New Hotel Transylvania short Monster Pets released online!In Monster Pets, Drac’s lovable monster-sized puppy Tinkles has more energy than ever and just wants to play ball! Unfortunately, Drac is too busy juggling his duties at the hotel, so he is determined to find a monster pet companion for his huge furry friend. After a series of mismatches, Drac’s plan goes awry when Tinkles chooses a very unlikely companion. Check out the brand new Hotel Transylvania short in the player below!Fans can now purchase the Hotel Transylvania trilogy in 4K UHD on sale on Vudu here for $24.99 (usually $29.97).RELATED: Hotel Transylvania: Transformania Release Date Revealed by Sony![embedded content]Executive produced by Hotel Transylvania’s franchise creator Genndy Tartakovsky along with Michelle Murdocca, directed by Jennifer Kluska and Derek Drymon, written by Jennifer Kluska and produced by Christian Roedel, the short film which can now be seen exclusively in theatres with Cinemark, has launched online to celebrate Pets Day this upcoming weekend.“What would it be like if the Drac Pack all owned pets? We couldn’t be more excited to jump back into the world of Hotel Transylvania, and explore all the fun and lovable frustrations of pets through a monster lens,” said Monster Pets directors Jennifer Kluska and Derek Drymon. “What happens when your golden retriever is 5 stories tall? Or your chihuahua breathes fire? Being able to introduce an all-new group of characters in Monster Pets who are just as funny and weird as the Drac Pack was an absolute blast. We hope audiences enjoy the short, and look forward to seeing the monster pets make an appearance in the upcoming Hotel Transylvania: Transformania!”“This short has been a labor of love from the teams at Sony Pictures Animation and Sony Pictures Imageworks, and we’re pleased that we can bring heartfelt laughter to families around the world in this time,” added Christian Roedel, Monster Pets producer. “The Hotel Transylvania franchise is all about family, and it has been an honor to work alongside our newest members Jennifer and Derek, the amazing directing duo who will take the reins for this exciting new chapter.”And don’t miss the final chapter of the franchise, Hotel Transylvania: Transformania, coming to theatres July 23. Fans can sign up for a Fandango Fan Alert when tickets go on sale here.RELATED: Disney+ Adds Genndy Tartakovsky’s Star Wars: Clone Wars in AprilMonster Pets: A Hotel Transylvania Short was directed by Jennifer Kluska and Derek Drymon. Written by Jennifer Kluska. Produced by Christian Roedel. Executive Producers are Michelle Murdocca and Genndy Tartakovsky. The film features the voices of Brian Hull (Dracula), Derek Drymon (Tinkles/Zombie/Gillman), Jennifer Kluska (Toots), Genndy Tartakovsky (Blobby/Puppy Blobby) and Jon Olson (additional monster pets).Sony Pictures Animation’s $1.3 billion family film franchise Hotel Transylvania follows Dracula, Mavis and all their monster friends and their adventures at Hotel Transylvania, a lavish five-stake resort where monsters and their families can live it up, free to be the monsters they are without humans to bother them. The first film debuted in theaters in 2012, followed by two sequels Hotel Transylvania 2 and Hotel Transylvania 3: Summer Vacation, which were released in 2015 and 2018, respectively. The final chapter, Hotel Transylvania: Transformania, is scheduled to debut on July 23, 2021.

Sega’s former mascot Alex Kidd returns with an enhanced remake of his debut title, Alex Kidd in Miracle World DX. Whether you’re an old-school platforming fan or a young‘un who has maybe heard the name “Alex Kidd” uttered in some gaming circles, you’ll have a chance to experience his original adventure under a modern lens.Alex Kidd in Miracle World DX launches June 24 and gives the 1986 Sega Master System classic a big facelift. For one, it looks a lot shaper thanks to the redesigned visuals and animations. If you find yourself pining for the old look, though, you can switch to the original graphics (or at least a recreation of them) with the press of a button. Platforming and combat have also been tweaked for improved playability. Take a look at the improvements yourself by watching the release date trailer below.  DX features every level from Miracle World but also introduces some brand new areas as well. There’s also a roster of new bosses to take down. If punching their lights on during the main game isn’t enough, you can take them on all over again in a new Boss Rush mode. Finally, the soundtrack features rearranged music tracks as well as remastered versions of the original score. The best news, though, is that you can still play jan-ken-pon (rock, paper, scissors)!  Alex Kidd in Miracle World DX will be available on PlayStation 5, PlayStation 4, Xbox One, Switch, and PC. For a refresher on the original game, watch the old GI crew revisit it in this 2012 episode of Replay.  Any old-school Alex Kidd fans looking forward to revisiting the often forgotten mascot in Miracle World DX? Are there any younger gamers curious to see what Alex Kidd is all about? Let us know in the comments! 

