record-ready tones that are really, really close to the (often incredibly expensive) hardware that they model, and they each give you plenty of great-sounding presets to start from.

So do we really need one amp sim package?

Neural DSP thinks we do, because the Finnish company just dropped a major new release yesterday called Archetype: John Mayer X. It doesn’t model Mayer’s type of gear but his actual hardware units, along with all the actual settings he uses in the studio and on stage. It even has some presets that he designed. Which is great if you want to sound like John Mayer—but what does the software offer for those of us not trying to cover Continuum?

To find out, I spent a few hours playing with Mayer X, and I came away impressed. Neural DSP has released so many metal amp sims in the last few years that I’ve come to associate the company with downtuned chugga-chugga. Don’t get me wrong: I like long hair, skulls, and palm-muted riffs as much as the next person, but it’s nice to have some variety.

Mayer X’s effects pedal lineup.

Mayer X brings that variety by modeling three of Mayer’s amps: a 1964 Fender Vibroverb, a Dumble Steel String Singer #002, and a not-yet-released prototype Two-Rock. Each amp also comes with a model of its associated speaker cabinet, in front of which you can freely position zero, one, or two microphones to shape the recorded sound and to control the room tone as desired.

This is standard practice for Neural DSP’s “Archetypes” line, but one wrinkle is the new “three-in-one amp” mode that blends the sounds from all amps at once. Here’s the marketing speak: “It merges all three amps and their matching cabinets with Mayer’s exact settings, mic placements, and EQ decisions, creating a unified, dimensional sound that reflects his full signal path without requiring individual amp balancing.” In this mode, each amp gets a single knob, but you are always free to turn this off and use one particular amp instead, which exposes more controls for that unit.

Also new here is an effect that Neural calls the “Gravity Tank.” This effects unit combines Mayer’s “favorite spring reverb” with the harmonic tremolo found in the Victoria Reverberato. It sounds great; while I like spring reverbs for character, especially on guitar parts, some are a bit too “drippy” for me. And although this one definitely sounds like a spring, it’s subtle and spacious rather than clangy or overly metallic, and the tremolo—which you can sync to your DAW’s tempo—sounds terrific too.

The Gravity Tank.

Instead of a compressor pedal at the front of the amp, as in many Neural DSP plugins, the Mayer X Archetype features a rack-mounted compressor (this one is modeled off the famous Distressor) that comes after the amp. The controls are much simpler than a real Distressor, but under the hood, Neural says that it is using “Mayer’s exact attack, release, and sidechain settings”; users, however, only need to spin the Input and Output dials.

Above the compressor is an EQ, but unlike Neural’s usual practice, this is not a multiband graphic EQ. Instead, it’s a four-band semi-parametric EQ with knobs rather than sliders, plus a high-pass and low-pass filter. The EQ is said to “balance the naturally full low end of [Mayer’s] amplifiers.”

There are effects pedals here, too—five are up front, before the amps. You get a volume boost pedal meant especially to thicken the tone of single-coil pickups like those found on Fender Stratocasters or PRS Silver Sky guitars (which Mayer also helped design). Then you get an “antelope filter” that provides a sort of auto-wah effect; usually, I hate these sorts of things, but this one sounds good enough that I could see myself using it on lead lines without feeling like I’m some kind of ’70s funk refugee.

After that come two drive pedals that are modeled on the Klon Centaur, the Ibanez TS-10, and the Marshall Bluesbreaker MK1. That’s right: You get three effects units jammed into two virtual pedals, because one of the pedals has a toggle switch to offer two different tones.

Finally, there’s a bucket brigade delay meant largely for slapback echoes, while a separate post-amp effects section offers more traditional delay and reverb (both hall and plate) for space.

All three amps.

While you won’t find this exact gear and these exact settings elsewhere, several of the amp simulation suites mentioned at the top of this piece provide plenty of “ballpark” options. (Paradise Guitar Studio, for instance, also models a Klon Centaur pedal and offers boost pedals and even more overdrive pedal options, along with spring reverb and bucket brigade delays.)

Whether you need (or “need”) Mayer X depends on just what other gear you have and what kind of tone you’re chasing. To me, the presets in Mayer X sound just slightly more modern than Paradise Guitar Studio, which especially emphasizes “classic” rock sounds from the ’60s to the ’90s. And Mayer X offers so many more amps and effects than Neural DSP’s Tone King, which I previously used for some of these sorts of sounds.

