Those in charge of the Spider-Man movies would love for Tom Holland to continue playing Spider-Man for many years to come, but it seems that the actor isn't convinced – saying that his current contract coming to an end may be best, and that the team could take on a Miles Morales movie instead.

In an interview with GQ, Holland spoke about his time in the franchise and whether or not he'll be playing everyone's favourite webhead for too much longer: “Maybe it is time for me to move on. Maybe what’s best for Spider-Man is that they do a Miles Morales film," Holland says.

The actor then continues by adding that he'd also want to take his character, Peter Parker, into account when making any decisions about his future before finally adding, “If I’m playing Spider-Man after I’m 30, I’ve done something wrong.”

By the end of this year Holland will have played the superhero in three of his own standalone films as well as during cameos in other MCU blockbusters, and Spider-Man producer Amy Pascal is keen to keep him in the role for as long as possible:

“I’ve talked to him about doing, like, 100 more,” Pascal explains elsewhere in the interview. “I’m never going to make Spider-Man movies without him. Are you kidding me?”

Holland's contract to play Spider-Man ends after No Way Home, and Holland has previously said that he's looking at the movie as "the end of a franchise". Elsewhere in the GQ article, Holland's Spidey co-star Jacob Batalon spoke further about Holland's ambition and explained that the actor often talks about portraying James Bond at some point in the future.

While Spider-Man has certainly dominated Holland's life over the past few years, the actor has still managed to shoot and star in a number of other films during that time. As well as taking the lead in the Russo brothers' Cherry, Holland will also play Nathan Drake in Sony's upcoming Uncharted movie next year.

Holland's busy schedule seemingly conveys his ambitions as an actor and while he has on a number of occasions spoken about his love for the role of Peter Parker, being typecast as the character is likely something that he'll be wary of. Looking into the future, Holland has a number of other projects that he'll be working on other than Spider-Man. As per GQ, as well as writing a script with his brother Harry, the actor is also set to shoot the Apple TV+ drama, The Crowded Room, which is a drama about dissociative identity disorder.

For more from Spider-Man, make sure to check out this article detailing an interesting mistake that appears to be in the Brazillian version of No Way Home's latest trailer.

Jared Moore is a freelance writer for IGN. You can follow him on Twitter.

Tom Holland has said that the ending to Spider-Man: No Way Home was re-written on set, during the filming of the finale itself.

Talking to GQ, Holland explained that when shooting the finale of the upcoming third Spider-Man MCU film he felt that the script wasn’t up to scratch. “I kept stopping and being like, ‘I’m so sorry, I just don’t believe what I’m saying.’ ” he said.

Behind the camera, Holland spoke with director Jon Watts about his issues with the script. “We sat down, we went through it, and we came up with a new idea,” Holland revealed. “Then we pitched it to the writers, they rewrote it, and it works great.”

Such a last-minute rewrite appears to have been just one of many, with GQ reporting that No Way Home was rewritten on an “almost daily basis”. Holland told the outlet that “You could ask the director, ‘What happens in act three?’ And his response would be, ‘I’m still trying to figure it out,’ ”

Holland’s confidence to fight back against a script he felt unhappy with has apparently come from years of development and advice from fellow Marvel actors. “I actually learned this from Elizabeth Olsen,” he said. “She gave me an amazing piece of advice: ‘No’ is a full sentence. ‘No’ is enough.”

A new Spider-Man: No Way Home trailer recently landed, full of characters from across the Spider-Man multiverse. The Brazilian trailer includes a very interesting mistake that could point to a very cool eventuality for the story. And if you want more Spider-Man, then Disney plans to deliver with a new animated show on Disney+.

Matt Purslow is IGN's UK News and Entertainment Writer.

Apple has announced a new Self Service Repair program, allowing customers within its ecosystem to perform their own repairs on their devices.

Beginning early next year, Apple will start selling tools, parts, and instructions to customers brave enough to fix a phone from the iPhone 12 or iPhone 13 line. Supported repairs include replacing the display, battery, or camera with more repair options coming later in the year. Apple also plans to roll out products for those looking to self-repair an M1-powered Mac down the road as well, though you can still have these services done at an Apple store or third-party repair shop as well.

