A blog about Technology, new invention and ways of looking.
SAVE UP TO $132.28: As of Oct. 14, SwissGear's two-piece Energie Spinner Luggage Set is on sale on Amazon for up to 35% off. Normally $375, you can score it in gunmetal for $281.08 or white for $242.72 (with an on-page coupon).
I'm a serial overpacker who travels internationally at least once a year on top of regular domestic trips, which means my suitcases get put through the wringer. After being underwhelmed by a few different brands — Samsonites got dinged up shockingly fast — I landed on SwissGear's Energie Spinner hardside suitcases for their light weight, expandable design, and unmatched durability. They've survived tens of thousands of miles of travel at this point, and probably half a dozen friends and family members have bought them upon my rec.
I've found Energie Spinners on sale at a couple different retailers in the past, but right now, I'd buy them on Amazon. The two-piece set with a 19-inch carry-on and a 27-inch checked bag is currently on sale there for up to about $132 off, depending on the color. (It typically retails for $375, per SwissGear's website.)
I personally own the gunmetal set, which is marked down to $281.08, or 25% off. The white set is even cheaper at $242.72, or 35% off — note the coupon on its product page (below) — but bear in mind that it will show scuffs way more easily. Mine still look basically pristine.
Make sure to select the on-page coupon.Credit: Amazon / Mashable screenshot
Both suitcases have multi-directional spinner wheels, retractable locking handles, and a TSA lock. Inside, they've each got a zip compartment and clothing straps; the 19-inch carry-on also has a USB charging port that lets you charge your phone from a power bank you've packed. They're covered by a 10-year warranty.
A blog about Technology, new invention and ways of looking.
Aaron Sorkin, famed writer of TheWest Wing and Academy Award-winning The Social Network, is notoriously verbose. He has a reputation for linguistic flairs that some find awkward, and many find deeply compelling.
But in The Social Reckoning, a follow-up to the 2010 tale of Facebook's founding, he is uncharacteristically sparing.
Yes, Sorkin — who wrote and directed the new movie — crams the script with one-liners and existential metaphors, random pop culture references, and cries for change, but it's what he leaves out that viewers should pay attention to.
Through TheWall Street Journal's Jeff Horwitz (Jeremy Allen White)and Facebook whistleblower Frances Haugen (Mikey Madison), The Social Reckoning recounts the two years of work that made up the publication's explosive 2021 series, The Facebook Files. The birth of the exposé, a series of insider accounts of Facebook's decision to reroute its algorithm in service of polarizing extremism, is presented in two competing timelines.
In one, Huagen and Horwitz attempt to penetrate the Silicon Valley giant's defenses to learn the true scope of its wrongdoing. In the other, CEO Mark Zuckerberg (Jeremy Strong) readies himself to testify before Congress — as Jan. 6th insurrectionists storm the Capitol.
So it's strange that it's characters — real-life journalists, brave whistleblowers, and profit-driven tech overlords who had a direct role in the current administration's success — don't say the name "Trump."
Despite a third of the movie set in 2020, COVID-19 is largely referred to as "the novel virus." The movie skirts the rampant medical misinformation, spread by conservative conspiracy groups, that flourished on Meta platforms.
The movie also omits the full details of Facebook's startling algorithmic misconduct that surrounded and informed the events of The Social Reckoning. And that's just the tip of the iceberg.
Meta IRL
In 2018, the tech giant was implicated in a massive data breach that harvested user profiles to target U.S. voters ahead of President Donald Trump's 2016 election victory. Facebook had already been accused of a host of reported user privacy violations, including conducting an algorithm-based psychological study on unwitting users. Due to Facebook's outsized role in spreading fake news, the company's CEO was given the title "Misinformer of the Year" in 2017 by Media Matters for America.
Civil rights organizations like GLAAD have long deemed Meta's platforms unsafe for LGBTQ users. Facebook's algorithm has not only helped foster discord on home soil, but is also alleged to have had a role in global cultural genocides by human rights groups like Amnesty International.
