Stormzy has announced a major career move (Picture: #MERKY FILMS ) Stormzy has officially unveiled #Merky Films, the latest addition to his creative empire. The launch is his entry into the world of film and visual storytelling, expanding the #Merky brand (which already includes #Merky […]
FilmIt’s been two years since Olivia Dean debuted, immediately putting her vulnerability on display. She asserted her state of being with her first album’s title: Messy. The pop-leaning, piano-heavy record introduced us to the London-born neo-soulstress and all of her emotions, with tracks like “Ladies […]
MusicNintendo Switch 2 Welcome Tour is awful, but Nintendo has actually released far worse in its time (Nintendo) Following the launch of Nintendo Switch 2 Welcome Tour, GameCentral looks back on the worst Nintendo games ever made. Whereas Mario Kart World is a joyous experience […]
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What in the Black Mirror is going on?
That’s what fans would like to know after the second episode in the recently released seventh season appeared to show up differently for viewers.
Taking to social media with Easter Eggs and theories, some viewers have been left utterly confused after noticing that the name of a restaurant in the Bête Noire episode is different for them compared to other viewers.
The episode of Charlie Brooker’s sci-fi dystopian series follows a woman named Maria, played by Siena Kelly, as her life is turned upside down when her former classmate Verity, played by Rosy McEwen, enters her life again.
Using a high-tech pendant, Verity slowly changes Maria’s and everyone else’s reality, and many close to Maria become concerned about her well-being.
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At one point in the episode, Maria is talking to someone and insists the chicken shop her boyfriend used to work out was called ‘Barnies’ while everyone else tells her it was called ‘Bernies’.
After researching it online, she discovers they are right, which leads Maria to question what is going on in her life.
And she isn’t the only one.
It seems the show could be gaslighting real-life viewers, as some have taken to social media after noticing the chicken shop name is spelt differently for them compared to their friends.
One user, @actualakio, shared two screenshots of the episode on X, taken with the exact same timestamp, which showed the subtle spelling difference.
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‘So my friend and I were watching the new Black Mirror episode Bête Noire, and we noticed that there was a stark difference between our episodes… even the viewers are getting gaslit at 16:40!’
The post quickly went viral, with almost 700,000 views and thousands of comments. Many of the commenters claimed they experienced the same thing, while others praised the showrunners for the cheeky tactic.
@FloatyRedHead23 replied: ‘The showrunners probably did that to mess with people lol.’
@sp00kybinch added: ‘Black Mirror filming two versions of the bernie’s/barnie’s scene and distributing them randomly is next level diabolical.’
Another compared it to the Mandela Effect, in which a large group of people share a false memory of a fact, event, or detail and believe it to be real.
@iamgeographic wrote: ‘Amazing. They force injected a Mandela.’
Meanwhile, @Acecostumes also claimed it was happening to them: ‘What the f**k!! Netflix what happened with Bête Noire episode, if i want to go forward or backward I see Bernies but on the TV I see Barnies.’
Netflix has yet to address the disparity in the episodes or reveal if there is something deeper at play.
It’s not the first time a Black Mirror episode has caused a ruckus online, in previous seasons there has been pig f***ing, child killers tortured through forced amnesia, blackmail with a perverse twist and dating app woes.
It’s safe to say that Bernie’s dilemma is one of the least disturbing storylines for fans, but it’s no less unexpected.
Both Charlie and Netflix have been open about the show’s essence, which is its ability to delve into the disturbing crevices of the human psyche and offer both horrifying and revolutionary ways in which technology could evolve in humanity’s future.
Black Mirror season seven is available to stream now.
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A dark secret tortures Joel (Pedro Pascal) in season two (Picture: HBO) The Last of Us is finally back for season 2, and fans can’t wait to get stuck back into the horrifying, dystopian TV show. The series originally premiered two years ago, introducing the […]
TVThe Last of Us is finally back for season 2, and fans can’t wait to get stuck back into the horrifying, dystopian TV show.
The series originally premiered two years ago, introducing the lead characters Joel (Pedro Pascal), a smuggler, and Ellie (Bella Ramsey), a teenage girl who’s immune to the cordyceps infection that’s ravaged the world.
The infection has caused millions of people to turn into monstrous, zombie-like creatures, and so Joel is tasked with transporting Ellie across the country in the hope that she might be the key to creating a cure.
The second season is set five years after the events of the first – and we have everything you need to know about its release schedule, how to watch and who’s in the cast – plus an exclusive chat between showrunner Craig Mazin and Metro about changes from the video game on which it’s based.
As Joel and Ellie pick up the pieces of their life-threatening, terrifying journey in the first season of The Last of Us, here’s what you need to know as their adventure continues.