One of the best things about this package is that it is not “hyped” to sound over the top in standalone guitar demos, which is why its sounds fit so well into mixes. Reverb, delay, tremolo, boost, and drive are subtle and judicious, as is compression. Nearly everything is usable if you play anywhere in the pop/blues/rock/funk landscape. Even effects like freeze delay and the antelope filter—two types of effects that generally feel irrelevant or gimmicky to me—here inspire actual creativity. This is my personal taste talking—yours may differ—but the entire Mayer X package offers tone colors I would actually use in projects rather than garish neons that sound “impressive” but are unlikely to work as-is in any given song.

So if you’re looking for Mayer’s brand of smooth-but-full blues-inspired leads or his edge of breakup rhythm tones, John Mayer X is certainly a good way to get it in one package. This doesn’t feel like a cash-in, either; the quality and variety is immediately apparent, especially in new or custom bits like the boost pedal, the antelope filter, the Gravity Tank, and the “three-in-one” amp.

Just to see what I could do with almost no tweaking, I played around with presets for a couple of hours and came up with this short demo that features rhythm, double-tracked rhythm, filtered, overdriven rhythm, and delayed lead sounds. I even laid down a little bass (Mayer X does include a few bass-specific presets to get you started). To me, everything works well right out of the box, and the sounds blend well with each other (and with bass/drum tracks) in the mix, something not always true of presets. A little EQ and some mild master bus processing, and I ended up with the demo below:

Redditors who have played with the plugin so far seem impressed. “Absolutely blown away. Every single amp, mic, cab and pedal option is usable and sounds amazing,” wrote one.

“I’m a mostly clean-to-slight-crunch player, and this is by FAR the most plug-in-and-get-great-sounds-out-of-it NDSP plugin for that style that I’ve tried,” wrote another.

But they also echo my chief complaint. The downside of all these guitar sim plugins is that they are getting increasingly expensive. Universal Audio’s recent Paradise Guitar Studio claims a full price of $199 (I say “claims” because most of the company’s products are on sale most of the time). John Mayer X is going for €169 + tax in the US ($198 at current currency rates), and even more in Europe, while Neural DSP’s previous Archetype, the Misha Mansoor X, is only €125 ($146). Perhaps in this Archetype, the “X” stands for “expensive”?

The new compressor and EQ.

That’s a lot of scratch for a plugin, though of course this one models gear worth many thousands of dollars and is far cheaper than buying modeling hardware like Neural DSP’s own Quad Cortex. (Those inclined to wait may be able to pick up Mayer X during one of Neural DSP’s biannual sales, often at 50 percent off.) And this one certainly sounds great.

If you’re one of those who suffer from gear acquisition syndrome (GAS), potent in both its physical and digital forms, these $150–$200 plugins add up quickly. Buy four or five and you’re into some real money! So if you already have other clean to mid-gain amp sims that work well for you, wisdom might suggest making your peace with what you have rather than looking for incremental improvements every time a new plugin appears. (There’s always a 14-day trial if you want to test Mayer X first.)

But if you’re newer to the amp sim market or have money to blow on your hobby or just love Mayer’s tones, Mayer X is certainly a wonderful place to start. Will you sound like Mayer? Probably not, given how much “tone” actually resides in the fingers, but you will get a great creative toolkit for bringing out the best in your own sound.

The real takeaway here is that technology has made it an amazing time to be a guitar player. We’re blessed for choices, and those choices get better every day.

Photo of Nate Anderson

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Stranger Things S5 trailer teases Vol. 2

We’re 10 days away from the next installment of the fifth and final season of Stranger Things, and Netflix has released a new trailer for what it’s calling Volume 2. This will cover episodes five through seven, with the final episode comprising Vol. 3.

(Spoilers for Season 5, Vol. 1 below.)

Season 4 ended with Vecna—the Big Bad behind it all—opening the gate that allowed the Upside Down to leak into Hawkins. We got a time jump for S5, Vol. 1, but in a way, we came full circle, since those events coincided with the third anniversary of Will’s original disappearance in S1.

In Vol. 1, we found Hawkins under military occupation and Vecna targeting a new group of young children in his human form under the pseudonym “Mr. Whatsit” (a nod to A Wrinkle in Time). He kidnapped Holly Wheeler and took her to the Upside Down, where she found an ally in Max, still in a coma, but her consciousness is hiding in one of Vecna’s old memories. Dustin was struggling to process his grief over losing Eddie Munson in S4, causing a rift with Steve. The rest of the gang was devoted to stockpiling supplies and helping Eleven and Hopper track down Vecna in the Upside Down. They found  Kali/Eight, Eleven’s psychic “sister” instead, being held captive in a military laboratory.