Following Haugen's real-life congressional testimony, used as the final beat of Sorkin's film, the company was accused of exacerbating a youth mental health crisis, multiple deaths by suicide, and an explosion of real and synthetic child sexual abuse materials (CSAM). The first point is briefly touched on in the film, while the last is completely sidelined.
Three weeks after Haugen's congressional appearance in 2021, Facebook changed its name to Meta. The company then underwent a brief public-image overhaul — until Trump came back into power. Following his reelection, Meta gave $1 million to Trump's inauguration fund.
The Social Reckoning implores someone, anyone, to act. The film posits that the federal government may be able to hold Zuckerberg to account.
It hasn't.
One character, a member of the company's civic integrity team who helps leak internal reports about Instagram's impact on teen mental health, tells Haugen that something needs to be done before the company proceeds with its plan for "Instagram Kids."
Another real-life whistleblower, Arturo Béjar, has continued to testify to Meta's alleged intentional disregard for teen mental health in court.
Will Meta change?
In the film's epilogue, Sorkin describes Haugen's disclosure as having "caused some pain" for the company.
"I would not call it a massive pain for Meta," said Christine McComas, founding member of child safety advocacy group Parents for Safe Online Spaces (ParentsSOS). "It was a moment of clarity for people to understand what's going on."
Unlike Sorkin's more timid portrayal, McComas describes Haugen as a person who knew what she needed to do. McComas credits Haugen with galvanizing the work of bereaved parents whose children had died by suicide following abusive social media interactions.
That is an inexcusable failure of leadership.
As of publishing, more than 3,000 federal lawsuits have been filed against Meta alleging intentional harm to teen users. The film briefly mentions the work of attorneys general in amplifying these claims. Many of these cases are still ongoing or have settled out of court, but a few have resulted in surface level changes to Meta platforms.
Much like Teen Accounts, researchers argue the changes did not do enough to protect young users.
Concerted pressure from state leaders and child safety advocates has finally pushed Meta to agree to more substantive reform, such as algorithmic guardrails. Still, most argue that comprehensive federal regulation is the only way to truly curb Meta's harm.
Congressional leaders have "completely failed" to hold Meta and its competitors accountable, says Ashwin Verghese, communications director of child safety nonprofit Fairplay. "In fact, Congress has not passed a bill focused on keeping kids safe online in nearly 30 years. That is an inexcusable failure of leadership," Verghese said.
It has been years since the Wall Street Journal published The Facebook Files. To be fair to Sorkin, political change is slow. Courts have their limits when powerful, near monopolistic, companies are involved.
But there's a lingering question that the movie, given its timeline and broad topics, only mildly addresses through its luddite journalist, Horwitz: If Congress won't act, why won't we, as a society, just stop using Meta's problematic products?
Meta, why can't we quit you?
Compared to Horwitz, who is comedically introduced as someone who can't even use a GPS, Sorkin depicts Haugen as an idealist, clinging to the democratizing potential of Facebook. Her movie self is a firm believer that the platform's ability to foster social connection is a societal good. The character doesn't rally for Meta's shuttering, but for its reform.
In early 2026, professor and marketing expert Scott Galloway called for an industry-wide boycott of tech platforms with disproportionate political and economic power. Included in that list were Meta platforms WhatsApp and Facebook (Instagram is also in Meta's corporate roster).
One year earlier, swaths of users threatened to delete their Meta accounts following platform changes that signaled its alignment with the Trump administration, including the erasure of hateful conduct protections for LGBTQ users and the shuttering of its fact checking program. Years before that, users attempted to galvanize change through the 2018 #DeleteFacebook trend.
Yet, even with these calls, Meta has yet to see a mass exodus of users. The company only recently reported a substantial decline in daily users across its platforms. The loss was just 20 million of a reported 3 billion users. After the launch of its new AI agent Muse, Meta regained almost 2 million daily users.