The Last of Us season two premiered on Sunday April 13 in the US on HBO and Max, and on Monday April 14 in the UK on Sky Atlantic and NOW.
The show is releasing its episodes weekly, rather than all in one go.
So, following the launch of episode one on Monday April 14, the next instalments will continue to be released every Monday in the UK until the season finale on May 26.
It’s been over two years since the first season of the show came out, which aired from January until March in 2023.
Each episode of The Last of Us will be available to watch on Sky and NOW in the UK at 2am on Monday mornings.
This coincides with when the episodes become available on HBO and streaming service Max in the US at 9pm Eastern Time on Sunday evenings.
So if you’re in the UK and plan on waiting until the end of the day to watch the latest instalments of The Last of Us, be wary of spoilers on social media!
If you thought the first season of The Last of Us was traumatising, just wait for season 2 to rip your heart out and shatter it into a million pieces yet again.
Metro‘s Deputy TV Editor Sabrina Barr reviewed the new season, giving it four out of five stars after watching all seven episodes.
‘Whether or not you’re aware of spoilers for the story, it should come as no surprise that there’s going to be heartbreak and devastation aplenty. So strap yourselves in,’ the review read.
‘Just like in the first season, Joel and Ellie’s relationship forms the backbone of season two. Following Joel’s demolition of the Fireflies, many viewers suspected that Ellie guessed that her father figure might have lied to her about her rescue and how the rebel group were killed.
‘Even though five years have passed, his lies have not disappeared into the ether. They torment his mind, adding to the friction that’s inevitably built between him and Ellie as she yearns for more independence as a young adult.
‘Yet again, The Last Of Us makes its viewers take a good hard look at themselves to ask some of the hardest questions imaginable – if someone you loved was going to be killed to save millions of others, would you let them die or save them?
‘Could you accept their death knowing that other people’s lives were saved as a result, or could you not bear to let them perish, regardless of the consequences?
‘That question brings a level of humanity to The Last Of Us that’s extraordinarily difficult to achieve on TV, especially in a story that’s set in a post-apocalyptic landscape, with zombie-like creatures whose sole purpose is to spread their infection as far as possible.’
The review concludes: ‘The Last Of Us had a mighty task on its hands to live up to its first season. Fans of the drama will not be disappointed, although they might be picking up the pieces of their hearts afterwards.’
At the premiere for The Last of Us season two in London, Metro spoke to the show’s co-creator Craig, who serves as an executive producer, showrunner and director on the drama.
While the series is an extremely faithful adaptation of the globally-popular video games on which they’re based, certain changes do inevitably have to be made when adapting it to the medium of TV.
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And fans have spotted some changes already. For example, the first season of the show omitted the risk of ‘spores’ – particles in the air that can pass on the cordyceps infection. However, in the trailer for season two, it appears that spores have now been added to the story.
When asked about changes from the video game to the TV series for the second season, Craig told us: ‘Well I can’t walk you through the changes we made, because that would give a lot of things away.
‘But what I can say is that we followed the same process that we did in season one, which is to think about what the game does beautifully that we know, as a fan, I need it to be the same, and then there are things that the game does that are so connected to the gameplay that we don’t really have the ability to do in television, so we’ve made changes.’
Craig added that when making the TV show, they had space to ‘play around’, such as in season one when they expanded the story of Bill (Nick Offerman) and Frank (Murray Bartlett) into a beautiful episode telling their whole love story.
‘So we move things around, we play around, but we do it from the perspective of Neil Druckmann who created the source material and from me as a fan. Hopefully that works for people,’ he said.
The writer teased that there are some new moments in the second season that he believes are ‘really going to rock people’, as well as ‘slight changes’ from the game that ‘enrich them further’.
‘It’ll put you back on your heels,’ he promised.
You can watch the trailer for The Last of Us season two here:
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Having become one of TV’s most treasured father-daughter duos, Pedro is set to return as Joel, with Bella reprising the role of Ellie.
Other returning cast members include Gabriel Luna as Tommy, Joel’s brother, and Rutina Wesley as Maria, Tommy’s wife.
There are also several newcomers, one of the most notable of which is Booksmart’s Kaitlyn Dever as Abby.
As fans of the video game will know, Abby plays a key part in the second season, as she embarks on a revenge mission – but we won’t say any more at this point to avoid mentioning spoilers.
Dora and the Lost City of Gold star Isabel Merced makes her debut as Dina, Ellie’s best friend and love interest, while Beef actor Young Mazino is introduced as Jesse, Dina’s ex.
The Falcon and the Winter Soldier and Top Gun: Maverick star Danny Ramirez also joins the series as a soldier named Manny.
Further exciting additions to the cast include Catherine O’Hara, Tati Gabrielle and Jeffrey Wright, with the latter reprising his role as Isaac from the video game.
