Leonardo DiCaprio is in final talks to produce and star in a feature biopic about controversial cult leader Jim Jones, with Venom screenwriter Scott Rosenberg on board to pen the script.

According to Deadline, the film will chronicle the story of Jim Jones, the leader of the Peoples Temple religious group, who was responsible for orchestrating the mass suicide that claimed the lives of more than 900 people in November 1978 after he directed his followers based at the remote Jonestown settlement in Guyana to drink cyanide-laced punch.

The Jim Jones feature has reportedly been picked up by MGM in a preemptive situation that finds DiCaprio starring in the lead role as well as producing the picture alongside Jennifer Davisson under their Appian Way production banner. Rosenberg is also attached to the project as an executive producer, though no director has been confirmed at this time.

Over the course of his prolific career, DiCaprio has portrayed several real-life historical figures onscreen, with scene-stealing performances as former FBI director J. Edgar Hoover, infamous aviation tycoon Howard Hughes, and cunning conman Frank Abagnale. The actor will next star in Adam McKay's Don't Look Up and Martin Scorsese's Killers of the Flower Moon.

DiCaprio stars opposite Jennifer Lawrence in Don't Look Up, which follows two low-level astronomers who attempt, via a media tour, to warn mankind about an asteroid that will destroy Earth. Also starring Cate Blanchett, Meryl Streep, Chris Evans, Jonah Hill, Timothée Chalamet, Ariana Grande, Rob Morgan, the film will premiere on Netflix on December 10.

While the cast is stacked for Netflix's Don't Look Up, this is actually DiCaprio's first film that will premiere exclusively on a streaming service after turning down many other roles. He is also starring in Killers of the Flower Moon alongside Robert De Niro, though, which is being funded by Apple and will hit theaters as well as streaming on Apple TV+.

Adele Ankers is a freelance writer for IGN. Follow her on Twitter.

Patrick Wren, former senior multiplayer designer on Halo Infinite, has joined Respawn Entertainment to work on a Star Wars game.

Revealing his new role on Twitter, Wren said “I am happy to announce that today is my first day on the Jedi team as a Senior Encounter Designer”. The ‘Jedi team’ would suggest that Wren is working on a sequel to Jedi: Fallen Order, which EA has previously confirmed to be the first game in a new franchise.

I am happy to announce that today is my first day on the Jedi team as a Senior Encounter Designer @Respawn. I am so excited to be back on Star Wars and work with this incredible team. pic.twitter.com/JItAkdB5xa

— Patrick Wren (@Witdarkstar) November 8, 2021

Wren also notes that he’s “excited to be back on Star Wars”, referring to his time working on Star Wars: First Assault, a game that was in development at LucasArts in 2013 but was cancelled as part of the Disney acquisition of the Star Wars brand.

Wren moves to Respawn Entertainment from his previous role at 343 Industries, where he worked first on Halo 5: Guardians and then on Halo Infinite. On Halo Infinite he acted as a senior multiplayer designer, but his new role sees him designing combat encounters for whatever unannounced game the Jedi team are currently working on.

Disney has teased a Star Wars video game announcement for December, and so it may be that we see what Respawn is working on soon. Its Star Wars and Apex Legends commitments unfortunately means that Respawn doesn’t have the resources to work on Titanfall 3, but it does means we'll be seeing more from the Jedi: Fallen Order series, a game we gave a glowing review.

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

Modders have managed to restore Mass Effect’s lost DLC pack, Pinnacle Station, and add it to the PC version of Mass Effect Legendary Edition.

Released on November 7 (N7 Day), the DLC was restored by the ME3Tweaks group, a team of modders that have worked on Mass Effect mods for years. Discussing the project in a blog post, modder Mgamerz noted that “This has been the most ambitious modding project I’ve taken on before, as it touched pretty much every aspect of design. We had to design multiple new custom classes, code a very complex porting pipeline, improve our tools to find assets easier, invent new debugging tools, and more.”

Pinnacle Station was originally released for the first Mass Effect game in 2009, and is a fairly simple combat simulator mode. Success in the simulator will unlock Shepard’s Apartment, a small home base. It was developed by Demiurge, who also ported Mass Effect to PC. The source code for Pinnacle Station has since been lost, hence why the PS3 and Legendary Edition versions of Mass Effect 1 do not include it. But the ME3Tweaks group have been able to use their tools to port the DLC from the original PC version of Mass Effect into the Legendary Edition.

In addition to simply getting the DLC running in Legendary Edition, the modding group has also put significant effort into making the DLC a better experience. Pinnacle Station originally had very little audio, with no music during combat, and so the modders have chosen tracks from the score that feel appropriate for each map. There has also been significant work put into difficulty scaling, as the original’s Volcano Hunt Insanity mode was overly punishing due to how quickly time would run out, and the Survival mode could be easily cheesed by simply not engaging enemies. Now, Volcano Hunt Insanity has been toned down by reducing the time decay awarded per kill, providing a little extra time to kill the required enemies before time runs out. Survival now forces enemies who haven’t been killed after 25 seconds to charge at you, which makes it a more interesting challenge.

