Latest news with #MarvelSnap
Straits Times
16-07-2025
- Entertainment
- Straits Times
S'pore teen amasses what might be the world's biggest collection of Galactus comics
Galactus superfan Lael Lee, 14 – with part of his collection of comics and paraphernalia at home – got hooked on the supervillain after being introduced to the Marvel Snap digital collectible card game that he discovered via Instagram. SINGAPORE – As the second reboot of the Marvel superhero film franchise that kicked off in 2005, The Fantastic Four: First Steps will no doubt serve up something familiar for fans. But director Matt Shakman's new version marks the first time supervillain Galactus is fully depicted on the big screen since his creation in 1966 by renowned American comic creators Jack Kirby and Stan Lee. Portrayed by British actor Ralph Ineson, the cosmic being who feeds on entire worlds to stay vital is arguably one of the top comic-book 'big bads' of all time. When First Steps opens in Singapore cinemas on July 24, local teenager Lael Lee will be going to watch it not for Marvel Comics' 'First Family', but for his favourite character Galactus. Says the 14-year-old: 'From what I've seen in the trailers, there's a lot going on in the film. I don't think Galactus will play a significant part. But the actor they've cast seems cool, so hopefully they do Galactus justice.' Just as many classic superheroes have secret identities, so too does Lael. By day, he is a soft-spoken Secondary 3 student at Assumption English School. By evening – or whenever he is done with his schoolwork – he is a mega fan of Galactus, and might have amassed the world's largest collection of comics which include the character. Lael has already accumulated 854 of these, and says the second-biggest collection he is aware of numbers around 200. He has his eyes set on another 20 or so Galactus-covered comics to make for a richer and more complete set. Galactus superfan Lael Lee pictured with part of his collection of comics and paraphernalia at his home on June 23, 2025. ST PHOTO: MARK CHEONG Lael's father Ernest Lee – a human resources (HR) professional and erstwhile comics fan in his 40s – is the boy's partner and sidekick in this quest. 'My dad is very supportive of the hobby, mainly because he was a comics collector too. So he funds a portion of the comics I buy,' says Lael, who has inherited Mr Lee's collection of around 150 comics from the 1990s and shares his finds on his Galactus-centric Instagram account @galactus_hunter96. It comprises mainly X-Men and Image Comics, an independent American comics publisher founded in the early 1990s by a group of prominent Marvel artists. Lael's interest in Galactus actually predates his interest in comics, via the Marvel Snap digital collectible card game that he first discovered via Instagram. 'Galactus' card is very powerful and fun to use, and that took me down the rabbit hole. I just wanted to find out more about him,' he says. Since only two or so of Mr Lee's comics included Galactus, Lael turned to the Marvel Unlimited digital app to read up. The app is essentially a digital library of most Marvel Comics published, available for a monthly subscription fee. Galactus superfan Lael Lee pictured with some of this collection of comics and paraphernalia at his home on 23 June, 2025. The Straits Times As many young people do when they develop a new fixation, Lael began to rack up merchandise related to his burgeoning interest: figurines, statues and signed artwork. He says: 'Seeing my Galactus comics collection grow gives me a lot of energy. I don't read the paper comics though. I treat them like art, like they are an investment. I don't want the monetary value to be affected.' He purchased each comic for anywhere between $5 and $150, with the exception of a limited-edition cover that cost about $200, and estimates he has spent more than $16,000 in total. But Lael and his father suspect that some individual comics might be worth more than the price they paid, especially those that are rare, signed or in mint condition. All of Lael's 854 Galactus comics are stored in plastic sleeves with acid-free backing boards in his condominium bedroom, which is kept cool and as free of humidity as possible via the air-conditioning system and a dehumidifier. No one else in his family of four is allowed to touch the books, except maybe Mr Lee. 'Just like many teens, Lael is at an age where he is finding himself and his interests. As parents, it is important that we encourage and support them in doing so,' Mr Lee says. He adds: 'Lael always saves up his weekly allowance (of $50 a week) to pay for his comics. But as a one-time enthusiast myself, I can't help but co-fund covers that are just spectacular, masterful works of human art untouched by artificial intelligence.' It is a family affair, as Lael's mother Adeline Lee, also an HR professional in her 40s, organises the logistics of importing any comics ordered online. On the family's Europe vacation in June, Lael's nine-year-old sister helped him dig through back-issue collections at the various comic shops they stopped at. During the June school holiday, Lael spent a few days as an intern at Comic Grail Vault shop in Sim Lim Square. In addition to giving him a small internship allowance that he uses to fund more comics purchases, the store has also been an invaluable source – it was where he got his first Galactus comic. Mrs Lee says: 'I don't know much about comics, but this 'mission' has given Lael and his father something to do together and bond over.' She adds: 'We do still have some ground rules – the most important of which is that he keeps up with his schoolwork.' Lael and Mr Lee have begun the paperwork with Guinness World Records to certify the teen's Galactus collection as being the biggest in the world. So what comes next after he receives confirmation of his record-breaking target? 'To get those comics signed by the artists and writers who created them,' Lael says without hesitation.
