Anthony Hopkins joins 2048: sci-fi thriller launches at TIFF

Anthony Hopkins has signed on to 2048, Timothy Woodward Jr.’s post-apocalyptic sci-fi thriller, which has now launched at the Toronto International Film Festival’s official market. He’s set to play Bryant, the chilling power broker at the center of the film.

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The story unfolds on a dying planet, where humanity has been pushed into a vast underground society run by the authoritarian Collective. At the center is Wesley, a worker who gets pulled into a hidden resistance and into a confrontation with Bryant, a brilliant, ruthless architect who uses surveillance, manipulation, and psychological terror to crush dissent after memories of the surface have been erased.

The film also brings Hopkins and Woodward back together after Eyes In The Trees. Sean Ryan wrote the script, Natalie Burn and Volodymyr Artemenko are producing, and the plan is to shoot in Los Angeles. More casting is still underway, and there’s no release date or full cast announced yet. Hopkins has called the screenplay “complex and fascinating,” pointing to its mix of creativity, compassion, and cruelty, and to a role he sees as intelligent, restrained, and frightening.

For anyone drawn to original dystopian sci-fi, 2048 looks like one to watch. Buyers can find the film through Top Film Distribution Corporation at TIFF’s market, where Hopkins’ involvement should help it stand out fast, even with coverage still fairly limited outside North America and parts of Europe.

League of Legends Classic still isn’t official: Riot hasn’t announced it

Riot Games still hasn’t officially announced or released League of Legends Classic. The idea keeps coming up, and there’s been fresh chatter around it lately, but as of today it’s still just that: talk.

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If the reports are right, League of Legends Classic would work like a World of Warcraft Classic-style rollback, taking players back to early League of Legends. Riot launched the original game in 2009 with 40 champions. That number has now climbed past 160. The Classic version described in those reports centers on pre-rework kits, old visuals, and a 68-champion pool made up of the 40 launch champions, 20 early additions, and 8 later additions.

Those reports also claim Yuumi, Yone , Seraphine, Locke, Yunara, and Zaahen wouldn’t be included. A Sept. 10 roster update reportedly added Poppy, Xin Zhao, Shyvana, Galio, and Fiora.

The same batch of reporting says players would vote on future champion waves through a “Council” system connected to Classic Levels. There’s also a Polygon interview mentioned in those reports where Riot Games executive producer Paul Bellezza said more than two champions per patch, adding them in groups instead of rolling them out one by one.

If you miss the old Summoner’s Rift and the simpler kits that came with early League, this is something to keep an eye on. Still, Riot Games hasn’t confirmed any of it, so any roster list or update plan floating around right now deserves a healthy amount of skepticism.

And for now, there’s nothing to download. Riot Games still hasn’t released a standalone League of Legends Classic product.

Malone Lam pleads guilty over $263 million crypto theft

Malone Lam is 22, from Singapore, and lives in Miami. In the US, he has pleaded guilty to a racketeering charge tied to a $263 million cryptocurrency theft and laundering operation that, according to court filings, ran from October 2023 through May 2025.

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The filings say Lam was part of a 12-person group that went after wealthy crypto holders using social engineering during that period. One of the biggest hits came in August 2024, when more than 4,100 Bitcoin were taken from a victim in Washington, DC, worth about $230 million at the time. Other thefts, the filings say, ranged from $800,000 to tens of millions. Lam could face up to 20 years in prison, and a status hearing is set for December 8.

Prosecutors say the group grew out of Minecraft connections involving Jeandiel Serrano and Veer Chetal. From there, investigators say, members posed as Google employees and staff at crypto exchanges, set off security alerts, and pressured victims into handing over access to their wallets. The money, prosecutors say, paid for 31 exotic cars, houses in Los Angeles, Miami, and the Hamptons, private jets, bodyguards, designer goods, and nightclub spending that reached $500,000. Lam was arrested in September 2024. Marlon Ferro, meanwhile, was sentenced to 6.5 years for handling burglaries when the scams didn’t work.

