Prime Video has released a new trailer and poster for Season 6 of The Expanse, which will debut its first episode on Friday, December 10, 2021.
The action-packed new trailer for the sixth and final season of The Expanse sees Holden and the crew of the Rocinante fight alongside the Combined Fleet of Earth and Mars to protect the Inner Planets from the devastating asteroid attacks launched by Marco Inaros and his Free Navy in their campaign of death and destruction. Check it out below:
The poster for the new season circles several series regulars, with Steven Strait, Dominique Tipper, Wes Chatham, Shohreh Aghdashloo, Cara Gee, Frankie Adams, Keon Alexander, Nadine Nicole, and Jasai Chase Owens all returning for the new episodes, which will air weekly on Prime Video, culminating with the show's series finale on January 14, 2022.
The fan-favorite sci-fi series is developed by Iron Man's Mark Fergus and Hawk Ostby from a series of novels by James S. A. Corey. Showrunner Naren Shankar is an executive producer on the series alongside Andrew Kosove, Broderick Johnson, Laura Lancaster, Sharon Hall, Sean Daniel, Jason Brown, Daniel Abraham, Ty Franck, and Dan Nowak.
There are currently eight published novels in the original book series, with Leviathan Falls, the ninth and final book of the main series, set to hit shelves on November 30. The TV adaptation has reached Book 6 of The Expanse saga, meaning there are three more books yet to make it to the small screen, but Alcon's deal with Amazon is over after the sixth season.
The Wheel of Time will premiere on Amazon with three episodes on Nov. 19, then roll out one weekly each Friday thereafter. Below is a spoiler-free review of the first three episodes.
In 2017, then-Amazon CEO Jeff Bezos ordered his fledgling streaming service and production company to produce the next Game of Thrones. While it may be impossible to actually replicate the cultural impact of HBO’s smash hit, Amazon Prime Video’s adaptation of Robert Jordan’s fantasy series The Wheel of Time is off to just as strong a start, delivering a remarkable mix of intrigue, spectacle, and magic.
Jordan’s 14-book series fuses the high fantasy of The Lord of the Rings with metaphysical concepts from multiple religions to create a world where change is inevitable and the forces of good must remain constantly vigilant against the influence of the Dark One. While it has aspects of the traditional hero’s journey and chosen one narratives, the sprawling epic completed posthumously by Brandon Sanderson delivers an enormous cast of characters spread across a complex world facing a mix of mystical and geopolitical struggles.
This is a series that really could only be adapted by a studio with the ambitions and budget of Amazon, which is reportedly spending $10 million per episode to build and destroy elaborate sets and fuse CGI with practical effects to make its magic and monsters come to life. Every aspect of the production is lushly realized, from the intricate armors and costumes to the way Aes Sedai and their Warder guardians fight in concert with a beauty reminiscent of wuxia films.
But showrunner Rafe Judkins (Chuck, Marvel’s Agents of S.H.I.E.L.D.) and his team are delivering more than just peak-TV spectacle, showing a deep understanding of the source material without being afraid to change things to better suit the medium. Parts of the first three episodes are taken directly from Jordan’s first The Wheel of Time novel, The Eye of the World, but the writers have also scrambled segments of the plot and brought in characters that didn’t appear until much later in the series. When entirely new scenes and characters are introduced, they largely feel like they fit well into the world and help further develop it.
A brief voiceover explains that many years ago men led by a powerful magic user dubbed the Dragon tried to imprison the Dark One and failed, breaking the world and leaving women magic users — known as Aes Sedai — to pick up the pieces. The Aes Sedai Moiraine (Rosamund Pike of Gone Girl) believes that the Dragon has been reborn and is coming of age, and sets off on a quest to find him before agents of the Dark One can win him over to their side.
The show has an excellent ensemble bringing the heroes and villains to life.
That quest leads her to the pastoral region of Two Rivers where she finds four 20-year-olds who potentially fit the bill of the Dragon Reborn. She takes them on a journey far from home to uncover their destinies and face the coming battle for the fate of the world. The writers of the show have fleshed out its protagonists a bit more, giving each one additional pathos and reason to adventure. These additions work well for the most part, though one unfortunately involves introducing a new character just to fridge her.