While Apple will begin offering a DIY repair option for those looking to fix their Apple device themselves, the tech giant notes in a recent press release that the program aims for individuals "with the knowledge and experience to repair electronic devices." It also encouraged "a mast majority" of its customers to go to a professional either at an Apple store or third-party repair shop if they have an Apple device that is in need of repairs.

While this is a major win for those in support of the Right to Repair movement, there still remains an issue of voiding the device warranty when performing DIY repairs yourself. TechCrunch notes that making these repairs yourself will not nullify your warranty, but damaging your device while performing the self-repairs still poses an issue. IGN reached out to Apple to clarify whether accidental damage when performing a self-repair will void the warranty on a device.

Apple's Self Service Repair program will launch first in the US and then expand to other countries.

Taylor is the Associate Tech Editor at IGN. You can follow her on Twitter @TayNixster

A group of modders behind the popular reverse engineered Grand Theft Auto fan projects re3 and reVC have responded to a lawsuit by Take-Two, arguing that their projects are protected under fair use.

As reported by Torrent Freak, the individuals behind the projects are fighting back against a lawsuit filed by Take-Two after a dispute over whether the fan's work should be taken down. Following the initial release of the reverse-engineered versions of the games earlier this year, TakeTwo and Rockstar filed a DMCA takedown notice at Github to have the repositories removed from the site claiming copyright infringement. However, when the files were restored by the team through a counternotice filed on Github, the publisher took a different approach by filing a lawsuit against those involved.

The lawsuit, which was filed in September, claims that the projects acted to create and distribute pirated copies of GTA 3 and Vice City and demands damages under copyright law. The lawsuit claims that the modders "willfully and maliciously" copied and adapted the games' source code before distributing it without consent from the publisher.

However, the modders have responded to the lawsuit stating that their actions were lawful and protected under the Copyright Act. The defense is reportedly claiming that any copyrighted material that was used in the projects was done so to allow the team to fix bugs that were present in the original games.

This would suggest, therefore, that the material was being used to add something new to the code as opposed to simply copying it, representing a transformative use of that content. In doing so, the defense believes that these actions are protected under fair use and therefore shouldn't be punishable by law.

As well as noting that their actions added to the game, the group of modders have also reportedly raised a number of other points in their defense. In addition to highlighting the fact that the modifications can't be used without a player already owning a copy of the original game to load the mod onto, the group is also said to have pointed out that Rockstar stopped releasing bug fixes and patches for the original games a number of years before the modifications came about.

While Take-Two is hoping to seek damages from the defendants following the release of the mods on the basis of their use of copyrighted material, the defense has also questioned the claim in itself – claiming that the mods could only have had a positive effect on the market for the original games, considering that players would need to purchase them in order to use the mods in the first place. Whether or not the group's fair use claim will stand up in court will become clearer as the lawsuit progresses.

For more GTA news, make sure to check out this article detailing how Grand Theft Auto: The Trilogy – The Definitive Edition saw a very rough launch for a number of reasons. If you're interested to know what the controversial new trilogy of remasters aims to add, check out our list of differences and changes. If you're already playing, we've got a list of cheat codes and secrets for you.

Spoilers for the sixth episode of Chucky, titled “Cape Queer,” ahead. For more, check out our review of last week’s episode.

So far, Chucky has been able to keep its madcap premise moving forward at a brisk pace while still managing to flesh out the characters in surprisingly grounded ways. While “Cape Queer” celebrates the show’s strong black comedy sensibilities in some pretty dire circumstances, this week’s episode moves at too quick a pace to do justice to the major events that take place as Chucky (in all his various forms) closes in on Jake and his friends.

Last week’s “Little Little Lies” finally introduced Tiffany (Jennifer Tilly) and the Chucky-possessed Nica (Fiona Dourif), establishing them as an oncoming storm for Hackensack’s residents. “Cape Queer” introduces the storm chasers. Andy Barclay (Alex Vincent) and his foster sister Kyle (Christine Elise) are two of Charles Lee Ray’s longest-standing survivors, and travel the country eliminating the Good Guy dolls that the killer imbued with pieces of his soul.