Too many people are complacent because they don’t know an alternative.
"Meta has spent millions of dollars in public relations campaigns to claim their platforms are safe while denying responsibility," said Maurine Molak, advocate and co-founder of ParentsSOS. Molak was one of a group of survivor parents who received an apology from Zuckerberg during his 2024 congressional testimony.
Molak argues that Meta's billion-dollar PR spin has sowed confusion among parents, users, and even congressional leaders. Without clarity, users are more inclined to stay and avoid the pains of leaving.
"Too many people are complacent because they don’t know an alternative," explained Sam Hiner, executive director of the youth-led advocacy nonprofit Young People's Alliance. Hiner and Molak both argue one of the biggest hurdles to leaving Facebook is the Fear of Missing Out.
"If you’re not online, it feels like you’re missing out on an important cultural space," said Hiner. "It’s also hard for competitors to emerge because of the network effect — all of my friends are on Meta platforms, not whatever competitor may emerge."
Molak links this to Facebook's role as one of the first social media platforms. Millions, perhaps billions of adults, have spent nearly two decades building their accounts on Facebook and more than a decade on Instagram. Recntly, they have merged these accounts onto Meta's X-competitor Threads — a wave of users flocked to Threads after Elon Musk's take over of Twitter. It was the lesser of two evils.
Meta platforms are part of many's daily habit, maybe even their identity. With its foray into general AI and its diversification into massively popular chat platforms, users are getting wrenched deeper into Meta's web.
"Algorithms aren't visible, so it's understandably been quite difficult for most folks to connect the harms they experience in their communities — more people angry and outraged, more mental health problems, more anxious children — with some computer code designed in a faraway lab," explained Julie Scelfo, founder and executive director of Mothers Against Media Addiction.
This movie will not move the needle on Meta
Meta has not issued a statement on The Social Reckoning, and it probably never needs to. The film's opening weekend was an unequivocal flop.
The company is shielded by its buying power. In an April earnings call, the tech giant said it brought in $56.3 billion, probably tied to its ongoing generative AI investments.
"The monetary fines imposed on Meta are comparable to parking tickets," said Molak. In August, Meta settled out of a potentially consequential social media addiction lawsuit for the sum of $17 billion dollars — just one percent of its stock value, paid out over a decade.
During one pivotal moment between Horwitz and Haugen in The Social Reckoning, Haugen ponders if it's possible to push powerful people toward change.
"When it's about money, it's hard," says Horwitz. "When it's not about money, it's even harder."
A blog about Technology, new invention and ways of looking.
Netflix is breaking from its streaming service standard in a big way, as in IMAX.
Narnia: The Magician’s Nephew will be released in IMAX theaters worldwide for a 50-day window in 2027. And Mashable Entertainment Editor Kristy Puchko was among the clutch of film critics and reporters who were granted a sneak peek of Barbie director Greta Gerwig’s latest in IMAX at AMC Lincoln Center in New York on Tuesday morning.
Netflix premiered the trailer, which fans can now see above, along with some behind-the-scenes footage. Plus, Gerwig herself was in attendance to answer some questions from Stephen Colbert.
Gerwig shared with the audience how C.S. Lewis’s Narnia books have been a huge influence on her, as they were read to her before she could read on her own. "I would not be who I am without these books," she told Colbert of her reverence.
Then, once she’d learned to read, she read them over and over, eventually reveling in the BBC TV series adaptation, of which she said, "No notes…I think it’s amazing and I love the beaver costumes."
To prepare for adapting The Magician’s Nephew, Gerwig tried to walk in Lewis's footsteps. She reread all the Narnia books, along with his other works and works by authors he loved. She traveled to his stomping grounds of in Oxford, Cambridge, and Belfast “to align myself to what his interior life would be.” She also “ate a lot of Turkish Delight in prep for this film.”
What is Narnia: The Magician's Nephew?
