Chris Hardwick's Blog, page 93

TED: THE ANIMATED SERIES Is Coming to Peacock With Seth MacFarlane As Executive Producer

Ted may be an adorable looking bear, but he’s anything but family friendly. Seth MacFarlane’s foul-mouthed creation has his own franchise, complete with two films and a live-action prequel TV series. And apparently things are going super well because we are getting Ted: The Animated Series on Peacock.

According to Deadline, MacFarlane will continue to voice Ted and executive produce all the episodes. 
Others are coming back, including Mark Wahlberg as John, Amanda Seyfried as Sam, and Jessica Barth as Tami-Lynn.

Peacock

Additionally, the live-action Ted series is getting a season two as well. The Ted universe is upon us and their ain’t s**t we can do about it. There’s no word on when we can expect this Ted animated series to land but we are sure fans will be ready for more chaos.

The post TED: THE ANIMATED SERIES Is Coming to Peacock With Seth MacFarlane As Executive Producer appeared first on Nerdist.

THUNDERBOLTS* Director Jake Schreier May Direct the MCU X-MEN Reboot

The much-anticipated X-Men reboot from Marvel Studios may have found its director. Fresh off the critical success of Thunderbolts*/New Avengers, a new report from Deadline says that director Jake Schreier is currently Marvel Studios’ first choice to direct. This would be the first X-Men film since Dark Phoenix in 2019, unless one counts New Mutants. One year ago exactly, Marvel announced that Hunger Games screenwriter Michael Lesslie was writing the script, and that appears to still be the case. Much like the Thunderbolts, the X-Men are outcasts and underdogs, making Schreier a perfect match with the material.

Marvel Comics/Marvel Studios

We know almost nothing about this new X-Men movie, except that it’s due to arrive after Avengers: Secret Wars. Several of the original X-Men from the Fox films will appear in Avengers: Doomsday, which most fans expect to be the swan song for that iteration of the team. Whatever we’re getting next will be a whole new version of Marvel’s mutants. Although, we expect many of the same characters. It’s hard to imagine an X-Men reboot with Charles Xavier, Cyclops, Storm, and Jean Grey, among other iconic mutants. The only returning cast member from the original X-Men we could see return is Hugh Jackman as Wolverine, if only because he’s so identified with the role. But that’s pure speculation.

Although not confirmed by anyone at Marvel, rumors abound that post-Secret Wars, the studio will focus almost entirely on mutants. A movie called X-Men would likely just be the start. Aside from the students at Xavier’s school, you could have paramilitary mutants like X-Force. Also, hard-boiled detective mutants like X-Factor, and trippy interdimensional mutants like Excalibur. In the pages of Marvel Comics, the mutants are practically a universe unto themselves. Heck, the X-Men adjacent Starjammers could also serve as a replacement for the Guardians of the Galaxy. When it comes to Marvel mutants, the sky’s the limit.

The post THUNDERBOLTS* Director Jake Schreier May Direct the MCU X-MEN Reboot appeared first on Nerdist.

SPIDER-MAN BRAND NEW DAY: SPIDER-MAN 4 Gets Official (and Controversial) Title

No one in the MCU remembers Peter Parker after Doctor Strange’s spell in No Way Home. No one even knows who is underneath Spider-Man’s mask after that universe-changing event. It will essentially be a brand new day for the character when Tom Holland’s webslinger returns to big screens. So it makes sense that Sony Pictures and Marvel Studios have decided to officially call his next movie, Spider-Man 4, Spider-Man: Brand New Day.

Spider-Man: Brand New Day might not sound like a very controversial title, but the comic book the film takes its name from certainly is.

Shang-Chi and the Legend of the Ten Rings‘ Destin Daniel Cretton is taking over directing duties for Spider-Man 4. He’s taking over from Jon Watts, who helmed the Home trilogy. Cretton also got to take the stage at this year’s CinemaCon in Las Vegas to discuss Spider-Man: Brand New Day. He wasn’t entirely alone during the presentation, though. Holland joined him via video to reveal the title of their Spider-Man movie, Holland’s fourth standalone installment.

Sony Pictures/Marvel Studios

The actor called Spider-Man: Brand New Day “a fresh start.” And Holland additionally described it as “a ride that we haven’t really seen before.” Only comic book fans will know all about Spider-Man’s previous Brand New Day. Joining Holland in the movie is The Bear actress Liza Colón-Zayas in a currently undisclosed role.

The MCU’s Spider-Man: Brand New Day title is a reference to the 2008 comic run that followed Peter Parker after his marriage to MJ was undone by a universe-changing event. (Sound familiar?) It was part of a controversial storyline for the friendly neighborhood hero in the 2000s that not everyone loved.

Sony and Marvel obviously know that. Yet they still decided to title their film after a comic series that got a mixed reaction. That indicates they fully believe in this adaptation. They might even be hoping the negative connotations some (not all!) have about the storyline will be a good thing for Spider-Man: Brand New Day. It will also be especially interesting to see what becomes of this movie because
it’ll take place right between Avengers: Doomsday and Avengers: Secret Wars.

But this always seemed like the most logical place for the character to go after Spider-Man: No Way Home. No one in the MCU knows who Spider-Man is right now. It truly is a brand new day for him. Or at least it will be when Spider-Man: Brand New Day swings into theaters July 31, 2026.

Originally published on April 1, 2025.

The post SPIDER-MAN BRAND NEW DAY: SPIDER-MAN 4 Gets Official (and Controversial) Title appeared first on Nerdist.

Marvel Changed Sentry’s THUNDERBOLTS* Backstory Thanks to SPIDER-MAN: NO WAY HOME

One of the most memorable new characters introduced in Thunderbolts*/New Avengers is Lewis Pullman as Bob Reynolds, a.k.a. the Sentry. And for the most part, the version of Bob we meet in the MCU is fairly comic-accurate in terms of his origins. All except for one major detail. In the comics, part of the original idea for Sentry is that he was a world-famous superhero in the Superman mold who emerged in the early years of the Marvel Universe. Sentry used his vast powers to make the entire world forget he ever existed. So why didn’t the MCU include that major detail? Blame Spider-Man and Doctor Strange.

According to an interview with Marvel.com, Thunderbolts* director Jack Schreier revealed that the reason that aspect of his origin was never used was because Marvel Studios already did something very similar at the end of Spider-Man: Now Way Home. As you might recall, Doctor Strange erased the world of their memory of Peter Parker at the end. Thus, preserving Spider-Man’s secret identity. Schreier said “Obviously, we couldn’t tell that same story because of Spider-Man: No Way Home. Thanks, Jon.” The Jon he’s jokingly referring to is No Way Home director Jon Watts.

Marvel Studios/Sony

Sentry’s hidden past was perhaps the least interesting part of his origin story. In fact, it was mostly a gimmick, conceived to create hype for the Paul Jenkins/Jae Lee Sentry series where the character debuted. Part of the gimmick was that he was a “lost” creation of Stan Lee from the early Silver Age, which never saw print. However, Bob Reynolds’ mental health issues remain central to both the comic incarnation and his MCU counterpart. He’s probably more comics-accurate than other MCU heroes like Hawkeye, or even Shang-Chi. Thunderbolts* managed to keep the most interesting parts of Sentry’s characterization. But for those fans who miss aspects of Sentry’s story, you can point the finger at Peter Parker.

The post Marvel Changed Sentry’s THUNDERBOLTS* Backstory Thanks to SPIDER-MAN: NO WAY HOME appeared first on Nerdist.

If Captain America’s Avengers Battle the New Avengers, Who Will Win?

