Apple just revealed a new brand identity for Apple Music, with the expected turn to Liquid Glass. I’m not much of a fan of their new design language in general; this is where I admit that I’m still running MacOS Sequoia and have grumpy things to say about rounded corner radii and text legibility.

It’s just a trend, it will pass, and at some point I’ll probably cave and upgrade when it starts actually affecting my ability to get work done, or more importantly get security updates. Once I adjust, I’ll stop noticing it, and life will go on.

As such, I wouldn’t normally find an obvious rebrand like this notable, much less feel like I had much to say about it. But then I happened to catch Apple’s behind-the-scenes video in my YouTube recommendations, and I realized I did have thoughts.

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Carrie White, the telekinetic prom queen from hell, is one of the most beloved horror icons in popular culture. First introduced in Stephen King's 1974 novel, Carrie, the character was immortalized in director Brian De Palma's 1976 adaptation, widely regarded as one of the best horror films of all time. It's certainly one of the best King adaptations. So Mike Flanagan faced a massive challenge when he signed on to create an eight-episode miniseries for Prime Video based on the book, released just in time to mark the 50th anniversary of de Palma's film.

I was among the skeptics who questioned why a Carrie miniseries was even necessary, although as a diehard Flanagan fan ("Flana-fan"?), I was willing to give him the benefit of the doubt. If anyone has an affinity for smartly adapting horror in general, and King's work in particular, it's Flanagan. And you know what? With one (very big) exception, Flanagan pulls it off, giving us a richly textured version of the story that is as much about kindness and lost innocence as bloody, vengeful rage—although we get plenty of the latter, too.

(Many spoilers below for the novel and the 1976 film, but there are no major reveals for the new series until after the second gallery. We'll give you a heads-up when we get there.)

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About a month ago, a Chinese rocket took off from a remote spaceport in the Gobi Desert, released 10 satellites into orbit, then reignited its engine and put itself on a trajectory to rain down debris over the American Midwest.

The rocket's flight on September 15 lasted between 75 and 80 minutes, and it came down without completing a full orbit of the Earth. Social media posts at the time showed streaks of fiery debris falling from the sky, heading north over Kansas toward Minnesota. The overnight spectacle was also visible on the western horizon from Wisconsin.

The exact time, location, and direction of the debris allowed experts to connect it to the launch of a Zhuque-2E rocket, a medium-lift vehicle built by a Chinese company called LandSpace. The rocket had launched from Dongfeng, a commercial launch zone co-located with the military-run Jiuquan Satellite Launch Center in northwestern China, less than two hours before.

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The trailers for HBO's DC Universe series Lanterns teased a show that eschewed the usual superhero hijinks in favor of a gritty realism more in the vein of True Detective or Slow Horses. Personally, I liked the change. My verdict: Ignore the review bombing; it's wonderful. The season wrapped with an emotionally charged, almost elegiac finale that fully delivered on that initial promise. I've found the rebooted DC Universe films released thus far to be enjoyable but rather forgettable, even when the positives outweigh the negatives. But Lanterns is a shining beacon of what is possible when someone is allowed to get really creative within the genre.

(Spoilers below, but no major reveals.)

There are two primary storylines. The first takes place in 2016 with a mass shooting at a local football game in Rushville, Nebraska. Current Green Lantern Hal Jordan (Kyle Chandler) and his new trainee, John Stewart (Aaron Pierre), get involved in the investigation, to the annoyance of Sheriff Kerry Kane (Kelly Macdonald), who initially doesn't think the case has any extraterrestrial connection. She is soon proved wrong when the suspect (an alien) self-detonates. Hal's power ring controls the damage, but the mystery remains.

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Director Greta Gerwig could have made pretty much any movie she wanted after 2023's Barbie racked up nearly $1.5 billion at the box office. She chose to make Narnia: The Magician's Nephew for Netflix, an adaptation of C.S. Lewis' sixth novel in The Chronicles of Narnia series. Gerwig has said little publicly about the film, other than that she was inspired by 1960s-era David Bowie, although she said it would not be a musical. Netflix just released the trailer, set to "Stairway to Heaven," and it's quite the psychedelic ride.