There are seven episodes in total in the second season of The Last of Us.
This marks two episode fewer than before, as the first season consisted of nine episodes.
Shortly before the release date of The Last of Us season two, it was confirmed that the show will definitely be returning for a third outing.
While this marked the official renewal of the drama for a third season, it was already strongly suspected that it would be returning for more episodes.
Speaking to Metro about the third season, showrunner Craig said: ‘I think it’s important for fans to know that everything that’s happening now in season two is almost like… it’s like a little seed that’s going to blossom into this very scary fungal nightmare in season three.
‘But all questions will be answered, all mysteries will be solved. Everyone is going to have to face their fate.’
The writer previously told Variety in an interview in March: ‘It feels like we’ve got one or two more seasons.
‘It’s getting harder to make, because every episode gets big. You don’t want to wait four years for a 17-episode finish, or whatever it is.’
He also added to The Hollywood Reporter that he had no intention of continuing the series for the sake of making money, and will ensure that the story doesn’t go past the events of the video game
‘I am not going to go past the game. I’ll just say that flat out. So if people are thinking, “Oh, these guys are planning the old cash grab thing”…’ he said.
He continued: ‘The show is so hard to make. It has to have an end. So I’m not going to go past.’
An earlier version of this article was originally published on January 8.
The Last of Us will return on Sky and NOW.
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Australia’s Eurovision entrant Go-Jo grew up watching VHS’ of the contest (Picture: Hollandse Hoogte/ Shutterstock) Growing up on a property in rural Western Australia, the idea of ever being able to perform at Eurovision was a pipe dream for Marty Zambotto. But last month the […]
TVGrowing up on a property in rural Western Australia, the idea of ever being able to perform at Eurovision was a pipe dream for Marty Zambotto.
But last month the 29-year-old from the small town of Manjimup was announced as his country’s act for the 2025 contest – an honour the musician, who goes by the stage name Go-Jo, never thought would be possible.
Despite living on the other side of the world from where Eurovision plays out, Marty was introduced to it on old VHS tapes by his dad, who is French, as a child.
‘I was introduced to it at a very young age, around 4, when he played an old VHS of Abba performing Waterloo. And then over the years he’d always talk about it to me,’ he told Metro.
This introduction to Eurovision was even more surprising given the fact Marty grew up completely off-grid – with no running water or electricity.
However, it was an idyllic childhood that Marty said allowed him and his siblings to focus on creative pursuits.
‘My mother and father are my absolute icons. I look up to them so much and the way that they brought us up was so beautiful and so rare as well. And it allowed me and my siblings to think very individually. And I think it’s also where I learned hard work, because being off grid, you know, we had to work harder, I suppose to make sure that we had the beautiful water from the rain and then we had to harvest the energy of the sun for power,’ he shared.
‘My dad is a genius, and he would just invent all these things and witnessing that was something that I think really comes out in my in my later life as well. I tell my mum as much as I can, how grateful I am for the way that they raised us.’
A decade ago, Australia was invited to compete in Eurovision, but Marty was still floored when he was approached and asked to represent his county.
‘I never thought about being a contestant. Even up until I was selected, my mind never flipped into being like, “Whoa, I could actually potentially be a contestant of this”. I always saw myself as a spectator, which was interesting now that I’m on it. It’s insane,’ he said.
Despite already achieving massive success in the music industry, Marty previously faced the decision whether to pursue that, or a career as an Australian Rules footballer. He previously played in a league in which professional players for the AFL are selected from.
‘I’ve always loved footy, and sport was always the career that I wanted to do, and I didn’t really think about music and pursuing it… I didn’t know that that was an option,’ he shared.
‘But when I found out that it was and all I needed was a computer to write songs and make them ready for radio and to release on Spotify, I became obsessed with it.
‘And then it came down to… I suppose in sport; you typically have to retire l just before you’re 40 and with music you can literally do it until you can’t speak anymore. So that was my deciding factor.’
It was a decision that paid off, with Go-Jo amassing over 1.4 million followers across TikTok, YouTube and Instagram.
In 2023, he was the 9th most streamed Australian artist in the world while his previous hit single Mrs. Hollywood, hit over 60 million digital streams and one billion views across all platforms.
Next month Go-Jo will take to the stage in Basel to perform his song Milkshake Man, which has already been viewed on YouTube over 1 million times since its release last month.
While the song, which he co-wrote with the band Sheppard, has captured many people’s attention with its cheeky lyrics, he’s said its purpose is to ‘inspire people to embrace the loudest and proudest version of themselves’.
The playful track opens with a sample of Greensleeves, the soundtrack of ice-cream trucks around the world.
It also incorporates French, a move that may bring in some votes from fans in his father’s country of birth.