One of the things we learned from the post-credits scene from Thunderbolts* a.k.a. The New Avengers, is that Sam Wilson is not happy with his friend Bucky, as he’s forming his own Avengers team, and clearly, he considers his team to be the true Avengers. And he has a claim, as he was a member of the official “classic” Avengers team under Steve Rogers, and no one on Bucky’s team ever was. So we feel a Civil War-style fight is in the air, probably as part of Avengers: Doomsday. At least a small part of it. But who would win such a fight? First, we’d have to examine who Sam’s Avengers even are. Or probably are.

Marvel Studios

So, based on the official cast list of Avengers: Doomsday, we think it’s safe to say Captain America’s Avengers will include Falcon (Danny Ramirez), Ant-Man (Paul Rudd), Thor (Chris Hemsworth), and probably Shang-Chi (Simu Lu). Yes, we think more characters will be added to this line-up, but for now, we have to assume this is at least the main core of Sam’s Avengers. We chose not to add Shuri as Black Panther, because Kevin Feige has mentioned the Wakandans as their own “team.”

Marvel Studios

Of course, the New Avengers are just the Thunderbolts, which means Bucky Barnes (Sebastian Stan), Yelena Belova (Florence Pugh), Red Guardian (David Harbour), Ghost (Hannah John-Kamen), U.S. Agent (Wyatt Russell), and Lewis Pullman as Bob/the Sentry. This means that both teams have a (more or less) similar amount of heroes, so the fight will be even. Well, even in terms of numbers at least.

Marvel Studios

Most of the New Avengers are, by their own admission, “punch and shoot” types. However, their wild card is Sentry. Bob Reynolds is so powerful, he really can’t use his powers, or he might give in to the Void. But we imagine if the team has to take on Sam’s Avengers, Sentry might have to power up again. And we think the reason is because Sam’s Avengers will have a literal god on the team with Thor. This really all comes down to who is stronger, Bob or the Odinson?

Marvel Studios

We actually lean toward Bob being more dangerous than Thor. Sure, Thor has super strength and invulnerability, and is the literal God of Thunder. So he can direct lightning and whatnot. Not to mention that cool hammer. But Sentry, when his powers are unleashed, seems to be able to do way more damage than Thor. And if it all comes down to Thor vs. Sentry, we think Sentry has the edge. He has had one before in the pages of Marvel Comics. Having said that, he might take down the whole planet while taking out Sam’s Avengers. Not exactly a good thing.

Marvel Comics

Of course, both teams might add members to their rosters which might change the whole game. What if Sam’s Avengers adds Captain Marvel, or Bruce Banner? And what if Bucky’s team adds power players of their own, like She-Hulk or Ms. Marvel? Also, as a former military officer, we think James Rhodes, either as War Machine or the new Iron Man, might be drafted into the New Avengers. All of that could change the balance between the teams. But right now, because of the godlike Sentry, our money is on the New Avengers.

The post If Captain America’s Avengers Battle the New Avengers, Who Will Win? appeared first on Nerdist.

Long Live LIFE AND TRUST—A Beautiful Immersive Theater Performance We Loved and Lost

In I Saw the TV Glow, the main character is asked by his friend, “Do you like girls? Boys?” and he answers, “I think I just like TV shows.” And that line has resonated in my heart since I first heard it in the trailer. But for me, that truth extends beyond “TV shows” to any kind of narrative—books, movies, comics, and most recently, theatrical performances. The captivating and arcane world of the off-Broadway immersive theater show Life and Trust was my latest great love affair, and for two and a half incredible months before it suddenly shut down (please help support the performers), it swept me off my feet and consumed my every spare thought. And it was a worthy narrative, oh yes.

At any given moment, Life and Trust was a sumptuous art piece, a great and terrible tragedy, a breathless fount of connection, a necessary escape, all these things at once and so much more. It contained such an infinite array of multitudes in its countless walls and five floors, so many dancing stories, that in fact, my (paltry-compared-to-some) five visits did not even begin to scratch the surface of everything that remains undiscovered to me.

The headline of my never-to-be review for Life and Trust, last saved on April 16th, just four days before Life and Trust‘s abrupt closure in the form of an email which stated the show had actually ended the night before, reads “Life and Trust‘s Immersive Magic Will Change Your Life (Or At Least Finally Get You Out of Your Head).” It was a long headline, I thought, but anything less would fail to do justice to my vision for the piece. The person who so cheerfully saved that draft could not have imagined what the coming days would bring.

But it seems it is my lot in life to write more eulogies than reviews for the gorgeous stories that mean the most to me… To reminisce over instead of rejoice in those pieces that dare to dream, to go beyond the norm and bring meaning to those who live in the bounds of the other, that try, despite everything, to make something beautiful, transcendent, transgressive, that reach up and out, and seek to grow verdant through the cracks in the heartless pavement of our reality. 

But what on earth is Life and Trust? You must be asking yourself that question at this point, if you don’t already know. And, I’ll give you a straight answer in a moment to help the rest of this eulogy have some structure, but first, I’ll paint this picture.

It’s Valentine’s Day. You sweep down a set of stairs in a flowing gown, a horned mask covering all of your features. You’ve just left a gala party behind, but its haunting devils, intricate waltzes, and stumptuous orchestral rendition of Chopin’s Waltz Op. 34 still echo through your mind. You take a left turn and suddenly find yourself in a dusty street, everything is peeling, decrepit, and slowly turning to decay. The scent of the air changes around you. The floor turns from marble to gravel. Make a right, and you’re in a tiny tenement apartment, bunk beds in the corner, one small table and two chairs in the middle, a bathtub in the same space, little else.

You look up, and a giant of a man has climbed like Spider-Man up the sides of the tall doorway which leads to the next room, body contorted, face full of rage and despairing confusion. He leaps down, takes a few steps back, and suddenly, finger guns are directly in your face. It might have been ridiculous, under less perfectly executed circumstances, but the lights are low, and your eyes meet, and he sees you, but doesn’t see you, and his whole body trembles with anger and anguish. And instead, it’s terrifying, and you lose your breath. You’re in the dream, and he’s in the dream within a dream, but it’s no longer a dream. You’re here in this story, immersed, and it’s reality that has floated far, far away.

Stephanie Crousillat

Some incredible feats of acrobatics later, Collussus, as you’ve named him in your heart because you haven’t yet dived into the lore, watches himself in the mirror, and the gun, finger gun, but it looks like a gun now, has transformed so fully in the moment that everyone in the room can see it clearly, comes back and bang, he mimes shooting himself, lurches back, and falls into the bathtub, convulsing. It’s a death scene. He’s dying, and your breath has not yet returned to you either. Your eyes meet again, and that’s all you are because of the mask, just a set of eyes watching in horror as events you can’t stop unfold.

You’re standing right beside him, illuminated by the bright spotlight that suddenly fills the space, the music winding and spilling around, and in slow motion, his hand outstretches to you, beckoning. You take it and it wraps around yours, clutching for connection as life falls away. And here you are, with him. You hold on as he grows steadily weaker in your grasp. Around you, everyone, all the other masks and eyes, are watching, silent as the grave.

The light goes out. His hand falls away. You fall too—deep into the rabbit hole.

And that my friends, is Life and Trust, was Life and Trust. The tiniest microcosm of it. My tiny microcosm of it. And for 254 (rough count, full count forthcoming) performances, the dream spun itself every night for two-and-a-half hours of these kinds of moments, for however many people attended in an evening or matinee, and no unfolding was ever the same, and no audience member ever had an identical experience. Has there ever been a story so deliciously complex? (Yes, there was Sleep No More, but go with me here.)

