The funny thing about watching audiences cool off from big-budget comic book adaptations in recent years is how, if you lived through the very early aughts, it almost feels like things are going back to the way they used to be. After years of Marvel tentpoles dominating the box office, it’s been easy to forget how unabashedly unserious these kinds of projects usually were outside of the handful that put the genre on the map.
Technology
Madame Web is a love letter to the golden age of bad comic book movies
But before the rise of the MCU, Bad Comic Book Movies™ — projects that didn’t take themselves or their source material all that seriously — were generally the rule rather than the exception. And while they might not have been great, they were the sort of films audiences knew how to have fun with.
It’s only since multiverses became the hot new thing in Hollywood that studios have gotten comfortable even acknowledging (and capitalizing on people’s nostalgia for) those halcyon days when Spider-Man’s webbing was organic. But unlike some of Sony’s other recent Spider-Man features which have been more focused on bringing specific characters and actors back from past franchises, director S. J. Clarkson’s Madame Web is far more interested in revisiting a specific moment in comic book movie history — one defined by iffy costumes, perplexing plots, and a palpable sense of on-screen embarrassment.
Set in a curious pocket of Sony’s larger Spider-verse of films where it’s still 2003, and Spider-Man himself doesn’t exist, Madame Web tells the tale of Cassandra Webb, an acerbic paramedic whose life takes a series of strange turns one day when she (briefly) dies while saving a man’s life. As an adult orphan whose mother died in the Amazon while researching spiders, Cassandra has a hard time connecting emotionally with anyone who isn’t her colleague Ben Parker (Adam Scott), or the stray cat that regularly wanders into her New York City walkup.
But after a routine emergency rescue leads to Cassie plummeting to her death, she awakens to find herself imbued with an ill-defined set of precognitive powers, and while she has no idea what to make of her alarming visions, it soon becomes clear that they’re all guiding her toward a trio of young girls.
Disorienting exposition dumps in a film’s opening act are almost always a warning sign, but the way Madame Web clunkily juxtaposes a flashback to Cassandra’s past with glimpses into her charges’ futures almost makes it feel as if the filmmakers are trying to keep you from understanding what’s going on. Though his motivations are unclear, it’s simple enough to grasp in Madame Web’s first few minutes that perpetually barefoot explorer Ezekiel Sims (Tahar Rahim) is eager to kill three masked women wearing spider-themed superhero costumes. It’s clear Madame Web wants you to wonder who Sims’ targets are, and why they don’t just use their powers to stop him in his tracks.
But instead of teasing their identities out, the movie just dumps Julia Cornwall (Sydney Sweeney), Mattie Franklin (Celeste O’Connor), and Anya Corazon (Isabela Merced) into Cassandra’s lap about half an hour in at a point when there are already too many other things going on.
Sony’s plan to build out an entire cinematic universe on just the Spider-Man IP alone has always felt a bit dubious, but in Madame Web’s younger leads, you can almost see how the plan could work. Similar to Cassandra, the girls have all been orphaned (at least emotionally), and they need someone to guide them through the madness of being teenagers.
You can also see how the girls’ thinly fleshed-out personality quirks might one day make them an interesting team of Spider-Women, and how Madame Web’s really a story about Cassandra stepping into her role as a mentor to a quippy new generation of heroes. But as present as that narrative intention is, the film doesn’t really set its characters up to feel like real players in a cohesive story, and the girls wind up being pushed into the background — first as they’re introduced as out-of-focus extras in the periphery of Cassandra’s story, and later as she takes the girls under her wing to protect them from Sims by… ditching them in the woods.
Between its frantic set pieces in which the camera lens can never seem to decide where it wants to focus, and the way Madame Web’s script briskly bounces between scenes, it’s obvious that the filmmakers are trying to make you feel some of the deep discombobulation Cassandra herself is experiencing. Even though the execution is more than a little off, it’s a clever idea, and to the movie’s credit, Cassandra’s visions of being murdered by a knock-off Spider-Man are pointedly disturbing. But as much time as Madame Web spends telling you that Cassandra’s terrified for her and the girls’ lives you’d be hard pressed to get that impression from Johnson’s deadpan performance and the way she portrays her character as someone who approaches most situations with a pronounced sense of apathy.
When you look at Madame Web as a modern comic book movie — one crafted with the knowledge of how much money these things can make — it’s hard to understand a lot of the choices that were made. But the film makes a hell of a lot more sense when you think of it not just as a movie set in 2003, but one that’s trying to evoke the vibes of comic book movies from that era. The signs are there pretty much from the jump, but it isn’t until Mis-Teeq’s “Scandalous” is dropped in during an action sequence that it becomes shockingly obvious how much Madame Web has in common with the 2004 Catwoman starring Halle Berry in terms of both films feeling like doomed misfires from the very beginning.