If you keep an eye on enforcement cases, this plea is one to watch, and the court filings are where to follow it. They show that associates have already pleaded guilty, that Veer Chetal is expected to testify, and that 12 more defendants, some believed to be in Dubai, were charged in May 2025.

PlayStation cancels Kojima’s latest video game and that tells us about the state of the video game industry

PlayStation has done the unthinkable: it has canceled Physint, what will probably be the last game of Hideo Kojima’s career. This was announced along with the news that Xbox will publish the game after Kojima Productions spent four months looking for someone to finance and publish its game. Making the production of a game that should be a safe bet into a completely unexpected odyssey.

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But all this says a lot about the current situation of the video game industry. This applies to Xbox and PlayStation as well as Kojima Productions and all the other developers too. Because even though it might seem like this couldn’t be seen coming, we could’ve foreseen it. And even though it might seem like Kojima had an alternative, the reality of the industry is not kind even to someone with his profile.

PlayStation wants to squeeze you dry

PlayStation is in a situation where it no longer pursues brand image or corporate identity: only profits matter. It has made this clear in all its decisions over the last five years. Its focus on live-service games, the closure of its main Japanese studios, the decision to phase out physical releases and its open disdain for communicating with consumers are signs that it has no interest at all in any of these aspects. It only cares about the profits its games bring it.

Dropping Hideo Kojima’s new game is a logical move. While a game from Kojima Productions brings brand value, it doesn’t necessarily bring monetary profits. Not the kind of profits they’re looking for at PlayStation right now. Death Stranding reached 20 million users worldwide by April 2025 including PC players, but at PlayStation they no longer have any interest in releasing their games on PC. And although we don’t have official sales numbers, what we do know is that it turned a profit, but it doesn’t seem like it was a huge seller. For Death Stranding 2: On the Beach we do have figures: it has sold around 1.6 million copies on PlayStation 5 according to Alinea Analytics.

These figures are extremely poor for PlayStation. Days Gone, developed by Bend Studio, a PlayStation subsidiary, was published the same year as Death Stranding and sold 7.32 million copies on PlayStation 4. It was considered a sales failure that led to the cancellation of its sequel, to the studio not getting any other title approved since then, and to Bend Studio having to lay off 30% of its workforce as of June 2025, according to Bloomberg journalist Jason Schreier.

What is considered a success at PlayStation? Whatever sells disproportionately well. The Last of Us has sold more than 12 million copies. Marvel’s Spider-Man has surpassed 22 million. Horizon: Zero Dawn has surpassed 20 million. And of course, games as a service, which can be monetized infinitely, are the company’s ideal: its own Fortnite, which it still hasn’t managed to create, like the failed Concord. But something that gives them prestige or brand image doesn’t matter. Only profit matters. And in that, Hideo Kojima, someone who provides prestige but not enormous profit margins, doesn’t fit Sony’s current strategy.

Xbox needs you to believe in it again

Microsoft is in the exact opposite situation. Its reputational crisis runs so deep that they can’t afford to squeeze their users as if nothing else mattered: they have to prove that their brand matters. That Microsoft, that Xbox, is not only synonymous with bad practices and anti-consumer practices. That they also have good video games and good products. Hence their moves.

In their case, it’s been almost a decade of bad decisions. But now they’re doing it even worse. Their public standing is terrible and they have to make even worse decisions to keep the business afloat because from the parent company, Microsoft, they do not see the video game business as viable. which puts Xbox in a position that’s unsustainable in the short, medium, or long term. That’s why the strategy of the company’s current CEO, Asha Sharma, is a very simple one: minimize damage and make it seem that every move is in relation to users’ needs.

Minimizing damage means making every negative change that affects users in a pernicious way seem like changes that actually are, deep down, positive for them. This is a dangerous strategy, because it can make them feel like they’re being taken for fools, but if your company is on the ropes, it may be better than the alternative. Making it seem that every move is to please the fans is exactly that: winning back disillusioned fans.