‘That would be great, but it was, it was mainly just to show that I have a French heritage,’ he explained.
‘I was introduced to the whole competition because of his French heritage and I wanted to add a little backstory of mine and so when I found out I’d been chosen, I instantly knew I want to incorporate French.’
Over the years there has been continuing questions from some about Australia’s participation in Eurovision, but Marty has a pretty good argument for the naysayers.
‘Well, I think I’m a great example of this. My dad is French, and he comes from a very rich European background, that’s exactly the same with my mum, she’s Dutch,’ he said.
‘If you come to Australia we have such a big European community and so many people’s parents and grandparents are from across Europe, and we’ve just been knocking on the door to do Eurovision for so long because everyone knows about it.’
Although Australia came oh-so-close to winning Eurovision in 2016 (Dami Im placed second with her song Sound of Silence), Marty is excited about the potential to bring the title home.
‘I think that’s a massive driver for me to like but obviously just doing Australia proud is all I’ve ever asked for,’ he said.
Speaking about being selected, he added: ‘It’s the most honourable feeling, representing a country and especially doing it in the field that I love the most, which is music.
‘Eurovision is literally the Olympics of music. So, I mean, you know, representing a country in the Olympics of music, it doesn’t get any better for me. I’m very honoured.’
The Eurovision Song Contest takes place from Tuesday May 13 to Saturday May 17.
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Ralph Fiennes has chiseled away at his body to star in The Return (Picture: AP) Conclave star Ralph Fiennes has wowed fans after showing off his muscular new look in a series of topless gym photos. The actor, 62, is best known for playing no-nosed […]
FilmConclave star Ralph Fiennes has wowed fans after showing off his muscular new look in a series of topless gym photos.
The actor, 62, is best known for playing no-nosed villain Lord Voldemort in the Harry Potter franchise, and his more serious work on The Menu and Schindler’s List.
However, Ralph has undergone quite the physical transformation for his new film The Return – in which he will play Greek hero Odysseus.
Directed by Uberto Pasolini, the film follows Odysseus as he returns home to his wife Penelope (Juliette Binoche) after being lost at sea for 20 years… an odyssey, if you will.
Playing war hero and sailor Odysseus, Ralph took to the gym to give himself a warrior’s physique – forsaking bread and sweets as he molded the muscle.
‘I wanted it to be believable as a man who’s fought and sailed and swum and has not eaten very much,’ he revealed at a private screening and Q&A this week.
‘Thanks to a wonderful trainer, Dan – we were side by side in getting me into the shape you see. But it was a lot of Dan’s knowledge of diet and training. He was very, very precise!’ The Daily Mail reported Ralph as saying.
Working with trainer Dan Avasilcai, Ralph spent two and a half months in the gym preparing for the role, cutting out alcohol and a variety of foods, while changing his diet to one of protein-rich meals, carbohydrates and vegetables.
‘In this version we leant into the beggar: the man who arrives emaciated and starved and also internally emaciated,’ he continued.
‘That interior evisceration – his sense of self has been smashed. And that was something it offered, which I loved.’
Sharing a glimpse of his transformation on X with an accompanying muscle-armed emoji (💪🏻), Ralph shocked fans, many of whom struggled to believe their eyes.
‘Golly, is that you? Well done!’ remarked hilltopjennifer.
‘Was not expecting a Ralph Fiennes thirsty shirtless this morning but am fine with it and impressed. Shredded,’ commented RonYamauchi.
‘Bro looks phenomenal. No matter what, you have to put in a lot of work and dedication for these results,’ said LeebertBairdian.
And, as the name ‘Swoledemort’ began to do the rounds again, others chimed in with their own observations on the newly-musclebound actor’s appearance.
‘Harry Potter and the chamber of GAINZ,’ commented AntoniusP11.
‘Ralph Fitness,’ joked jhectorcabo1.
Ralph’s transformation comes months after he lost out to Adrien Brody in the war for Best Actor at this year’s Academy Awards.
Nominated for his part in Conclave, Ralph had been hotly tipped to take home the Oscar – but was pipped to the post by Brutalist star Adrien.
It was at an Oscars’ afterparty where rumours began to fly that he might be dating comedian Chelsea Handler, after they were snapped leaving together, arm in arm.
Neither party have confirmed that they are dating, but Chelsea did joke about her attraction while onstage at a Critics’ Choice Awards ceremony.
The comedian joked: ‘You’ve played a ruthless nazi, evil Lord Voldemort, and now a celibate Cardinal …and somehow, made me want to have sex with you in all three roles.’
The Return is set to debut in cinemas on December 6.
