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  • Images of cases for the rumored wider Galaxy foldable have leaked
  • They look like official cases, but they call the phone the ‘Galaxy New Fold’
  • Fans have cast doubt over whether these are the real deal

One of the big questions surrounding Samsung’s rumored wider foldable is what it will actually be called.

Early leaks referred to it as the Samsung Galaxy Z Fold 8 Wide, but then more recently, we heard that it might simply launch as the Samsung Galaxy Z Fold 8, with the direct successor to the Samsung Galaxy Z Fold 7 now being called the Galaxy Z Fold 8 Ultra. Now, though, another possibility has emerged.

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Images of cases for the rumored wider

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“House of the Dragon” Season 3 kicking off with The Battle of the Gullet has catapulted it into the highest echelon of battles seen in the HBO franchise, but not every skirmish gets its due.

The second episode of Season 3 finds Daemon (Matt Smith) celebrating a major win thanks to his Riverlands army teaming with their new Stark allies. The soldiers around the campfires are referring to the battle as a Fishfeed, which is sure to perk up the ears of book readers. Although it was glossed over, the Fishfeed was actually one of the bloodiest battles of the Targaryen civil war.

This is far from the first time “House of the Dragon” or “Game of Thrones” cut around major battles in the various wars the franchise has chronicled. Often this comes down to budget concerns, but if fans are riding high from Battle of the Gullet, there have been plenty of fights left on the cutting room floor.

Below are breakdowns of the biggest battles “House of the Dragon” and “Game of Thrones” could not make time for during the show’s run for one reason or another.


House of the Dragon

The Battle of the Burning Mill

The Battle of the Burning Mill is lightly featured in Season 2, Episode 3 and is considered to be the first true skirmish of The Dance of the Dragons civil war. It sparked off due to two families — the Blackwoods and the Brackens — finally acting on their generations-long feud with one another.

The Blackwoods and Brackens feud has only grown stronger with Westeros being divided on whether Aegon (Team Green) or Rhaenyra (Team Black) should be on the Iron Throne. The Blackwoods are Team Black and the Brackens Team Green; so when a land border dispute devolves into shouting about which person the other family supports, a fight breaks out and leads to the first bloody moment of what would be the coming war.

The battle signified that the Blacks had much more power and support through Westeros, despite reputation damaging moments like Blood and Cheese than Aegon and the Greens thought.

The Fishfeed

The Battle by the Lakeshore – which came to be known as The Fishfeed by people who talked about it later – earned its infamy in The Dance of the Dragons for being the bloodiest land battle during the entire war. We only see the aftermath of it in Season 3, Episode 2 of “House of the Dragon.”

The bloody affair was mostly fought by a contingent of Lannisters (in support of Aegon) and Starks with other northmen (who arrived after being convinced by Jace to side with Rhaenyra). The Lannisters were met on the shores of the God’s Eye Lake by Roderick Dustin — known during the war as Roddy the Ruin — and 2000 of his Winter Wolves mounted units. The Winter Wolves charged on the Lannisters numerous times and took hellish casualties themselves in their victory.


matt-smith-emma-d-arcy

Game of Thrones

The Battle of the Green Fork

The Battle of the Green Fork is, like the next entry on this list, one of the first major military conflicts in the War of the Five Kings, which breaks out in the wake of King Robert Baratheon’s death. It is a battle between the Lannister forces and northern armies in the Riverlands, and it is one that the Lannisters’ soundly win, with Tyrion leading his clan of Vale mountainmen into combat.

The battle is briefly featured in “Game of Thrones” Season 1, Episode 9. However, the HBO series skips over the entirety of the Battle of the Green Fork when Tyrion (Peter Dinklage) is knocked unconscious. The outcome is largely the same, with Tywin (Charles Dance) begrudgingly celebrating the deaths of 2,000 northmen while also learning that Robb Stark (Richard Madden) willingly split his army’s forces in order to divert the Lannisters’ focus. Despite being a loss for the northern forces, the Battle of the Green Fork directly sets up Robb’s capture of Jaime Lannister (Nikolaj Coster-Waldau) in the next battle on this list.

The Battle of Whispering Wood

The Battle of Whispering Wood is one of the first major battles in the War of the Five Kings in “Game of Thrones.” Only the aftermath celebrations for a young Robb Stark and the true spoils of the clash – the capture of Jaime Lannister – is seen toward the end of Season 1.