Things came to a head at the military base when Vecna’s demagorgons attacked to take 11 more children, wiping out most of the soldiers in record time. The big reveal was that, as a result of being kidnapped by Vecna in S1, Will has his own supernatural powers. He can tap into Vecna’s hive mind and manipulate those powers for his own purposes. He used his newfound powers to save his friends from the demagorgons.

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Filmmaker Rob Reiner, wife, killed in horrific home attack

We woke up this morning to the horrifying news that beloved actor and director Rob Reiner and his wife Michele were killed in their Brentwood home in Los Angeles last night. Both had been stabbed multiple times. Details are scarce, but the couple’s 32-year-old son, Nick—who has long struggled with addiction and recently moved back in with his parents—has been arrested in connection with the killings, with bail set at $4 million.  [UPDATE: Nick Reiner’s bail has been revoked and he faces possible life in prison.]

“As a result of the initial investigation, it was determined that the Reiners were the victims of homicide,” the LAPD said. “The investigation further revealed that Nick Reiner, the 32-year-old son of Robert and Michele Reiner, was responsible for their deaths. Nick Reiner was located and arrested at approximately 9: 15 p.m. He was booked for murder and remains in custody with no bail. On Tuesday, December 16, 2025, the case will be presented to the Los Angeles County District Attorney’s Office for filing consideration.”

“It is with profound sorrow that we announce the tragic passing of Michele and Rob Reiner,” the family said in a statement confirming the deaths. “We are heartbroken by this sudden loss, and we ask for privacy during this unbelievably difficult time.”

Reiner started his career as an actor, best known for his Emmy-winning role as Meathead, son-in-law to Archie Bunker, on the 1970s sitcom All in the Family. (“I could win the Nobel Prize and they’d write ‘Meathead wins the Nobel Prize,’” Reiner once joked about the enduring popularity of the character.) Then Reiner turned to directing, although he continued to make small but memorable appearances in films such as Throw Momma from the Train, Sleepless in Seattle, The First Wives Club, and The Wolf of Wall Street, as well as TV’s The New Girl.

His first feature film as a director was an instant classic: 1984’s heavy metal mockumentary This Is Spinal Tap (check out the ultra-meta four-minute alt-trailer). He followed that up with a string of hits: The Sure Thing, Stand by Me, The Princess Bride, When Harry Met Sally…, Misery, the Oscar-nominated A Few Good Men, The American President, The Bucket List, and Ghosts of Mississippi. His 2015 film Being Charlie was co-written with his son Nick and was loosely based on Nick’s experience with addiction. Reiner’s most recent films were a 2024 political documentary about the rise of Christian nationalism and this year’s delightful Spinal Tap II: The End Continues.

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A study in contrasts: The cinematography of Wake Up Dead Man

Rian Johnson has another Benoit Blanc hit on his hands with Wake Up Dead Man, in which Blanc tackles the strange death of a fire-and-brimstone parish priest, Monseigneur Jefferson Wicks (Josh Brolin). It’s a classic locked-room mystery in a spookily Gothic small-town setting, and Johnson turned to cinematographer Steve Yedlin (Looper, The Last Jedi) to help realize his artistic vision.

(Minor spoilers below but no major reveals.)

Yedlin worked on the previous two Knives Out installments. He’s known Johnson since the two were in their teens, and that longstanding friendship ensures that they are on the same page, aesthetically, from the start when they work on projects.

“We don’t have to test each other,” Yedlin told Ars. “There isn’t that figuring out period. We get to use the prep time in a way that’s really efficient and makes the movie better because we’re [in agreement] from the very first moment of whatever time we have crafting and honing and sculpting this movie. We don’t waste time talking abstractions or making sure we have the same taste. We can just dive right into the details of each individual scene and shot.”

This time, given the distinctive Gothic sensibility of Wake Up Dead Man, Yedlin played up the interplay between light and dark. For instance, Johnson’s script called for the occasional dramatic lighting changes, sometimes within the same scene. Case in point: When Wick is delivering his trademark hellfire-and-brimstone sermon in the pulpit, the sun bursts out of the clouds for a brief moment and illuminates him, before the clouds move back to cover the sun once again. Even Blanc gets his moment in the sun, so to speak, with his “road to Damascus” moment just before the final reveal.