Yahoo
23-06-2025
- Entertainment
- Yahoo
‘F1' Review: Brad Pitt Speeds His Way Through a Solid Summer Blockbuster That Never Reaches Top Gear
In a clever flex of corporate synergy, Apple promoted its first summer blockbuster with the release of a haptic trailer that imitates the purr of an F1 engine in the palms of your hands. The clip delivers such well-calibrated vibrations that watching it on an iPhone makes it seem like you're microdosing 4DX right on the subway, or the toilet, or wherever it is you choose to enjoy the film industry's latest breakthrough in vertical integration. But the real potency of this ad, and the real potential of the technology that it represents, can only be experienced by viewing the promo on mute — the haptic feedback is so nuanced and expressive that you can literally feel the basic plot and emotions of Joseph Kosinski's 'F1' through your fingertips. It's the closest thing to 'pure cinema' I've ever enjoyed on a device that I primarily use for playing Marvel Snap and Googling answers to my five-year-old son's trivia questions (yes, a rhino could outrun Usain Bolt). More from IndieWire How Two Weddings Altered the Course of Modern Love in Celine Song's 'Materialists' 'The Waterfront' Review: Netflix's Sludgy Family Crime Drama Is a Shallow Reflection of Better Shows How disappointing, then, that the film itself manages to offer so little of the same thrill, despite the benefit of booming Dolby speakers, the scale of an IMAX screen, and the sleekness of a director whose aesthetic naturally cleaves towards Apple commercials (see: 'Oblivion'). That's certainly not for lack of trying. Determined to bring the same you are there verisimilitude to race cars that they did to fighter jets in 'Top Gun: Maverick,' Kosinski, cinematographer Claudio Miranda, and superproducer Jerry Bruckheimer have gone to extraordinary lengths to capture the essence of F1 — lengths that include turning Brad Pitt and co-star Damson Idris into legit Grand Prix drivers, attaching hi-def micro-cameras to the frames of their vehicles as the actors whipped around the world's most famous tracks, and filming at the actual events that are depicted in the movie. Not only was the fictional APXGP team granted its own garage right between Scuderia Ferrari and Mercedes, but the pre-race party Idris' character attends before the tour's Las Vegas pitstop is even hosted by the real DJ Tiësto! 'F1' is far too sincere in its crowd-pleasing ambitions to feel like a fully licensed piece of $200 million sponcon, but the movie's commitment to authenticity extends to every aspect of its titular sport, both on the track and off, as its mission to win over new converts is only outdone by its eagerness to satisfy diehard fans. Alas, Formula One has always been a testament to the difficulty of striking the right balance between power and precision, and 'F1' embodies that aspect of the sport all too well. Always entertaining for how effectively it welds hyper-modern spectacle to the chassis of a classic underdog story (the latter part of that equation paving the way for Pitt's most Billy Bean-coded performance since 'Moneyball'), Kosinski's film can be propulsive and exhilarating in spurts, but in working so hard to satisfy newbies and experts at the same time that it often struggles to seize on its simplest pleasures. Misfits becoming teammates. Losers finding redemption. Cars going really, really fast. All of these things are key parts of the mix, but for a movie so preoccupied with the difference between sound and noise (what's relevant to a racer at 200 M.P.H. vs. what they need to tune out), 'F1' often fails to lock in on what really matters to its defining moments — a frustration that's reflected in everything from character arcs and backstories to shot selections and the incessant use of broadcast-like color commentaries. Your whole body will vibrate for the better part of this film's speedy 156-minute running time, and few other blockbusters this summer will be more fun to experience at a level of volume that you can't get at home, but loudness is a sad consolation prize for a movie whose own trailer didn't need any sound at all to better capture the flow state that its protagonist lives to chase. Sonny Hayes (Pitt) hasn't enjoyed the most storied of professional racing careers, but you can tell from his name alone — a perfect movie name — that he was born to be in the driver's seat, and that he doesn't belong anywhere else. A future star of the F1 circuit until a devastating 1993 crash turned