Okay, okay, okay, but literally, what was Life and Trust? Life and Trust was an immersive theater performance that took place in an old bank building in New York’s Financial District. Planning, ideating, and creative work on Life and Trust began in 2019, and after four and a half years of building sets, practicing choreography, and imagining characters, the show finally opened in August of 2024. Then, as mentioned above, it closed abruptly in April of 2025, a mere nine months later.

Life and Trust combined the myth of Faust and its many iterations throughout the years, Oscar Wilde’s The Picture of Dorian Gray, a few other stories, and remixed them all to tell a tale set in The Gilded Age of New York City. (October 29th, 1894, to be exact.) The overall crux of the story is that on the eve of the Great Wall Street Crash of 1929, Mephisto, the Mephistopheles/Satan figure of the story, makes a deal with a banker/inventor of a “miracle drug” (read addictive demonic opiate) called Syrup, JG Conwell.

For the price of his soul and a little blood, Conwell is able to relive his youth for one last night, and we, the audience, get to go along with him. (No blood required, but I sure did sell my soul.) In order to time travel though, the audience must don a mask that covers all of their features, turning them into mere ghosts in the space. (And differentiating them from the members of the cast.)

Jane Kratochvil

“The Past” is then populated by an array of 24 characters, who range from the wealthy elite to the middle class to the poorest of the poor, with a good sprinkling of supernatural figures in the mix. Each of these characters has a fully fleshed 2.5-hour-long story, which we call a loop in Life and Trust, that repeats twice throughout the night. The way the loops worked is that characters would move (and in some cases run, in some cases run up and down stairs at top speed) from setting to setting across five huge floors that held varied locations.

Characters would stop at a location to perform a dance sequence and piece of their story, often intersecting for a moment, and then parting from other characters. Audience members could choose to follow one character on their journey, depart with a character they happened to meet, or just run around chaotically, seeing what they might find.

If that isn’t enough to help you imagine the scale of Life and Trust, add to your calculations that the cast was never the same two nights in a row, many of the actors rotating through different characters they knew how to play. And different performers added their own contrasting narratives into their loops, vividly changing the story. I inquired in my community discord if Life and Trust‘s Dorian ever showed any human emotions before returning to the show for what would be my final time. I was assured he was quite heartless, only to follow Dorian that evening and find him sobbing after a scene where I had previously imagined him to be a monster.

For those who are voracious lovers of narrative, as I am, this was an intoxicating and maddening setup, meant to convince you to return over and over again. And convinced I was. I imagine I might have gone 100 more times and still not felt satisfied that I had all of the story, that there wasn’t more still yet to discover. When the characters are so well-created and yet so nuanced, when they’re ever changing, and always revealing new aspects of themselves depending on who is playing them, who they are playing against, and where you happened to look at a particular moment, (were you looking at one person or another? You only have two eyes, you know. What if the missed reaction revealed everything?) how could you not always need to see more?

To see a particular performer in a specific role, why that was never a guarantee. (Ahhh!!!) But also that was an amazing conceit, part of the wonder, part of the dream being out of your hands. Part of immersing you. I cannot imagine what writing this story was like, the many strands of it, the physicality of its motions, the interweaving nature of the arcs. Life and Trust presented like the most complex of video games brought to life.

And that’s not even to BEGIN to touch on the performers’ incredible, incredible talents. The dancing took place on the ground, in the air, hanging off edges, ledges, and corners. It was all of it beyond gorgeous, a lyrical story painted in graceful romantic duets, wrathful bouts of violence, and sneaky, sinister scintillations from the shadows. It was PHYSICAL, an insane display of what the human body can do when it’s well-trained and blessed with true gifts (that have clearly been honed by countless long hours of practice and persistence). And it was BEAUTIFUL, a perfect display of the gamut of human emotion wrapped up in the steps of dance, the faintest brushing of a hand, or the smallest corners of a smile.

One of the most glorious set pieces of the performance took place in a boxing ring that was meant to simulate an unforgiving, underground experience. Fake blood and loud thumps punctuated the scene as pulsing music beat around the performers. Bruises and bone crunches have never been delivered with such grace, although the dance sequences seared with an immense brutality to be sure. Carefully calculated movements meant the scene went fast, then fell to slow motion, so that someone could fly through the air for an age, or be put on the ground in a breath. There was magic, pain, and terrible, terrible beauty. It was as awe-inspiring as any performance I’ve ever seen on any stage. (Press to play a snippet of the scene below.)

And in the middle of all that dancing came another necessary component, acting. There was little dialogue in Life and Trust, and so, to tell the story of the characters, the performers had to emote so strongly that the arc of their tale would be clear regardless of the absence of words. And that led to, in my opinion, one of the rawest and incredible scenes I’ve ever witnessed.

Of course, it doesn’t hurt that the audience is in the thick of the performance, a voyeuristic follower of their character of choice. Most of the time, the characters can’t “see” the audience following them. As mentioned, in the canon of the story, the audience goes back in time as ghosts, apparitions that float invisibly through the scenes, as symbolized by their masks. But every so often in Life and Trust, something changed in the air, and you could become “visible,” and then a moment of pure enchantment happened, a moment of pure connection.

Stephanie Crousillat

Either in what’s called a public interaction or in a scene called a 1:1, where you’re pulled into a private room for a moment only you get to experience, a character would occasionally reach out for an audience member in a moment of some kind of need. For some characters, like with the devil, Mephisto, this need could be preening, a need to show off control and power. Some of Mephisto’s interactions included having someone remove his jacket for him (or hold it as he sensuously menaced JG Conwell and then they made out, or leading them around by a chain wrapped around their neck… Yep!)

But for others, like holding the hand of Colossus, actually called Valentin, as he died, the interactions came from an intense emotional place, a search for connection which unlocked a well of sincere emotion in any person who was fortunate enough to be chosen. Of course, the more you followed a character, the more you understood them, the more the moments of being seen hit hard.

I know many people cried along the way, and I myself started sobbing at one particularly pertinent moment of heartbreak, which I had managed to engineer myself from the purest of intents. The fallout of that remains seared into my mind’s eye.

There’s also something so intimate about the mechanism of the 1:1. In this space, the characters would pull you into a scene that was only for the two of you. In some cases, the performer would remove your mask for the first time all evening, so you could finally see one another face-to-face. The lion’s share of speaking and dialogue in Life and Trust also came in these moments. And after mostly physical communication, the 1:1 dialogues, which often offered DEEP insights into a character’s inner life, seared right into you. And you, finally being seen, finally being truly in the story, could not help but feel a rush of your own true feelings welling up.

The stories of the characters in Life and Trust touched on deep themes, themes that many members of the audience were too carrying in their hearts. Some characters struggled with their sexuality, with the desire to reveal themselves but the inability to, others struggled with their gender identity, their family’s expectations, their precarious status as immigrants, their shattered dreams, the deep oppression of society, the anguish of struggling with addiction, just to name a few.

It feels like it goes without saying that those who love Life and Trust the most are not what one might call “normals.” But instead, they are those who exist in the marginalized, othered communities of our society. (Myself included.) In the face of that, these private performances, often performed by actors who also exist in these communities, dove right to the core, hit right in the vulnerable spaces of connection in the most beautiful way. There’s something safe about engaging with real emotions in the space of a play, something that promises there will be no judgment or crossing of lines, that it’s okay just to feel. The safety of experiencing the visceral up close, but in a fantasy.