Hasbro's livestream of toy reveals today came with a huge surprise for Transformers fans, in the form of an impressive new Optimus Prime figure. Ahead of the big reveal, the Hasbro team showed off a bevy of new robot figures. We got glimpses of some of these figures earlier in the week, but today's event offered a comprehensive look. First up, The Ark is getting a Titan Class figure in the Kingdom: War for Cybertron Trilogy line. The Ark is the starship the Autobots used to flee to Earth, which ended up crashing into a mountain and becoming the Autobots base. The new figure offers up this starship form, complete with the blue engines, but can also transform into a sizable robot, which you can see below. To show off the scale of the ship form, this toy comes with a tiny Optimus Prime Autobot figure. The next reveal was for a new Commander Class Rodimus Prime, which comes with the Matrix of Leadership. The vehicle form comes with a huge trailer that has several hidden compartments for accessories. A Leader Class Galvatron was also shown, and he also has the Matrix of Leadership, not in his chest, but hung around his neck on a chain. Galvatron retails for $49.99, whereas Rodimus Prime carries a higher $79.99 price point. A smaller Deluxe Class Scorponok is on the way soon, and you can also add a Fossilizer dinosaur of Wingfinger, a G1 Tracks (complete with wings), and a Voyager version of Rhinox (with articulated rhino mouth) to your collections. A new version of Soundwave in the tiny Core Class scale rounds out series three. His chest opens to reveal a tape cassette of Lazerbeak. Soundwave will retail for just $10. Next up on the stream was the reveal of a new toy line called Transformers: Shattered Glass, a five-figure line based on the fan-favorite mirror universe concept. The new toy line is meant to lead into an IDW-published comic book series. The first figure in this line is a Deluxe Class Blur, who is based on the G1 movie's design. The final toy shown was presented by Kevin Smith and Jason Mewes. Sitting in front of them was a sizable Optimus Prime in vehicle form. When Jason Mewes said "convert," Prime began transforming into robot form. The familiar transformation sound rang out as Optimus Prime quickly unfolded and stood on his own! It was an impressive thing to see, and both the robot and vehicle forms look fairly good, though some changes had to made to simplify the transformation process for automation. While standing, Prime can move in a variety of ways, such as pointing an arm forward, turning his head, and even walking. Prime can pose in triumphant ways, swing his energy axe, and can even be programmed using an app to do what you ask. Prime features 25 different voice commands. When he's told to "roll out," he transforms back into vehicle form and drives away. The robot in impressive in design and motion, and carries the steep price point of $699 at Hasbro Pulse.

Finding The Real Magic Mike competition show announced for HBO MaxHBO Max is diving into the Warner Bros. vault to expand its unscripted content as the streaming platform has ordered the new reality competition The Real Magic Mike to series, with film star Channing Tatum and director Steven Soderbergh attached to executive produce and is expected to debut later this year.RELATED: The Lost City of D: Channing Tatum & Sandra Bullock-led rom-com sets 2022 release“From box office hits to sold-out live shows, Magic Mike has proven to be a pop-culture juggernaut that continues to delight people across the globe,” Sarah Aubrey, Head of Original Content, HBO Max, said in a statement. “We’re excited to work with Channing, Steven and the team behind Magic Mike Live to continue this successful franchise that celebrates self-confidence and sexiness both inside and out.”The exhilarating and sexy series will transform a group of men into real-life Magic Mikes as 10 men who have ‘lost their magic’ will compete for the title. Like any competition show, participants will undergo a full-body evolution as they learn to perform spectacular routines and develop a new level of self-confidence through stripping. Many will think they have what it takes but only one man can be the Real Magic Mike. The winner will receive a cash prize and an opportunity to perform on the blockbuster Magic Mike Live stage in Las Vegas.Click here to watch the Channing Tatum-led film!“Magic Mike is one of Warner Bros.’ most iconic franchises,” Mike Darnell, President, Warner Bros. Unscripted Television, said in a statement “We couldn’t be more excited to be working with Channing, Steven and HBO Max on an all-new vision of this amazing and legendary brand. We’re looking forward to giving fans a front-row seat as we search the country for undiscovered talent.”Loosely based on Tatum’s early days as a stripper before making it in Hollywood, Magic Mike quickly became a box office hit in 2012 grossing over $167 million worldwide. After the release of Magic Mike XXL, Executive Producer Channing Tatum, along with founders Peter Kiernan, Reid Carolin, Steven Soderbergh, Greg Jacobs and Nick Wechsler partnered with producer Vincent Marini to introduce audiences to the groundbreaking entertainment experience MAGIC MIKE LIVE. The live show has expanded internationally since it’s Vegas launch and has played to sold-out audiences in London, Berlin and Australia. Tickets are currently on sale for the recently announced 2022 UK Arena Tour.RELATED: New to Stream: HBO Max’s April 2021 highlightsA nationwide casting search for The Real Magic Mike is currently underway. In addition to Tatum and Soderbergh, the series will be executive produced by Reid Carolin, Peter Kiernan, Gregory Jacobs, Nick Wechsler, Vincent Marini, Alycia Rossiter, Cassie Lambert Scalettar, Chris Culvenor, Paul Franklin, Wes Dening and David Tibballs alongside co-executive producer Kevin Boyer, with Eureka Productions and Warner Bros. Unscripted Television producing in association with Warner Horizon.