That is the reason for acquiring the rights to Physint. Taking advantage of Sony’s reputational crisis to get one of its own. Positioning themselves as saviors of video games, who step in to protect the important and beautiful things, like what is possibly the last video game of Hideo Kojima’s career, no matter the cost. This gives them an image as benefactors of the arts and whitewashes them.

It’s exactly the same thing the Saudis do, for example, with video games and sport: finance and host major events to associate those same events with their country so that they are not associated with the atrocities they’re generally associated with, and thus improve their reputation. Making it logical that where Sony has dropped the ball, because they believe they don’t need goodwill because they have a captive audience they can squeeze, Xbox wants to pick it up, because they need to recover all the reputation they can so that the public stops abandoning them.

Hideo Kojima is no different from you or me

This leaves us with the elephant in the room. Hideo Kojima has been very vocal regarding some of his political ideas, both inside and outside his video games, and he has supported the Palestinian cause on several occasions. Microsoft not only supports Israel, but there is also a boycott against its products, including Xbox’s, because of it. How, then, can Kojima accept working for Xbox? Because at the end of the day we all have to make compromises.

The video game industry is in a horrific state. Getting funding is practically impossible and there is practically no publisher that does not have implications that are anything but questionable in the current situation of the world. Making video games is no longer just difficult, it also entails almost inevitably finding questionable bedfellows. And it doesn’t seem like that’s going to change soon. Something that in Kojima’s case implies an added problem: he is 63 years old. He doesn’t have much time left. Physint may very well be his last game.

Because what alternative does he have? If we take Sony and Microsoft off the board, we’re left with Tencent, Nintendo, NetEase, Electronic Arts, Take-Two, and Epic Games. Tencent has serious accusations of censorship against it and has shut down numerous studios in recent history. Nintendo barely funds external studios. NetEase is in an even worse position than Tencent, and it’s also determined to introduce AI into everything it does. Electronic Arts has been bought by Saudi Arabia. Take-Two has no interest in anything outside its franchises. And Epic Games has had serious legal problems for violating children’s privacy in Fortnite.

There were alternatives, but none was ideal. And Kojima isn’t getting any younger. Maybe he could choose not to make Physint, abandon a project to which he has devoted enormous effort and passion and what may be his last chance to make a big project. But that doesn’t sound like something reasonable to ask of someone. Just as it is not reasonable to ask a person to leave their job because their company is part of a corporation that carries out highly questionable acts.

Because yes: the video game industry is in an extremely delicate situation. It’s in a disastrous state. Great games still come out, but that doesn’t mean the state of the industry is good. Or that its great creatives are not tied to the same contradictions as the rest of human beings. Because Hideo Kojima is no different from any of us. And the decisions of PlayStation and Xbox are completely logical, when thought about from a CEO’s point of view rather than a person’s.

One version of the project: How Autodesk Forma Design Collaboration transforms collaboration between architects, engineers and contractors

In architecture and engineering, a project can grow in complexity at an absolutely astonishing rate. We have architects working in Revit, civil engineers developing their part of the project in Civil 3D, specialists using AutoCAD Plant 3D, a considerable number of contractors reviewing documentation, BIM managers coordinating models and, as if that were not enough, clients expecting visibility into every stage of progress. At certain points in the project, both the number of participants and the volume of information we need to organise can increase almost exponentially. And the most important thing is making sure that we are all working from the same information and that it is always up to date. Maintaining the right context and being able to understand at any moment what has changed, what requires our attention and what the next step should be can almost become a project within the project itself.

This is where Autodesk Forma Design Collaboration comes into play: a cloud-based design management and collaboration system developed specifically for AEC projects. Its proposition is actually quite straightforward, but extremely versatile: to connect, relate and organise data, models, communications, reviews and team management within a single environment. It creates a common point for all project data while integrating with authoring tools such as Revit, Civil 3D and AutoCAD Plant 3D. Instead of turning the collaboration system into an additional layer, we can integrate it directly into the design process itself.

