Back in 2020, Netflix announced their plans to bring Yu Yu Hakusho to live action. Yoshihiro Tagashio’s 1990 manga became one of the foundations of shonen manga as we know it today One Piece and Dragon Ball, and though its 1994 anime was a bit hit in Japan, it would get overshadowed by Dragon Ball Z once it came to US in 2003. Netflix has been pretty mum on the series since then—after all, it’s not coming until December 2023. But they’re starting a slow rollout of the main cast in the new few days, starting with the main man himself.

Stepping into the lead role of Yusuke Urameshi will be Takumi Kitamura. In the manga, Yusuke dies while saving a kid from being hit by a car. Instead of just passing on, the act of heroism is enough for Botan, a ferry for the Spirit World, offers him to chance to return to his body and become a Spirit Detective to investigate demon activity in the human world. More importantly, he eventually gains the power to shoot a Spirit Gun from his pointer finger, something that never stops looking cool.

Kitamura is an actor/singer/model who’s no stranger to live action anime adaptations, most recently having played Takemichi Hanagaki in the Tokyo Revengers movie His previous credits include adaptations of manga such as Love & Lies, I Want to Eat Your Pancreas, and Suzuki Sensei. He’s even lent his voice to anime such as Hello World and Seven Days War.

Unlike the recent Cowboy Bebop adaptation and the incoming One Piece series, Yu Yu Hakusho is being developed over at Netflix Japan. Netflix’s anime to live action track record can be hit or miss, but with any luck, Yu Yu Hakusho will wind up going in the “win” column. If they’re going to keep doing these, it wouldn’t hurt for them to last longer than a single season.

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Leading up to the release of Ms. Marvel on Disney+, the big point of discussion surrounding the show was the way it revamped Kamala Khan’s (Iman Vellani) powerset. Rather than being an Inhuman with the ability to polymorph and grow or expand her body, Kamala came into possession of a family heirloom that allowed her to create constructs mimicking her comic powers, but not really. The show’s tweaking of her origin has been mixed, and then the season finale makes things even more complicated with a late game reveal that drastically upends Kamala’s place in both the MCU and as a comic book character. If you know, you already know, and if you don’t, just go ahead and watch the episode before coming back here.

In the final moments of the finale, “No Normal,” Kamala’s pal Bruno (Matt Lintz) takes Kamala aside and discusses what he found in her DNA while looking into the bangle that grants her powers. Bruno tells her there’s “something different” in her genes compared to the rest of her family, “like a mutation,” at which point the 90s X-Men theme plays. Kamala Khan isn’t an Inhuman, she’s the first official mutant of the MCU.

As told by Marvel editor and show producer Sana Amanat to Empire Magazine, the decision to make Kamala a mutant was one discussed “for some time.” In fact, when the character was originally conceived by G. Willow Wilson and Wilson, they had planned for her to be a mutant. “When we were thinking of Kamala back in the day…we originally wanted to make her a mutant. That was the whole intention, to be able to do that.” At some point in the creative process, she would become an Inhuman who discovered her powers after Black Bolt detonated the Terrigen Bomb that gave birth to a whole new wave of Inhumans (dubbed NuHumans) on Earth, and the rest is history. While that period of Marvel’s comics history had some conceptually interesting NuHuman characters and comic runs, none of them really took off the way that Kamala did with a wider audience.

Showrunner Bisha K. Ali, over on Marvel’s websitecalled it the “best day of her life” to bring mshame into the fold. The creative team were trying to figure out why she’d be able to access the bangle’s abilities, but no one else in her family would, and it was important to keep Kamala different from the rest of the Khans. Once they settled on this, they kept it a tight-lipped secret. Once she was let in on the secret, Vellani, reacted accordingly by emailing Kevin Feige in all caps. “I’m so honored!…This is the biggest deal in the world,” she said, “and the fact that it’s happening in our show is crazy.”