The show has an excellent ensemble bringing the heroes and villains to life. Pike brings a perfect stoic gravitas to Moiraine while Josha Stradowski is an amusingly earnest and mopey Rand al’Thor, pining after his childhood sweetheart Egwene al’Vere (Madeleine Madden) even as she makes it perfectly clear she’d rather have power than his love. Even relatively minor characters shine. Thom Merrilin (Alexandre Willaume) feels like an older and wiser version of The Witcher’s Jaskier as he soberly sings a ballad about the Dragon in a voice reminiscent of Chris Cornell or Eddie Vedder.
It’s no small task to introduce so many characters and explain all the factions, history, and magical rules of the setting in a way that won’t lose newcomers or bore fans of the books. The Wheel of Time manages to thread the needle by showing a group or power in action, allowing us to enjoy a bit of wonder or mystery, and then using the relatively sheltered denizens of Two Rivers as audience stand-ins who can be told what’s really going on.
That results in purposefully jarring shifts in action and tone as a beautiful celebration turns into a bloody battle or an intimate moment becomes something far more threatening. The young heroes, and through them the viewers, rarely understand just how dangerous this world is until they’re being faced with rampaging monsters, dark magic, or lurking traitors. This “action first, explanations later” approach works incredibly well as a way to maintain the momentum without a need to try to keep audiences entertained with Game of Thrones’ notorious sexposition.
Game of Thrones and The Witcher have brought big success to fantasy TV in part by subverting the genre’s tropes through an emphasis on sex and brutality. While both of those things are present in the first few episodes of The Wheel of Time, this is a show that really embraces the genre, refusing to wallow in moral relativism while also avoiding celebrating the preservation of the status quo. The series also has the advantage of having an ending that’s already been written and well received by fans. Bezos wanted a new Game of Thrones. If The Wheel of Time can find enough of an audience to justify its price tag, it might be even better.
With an emphasis on esports and tournament play, the Victrix Gambit wireless gaming headset features a lightweight frame and long battery life for all-day play. Paired with Dolby Atmos support, you’ll be completely immersed in true 360-degree audio. However, its overemphasis on bass can cause you to miss some important audio cues, which could mean the difference between victory or defeat.
Victrix Gambit – Design and Features
The Victrix Gambit headphones feature a relatively subtle design that doesn’t immediately announce “these are gaming headphones” to everyone in the room. Sure, they are a bit chunkier than many contemporary headphones – both those designed for gaming or otherwise – but the subdued black colorway and vegan leather earcups add a touch of sophistication.
The headphones are wireless, able to transmit sound up to 40 feet away via USB adapter that’s compatible with Xbox Series X|S, Xbox One, and PC. They are also Dolby Atmos-certified, enabling you to take full advantage of immersive 360-degree audio in supported games and apps. It includes a lifetime subscription to Dolby Atmos audio on Xbox and Windows, which normally runs you $15.
Sound-wise, each side of the headphones features a 50mm driver for audio, with an around-ear cup design that helps isolate audio from outside noise. As previously stated, the earcups are made from premium vegan leather and feature a subtle purple stitching to match the purple accents on the headset.
On the left side of the headset is a flip-style microphone, which automatically mutes when you flip it up and out of the way. It’s extremely bendable from the base to the tip of the microphone, making it easy to position for optimal speaking distance from your mouth. The mic itself is a bi-directional noise-canceling microphone that produces mostly clear audio for your teammates to hear. Just below the microphone is a three-stage profile for voice monitoring. By pressing this button, you can toggle between no voice monitoring, low monitoring, or high monitoring – depending on whether you like hearing your own voice while you chat.
Additionally, you’ll find a 3.5mm audio port if you prefer to play with wired headphones – a nice feature if your battery happens to run out mid-game, as you can simply plug in and continue playing. The corresponding cable includes in-line controls for mute and volume. Near the auxiliary port you’ll also find the Micro-USB charging port. While this port is still fairly common on consumer electronics, I would have much preferred to see USB-C here as most devices have shifted to the newer standard in previous years. The fewer cables I have to worry about keeping around, the better.
