Entertainment
Avengers: Doomsday Is Reportedly A Disaster
By Chris Snellgrove
| Published

On paper, Marvel is on track to have an absolutely fabulous year. Season 2 of X-Men ‘97 premiered to universal acclaim, and Spider-Man: Brand New Day is on track to become the highest-grossing film of the summer, if not the entire year. And on December 18, they’ll complete the hat trick with the release of Avengers: Doomsday, an ambitious sequel that brings back countless characters in a full-court press to revive the franchise. If all goes well, Doomsday will be a well-earned victory lap. There’s just one problem: it’s not going well at all.
Concerns about the film began when popular YouTuber John Campea claimed that Marvel was having trouble editing this behemoth blockbuster and “finding the movie in the edit.” Since then, others have chimed in with their own insider reports echoing claims that the Russo Brothers are having trouble getting a workable movie out of everything they have shot. All of this has caused concern among the fandom that Marvel’s big comeback may already be, well, doomed. Such reports have underscored even larger concerns with the studio’s creative process, which includes regularly beginning shooting without having a finished script.
It’s All Falling Apart

Right now, the marketing for Avengers: Doomsday has begun in earnest, with the first full-length trailer dropping earlier this week. While this is meant to get fans hyped for Marvel’s biggest blockbuster yet, it seems that there’s some serious trouble in paradise for this ambitious crossover sequel. On his podcast, John Campea claims that sources told him the Russo Brothers were having trouble “finding the movie in the edit.” Elaborating on this, he claimed, “When they shot the movie, everything felt great, everything looked great… but now that they’re editing, they’re discovering some issues.”
Soon afterward, World of Reel’s Jordan Ruimy made another astonishing claim: one of his sources had told him months ago that Doomsday’s production woes were bad enough that “some people internally at Marvel [wondering] whether it would make its intended December 18, 2026, release date.” Those same sources more recently confirmed that although Marvel is now confident about the release date, there is still “friction” in the editing room. That friction has likely been made worse by something that Mystique actor Rebecca Romijn shockingly admitted: that Avengers: Doomsday began shooting without a completed script. Even more shocking? The movie was being written and rewritten into its final week of shooting.
The Movie Is Already Doomed

Given this information, it’s not really that surprising that Avengers: Doomsday is a hot mess to edit. It’s a film with 60 actors that we know about, and there are almost certainly some high-profile surprise cameos that we don’t know about. This creates a very cluttered movie, and it will take some finesse in the editing room to turn it into more than a collection of disconnected fight scenes. Editing becomes that much more difficult with the constant rewrites, which presumably made it difficult to achieve consistent characterization or to give our favorite heroes and villains satisfying arcs.
Obviously, it’s possible for great editors to assemble a sloppy shoot into a great final cut. The most famous example of this is the first Star Wars movie, which was reportedly a disjointed mess that George Lucas’ ex-wife, Marcia, helped shape into the perfect summer blockbuster. However, editing Avengers: Doomsday will be that much more challenging, both because of the high number of characters and the sheer weight of audience expectations. Nobody knew what to expect from Star Wars in 1977, but fans are now expecting Marvel to deliver something worthy of a cinematic universe that has been blowing us away for nearly 20 years.

