I see a new Hades II update.
Among other things, The Unseen Update adds new forms for each of the game's weapons, new boss fight variations, and, most importantly, a kickass new song from Scylla and the Sirens. The game just keeps getting better.
There's still no v1.0 launch date, but Supergiant Games is 'starting to prepare' for the launch, according to a blog post. It's currently in early access on PC, but when it hits 1.0, it'll come out on Switch and Switch 2.
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Digital Trends
an hour ago
- Digital Trends
Samsung TVs are getting a free new app today featuring original games
Select Samsung Smart TVs and monitors are getting a free new app starting today: GameBreaks. It's a new gaming app which will feature an array of original titles that will be expanded over time. The app is launching with a brand new puzzle game today called Ripplash. GameBreaks is the next step in an ongoing gaming push for Samsung. In 2022, the company rolled out a Samsung Gaming Hub app to select TVs that pulled together cloud streaming services like GeForce Now. It has built on that strategy over the past three years, adding Xbox Game Pass to the mix, creating its own controller, and launching original games in the form of The Six and Rivals Arena. Recommended Videos GameBreaks takes that push one step further by giving Samsung TVs its own original game hub that's not so dissimilar from the New York Times' daily puzzle model. The feature is rolling out on Samsung Smart TVs and monitors, from 2022 models onwards, starting today. Samsung's Global Head of Product for Gaming and Emerging Technologies Kevin Beatty tells Digital Trends that the goal of the app is to deliver easy to play, social experiences to Samsung TV owners. 'We feel now is the right time to broaden the horizons and create approachable gameplay experiences for everyone,' Beatty tells Digital Trends. 'It is gaming for all, directly on their Samsung Smart TV, using just a remote or smartphone as a controller. It is also about bringing people back to the TV to share experiences. Samsung is making games an integral part of the living room. While Samsung GameBreaks can be enjoyed solo, we are focused on making sure they encourage playing together, because we know how powerful shared moments can be. Samsung wants to ensure its Smart TVs offer more opportunities to build those core memories with friends and family.' The first new game to join the app, alongside existing quiz game The Six, is Ripplash. It's a visual puzzle game in which players identify a ripped up image and unscramble letters. The app will add three new puzzles each day and can be played with either a Samsung TV remote or a smartphone. More games are set to arrive later this year, though they don't have exact release dates quite yet. Pop Off twists Mad Libs into a trivia game, Finish Line has players filling in blanks to complete iconic phrases, and Eye-Q is a memory game where players watch a short video and then are asked questions about it. Those games are largely being developed internally at Samsung, Beatty says. 'At Samsung, our approach to game development is truly a collaborative effort,' Beatty says. 'We have a talented internal team with deep roots in the gaming industry, spanning from AAA console games to casual experiences. We also partner with some of the best external studios and developers to bring fresh perspectives, ideas, and expertise to our portfolio approach to these games.' Samsung will continue to support its Gaming Hub as it builds out GameBreaks. Beatty calls Samsung's approach 'experimental,' as it dreams up different ways it can connect to the broader gaming landscape outside of its apps. He points to a recent collaboration with Activision on Call of Duty: Black Ops 6 as an example and notes that Samsung sees potential in tapping into more popular IP. 'Just like Samsung Gaming Hub continues to evolve, Samsung GameBreaks will also grow over time, offering more unique experiences for players,' Beatty says. 'Beyond adding more games over time, we see a big opportunity in how our partners can integrate into these experiences. For example, Samsung partnered with Xbox for the most recent Call of Duty launch to feature themed questions in The Six, our fast-paced daily trivia game where players race to answer six questions correctly. Custom trivia tied to big cultural moments like this is fun, but it's really just scratching the surface of where we think the future can go.' GameBreaks is available on 2022 to 2025 Samsung Smart TVs and monitors starting today.