Towards the front of the left earcup you’ll find a disc-shaped dial to easily adjust between game and chat audio on the fly. It has very smooth rotation and is extremely satisfying to scroll. On the right earcup there’s a lone dial (also very smooth) to adjust the overall volume. The only downside to these dials is that there is no physical or audible feedback other than the two stopping points to let you know how far they’ve been adjusted.
The overall shape of the Victrix Gambit headset is wider than it is tall, which favors those who find headphones to be a bit tight as it can stretch horizontally more easily. Aside from the earcups, the entirety of the headset is made from a lightweight plastic that has a decent amount of flexibility, although it surely feels as though it could snap if stretched too far. It also features two small memory foam pads on the top of the headband where it rests on top of your head.
Victrix Gambit – Software
The Victrix Gambit wireless headset features plug-and-play support for Xbox Series X|S, Xbox One, and PC. There’s no additional software required to utilize the headphones.
Victrix Gambit – Gaming
While testing the Victrix Gambit headset, I found the lightweight frame to be favorable for long sessions, though the small memory foam pads underneath the top of the band did little for comfort. The leather earcups are soft and extremely cushioned, but aren’t as breathable as many other mesh-style cups, leading to my ears feeling a bit warm during play.
The overall listening experience definitely favors the lower-end, with deep, punchy bass akin to Beats headphones. For games with lots of explosions or bass-heavy music, these headphones sound great. For everything else, though, some of the audio gets drowned out.
Most of my time spent was driving around Mexico in Forza Horizon 5 and for the vast majority of the game things sounded great. The directional audio provided by Dolby Atmos sounded fantastic, as I could easily determine where my opponents were during a race. Whether they were far behind me or quickly passing me by, I was able to locate them with pinpoint accuracy.
Driving around Mexico was a surreal experience. From the sound of loose gravel cracking underneath my tires or telephone poles whizzing by as I sped down the freeway – everything felt incredibly alive. All too often I’d find myself closing my eyes and listening to the sounds of birds chirping, locusts buzzing, and trees rustling which instantly made me feel as though I had been transported out of my home.
Where my immersion was broken, however, was any time there was a deeper sound, like a plane flying overhead, or the latest music tracks popping up on the in-game radio station. The overwhelming emphasis on bass drowned out almost everything else around me. I tried another set of headphones to ensure this wasn’t a sound issue within Forza Horizon 5, and found the other pair of headphones was able to accurately reproduce all of the audio, including the sounds of my car driving, music playing, and ambient sounds in the world – all while the plane soared by.
I also spent some time in Destiny 2, as it features a great mix of gunplay, various intergalactic sounds, and music. However, when things got hectic, I experienced the same issues as I did while playing Forza, with much of the audio getting crushed down in favor of explosions and bassier sounds. At one point, I even encountered a scenario where one of the music tracks was straight up missing some of the instrumentation due to the overwhelming bass. I once again tested with another pair of headphones and could instantly hear more of the arrangement. The limited dynamic range on the Victrix Gambit is concerning to say the least, as every game’s audio is different and it’s impossible to say whether or not you’ll miss out on critical sound cues when it’s most important.
My only other gripe with the Victrix Gambit is the built-in microphone. As with most gaming headsets, the microphone isn’t great. It does a decent job of isolating external audio to focus on your voice, but suffers from crackling issues – especially when your voice gets loud. Just about anytime I raised my voice above a normal level, I was met with audible feedback and crackling. If you tend to get passionate during multiplayer matches, this microphone probably isn’t the best option for you.
Black Friday premieres in theaters in limited release on Nov. 19, and video on demand on Nov. 23.
Zombie flicks rarely come without social commentary or subtext, and since the '80s, ugly consumerism has been one of those running, recurring themes — so much so that, over decades, it became sort of a rote trope that had worn out its welcome. Low-budget glopfest Black Friday, however, manages to freshen the air with a slimy, sinister story that speaks directly to those in the thankless world of customer service and the abuse they endure from both ends of the capitalist chain.
Starring scream kings Bruce Campbell and Devon Sawa, Black Friday takes place during America's busiest shopping day of the year: the Friday after Thanksgiving, a day meant to screw over customers and workers alike so that companies can make record profits. Right out of the gate, our hero workers, who are expected to bond over this tradition of shared misery, have to deal with unrelenting hordes of aggressive shoppers. But throw in an alien meteor shower-fueled Body Snatcher attack and Black Friday delivers a solid single-location "survive the night" screamer that's gory, goofy, and surprisingly wise. It's not laugh-out-loud funny, per se, but it's usually amusing, and, well, gooey.