A large variety of other fixes have been made, including reducing texture pop-in, fixed lighting, dialogue wheel glitches, and bugged character models. The team also discovered a large amount of cut content, which suggested that Pinnacle Station originally was meant to be a more story-heavy piece of DLC than it eventually became. While much of that content cannot be restored because it’s impossible to see the full script, the team has been able to restore some cut Turian bomber ships that were meant to fly across Ahern’s map. The team notes that there’s no audio feedback on these bombers, but they will try to improve this in future updates.

For more from Mass Effect Legendary Edition, check out our reviews of the first, second, and third games and how their remaster treatments fare, as well as the news that sales were “well above” expectations. If it’s the future of Mass Effect you’re interested in, then take a look at the poster that teases the future of the series.

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

Elden Ring is one of the most anticipated game of 2022, and it's actually out remarkably soon on February 25. Collector's Edition preorders are out of stock, but you can get the Launch Edition of the game for £49.99 right now at Amazon, £10 off the list price of £60 (see here). This includes a poster, a set of stickers, art cards, and the game with a special edition slip-cover.

That's not all, as you can also currently get 1-Month of Disney+ for just £2 (see here), alongside one of our favourite flagship deals during Black Friday. 99p for 3-months of Audible is back for the biggest shopping event of the year. Saving you £23, and including three audiobooks, this is an incredible offer.

TL;DR – Best Deals

Elden Ring Launch Edition Preorders Down to £49.99 (was £59.99)

Get 3-Months of Audible for just 99p

£1.99 for 1-Month of Disney+ (New and Returning Customers)

Black Friday: Save £600 on New LG OLED 4K TVs

PS5 DualSense Midnight Black Controller down to £51.95 (was £60)

The Lord of the Rings Illustrated Edition down to £39 (was £60)

Robert Anderson is a deals expert and Commerce Editor for IGN. You can follow him @robertliam21 on Twitter.

This is a spoiler-free review of the two-part series finale, titled "The Last Gauntlet" and "Kara," which aired on The CW on Nov. 9.

We live in a world where content is constantly flying at us from all directions. It’s a smorgasbord for anyone craving the next binge or counting down the moments until the next superhero epic. The bounties are endless, but with films and shows and shorts and everything else coming our way, it can sometimes be hard to find the art that’s really great. Rarer still is the art that is special.

Supergirl was, is, and always will be just that. Special. Kind, warm, complicated, messy, silly, bright, hopeful. Thankfully, the series finale was no different.

“Of course it was,” you may think. But that’s so rarely the case with series finales, especially with shows that have lasted more than a couple of seasons. Sticking the landing is tough, especially when you’re running around in a super suit. The endless passion and expectations of fans who have spent years with your hero are tough to meet, but the two-part series finale rose to the challenge.

If there’s any real complaint about the end of the series, it’s that the action is very contained to part one, and that the ultimate climax of the primary conflict is more of a whisper than a bang. This is a superhero show where action plays a key role, but I’d argue that every decision made so far as the battles are concerned feels earned. Kara Danvers’ (Melissa Benoist) and the rest of the Super Friends’ ending isn’t meant to be one last “fight the dragon” moment. It’s meant to close the story in a way that keeps the soul of the House of El driving on in its viewers. Supergirl has never been a series about power. It’s about hope, so it’s fitting that the finale wraps up in a way that wants to ensure that said hope will live on now that we’ll be without our annual dose of Super Friends.

Season 6 has spent a lot of time acknowledging Supergirl’s “savior” issues. She’s a superhero, it’s what she does, but the series has specifically stumbled with Kara’s privilege in the past, sometimes acknowledging it and then promptly moving on. The smartest thing this last season did was consciously choose to face that head on through Azie Tesfai’s incredible (and regrettably short) run as Guardian. This last chapter really made a point to dig in its heels and not only confront the issue, but to illustrate a way forward while constantly reiterating that the work is never done.

The groundwork from “Blind Spots” — also written by Tesfai, a groundbreaking moment for the Arrowverse — set the course for several strong follow ups, all culminating in the scenes and character decisions of the series finale. Kelly and Alex’s (Chyler Leigh) wedding has been well highlighted through all of the promos, so it doesn’t feel too spoilery to reveal that their couch moment from Tesfai’s episode will play a key role in their vows. We’ll see key players from Kelly’s “day job” come into sharp focus in the finale as well.

In fact, a lot of old favorites come to play in this final episode. We’ve seen the gang back together in some of the previews, but those who worry about promotional videos showing too much footage shouldn’t fret. There's still plenty of surprises in store, so much so that the series finale will undoubtedly be labeled with the much maligned “fanservice” moniker. But what in the world is a series finale for if not lacing in big moments that will resonate with longtime fans?

Seeing Supergirl come to a close is hard, but “Kara” delivers on the type of finale that isn’t what you’d expect but is everything that you needed from the show. Supergirl gets her patented speech moment, but it’s so early on in the story that you’re not left with any kind of “that’s it?” kind of emotions. The finale is both a farewell and an onward call for all of our Super Friends in National City and the viewers alike. It knows that goodbyes are difficult, but it’s happy to leave you with one last call to action. It wants you to remember to hope, and to reiterate that we are all heroes so long as we choose to do right whether someone’s looking or not.

We’ll miss you, Supergirl. Tonight it’s potstickers in your honor.