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Donkey Kong Bananza – how variable is variable pricing? (Nintendo) My twopenn’orth on Switch 2 pricing. It’s a bit long, so please scroll down if sick of hearing about it. Aside from pushing Mario Kart World to £75 they should have just gone with everything […]
GamingMy twopenn’orth on Switch 2 pricing. It’s a bit long, so please scroll down if sick of hearing about it.
Aside from pushing Mario Kart World to £75 they should have just gone with everything else at £70 and charging for that bland looking tutorial thing, I’m OK with it.
The console is well priced. The Mario Kart World bundle is even better value.
Aside from Mario Kart World’s physical price all other prices are lower than what Sony and Microsoft charge for a new triple-A game. If you buy digital, then Mario Kart World is cheaper.
Switch 2 upgrades have been confirmed as costing $10, in-line with the rest of the industry. There’s a decent selection of games that will receive free upgrades, like Super Mario Odyssey.
Switch versions of games that’ll see price increases for the Switch 2 version come with addition content, along with the frame rate and resolution bumps. Except the Zeldas, where it’s just a phone app along with the bumps. But those two upgrades will be available on Nintendo Switch Online. [There’re two prices for Nintendo Switch 2 Edition games: $20 for games with new content, like Super Mario Party and Kirby, and $10 for those with no new content, like Zelda – GC]
The story of Switch 2 carts being Switch games with a download code looks to have been debunked. [This is debatable: at time of writing the only one that has commented on the situation officially is Nintendo Australia – GC]
All in all pretty in-line with the rest of the industry.
So why the outcry?
I think that Nintendo games holding their price is a big problem. Switch games were cheap and their RRP was less than PlayStation 4 games at £49.99, except the Zeldas at £59.99. But aside from the Zeldas they all settled at £40 at most outlets and most were available day one for £42.50, from places like ShopTo.
If Switch 2 games maintain a price of £10 less than RRP, like Switch games, you’ll be lucky to ever see Mario Kart World less than £60 to £65 physical. Nintendo do have 33% off sales on eShop, so you might see digital go down to maybe £50 now and then.
Many gamers felt £70 was already a step too far, so escalation to £75, perhaps not surprisingly, has caused even louder objections.
I do think, as well many expect cutting edge graphics for £70 to £75 which is something Nintendo hardware will always be behind the curve on. All the creative splendour on offer which I feel is equally as expensive to produce is sadly not as highly valued as graphics it seems for some.
So I don’t see much issue with the pricing, feel it’s all worth the money, in-line with the industry and won’t cry foul and say it’s greed. But if the majority do then it’s just not Nintendo with the problem but the whole triple-A industry. Which is where many seem to be with triple-A games these days, opting for free-to-play or indies.
By reader Simundo
The reader’s features do not necessarily represent the views of GameCentral or Metro.
You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.
One of Amazon Prime Video’s most popular films this year has been described as a cross between The Last of Us and the Alien franchise (Picture: Vertical/Prime Video) Amazon Prime Video viewers have the opportunity to watch an action thriller that’s been dubbed ‘The Last […]
FilmAmazon Prime Video viewers have the opportunity to watch an action thriller that’s been dubbed ‘The Last of Us meets A Quiet Place with a sprinkle of Alien’ by fans already clamouring for a sequel.
Several also praised the film as ‘an edge of your seat thrilling adventure’ thanks to its set-up, action and an unexpected plot twist towards the end.
And now, with The Last of Us season two finally premiering on Monday April 14 (UK time), Elevation could provide perfect complementary viewing – especially as the TV show is keeping fans waiting for its weekly episodes.
The sci-fi title was added to the streaming platform in early February, immediately storming to the top of the Prime Video charts to be the number one most-watched title in the UK, where it remained for several weeks.
The 2024 movie is led by Captain America: Brave New World star Anthony Mackie and also features Morena Baccarin and Maddie Hasson.
Set in a dystopian future, humanity now survives only in the high mountains above 8,000 feet to avoid the terrifying huge insect-like creatures that wiped out 95% of the population and lurk below ‘The Line’, where they can survive.
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According to the synopsis, a father (Mackie) must venture into monster territory to save his son, accompanied by a scientist (Baccarin) he despises and a young woman (Hasson) determined to keep them alive – long enough to save humanity.
The film, directed by George Nolfi – who also helmed 2011’s The Adjustment Bureau and co-wrote The Bourne Ultimatum – was released in cinemas in the US last year to a mixed critical reception but a solid fan reaction with audiences giving it a strong 80% rating on Rotten Tomatoes.
Several enjoyed how similar it was to other popular monster and post-apocalyptic movies, comparing it to The Last of Us,A Quiet Place, Alien and others.
‘It gave off modern 80s vibes, Red Dawn/Predator in a way, but fresh, too,’ enthused fan Scott, while David G assessed it as ‘pretty much A Quiet Place with lack of altitude replacing noise as the survivor’s Achilles heel’.