In the books, Robb used a small force led by his uncle The Blackfish to lure Jaime out of siege that his forces are holding them in. The over-eager Kingslayer charges out to take the legendary fighter and the small force with larger – though importantly not complete – force of his own. The Blackfish’s army manages to pull Jaime and his forces all the way to where the rest of Robb’s forces are lying in wait. It served as a decisive win for the young Stark that managed to earn more trust to his side. Jaime’s capture also led him to being eventually escorted by Brienne of Tarth back to King’s Landing which sent him on his own redemptive character arc.


The Battle of the Camps

Riverrun is technically besieged two times in George R.R. Martin’s “Song of Ice and Fire” novels. The second appears, in part, in “Game of Thrones” Season 6 when Jaime Lannister travels to the besieged House Tully stronghold to secure it for House Frey in return for their help with the Red Wedding. However, that moment is not the first time that Riverrun is besieged by the Lannisters in Martin’s novels.

Early in the War of the Five Kings, Jaime leads his host of westermen against Riverrun, a move which allows him to briefly capture Ser Edmure Tully (Tobias Menzies). After then laying the groundwork for a siege of Riverrun, Jaime is ambushed and captured by Robb Stark in the Battle of the Whispering Wood. Robb has Jaime’s scouts and outriders killed, which leaves his siege forces outside Riverrun unaware of their commander’s defeat and the northerners’ approach.

Robb’s forces subsequently overrun the three camps of westermen left outside Riverrun by Jaime. The pivotal victory allows the riverlords of the Riverlands to join their forces with the Starks’ and their fellow marching northerners. It is then in the Great Hall of Riverrun during a gathering between the northmen and rivermen there that Rob’s war council also proclaims him the King of the North. This battle is just straight-up not shown in “Game of Thrones,” with Robb’s coronation instead coming in the middle of a, frankly, random forest.

The Siege of Riverrun

“Game of Thrones” brings more of the Siege of Riverrun to life in its sixth season than most of the other entries on this list, but the conflict itself is shrunk down from its book version and only the edges of it are truly shown in the HBO show. Unfolding in the aftermath of the Red Wedding, the Siege of Riverrun is led by the combined Lannister and Frey forces in an attempt to remove House Tully from its ancestral seat and remake it as a new House Frey stronghold.

Ser Brynden Tully, a.k.a. The Blackfish (Clive Russell), the uncle of Lady Catelyn Stark (Michelle Fairley), leads the Tullys’ defense of Riverrun. The Tully defense is eventually broken by Jaime Lannister, who treats first with the Blackfish before threatening Lord Edmure Tully (Tobias Menzies) so terrifyingly that the latter ends up surrendering Riverrun.

“Game of Thrones” Season 6 adapts parts of the siege, including Jaime’s pivotal meetings with both the Blackfish and Edmure, but it skips over most of the actual military conflict itself. Additionally, while the HBO version of the siege ends with the Blackfish’s death, Edmure helps him escape in the books before the Lannisters can take Riverrun.


"Game of Thrones" (Credit: HBO)

The Sack of Highgarden

George R.R. Martin has not written the Sack of Highgarden yet. In fact, we do not even know if there is going to be a Sack of Highgarden in his “Song of Ice and Fire” novels. “Game of Thrones” nonetheless skips over the pivotal military conflict in its seventh season. That season’s third installment, titled “The Queen’s Justice,” culminates with Jaime taking a page out of Robb Stark’s playbook by luring Daenerys’ (Emilia Clarke) forces into taking the Lannister stronghold of Casterly Rock while he leads the bulk of his Lannister forces against Daenerys’ strongest Westerosi ally at the time, the Tyrells.

Tyrell matriarch Olenna (Diana Rigg) watches from within Highgarden’s walls as the Lannister forces amass outside, but “The Queen’s Justice” abruptly cuts from the Lannisters’ surprise arrival to Jaime marching confidently through the captured castle’s walls. We do not see the battle itself, only the aftermath, which includes Olenna drinking poison offered to her by Jaime. Having secured a painless death, Olenna then ends “The Queen’s Justice” with the confession that it was her who poisoned Jaime’s son, Joffrey.