And beyond all of that to be chosen. There’s something to be said about that. Many of us crave to feel that sensation of being special, or being reached out to. And the 1:1 and public interactions beautifully fulfill that vision in such a simple, elegant way. Little makes you feel like the main character of a story more than interlocking fingers with a character and getting whisked away onto your own little part of the story. To capture that twinkling warmth in real life is almost impossible. It doesn’t happen like that in reality, just in the movies… And in Life and Trust.

I’ll also note here that as a queer person, it was incredible and so, so, SO rare to see so many queer stories unfold. There was a breadth and depth of queerness in Life and Trust. There was queerness explored in sexuality. Queerness explored in gender. There were queer men, women, and non-binary folk. There were trans people. Queer joy existed. And also queer repression. There were beautiful queer relationships and toxic ones. It had pure queer love and the cruelest versions of it I’ve ever seen. There was romantic queerness and platonic queerness. There was everything you almost never see, everywhere.

I’m running long, but there’s still so much to say. Though if I didn’t give the sets their due, how could I forgive myself? In my first time “at the bank” (as the cool kids say), I ran past one of the most heartstoppingly beautiful things I had ever seen. It was a weeping willow made of delicate green fairy lights that hovered in the air. The tree looked so convincing, and below it was actual grass and gorgeous dark blooms. A fae clearing in the middle of a bank in Midtown so aesthetically perfect that it made me tear up. (Scroll to the eighth image.)

I missed this one, but at some point there was a lake (termed “Gay Lake” because only queer couples went there to dance), made out of fog and light which I’m told was breathtaking (see the last images above). There was a gala room, a rodeo, a whole carnival, a fully operational theater stage, a boxing ring, a detective’s office, and a room filled head-to-toe with poodles. (Yes, the Poodle Room. It was real.) There was a temple room with an obelisk of stone that evoked ancient Egypt in its Gilded Age way. We saw a life-size bird’s nest. There was a jail, tenements, several bars, and at least two laboratories. There was a beautiful garden with real gravel that crunched beneath your feet. Everything was designed to be examined from every angle, to be touched, opened, and riffled through.

All of the settings had to exist in every dimension because the creators could never tell where an audience member would stand or what they might reach for. Every set smelled just a little different, and a particularly smoky scent still lingers in my mind. It’s painful to imagine that I’ll never smell it again, never run up to the fairy tree just to marvel at the glow of its lights on my skin. It’s painful to imagine there’s only darkness now in that space.

The unceremonious loss of Life and Trust makes a bleak world a little bleaker. Somewhere, where the glorious light of connection shone and hearts beat in tandem, where breaths were lost, tears shed, and laughter spilled, there remains only a skeleton. Empty hallways and abandoned rooms.

Jane Kratochvil

It was an unkindness I cannot fully encapsulate in words to wake up to an email on Easter Sunday, which coldly stated that Life and Trust‘s last performance had been yesterday. A deep grief for me, who loved the show, but an absolutely inhumane act of disrespect to the performers, creators, and crew that poured themselves into the show night after night, who received no more warning than I did. What an evil thing to do to those who offered their blood, sweat, and tears, but more than that, their souls and their hearts, their great love, to the show, to make it as brilliant as it was. What a hideous wound to deal.

I hope that those who had a hand in this decision read this and feel shame. I hope they have the day they deserve. To rob the performers of proper notice that they would be losing not only their jobs, but this incredible world that they built for over five years, and to steal from the fans the ability to give the performance a proper goodbye is such unspeakable cruelty. There’s a phantom show that will never exist, where we get to give one last round of applause as the performance draws to a close, and it’s so thunderous, so unbelievably wrought with emotion, that it echoes backward and forward in time. I can hear that round of applause so clearly it aches in every one of my cells. I hope that the performers can hear it too.

Stephanie Crousillat

And to the performers and everyone else who lost the job they loved and built, who I hope equally are reading this, I want to say that we are with you. We grieve with you. We value you. Your work is important. It touched us, it touches us still. It brought us community, friendship, laughter, and excitement. You saw us and we see you. You made all the difference in the world. I hope that new and, this time, safe ways to make your art find you. Thank you. We applaud you. 

When I close my eyes, I still so clearly imagine the staircases of that old bank. As people like to say, you should let the bank guide you when you go to Life and Trust. That the moments you needed would reach out their hand to you and find you. And on five glorious evenings, I did exactly that. And I had what I consider to be transcendent experiences. I experienced emotion and immersion that I may never feel again. The story swept me away in a way I wished to be for so long and never quite was. I was placed in a narrative where I could throw myself against the boundary of the dream, but the dream would never break, only reveal another layer, another character, another room. I was taken out of time, transported. Immersed.

But I’m haunted by all the things I saw and will never see again, by the things I longed to see but never did, by the things I never even knew about but would have loved if I’d seen them. In my five visits and ten loops, I glimpsed many of the characters, but was left with almost no knowledge of most. In my hands remains a story that has so many pages unturned.

Facing other losses, canceled shows, dead characters, there was always the ability to go back. To watch the episodes that did exist again, to revisit the scenes where my favorites still breathed. And that ability also created fandom that never had to end. And to me, fandom has always been infinite, the place where even when a story concludes (goes wrong, or just implodes), it lives again. But here, fandom is finite. No one will ever see this story again, no one new will ever know these characters. Those who experienced it are the sum total of its fans now. And I feel staggered by that reality. What a terrible unfairness.

Stephanie Crousillat

Already, the time spent in the halls of this magical place is being relegated to memory. And memory is a fleeting and fickle experience, something you try to hold onto but so often slips away. What did it smell like on Floor A that touched me so? What was the gravel like under my feet? And what were the words in the scene tucked away behind a door that only I got to hear? The pain of these experiences fading away will stay with me, and then maybe it won’t, and that’s a grief all its own. But as a wise character once said, what is grief but love persevering?

So what was Life and Trust? What is Life and Trust?

An escape.

A communion.

A spiritual experience. 

A place to be seen. 

A place to be chosen.

A beautiful dream.

And though the dream is done for now, perhaps these words touched you in some way, perhaps they reached out their hands and pulled you in, and if so, I suppose it lives on, just a little bit longer.

Below, I’ve compiled some words from other fans who wish to share. And below that, I’ve left a list of the cast that created Life and Trust (you can jump to it by clicking here); please follow them on Instagram, and please support their GoFundMe.

From the Fans

“What stands out the most for me for this production is how generous the performers (and all of the creatives/boh/foh staff) were in sharing this art with the audience, and how special it felt as an audience member to be a witness, and occasionally a participant, to their work. That’s what feels very unique to this type of art, not just seeing yourself in the work, but also sometimes literally being seen yourself.” – Heather

“For me, Life and Trust was stepping into another world, walking into a dream. Every show I went to I walked and ran, and was sometimes literally pulled along by the actors and the beauty of it all. Life and Trust was a show, sure. But more than that, I went to Life and Trust to spend 2.5 hours anonymously and unabashedly falling in love. The thing that made the dream so special was always love. The dream ends too soon, but the love remains.” – Mephisto’s Girlfriend

“I feel like I came to Sleep No More late, about 18 months before it closed. Life and Trust was my first time getting in on a show at the basement level (pun not intended) by getting into the rumors and speculation game. Once the show opened, it was like a whole new world opened to me and all of us fans, with tons of new interactions and concepts to investigate. I finally got my first (and last) trip to the bank in July 2024 and spent most of the time with the Dr. Marie character, including her emotional individual interaction in her space, where I ‘became’ her husband.