The idea of what we call a single source of truth is not new, but within Autodesk platforms it takes on a different level of relevance and substance. We are talking about having access to the right model, understanding changes between versions at a glance, reviewing clashes, assigning issues, efficiently documenting every decision, managing different permission levels, tracking milestones and preparing the information that will ultimately reach the owner. The entire project can move forward around a single centralised flow of information that is also continuous and traceable, from the earliest design decisions through to the delivery of a digital twin ready to support the asset throughout its operational life.

A common data environment is the only way for every team to work from the same reality

Let us consider a multidisciplinary project of a certain scale. The architectural team develops its model, the different engineering disciplines progress in parallel, and contractors need to review specific elements in order to prepare construction, planning or fabrication activities. Each discipline has a certain degree of responsibility for the work, and the important point is that one team’s decisions directly affect the others. The more interconnected our models and teams become, the more important it is to have a clearly organised central reference from which we can access the actual state of the project at any time.

Autodesk Forma Design Collaboration is built precisely around this concept of a common data environment, or CDE, allowing us to centralise models, documentation and other project information so that the different parties can access exactly what they need to carry out their work according to their permissions. Transparency is one of its main advantages, of course, but there is another that is even more important: context. A file stops being simply a file when, within the project, we can understand when it was published, what it represents and how it fits into the evolution of the work across the other disciplines.

This centralisation, enormously useful in every situation, becomes absolutely essential when we work with distributed teams. Far too often, a lack of synchronisation between teams slows down processes, puts work on hold that could otherwise progress in parallel or, in the worst cases, leads to errors and duplicated work that later has to be corrected.

With a centralised workflow, the right professionals for a project can be located in different offices, cities or countries while the models evolve in a coordinated way in the cloud. Forma Design Collaboration allows us to work with Revit, Civil 3D and Plant 3D files, meaning each discipline can keep using its specialised tools while the project retains a common structure and we can scale our teams with much greater flexibility.

In Revit, for example, cloud worksharing allows several of us to work on the same model. For architecture and building engineering, this apparently simple capability can significantly change day-to-day working dynamics, particularly on projects involving different offices or external collaborators. Synchronisation simply becomes part of the normal workflow, while publishing is only a click away and happens only when the team considers the information ready for the other stakeholders.

Civil 3D follows a similar logic, adapted to infrastructure projects. We can centralise all files, keep participants aligned and visualise design changes to properly understand their impact. The civil tools within the Forma Data Management viewer also allow us to navigate alignment geometry, carry out progressive queries and instantly generate perpendicular sections.

Plant 3D completes the connection to the centralised system for industrial and process plant projects. Once again, the common principle remains the same: every specialist continues working with the right tool for their discipline while the project brings all the information together.

This continuity is accompanied, however, by something absolutely essential: control. Centralising information is extremely useful, but it becomes even more meaningful when we can determine who has access to it and at what permission level. Autodesk Forma Design Collaboration allows us to use role-based permissions for each team and group so that every project participant can only view or manage the information relevant to their responsibilities. The source of truth remains common, while each team has a clearly defined scope of access and responsibility within the project.

From an organisational perspective, we can also structure information exchanges through work packages. A team can group together models, views, drawing sets and supporting documents and then prepare them for other disciplines. Before incorporating that package into our design environment, we can review it, fully understand its contents and choose the right moment to bring it into the common context.

Faster, more organised and, above all, more complete synchronisation

A key component of coordination is Bridge, which allows us to move information between projects and organisations with great ease. On projects involving consultancies, engineering firms, multiple design practices and contractors, each with its own independent structure, Bridge’s ability to organise how information crosses organisational boundaries while retaining control and traceability can completely transform the way we work.

The activity view and project timelines allow us to track when specific information is presented, which documents it contains and what the scope of each exchange is. For design leads and BIM or project managers, this visibility is fundamental.