The film, written and helmed by Gerwig, is based on The Magician's Nephew, the sixth novel in C.S. Lewis's Chronicles of Narnia series and the first in chronological order.
The book, which begins in 1900 — 40 years before the events of the first published Narnia novel — centers on 12-year-old Digory Kirke and his friend Polly Plummer, who travel to another world with the help of a mysterious ring. However, Gerwig’s version will shift the timeline to the 1950s, which could make for some curious obstacles if Netflix continues the film series. After all, World War II plays a key role in the next book chronologically (and the most iconic Narnia book), The Lion, the Witch, and the Wardrobe. The Pevensie children stumble into Narnia after evacuating London during the Blitz, a sustained aerial bombing campaign carried out by the Nazi German Luftwaffe.
The book also unfurls the origin of Narnia, reaching back 1,000 years. To get a sense of how much of this story will be in Gerwig’s adaptation, take a look at the trailer above.
David McKenna, who recently played Piggy in Netflix’s miniseries adaptation of The Lord of the Flies, stars as Digory. Beatrice Campbell, who played young Lisle in Wes Anderson’s The Phoenician Scheme, will play Polly.
Gerwig's cast also boasts Emma Mackey, Carey Mulligan, Ciarán Hinds, Daniel Craig, Meryl Streep, Kobna Holdbrook-Smith, Denise Gough, and Susan Wokoma.
Why is "Stairway to Heaven" in the Narnia: The Magician’s Nephew trailer?
Gerwig noted to Colbert that Led Zeppelin rarely licenses this particular hit song. But she reached out to Jimmy Page and Robert Plant to entreat them to allow Netflix to use the song in the Narnia: The Magician’s Nephew trailer.
"It’s an epic song,” she explained. "It’s about a spiritual journey…false idols and the wrong roads you can go down." For her, this spoke to The Magician’s Nephew’s story, and Plant and Page, who she noted also adore Lewis’s works, agreed. "They too love C.S. Lewis and they have a reverence for his work," she revealed.
The key to Narnia for Gerwig is collaboration.
Speaking to Colbert, she explained how hundreds of artists came together to build Narnia: The Magician’s Nephew, from the sets and costumes to the music and performances. To ensure that everyone felt welcome to collaborate, the acclaimed director took a page from artist William Kentridge, who made a silkscreen piece called "A Safe Space For Stupidity".
Gerwig made a similar sign to hang above her office and said many collaborators came forward — citing the sign as an encouragement.
Together, they’ve created not only a Narnia fit for IMAX, but also glimpses of many fantastical worlds that already had this critic tearing up in awe.
Narnia: The Magician’s Nephew will open in IMAX and other theaters worldwide on Feb. 12, 2027, with sneak previews in IMAX beginning on Feb. 10, 2027. The film will debut on Netflix on April 2, 2027.
A blog about Technology, new invention and ways of looking.
Fans of Shayla Palmer (@mesamistoys) know her for her next-level crochet projects. With more than 650k followers on TikTok and over 1.1 million on Instagram, she's made a name for herself one stitch at a time, creating big, fluffy toys, including Stitch, Batman, and Mario. But on Sept. 19, 2026, Palmer took on her biggest challenge yet: stitching a 10-foot-long Appa toy, based on the flying bison from Avatar: The Last Airbender.
In the first episode of her series on its making, she revealed the yarn but not who she'd be stitching for. Fans were quick to recognize Appa's signature color scheme. Fifteen more episodes followed, detailing the process, including the times when Palmer hit a few snags. Then, just last week, Palmer revealed this particular toy was created for a special event, tied to New York Comic Con.
Paramount Games Studio hosted a double-elimination tournament for the newly launched video game Avatar Legends: The Fighting Game at OS NY on Oct. 9. The special event invited gamers to compete for a cash prize, surrounded by food carts offering treats from the four nations (Water. Earth. Fire. Air), boxes of cabbages with a certain beloved cart vendor on them, and Palmer's completed Appa.