Rather than any of Sony’s previous Spider-Man spinoff films, the confusing way Madame Web reworks Julia, Mattie, and Anya’s origins makes the movie play much more like something out of the era that gave us the first Daredevil movie and Fantastic Four: Rise of the Silver Surfer. People like to look back on that point in superhero movie history fondly now because enough time has passed for those films to shift into cult classic territory. But the simple truth is that, for quite a while, big budget cape projects missed as often as they hit, and with Madame Web technically being a follow-up to Morbius and a precursor to Kraven the Hunter, it’s fair to say that Sony’s definitely returned to that time.
Madame Web also stars Mike Epps, Emma Roberts, and Zosia Mamet. The film is in theaters now.
Technology
Kindle app now answers questions about the book you’re reading
Amazon has launched a new AI feature in the Kindle app that gives spoiler-free answers to questions about the book you’re reading and confirmed that authors can’t opt out from the feature.
The company calls Ask this Book an “expert reading assistant” in its announcement and says that it’s capable of answering questions about “plot details, character relationships, and thematic elements,” all while avoiding spoilers by limiting its answers to content from the pages you’ve read so far. It’s essentially an in-book chatbot, accessible from the book menu or by highlighting a passage of text you want to ask about.
Amazon spokesperson Ale Iraheta told Publishers Lunch that the answers are “non-shareable and non-copyable” and only available to readers who’ve purchased or rented books. Iraheta also said that the feature is always on, noting that “there is no option for authors or publishers to opt titles out.”
Technology
AI-powered bat tracking could give baseball players the edge
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Baseball teams have long searched for a way to study the entire swing without sensors or complex lab setups. Today, a new solution is entering the picture. Theia, an AI biomechanics company, debuted a commercially available video-only system that analyzes bat trajectory and full-body biomechanics together. This new approach works in real baseball environments and needs no reflective body markers, wearables or special equipment.
The system has been field-tested by Driveline Baseball and the San Diego Padres Biomechanics Lab, and the tests show it delivers high-quality results in both cages and on the field.
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Theia unveils a video-only biomechanics system that tracks a hitter’s full swing without sensors or lab gear. (Photo by Lachlan Cunningham/Getty Images)
A new chapter in baseball biomechanics
Theia’s platform relies on deep-learning models trained on millions of movement data points. It captures the full 3D bat path, attack angle, sequencing and body motion in one workflow that teams can run with standard high-speed video. This makes advanced biomechanics more accessible to coaches and players who train in normal environments.
Dr. Arnel Aguinaldo of the PLNU Biomechanics Lab tested the system with the Padres. He said, “Theia’s markerless technology represents a breakthrough in how we capture and analyze swing mechanics. It removes the barriers of traditional setups, letting us gather quality swing data directly from the field or the cage. That’s a game changer for both research and applied development.”
Independent testing across more than 2,000 swings showed median bat-plane angle differences of less than 3 degrees compared with marker-based systems. As a result, teams can evaluate roster-sized groups in routine cage or field sessions without slowing players down.
Why video-only tracking works in real baseball settings
Many existing tools rely on sensors or suits that can change how an athlete moves. Marcus Brown, CEO of Theia, explained to CyberGuy why video-only tracking matters.
“Using only video means teams get lab-grade biomechanics data that previously required a full lab setup, but without special suits, reflective markers, or hardware mounted to the bat or the player,” he said.
The system runs in the background once cameras are placed and calibrated. Coaches record sessions as usual, and the analysis processes automatically. Because of this, training routines stay the same, and players move naturally.
Brown added, “Until now, full swing analysis meant choosing between bat-only tools or biomechanics labs that couldn’t scale. Our new markerless technology changes that. Teams can now see the complete swing picture for every hitter using one system in an environment that matches their individual needs.”
How AI bat and body tracking improves player performance
A complete swing view gives coaches the chance to link body motion to bat results. Brown described why this matters for player development.
“Theia’s new bat tracking feature helps players improve because it gives coaches a complete and more accurate picture of the swing. Many tools today either measure the bat or the body, and many rely on wearables or sensors that can influence how an athlete moves,” Brown said. “When coaches can connect a player’s sequencing, posture, timing, and rotation to the bat’s path, speed, and contact quality, they can identify the specific movement patterns that drive results. That makes mechanical adjustments more targeted and much easier to track over time, leading to more consistent and meaningful improvements.”
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Driveline Baseball and the Padres Biomechanics Lab report strong accuracy from Theia’s markerless tracking tests. (Photo by Matt McClain/The Washington Post via Getty Images)
What players experience when teams use Theia’s system
Players will not need to attach anything to the bat or their bodies. They swing in their regular training spaces without changing behavior. Brown said, “For athletes, the biggest change is the level of precise personalized feedback they get. Coaches can isolate whether an issue is coming from sequencing, posture, timing, or how the hitter is delivering the barrel to the ball. That level of detail helps translate mechanical work in the cage into more consistent, reliable results in the field.”