Phoebe Waller-Bridge joins cast for Indiana Jones 5!As the film gears up for production in a few months, the cast for the long-awaited fifth and final installment in the Harrison Ford-led Indiana Jones franchise has expanded with the addition of three-time Emmy winner Phoebe Waller-Bridge (Fleabag, Killing Eve)!RELATED: Paramount Unveils Indiana Jones 4-Movie 4K Ultra HD CollectionA new #IndianaJones adventure begins July 29, 2022. Phoebe Waller-Bridge joins the cast alongside Harrison Ford in the fifth installment of the iconic franchise. The inimitable John Williams will also return to score the film. pic.twitter.com/Qh8nvFiQsE— Disney (@Disney) April 9, 2021“I’m thrilled to be starting a new adventure, collaborating with a dream team of all-time great filmmakers,” director James Mangold said in a statement. “Steven, Harrison, Kathy, Frank, and John are all artistic heroes of mine. When you add Phoebe, a dazzling actor, brilliant creative voice and the chemistry she will undoubtedly bring to our set, I can’t help but feel as lucky as Indiana Jones himself.”In addition to casting Waller-Bridge, it’s been confirmed that John Williams will return to score the film, continuing a musical journey which began 40 years ago with Raiders of the Lost Ark. Williams’ unforgettable Indy soundtracks, packed with all the epic thrills, suspense, romance and excitement that fans have come to expect from an Indiana Jones movie, have become as beloved and familiar as the adventurer-hero’s signature hat and whip.The project marks the latest collaboration between Waller-Bridge and Lucasfilm, with the multi-hyphenate award winner previously starring in Solo: A Star Wars Story as L3-37, the droid companion to Donald Glover’s Lando Calrissian in the film.RELATED: Indiana Jones 5 Slated for 2022 Release, Will Conclude FranchiseThe currently untitled fifth Indiana Jones film will see James Mangold (Ford v. Ferrari) in the director’s chair and Kathleen Kennedy, original franchise director Steven Spielberg, Frank Marshall and Simon Emanuel all set to produce. Filming is currently expected to begin in July and the film is slated for a theatrical release on July 29, 2022.(Photo Credit: Jon Kopaloff/FilmMagic)

Today, the first lucky few are able to head into the Diablo II: Resurrected Technical Alpha test to explore the first few acts in a single-player setting. In my first few hours of tinkering with the game, one of the awesome options that has presented itself is the ability to swap between the new graphics scheme and the old one. So, that’s not a big deal right? A ton of games have done things like that. However... You can hotswap the settings instantly with the touch of a button, whether you’re in the middle of a battle, animation, or quest event, the game instantly switches back and forth seamlessly. The swap is something to behold. While the entire experience of going back and playing Diablo II again is full of nostalgia, watching things flip in real time mid-cast and mid-swing is really incredible. As an old-school Diablo player, seeing the new graphics options that look how my mind remembers the game and the ancient ones overlaid on each other is as close as something gets to mind blowing. How does it work? It’s as simple as tapping the G key during gameplay on PC to swap back and forth to create a magic moment. Going back, you may say to yourself “Wait, it didn’t really look like that did it? Whoa…” Here are a few segments showcasing this new option that I’ve captured. Again, the incredible thing here is that you can create these from scratch at anytime at all. Quest dialogue? In the middle of a meteor blast? You can capture the exact moment that loot explodes from an enemy’s corpse and watch it in both worlds.  The current Diablo II: Resurrected Tech Alpha is limited to single-player, two acts, and three characters. However, I’ve been playing around with options and it looks like the famous /players 8 command does in fact work, which changes the game settings so that the monsters get beefed up pretty heavily but also give way more rewards, including gobs of experience points. Since this Alpha is limited to two acts but has uncapped leveling, the command should allow you to keep leveling up to get some of the big skills that would be difficult to acquire otherwise given the scope and scale of this phase. What do you think about the Diablo franchise? Are you looking forward to Diablo IV? How about Diablo Immortal? Let us know in the comments!