It is a pivotal moment in “Game of Thrones,” one which wipes the Tyrells completely off the board, and yet it is a battle that the HBO series still breezes past as quickly as it can.

“House of the Dragon” Season 3 airs Sundays on HBO and HBO Max.


Bethany Antonia and Harry Collett in "House of the Dragon" (Credit: HBO)

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NBC has recently revealed its fall lineup and slate of new and returning shows. One is hoping to capitalize on the chemistry from a past series by featuring two leads from a popular political drama.

Newlyweds are set to premiere on October 23 on NBC. It stars Téa Leoni and Tim Daly. Both are veteran actors of television, and Newlyweds is reuniting the couple who had great chemistry from their previous series, Madam Secretary.

The series ran on CBS for six seasons and was a ratings and critical success. It starred Leoni as a CIA analyst turned the Secretary of State. It was popular during its entire run and found new fans via Netflix.

Daly played her husband on the show. He portrayed a professor who eventually became a worker in the CIA. The two actors had amazing chemistry on the show, and the audience could tell they had a genuine connection.

So much so that the two actors began dating and were married last year. It was obvious the two worked well together, and NBC is hoping to capitalize on that chemistry and the success of the former political drama.

Many shows in the past have reunited actors in episodes of series. For example, on the Wonder Years reboot, the show starred Dulé Hill. In an episode he reunited with the West Wing costar, Bradley Whitford.

This episode was written very smartly, and the two actors comically worked well together. But sometimes if the writing is off, reuniting actors can appear as a gimmick, and Hill and Whitford only worked in one episode together.

This time NBC is hoping to get past one episode and go past the nostalgia of the past show. Leoni and Daly do work well together, and them being able to play off each other should help the series. It will be interesting if an audience buys this version, though.

Madam Secretary was a drama, and the new series is a multi-camera sitcom. The difference could be jarring for some fans. However, if they can buy that Leoni and Daly are a true couple on the series, it may do very well.

The show has just a few more months to ramp up, as promos of the series should be released soon. Based on their star power, it should last past the pilot. What will come after will depend on Leoni and Daly’s already established chemistry.

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Pour un contrôle fluide et sans perte de temps, l’anticipation constitue la stratégie optimale. Avant même de réaliser un dépôt important ou une demande de retrait initiale, les joueurs ont intérêt à réunir les documents nécessaires. Ils se doivent de vérifier que ces documents sont valides et lisibles. Utiliser son nom légal exact et son adresse actuelle lors de l’inscription sur Festival Play Casino est capital. Il est également prudent de parcourir la rubrique d’aide ou les conditions générales de la plateforme pour apprendre les spécificités de sa politique KYC. En se préparant, le membre transforme une contrainte en une simple étape expédiée rapidement.

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Disney and Pixar’s “Toy Story 5” maintained its hold on the top spot at the South Korean box office during the weekend of Jun. 26–28.

According to data from KOBIS, the tracking service operated by the Korean Film Council, the blockbuster animation pulled in $3.3 million from 502,939 admissions over the three-day window, securing a 45.38% share of the market. In less than two weeks of release, the film has brought its cumulative total to $10.8 million from 1,617,339 total admissions since its Jun. 17 premiere.

The local suspense thriller “The Eyes” debuted in second place, capturing $1.5 million from 232,952 admissions over the weekend. Directed by Yeom Ji-ho, the film is a Korean remake of the 2011 Spanish psychological thriller “Julia’s Eyes.” It stars Shin Min-ah as a photographer slowly losing her eyesight due to a genetic condition who investigates the suspicious death of her blind twin sister, aided by a detective played by Kim Nam-hee. Since its wide theatrical rollout on Jun. 24, the title has accumulated a gross of $1.9 million from 305,229 admissions.

Action-horror hit “Colony” took third place, pulling in $651,811 from 96,075 tickets over the frame. Directed by Yeon Sang-ho and starring Jun Ji-hyun, Koo Kyo-hwan, and Ji Chang-wook, the zombie thriller tracking a rapidly adapting viral hive-mind has now generated a cumulative haul of $39 million from 5,714,022 admissions since its wide release on May 21.

1990s retro music comedy “Wild Sing” was in fourth place, bringing in $431,330 from 67,663 admissions. Directed by Son Jae-gon and starring Gang Dong-won, Uhm Tae-goo, and Park Ji-hyun, the film has now secured a total of $7.7 million from 1,234,075 tickets since its June 3 release.