him from a 'will be' to a 'never was,' Sonny has spent the last 30 years as a wandering samurai who's taken any job that came attached to a pair of wheels, from a stock car racer to a New York City cab driver. Somewhere between a stoic Western archetype and a shit-eating myth, he lives in a van where he can suffer hotly in peace. The money never mattered to Sonny (he only needed enough to support his gambling addiction), and winning has always been little more than a means to an end — the shortest path to the self-actualization that he gets from being one with the road. Except, three decades of feeling like a loser seems to have taken its toll, and the first thing he tells his Daytona teammate in the film's opening scene is that he'll kill him if the guy blows their lead. This is as much insight as we'll ever get into the tao of Sonny, but it's enough to understand why he hesitates when his old racing buddy Ruben Cervantes (Javier Bardem), now the desperate owner of the worst team on the F1 circuit, shows up with an unprecedented offer for a washed-up 60-year-old nobody: Become the not-so-new face of APXGP and save what's left of their season so that Ruben doesn't lose the company. It's a hail Mary, and Sonny isn't sure the risk of embarrassment is worth the paycheck that comes with it, but he can't turn down the chance at the glory that once got away from him and/or the chance to drive the world's fastest cars. And so, before we even get to the title card, Ehren Kruger's sleek and sturdy script has already put the story's foundation in place. All that's left is for Sonny to spar with APXGP's hotshot rookie driver (an instantly compelling Idris as cocky London native Joshua Pearce, all flash to Sonny's zen-like calm), make eyes at the sport's first female technical director (the ever-appealing Kerry Condon, squeezing worlds of personality out of a human plot device), and learn to get out of his own way as he comes to appreciate that F1 is a team sport. A few other bits take shape in the margins, including a garbled subplot involving Tobias Menzies as a techbro financier and some 'Ted Lasso'-adjacent hijinks with APXGP's winsome pit crew (unrelated to 'Lasso' alum Sarah Niles' performance as Joshua's mom), but 'F1' is generally as straightforward and predictable as any of the nine different tracks that Sonny zooms around over the course of the film. In theory that should work to the benefit of this vintage Bruckheimer vehicle, and occasionally it does. The simplicity of the film's story makes it easier for Kosinski to accommodate the arcane nature of F1's rules, even if he never finds a satisfying way to incorporate them on the fly, and — similar to Kruger's script for 'Maverick' — the lack of a clear villain for most of the movie allows the focus to remain squarely on the main characters, who are racing against each other and themselves to a much greater degree than they are any of the drivers from rival teams. But where 'Maverick' was able to support that focus with decades of baked-in pathos, 'F1' is forced to rely on the ample charms of its cast. While no one will ever get bored watching Pitt and Idris push each other's buttons, there isn't exactly a world of depth behind Sonny's leathered renegade schtick (it's a bit tiresome how many times he races outside the lines without alerting the rest of his team), just as the complexities of Joseph's arrogance are mostly hidden in the folds of Idris' performance. More frustrating is that the actual racing sequences are less expressive than the dialogue scenes. While the realism of the film's grand prix events is obviously second to none (silly as some of Sonny's rule-skirting gambits can be), and Kosinski has a proven track record of making speed look even cooler in the movies than it does in real life, 'F1' makes the mistake of trying to reconcile the experience of driving Formula One with the experience of watching it on TV. The most obvious symptom of that is the aforementioned broadcast commentary, which narrates literally everything that happens during the races. In large part, that's a necessary evil of a film that has to explain how placing, safety cars, and tire grades work to an audience of neophytes in real-time. But in order to disguise the expository function of the commentary and affirm the authenticity of the average fan's F1 experience (which is to say: enjoying the races from their couch rather than the stands), the narration is also prone to saying things like 'Sonny has fallen to last place! That's not going