Last week, we asked you to step into the sun or create moments centered around golden views using #PSshare #PSBlog. From sundripped scenery to garishly gold ensembles, here are this week’s golden highlights:  The sun burns down on the deserted world of Journey, shared by Herp_Derp23.  An ornate figure stands against a golden backdrop in this Mortal Shell share by m_nt_13. Leaves fall against the golden sunset of Ghost of Tsushima, shared by Chris25551. The golden get-ups catch the eye in Yakuza Kiwami 2 shared by oscar_smile. Sefwick shared a golden reflective moment from Gran Turismo Sport. Jesse pauses against a golden wall in the halls of Control, shared by jmsan5. Search #PSshare #PSBlog on Twitter or Instagram to see more entries to this week’s theme. Want to be featured in the next Share of the Week?  THEME: Moonlight SUBMIT BY: Wednesday 9 AM PT on April 14 Next week, we’re spending time under the moonlight. Share your best moments glowing under the moon’s gaze from the game of your choice using #PSshare #PSBlog for a chance to be featured. Want to share more of your epic photo mode moments? U.S. players can enter the Red Bull Capture Point competition* for the chance to win some thrilling prizes. See full details at redbull.com/capturepoint. *Red Bull Capture Point Official Contest Rules: THIS IS A SKILL CONTEST. MUST HAVE ACCESS TO PS4/5 CONSOLE, PLAYSTATION™NETWORK, TWITTER® ACCOUNT, AND THE PARTICIPATING GAME(S). Starts February 1, 2021, ends May 21, 2021. Open to legal US residents, 18+. To enter, capture in-game image and share on Twitter with #RedBullCapturePoint and #contest. All entries must be submitted by May 2, 2021. Limit: 18 entries per person. For prize categories, judging information, restrictions, and Official Rules: redbull.com/capturepoint. Sponsor: Red Bull North America, Inc., 1740 Stewart St., Santa Monica, CA 90404.

Eli Goree to star in Westworld creators’ Amazon series The PeripheralComing off of the Oscar and Golden Globe-nominated historical drama, One Night in Miami star Eli Goree has found his next big project as one of the leading role in Amazon’s series adaptation of The Peripheral from Westworld creators Lisa Joy and Jonathan Nolan, according to Deadline.RELATED: Lisa Joy’s Hugh Jackman-Led Reminiscence Sets Release DateGoree is set to portray the role of Conner, who is Burton’s friend from the military. In the novel, Conner was described as a quadruple amputee confined to a motorized, road-capable wheelchair. This marks the 27-year-old Canadian actor’s first major TV project as the lead after playing recurring roles in TV shows such as The 100, Legends of Tomorrow, Ballers, and Riverdale.In addition to Goree, the cast for the series will be led by The Haunting of Bly Manor star T’Nia Miller, Charlotte Riley (A Christmas Carol), JJ Feild (Lost in Space), Adelind Horan (The Deuce) and Alex Hernandez (Bloodshot), with Miller, Riley, Feild, Horan, and Hernandez set to star as Cherise, Aelita, Lev, Billy Ann Baker, and Tommy Constantine, respectively.Based on author William Gibson’s bestselling sci-fi mystery thriller novel, The Peripheral will be an hour-long series that will center around siblings Flynne Fisher and Burton. Flynne is described as a woman trying to hold together the pieces of her broken family in a forgotten corner of tomorrow’s America. She is smart, ambitious, and doomed.  She has no future. Until the future comes calling for her.You can pick up a copy of the book here!In the story, Burton is a veteran of the United States Marine Corps’ elite Haptic Recon force, who takes a job working security in a video game/virtual world for a Colombian company called Milagros Coldiron. When Burton is called away on an assignment, Flynne takes his position and witnesses a gruesome murder, though she is uncertain whether the event is real or part of some twisted virtual game.The Peripheral is master storyteller William Gibson’s dazzling, hallucinatory glimpse into the fate of mankind — and what lies beyond. The series will be led by Chloë Grace Moretz (Kick-Ass) as Flynne Fisher and Jack Reynor (Midsommar) as Burton.RELATED: The Tomorrow War: Amazon Nabs Rights to Chris Pratt’s Action Sci-Fi PicThe series adaptation is written by Scott B. Smith, who will serve as an executive producer and showrunner. Westworld creators Jonathan Nolan and Lisa Joy will also be executive producing along with Steven Hoban and Kilter Films’ Athena Wickham. Vincenzo Natali is set to direct as well as executive produce.(Photo Credit: Andrew Chin/Getty Images)