Of course, the question now is what a mutant Kamala means for Marvel going forward. On the MCU front, it’s pretty easy to guess: if and when we get a new Avengers team, she’ll almost certainly be on it as the first mutant Avenger, and will likely pave the way for future mutants like Wolverine, Sunspot, or whomever else to join the roster as they have in the comics. (Assuming that the Avengers don’t ruin it all by pissing off the mutants, as they tend to do.) It also means she potentially has a reason to hang around with the MCU’s X-Men in the near future; she maybe not as a longtime team member, but someone they can call on or hang out with during their free time. At some point, Wolverine’s going to need another surrogate daughter to play off of, and that’s as good a dynamic as any to play around with.

It’s in the comics where things get a little trickier. Again, Kamala was created as an Inhuman, at a time when Marvel was trying to get those characters off the ground because Fox owned the movie rights to the X-Men. Those plans didn’t go well—like, at all—and the Inhumans have largely been killed off in a grisly fashion, with the remaining survivors MIA ever since during the Death of the Inhumans event. Kamala was absent from all of that, and beyond occasionally looping her into Inhuman stories or having her hang out with Lockjaw, her comics have n’t really made being an Inhuman an important part of her comic backstory. With that in mind, it is n’t out of the realm of possibility that she realizes her mutant heritage and gets offered a chance to step foot on Krakoa, maybe spend some time with the New Mutants. If Marvel was able to retcon Scarlet Witch and Quicksilver into not being mutants back in the day, they could very much retcon Kamala into being one.

The saga of Kamala Khan is still being written, both in the comics and MCU. Given time, her being a mutant all this time will probably be one of the silliest, but still least interesting things to happen to her. In the end, it’s just a reminder that comic books, especially Big Two comics, are super weird.

Ms. Marvel’s first season is available now on Disney+.

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<p>The post What Does Being [SPOILER] Mean for Kamala Khan? first appeared on harchi90.</p>

With how much Hollywood loves casting hot, young actors to inhabit the roles previously held by veterans, it seems inevitable that we will get ourselves a new Indiana Jones. After all, Harrison Ford turned 80 earlier this week, and the upcoming Indiana Jones 5 is very likely going to be the last time he dons that hat and bullwhip. (Even if it’s not, composer John Williams is saying this movie may be his last cinematic hurrah.) Whoever does step in for Indy after Ford will have some big shoes to fill, but at the very least, we can all take comfort in the fact that it won’t be Chris Pratt.

The idea of ​​Pratt stepping in to play Jones has been floated around over the years, but the actor very much gave a hard no on that front recently. In this week’s episode of the Happy Sad Confused podcast, Pratt revealed his intentions to never in his life take that role, thanks to Ford scaring him out of it. “I once saw a quote from Harrison Ford,” recalled Pratt, “that was like, ‘When I die, Indiana Jones dies.’ And I’m like, am I gonna get haunted by the ghost of Harrison Ford one day when he dies if I play…?”

The quote in question stems from 2019 during an interview on the Today Show. When asked by Today’s Craig Melvin about who he’d want to take over the role, Ford grabbed Melvin’s shoulder and leaned in to say: “Nobody. Don’t you get it? I’m Indiana Jones. When I’m gone, he’s gone. It’s easy.”

Sounds incredibly ominous, and honestly, I think I love the idea of ​​an actor being haunted by the ghost of another actor. (Depending on who you are, being haunted by the ghost of Harrison Ford isn’t the worst thing in the world.) Pratt’s taking it to heart and staying as far away from Jones as possible, so you can’t say it wasn’t effective. Wonder if Ford is as protective over the video game version of Indy as he is the film version.

[via IGN]

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Jane Foster stands at the gates of Valhalla, having earned a warrior’s rest after making a sacrifice so worthy that even she, a mortal, had gained the respect of Asgard’s fallen heroes. But she waits a moment, turning from the gates of eternal paradise. All she can say is “I wasn’t ready to die.”

This is the moment that climaxes The Mighty Thor #706, the last regular issue with Jane Foster as the titular hero. Having defeated the vengeful beast Mangog before it could lay waste to all of Asgard, Jane, sacrificing Mjolnir and finally succumbing to the cancer whose treatment was being purged from her body every time she transformed into Thor, still clung to life to the very end. In the comic, she is rewarded with this faith and love, and her selfless sacrifice in spite of that love, by having touched the heart of even Odin himself—a man who had despised her for assuming his son’s role, even at the Odinson’s lowest . Working together with his son and the god-tempest once held in Mjolnir itself, the two Asgardians give Jane a reward even greater than eternal rest: a chance at life, a chance to face her illness and overcome it as Jane Fosterrather than the Mighty Thor.