One particularly relevant case study in this respect is Designer Group, which clearly illustrates the impact this development can have on the more repetitive tasks involved in exchanging content. According to figures presented by Autodesk, a synchronisation process that previously took around half an hour was reduced to just five or six minutes. That represents an 83% reduction in the time spent solely on model synchronisation. In addition, the pilot project generated savings of around €12 000 per project. When an improvement is applied repeatedly throughout a project, a difference of only a few minutes per operation can quickly add up to something genuinely significant.

From reviewing models to coordinating decisions: collaboration, changes and issues within a single workflow

Having all the data available is the starting point, but it is nowhere near the ultimate objective. The real value lies in being able to use that information to coordinate decisions. On an AEC project, reviewing involves much more than opening a model and simply looking at it; we need to compare disciplines, understand modifications, identify incompatibilities, communicate observations and comments, and fully track every matter until we can confirm that it has been resolved.

Here, Autodesk Forma Design Collaboration allows us to view models, including aggregated models, directly from the browser and carry out reviews across different disciplines. It might sound like a relatively minor feature, but it considerably democratises access to BIM information, as participants involved in coordination, management or construction can interact with the project from the cloud without the complexity of certain dedicated tools. The more people with different levels of knowledge and experience can understand the model in context, the easier it becomes to make decisions with a complete view of the work.

Model coordination is one of the clearest examples of how versatile this approach can be. Automated clash-detection tools allow us to identify potential conflicts between disciplines while we are still in the design phase. A building service running through a structural element, a water pipe occupying the safety clearance reserved for electrical systems, or two systems competing for the same physical space can all be resolved relatively easily within a digital project, but they require far more work and money to correct during construction.

Issues can also be turned into assignable tasks. We can identify a specific point in the design, document it, assign it to the appropriate person — because the person who detects the issue is not necessarily the one responsible for resolving it — and manage its resolution within a separate but organised workflow. With the appropriate add-ins, the relevant part of that workflow can reach design tools such as Revit or Navisworks directly. The designer can receive a notification and resolve an issue while keeping the conversation active, the model element visible and the progress fully tracked within the platform.

The Issues add-in for Revit is particularly interesting in terms of maintaining this continuity. We can create and manage issues directly from our primary model and connect them to the Autodesk Construction Cloud issue management ecosystem in just a few clicks.

Following the same principle, but at another point in the process, Forma Design Collaboration allows us to compare model combinations in both 2D and 3D, including previous versions of the same model, so we can clearly visualise how the project is evolving. On multidisciplinary projects, this capability adds a layer of context that can be extremely difficult to achieve simply by receiving a new version of a file. Here, we can identify which elements have changed and immediately assess how those modifications affect the work we had already planned.

Watch groups take the same idea a step further by allowing us to define specific sets of particularly relevant elements and monitor their changes through automated updates. If we are designing around a structural core, for example, a specific building services area or any zone where changes directly affect our work or require particular care, we can focus our attention there. The system helps us direct our review time towards the changes that genuinely have consequences for our discipline and our decisions.

This same concept and workflow also extend to design reviews. Coordination no longer has to depend on large, isolated review milestones and can naturally become a much more continuous activity. Because models are always available and issue workflows provide an ongoing structure, every observation carries context and every resolution can be easily tracked until the required change has been completed. We can see the difference in the final result, but above all in the process itself.

Meetings also become part of this same ecosystem. We can schedule them, prepare agendas, record attendance, generate minutes and even assign the necessary actions, complete with deadlines, within the same system. References for each action can be linked so they are easy to consult during the meeting. A meeting structured in this way leaves behind a clear framework of decisions and responsibilities that remains part of the same project after the conversation between teams has ended.

Centralised correspondence performs a similar function for more formal communications. We can create, import, manage and organise all our communications within a central source. RFIs, submittals, meeting minutes and other tracking items can therefore maintain a much clearer relationship with the documentation and the current state of the work. Communication becomes, as it always should be, part of the project information itself; it is structured and directly contributes to keeping requirements, decisions and contractual obligations aligned.