It's Friday, so you know what that means? Part five of the Bloodborne Super Replay! Don't forget, the action kicks off at 2 PM CT each and every Friday as we maneuver through this macabre masterpiece. What will happen this week? Let's find out...Are you ready for a chilling thrill ride through FromSoftware's masterpiece? Bloodborne is a dark horror action/RPG that tasks the player with navigating through haunted streets full of werewolves and shuffling, shambling ghouls – and that's just the first hour. Bloodborne showcases immaculate environments dripping with atmosphere, creative and cruel monster designs, and terrors ripped from the great beyond. And we're going to play through it! Super Replay, the legendary Game Informer series that pairs pro players with even more professional commentary, is back. As the flagship revival title, Bloodborne is going to be live and uncut every Friday at 2 PM CST. So won't you come join us for a blood-tinged brawl? How many times will I choke during boss fights? Will I even remember how to use the parry guns? (Probably not). But I have faith that together, we will make it through, even if that includes farming up a mess of blood vials to get past a grotesque pig and other creatures of the night. This is a raw, organic playthrough at its finest, as I haven't really touched the game since my second playthrough of The Old Hunters shortly after it launched. In short, it's the perfect way to bring all the fun and intensity of the Super Replay directly into your eyeballs, shot live and beamed into reality via livestream.  "Bloodborne is a blood-drenched horror gem that has only the faintest of cracks in its façade. Bloodborne succeeds through sparse storytelling, lush atmospheres (conjuring up notions of the best of Lovecraft’s work), and tight combat that forces you to be aggressive," I said in my Game Informer review. "While this new IP doesn’t stray far from the established Souls franchise, it is a magical, wondrous work that admirably instills both terror and triumph in those brave enough to delve into it." Checkout the entire Replay series here and get started with the Bloodborne run in epic fashion here. Do you like Super Replay? Are you glad to see it back? What other games would you like to see featured in the future? Let us know in the comments!

CS Score interviews The Clone Wars composer Kevin Kiner!Hey there, film score lovers! You’re probably thinking, ‘What?! Two CS Scores in less than a week?’ Well, that’s because we’ve got a couple of awesome pieces for you to check out, including and awesome interview with The Clone Wars and The Bad Batch composer Kevin Kiner, who received an Emmy nomination for his work on the final episode of Clone Wars, titled “Victory and Death.”We also speak with Anne Nikitin about her work on Netflix’s Fate: The Winx Saga, in which she discusses the challenges of crafting a modern day fantasy score.Let’s do this thing!NEWSVarèse Sarabande Records will be releasing seven amazing soundtrack LPs on Record Store Day 2021’s newly announced release dates:The Matrix will be released as a deluxe 3-LP set, Village of the Damned will be released as a deluxe-edition double LP, The Iron Giant and The Goonies will get the picture disc treatment, and Shrek, Ghosts of Mars, and Aliens will be released as limited-edition color LPs. This annual celebration will be held through a series of Record Store Day drops, which will occur on June 12th and July 17th.These seven Varèse Sarabande Records titles will be available on the dates listed below at thousands of independent record stores. For a list of participating stores and more information about these special LPs, visit RecordStoreDay.com.*JUNE 12th: The Matrix, The Goonies, Village of the Damned, Shrek*JULY 17th: The Iron Giant, Ghosts of Mars, AliensTHE MATRIX: The Complete Edition – Don Davis (3-LP Set) – *RELEASE DATE: JUNE 12th*The science-fiction masterpiece has captured the imagination of another generation with news of a new Matrix film in production. This deluxe 3-LP set is pressed on Glitter-Infused Green vinyl, expanded to 44 tracks, and housed in a stunning new art design. Also included are classic film stills and an exclusive new interview with composer Don Davis.