“Supergirl” opened in fifth place with $424,420 from 61,764 admissions. Since its release on Jun. 24, the film has earned a cumulative total of $754,138. “Backrooms” was in sixth place, adding $219,751 over the weekend to take its local box office footprint to a cumulative total of $7.9 million from 1,153,973 viewers.

Concert documentary “Jeong Dong-won Fan Concert Film: The Road We Meet Again” debuted in seventh place, earning $134,467 from 8,295 tickets. The film chronicles the popular singer Jeong Dong-won during his final arena performance and preparations prior to his mandatory military enlistment.

Neo Sora’s acclaimed near-future youth drama “Happyend” placed eighth, generating $54,894 over the three-day window to push its local cumulative lifetime gross to $930,696.

The Japanese drama “Unreachable” opened in ninth place, drawing $35,019 from 6,117 admissions over the weekend. Directed by Nobuhiro Doi and written by acclaimed screenwriter Yuji Sakamoto, the film centers on three young women shared-housing in a Tokyo suburb who are bound by a 12-year bond while navigating their individual paths of unrequited love. The ensemble cast stars Suzu Hirose, Hana Sugisaki, Kaya Kiyohara, and Ryusei Yokohama. Since its local rollout on Jun. 24, it has gathered $61,128.

Rounding out the top ten was the cross-border horror-thriller co-production “The Shrine,” which brought in $44,819 from 6,040 admissions. Directed by Kazuyoshi Kumakiri and starring Kim Jae-joong and Kong Seong-ha, the project has grossed a cumulative total of $306,818 from 45,711 tickets since its launch.

The overall market collective gross for the weekend was $6.9 million, down from the previous week’s $8 million.

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Disney and Pixar’s “Toy Story 5” maintained

MCU

Tradition runs deep in the Avengers movie franchise, with each entry repeating a familiar set of iconic moves that MCU fans recognize on sight. Across four theatrical releases since 2012, the series has established a distinct identity that audiences associate with the brand more than almost any other corner of the MCU.

The first full trailer for Avengers: Doomsday, which Marvel Studios screened exclusively for attendees at CinemaCon 2026 in April, brings several of those signatures back to the surface. The footage from the event points to several clear callbacks that connect Doomsday to traditions cemented in the previous four Avengers movies.

Avengers: Doomsday Trailer Brings Back Iconic Franchise Traditions 

Heroes Fighting Other Heroes

Marvel Studios

The Doomsday footage pits a number of good guys against each other. Channing Tatum’s Gambit goes up against Simu Liu’s Shang-Chi, with Shang-Chi using the Ten Rings to fend off Gambit, who attacks with his classic staff. Florence Pugh’s Yelena Belova clashes with Rebecca Romijn’s Mystique, who shapeshifts into a perfect copy of Yelena mid-fight. In another shot, Reed Richards stretches his arm out to physically restrain Anthony Mackie’s Sam Wilson.

Internal conflict like this runs all the way back to Avengers: Age of Ultron. That film gave fans the famous Hulkbuster brawl, where Tony Stark’s heavy-duty suit pummeled a Mind Stone-influenced Hulk through the streets of Johannesburg. The same movie saw Scarlet Witch tear into the team mentally during the opening Strucker raid, planting nightmare visions in Tony, Steve, Thor, and Natasha. There’s also the iconic battle between Hulk and Thor in The Avengers, where the God of Thunder and the big green guy try to outmuscle each other.

Another Return to Avengers Tower

Thunderbolts, Watchtower
Marvel Studios

One of the trailer’s standout sequences places several heroes inside a refreshed Avengers Tower, marked with a fresh red “A” logo on the wall. Sam Wilson’s Avengers meet Yelena Belova’s New Avengers on the inside, joined by Bucky Barnes, members of the Fantastic Four, and Paul Rudd’s Scott Lang, who shares a quiet moment kissing his daughter Cassie on the forehead.

Avengers Tower is a fixture of the franchise. The original structure first appeared in 2012’s The Avengers as Tony Stark’s Manhattan penthouse, got rebranded with the team logo in Age of Ultron, and turned up again in Spider-Man: Homecoming before Tony sold it off. The New Avengers reclaimed the building at the end of Thunderbolts, paving the way for its prominent return in Doomsday.