A structure that provides governance from the outset and makes standardisation easier

Forma systems also help us standardise the way we start each project. Templates allow us to establish repeatable structures, which we can complement with our own custom file-naming standards. Starting from a coherent organisational structure allows the team to spend more time on the project itself and less time defining processes we already understand.

The Arcadis case clearly demonstrates the impact this apparently simple standardisation can have. According to Autodesk’s figures, the firm was able to start projects 20% faster by using a standardised folder structure. Templates and the underlying structure significantly encouraged the adoption of additional modules and greatly reduced the need to manage information through email and spreadsheets.

At another stage of the project, this idea of standardisation comes to life when we manage our own BIM resources through Content Catalog. The platform allows us to store, manage, search and distribute our BIM assets from a single centralised repository. For teams that repeatedly work with families, objects or other content that has already been validated and defined, this capability introduces a high degree of consistency and makes several stages of development and design considerably easier. Being able to find an already approved asset quickly can save us a great deal of repetitive work while also allowing us to maintain greater consistency across projects, teams and internal standards.

All of this also feeds into analysis and monitoring tools. Insight dashboards allow us to review trends, identify potential areas requiring additional attention and maintain a more complete view of the project’s status at all times. For teams managing design, resources, milestones and risks, bringing all this information together in a single environment fundamentally changes the way we oversee the work.

From design to handover: a project that preserves the value of its data throughout the entire lifecycle

The system we have described makes even more sense when we consider what happens to all this information once construction is complete. Over months or years, we have developed models, documented thousands of assets, coordinated every system and made thousands of decisions. All that knowledge has considerable value for whoever will operate the building or infrastructure.

Forma Design Collaboration with Tandem Essentials allows us to build and deliver digital twins to our clients. We can transform BIM and asset information into a digital representation that can be extremely valuable to owners and operators from the very first day of operation. The physical asset is accompanied by an enriched digital structure that makes it easier to understand its spaces, systems, documentation and equipment throughout the operational phase.

When we look specifically at building systems, this contextualisation goes even further. We can represent networks within the building and track how their individual components relate to one another. System tracing allows us to visualise paths and elements within wider networks and understand which equipment serves which spaces or how a particular installation is connected.

We can then add data from IoT devices and BMS systems through Streams. From there, we can visualise operational information within the context of the digital twin using heatmaps and charts.

For decades, architecture and engineering have worked with extensive information about design and construction intent, while the operational phase has obtained its data from an almost entirely separate environment. A digital twin brings those two worlds closer together and connects them. We can learn how a building actually performs through its digital counterpart and, in the opposite direction, turn the experience of using that building into knowledge that can inform future design and engineering decisions.

This is precisely where the idea of a single version of the project becomes clearest. We are talking about much more than storing files in the cloud. We are talking about connecting authoring, review, communication, coordination, changes, milestones, assets and handover within a coherent workflow in which every element contributes value and adds context. Every participant retains their own specialism while we all work around information that preserves context, control and traceability.

When every discipline has access to the right information, reviews arrive with their context already in place and decisions remain connected to the project, collaboration takes on a different meaning. It stops being a simple exchange of documents and becomes genuine work within the same digital reality. A single version of the project allows us to coordinate the present more effectively, deliver higher quality in the medium term and preserve for the future all the value generated throughout the design and construction process.

iPhone 18 Pro gets Apple Reference Image: photo authenticity, with limits

Apple says Apple Reference Image is a new opt-in feature for the iPhone 18 Pro. It’s meant to help you check whether a photo has been changed after it was taken, and it’s arriving ahead of the iPhone 18 Pro lineup going on sale September 18.