As the two pose as census takers to get close to “Charlie,” the show re-establishes Kyle as Andy’s caretaker nicely by contrasting her controlled questioning of the unsuspecting family with Andy’s straight-to-the-point attitude. Andy says all he needs to about how seriously he takes the threat of Chucky (Brad Dourif) when he pulls out a gun and shoots Charlie/Chucky in the head as the doll’s 7-year-old owner holds him in her arms.

It’s the kind of pitch-black comedy that Chucky thrives on, but later scenes featuring Andy and Kyle buckle under the weight of too much “previously on Child’s Play…”-style recap. Chucky has mostly succeeded in its trips to the past by thematically aligning these vignettes to what’s going on in the present. Here, Andy and Kyle’s past is simply represented by quick shots from the first two movies in the franchise that tend to distract from rather than add to their current mission as Chucky hunters. The opening scene did a fine job of illustrating Andy’s fragile mental state without having to cut to a “Cult of Chucky” clip featuring Andy torturing Chucky’s severed head. God, this franchise is weird.

While Fiona Dourif was the runaway star of last week’s episode, Jennifer Tilly is the veteran MVP in “Cape Queer.” Tilly hasn’t lost a step in bringing Tiffany’s gleefully deranged bubbliness to life, and if there’s a ceiling for how zany she can get while satiating her own bloodthirst, Tilly hasn’t even come close to finding it. Tiff laughs off having stabbed Nica in the leg ten minutes prior to confirm that Chucky had lost control of the parapeligic’s mind with a throwaway ease that really hammers the strength of Tilly’s comedic chops.

We do get another flashback to Charles Lee Ray and Tiffany’s early days in the ‘80s, but it’s a case of diminishing returns compared to last week’s well-crafted exploration of their first meeting. While “Little Little Lies” went out of its way to film Dourif and young Tiffany actress Blaise Crocker in ways that mitigated any sense of uncanniness in these different actors bringing established characters to life, the bright, residential neighborhood in which this scene occurs allows for no such obfuscation. Hopefully the show won’t rely too hard on these flashbacks; to ruin the magic of Fiona Dourif’s excellent recreation of her father’s Child’s Play performance by going back to that well too many times would be a shame.

Whatever end Chucky is moving to, it has no qualms leaving its teens motherless in getting there. Bree’s (Lexa Doig) stage 4 cancer diagnosis, revealed last week, seemed like setup for her to sacrifice herself for the kids at one point, reinforced by her acceptance of her fate in her therapy session. So Chucky pushing her out a window and sending her plummeting into the windshield of her own car — face-to-face with Junior (Teo Briones) — was a genuine shock. But unlike Luke’s death in the premiere, which was played with a tongue-in-cheek sense of macabre, Bree’s fall and Junior’s experience of it is one of the show’s darkest death scenes. Unfortunately, the absurdly long lead-up to Chucky’s pushing of Bree and the terrible visual effects as she flies through the air detract from this monumental event in Junior’s life.

Now that he’s broken up with Lexy — a scene that feels two episodes overdue — the isolated, haunted Junior is on the precipice of the same corruption Jake narrowly avoided, which sets him up as yet another threat for Jake, Lexy, and Devon as we move into Chucky’s final two episodes of the season. Where Bree’s death felt vital to the story, Detective Kim Evans’ (Rachelle Casseus) fatal tumble down the stairs at the hands of Chucky was a relative afterthought, but I don’t think many will miss her anyway. Detective Evans never had much to do outside of pushing the various criminal investigations forward and giving Devon (Björgvin Arnarson) someone to softly rebel against. For as important as it was to Devon to come out to his mom, that scene doesn’t have the same emotional impact as Jake and Devon’s first kiss because Kim’s more or less a stranger to us. With Kim accepting Jake’s innocence and Devon’s sexuality, she had no real conflict left to resolve and felt like an easy choice for the chopping block.

The one loose thread Detective Evans’ death leaves is the intriguing question of Ms. Fairchild (Annie Briggs), somewhat bafflingly accused of the Chucky murders. Evans’ mention of Ms. Fairchild’s “delinquent” past is a plant just waiting to pay off, and makes you wonder whether the flame-haired teacher has any connection to the other redhead currently laying siege to Hackensack.