He was one of many to also praise the film’s ‘Rocky Mountain vistas’, while Andreas B chimed in: ‘Awesome, early-90s sci-fi action thriller (the best kind)!’
‘I was on the edge of my seat through the movie. Absolutely didn’t expect the ending. Worth seeing!,’ shared Cody in another five-star fan review.
‘A must see exiting post-apocalyptic movie with beautiful scenery, great acting from Anthony Mackie, and an unexpected emotional ending. Waiting for the sequel,’ posted Maddie, who was among many others hoping for a follow-up to the film.
‘Really, really good sci-fi post apocalyptic film. Brings a fresh spin if your tired of zombies and the usual aliens type of genre. This is something new and really pretty original,’ enthused James McCabe on Google.
Viewers are also recommended to watch right until the end for a post-credit scene.
It’s just one of several anticipated movies Amazon Prime Video has recently added as a title free for its subscribers, including Viola Davis’s action packed thriller G20 and the devastating Oscar winner, Schindler’s List.
However, not everyone is a fan of Elevation, with Kristine J saying that it was ‘so incredibly dumb’ and another audience member calling it ‘plain awful’.
SciFiNow’s review observed: ‘Smartly and tightly edited to arrive as a well-paced 91-minute monster mash, although relatively formulaic, the promise of the premise and Mackie and Baccarin’s charm manages to keep hope alive.’
Boston Movie News’s James Verniere called it ‘a modest War of the Worlds knockoff’ while Brent McKnight wrote for The Last Thing I See: ‘If any movie has ever been just kind of fine, it’s Elevation. It gets right in, does its business, and wraps things up in less than 90 minutes.’
Elevation is now streaming on Amazon Prime Video. The Last of Us season two premieres on Sky Atlantic and Now on Monday April 14 at 2am.
This article was first published on February 9.
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Could Mario Kart World end up seeming cheap? (Nintendo) A reader thinks that the video games industry is headed for a massive price increase across the board and the Nintendo Switch 2 is only the half of it. There’s been a lot of complaints and […]
GamingA reader thinks that the video games industry is headed for a massive price increase across the board and the Nintendo Switch 2 is only the half of it.
There’s been a lot of complaints and arguments about the price of Nintendo Switch 2 games this week and I totally get it. £75 for a physical copy of any game is an absurd amount of money to pay, even if it is technically good value for money, compared to things like going to the cinema.
The problem with that is that is that even if it is good value in theory, it’s still a huge chunk of money that almost anyone would think twice about paying, especially given all the money uncertainty in the news at the moment.
What worries me is the idea raised by GC and others that we could be heading to a future where all games cost at least that much. That rather than Nintendo being the most expensive they’ll be leap-frogged by other publishers and still end up being the cheapest.
I don’t know about you, but I don’t like the thought of a new generation of gaming where £75 is ‘cheap’ or even the norm. Some triple-A games are already £70 but we’ve seen this week that The Last Of Us collector’s edition costs £100 and who knows what GTA 6 is going to end up as.
I think it’s pretty obvious what’s going on here. The price of making games has gone up – we’ve known this for years now – and what is the obvious response going to be from publishers? To decrease budgets? To make shorter games? To expand free-to-play concepts to include single-player games? No. No, they’re just going to increase the price and make it our problem.
That is such a dumb, unimaginative, response to a complex problem that you could’ve guaranteed immediately it’s what they’d do.
I’m not saying it’s not a difficult issue. We all want our games to look as good as possible and to have plenty of content, but a sensible publisher would consider the negative side of that, where games take forever to make and you can only make your money back by charging through the roof.
The problems are obvious, not least the fact that this is going to push people even more to play only free-to-play games, which is what these companies were supposed to be trying to avoid. If it’s a choice between a £75+ game and a completely free one, that everyone is playing, the average casual gamer isn’t even going to think twice.
Then there’s the problem that the number of games that can justify that sort of money are very small. First party Sony games and things like Assassin’s Creed Shadows are one thing but who’s going to spend £75 on a game that got a good but not great review or which you’re just not sure you’ll like.
It’s going to end up with a two-lane video games industry, where triple-A games, in an increasingly small number of franchises and genres, cost £75+ and indie games are £20 or so at most.
Maybe that’s not the worst thing in the world (although I do think the originality and innovation of indie games can be overexaggerated at times) but it’s going to mean so many great games are going to be out of the reach of a lot of people.
Perhaps it’s a shame that subscription services didn’t really take off but beyond that I don’t really see anyone round the problem. Games are just going to get more and more expensive and the number of people that can afford to get them, as more than just the occasional luxury purchase, is going to shrink and shrink.
By reader Taylor Moon
The reader’s features do not necessarily represent the views of GameCentral or Metro.
You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.