This is not the Jane Foster, nor the Mighty Thor, that we find in Marvel’s latest movie, Thor: Love and Thunder. There are similarities, to be sure—both Janes have cancer, although the movie never dives deep into just what cancer Jane has in its surface-level depiction of her treatment, both Janes become the Mighty Thor, and of course there’s a level of aesthetic similarity in their hero costumes. Both make the final sacrifice, and both go to Valhalla—it’s just that in Love and Thunder, that’s where Jane staysand the reason she makes the decision to die and go out with one last turn as Thor is not for the love of the fibere that she lived so vigorously in defiance of her illness, but… well, the other love of her life, Thor Odinson.

It’s not even really a problem that Jane’s arc in Love and Thunder is inextricably tied to her romantic relationship with Thor, to the point that even her cancer plot feels swept aside between all the jokes and mood swings of the movie—that instead of dying for all the things she loves, she largely dies specifically for him. Okay, maybe it kind of workbut it’s not the problem that I’ve been thinking about so much ever since I saw the movie during its opening weekend. It’s that Valhalla post-credits scene, Jane shocked, but happy, that she has found this place in paradise with Heimdall and all the other fallen Asgardians. That’s… that’s just not The Mighty Thor.

Jason Aaron, Russel Dauterman, Matthew Wilson, and Joe Sabino’s three-year journey with Jane in the pages of her two Thor tiles are too vast to condense into a singular movie, but the Mighty Thor of Love and Thunder and the Mighty Thor of those comics might as well pale in comparison. As part of the movie’s general tonal disparity between wanting to be a Ragnarok-esque comedy romp while also engaging with plotlines dealing with things like cancer, or grief and loss, Jane’s persona when she becomes Thor in Love and Thunder avoids much of the latter to focus on the former, for all the talk ahead of release of every major storyline. She’s awkward and clumsy as an inexperienced superhero, she has an ongoing gag about trying to figure out a suitable catchphrase having tried many, many terrible ones. She gets to fight and be strong and kick ass, but she’s more of a vehicle for comic relief, and as a vessel for Thor himself to pine after, until it comes time for her to make her sacrifice for his sake and die in his arms , then she is on her own arc as a character. We never even learn what cancer she has (it’s breast cancer in the comics), it’s just “cancer,” touched on and left until it’s time for her to be sick and dead at the end of the film, never explored or interrogated—save for one moment where a furious Jane-Thor smashes a bathroom sink after being momentarily woozy—because the film’s understanding of her is built around jokes and action rather than an attempt to explore how her character feels bout any of this. She’s there to crack jokes, kick ass, and die.

The Jane of The Mighty Thorin contrast, is bursting with a depth of life that Love and Thunder‘s superficiality could never match. It’s there in her defiance of Asgardian royalty and supervillains alike to claim the name of Thor for herself, and her insistence to face her breast cancer head on as a human, not as an ally of literal gods—a stark contrast to Love and Thunder‘s Jane, who is presented as practically leaping at the chance at using Mjolnir to help stall her illness. It’s there in all her brash decisions, from charging hammer-first into fights with everyone from Odin to the Phoenix Force, to even the simple act of kissing Sam Wilson’s Captain America while on a mission with the Avengers, just because she can. Every moment Jane is Thorshe is doing the most, for the most people she can, and loving every second of it because it makes her feel alive in a way her illness is slowly denying her. In her final battle with the Mangog she smashes the creature in the face with a powerful right hook, and bellows after it asks why she would die for these gods that depise her: “I die for love, Mangog. You die for naught but hate—that is why you lose.”

That love is indeed for Thor Odinson, in part, as it ultimately is in Love and Thunder. But it’s not just for him. The splash page this line is presented on in The Mighty Thor #705 stretches up and up from Jane’s punch, a massive krakoom Rising above it as we see glimpses of her life: as a child with her parents, holding hands with the Odinson as a young woman, as a cancer patient drinking with Freyja, as Thor herself. Jane’s love encompasses more than just romantic love, but a love for life itself, a live she truly loved living as a Thor or otherwise, and that is the sacrifice she is willing to make it for, not just a single man.