Another Hero Worthy of Mjolnir

Captain America, Avengers: Endgame, Thor's hammer, Mjolnir
Marvel Studios

One of the trailer’s loudest moments comes at the end. Chris Evans’ Steve Rogers extends his hand toward Chris Hemsworth’s Thor, and Mjolnir flies across the room straight into Steve’s grip. Thor stares in disbelief and mutters, “It’s not possible,” when he first sees Steve Rogers, and Steve proves he’s the real deal by wielding Mjolnir.

Steve previously wielded Mjolnir during the Battle of Earth in Avengers: Endgame, calling down lightning on Thanos and his army in one of the franchise’s biggest crowd-pleaser shots. Before that, Age of Ultron gave fans the first hint of a non-Thor character handling the hammer when Steve slightly moved Mjolnir, and Vision casually picked it up and passed it back to a stunned God of Thunder. The Doomsday trailer keeps that running tradition alive with a fresh callback to both moments.

A Villain Who’s a World-Ending Threat

Robert Downey Jr. as Victor von Doom in Avengers: Doomsday.
Marvel Studios

The new footage gives fans their first proper look at Robert Downey Jr.’s Doctor Doom in full armor, mask included. Doom stops Stormbreaker mid-swing with one hand during a one-on-one with Thor, instantly establishing the kind of physical threat he poses. Downey narrates portions of the trailer in a vaguely Eastern European accent, showing his ill intent. The Latverian is a threat to the entire multiverse, and it’s going to take the most powerful heroes from across the multiverse to stop him.

Doom brings back the franchise’s big-bad tradition. The Avengers gave audiences Tom Hiddleston’s Loki, cracking open a portal over New York with a Chitauri army at his back. Age of Ultron had James Spader’s Ultron threatening to wipe out humanity by dropping Sokovia from the sky as a meteor. Infinity War and Endgame featured Josh Brolin’s Thanos snapping half of all life out of existence. Doom continues this line of villains who exist on a scale beyond any individual hero. He threatens to be even worse than his predecessors.

A Captain America and a Black Widow

Scarlett Johansson as Natasha Romanoff and Chris Evans as Steve Rogers in Avengers: Endgame
Marvel Studios

Anthony Mackie’s Sam Wilson, the current Captain America, gets several appearances in the new footage, including the wide assembly shot inside Avengers Tower and a separate moment at the X-Mansion where he looks up at Channing Tatum’s Gambit. Florence Pugh’s Yelena Belova, who took over as the MCU’s Black Widow after Natasha Romanoff’s death, also pops up multiple times, most notably in her face-off with Mystique.

Every previous Avengers film featured a Captain America and a Black Widow. Chris Evans’ Steve Rogers and Scarlett Johansson’s Natasha Romanoff appeared together in The Avengers, Age of Ultron, Infinity War, and Endgame. Doomsday keeps the pairing intact by handing the torch to their respective successors, giving each new flagbearer a chance to share screen time as part of the hero lineup.

Bringing Back Franchise Traditions Will Make Doomsday a Stronger Film

The MCU’s Phase 4 and Phase 5 stretch struggled to recapture the cultural grip of the original Infinity Saga, and the numbers made that pretty obvious. Multiple entries underperformed at the box office while critical reception cooled, and casual fans started checking out of a brand that once felt mandatory. Doomsday’s deep lean into franchise tradition is Marvel Studios’ direct response to this issue. 

The Russo brothers, who already steered Infinity War and Endgame to a combined worldwide gross north of $4.8 billion, know the perfect moves make an Avengers film work. Putting those moves back at the center is the smartest play available to Marvel right now.

The new generation of MCU heroes benefits most from this approach, too. Sam Wilson(as Captain America), Yelena, Shang-Chi, Joaquin Torres, and the rest of the post-Endgame additions haven’t yet earned the audience investment that Steve Rogers and Natasha Romanoff accumulated over a decade of screen time. Bringing them inside the franchise’s tested template will help make them more appealing. 

Viewers will see the new heroes as legitimate members of the same lineage as their predecessors, even when individual solo projects haven’t fully sold the case. If Doomsday delivers on what the trailer promises in December, Marvel will close out the year with a film that feels like a real Avengers movie again.

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DCU

This article contains spoilers for Supergirl.