Pride and Prejudice is getting yet another reboot (Picture: Working Title/Kobal/REX/Shutterstock) I hate to say it but not even Olivia Colman can tempt me to feel excited about another rehash of Jane Austen’s Pride and Prejudice. We already have two beloved adaptations, so I can’t […]
FilmI hate to say it but not even Olivia Colman can tempt me to feel excited about another rehash of Jane Austen’s Pride and Prejudice.
We already have two beloved adaptations, so I can’t think of anything more dull than another basic remake — no matter how many Oscar winners Netflix casts.
However, if this six-part series must go ahead, there is one adaptation that I am begging Dolly Alderton, the writer, to take inspiration from: Bridget Jones.
Go modern and reinvent the story.
The iconic 00s film was so undeniably brilliant that most of us forget it is loosely based on Pride and Prejudice, even if Mr Darcy’s name remained unchanged.
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And Bridget Jones wasn’t a fluke, either.
Clueless is another beloved Austen modernisation, meanwhile, Shakespeare got an overhaul in 10 Things I Hate About You, She’s The Man, and Anyone But You.
Some of the most high-regarded rom-coms are these types of contemporary reimaginings, and romance fans have been screaming for more of these twists on classics.
However, studios stubbornly stick to churning out known IPs in an attempt to manufacture an assured hit.
Classic novels appear to be the flavour of Hollywood right now, with Greta Gerwig’s upcoming Wuthering Heights already taking a beating from fans.
The last time Netflix decided to take on Jane Austen, we ended up with 2022’s Persuasion, which sits at an embarrassingly low 30% on Rotten Tomatoes.
Attempting to modernise without going all in was the fatal flaw for this film. It missed the full-blown modern pull while ditching the period charm of 2020’s Emma or the older Pride and Prejudice adaptations.
And these Pride and Prejudices did it so well.
Keira Knightley and Matthew Macfadyen deftly navigated the dance of Elizabeth and Darcy in 2005, scoring Academy Award nominations in multiple categories.
Then there’s the Colin Firth 1995 TV version, which again landed BAFTA nominations and a place in all romance-lovers’ hearts.
With such an impressive legacy, there’s no way this new series can be better than those classics, so it must be decidedly different.
Transforming Pride and Prejudice into something new is the only way to save this new series from a painful reboot fate.
The casting announcement has given me some hope that this will have the energy I’m desperate for, as Netflix has revealed Emma Corrin will star as Elizabeth Bennett.
Casting a non-binary actor could open doors to play with the expectations and give us something truly exciting.
In more conventional choices, Mr Darcy will be played by Slow Horses’ Jack Lowden, while powerhouse Olivia Colman is Mrs Bennett.
I’m not holding my breath for a Bridget Jones-level departure from the novel, but I have faith in Dolly to bring something (anything) creative to the table.
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Are Nintendo making some schoolboy errors? (Nintendo) A reader points out how console manufacturers always seem to have trouble following up a big success and suggests Nintendo could fall into the same trap as everyone from Atari to Xbox. I have been reading bits here […]
GamingA reader points out how console manufacturers always seem to have trouble following up a big success and suggests Nintendo could fall into the same trap as everyone from Atari to Xbox.
I have been reading bits here and there on the Switch 2; hearing opinions on YouTube, etc. from different people. I don’t have an interest in the console, I was never going to buy it, and it looks to me like they are just playing it safe with the same name and look of the console. But I’m a bit confused by their pricing strategy on games.
Some that seem like a reskin of old classics are bumped up to full price and what’s with charging for some upgrades, never heard of Smart Delivery? This happened before with Nintendo, over the 3DS price after the DS success, and lowering the price for GameCube. Perhaps they may end up doing the same with the Switch 2. What I don’t want is for this to set a precedent for game price rises, that publishers may jump on. Also, Nintendo need to be careful they don’t add fire to any negativity that can hamper their launch, especially in this internet age.
Here’s the thing, and it’s a warning from history. Gaming companies have, going back decades, shot themselves in the foot after having a successful product. Firstly, I’m thinking of the Xbox One. All Microsoft had to do was release a powerful Xbox 360 successor and all the extras would have followed with it. Heck, they could even have called it the Xbox 360-2 and it might have sold more than the Xbox 360. But instead they alienated gamers with always online, DRM controversy, performance issues, etc. and a launch event that looking back still makes me cringe.
The Xbox One reveal was an event I still feel to this day Microsoft did not need to do. It was only to copy Sony but in the end it ended up helping PlayStation’s cause and hurting Xbox one. And not to mention how fast they backtracked on used games and Kinect. The Irony being a lot of what they preached has come true today.
