After less than a year on the market, the Nintendo Switch 2 is going up in price.

The company announced in a press release on its website that the device is getting a price increase in every major region, including the United States. Customers in the U.S. will pay $50 more for the console, as its price is going from $449 to $499. Nintendo did not delve into specifics in the press release, citing only “changes in market conditions,” but this is almost certainly a response to the global memory shortage driven by high demand for AI data center construction.

That same memory shortage was the culprit behind recent price hikes on PlayStation 5 consoles and Motorola phones, among other tech products. Even if the reasoning is understandable, it must be stated that video game consoles rarely rise in price over time in a normal economic environment. The opposite usually occurs, typically after at least a few years on the market. Nintendo having to hike the Switch 2’s price less than a year after its June 2025 launch is fairly unprecedented, at least in recent memory.

Nintendo said the changes go into effect on Sept. 1 of this year, so if you want a Switch 2, that’s your deadline to get one for $450.

By Jennifer Asencio
| Published 26 seconds ago

The latest trailer for Christopher Nolan’s controversial The Odyssey was released on May 5, 2026, and revealed more of the director’s take on Homer’s epic. Like the other trailers and casting announcements, it drew equal parts controversy, criticism, and avid defenders.

This time, most of the action is focused on Ithaca, where Penelope (Anne Hathaway) and Telemachus (Tom Holland) deal with the numerous suitors trying to assume the throne by marrying the queen. Robert Pattinson lurks and smarms as Antinous, trying to woo Penelope, while cutaway footage shows the tribulations of Odysseus (Matt Damon) against Calypso (Charlize Theron), the whirlpool Charybdis, armored giants, and the Trojan War.

Ancient Accuracy Versus Anachronistic Angst

There are a lot of new problems with this trailer that echo issues people already have with Nolan’s vision. Previous complaints include ahistorical armor from a later Grecian period, boats that look more Viking longboat than bireme, and a plethora of miscast characters, such as Jon Bernthal as Menelaus and Lupita Nyong’o as Helen of Troy.

One of the two main problems with the new trailer is Tom Holland. The actor who has been bringing Peter Parker to spectacular life in some of the rare good content from the Marvel Cinematic Universe looks like a lost child as Telemachus, and has been apparently directed to play the Greek hero that way. The parts of the trailer that aren’t Anne Hathaway angsting as Penelope feature Holland having plenty of angst of his own. Sure, Telemachus had some daddy issues, but Holland looks more like a kid looking for his mommy than a prince defending his father’s kingdom against overwhelming odds.

A large part of Holland’s failure in the new trailer is that the dialogue is extremely cringeworthy. At one point, Antonius actually says, “You’re pining for your daddy,” as though this is a CW teen drama and not a serious Homeric epic. “That world is gone!” Penelope cries with the appropriate amount of suffering and phony British accent.

The translation allegedly being used for the movie is based on the work of Emily Wilson, a feminist translator who felt that Homer’s epic didn’t have enough modern sensibilities. She simplified the poet’s gorgeous turns of phrase and literalized his abstract concepts, trying to take the focus away from the male point of view and focus on the women. Her translation has caused controversy among scholars. It is not confirmed that Nolan used this version to base his script on, but the quality of the dialogue is a poor rendition of modern Gen Z slang.

Follies In Formation

Another thing that stands out from this trailer is the battle scenes we are shown.

For one, Odysseus leads the Greeks in a very un-Grecian formation as he charges down a beach. The Greeks were known for their discipline and their deadly phalanx formation, not for charging into battle like a horde of barbarians. The scene looks more like a sword-and-board version of the opening of Saving Private Ryan than anything the Greeks would have actually done. That may sound like a nitpick, but the discipline of the Greek troops and their loyalty to their kings and to Greece is a huge theme of Homer’s duology.

The other is a ridiculous charge by a troupe of giants who are dressed in armor that looks like they salvaged it from the leftovers of a King Arthur movie than a Homerian epic. These silver-clad warriors look out of place and anachronistic in The Odyssey, another example of Nolan using spectacle and visual shorthand rather than something that actually reflects the source material.

Sure, the special effects look cool, with Charybdis a wide, gaping hole in the sea and the battle in Troy looking explosive. But so far, that’s the only thing The Odyssey has shown it has going for it. Between its snarky, modernized dialogue and its attempt to be a visual spectacle, the trailer looks more like Not Another Marvel Movie than it does a tribute to an important ancient epic.

While, I admit that I may be more sensitive to this vandalism of Homer because my family emigrated to America from Sparta, I can’t help but feeling affronted that my heritage as a Greek is being used by Nolan as a cynical Hollywood cash grab. This telling of Homer’s Trojan War sequel is looking more like a pageant of modernized filmmaking meant more to show that it, to paraphrase Ian Malcolm, could be done, regardless of if it should. Plus, the removal of the values Homer wrote about means that it is more like a presentist fanfiction than anything the Greeks may have written.