As a Marvel fanboy (yeah, yeah, you can steal my lunch money later), I hope the Russo Brothers manage to pull it off. Avengers: Doomsday is definitely the most ambitious Marvel movie ever made, and it’s adapting some of the greatest comic stories of the last two decades. With any luck, the movie will successfully reenergize the fandom and pave the way for an MCU filled with new heroes like the X-Men. However, the clock is ticking, and there’s not really any time left for rewrites or reshoots. Unless Avengers: Doomsday can be saved in the editing room, Marvel’s most expensive movie may be destined to become its biggest flop.
Entertainment
We spent 12 months testing red light masks: Here are 6 that gave us real results (and 2 to skip)
How to choose a red light face mask: Look at wavelength first
There are some ways to tell that a red light face mask won’t be effective before you buy it and use it for a few months.
Wavelength is the first factor anyone will tell you to consider. You want to find products that emit light within the therapeutic window, or the range of wavelengths that can be effective when treating common skin conditions. There is now an abundance of evidence that specific wavelengths of red light can be effective for:
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Reduction of fine lines, dark circles, and crow’s feet
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Improving skin texture
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Fighting wrinkles
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Boosting collagen production
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Reducing inflammation and redness
To be effective, the light coming from the mask must penetrate different layers of your skin. There are optimal wavelengths for each type of light a face mask emits, and any reputable brand will put their mask’s wavelengths front and center in the listing. These carefully chosen ranges are strong enough to penetrate your skin, but gentle enough to avoid over-activating delicate face skin.
Red light does its work in the middle layer (dermis) of your skin, requiring wavelengths between 630 and 633 nm to reach past the top layer. There, red light stimulates cells to produce rejuvenating proteins like collagen and elastin, evening out surface redness, and preventing scarring or post-pimple red spots.
The Shark CryoGlow’s Better Aging routine combines red and near-infrared light.
Credit: Leah Stodart / Mashable
The Shark CryoGlow’s Skin Clearing routine uses a special sequence of red, near-infrared, and blue light.
Credit: Leah Stodart / Mashable
Most red light masks also use near-infrared red light therapy, which requires longer wavelengths to travel further than regular red light. Near-infrared light between 830 and 850 nm reaches into tissue under the dermis to further stimulate cell turnover, firm skin, and heal deep-seated spots or stubborn dark circles.
What about blue light therapy?
Blue light is often used to target acne, and some of the best red light masks use a combination of blue and red light therapy.
Blue light operates on the top layer (epidermis) of your skin, so its ideal wavelength is shorter than either red light standard. Blue light at 415nm has an antimicrobial effect, ideally killing the bacteria that cause acne before a breakout starts. If hellbent bacterial acne makes it past the blue light phase — or if you’re also dealing with hormonal or cystic acne not caused by bacteria — red light swoops in to neutralize inflammation and speed up the healing process.
The thing is, most mainstream LED face masks hit those wavelength marks. So, how do you choose between masks if their wavelength numbers are all the same?
The importance of irradiance
Irradiance is another major element that determines whether or not a red light mask actually works. While wavelength refers to the length the light can travel, irradiance refers to the amount of light energy that’s actually reaching your skin per session (not just the intensity of light being generated at the bulb). If wavelength numbers are correct but irradiance is low, the mask will still be kind of a dud.
Bulb placement is one of the key factors we considered in our test.
Credit: Leah Stodart / Mashable
Comfort is another key factor, as consistent use is key to results.
Credit: Miller Kern / Mashable
Irradiance is officially expressed as milliwatts per square centimeter. The optimal irradiance range for a red light face mask is pretty wide (anywhere between 30 and 100 mW/cm²), though many brands don’t directly provide that number.