The first book in the series, The Lion, the Witch, and the Wardrobe, was published in 1950, and Lewis did not initially intend to write any more Narnia adventures. But then an acquaintance asked how the London lamppost ended up in the middle of Narnia's woodland, and Lewis was intrigued enough by the question to start a prequel, The Magician's Nephew, in order to find an answer. Lewis found it difficult to finish the book, however, writing four other Narnia books first before completing The Magician's Nephew in 1955.

There have been several adaptations, in various media, of The Chronicles of Narnia, most recently the early 2000s film franchise adapting the first three novels in the series. Those films showed diminishing returns, however, and by 2011 the film rights had expired. There were initial plans to adapt the fourth novel, The Silver Chair.

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Elon Musk is a very familiar figure to Ars readers, given his massive influence (for better and worse) on the technology sector over the last 20 years. Oscar-winning director Alex Gibney's latest biographical documentary—simply titled Musk—covers a lot of well-known ground and challenges the carefully crafted public image of Musk as a visionary tech titan.

Gibney's documentary presents Musk as more of a Gilded Age confidence man, rejiggered for the 21st century: an investor cosplaying as an inventor whose real genius is pumping stocks and dazzling investors and the public alike with visions of a high-tech utopian future. The film is bound to push all the right outrage buttons, whether one is a Musk fan or a detractor—which makes it very much a product of the peculiar social media-driven era in which we live.

Gibney has been making documentaries since the 1980s, covering such varied subjects as Jimi Hendrix, Hunter S. Thompson and gonzo journalism, WikiLeaks, Scientology, Steve Jobs, Elizabeth Holmes (the subject of another forthcoming documentary, You Can See Everything, featuring comedian Nathan Fielder), Boris Becker, The Sopranos creator David Chase, alleged Russian interference in the US 2016 presidential election, the opioid epidemic, and cyclist Lance Armstrong. He snagged his first Oscar nomination for 2005’s Enron: The Smartest Guys in the Room, and won the Oscar for Best Documentary Feature two years later for Taxi to the Dark Side.

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We got our first look at Prime Video's new sci-fi series Blade Runner 2099 in July at San Diego Comic-Con. With the show's premiere roughly six weeks away, the streamer unveiled the full trailer this weekend at New York Comic-Con. Co-stars Michelle Yeoh and Hunter Schafer (Euphoria) joined showrunner Silka Luisa (Shining Girls) onstage for the big reveal.

As Luisa described the show during the NYCC panel Saturday night:

We are 50 years after [Blade Runner] 2049 and, bad news, the worst has happened. The replicant uprising that has been bubbling up in the films has taken place and the humans have lost. So the creations have surpassed their creators. And the series, the big question it asks is, ‘What happens when our time as a species ends?’ 2099 is taking place at a junction point when one species is ending and a new one is rising. The first film, something I loved about it, was that it was looking at mortality on a micro level. Roy Batty and the other replicants were fighting for more life. This show asks that same question but on a macro level. Mankind—what happens when we realize our time is running out? And are we going to accept that loss? Can we hold on to our humanity during it?

Yeoh stars as Olwen, the dying Replicant, while Schafer plays Cora. The cast also includes Hugo Hamlet as Buster Friendly, as well as Dmitri Abold, Lewis Gribben, Katelyn Rose Downey, Daniel Rigby, Johnny Harris, Amy Lennox, Sheila Atim, Matthew Needham, Tom Burke, and Maurizio Lombardi—all in as-yet-undisclosed roles.

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I found the trailer for Digger intriguing, starring a nearly unrecognizable Tom Cruise and giving off strong Dr. Strangelove vibes. Plus, it is four-time Oscar-winning director Alejandro G. Iñárritu’s (Birdman) first English-language film since 2015’s The Revenant. Those elements quickly moved it near the top of my "must-see" list even if details about the actual plot were lacking. Given Iñárritu’s pedigree, the film seemed poised to be prime Oscar bait.

(Major spoilers appear below the gallery. We'll give you a heads-up when we get there.)

By now it's clear that Digger is on track to be one of the biggest bombs of the year instead, racking up a mere $20 million globally its opening weekend, against a $125 million (possibly more) budget. It has sharply polarized critics and audiences alike, with some appreciating Iñárritu's bold, creative swings and others finding the film practically unwatchable.

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