You can see images from this tournament below.
While the gaming kicked off, Mashable spoke with Palmer about her journey from that first video to its big debut. And she's got pointers for any fan looking to make toys of their own.
Images from the Avatar Legends: The Fighting Game at OS NY event on Oct. 9. Credit: Kristy Puchko
Mashable: We've finally seen the unveiling of your completed Appa. Tell us about what the process has been like for you.
Shayla Palmer: Oh my gosh, the process was long, but not as long as you would expect. I had 16 days to complete a 10-foot-long Appa. It was a lot of time every single day. It was, let's say, 10-16 hours a day for 16 days straight.
It was kind of crazy. But it was so much fun. I encountered a lot of issues, though, like forgetting to create a hole for the head and then having to pivot from there. It's just like a lot of things that I've had to pivot with. But all in all, it was so much fun. I had a great time, and I'm so happy that the end result is here, and the people who have seen the process can now see it in person. It's so surreal. I love it.
It's amazing to see your Appa in person. What was it like to finally see it set up inside?
Seeing it set up inside was like, 'Oh my god, this looks so much bigger here than it did in the space that I was creating it in!' I can't even comprehend it fully right now.
I also created a mini Appa that is now sitting on top of it, and it's so crazy to see that the mini one looks so small compared to the big one, and it's really not that tiny. But yeah, it's just a full-circle moment, I can say.
For people who are interested in crochet through your work, where would you say they should start?
I actually do sell crochet kits. If you do want to start crocheting, I have beginner, beginner plus, intermediate, and intermediate plus kits, and I teach you everything you need to know to start crocheting toys.
One thing I will say, though, is you need to be very, very, very patient and very forgiving with yourself. It's so much fun, and it can be so calming. You just have to understand that there's going to be a lot of hiccups. There will be a lot of times when you have to tear out your work. You just have to forgive yourself.
But yeah, I highly recommend it. It's the best hobby ever.
As a content creator, what is it that you depend on to make your content on your level?
I would say intuition. It's a lot of trusting my gut. It's a lot of pivoting, being very comfortable with the Plan B, being very able to immediately scrap your Plan A and just restart everything you need to restart.
And honestly, I'm very transparent in my content. I like showing people that not everything I plan on doing is gonna happen. So yeah, it's just very transparent. It's very authentic. I don't do any crazy editing. It's just here's my camera and here's what I'm doing. I just want you to be a fly on the wall and see everything that's going on.
Images from the Avatar Legends: The Fighting Game at OS NY event on Oct. 9. Credit: Kristy Puchko
That's great. I think, especially with crafting, people can be really intimidated if they're not good at it right away. So when you're having those moments where you're like, 'I need to trust the process,' what gets you through those points?
Knowing that it will probably take me longer to stick to Plan A than it would to pivot and go with Plan B. It happens almost every single time I'm in a series. And I show people, "This is what I wanted to do. It's not working, so I have to do this because this is time-dependent."
I don't have 100 days to work on these things, and, quite honestly, I don't want to be working on them for that long anyway. So yeah, just trusting the process, honestly.
Who's your favorite Avatar character?
Is it crazy if I say Appa? Is it crazy? If it's not Appa, it's gotta be Sokka. I don't know what it is. He's just so, like, he's just so angry. But it's just so funny to see it all happen. So yeah, Appa then Sokka.
Is there anything else you want people to know about the process of making your Appa?
So it's actually really funny. I'm a huge believer... I literally just had to ask God. I said, "I want something really exciting. Like for the rest of the year, I want something really exciting. Something that's gonna make me feel reassured."
Then I got a message from Jordan [Chalmers] from Black Flag NYC (the experiential marketing firm). Great guy, love him, love him, love him. I got a message from him. He said, "Hey, have you ever watched Avatar?" I'm like, "Please tell me you want me to make Appa."