Most brands do note the length of each session, which is one way to quickly gauge irradiance without getting into calculations. Dr. Mamina Turegano sums it up best on her YouTube account: “Higher irradiance means more effective energy delivery per minute of use.” Longer sessions don’t automatically mean that results will be more powerful — a mask with sessions that last for less than 10 minutes has higher irradiance than a mask with sessions that last for 20 to 30 minutes. Since a mask with lower irradiance needs to sit on your face for longer, you might be less likely to keep up with wearing it.
Are bulb count and bulb placement a big deal?
The number of bulbs and the placement of bulbs inside the mask can also impact efficacy, especially if you’re expecting results on a specific area of your face. Masks with more bulbs packed evenly across the face will provide more even coverage across every inch of your face than masks with more sporadically-placed bulbs.
Some masks also provide more light sources overall by emitting both red and blue light simultaneously from every single bulb, like the Shark CryoGlow. This would be a better option for full-face acne prevention than masks with blue and red LEDs only concentrated in certain spots, like the Dr. Dennis Gross DRx SpectraLite.
What red light masks worked for us?
Of course, you probably didn’t come here for a science lesson. You want to find the best red light masks Mashable’s testers used and loved.
After trying out 11 different products, we ultimately found six that we can recommend. These masks delivered visible results for our product testers.
Remember: Consistency is essential for the best results (or any results)with LED face masks. You’ll need to wear your mask consistently for at least 1-2 months.
Entertainment
Free iPhone deal: T-Mobile is giving away the Apple iPhone 17 for free — how to qualify
TL;DR: The iPhone 17 and iPhone 17 Pro are available for free right now with T-Mobile. Here’s how to qualify for this limited-time offer.
Free when you trade in your eligible phone on an Experience More or Experience Beyond plan..
Free when you switch to T-Mobile and bring your number on an Experience Beyond plan.
Samsung has been the center of attention this week, and that’s totally fair. It’s not every week that a major brand drops three new foldables smartphones, two smartwatches, and smart glasses. But can we hold some space for Apple?
Apple prices are bumping in the face of RAMageddon, but you can still secure a special offer on iPhones from T-Mobile. This popular mobile carrier has just dropped a fresh batch of free iPhone deals on the latest handsets:
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Apple iPhone 17 — free when you trade in your eligible phone on an Experience More or Experience Beyond plan.
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Apple iPhone 17 Pro — free when you switch to T-Mobile and bring your number on an Experience Beyond plan (no trade-in needed).
Needless to say, T-Mobile isn’t handing over a new iPhone without some strings attached. The retail cost of your new phone is offset by 24 consecutive monthly bill credits. Your monthly statement will show a standard charge for financing the phone, which is immediately balanced out by an equal credit.
What exactly does this mean? You’re signing up for a 24-month commitment with the network, and any unpaid balance on the phone’s retail value will become due immediately if you decide to cancel your service, switch to another carrier, or upgrade to the iPhone 18 before the end of your deal.
You will also need to pay standard upfront taxes and a one-time $35 activation fee, but that’s a small price to pay for the latest iPhone.
Mashable Deals
We get that at this point, it’s tempting to wait for the next batch of iPhones to be announced. According to our rumor tracker, Apple is “widely expected to launch a new lineup of iPhones later this year, including the iPhone 18 Pro, 18 Pro Max, and the rumored iPhone Ultra, the company’s first-ever foldable.” That’s exciting news for iPhone fanatics, but with prices on the rise, this could be the last example of mobile carriers offering new phones for free.
Get the Apple iPhone 17 for free this weekend with T-Mobile.
Entertainment
Star Trek Just Proposed Nuking Migrants To Solve Mass Migration Problems
By Joshua Tyler
| Updated