Here’s how Apple says it works: if you shoot in Reference mode, the main camera sensor cryptographically signs the image data at the pixel level. Apple’s Private Cloud Compute then develops that into what the company describes as an unalterable reference image. You can look at it alongside the standard photo, compare it against later edits, and treat it like a digital negative at a time when synthetic images and heavy manipulation are getting easier to make and easier to spread.

That could matter a lot for photojournalism, documentary work, or evidentiary photography. But it won’t tell you what’s true. At best, it may show whether the image file itself was altered. It can’t confirm whether a caption is false, whether something important was left out of the frame, whether the composition is misleading, who posted it, when it was taken, or whether the claims attached to it hold up.

Apple is also going its own way here instead of using the broader C2PA standard. That may make the Apple side of the experience smoother, but it also raises questions about how well this will work across other systems. Apple says support for Google’s SynthID is coming later this year.

If you care about having a camera record you can trust a little more, keep an eye on this.

Apple says the iPhone 18 Pro lineup goes on sale more than 65 countries and regions. Apple Reference Image won’t launch in China, and users in the EU won’t be able to capture in Reference mode on iPhone 18 Pro hardware, even though iOS 27, iPadOS 27, and macOS 27 will still be able to develop and view reference images.

Crew Girl premieres on Netflix today: a polished teen rowing drama

Netflix drops Crew Girl today, September 10. The eight-episode YA sports drama centers on 16-year-old Los Angeles sculler Teagan Tao, played by Miku Martineau. After her father’s financial crimes upend the family’s life, Teagan and her mother leave California and land in Eagle’s Cove, Massachusetts.

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At Easton Prep, she runs into another problem: there’s no girls’ crew team. If Teagan wants to stay in the sport, her only real option is joining the boys’ squad as coxswain. That sets up a fish-out-of-water story about class, reinvention, a family reputation that’s already been damaged, and suddenly having very little money in a world built on wealth, legacy, tense family dynamics, scholarship pressure, and a love triangle with Cam Dillinger and captain Josh Regis.

Early reviews say the show is a little messy at first, then settles into fairly restrained melodrama with emotional stakes, appealing rivals, and a heroine you can actually root for. The performance getting the most attention is Martineau’s. Review after review points to her determination, vulnerability, and anger as the thing that keeps the series steady. If comfort-watch teen drama is your thing, this looks like a solid fall binge.

The series was developed by Vivian Lin and Morwyn Brebner, filmed in British Columbia, and co-stars Sam Braun and Kyle Clark. It’s rated TV-14, and the rowing angle gives it a setting you don’t see that often. According to USRowing, junior rowers accounted for 38,000 of the organization’s 85,000 members in 2016, or 53 percent, helped along by scholarship opportunities for girls. The show also lines up with broader inclusion efforts from World Rowing and USRowing, with a 2024 survey showing a stronger sense of belonging among more diverse groups. You can watch Crew Girl on Netflix.

Alan Ritchson’s Runner debuts with mixed reviews: 67% on Rotten Tomatoes

Alan Ritchson’s Runner has arrived with its first wave of reviews and a 67% score on Rotten Tomatoes, per Rotten Tomatoes. That gives Ritchson another solid action movie in a run that critics seem to enjoy mostly because he’s in it, even when they’re less sold on the movie’s familiar playbook.

Scott Waugh directed the film, from a script by Miles Hubley and Tommy White. Runner teams Ritchson with Owen Wilson for a race-against-the-clock thriller about a former soldier who ends up in a cartel’s crosshairs after a high-stakes medical delivery leaves both him and his partner exposed.

Most of the early notices point to the Alan Ritchson-Owen Wilson dynamic as the big selling point. And one quick correction, because some coverage has blurred this with Amazon’s Reacher Season 4: Reacher Season 3 was scheduled for February 20, 2025, and a fourth season hadn’t begun filming.

If you’re in the mood for a star-powered action movie, this looks like a decent bet. If what you want is a prestige thriller, Runner may strike you as pretty conventional. The score also lines up with Ritchson’s recent Rotten Tomatoes streak: Ordinary Angels sits at 84%, The Ministry of Ungentlemanly Warfare at 68%, War Machine at 66%, and Motor City at 63%, according to Rotten Tomatoes.