The release of DC Studios’ Supergirl has reignited the flurry of online chatter that always follows a female-led superhero project, much of it being unearned negativity. While reviews of the film are mixed, it is hardly the disaster that some corners of the internet are making it out to be.

That being said, there is still one glaring problem with the film: its villain. Portrayed by Matthias Schoenaerts, Krem of the Yellow Hills is a space Viking of sorts who finds himself fighting against our hero, Supergirl/Kara Zor-El (Milly Alcock), after he poisons her beloved pet, Krypto the Superdog. This conflict also leads to Kara forming a bond with the young Ruthye Marye Knoll (Eve Ridley), whose parents and brother were murdered by Krem in front of her.

Some reviewers have pointed to Krem being a weak villain as his biggest flaw in this adaptation of Supergirl: Woman of Tomorrow, but there is another aspect of his character that damages the film. In the comic, Krem is leader of the Brigands, intergalactic raiders responsible for genocide and other atrocities. However, Supergirl adapts Krem as a human trafficker who kidnaps young girls to be “brides” for the all-male Brigand race. This change fundamentally alters the message of the movie by adding themes absent from the original story, and it’s not for the better.

Multiple superhero projects starring female heroes have taken a similar approach, adding themes of exploitation and sexual violence. Though these problems exist in real-life, this trend can be disheartening for female audiences, many of whom have experienced these traumas for themselves. Allowing female heroes to tell stories without this added weight is an overdue need in the superhero genre.

Supergirl And Black Widow Deal With Similar Themes

Florence Pugh's Yelena Belova and Scarlett Johansson's Black Widow crying in the MCU Black Widow movie
Florence Pugh’s Yelena Belova and Scarlett Johansson’s Black Widow crying in the MCU Black Widow movie

Supergirl adding this new element to the plot poses a concerning observation: didn’t Black Widow also focus on a female hero taking down a human trafficker? In the Marvel Cinematic Universe film, Natasha Romanov is forced to confront and overcome her past trauma to take down the man who is responsible for the suffering that has reverberated throughout her life.

A key difference between Black Widow and Supergirl is that the brainwashing and kidnapping that Natasha and other Widows are forced to endure is a pre-existing part of their story. That is a film about the victims taking down their abuser and saving other victims. Regardless of its quality, that traumatic subject matter is an intrinsic part of Black Widow’s characterization.

However, the point remains that her solo film, one that was long past due after her scene-stealing turns throughout the MCU, did not have to mine her trauma—it chose to. Unfortunately, this was not the first time that Natasha’s abuse was mishandled; Avengers: Age of Ultron features a scene where she likens herself to a monster because she was forcibly sterilized. Not only does this force a theme of sexual violence into a film in which it is otherwise absent, but it implies that Black Widow is somehow of less value as a woman who cannot have children.

Likewise, Supergirl chose to alter Krem’s storyline to include multiple female children, victims who we see onscreen, who were kidnapped for the sole purpose of bearing children against their will. Writer Ana Nogueira may have had valid reasons, which she does not owe it to anyone to share publicly, to add this narrative, but the result is still damaging by continuing to restrict the kinds of stories in which women can be the hero and by perpetuating media trends of depicting violence against them.

This Trend In Female Superhero Adaptations Extends Beyond Movies

David Tennant as Kilgrave manipulating Krysten Ritter Jessica in Jessica Jones.
Krysten Ritter as Jessica Jones and David Tennant as Kilgrave in Jessica Jones

Several other superhero adaptations have also dealt with trauma inflicted upon women. Captain Marvel saw the title character brainwashed and made to be a soldier for the Kree Empire. Though not a depiction of sexual violence against a woman, it is still a case of exploitation and a loss of agency.

On the opposite end of the spectrum, one of the most traumatic superhero viewing experiences is Marvel’s Jessica Jones. In that series, the titular character is abused by Kilgrave, who uses his mind-control powers to sexually assault her and hold her captive for eight months. Jessica’s trauma is the focal point of the story, with it exploring how the violations she endured broke her down as a person. It is a story that is very much about sexual exploitation, particularly focusing on the female experience.

Though Jessica Jones maintains this trend of superhero media depicting violence against women, it is worth noting that the show is intended for a mature audience, with the intent of telling a raw story of victimhood. Supergirl proposes dealing with this subject matter, but it does not engage with the horror of Krem’s actions in a way that is any more meaningful than if he were a murderer, posing the question of whether a tentpole summer film was the ground on which this battle was meant to be fought.