USA Today
2 hours ago
- USA Today
What's coming to Peacock in June 2025? Movies, shows, live sports to air on Peacock
What's coming to Peacock in June 2025? Movies, shows, live sports to air on Peacock Show Caption Hide Caption Meghann Fahy calls 'Sirens' co-star Kevin Bacon the 'coolest guy ever' Meghann Fahy chats with USA TODAY's Ralphie Aversa about working with Kevin Bacon on Netflix's limited series "Sirens" and more. New month means new content on streaming services. And Peacock has some great offerings coming in June of 2025. What's Coming to Peacock in June 2025 Here's what's coming to Peacock in June. What's coming to Peacock June 1, 2025 Adventures of Priscilla, Queen of the Desert (1994) Anna and The Apocalypse (2017) The Best Man (1999) The Big Lebowski (1998) The Birdcage (1996) Blue Crush (2002) Bride of Chucky (1998) The 'Burbs (1989) Capote (2005) Captain Phillips (2013) The Chronicles of Riddick (2004) A Cowgirl's Story (2017) Daddy Day Care (2003) The Day After Tomorrow (2004) Death Wish (2018) Deep Rising (1998) Dirty Dancing (1987) Dirty Dancing 2: Havana Nights (2004) Erin Brockovich (2000) A Fantastic Woman (2017) Fifty Shades of Grey (2015) Fifty Shades Darker (2017) Fifty Shades Freed (2018) Jurassic Park (1993) The Lost World: Jurassic Park (1997) Jurassic Park III (2001) Jurassic World (2015) Jurassic World: Fallen Kingdom (2018) Jurassic World: Dominion (2022) Shaun of the Dead (2004) Ticket to Paradise (2022) 2025 U.S. Women's Open – Golf Grand Slam Track – Philadelphia MotoAmerica Superbike Championship – Road America Coming to Peacock June 3, 2025 Love Island USA: Season 7 Premiere Pase a La Fama: Season 1 Premiere U.S. Women's Soccer – USA vs. Jamaica Coming to Peacock June 9, 2025 How To Train Your Dragon (2025) Coming to Peacock June 10, 2025 The Gilgo Beach Killer: House of Secrets: Season 1 Premiere The McBee Dynasty: Real American Cowboy – Bravoleb Watch Party U.S. Men's Soccer – USA vs. Switzerland Honestly Cavallari: The Headline Tour: Season 1 Premiere Are You There God? It's Me, Margaret. (2023) High Ground (2020) Coming to Peacock June 12, 2025 Law & Order: Organized Crime: Season 5 Finale Bravo's Love Hotel: Season 1 Finale Coming to Peacock June 15, 2025 Jaws (1975) Jaws 2 (1978) Jaws 3 (1983) Jaws: The Revenge (1987) Coming to Peacock June 17, 2025 New York Homicide: Season 3, All Episodes Migration (2023) Coming to Peacock June 19, 2025 Revival: Season 1 Premiere Coming to Peacock June 24, 2025 The Real Housewives of Miami: Season 7 Premiere Summer House: Season 9 – Under the Covers Coming to Peacock June 25, 2025 Drive-Away Dolls (2024) American Ninja Warrior: Season 17 Premiere Below Deck: Season 12 Premiere Miss Universo Latina: El Reality: Season 1 Premiere Next Gen NYC: Season 1 Premiere Coming to Peacock June 26, 2025 Poker Face: Season 2, New Episode The Blackening (2023) Coming to Peacock June 29, 2025 U.S. Women's Soccer – USA vs. Ireland The Real Housewives of Atlanta After Show: Season 2 Finale Coming to Peacock June 30, 2025
Chicago Tribune
2 hours ago
- Chicago Tribune
Column: Money and status aren't everything. Try telling TV that
Status comes in many forms, but the quickest shorthand for status on TV is wealth. The clothes. The real estate. The private jets and other markers of affluence. Early in the Amazon series 'We Were Liars,' a family convenes at their sprawling beachfront estate on a private island near Martha's Vineyard and, like numerous wealthaganda shows of the moment — 'The Perfect Couple,' 'Sirens' and 'The Better Sister,' among many — this version of luxury is East Coast old money. So much so, it might as well be an ad for Ralph Lauren come to life, a sensation that becomes even weirder when Ralph Lauren is indeed namechecked in the script. Wealthy people — their absurdities and their pains, their endless wants and needs and human foibles — have dominated streaming's output over the last several years. Even so-called satirical depictions manage only the thinnest of critiques, while ensuring that characters who could mount a meaningful challenge to the status quo remain firmly off screen. The central players are miserable or odious, but even so, we're meant to want this life because look at the glorious trappings! Surely wouldn't be unhappy if we had this lifestyle at our disposal. We're being seduced into a world largely stripped of color in terms of the interior design, but also the people who inhabit these spaces. It's a portrait disconnected from the lives of most Americans and where we are, existentially, as a country. It's a genre filled with status markers selling us on certain ideas, says Dominique J. Baker. A professor of education and public policy at the University of Delaware, she studies the real-world effects of status, and we talked about recent TV offerings that reflect — or shape — our notions of status. Q: You've dubbed these 'Nicole Kidman gauzy wealth shows' — quiet luxury manifested as television — because Kidman has become the face of this trend, and it's such an apt description, capturing how they reinforce notions of what status is supposed to look like. There are all kinds of sources of wealth in this country, but the big, fast and blatantly destructive money at the moment is from Silicon Valley. That's not the version of status we're being shown on our screens. A: Right, we're being fed Cape Cod, the Vineyard. And that's because, for example, if you're lusting for the tradwife life, you're not lusting for Silicon Valley. I would argue that when we think about East Coast money, regardless of how the money was obtained, we think of it as Old Money — people who've had wealth for generations — and we imbue that with a goodness that we don't with Silicon Valley. Q: With a show like 'Succession' or 'The White Lotus,' their money and status insulate them from consequences, which is probably true enough in real life. But the characters are insulated from consequences in these fictional depictions. These stories aren't interested in anything that pushes back on how the wealthy operate and exist. A: We understand how the world works, right? Yes, having money means you can avoid certain consequences. But if you have a narrative aim with your fictional work, it doesn't make sense for there to be no consequences. Conversely, one of my