to make AXPGP happy.' On TV, that sort of color helps confer a narrative onto unconstructed reality. In the context of this movie, it crushes the reality out of a constructed narrative. The driver's seat of an F1 car is pretty small to begin with, and Kosinski's film — which constantly defaults to a 'Star Wars'-like cockpit shot in order to show us Sonny's face while proving that Pitt is actually behind the wheel — leaves viewers precious little space to engage with the film's characters on their own terms. The emotional impact is so blunted that our only choice is to surrender to the booming spectacle of it all (Hans Zimmer, take the wheel), but even that proves difficult in a film that never quite solves how to handle the sameness of a 44-lap race. Kosinski is limited to 15 camera positions on each car, few of which capture anything more than wheel-to-wheel intensity, and he compensates for that lack of choice by restlessly cutting between them. It's as if the film is trying to reflect Sonny's agitated pursuit of clarity amid the chaos (a suspicion that's strengthened by subtle changes in the editing towards the end), and every merciful retreat to a top-down angle feels like a concession to the fact that Kosinski hasn't found a more satisfying way to shoot F1 than they do on TV. The action is hardly dull, but the sheer disconnect between the wowee zowee immediacy of the race footage and the mezzo mezzo excitement it inspires suggests that tuning out the noise isn't as easy as Sonny Hayes might seem to think. 'Sometimes when you lose, you win,' Ruben tells his old friend. And sometimes when you win, this solid but underwhelming blockbuster contends, you still lose. Apple Original Films and Warner Bros. Studios will release 'F1' in theaters on Friday, June 27. Want to stay up to date on IndieWire's film and critical thoughts? to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
Gizmodo
11-06-2025
- Entertainment
- Gizmodo
Hasbro's Big Marvel SDCC Exclusive Is Wildly Unexpected
Rogue, Sauron, and Shanna the She-Devil get Marvel Legends figures based on 'Marvel Snap.' Everyone knows Marvel Comics has a very, very long roster of characters and, at San Diego Comic-Con this year, it's pushing that list to the max. Hasbro just announced an exclusive set for the convention, and it's comprised of a few characters likely unfamiliar to a lot of comic book fans, unless those fans also play the game Marvel Snap. It's called the 'Hasbro Marvel Legends Series Gamerverse Marvel Snap Savage Land 3-Pack' and consists of Rogue, Sauron (no, not that one), and Shanna the She-Devil, each as they are seen in the Savage Land season of Snap, the digital card collecting/competition game. Rogue is a character we all know and love, while Sauron and Shanna seem more like characters we wish we knew better, because we'd definitely love them. Here are a few images of the set. So who are these characters? Rogue is the X-Men mainstay with the ability to absorb powers from others, who appears not just in the comics, but movies, animated shows, and more. Sauron is an evil flying dinosaur, a Pterodactylus to be precise, who was introduced as an X-Men villain in the late 1960s. His powers are similar to Rogue's in that he can absorb and use powers, except he's a flying dinosaur. (He's also the focus of an infamous meme referencing a comic panel from Spider-Man and the X-Men #2, in which Spider-Man encourages him to use his powers to cure cancer—and he retorts back 'I don't want to cure cancer. I want to turn people into dinosaurs.') Shanna the She-Devil was introduced in the early 1970s as a kind of super-athletic badass who is also a veterinarian and becomes a big part of stories set in Savage Land largely within X-Men comics. Of course, though, in this case these designs are all based on Marvel Snap where characters can often gain new popularity and life. However, calling these—admittedly very nice looking— figures out for only being part of Snap is slightly comical. After all, it's not like Snap is getting its design ideas out of nowhere. They're from and inspired by comic creators. So cutting them out to just be like 'Gamerverse Marvel Snap!' kind of stinks but, of course, that's how things work The set will first be available for purchase exclusively at the Hasbro booth (#3213) during San Diego Comic-Con 2025. That usually requires some form of ticket or lottery, so keep an eye on the official Comic-Con website for that info. After the convention, limited quantities will go on sale at It costs $90.