We will all find out when The Odyssey premiers in theaters on July 17, 2026.

By Robert Scucci
| Published 12 seconds ago

I have this nasty habit of watching movies with no rhyme or reason, falling into genre holes, and slowly digging myself out. I do this with actors and directors too, most recently stumbling upon Megan Fox’s Till Death (2021). It’s a home invasion thriller that plays it straight, but has so many funny moments thanks to its pacing and situational humor. Having never seen 2009’s Jennifer’s Body, I figured now would be a good time to check it out, since I now know she works well in the blood-covered baddie wheelhouse.

Jennifer’s Body has everything you could possibly want in a horror comedy. It leans into young adult tropes, giving it an inherent amount of campiness because every adult is beyond clueless. It’s high school, you know, the most important four years of your life, so for the kids involved, everybody is in a heightened state because they have little to no real-world experience, but they’re also in mortal danger thanks to a very peculiar series of events that occur in their community.

Throw a blood-sucking succubus into the equation, add gratuitous amounts of splatter for dramatic effect, and Jennifer’s Body ends up being way more fun than it has any right to be, thanks to Megan Fox and Amanda Seyfried’s straight-faced commitment to the bit.

Besties Forever

Jennifer’s Body fittingly starts off more like Mean Girls than a horror flick when we’re introduced to our protagonist, Anita “Needy” Lesnicki (Amanda Seyfried), and her super popular bestie, Jennifer Check (Megan Fox). Jennifer is your stereotypical high school beauty queen who can have every underclassman groveling in her presence. Needy is much more reserved, dresses humbly, and likes to keep a low profile despite the fact that she’s best friends with the most popular girl in school.

Needy’s life changes forever when Jennifer decides to take her out to see the indie rock band Low Shoulder at a local bar. Their relationship dynamic goes like this: Jennifer wants to do something, Needy doesn’t, Jennifer bullies Needy into doing it anyway, and Needy reluctantly tags along.

A fire breaks out at the concert and destroys the venue, killing several people in the process, and the girls separate when Jennifer decides she wants to hang out with the band in their van against Needy’s advice. Needy goes home thinking Jennifer is going to do whatever Jennifer always does, but is horrified to learn that whatever happened between the fire and Jennifer’s return has changed her for the worse.

The next time we see Jennifer, she’s covered in blood, seemingly in a trance, before trying to bite Needy in the neck like a vampire. The next day at school, Jennifer looks totally normal, as if the previous night didn’t happen, complete with her usual glowing skin and on-point contouring. However, Needy sees through the illusion. Whenever Jennifer’s looks start to deteriorate, it means she’s hungry and needs to eat one of her classmates to preserve her beauty, starting with the captain of the football team, and chaotically spiraling from that point forward. 

A Vampire Story With A Twist

What sets Jennifer’s Body apart from its contemporaries is its willingness to have fun, and to do it with style. While a $16 million production budget may not sound huge these days, it was enough to allow for some great practical effects. The movie is mostly set in a high school, so it’s reasonable to assume a decent chunk of that budget went toward making sure we got some top-notch gore.

There’s also a level of campiness that really drives things forward because this movie is basically Mean Girls meets The Lost Boys in terms of its sense of humor. Jennifer knows she’s transformed into something terrible, and while Needy knows something is clearly wrong, she has to use her smarts to figure out exactly how to break the spell that turned her into a blood-sucking monster with impeccable taste in fashion.

The plot line involving the band, and their recurring presence in Devil’s Kettle, Minnesota, keeps things lively, but also hints at a much more sinister undertone once you learn how connected they are to Jennifer’s sudden transformation from high school bombshell to salacious succubus. There’s really no fat on this movie. Every character and plot line that gets introduced serves a purpose rather than getting brushed aside and forgotten about. 

In 2026, Jennifer’s Body feels like pretty standard horror comedy fare, especially after movies like The Babysitter (2017) and Little Evil (2017). Both films, along with plenty of others, latched onto a similar formula, but Jennifer’s Body is still one of the earlier examples of the modern mainstream horror comedy as far as I’m concerned. It’s gory, but not too gory. It’s sexy, but not over the top to the point where any mature teen watching with their parents would immediately want to crawl out of their skin. Most importantly, it’s fun.

Between the emotional manipulation and blood sucking, we’re still reminded that growing up anywhere is difficult, and friendship matters. Especially when the occult is involved and your best friend happens to be the person causing all the collateral damage. After all, you want to stay on Jennifer’s good side.

As of this writing, Jennifer’s Body is streaming on Netflix.