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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As if there weren’t already enough devices listening in on everything being said in your home, Prego, the pasta and pizza sauce brand, is releasing a device designed to record everything said around the dinner table for posterity. The Connection Keeper, which looks like an oversized pasta jar lid, was created in collaboration with StoryCorps, the nonprofit organization focused on preserving the stories of Americans in a collection housed at the Library of Congress’ American Folklife Center. There’s no AI, Wi-Fi, or Bluetooth, but you can optionally upload recordings to StoryCorps’ website to make them easier to share with family.
Prego says the goal of the device is to encourage families to make memories through conversation during dinner instead of staring at their phones — but only for a small number of families. The company is only planning to make less than 100 of them. The Connection Keeper will be available for purchase online starting on April 27th for $20 as part of a bundle that includes the device, a jar of Prego sauce, spaghetti noodles, and a deck of cards featuring conversation prompts and ideas.
Using the device is as easy as plopping the Connection Keeper down in the middle of everyone at the table and pressing one button to start recording. Using a pair of microphones, it captures CD-quality audio to a 16GB microSD card for up to eight hours when fully charged.
When dinner’s over, the recordings can be transferred to a computer over USB-C and then uploaded to a dedicated microsite created by StoryCorps where they’re preserved and accessible only by the uploader, unless they choose to share them with other StoryCorps users or the general public. You even have the option to archive them within the Library of Congress, which makes them public automatically, so hopefully your family talks about more than just stealing brainrots.
The recordings can be accessed on a smartphone through the StoryCorps app, but Prego intentionally left phones out of the rest of the process to discourage their use at the table. It’s also why the Connection Keeper lacks a screen. The goal was to minimize interactions with the device so family members instead focused on talking with each other.
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BMW Group has spent years testing automation, but this latest move feels different. Instead of robotic arms locked in cages, the company is now using humanoid robots that move through factories more like people. After a successful pilot in Spartanburg, South Carolina, BMW is bringing that same idea into its Leipzig, Germany, factory, where it is testing robots in real production environments. This time, it is partnering with Hexagon Robotics to introduce a new generation of AI-powered machines. Unlike many robot demos you see online, this one is already being tested inside a real production environment.
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CHINESE ROBOT BREAKS HUMAN WORLD RECORD IN BEIJING HALF-MARATHON
BMW’s new AI-driven robots are now operating inside active factories, marking a shift from traditional automation to flexible, human-like systems. (Christof Rührmair/picture alliance via Getty Images)
How BMW’s humanoid robot pilot built over 30,000 vehicles
BMW’s earlier pilot used Figure 02 humanoid robots for a very specific task. They handled the precise positioning of sheet metal for welding on the BMW X3 production line. That task may seem small, but it plays a key role in keeping production moving smoothly. Precision work like this can easily slow things down or create bottlenecks. According to BMW, those robots helped contribute to building more than 30,000 vehicles. Because of that success, the company now feels confident about expanding the concept. Instead of limiting testing to one plant, BMW is moving forward with its iFACTORY initiative in Leipzig, where EV production is already a major focus.
BMW’s new AI humanoid robots for EV factories
The new robots, called AEON, come from Hexagon Robotics. They are designed to work inside active factory environments without constant human direction. They rely on AI-based motion control, which helps them move through complex spaces. At the same time, built-in sensors allow them to understand their surroundings in real time. Because of that, they can adjust their actions on the fly instead of following fixed instructions. Hexagon refers to this as “Physical AI.” In simple terms, the robot can make decisions based on what it sees around it. As a result, the robot does not stop when something unexpected happens. Instead, it adapts and keeps working. That marks a clear shift from traditional factory automation.
Why BMW is investing in humanoid robots now
BMW executives have made it clear that this is not about replacing people overnight. Instead, the goal is to test what actually works in real production environments. Michael Nikolaides, who oversees BMW’s production network, says these pilot programs help the company refine how AI-powered robots learn on the job. He goes on to point to a broader vision, saying: “Digitalization improves the competitiveness of our production, here in Europe and worldwide. The symbiosis of engineering expertise and artificial intelligence opens up entirely new possibilities in production.” There is also a practical reason for the humanoid design. Factories are already built for human workers. Because of that, a robot that can use the same spaces and tools is much easier to integrate than one that requires a complete redesign.
HUMANOID ROBOTS HIT MASS PRODUCTION IN CHINA
After a successful U.S. pilot, BMW is deploying humanoid robots in Leipzig to improve efficiency and adaptability in electric vehicle manufacturing. (Christof Rührmair/picture alliance via Getty Images)
How humanoid robots could transform factory work
For years, humanoid robots felt more like something you saw in those social media demo videos than something you would trust on a real factory floor. Yes, they looked impressive, but they struggled in real environments. That is starting to change. Factories are still unpredictable. Parts do not always arrive in the exact same position. Workers move around constantly, and tools and materials shift throughout the day. Because of this, traditional robots often struggle since they rely on tightly controlled conditions. AI-powered humanoid robots can handle that kind of variability. They move around people and equipment without stopping. They adjust when parts are slightly off, and they work in spaces built for human workers. That level of flexibility is what sets this new wave of AI-powered robotics apart from earlier forms of automation.
What this means to you
Even if you never step inside a factory, this shift still matters. For one, it could change how cars are built, whether they are electric or gas. When production speeds up, costs can come down over time, which could affect what you pay for your next vehicle. At the same time, factory jobs are likely to change. Some repetitive or physically demanding work may move to robots. In many cases, that means people shift into roles focused on oversight, maintenance or more skilled tasks. Step back for a second, and you can see this is a sign of where AI is headed next. It is no longer limited to apps on your phone or software on your computer. Now, it is starting to show up in the physical world in ways you can actually see and interact with.
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HOME ROBOT COOKS, CLEANS AND ORGANIZES YOUR LIFE
BMW is expanding its humanoid robot program into a German EV factory, testing AI-powered machines designed to work alongside humans in real production environments. (Christof Rührmair/picture alliance via Getty Images)
Kurt’s key takeaways
BMW is not the only company testing humanoid robots, but it is one of the first to bring them into real production environments. That is a big shift from the testing phase most of us are used to seeing. The fact that these robots are already helping build tens of thousands of vehicles shows that this is moving beyond early trials. It is starting to become part of how factories actually run. Where this goes next is still an open question. If the technology keeps improving, you could see more of these robots show up in factories and warehouses over time.
So here is the bigger question. How do you feel about humanoid robots working alongside people in factories? Would you trust them to help build the car you drive? Let us know by writing to us at Cyberguy.com
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Today’s launch of AST SpaceMobile’s BlueBird 7 satellite aboard Blue Origin’s reusable New Glenn rocket was a partial success. The New Glenn touched down on its landing pad without incident, making it the second launch and landing for the first stage booster, and officially giving Jeff Bezos a reusable launch vehicle. Unfortunately for AST SpaceMobile, the mission was less successful. Its cell-tower-in-space was delivered to a lower orbit than expected by the second stage of the launch vehicle, rendering it functionally useless.
While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited.
Bezos, for his part, posted a video of the landing on X without comment.
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