“The closure of the show was a shock, I had plans to go 4/26 as part of a trip to see Death of Rasputin. I’m happy to see DOR and other shows attempt to do the same sort of promenade immersive show, but sad that we might not get a new masked show in a very long time.” – Joseph Matt

“Life and Trust felt like a beautiful illusion, one you could step into and become untethered from the real world for a time. Watching this other world come alive around you was like nothing else I’ve experienced. It felt like I became unreal when I put on the mask, a silent observer to a different reality. Then, sometimes, a hand would reach out and pull me into that reality for brief few moments. That feeling of suddenly being seen felt amazing and wonderful, even if it was only for a short time. I didn’t get as much time with the show as others, unfortunately, but the time I got will stick with me for the rest of my life. It gave me a whole new perspective on what art and theater can be.” – Exploding Penguin

Nerdist

“There is a rare and unique experience I’ve only had a few times in my life. It’s the feeling of entering an immaculately designed, dreamlike building and realizing: There is an entire world in here, waiting to be discovered. Life and Trust felt like an invitation: to wander, to explore, to unravel its stories. The character depth was the most amazing and detailed I have encountered in an immersive show.

“I loved the mechanical/industrial sounding original soundtrack drifting through the space alongside classical pieces. The show took the 1920s aesthetic and ran with it, with all the variety one could hope for: a carnival, a rodeo, a vaudeville theater, a laboratory, and of course, the Life and Trust bank. To have a work of such ambition torn away is painful to say the least, and I am so sad for all the incredible creatives who poured themselves into it and were let go with no warning.

“My memories of Life and Trust are largely comprised of moments and images—strings of lights flickering around a boxing ring, a dancer suspended and spinning in midair, a sea of mask-wearing audience members entering the enormous rotunda towards the grand finale. I wanted to learn more about the characters and see their stories intertwined. I wanted to linger in each space for longer to soak in the atmosphere. Now I can only guess at the fates of Life and Trust’s characters, and wonder about how the show could have grown and evolved over time. What a pleasure and a privilege to have wandered the halls of Conwell Tower for the short time it opened its doors to us. I eagerly await the next projects its talented cast and crew bring into the world, and I’m grateful I got to witness it.” – SnowyOwl

“At its core, Life and Trust explored the unique cross-section of dreams and desires, asking what is worth sacrificing for the ubiquitous “American Dream.” Though my time in the vault was less than in other immersive haunts, the truly human connection in the space resonates far deeper. To the artists, the cast, and the crew who brought the space to life: you created connection within isolation, brought all of us into your city of joys, and invited us to feel. To my fellow investors: the bottomless kindness and altruism I found within those coffee-scented halls are the true “American Dream” worth pursuing. Ten thousand communities, Mr. Conwell, ten thousand kindnesses. Ten thousand lights in the darkness waiting to extend a hand.” – Ari Stark

“After Phantom of the Opera’s closing, I felt like there was a bit of a void for a show that I could really latch on and get into. This was my first immersive show, and after how my friend had hyped it (and Sleep No More), and when I finally was in a financial position to go, I loved it! My first show, I went in totally blind and I didn’t realise how much I actually missed until my friend mentioned it! My second time, I went in with a plan–follow Dr. Marie, and I successfully followed her first loop! For the second loop, I wandered around, making sure to hit every single room. I’m so glad I did with its unexpected closure.

“My third (and last) time came exactly a week before closing, and I went in with the plan of following Basil. I missed the first part of his loop due to the time I got in, but managed to see 90% of his loop, even getting a 1:1! It was a perfect show to be my last one, even though I wish I could go back and experience it again! My heart goes out to everyone impacted by this closing, and I’m forever grateful I got to experience their beautiful art!” – Kris

“I got an offer to go see Life and Trust, but never got to do it because I knew I was gonna be in the city more than once and thought that it would always be there when I come back. I highly regret not seeing the show because I wanna see how they did it, and I’ve been told and heard it’s more ambitious, more detailed, and immersive than other shows. I’m sad that they’ll never remount it.” – Superpooch

“Life and Trust was my first real theatrical obsession—my first time being a true stan—and I didn’t see it coming. At this stage of my life—middle-aged, with college and high school-aged kids and a little bit of financial wiggle room—I finally had the time and means to do something just for me. And wow, did I fall hard. I went to see the show more than 40 times over the 10 months the show ran. This show became my refuge, something I did purely for myself—a place where I could drop everything and follow my heart.

“I didn’t expect to find community here, but somehow I did: people who understand the magic, myth, and meaning of experiential, immersive theater. It surprised me how deeply I connected—not just to the performers, staff, and the space, but to the fans who showed up again and again, just like I did. When my father died earlier this year, no one questioned me when I said I needed to go to the show after sitting shiva. It was right as the show was shifting—condensing its cast and tightening the story—and it felt important to bear witness to that transformation.

“My family understood. They’d seen how much this show meant to me, and when the news of the closing broke on a Sunday morning, they were the first to reach out and comfort me. Now, I’ve lost the thing I turned to when I needed a touchstone—something that reminded me to stay true to my passions. But I’m holding onto the magic, the memory of personal one-on-ones, and the quiet reminder that sometimes, when you least expect it, you find your people—and a version of yourself you didn’t know you were missing.” – Julie Weintraub

Follow the Cast of Life and Trust Aaron Dalla Villa (Instagram)Alonso GuzmanAndrea Farley Shimota (Instagram)Andrea Murillo (Instagram)Andrew Kutryk (Instagram)Annie Grove (Instagram)Babou Sanneh (Instagram)Brandin SteffensenBrendan Duggan (Instagram)Bria Bacon (Instagram)Casey Bronwyn Howes (Instagram)Catheryn Clifford (Instagram)Charles-Alexis Desgagnés (Instagram)Christopher Ralph (Instagram)Collin Baja (Instagram)Derek Tabada (Instagram)Dorchel Haqq (Instagram)Doug Burkhardt (Instagram)Douglas J Gillespie (Instagram)Erik Debono (Instagram)Eriko Jimbo (Instagram)Evelyn ChenGabriella Sibeko (Instagram)Hannah Straney (Instagram)Heather Lang (Instagram)Jacob Michael Warren (Instagram)Jacob Nahor Jennifer Florentino (Instagram)Jodi McFadden (Instagram)Jonathan Colafrancesco (Instagram)Karl Kenzler (Instagram)Kevin M Pajarillaga (Instagram)Kim Fischer (Instagram)Leigh-Ann Esty (Instagram)Lenin Fernandez (Instagram)Luca Renzi (Instagram)Madison R. Olandt (Instagram)Madeline Wright (Instagram)Marc J CardarelliMarla Phelan (Instagram)Majella Bess Loughran (Instagram)Maleek M Washington (Instagram)Mia DiLena (Instagram)Miguel Miranda (Instagram)Mikaela Sinclair Brandon (Instagram)Mike Tyus (Instagram)Mio Ishikawa (Instagram)Nando Morland (Instagram)Nathaniel Buchsbaum (Instagram)Ny Opong (Instagram)Parker Murphy Patrick Ferreri (Instagram)Rachel Harris (Instagram)Randolph Curtis RandRaymond Ejiofor (Instagram)Reshma Gajjar (Instagram)Robert Vail (Instagram)Ryan VanCompernolle (Instagram)Sophie BortolussiSpencer William Grossman (Instagram)Steven Bangerter (Instagram)Tony Bordonaro (Instagram)Tony Torn (Instagram)Tori Sparks (Instagram)Victoria DeRenzo (Instagram)Zachary Eisenstat (Instagram)Zach Martens (Instagram)Zach McNally (Instagram)