You can keep tabs on Runner through current release listings. Ritchson’s larger film run also keeps moving well beyond Amazon’s Reacher, with Netflix’s War Machine reportedly landing as a hit, a sequel reportedly in the works, and more producing work ahead through Phreaker Films.

The Apple Watch Series 12 and the Ultra 4 change everything: this is how they stack up against the current generation

Apple has just taken a huge leap with the unveiling of the Apple Watch Series 12 and the Apple Watch Ultra 4. After more than one version focused on refining battery life and performance, the new models bring improvements in power, battery life, and features, and build on all of that to focus on health.

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Much more health information throughout the day

The new Health Sensing System now measures our heart rate every five seconds and increases our HRV sampling by up to 24 times. On top of that, there’s daytime vitals tracking, the new Readiness app, and a new VO2 Max test that gives us immediate results. 

We’re moving from logging our activity to truly understanding it, and building on what we’ve already seen in watchOS 26 and confirming the rumor about continuous heart-rate monitoring, our health data takes a step forward. And it does so, to a large extent, thanks to the power of the new chips in the Series 12 and the Ultra 4, which lets us analyze information more and more quickly, including what we ask Siri for.

Siri can now help us remember what we just heard

The S11 chip also adds Audio Intelligence. Here, Live Rewind lets us pull up a transcript of the last 15 seconds of a conversation with a double press of the Digital Crown, while Siri Recap can create titles, summaries, and key points from conversations so we can look at them later. 

The Apple Watch gives us genuinely useful contextual memory, always under our complete control, and adds automatic recognition of sounds and music through Shazam.

Battery life, battery life, and battery life, above all on the Ultra 4

Compared with the Ultra 3‘s 42 hours, the Ultra 4 reaches up to 50 hours of daily use, 84 in low power mode, and up to 45 hours while recording outdoor workouts. Meanwhile, the Series 12 maintains 24 hours of battery life and now reaches 10 hours of outdoor exercise. 

Compared to the Apple Watch Series 10 and then the Series 11, the evolution is huge. Apple turns the watch into a far more capable health platform, with more context, more battery life, and more intelligence that, thanks to the power of the new chips, we get right on our wrist.

Call of Duty: Modern Warfare 4 hasn’t been announced: the Xbox skin rumor isn’t proof

Activision hasn’t announced Call of Duty: Modern Warfare 4, at least not yet, despite a fresh report making the rounds about an Xbox-themed pre-order skin. The most recent game in the reboot line is still Call of Duty: Modern Warfare III, which came out in November 2023. And since the original series already wrapped its numbering with Call of Duty: Modern Warfare 3 back in 2011, any current claim about “Modern Warfare 4” deserves a healthy dose of skepticism.

The report says digital pre-orders for Call of Duty: Modern Warfare 4 would come with an Inner Circuit M4 Assault Rifle Blueprint across PC, PlayStation 5, and Nintendo Switch 2 in a translucent black finish. Xbox, meanwhile, would get its own translucent green version. The odd part is that only Xbox players would see that version during cross-play, which suggests the cosmetic could render differently depending on the platform.

If you’re the kind of Call of Duty player who pays attention to skins, this one is worth keeping an eye on. People have been asking for a way to dial back the crossover outfits and the louder, effects-heavy cosmetics for years, and tech like this could point to some kind of toggle down the line.

Platform perks aren’t new here. Timed DLC, early beta access, and exclusive bonuses have bounced back and forth between Sony and Microsoft for a long time. Now that Microsoft owns Activision Blizzard, it wouldn’t be surprising if future extras started tilting more toward Xbox, even if Call of Duty remains available on multiple platforms.

Right now, though, the only officially available reboot-era Modern Warfare game on current platforms is Call of Duty: Modern Warfare III.