“In the church, we have day, night, dawn, dusk,” said Yedlin. “We have early morning rays slashing in. As Wick’s speech swells up, the sun bursts out from behind the clouds and flares the lens. We had custom light control software so they can both control and tweak all the nuances of the lighting and also do the cues themselves where it’s changing during the shot, where it’s very flexible and we can be creative in the moment. It’s very repeatable and dependable and you can just push a button and it happens on the same line over the same length of time, every time.”

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Supergirl teaser gives us a likably imperfect Kara Zor-El

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

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

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

Supergirl hits theaters on June 26, 2026.

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

Credit: Warner Bros.

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The Boys gears up for a supe-ocalypse in S5 teaser

Prime Video dropped an extended teaser for the fifth and final season of The Boys—based on the comic book series of the same name by Garth Ennis and Darick Robertson—during CCXP in Sao Paulo, Brazil. And it looks like we’re getting nothing less than a full-on Supe-ocalypse as an all-powerful Homelander seeks revenge on The Boys.

(Spoilers for prior seasons of The Boys and S2 of Gen V below.)

Things were not looking good for our antiheroes after the S4 finale. They managed to thwart the assassination of newly elected US President Robert Singer, but new Vought CEO/evil supe Sister Sage (Susan Heyward) essentially overthrew the election and installed Senator Steve Calhoun (David Andrews) as president. Calhoun declared martial law, and naturally, Homelander (Antony “Give Him an Emmy Already” Starr) swore loyalty as his chief enforcer. Butcher (Karl Urban) and Annie (Erin Moriarty) escaped, but the rest of The Boys were rounded up and placed in re-education—er, “Freedom”—camps.

The second season of spinoff series Gen V was set after those events, and the finale concluded with Annie recruiting the main cast members to join the fight against Homelander and the Supes. Season 5 of The Boys picks up where the Gen V finale left off. Per the official premise:

In the fifth and final season, it’s Homelander’s world, completely subject to his erratic, egomaniacal whims. Hughie, Mother’s Milk, and Frenchie are imprisoned in a “Freedom Camp.” Annie struggles to mount a resistance against the overwhelming Supe force. Kimiko is nowhere to be found. But when Butcher reappears, ready and willing to use a virus that will wipe all Supes off the map, he sets in motion a chain of events that will forever change the world and everyone in it. It’s the climax, people. Big stuff’s gonna happen.

Most of the main cast is returning for the final season (although RIP Claudia Doumit’s Victoria Neuman), and we’ll also see the return of Soldier Boy (Jensen Ackles), aka Homelander’s daddy, revealed in the S4 finale mid-credits scene to be alive and chilling out in cryostorage. Showrunner Eric Kripke has said that he wanted to delve a little deeper into that father/son relationship, particularly since Soldier Boy has switched sides and aligned with the supes after Butcher tried to kill him in S3.

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Knight of the Seven Kingdoms trailer brings levity to Westeros

With House of the Dragon entering its third season, HBO is ready to debut a new spinoff series set in Game of Thrones’ Westeros: A Knight of the Seven Kingdoms, based on George R.R. Martin’s Tales of Dunk and Egg novellas. HBO clearly has a lot of confidence in this series; it’s already been renewed for a second season. And judging by the final trailer, that optimism is warranted.

As we’ve previously reported, A Knight of the Seven Kingdoms adapts the first novella in the series, The Hedge Knight, and is set 50 years after the events of House of the Dragon. Per the official premise:

A century before the events of Game of Thrones, two unlikely heroes wandered Westeros: a young, naïve but courageous knight, Ser Duncan the Tall, and his diminutive squire, Egg. Set in an age when the Targaryen line still holds the Iron Throne and the last dragon has not yet passed from living memory, great destinies, powerful foes, and dangerous exploits all await these improbable and incomparable friends.

Peter Claffey co-stars as Ser Duncan the Tall, aka a hedge knight named “Dunk,” along with Dexter Sol Ansell as Prince Aegon Targaryen, aka “Egg,” a child prince and Dunk’s squire. The main cast also includes Finn Bennett as Egg’s older brother, Prince Aerion “Brightflame” Targaryen; Bertie Carvel as Egg’s uncle, Prince Baelor “Breakspear” Targaryen, heir to the Iron Throne; Tanzyn Crawford as a Dornish puppeteer named Tanselle; Daniel Ings as Ser Lyonel “Laughing Storm” Baratheon, heir to House Baratheon; and Sam Spruell as Prince Maekar Targaryen, Egg’s father.