Star Trek: Strange New Worlds beamed in for a fourth season this week, and avoided the jokey premises that hamstrung the previous season, for at least one episode. Instead, in this first episode titled “Valles Marineris,” it took on the hot topic of mass migration by sending the Enterprise back in time to deal with the consequences of an invasive species sucking up resources.
The Enterprise arrives 65 million years in the past to find an extra planet in our solar system. It’s ruled by a race of intelligent insects who use mass migration to invade planets. That extra planet and its inhabitants aren’t the only surprise. The planet Mars is not a dead world in the past. It’s vibrant, alive, and run by technologically advanced Martians.

Meanwhile, Earth is still a place of volcanoes and dinosaurs. At one point, the Enterprise’s genetically enhanced security chief saves the day by punching a velociraptor.
The insectoids intentionally crashed a ship into Mars and “fed” on their world. Then the Martian commander hammers the situation home by saying, “That’s why your discussions of cultures, of science, although kind and hopeful, are not relevant.”
When Pike says, “There may be other ways to deal with them,” the Martian commander responds by pointing out that many thought the same on her world. “As they talked, we died,” she says. The Martians were only able to stop the insects by ripping a hole in their own planet, killing all the invading settlers and also two million of their own people.

On Earth, Enterprise’s crew discovers a crashed insectoid colony ship. Everyone aboard was killed, but our heroes learn the insects were trying to land and feed on Earth, presumably to do the same thing they did to Mars. The Enterprise away team voices sympathy for the dead creatures, with Lieutenant Ortegas voicing, “They may be different from us, but they wanted to survive too.” Meanwhile, Lieutenant Commander Noonien-Singh acknowledges the reality of the situation, “If they were settlers, I’m not sure if I should feel sad or relieved.”
Captain Pike quickly realizes the truth. If this insectoid race is allowed to send “settlers” to Earth, humanity’s future home planet, they’ll suck up all the resources and wipe out our entire future. To save the human race from dangerous mass migration, Pike allows the Martians to blow up the insectoid planet and genocide the race of resource-consuming migrants.

The parallels to the real world are hard to miss. The episode goes out of its way to portray the insectoids not so much as invading armies but as migrants whose unwanted arrival consumes resources. The Martians deliberately refer to them as feeding on their planet, to hit home the point that the main issue is their resource consumption. The crashed ship on Earth is referred to as a ship of settlers, not soldiers.
Mars has already been devastated by the process, and Earth is next. Stripped of the science-fiction setting, the episode clearly explores questions of mass migration, resource competition, demographic change, and whether a civilization has the right to prevent an influx it believes threatens its long-term survival.
“Valles Marineris” was written by Akiva Goldsman and Henry Alonso Myers. It’s worth noting that Myers wrote some of the best and most thoughtful episodes in the show’s first season and none of the worst episodes of its subsequent seasons. He was also a driving force behind the gone-but-not-forgotten spy series Chuck from the 2010s and the 2016 show The Magicians.

In telling this story, Strange New Worlds did what Star Trek has always done, and what the best science fiction usually does, by engaging with a real-world problem and clearly restating it in a way that lets the audience reason out the best response.
Reasoncraft Is Honest Persuasion
This approach, while persuasive, is not propaganda, which is dishonest persuasion done through manipulation. There’s nothing dishonest in what Strange New Worlds is doing. It’s persuasion through logical thinking. There’s never really been a clear word for this type of up-front screenwashing before, so I’ve come up with one.
This is Reasoncraft. Reasoncraft is persuasion through openly stated reasons and honest exploration, rather than manipulation.

Even at its lowest point, Star Trek has always stuck with reasoncraft as its form of persuasion. It’s fundamental to the franchise, and it’s part of why shows like Starfleet Academy are so bad.
Reasoncraft Results In Bad Writing For Bad Ideas, And Good Writing For Good Ideas
When a piece of entertainment uses reasoncraft to make good arguments, the result is often good writing. When reasoncraft is used to make bad arguments, the result is bad writing that makes no sense.
This turned Starfleet Academy into one of the worst shows in television history. It’s also why the previous Strange New Worlds season was so reviled. The stories they told in season 3 were nonsense because the arguments they were making were also nonsense. This season 4 episode of Strange New Worlds, while not perfect, is at least a step up from those season 3 lows. It’s a step up because it takes on hard questions, considers them honestly, and then follows those honest answers to their logical, unflinching conclusion.

Reasoncraft is also why a show like Star Trek: Deep Space Nine is so good. Because when that series tackled a complex issue and used reasoncraft, they followed it through to its logical conclusion, even if that conclusion didn’t always fit with their personal ideology. That willingness to follow the story where reason takes it, even if that conflicts with the beliefs of the show’s writers, is something modern Star Trek has often been unwilling to do.
It’s why people with bad ideas resort to propaganda. Dishonesty is the only way to screenwash others into believing something stupid without also creating an entertainment product that plays out like something written on the side of a bathtub with a water crayon.