favorite TV shows is the Bravo reality series 'Below Deck,' which is about the staff manning these yachts. The stars of the show are the workers who haul out the jet skis and clean the bathrooms and unpack your suitcase. And frequently, the rich people do get comeuppance, even if it's only for five minutes. They often go on the show and think they can treat the workers like trash and no one will ever know, which is ridiculous because the camera is right there. But because our point of view into the story is from the workers' perspective, the workers get the last word. They get to say, 'Oh, that lady was a 'beep' and a 'beep' and left her garbage all over the place.' And that woman has no idea, until six months later, that everybody sees her for who she is and it's on national TV. Q: These are contemporary portrayals, whereas 'The Gilded Age' takes place in the late 19th century. The title is borrowed from an satirical novel from 1873 by Mark Twain and Charles Dudley Warner that took aim at the era's greed, corruption and the emptiness of materialism. Commentary around the show tends to frame it as fun and frothy, because it's clearly not aiming for meaningful critique. It's conspicuous but also surreal to see the original robber barons — the villains of history! — reimagined on TV as endearing or sympathetic at the exact moment we're living through a devastating revival of the robber baron era in real life. A: It irks me that we're meant to root for the characters played by Carrie Coon and Morgan Spector, who are stand-ins for the Vanderbilts and are positioned against the ridiculous snobbery of the Old Money families, who want to keep them out of their society circles. We're meant to think they're scrappy upstarts and how unfair it is that these other rich people don't like them because they're New Money, so we should root for them. That's bananas. The people we should root for are the workers! Q: Do you think audiences are more likely to turn off the critical side of their brains when watching a historical version of this, rather than one set in the modern day? A: Well, I think some people turn their brains off for 'The White Lotus,' too! But I think it's the escapism of other spaces. 'The White Lotus' allows people to escape because most aren't going to five-star resorts in real life. 'The Gilded Age' is like a virtual vacation to the past, it's just a revisionist version of the past. But that ties in with other revisions of the past that have given us the tradwife phenomenon. I would argue that there are a number of people who no longer hold the knowledge that robber barons were the bad guys. I think the century-long project of rehabilitating their names has worked, because we have bigger villains in Silicon Valley, so people look back at the Gilded Age with nostalgia. They don't realize that robber barons actually killed some of their workers who dared to strike. It's interesting to compare 'The Gilded Age' with something like 'Sinners,' because the perspective that takes us into 'Sinners' is not the wealthy couple shopping in the segregated grocery store who are affronted by 'those people' who are shopping across the street. We come into 'Sinners' from the perspective of regular people. And sure, the movie takes some creative license, but we get grounded in an experience of joy and pain and struggle and growth over a 24-hour period in a way that 'The Gilded Age' could have done if our key entry points were not the fictional versions of the Vanderbilts fighting the Astors, but from the point of view of the Ida B. Wells-inspired character and maybe a domestic worker. You still could have the grand balls and all that nonsense, but seen through the eyes of someone who would say, 'This is ridiculous — you spent all that money on lobsters and nobody came to your party?' And on top of that, the people whose stories 'Sinners' thinks have value is completely different. Watching 'The Gilded Age,' you would think New York is only filled with white and Black people, which is not true, even in the late 1800s. This is a show that could have told us a really lush and sumptuous story of that era that actually took up Twain and Warner's satirical ideas. This is what Edith Wharton did so well — actually uncovering why it is satire to call it the Gilded Age. Q: What do you make of the fact that there's a preponderance of these shows right now, when this is so at odds with our lived experiences and what we see unfolding on the news, not just in the last six months but the past several years. These stories of status exist to do in our current moment? A: One, they offer an 'easy' escape from the dreary parts of life. I think there are other ways to imagine entertainment that provides escape, but it requires hard work to create a 'Sinners' or a show like 'Watchmen.' Two, I think there's a real push that's reminiscent of the '80s where 'greed is good' a la Mr. Gekko in the 1987 movie 'Wall Street.' But it's a flattened version of the '80s because 'Wall Street' is not confused about whether Gordon Gekko is a villain. In our present, we have TV shows that think they're 'Wall Street,' but unlike the end of that movie, they provide no actual consequences. I think that flattening curtails the available options for what entertainment can be. That dovetails with the attention economy of 'hate watching.' You know all those studies that show social media platforms learned that hateful and angry speech gets more engagement and gets people to stay on the platform longer, so they tweaked their algorithms to show more stuff to make people angry? I think that's part of this entertainment push. And, as long as you're hooked on being angry about this one wealthy person snubbing this other wealthy person, you're not thinking about systems and what might be done to change our real world. Three, building off that last point, if our entertainment showed the experiences of most regular people, I think it would radicalize them, especially if you talk about the systems that create our current reality. 'Sinners' showing how real people experienced things like lynchings is a radicalizing act. The powerful in Hollywood seem terrified of the potential for everyday Americans — in cities, in rural locales, and everywhere in between — to be radicalized by our world.