Black Friday takes the ragtag crew of employees at a giant store called We Love Toys, who are accustomed to grinding away at a job they resent, and tosses them together for an end-of-the-world blow out in a way that entertainingly engages the theme of how much precious time we give to our jobs. During a time of year when the corporate world, and our country's actual economy, demands that people clock in instead of spending time with friends or family, these poor souls must now come to terms with possibly spending their final hours with crappy coworkers instead of loved ones.
Again, marauding masses out to "buy buy buy!" have been getting the brainless zombie treatment in horror movies forever, but Black Friday shifts the narrative nicely to spotlight the never-ending short-sheeting of those behind the register. With people more than ever now rejecting the rigors and low rewards of service industry employment, Black Friday is a gross-out good time that gives us a rare gem of a Thanksgiving bloodbath.
Sawa plays "cool guy" Ken, the divorced dad of the bunch, who the traditions of the genre would have you believe is the hero of the story because he's handsome and has kids and doesn't fall into too niche of a pocket as a character to be a quirky sidekick. Black Friday toys around with conventions cleverly though, directly addressing these characters' individual traits in a way that humanizes them. It's meta, since it's busting a few survival horror clichés, but it also speaks to how coworkers view each other sometimes, never realizing the journey the other person's on or the life they've lived.
Director Casey Tebo does a lot with somewhat little.
Campbell plays against his Evil Dead champion type wonderfully here as a dopey, weaselly store manager. But even this role, which is typically there for Stooge-style laughs, is given extra layers as things become more dire with the whole "extraterrestrial pod people are taking over the world" deal. Others in the cast include Pan's Labyrinth's Ivana Baquero, Goosebumps' Ryan Lee, Stephen Peck, and Spawn's Michael Jai White (as that one guy you work with who seems built for an alien apocalypse). As the danger mounts, the ensemble starts exhibiting a Breakfast Club dynamic, revealing more complex personalities while also never losing their baseline comedic sting.
Director Casey Tebo does a lot with somewhat little here, which is a time-honored hallmark of horror. The story's kept tight, the location's used to its fullest, and the characters are engaging enough that it's their reactions to the terror, and various plans to try and get away, that we care about the most. Plus, Fall Out Boy's Patrick Stump deftly handles the score and various needle drops, helping create a uniquely textured horror comedy that now, with 2021 nearing a close, holds even more layers to it than perhaps even originally intended.
Forget the Dragon Ball fantasies of being Goku and blasting Cell out of the sky. Bandai Namco just announced Dragon Ball: The Breakers, an upcoming asymmetrical online multiplayer game where you can either be Cell, or be one of seven people trying to run the heck away from his particular brand of chaos.
You can check out an announcement trailer below:
Dragon Ball: The Breakers puts you in the oversized boots of either a Raider — Cell, Buu, or Frieza — or one of seven "survivors" who must cooperate to try and escape the temporal anomaly they're stuck in before the raider blasts them into oblivion.
Aside from just running around and hiding, survivors can work on customizable skill trees, use items like weapons and grappling hooks, and hop in vehicles to eventually escape via a Super Time machine. The trailer shows off a number of examples of gameplay, including rocket launchers and other gun-like weapons, and Oolong shapeshifting into a potted plant to hide from Cell.
The Breakers is a part of the Dragon Ball Xenoverse universe, and will include some sort of tie-in to save data from Dragon Ball Xenoverse 2 for those who have it.
It's currently planned for release on PS4, Xbox One, Switch, and PC in 2022, and will of course also be playable on PS5 and Xbox Series X/S. A closed beta test is planned for PC, with more details coming at a later date.
Dragon Ball: The Breakers doesn't look quite like anything we've seen before from the Dragon Ball universe, as a co-op survival game rather than the numerous fighting games. But we liked Dragon Ball Xenoverse 2's authenticity and depth when we reviewed it back in 2016, so hopefully The Breakers is able to tap into the best of those elements as well.
Rebekah Valentine is a news reporter for IGN. You can find her on Twitter @duckvalentine.
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