So the way that it all came to be was just like, I literally cried. I cried three times, and then I called my mom immediately. I was like, "Hey, um, can you get on a flight? Because I'm gonna need help running errands. I need to feed myself, and I can't do this right now."
So yeah, the way that it came to me was honestly such a dream come true. I was so happy with that.
On the final day, when I finished my six-legged statue, I always like to show myself sitting on it. And as soon as I finished [Appa], I got a chair. I like jumped on it, and I was like, "Appa, yip yip!"
Honestly, I've been waiting, like, 14 years to do that!
A blog about Technology, new invention and ways of looking.
If you've used dating apps, you've probably gotten an off-the-wall message or two and wondered if the sender just lacked basic social skills. Or maybe you sent a joke that fell flat. Either way, Hinge has a new strategy for handling "well-intentioned" daters who send inappropriate messages: mandatory re-education.
If a user violates Hinge's harassment guidelines in a chat, human moderators will weigh the context and severity of the message. If it's deemed a minor infraction, the user gets a warning and must complete a brief "educational walkthrough" to continue using the app. Severe or repeated offenses, however, will still get you permanently banned. An example of a minor infraction in Hinge's Oct. 1 blog announcing the change is the message: "Great dress. I think I have an outfit that will match perfectly," along with a winking emoji.
Hinge says the walkthrough covers basic messaging etiquette, complete with examples of harmful language and reminders on how to express interest without being weird. Users might get prompts reminding them to build mutual interest before making things sexual, keep jokes playful instead of personal, or refrain from making unsolicited comments about someone's body.
The goal is to help daters recognize how their words land. While Hinge notes that cultural or generational gaps often shape how people communicate, intent doesn't negate the impact of unwanted behavior — especially for women, LGBTQIA+ daters, and people of color, who bear the brunt of online harassment.
The new educational walkthrough joins Hinge's existing suite of safety tools, including its "Are You Sure?" feature (which prompts users to reconsider potentially harmful text before sending), the "Did This Bother You?" feedback prompt, and customizable comment filters. This also builds on Hinge's policy not to ban users for a single piece of problematic content, and instead removes the content and explains why.
Hinge's CEO, Jackie Jantos, mentioned the curb-cut effect at the Heads Up With Hinge conference this month: features created to help the most vulnerable can lead to broader benefits for the general population. We'll see if this bears out with better-educated daters.
A blog about Technology, new invention and ways of looking.
There's plenty of magic, mythology, and larger-than-life action in Children of Blood and Bone, but beneath all that fantasy is something a little more grounded: family drama.
The upcoming adaptation of Tomi Adeyemi's bestselling novel closed out Saturday night at New York Comic Con with a packed panel on the Empire Stage, where director Gina Prince-Bythewood and the star-studded cast debuted an extended trailer offering fans another look at the fantastical world of Orïsha. And while the footage delivered on the film's epic scale, some of its most compelling moments were decidedly more intimate.
The trailer puts the royal family's fractured relationships into sharper focus. After witnessing a horrific act of violence at the hands of her father, King Saran (Chiwetel Ejiofor), Princess Amari (Amandla Stenberg) flees the palace, while her brother, Inan (Damson Idris), finds himself torn between loyalty to his father and his own conscience.
During a conversation moderated by Knives Out filmmaker Rian Johnson, the cast opened up about the emotional conflicts driving the film's two central families. Johnson described the relationship between Saran and his children as a "Shakespearean journey," one defined by love, betrayal, and the struggle to trust the people closest to you.
(L-R) Rian Johnson, Gina Prince-Bythewood, Thuso Mbedu, Damson Idris, Amandla Stenberg, Tosin Cole, Cynthia Erivo, Lashana Lynch, and Chiwetel Ejiofor attend New York Comic Con 2026.Credit: Slaven Vlasic/Getty Images for Paramount Pictures
A royal family divided
Children of Blood and Bone follows Zélie Adebola (Thuso Mbedu), a young woman determined to restore magic to Orïsha after a brutal campaign against the maji, the people who once wielded it. Her quest puts her on a collision course with the ruling monarchy, where the king's cruelty has already begun to fracture his own family.