.youtube-embed{padding-bottom:56.25%!important;position:relative;overflow:hidden}.youtube-embed a,.youtube-embed iframe{display:block;width:100%;height:100%;position:absolute}.youtube-embed iframe{border:0}.youtube-embed img.youtube-cover{-o-object-fit:cover;object-fit:cover;height:100%;width:100%;cursor:pointer}.youtube-embed img.play-button{width:66px;position:absolute;left:46%;top:0;bottom:0;margin:auto;cursor:pointer}@media only screen and (max-width:499px){.youtube-embed img.play-button{left:45%;width:60px}}@media only screen and (max-width:425px){.youtube-embed img.play-button{left:44%;width:60px}}@media only screen and (max-width:375px){.youtube-embed img.play-button{left:43%;width:56px}}@media only screen and (max-width:345px){.youtube-embed img.play-button{left:42%;width:50px}}.youtube-embed .progressive-img{-webkit-filter:blur(10px);filter:blur(10px)}.youtube-embed .progressive-img.loaded{-webkit-filter:none;filter:none;-webkit-transition:-webkit-filter 1s ease-out;transition:-webkit-filter 1s ease-out;-o-transition:filter 1s ease-out;-moz-transition:filter 1s ease-out;transition:filter 1s ease-out;transition:filter 1s ease-out,-webkit-filter 1s ease-out}.youtube-embed .kskdDiv{display:none!important}

The post Long Live LIFE AND TRUST—A Beautiful Immersive Theater Performance We Loved and Lost appeared first on Nerdist.

DUNGEONS & DRAGONS: RAVENLOFT: HEIR OF STRAHD Exclusive Excerpt

Dungeons & Dragons aficionados will certainly know the name of Strahd. Who could resist such a classic, ancient evil? And, of course, they’ll ALSO know the name of Ravenloft, one of the most popular D&D campaign settings/modules in the modern era. And so, hearing all those words together might send a shiver of delighted excitement up their spine. And that’s exactly what Delilah S. Dawson’s new book Dungeons & Dragons: Ravenloft: Heir of Strahd is bringing to the table. But even if you’re totally new to the world of Dungeons & Dragons, you can rest assured, this new novel is perfect for you. If you like haunting narratives, the beauty of an adventure with your friends, and a book that perfectly captures the delights (and terrors) of what it feels like to play D&D, that is. (And really, who could resist all of those things spun perfectly into the narrative? Not I!) Not to mention, it’s a vampire tale. Sold.

At Nerdist, it’s our pleasure to reveal an exclusive excerpt from Dungeons & Dragons: Ravenloft: Heir of Strahd—and this one is the perfect introduction to the book. But before we let you dive into the world yourself, we have a quote from the author to get you ready for what you’re about to read.

Penguin Random House

Delilah S. Dawson shares, “Five secretive strangers with nothing in common wake up in a misty forest. What could possibly go wrong? Well, since it’s Dungeons & Dragons: Ravenloft, pretty much everything. I wanted this story to feel like playing a campaign with your friends, merging the whimsy of a creative DM with the cruelty of finicky dice and the horror of the Domains of Dread. Longtime fans will appreciate that Castle Ravenloft is still crawling with creepy creatures and haunted by classic Strahd, an old school vampire defined by his cruelty and hauteur, while D&D newbies who’ve seen the movie but not yet created their first character sheet will find a welcoming introduction to a whole new world of fun.”

There you have it: whimsy, horror, creeps, haunts, and old-school vampires. We’re already obsessed. We also feel duty-bound to tell you that this book is dedicated to “My Chemical Romance, because they get it.” Have you ever heard anything better? We now feel true confidence that this vampiric tale is going to ROCK. Now let’s sink our fangs into this excerpt.

Excerpt From DUNGEONS & DRAGONS: RAVENLOFT: HEIR OF STRAHD by Delilah S. Dawson

The party enters the carriage waiting to take them to the mysterious Castle Ravenloft.

As if he didn’t even feel the rain, Chivarion walked around the coach, which was fancier than most of the ones Kah had seen back home in Waterdeep. The ink-black horses were fine-boned and well mannered, barely twitching their tails as they waited in the raging storm, which was good, because there was no one holding their reins. Kah didn’t know much of horses, but she understood that this was unusual.

“Does a ghost drive it, do you think?” Chivarion asked, running a hand down a horse’s sleek wet neck.

“Does a ghost,” Alishai asked slowly, “drive the coach? Because I would humbly suggest it is more likely magic.”

Chivarion held up his arms to the storm. “Magic—bah! Does this place not seem haunted to you? Does it not constantly feel as if a dagger is aimed at your heart? Were those not zombies?”

Alishai blinked against the rain. “I want to argue that, but I cannot.”

“It is magic,” Rotrog admitted, “but that is no less sinister an answer.”

“It isn’t a nice bit of magic,” Kah agreed. “Mean magic, that.”

Thunder growled overhead, and a spear of lightning arced down to strike a nearby tree in an explosion of white-hot heat that made Kah double over, her arms shielding her face. The tree split in two with a screech as flames bloomed from its heart. Half of it slowly, slowly fell, and she and the drow and the tiefling were forced to run closer to the coach unless they wanted to be simultaneously crushed and set afire. Oddly, the horses did not react. To anything.

“Back into the murder house, or do we prefer the ghost-driven fancy man wagon?” Chivarion asked.

Another grumble of thunder, and lightning struck the roof of the butcher’s cabin, setting it aflame. Rotrog and Fielle ran out the door and were instantly soaked. Rotrog stopped just beyond the threshold, but Fielle took a few halting steps toward the coach as the cabin’s fiery roof collapsed with a mighty whump. Two doors swung open—one on either side of the coach—and the human stuck her daisylike yellow head inside.

“There’s a note,” she said, holding up a heavy white envelope, careful to keep it inside the coach where it wouldn’t get soaked by the rain. She leaned inside to read it and then clambered up the step and into the interior, where she peered out at them. “It’s from Count von Zarovich himself,” she called. “Extending a more formal invitation. And I think we should take him up on it.”

“That’s only because you’re soft and weak and will die out here tonight, otherwise,” Chivarion called over the steady thrum of the rain.

“Seems like a good enough reason,” she replied. “We’ve nowhere safe to rest. There’s enough room for everyone inside. Let’s at least stay at the castle tonight. Perhaps things will look different tomorrow when the sun is shining. Nothing good can come of remaining where we are.”

Kah did not need further inducement. She scrambled up into the carriage, settling into a far corner. It was an immediate relief, being out of the rain. Akadi was the goddess of fair skies, but also of tempests, and Kah understood that this weather was a message that could not be ignored. As Master Ondraz said back home, one must remain as flexible as the willow if one wished to bend in the winds of the harshest storms. Master Ondraz also said that life was a journey and the traveler an artist; Kah had never felt much like an artist, but she knew that creativity was important, and it just seemed uncreative to stand outside by a burning building when a more pleasant method of travel was available to take her on an adventure. Besides, Fielle was right—nothing worse could possibly happen to them, not after being attacked by undead swine and angry butchers.

The coach was an opulent treat, with seats of rich red leather. Heavy drapes covered the glass windows, blocking out their view of the gloomy rain, and lanterns lit the space warmly. There was plenty of room, even for the orc. He was the next to struggle up into the conveyance, tripping on his robes as he did so. Settling into his own corner, he dragged his thick gray fingers over the tassels and woodwork, humming with pleasure at their beauty. The drow joined them shortly thereafter, throwing himself into the center of a bench seat and settling back with his knees spread wide. His tressym crept down from his shoulder to work its claws against his leg, making him wince as the beast settled in.

Only Alishai was left, glowering at them from the rain, the tree merrily on fire behind her. As Kah watched, a wolf materialized out of the mist, then another. Alishai looked over her shoulder and startled. It was perhaps the first time she’d seemed . . . scared.