Yahoo
13-02-2025
- Yahoo
There's a new way to download TikTok, free from the Play Store's shackles
TikTok is available for download in the US through its website due to government sanctions. Users can update and access their accounts through APK sideloading. Apple users must wait for TikTok's official reinstatement on the App Store for access. Social media apps do everything to get your attention and TikTok was arguably the social media app that popularized the efficacy of short video content, keeping users hooked, so much so that even the likes of YouTube followed suit. However, TikTok has also been the center of unwanted attention of governments around the world, including rather recently, when the app's publisher, ByteDance, was forced to pull the app off official distribution channels in the US. It isn't reinstated there, but users in the US can now download the official version of the app again. Shortly before Donald Trump commenced his second term as President, the outgoing administration levied sanctions against several businesses associated with Chinese-origin companies. As a part of these sanctions, multiple ByteDance-published apps like Marvel Snap, and the publisher's crown jewel, TikTok, were taken off the Google Play Store and Apple App Store. When the government changed, the ban on the apps was stayed, but TikTok hasn't returned to the Play Store or App Store yet. However, TikTok now offers new and returning users an option to download the APK from its website directly, saving users from the risks and inconvenience of relying on shady sources (via The Verge). Interestingly, TikTok Lite is also available the same way, so you can still use the app even if your internet connection is slower. You can also update to the latest version of the app by sideloading this downloaded file on your device. The app's services have since been restored, so users who didn't uninstall an older version now have access to their accounts again. TikTok and its publishers don't need to abide by the same rules they need when offering an app download option outside the Play Store, but the company's support documentation maintains this version now available to users in the US is perfectly safe. Unfortunately, Apple users cannot benefit from this external listing, since the Cupertino giant doesn't officially allow sideloading apps on its devices. These users must wait for the app to be reinstated on the App Store, or use an existing installation to continue scrolling since TikTok services are operational. Google did not respond to a request for comment from The Verge, so there's no telling when the app might be back on the Play Store for sure.
Yahoo
29-01-2025
- Entertainment
- Yahoo
Spider-Man Voice Actor Says His ‘Biggest Fear' Was the New Disney+ Series ‘Was Gonna Be Annoying and Woke'
Hudson Thames, who voices the titular web-slinger in the upcoming Disney+ show 'Your Friendly Neighborhood Spider-Man,' recently shared some worries he had about leading Marvel's latest animated series. While speaking with Collider, Thames said his 'biggest fear' was that 'Your Friendly Neighborhood Spider-Man' would be 'annoying and woke,' but ended up thinking the show was 'awesome' after reading the script. More from Variety David Troncoso Conlin, Patrick Nebout, Leonine's Odeon Fiction, Yle Unite for Cold War Satire 'Learning to Fly' (EXCLUSIVE) Disney+ Unveils First Look of Psychological Thriller Series 'The Stolen Girl' - Global Bulletin 'Marvel Snap' Game Also Goes Dark and Is Pulled From App Stores Because of TikTok Ban 'I thought it was awesome. I mean, my biggest fear was that it was gonna be annoying and woke, and it wasn't,' Thames said. 'I was like, 'Yes, this is great, it's so well written,' like it feels real. I'm the oldest of five boys, so I feel like I kind of know what's happening in their lives and in high school, and it felt like it was doing that justice.' 'Woke' is a blanket term for those who are actively aware and considerate of social justice issues such as those regarding race, gender and sexual identity. The word has also become a derogatory label used by those who detest diverse and inclusive media. Disney in particular has come under fire by conservative circles in recent years for allegedly promoting 'woke' messages in their films and TV shows, catching heat from Florida Gov. Ron DeSantis, President Trump and the company's own ex-activist investor Nelson Peltz. Other cast members in 'Your Friendly Neighborhood Spider-Man,' which comes to Disney+ Jan. 29., include Colman Domingo, Kari Wahlgren, Hugh Dancy, Charlie Cox and Vincent D'Onofrio. Jeff Trammell serves as head writer with Mel Zwyer as supervising director. Brad Winderbaum, Kevin Feige, Louis D'Esposito, Dana Vasquez-Eberhardt and Trammell serve as executive producers. Best of Variety What's Coming to Netflix in February 2025 New Movies Out Now in Theaters: What to See This Week What's Coming to Disney+ in February 2025