Sony, after the hugely popular PlayStation 2, almost botched the PlayStation 3 with its price and other issues. Nintendo, after the Wii, badly miscalculated the allegiance of the casual userbase it had and the Wii U flopped. Go back further and you get to Sega after the Mega Drive. The bloated add-ons for it and the Dreamcast. Everyone seems to fondly remember the Dreamcast but too bad that no one bought it when it was getting rolled over by the PlayStation juggernaut at the time.
Going further back: Atari sinking after failed consoles. I’m pretty sure they made big on the Jaguar being 64-bit and were then accused of false advertising by people saying it technically wasn’t. Plus, they only had awful games for it, and a strange joypad, and that failure pretty much consigned Atari to history as a console maker. Also, the fate of Commodore. They released a C64 console to try and cash in on the C64 computer, but it was quickly forgotten.
Lord knows how many other consoles have fallen by the wayside due to bad decisions and high prices that took out a large chunk of the market. Sometimes it just seems that companies routinely misjudge the mood of the gaming market and what consumers may want.
It’s always amazed me, in the gaming hardware industry, how companies, after having a successful product, then make some of these odd choices afterwards and almost ruin the brand name.
Now, I’m sure Switch 2 will sell very well but with what game attach ratio and how many will end up as used consoles in stores? If it’s a console relying on the casual market, Nintendo should already know how volatile that could be. I think Sony and Microsoft, who are rumoured to be working on handhelds, are watching the Switch 2 to see how it pans out and then make their plans. Also, as we have seen this console generation, the userbases have shrunk – will Nintendo buck the trend? [Well, they certainly have with the Switch – GC]
Sony have been the most consistent gaming hardware performer. But at times even they have made odd choices to ruin PlayStation. So many companies in gaming have ruined their success by a list of bungled decisions down the decades. So, this is just a little warning: no gaming company should assume success is guaranteed just because of an installed base, because in this industry it isn’t.
By reader Stephen
The reader’s features do not necessarily represent the views of GameCentral or Metro.
You can submit your own 500 to 600-word reader feature at any time, which if used will be published in the next appropriate weekend slot. Just contact us at gamecentral@metro.co.uk or use our Submit Stuff page and you won’t need to send an email.
Director Ted Kotcheff has died at age 95 (Picture: Dave Kotinsky/Getty Images) Ted Kotcheff, director of First Blood and Weekend at Bernie’s, has sadly died at the age of 94. TMZ confirmed that the filmmaker died peacefully Friday night at Hospital Joya in Nuevo Nayarit, […]
FilmTed Kotcheff, director of First Blood and Weekend at Bernie’s, has sadly died at the age of 94.
TMZ confirmed that the filmmaker died peacefully Friday night at Hospital Joya in Nuevo Nayarit, Mexico.
It was reported that he was surrounded by his family when he died, and his cause of death was not disclosed.
The director was best known for his hit films in the 80s, in particular the film First Blood, which introduced the Sylvester Stallone character John Rambo and became a classic.
Kotcheff also worked on hilarious comedies, including the huge 1989 hit Weekend at Bernie’s starring Andrew McCarthy and Jonathan Silverman.
The director’s other well-known projects include the 1977 film Fun with Dick and Jane, North Dallas Forty in 1979, the1974 filmThe Apprenticeship of Duddy Kravitz, and Wake in Fright in 1971.
Aside from his impressive movie career, Kotcheff also was an executive producer on 13 seasons of Law & Order: Special Victims Unit, he also made a variety of TV movies.
The director’s most impressive hit was First Blood, which was a box office smash with a budget of $16 million (£12.2 million) and grossed more than $125 million (£95.6 million) worldwide.
The first film focuses on a US Army Special Forces veteran, John Rambo, whose Vietnam War experience traumatized him but also gave him superior military skills, which uses to fight corrupt police officers, enemy troops and drug cartels.
Although the initial movie was a smash hit and spawned a franchise, Kotcheff decided not to return because of his issues with the morality of the script.
‘They offered me the first sequel, and after I read the script I said, “In the first film he doesn’t kill anybody. In this film he kills 75 people,”‘ he said in a 2016 interview with Filmmaker magazine.
‘It seemed to be celebrating the Vietnam War, which I thought was one of the stupidest wars in history.’
‘Fifty-five thousand young Americans died, and so many veterans committed suicide. I couldn’t turn myself inside out like that and make that kind of picture.
‘Of course, I could have been a rich man today — that sequel made $300 million.’
The director was born in Toronto to Bulgarian immigrant parents and his full name was William Theodore Kotcheff.
Kotcheff married British actress Sylvia Kay in 1960 and they had three children before their 1972 divorce. Kay died in January 2019 at age 82.
Kotcheff went on to marry Laifun Chun, who became his producing partner on several projects. They had two children named Thomas and Alexandra.
The director is survived by his five children.
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