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
/cdn.vox-cdn.com/uploads/chorus_asset/file/25286145/V1_0012_cla_dtlr1_t_4k_rec709_full_2000x836_thumbnail.jpeg?ssl=1 "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.
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We’ve seen Axiom Space and Prada’s collaboration on the Axiom Extravehicular Mobility Unit (AxEMU) spacesuit. Now the company has revealed the Liquid Cooling and Ventilation Garment (LCVG) that astronauts will wear underneath it when Artemis IV returns humans to the Moon in 2028.
The LCVG is the all-important base layer that will keep the crew cool and comfortable while inside the AxEMU and on spacewalks. Cold water is circulated through tubes embedded in the suit to whisk heat away from astronauts’ bodies. And, should the primary system fail, there is a backup, unlike older cooling suits. The LCVG also houses the ventilation system that supplies fresh oxygen to the AxEMU helmet and directs exhaled CO2 to a scrubber for recirculation.
The collaboration between Axiom Space and Prada isn’t the first time NASA has gotten involved with a project that blended high-tech materials and manufacturing with high-fashion design. It also funded the BioSuit concept created by MIT professor Dava Newman with help from renowned architect Guillermo Trotti.
Technology
Antares reaches reactor criticality under Trump pilot program, marking major nuclear milestone
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Antares Nuclear, Inc. announced Thursday that its Mark-0 microreactor achieved criticality at Idaho National Laboratory, becoming the first advanced reactor to reach the milestone under a U.S. Department of Energy pilot program established after President Donald Trump’s 2025 executive order aimed at accelerating nuclear development.
The Torrance, California-based company said the reactor reached initial criticality under DOE authorization, making Antares the first private company to bring an advanced reactor to criticality through the Department of Energy’s Reactor Pilot Program.
“Hitting our commitments is everything to us. Nuclear in America has been defined for too long by delays, by companies that said they would and then didn’t,” Antares CEO Jordan Bramble said. “We said criticality in 2026, electricity production in 2027, and power to the warfighter in 2028. Today is the first of those commitments delivered on the schedule we set.”
Criticality occurs when a reactor achieves a self-sustaining nuclear chain reaction, a major milestone in reactor development. Antares said the demonstration validated key reactor physics parameters and produced testing data and control system performance information that will support future reactor development.
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Energy Secretary Chris Wright said Antares Nuclear’s Mark-0 microreactor became the first privately developed non-light-water reactor to achieve criticality in the U.S. in more than four decades under the Department of Energy’s Reactor Pilot Program. (F. Carter Smith/Bloomberg)
The Department of Energy confirmed the achievement Thursday, describing it as the first privately developed non-light-water reactor to reach criticality in the U.S. in more than four decades.
“Today’s achievement is a historic moment for American nuclear energy,” Energy Secretary Chris Wright said in a statement. “By bringing the first American non-light water privately developed reactor to criticality in more than four decades, Antares has shown what is possible when American innovation is unleashed.”
The milestone comes just over a year after Trump signed four executive orders directing the federal government to accelerate reactor testing, expand domestic nuclear fuel production and streamline pathways for advanced nuclear technologies.
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President Donald Trump holds a signed executive order in the Oval Office. Antares Nuclear said its Mark-0 microreactor achieved criticality under a Department of Energy pilot program created after Trump’s 2025 executive orders aimed at accelerating advanced nuclear reactor development. File photo. (Anna Moneymaker/Getty Images)
One of those orders, Executive Order 14301, directed the Department of Energy to establish a pilot program designed to speed testing and demonstration of advanced reactor designs. The administration set a goal of achieving criticality for advanced reactor concepts by July 4, 2026.
“The President and DOE set an ambitious timeline for reactor testing, and we met that challenge,” Bramble said. “I want to thank our partners at the Department of Energy, Idaho National Lab, BWXT, and the U.S. Army. This is what happens when industry and government work together to accomplish big things.”
Antares said the criticality demonstration was conducted in partnership with the Department of Energy, Idaho National Laboratory and BWX Technologies, while the U.S. Army participated as a future end user of the technology.
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The company said the Mark-0 used TRISO fuel fabricated by BWXT and benefited from fuel technology developed through Project Pele, a Defense Department effort to build transportable microreactors for military applications.
DOE officials said the achievement demonstrates the potential of the Reactor Pilot Program.
“The skeptics didn’t believe President Trump’s Reactor Pilot Program could achieve criticality in less than a year,” Assistant Secretary of Nuclear Energy Ted Garrish said. “Today, we celebrate the first of the pilot projects to reach criticality and the people who rolled up their sleeves to shape the future of nuclear energy in the United States.”
The company said engineers gained critical insight into reactor physics, control systems and supply chain performance during the demonstration. The data will be used to support future reactor development and eventual commercial licensing.
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“We went from concept to a critical reactor, safely, in less than 12 months. That doesn’t happen by accident. The team treated the schedule as non-negotiable,” Bramble said. “For the American nuclear renaissance to succeed, we need efficient, iterative reactor testing, not a decade per design.”
Antares said it expects to begin producing electricity from the same facility in 2027 and remains on track to deploy electricity-generating microreactors to U.S. military installations by 2028.
Both Sony and Microsoft used their showcases as a way to confirm they’re refocusing on tried-and-true strategies like exclusive games and single-player blockbusters. Meanwhile, every publisher in existence seemed to be avoiding going up against Grand Theft Auto VI on the release calendar, and there were some very welcome game announcements, particularly if you’re a fan of Final Fantasy or Persona.
If you couldn’t keep up with everything live, here are the most important storylines to catch up on.
After an ill-fated — and very expensive — foray into live-service games, it appears that Sony’s gaming division has a renewed focus on the single-player epics it’s known for. The company’s showcase was dominated by Insomniac’s Wolverine and the surprise announcement of God of War Laufey.
The next Grand Theft Auto wasn’t featured in any of the SGF showcases, but its presence was still felt. While lots of games got release dates, virtually none of them were during November, which just so happens to be when GTA VI launches. Instead, we have a very busy September and plenty of titles pushed into 2027.
Alan Wake studio Remedy hit a snag with the disastrous launch of the multiplayer shooter FBC: Firebreak. But based on our time with the upcoming sequel Control Resonant, it appears the developer is getting back to what it’s best at: mind-bending single-player action games.
Indie duo Metanet is back with yet another return to its N series of platformers, but this time the focus is on multiplayer. And for fans of the hidden object game Hidden Folks, it’s also getting a sequel, which will launch a full decade after the original.
We knew it was coming, and now it’s official: The third and final installment of the FFVII remake trilogy is coming. It’s called Revelation, and it launches next spring across basically all platforms simultaneously. And yes, Queen’s Blood is coming back.
It’s been a long wait since Persona 5, and it’ll likely still be a while longer. Atlus confirmed Persona 6 exists, but the developer didn’t provide much in the way of detail, suggesting that the RPG is still fairly early in development.
After years of pushing on a multiplatform strategy, Microsoft is reversing course — at least a little bit. Its next big Xbox Game Studios title, Gears of War: E-Day, will be an Xbox console exclusive, whereas many expected it to come to the PS5, much like last year’s Gears remake. However, outside of Gears, many first-party titles from Xbox — like Fable and Halo — are still coming to PlayStation, so it’s unclear just how significant this change is.
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