Ejiofor described King Saran as a man impelled by trauma and rage, whose convictions are challenged over the course of the story. "There's a sort of bottomless pit that he has," the actor said of his character's emotional intensity.
To explore the royal family's complicated history, Prince-Bythewood brought the three actors together to imagine the experiences that shaped their characters, including moments that might never appear onscreen. "Gina got us together and we kind of just talked about things that may have happened and may not have happened, and the dynamics of a family such as this," Idris said. "I think that all shows itself on screen."
For Idris, those conversations were essential to understanding Inan, a prince struggling to reconcile his father's expectations with his own beliefs. "Inan personally is such a complicated character who goes through so many different emotions," he said, adding that Prince-Bythewood gave him the patience and space to explore those contradictions.
Stenberg, meanwhile, was drawn to the tension between love and mistrust within the family, particularly how difficult it can be to rebuild a relationship after someone has hurt you. "There's something so beautiful and painful about when people love each other, [as] family, and are also trying to find a window of trust with each other, even when they have been hurt badly," Stenberg said.
The actors began developing that dynamic through video calls while living in different countries, before continuing the character work together on set in South Africa. For Stenberg, exploring those relationships was both emotionally demanding and rewarding. "We had such a good time," she recalled. "It was so sad, and it was so awesome."
And despite the family's fractured relationships, Ejiofor emphasized that their connection isn't entirely defined by conflict. "It is a deeply dysfunctional family," he said. "But there is love at the root of it."
Two siblings, one shared loss
That tension between love and conflict isn't limited to the royal family. On the other side of Orïsha's political divide are Zélie and her older brother, Tzain (Tosin Cole), whose relationship is similarly shaped by loss.
The siblings have experienced the same family tragedy, but they don't necessarily agree on how to move forward. As Cole explained, grief can manifest differently even among people who have suffered the same loss.
"Some people become defensive, some people rebel," Cole said. "Everyone's going through the same thing, just navigating it in a different way."
Tosin Cole, Amandla Stenberg, Thuso Mbedu, and Damson Idris pose for photos at New York Comic Con.Credit: Slaven Vlasic/Getty Images for Paramount Pictures
But despite their differences, Zélie and Tzain are ultimately driven by the same motivation to protect what's left of their family. "That's the most important thing between the two," Cole added. "Trying to keep whatever they have in the sense of love, and not trying to lose another family member."
Offscreen, however, Mbedu and Cole's sibling dynamic appeared considerably less fraught. The two spent weeks training together for the film's demanding action sequences, developing a natural familiarity that occasionally made Mbedu forget they weren't actually related.
"Sometimes I would forget that this is not my actual sibling," Mbedu recalled, joking that she'd have to remind herself to be professional on set. Then, gesturing toward Cole, she called him a "clown."
"I won't apologize for who I am," Cole shot back.
It was a playful exchange that offered a glimpse of their easy chemistry, and a welcome contrast to the royal family's considerably more complicated relationships.
Finding the humanity in fantasy
For Prince-Bythewood, those complicated relationships are what give the film's enormous scale its emotional weight. During the panel, she described her vision for Children of Blood and Bone as an "intimately grounded fantasy," one where the gods, magic, and battles never overshadow the people at the center of the story.
The filmmaker, whose previous credits include Love & Basketball and The Woman King, recalled asking Johnson for advice about approaching a production of this size. His response was simple: No matter how much money or how many resources a filmmaker has, the responsibility is still to tell a good story.
That attention to character extends to the world of Orïsha itself. Prince-Bythewood wanted the fantasy kingdom to feel tangible, building elaborate sets and filming in remote locations across South Africa.