Why Supergirl Did Not Need To Change Krem’s Motivations

Milly Alcock as Supergirl looking angry in Supergirl.
Milly Alcock as Supergirl looking angry in Supergirl.

A mother should be able to take her daughter to see a female superhero without having to watch children being subjected to sex trafficking. While bringing a real issue that many people, not just women or girls, face to the big screen isn’t necessarily a bad thing, female representation is so often linked to trauma that it becomes exhausting. The cages of teenage girls being kept by the Brigands to carry their children—without their consent—is an inherently horrific image.

Supergirl had the chance to be an empowering story of overcoming your inner demons, found sisterhood, and choosing a better way. In part, the DCU film hits this mark, but it falls short due to the added sexual nature of Krem’s motivations and the choice to have Kara kill him instead of banishing him to the Phantom Zone for 300 years. A friend of mine noted that Krem being a human trafficker served to make him more hatable; the issue with this is, murdering people and poisoning dogs are already hatable enough actions. Audiences would still cheer for Kara taking down a murderer without having the horrible thought of what would have happened to Ruthye on that ship if she failed.

Moreover, what kind of statement does it make that female heroes so frequently have to face threats built on exploitation and trauma? Alcock’s Supergirl performance exceeded the movie surrounding her. A version of the story where she overcame her grief and helped Ruthye do the same without the heavy implications of the Brigands kidnapping girls to be their “brides” could have been the debut film she deserved. There is space for stories of that nature, but the Woman of Tomorrow comic told nearly the same story without added sexual violence. It simply was not needed for this film to work.

One question that lingers after watching Supergirl is: do you think the writers would have made the same change to Krem if the hero of this story was Superman?


supergirl-poster-1.jpg


Supergirl

6/10

Release Date

June 26, 2026

Runtime

108 minutes

Director

Craig Gillespie

Writers

Ana Nogueira



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Comics

Protesting workers at Detroit and Heavy Rain studio, Quantic Dream, have claimed that the developer will not be able to complete its Star Wars RPG, Star Wars Eclipse, if planned layoffs go ahead.

Employees of the French developer staged a strike this week outside its Paris HQ this week. The focus of the protest was Quantic Dream‘s alleged plans to lay off around 115 workers, following the failed launch of multiplayer game Spellcasters Chronicles.

The free-to-play multiplayer game was closed earlier this month, after which Quantic Dream confirmed it had initiated what it called an “internal reorganization”.

Speaking to GameKult, some of the protesting workers said the strike was also an attempt to save Star Wars Eclipse, which they claimed the studio would not be able to complete without the 115 workers allegedly set to be cut.

It’s alleged that Quantic Dream started working overtime on Star Wars Eclipse shortly after the layoff plan was announced.

“It’s far from being an act of sabotage. On the contrary, we’re trying to save Star Wars Eclipse,” said ‘Jules’, a developer working on the game. “We could manage to release it with 115 additional people, and that wouldn’t be ‘overstaffed’: it’s what’s needed.

“We’re understaffed, like in many other companies in the sector, because bosses know very well that passion will lead people to crunch time and that games will eventually be released. But it’s impossible to run a sustainable industry like that.”

Quantic Dream workers protest this week.

The protest, called by the French labor union STJV (which also includes workers from Don’t Nod and Ubisoft), allegedly coincided with a visit by a Lucasfilm Games delegation as part of a review of Eclipse’s progress. According to another protesting worker, the strike was an opportunity to send a strong message.

“We believe that, as things stand, the game literally cannot be finished if the redundancy plan is implemented as currently scheduled,” developer ‘Théo’ said.

“We absolutely need the 115 people who have been inactive (or almost) for a month already. That’s a whole month of lost production! During that month, employees could have been trained on the specific tools of Star Wars Eclipse.

“We also want to strongly alert management and tell them to look at all these people who are eager to work but aren’t, on the day of an official visit.”

Star Wars Eclipse was announced in 2021 at The Game Awards. Little has been shared about the game since its initial reveal trailer, and the game doesn’t have a release date. It’s expected that the game will follow in the style of previous Quantic Dream games and be a narrative-focused adventure with an emphasis on player choice.