“Fine, fine,” the tiefling grumbled, feigning insouciance. “I get the message.”

She climbed into the carriage and took her seat, but she crossed her arms and scowled, making it clear that she wasn’t happy about the situation. Kah had seen this attitude in so many people over the years, as if they wished to argue with reality and didn’t understand that reality would always win. The Companions of the Summer Wind—Kah’s particular sect of Akadian worship—preached that change was constant, freedom was the right of all, and you couldn’t fight air, much less a storm. Alishai had not learned that lesson, and perhaps she never would. Both carriage doors gently closed and latched themselves, and with a jangle of traces and the squeaking of wheels, the coach took off despite lacking a driver.

“So do we all agree that this is dangerous?” Alishai said.

Chivarion leaned his head back, his arms across the back of the seat. “I just assume everything is dangerous, darling. Saves time.”

“In such a rural area, perhaps it is the custom for a lord to invite newcomers to his manse?” Rotrog said. “It does seem hospitable.”

“It’s not normal,” Fielle said. “I’ve never heard of a single nobody invited to meet a count. But then again, I’ve only ever lived in a big city, so, as you say, maybe it’s a country thing.” She read the note again, and Alishai snatched it from her hand.

“Unto the visitors in my land, Count Strahd von Zarovich, Lord of Barovia, sends fondest greetings.” Alishai shook her head. “Fondest? A driverless carriage and a creepy chamberlain don’t seem fond to me.” She continued reading, adding a stilted tone, “Fairest friends, I pray you accept my humble—yeah, sounds real humble—hospitality and dine with me tonight. It is rare we receive visitors, and I do so endeavor to make your acquaintance. The carriage shall bear you to the castle safely. I await your arrival with pleasure. Your host, Strahd von Zarovich.” She tossed the heavy paper to the carriage floor. “Fondest? Fairest? I didn’t know the aristocracy was so very fond of hyperbole.”

Reprinted from Dungeons & Dragons: Ravenloft: Heir of Strahd by Delilah S. Dawson. © 2025 Wizards of the Coast. Published by Random House Worlds, an imprint of Random House, a division of Penguin Random House LLC.

Dungeons & Dragons: Ravenloft: Heir of Strahd: Release Date, Pre-Order Information, and MorePenguin Random House

Are we a little bit in love with Strahd, just from this excerpt combined with the cover of Dungeons & Dragons: Ravenloft: Heir of Strahd? The answer to that is… yes. We guess we’re just also fond of hyperbole ourselves. And, so we must ask the next natural question. How can we get our claws on Dungeons & Dragons: Ravenloft: Heir of Strahd? Well, the release date for Dungeons & Dragons: Ravenloft: Heir of Strahd is May 13, 2025. But to ensure you get it as soon as possible, you can pre-order the title today across a variety of locations. We recommend you don’t delay.

If you’re still itching to know more about Dungeons & Dragons: Ravenloft: Heir of Strahd, you can also read through its official description below.

In this original novel set in the world of Ravenloft, Dungeon & Dragons’ popular gothic horror-themed campaign setting, five strangers armed with steel and magic awaken in a mist-shrouded land, with no memory of how they arrived: Rotrog, a prideful orcish wizard; Chivarion, a sardonic drow barbarian; Alishai, an embittered tiefling paladin; Kah, a skittish kenku cleric; and Fielle, a sunny human artificer. After they barely survive a nightmarish welcome to the realm of Barovia, a carriage arrives bearing an invitation from villainous vampire mastermind Strahd von Zarovich inviting them to dine with him at Castle Ravenloft. With no alternative, and determined to find their way home, the strangers accept the summons and travel to the forbidding manor of the mysterious count. But all is not well at Castle Ravenloft. To survive the twisted enigmas of Strahd and his haunted home, the adventurers must confront the dark secrets in their own hearts and find a way to shift from strangers to comrades—before the mists of Barovia claim them forever.

Written by Delilah S. Dawson, acclaimed author the New York Times bestseller Star Wars: Phasma, as well as Star Wars Inquisitor: Rise of the Red Blade, Star Wars Galaxy’s Edge: Black Spire, Guillotine, Bloom, The Violence, Camp Scare, Mine, Midnight at the Houdini, Disney Mirrorverse: Pure of Heart, the Minecraft Mob Squad series, and more, this classic adventure is sure to enthrall both new and old D&D fans alike.

RELATED ARTICLE

Inside Universal Fan Fest Nights DUNGEONS u0026 DRAGONS: SECRETS OF WATERDEEP

Wait, a sardonic drow barbarian?! Say no more. Chivarion was one of our favorites from this excerpt. We are pre-ordering Dungeons & Dragons: Ravenloft: Heir of Strahd immediately. And we can’t wait.

The post DUNGEONS & DRAGONS: RAVENLOFT: HEIR OF STRAHD Exclusive Excerpt appeared first on Nerdist.

Release Date Alert: THE LORD OF THE RINGS: THE HUNT FOR GOLLUM Sets 2027 Debut

It’s time for the countdown to the hunt to begin. The hunt for Gollum, that is. We finally have a release date for our next big The Lord of the Rings movie. The Lord of the Rings: The Hunt for Gollum will release in theaters on December 17, 2027. This, of course, continues the glorious tradition of The Lord of the Rings movies releasing in December. Every The Lord of the Rings movie to date, including the recent The War of the Rohirrim, has released in December—and now The Hunt for Gollum will pick up that torch. A beautiful legacy, if you ask us.

But what do we know about The Lord of the Rings: The Hunt for Gollum, other than its release date? For starters, the movie is in good hands. Peter Jackson, Fran Walsh and Philippa Boyens, the original team behind The Lord of the Rings and The Hobbit trilogy movies, are back in a producing capacity. Andy Serkis, who is well entrenched in The Lord of the Rings world and knows Gollum better than anyone, will both direct and star in The Lord of the Rings: The Hunt for Gollum. Walsh and Boyens will write the screenplay alongside Phoebe Gittins and Arty Papageorgiou. We loved what this team did on The Lord of the Rings: The War of the Rohirrim, so we’re very excited to see what’s in store.

New Line Cinema

Additionally, when The Lord of the Rings: The Hunt for Gollum and its release date finally arrives, can we expect to see any other familiar faces? It sounds like the answer might be yes. Although we don’t have official confirmation, Ian McKellen has teased a fairly likely return to the big screen as the wizard Gandalf in The Hunt for Gollum. We would, of course, feel delighted to see him.

RELATED ARTICLE

Philippa Boyens Talks the Future of THE LORD OF THE RINGS Movies and Naming a Tolkien Character in THE WAR OF THE ROHIRRIM

Although The Lord of the Rings: The Hunt for Gollum was originally slated to release in 2026, we totally understand that an undertaking like returning to Middle-earth requires many efforts. We can’t wait to hear more about The Hunt for Gollum as its release approaches. Get ready, Gollum, we have our eyes out for you.

The post Release Date Alert: THE LORD OF THE RINGS: THE HUNT FOR GOLLUM Sets 2027 Debut appeared first on Nerdist.

THE OLD GUARD 2 Teaser Trailer: Uma Thurman Is a Sexy Immortal Clashing with Charlize Theron

If there’s one trend that we love, it’s women over 40 competantly kicking ass, covered in mud, blood, and grime. It’s honestly sizzling. And we’re obsessed. And that’s why we couldn’t be more excited that The Old Guard 2 has added Uma Thurman as its devilish villain. The Old Guard already starred Charlize Theron in Netflix’s first woman-led tentpole action movie. And adding Thurman, well known for her katana-wielding ways, to The Old Guard 2 is exactly what the sequel movie needs to up the ante. So sit back and enjoy the array of talents and battles that we get to see in The Old Guard 2 teaser trailer.