A scene screened exclusively at NYCC offered a glimpse of that vision in action. Zélie trains with a bo staff under Mama Agba's (Viola Davis) watchful eye before she and the others hurriedly hide their weapons and pretend to weave clothing when royal officials arrive to collect taxes. It's a sequence that showcases the film's intricate fight choreography while underscoring the constant threat of living under King Saran's rule.
That attention to worldbuilding extends to the music. Prince-Bythewood wanted Orïsha to sound rooted in the past while still feeling contemporary. While writing the screenplay, she listened almost exclusively to Afrobeats, particularly Tems and Burna Boy, who later joined the production as soundtrack curator and music consultant, respectively. Composer Terence Blanchard then incorporated traditional African instrumentation and Tems' vocals into his orchestral score, blending contemporary sounds with musical traditions that could make Orïsha feel both ancient and alive.
It's all part of Prince-Bythewood's approach to creating a fantasy world that feels lived-in, even when its characters are wielding magic and fighting gods. And as the cast made clear at NYCC, the film's most consequential battles aren't necessarily fought with weapons or magic. Sometimes they're fought within families, between people who love each other but can't agree on what that love demands.
A blog about Technology, new invention and ways of looking.
TL;DR: Sign up for a 7-day free trial of Apple TV+ through Prime Video Channels to watch select F1 races for free. Watch the Singapore GP for free with the Prime Video app.
Watch the Singapore GP for free with a 7-day trial
Kimi Antonelli still tops the F1 standings coming into the Singapore GP, but he missed out on race wins in Azerbaijan and Malaysia. The young star maintains a comfortable lead over teammate George Russell, but it does feel like anyone can win right now. It's been a while since we've been able to say that, so we'll enjoy this moment while it lasts.
The action heads to the Marina Bay Circuit this weekend. There's a packed schedule of racing to look forward to, including a Sprint. There's something special about a weekend featuring a Sprint.
If you want to watch F1 2026 for free from anywhere in the world, we've got all the information you need.
When is the Singapore GP?
The Singapore GP is the 17th race of the 2026 F1 season. Here's the full schedule from the Marina Bay Circuit:
Practice 1 — 4:30-5:30 a.m. ET on Oct. 9
Sprint Qualifying — 8:30-9:14 a.m. ET on Oct. 9
Sprint — 5-6 a.m. ET on Oct. 10
Qualifying — 9-10 a.m. ET on Oct. 10
Race — 8 a.m. ET on Oct. 11
Fans can follow all the action from this race weekend without spending anything.
How to watch the Singapore GP for free
Amazon Prime delivers fast shipping, discounts, and access to the Prime Video library.
For F1 fans in the U.S., Prime Video is particularly interesting this season. Apple TV holds exclusive U.S. broadcasting rights for F1, and you can sign up for a seven-day free trial of Apple TV directly through Prime Video Channels.
That trial gives you access to select races for free, including this weekend's Singapore Grand Prix. The subscription rolls over to $12.99 per month after the seven-day trial, but you can disable the automatic renewal and still stream the entire race weekend for free.
If you're already paying for Amazon Prime, calling it "completely free" is questionable. But if you don't have an active membership, Amazon offers a 30-day free trial for new users. Stacking that Prime trial with the seven-day Apple TV channel trial means you're truly spending nothing to stream this weekend's race.
If you've already made use of this method, you still have a few workarounds:
Apple TV: New standalone subscribers qualify for a direct seven-day free trial through Apple's app.
Apple One: If you want more than just streaming, the Apple One tier packages Apple TV alongside Apple Music, Apple Arcade, Apple Fitness+, Apple News+, and 50GB of iCloud storage — and it comes with a full one-month free trial ($19.95 per month after the promotional period).
Apple: The most generous Apple TV offer is tied to new hardware purchases. Buying an eligible iPhone, iPad, Mac, or Apple TV grants new subscribers three months of free service. You obviously have to spend money on hardware, but if you were already planning an upgrade, it effectively unlocks a massive chunk of the F1 season for free.