I wish Love and Thunder could’ve understood that. I wish Natalie Portman’s Jane was given the time to have even an ounce of the vigor her comic book counterpart had—to say no, she did n’t want to go yet, when she stood at the gates of eternal rest. Instead, she’s left to simply die, unexplored, unwanted beyond her necessity to push Thor into his new status quo as a clumsy adoptive father. The Mighty Thor comics were always going to be about Jane facing death, from the very first moment she picked up Mjolnir. But every step of the way, she defied that conclusion with an overwhelming love for life. Love and Thunder‘s Jane is asked to simply accept it, if not for herself, but at least for the Thor it cares much, much more about.

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Google’s Chrome OS Flex has officially arrived to rejuvenate old PCs and Macs, by turning them into Chromebooks. Eventually, your Mac or PC will struggle to run after being bogged down with software or crippled from wear and tear following extensive use. It could take a few years or a decade, Depending on various factors, but there is practically no escaping the inevitable. Instead of repurposing or recycling your aging system, you can now use Chrome OS Flex to convert a PC/Mac into a Chromebook.

Why would that be any better? Because, like ChromeOS, Flex is a lightweight cloud-based operating system that doesn’t require the most advanced components to run smoothly. Google claims the OS will boot quickly, receive the same update cadence as Chrome OS, and provide access to the Chrome browser, Google Assistant, and other features (Family Link accounts, Smart Lock, Instant Tethering, and Nearby Share), all from the same UI as Chrome OS. It’s also easy to manage, and ID admins can effortlessly upgrade to Chrome OS devices when the time comes.

Keep in mind that Chrome OS Flex is primarily meant for businesses and schools running large fleets of old Windows PCs, including those from Acer, Asus, Dell, HP, Lenovo, LG, and others. It also works with Macs, including some that are up to 10 years old.

An early access preview for Chrome OS Flex went live earlier this year and alerted Google to some 600 bugs. With those fixed, Flex is now rolling out to businesses and schools. To make things easier for those institutions, Google put together a list of systems that are verified to run Chrome OS Flex. At the time of writing, there are some 300 devices capable of switching to the OS. Below are the functions that are guaranteed to work on certified machines:

• Installation
• Wi-Fi
• Ethernet
• Internal display (if applicable)
• At least one method each of audio input and output
• sleep and resume
• touchpad
• keyboard
• USB
• Non-infrared (IR) webcam (if applicable)

“We’re working on more certifications every day, and even if your device isn’t yet certified, you can still try Chrome OS Flex,” wrote Thomas Riedl, director of product, enterprise, and education at Google.

Chrome OS Flex was made possible after Google acquired Neverware, the makers of CloudReady, in 2020. It has since worked with the team to integrate CloudReady into a Chrome-branded product. To try Chrome OS Flex, you can boot directly from a USB without uninstalling or installing anything. When you’re ready, you can replace your old OS (back up everything first!) by installing Chrome OS Flex.

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<p>The post Chrome OS Flex Set to Breathe Life Into Your Decade Old MacBook first appeared on harchi90.</p>

Disney’s live action Lilo and Stitch movie has found its director in Dean Fleischer Camp, as reported by deadline. The feature is set to follow upcoming releases based on Walt Disney Animation classics like pinocchio, which recently debuted its trailer starring Tom Hanks. It is unconfirmed if it will be released straight to Disney+ or also get a theatrical release.

As this news broke, io9 senior reporter Germain Lussier was coincidentally set to interview Camp about his current movie Marcel the Shell With Shoes On. He told io9 exclusively, “I’m hugely [excited],” the director said. “I did not know they were going to announce that today. It’s great—now I don’t have to keep it a secret anymore.”

When asked how he got the gig, Camp said the process was standard, but long, “I pitched on it, like, a very long time ago and have been sort of continuing pitching on it.” and since Marcel is a stop motion animated/live action hybrid, we asked if Lilo and Stitch would be the same. The director laughed: “I don’t know yet. Good question.”