Independent testing shows consistent bat and body data
Driveline Baseball and the PLNU x Padres Biomechanics Lab tested the system in both professional and collegiate settings. Brown said, “Our work with Driveline and the PLNUxPadres’ Biomechanics Lab showed the system could deliver high-quality bat-and-body data in the same environments where hitters actually train. What those tests demonstrated was consistency: the ability to capture the full swing automatically, link the bat and body with the precision needed for player development, and fit seamlessly into a normal training session.”
Why Theia’s system fits seamlessly into normal cage sessions
Sports tech can create workflow friction, but Theia aims to avoid that. Brown said, “We designed the system so coaches can use it without changing anything about their normal training routine. Once the cameras are in place, coaches simply record the session the same way they normally would, and the analysis happens automatically in the background.”
There are no extra steps, no equipment put on the players, and no training interruptions.
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Coaches can now review 3D bat paths and body sequencing using standard high-speed video. (Photo by Thien-An Truong/Getty Images)
The road ahead for AI sports performance
Brown believes this breakthrough sets the stage for future innovation.
“Player development is ultimately about understanding what drives performance, and this technology gives coaches a far clearer way to see that,” he said. “When you can connect a player’s movement to the result of the swing with objective repeatable data, you can build training plans that are far more individualized and precise.”
He also added: “This work builds on more than a decade of research and over 50 peer-reviewed validation studies focused on highly accurate markerless human motion tracking. It reflects where the field as a whole is headed toward integrated markerless solutions that give athletes and coaches clearer insight with far less friction.”
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Kurt’s key takeaways
Theia’s new bat and body tracking system reshapes how baseball teams study movement. It gives coaches deeper clarity, provides athletes with natural training conditions, and removes the hardware hurdles that limited biomechanics in the past. Fans may also see long-term effects. This level of detail can influence how hitters develop power, attack angles and timing. Young players may gain personalized training guides that shape better habits earlier in their careers. As video-driven AI expands across sports, tools like this give teams more ways to understand performance.
If your favorite team had access to this level of swing insight, how do you think it would change their lineup development strategy? Let us know by writing to us at Cyberguy.com.
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Technology
You need to listen to Sudan Archives’ violin opus for the club
My introduction to Sudan Archives was the song “Nont for Sale” from her first EP Sink in 2018. I’ve been a die-hard fan ever since. With each album, she finds new ways to sculpt the sound of her violin, contorting it in defiance of expectations.
Athena found her in conversation with it, leaving its timbre largely recognizable and organic, veering from experimental pop to more ambient passages. Natural Brown Prom Queen embraced the aesthetics of sound collage, samples, and modern R&B, blending her violin with more expressly electronic elements. The BPM has identifiable violin passages, but it fully embraces the more technological elements of Sudan Archives’ sound.
The album opens with “Dead,” which begins with gentle orchestral swells and a processed, but identifiable violin. Then, at the 1:30 mark, the beat drops — what sounds like high-pitched vocal chops dance around the stereo field, and an undulating synth bass drags he whole thing to the dance floor. The track serves as something of a mission statement, with multiple movements exploring the various incarnations of Archives’ sound as she asks, “Where my old self at? Where my nеw self at?” answering herself by chanting “right here, right hеre” in response to each.
What follows is a volatile tour of dance music, from the four-on-the-floor funk of “My Type,” to the trap-tinged tongue-in-cheek sex raps of “Ms. Pac Man” — there’s even an Irish jig in the middle of “She Got Pain.” Across the record, there are flashes of autotune, drum ’n’ bass breaks, house piano stabs, techno synth bass, and, of course, soaring violin flourishes. Often, there are multiple of these things in a single track as Archives eschews typical pop song structures, bouncing giddily from one style to the next.
Unsurprisingly, the tempo on The BPM is generally amped up compared to much of Archive’s previous records. But it’s not all club bangers. “Come and Find You,” winks at 80s and early 90s R&B of acts like Sade. And often the lyrics turn to matters of the heart, “I found a way to travel to you even when we’re not in sync, I’m gonna find my way back to you, Even when it’s really hard I like the push and pull,” she sings on “David & Goliath.”
The BPM is a dense, hectic record that revels in its unpredictability and sonic shrapnel. It’s also my favorite record of 2025. Despite only coming out in mid-October, it was my most listened to album according to my Apple Music Recap. Sudan Archives The BPM is available on Bandcamp and most streaming services, including Qobuz, Tidal, Apple Music, Deezer, YouTube Music, and Spotify.
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