The Old Guard 2 kicks into high gear below.

Charlize Theron’s Andy claims she’s at peace when The Old Guard 2‘s teaser trailer kicks off. So peace involves a little bit of fighting and throwing men out of windows, so what. But it doesn’t seem like any kind of peace will hold on for very long. In the teaser trailer for The Guard 2, we soon see that Quynh (Veronica Ngô) has escaped her underwater prison since the events of The Old Guard, and she’s ready for revenge. And then, of course, there’s Uma Thurman’s mysterious First Immortal character Discord, who can see right through Theron’s Andy, and isn’t sure she likes what she sees. They clash, and we can’t wait to see their fight in full.

Netflix

The Old Guard 2 shares an official synopsis of the movie alongside its teaser trailer, which reveals more about the plot. It offers us this: “Andy (Charlize Theron) and her team of immortal warriors are back, with a renewed sense of purpose in their mission to protect the world. With Booker (Matthias Schoenaerts) still in exile after his betrayal, and Quynh (Veronica Ngô) out for revenge after escaping her underwater prison, Andy grapples with her newfound mortality as a mysterious threat emerges that could jeopardize everything she’s worked towards for thousands of years. Andy, Nile (KiKi Layne), Joe (Marwan Kenzari), Nicky (Luca Marinelli) and James Copley (Chiwetel Ejiofor) enlist the help of Tuah (Henry Golding), an old friend who may provide the key to unlocking the mystery behind immortal existence. Directed by Victoria Mahoney, and also starring Uma Thurman, The Old Guard 2 is an emotional, adrenaline-pumping sequel, based on the world created by Greg Rucka and illustrator Leandro Fernandez.“

RELATED ARTICLE

Watch Charlize Theron in Action in THE OLD GUARD 2 Sneak Peek

Mortals vs. Immortals. Mysterious threats. And Uma Thurman crossing swords with Charlize Theron. And that’s just what we see in The Old Guard 2‘s teaser trailer. Like we said, sign us up. The Old Guard 2 releases on Netflix on July 2. It has been FIVE years since the first movie, so consider us READY.

.youtube-embed{padding-bottom:56.25%!important;position:relative;overflow:hidden}.youtube-embed a,.youtube-embed iframe{display:block;width:100%;height:100%;position:absolute}.youtube-embed iframe{border:0}.youtube-embed img.youtube-cover{-o-object-fit:cover;object-fit:cover;height:100%;width:100%;cursor:pointer}.youtube-embed img.play-button{width:66px;position:absolute;left:46%;top:0;bottom:0;margin:auto;cursor:pointer}@media only screen and (max-width:499px){.youtube-embed img.play-button{left:45%;width:60px}}@media only screen and (max-width:425px){.youtube-embed img.play-button{left:44%;width:60px}}@media only screen and (max-width:375px){.youtube-embed img.play-button{left:43%;width:56px}}@media only screen and (max-width:345px){.youtube-embed img.play-button{left:42%;width:50px}}.youtube-embed .progressive-img{-webkit-filter:blur(10px);filter:blur(10px)}.youtube-embed .progressive-img.loaded{-webkit-filter:none;filter:none;-webkit-transition:-webkit-filter 1s ease-out;transition:-webkit-filter 1s ease-out;-o-transition:filter 1s ease-out;-moz-transition:filter 1s ease-out;transition:filter 1s ease-out;transition:filter 1s ease-out,-webkit-filter 1s ease-out}.youtube-embed .kskdDiv{display:none!important}

The post THE OLD GUARD 2 Teaser Trailer: Uma Thurman Is a Sexy Immortal Clashing with Charlize Theron appeared first on Nerdist.

Max Password-Sharing Crackdown Will Get ‘More Assertive’, ‘Extra Member’ Accounts Now Available

Who is ready for more password-sharing crackdowns? I know they are my favorite thing. In a streaming landscape filled with price increases, ads, and more, the password-sharing crackdowns still feel like the most egregious overtures made by streamers. Will you not just let us live? But no. Following in the footsteps of Netflix’s (sadly successful) password-sharing crackdown, we now have Max ramping up its own war on password sharing. We’ve been hearing about Max’s password-sharing crackdown for a little while, but it sounds like things are about to get serious in the next year or so. Max recently followed in Netflix’s footsteps and has added the ability to add an “extra member” to one’s account. Read: continue to share passwords, but pay for it. Here’s what we know.

Max’s Password Sharing Crackdown Is About to Press the Gas

Max is planning to crackdown on password sharing HARD in the next 12-18 months. JB Perrette, CEO and president of global streaming and games, noted that the efforts will begin with a gentle nudge but become “more assertive” later in 2025. Max expects the full crackdown to take about a year to a year and a half to fully ramp up. CEO David Zaslav noted that the Max password sharing crackdown “will create another boost of both subscriber and [average revenue per user] growth through the extra member add-on.”

The Current Steps in Max’s Password Sharing Crackdown

As of April 22, Max has added an “Extra Member” Add-On feature for subscribers in the US. These “Extra Members” cost $7.99/month. Subscribers can use them to let someone not in their household create a separate account under the same subscription. Here, Max defines “household” as “the account owner (the person who created the account) and the people they live with.” We’d just like to remind everyone that ‘streaming household’ is a made-up term created by Max, Netflix, Disney+, and other streamers only for password-sharing crackdown purposes, but we digress.

HBO

Warner Bros. Discovery has announced that it will soon notify its subscribers that sharing passwords with users outside their household is no longer permitted. And, as part of Max’s password-sharing crackdown, use will be futurely restricted to the household only unless an Extra Member account is in place.

Max additionally shares, “Your Max account is for you and the people you live with. With the Extra Member Add-On, WarnerMedia-billed subscribers can share their Max plan with a friend or family member who doesn’t live with them.” And notes that with the Extra Member Add-On, the extra member can:

Stream from anywhere that Max is available (they don’t need to live with the account owner).Stream on any supported device (1 device at a time).Have their own account, password, and 1 profile.Enjoy the same plan features as the account owner (e.g. if the owner has the Premium plan, the extra member can enjoy 4K Ultra HD video quality on select titles).HBO

Currently, you can only have one add-on member per Max account. Those who create Extra Member profiles will be able to transfer their single adult profile, and thus retain watch history, recommendations, and other settings from their previous account. Basically, the advantage to conforming to this password-sharing crackdown feature is that you won’t have to start your Max account from scratch.

Read Next

Netflix’s Ad Tier Hits 70 Million Users, Spurred by Password-Sharing Crackdown and Price Shifts

JB Perrette, CEO and president of global streaming and games at Warner Bros Discovery commented on this password-sharing crackdown evolution, previously noted that “Extra Member Add-On and Profile Transfer are two key Max advancements, designed to help viewers with a new way to enjoy our best-in-class content at an exceptional value, and offer subscribers greater flexibility in managing their accounts. These updates provide a simple way for subscribers to add-on a new member to their account, or for existing subscribers who have users outside of their household to smoothly, and in an uninterrupted fashion, transition their profile so that extra member can continue to access Max.”

Streamers always frame password-sharing crackdown measures with such generosity. We’ll have to wait and see how intense Max‘s password-sharing crackdown is and how fast it ramps up.

Originally published on April 22, 2025.

The post Max Password-Sharing Crackdown Will Get ‘More Assertive’, ‘Extra Member’ Accounts Now Available appeared first on Nerdist.