We’ll be updating as more news breaks on Disney’s Lilo and Stitch.

Additional reporting by Germain Lussier.

An earlier version of this post misspelled Dean Fleischer Camp’s name. It has been corrected, and io9 regrets the error.

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Nintendo’s surprise collaboration with Illumination to bring about a new animated Super Mario movie a few years ago signaled a major sea change for a games publisher that has, for the most part, largely been reticent to bring its gaming icons to other media after an explosion of tie-ins in the ’90s. Now, that might be about to change.

The Verge reports that Nintendo has acquired CG production house Dynamo Pictures, with the intent of renaming it Nintendo Pictures. Dynamo has largely provided support work on various video games, including recently motion capture work on Atlus’ Catherine: Full Body and Persona 5—from the smash hit supernatural RPG franchise that Sega has recently confirmed it now wants to turn into shows and films beyond its myriad anime adaptations—and Kojima Production’s Death Strandingas well as media projects such as Evangelion 2.0: You Can (Not) Advance and several episodes of the LGBTQ sports anime Yuri!!! On Ice.

It’s a big step forward for Nintendo taking the potential of developing its own animated content in-house. The deal with Illumination for the Chris Pratt starring mario film as well as the Nintendo-adjacent Pokémon live action movie, Detective Pikachuin 2019 were already big steps forward for a company that has, despite eons of rumors about projects set in the worlds of metroid, The Legend of Zeldaand other Nintendo hallmarks, largely stayed out of the adaptation game in the 21st century. That wasn’t always the case—as Nintendo exploded into gaming dominance in the ’90s with the NES, SNES, and eventually Nintendo 64, so with it came a swathe of tie-in cartoons and movies, from the classic Super Mario and Zelda cartoons or Captain N: The Game Masteror of course the infamous live-action 1993 Super Mario Bros. movie

Could we about to see a similar explosion on the horizon? We’ll just have to wait and see Nintendo’s plans for Nintendo Pictures.

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There’s good news for Sega fans stressing over potentially having to pay steep import fees to bring the recently announced Mega Drive Mini 2 Console to the US. Yesterday, the company revealed the mini console would be coming to North America too on the same day, but will be called the Sega Genesis Mini 2 here.

Sega Japan revealed the Mega Drive 2 back in early June as a follow-up to the surprisingly excellent Sega Genesis Mini/Mega Drive Mini from a few years ago. Tline console came with a solid lineup of 40 classic 16-bit games, making Nintendo’s miniaturized throwback consoles feel somewhat limited by comparison. The Mega Drive 2 hardware is even smaller than the original, while boosting the bundled games roster to over 50 titles, including, for the first time, several Sega CD titles like Virtua Racing and Sonic the Hedgehog CD.

The June announcement only included availability details for Japan, but Sega’s official Twitter account has thankfully confirmed that the renamed Sega Genesis Mini 2 is coming to North America on October 27th, as well.

The Sega Genesis Mini 2 will also include the upgraded six-button gamepad, but what hasn’t been confirmed for North American gamers are the console’s unique accessories. In Japan, the Mega Drive Mini 2 can be upgraded with a non-functional, purely cosmetic Sega CD add-on for $37, as well as a revival of the original console’s Sharp Cyber ​​Stick flight stick controller, now simply called the USB Cyber ​​Stickfor improving the gameplay of bundled titles like After Burner 2.

The Mega Drive Mini 2 will sell for about $75 when it launches in Japan on October 27th, but in North America, you can pre-order the Sega Genesis Mini 2 now through Amazon for an oddly specific $103.80. That’s a price increase of about $20 over the original Sega Genesis Mini, which isn’t that surprising given how expensive everything else is these days.

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with the Walking Dead coming to an end in the next few months, it’s natural to wonder if it can sustain. We know about the spinoffs, the potential movie, all that stuff, but will audiences still show up and get excited for the popular zombie franchise? The answer could be yes, if half of it lives up to the teaser below.