There’s also an extensive supporting cast. Ross Anderson plays Ser Humfrey Hardyng; Edward Ashley plays Ser Steffon Fossoway; Henry Ashton as Egg’s older brother, Prince Daeron “The Drunken” Targaryen; Youssef Kerkour as a blacksmith named Steely Pate; Daniel Monks as Ser Manfred Dondarrion; Shaun Thomas as Raymun Fossoway; Tom Vaughan-Lawlor as Plummer, a steward; Steve Wall as Lord Leo “Longthorn” Tyrell, Lord of Highgarden; and Danny Webb as Dunk’s mentor, Ser Arlan of Pennytree.

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Sony drops new trailer for 28 Years Later: Bone Temple

Then, 28 days after leaving, Spike was rescued from a horde of infected by Sir Jimmy Crystal (Jack O’Connell), another original survivor who turned out to be the leader of a barbaric cult. That’s where the sequel picks up. Spike, Kelson, and Crystal will play major roles in The Bone Temple. Per the official premise:

Dr. Kelson finds himself in a shocking new relationship—with consequences that could change the world as they know it—and Spike’s encounter with Jimmy Crystal becomes a nightmare he can’t escape. In the world of The Bone Temple, the infected are no longer the greatest threat to survival—the inhumanity of the survivors can be stranger and more terrifying.

Samson the Alpha Zombie is back, too. The cast also includes Erin Kellyman, Emma Laird, and Maura Bird as Jimmy Ink, Jimmima, and Jimmy Jones, all members of Crystal’s cult. Best of all, Cillian Murphy will reprise his 28 Days Later/28 Weeks Later starring role as intrepid bike courier Jim, who miraculously survived the first two movies and, apparently, the ensuing 28 years.

The trailer opens with an exchange between Kelson and Crystal, in which the latter asks if Kelson is “Old Nick,” i.e., Satan. It’s a reasonable assumption, given that morbid bone temple. We also see Spike joining Crystal’s ranks and Kelson remembering the happier past before sharing a moment of truce with Samson. “I believe the infection can be treated,” Kelson says later, and in the final scene, we see him give Samson an injection representing “a leap into the unknown.” Will it really cure Samson? We know there’s already another film in the works, so that might be an interesting twist.

Look for 28 Years Later: Bone Temple to hit theaters on January 16, 2026.

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Prime Video pulls eerily emotionless AI-generated anime dubs after complaints

[S]o many talented voice actors, and you can’t even bother to hire a couple to dub a season of a show??????????? absolutely disrespectful.

Naturally, anime voice actors took offense, too. Damian Mills, for instance, said via X that voicing a “notable queer-coded character like Kaworu” in three Evangelion movie dubs for Prime Video (in 2007, 2009, and 2012) “meant a lot, especially being queer myself.”

Mills, who also does voice acting for other anime, including One Piece (Tanaka) and Dragon Ball Super (Frieza) added, “… using AI to replace dub actors on #BananaFish? It’s insulting and I can’t support this. It’s insane to me. What’s worse is Banana Fish is an older property, so there was no urgency to get a dub created.”

Amazon also seems to have rethought its March statement announcing that it would use AI to dub content “that would not have been dubbed otherwise.” For example, in 2017, Sentai Filmworks released an English dub of No Game, No Life: Zero with human voice actors.

Some dubs pulled

On Tuesday, Gizmodo reported that “several of the English language AI dubs for anime such as Banana Fish, No Game No Life: Zero, and more have now been removed.” However, some AI-generated dubs remain as of this writing, including an English dub for the anime series Pet and a Spanish one for Banana Fish, Ars Technica has confirmed.

Amazon hasn’t commented on the AI-generated dubs or why it took some of them down.

All of this comes despite Amazon’s March announcement that the AI-generated dubs would use “human expertise” for “quality control.”

The sloppy dubbing of cherished anime titles reflects a lack of precision in the broader industry as companies seek to leverage generative AI to save time and money. Prime Video has already been criticized for using AI-generated movie summaries and posters this year. And this summer, anime streaming service Crunchyroll blamed bad AI-generated subtitles on an agreement “violation” by a “third-party vendor.”

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