For months we’ve been hearing about Tales of the Walking Dead, thto upcoming anthology show that gives the creators of the franchise chances to tell unique stories that aren’t beholden to the other narratives. it’s the same zombie-infested world, but separate stories and characters each week, played by many massive stars. The below teaser gives you a taste of it and, dare we say, it looks kind of awesome? Check it out.

Part of the excitement has to be from that cast. Even just in the trailer you see Parker Posey, Jillian Bell, Anthony Edwards, Poppy Liu, Olivia Munn, Terry Crews, and yes, even Samantha Morton. That last one is important because Morton was Alpha on the main The Walking Dead and here, we’ll get to see where she came from in more detail. But the other stories don’t seem to have any real connection to that main story. It’s all just people in this world.

For example, the Posey/Bell episode is called “Blair / Gina” and it’s described as such: “It’s the onslaught of the apocalypse in Atlanta, Georgia, 2010. As everyday people try to understand the bizarre events unfolding around them, it’s anything but business as usual at the Circle of Trust Insurance Company. Blair (Posey) and Gina (Bell), two co-workers who depise each other, are relentlessly confronted with life-threatening choices that make them question whom they want to be at the end of the world.”

The Edwards/Liu episode is called “Amy/Dr. Everett” and is described by AMC like this: “Years into the apocalypse, nature has consumed much of the world as we once knew it, and yet, humans endeavor to survive. Naturalist Dr. Chauncey Everett (Edwards) has spent the last decade in voluntary isolation; however, when Amy (Liu), an extroverted survivor, knowingly crosses into no man’s land, Dr. Everett’s own humanity is put into question.”

And that’s just two of the six planned episodes.

We’ll learn more about tales when the show comes to San Diego Comic-Con next week but it debuts August 14 on AMC. the first two episodes will go on AMC+ that night and then subsequent episodes will stream a week early, beginning August 21.

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<p>The post Tales of the Walking Dead Teaser Looks Really Funny and Great first appeared on harchi90.</p>

Microsoft is once again shifting the Windows update release schedule. Not long after committing to a once-a-year feature update, the company is now considering releasing a single significant update every three years with up to four smaller feature drops sprinkled in between, according to a Windows Central report.

The recent shift from a twice-a-year cadence to one large update was largely well-received, given the performance issues and bugs that frequently plagued prior releases. It also meant IT admins could relax a bit and only worry about updating systems once a year. Now, Microsoft is giving itself even more time to push out “major” updates while delivering a steady flow of new features to the current Windows version.

By stretching the feature release schedule to every three years, Microsoft should have enough time to work out any issues before pushing out an update that, say, causes printers to crash. The next release is reportedly scheduled for 2024, three years after the release of Windows 11. That means the (codename) Sun Valley 3 client update won’t happen next year, as previously rumored.

Windows users might bemoan the longer wait for major updates, but it’s important to highlight that Microsoft intends to increase the rate of feature drops, or what a clever marketing team is supposedly renaming “Moments” (this term hasn’t been used publicly yet). One of these Moments happened earlier this year, when Microsoft moved the Weather widget to the Taskbar.

The changes will reportedly start with Windows 11 version 22H2, or Sun Valley 2, which will continue the release of new features outside of major OS updates. Windows Central, citing unnamed sources, says Windows will launch these every few months, up to four times, starting in 2023.

It’s not clear whether the changes will apply to Windows 10. Bringing more features exclusively to Windows 11 might entity businesses and individuals to adopt the latest OS version. At the same time, randomly pushing out updates could frustrate large corporations that manage massive fleets of laptops, tablets, and desktops.

Microsoft will hopefully clear things up if, or when, it decides to go public with this new release system. If the company is only pushing out a major release every three years, what does this mean for supporting certain versions of Windows? Will the next major update signal an entirely new OS (Windows 12)? How are companies expected to stay up-to-date on the latest features?

Microsoft has yet to confirm the report, so nothing is set in stone. That said, the company said in February that it was looking into fresh ways of releasing new features for Windows and has already made minor tweaks to its appearance through randomly timed updates.

While it sounds like a nightmare for businesses, I personally hope this moves forward and gives developers the scheduling flexibility required to release consistently stable updates—something Microsoft has failed to deliver in recent years.

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