*Music download not available until June 12thTHE GOONIES – David Grusin (Picture Disc) – *RELEASE DATE: JUNE 12TH*In celebration of the 35th anniversary of The Goonies, the beloved soundtrack by Dave Grusin will be released on an LP picture disc for the first time ever! The special release features the album cover on side A and the infamous One-Eyed Willie on side B. The track listing to this abbreviated single-disc version of the original score was personally selected and assembled by Grusin himself.VILLAGE OF THE DAMNED: The Deluxe Edition – John Carpenter & Dave Davies (2-LP Set) – *RELEASE DATE: JUNE 12TH*The Deluxe Edition for Village of the Damned presents the full score as heard in the film for the first time, a far more complete presentation than the 1995 Original Soundtrack which was not only truncated but made of an entirely separate mix that wasn’t featured in the film. The set does, however, include the track “Midwich Shuffle,” a fun number which was created specifically for the 1995 soundtrack, despite never actually appearing in the film. Interest in John Carpenter’s original film scores has never been higher, and his collaboration with Dave Davies of the Kinks is a one-of-a-kind moment in cinematic music history. The album includes all-new original art direction with new notes and classic film stills and comes pressed on Orange Haze vinyl.SHREK – Harry Gregson-Williams & John Powell (Limited-Edition Color LP) – *RELEASE DATE: JUNE 12TH*Shrek is the second most successful animated franchise in history and celebrating its 20th anniversary in 2021. Harry Gregson-Williams and John Powell are two of the most prominent composers working on animated features today, and they joined forces to create a score that is still as fun and memorable as it was when it was first released. The LP will be released on Neon Green vinyl, making it a standout addition to any record lover’s collection.THE IRON GIANT – Michael Kamen (Picture Disc) – *RELEASE DATE: JULY 17TH*This first-ever picture disc of this heartwarming 1999 animated film celebrates The Robot, his best friend, Hogarth, and a cast of characters. The music is by Academy Award®-nominated composer Michael Kamen (Lethal Weapon, Die Hard), who was well-known for his work with Eric Clapton, Metallica and Pink Floyd, in addition to his brilliant theatrical scores.GHOSTS OF MARS – John Carpenter (Limited-Edition Color LP) – *RELEASE DATE: JULY 17TH*In celebration of Ghosts of Mars’ 20th anniversary, the epic soundtrack will be released on “Red Planet” vinyl. John Carpenter recruited an unbelievable cast of musicians to record the soundtrack to this sci-fi horror film, starring Ice Cube and Natasha Henstridge. Among the featured players are GRAMMY®-winning musician Steve Vai, most of the heavy metal band Anthrax (including Scott Ian), Elliot Eason of the rock band The Cars, Buckethead of Guns N’ Roses, and Robin Finck of Nine Inch Nails and Guns N’ Roses. This soundtrack is apocalyptic and an important mark in John Carpenter’s unparalleled career as a director and composer.ALIENS: 35th Anniversary Edition – James Horner (Limited-Edition Color LP) – *RELEASE DATE: JULY 17TH*Aliens is regarded as one of the greatest science fiction franchises of all-time. In honor of its 35th anniversary, the long out-of-print original soundtrack gets a fresh reboot on Acid-Blood Yellow-Green vinyl.  The soundtrack is scored by the great Academy Award®-winning composer James Horner (Titanic, Avatar, Beautiful Mind). The LP features the original Sigourney Weaver key art and original film stills.New Intrada Release COMPANY BUSINESS Expanded 2-CD reissue of gritty Michael Kamen action score! https://t.co/IDvyrvpyXT— Intrada (@IntradaCDs) April 5, 2021Back in stock STAR TREK V: THE FINAL FRONTIER (2CD). https://t.co/YFQ8wlDAdz— Intrada (@IntradaCDs) April 5, 2021Our expanded/remastered #MissionImpossible 2-CD #Soundtrack by #DannyElfman is back in stock! Get it NOW at https://t.co/M4LZNDtqCp for 25% OFF as part of our site-wide 25% OFF YOUR ENTIRE PURCHASE spring sale. Runs thru 4/20. #TomCruise #90s pic.twitter.com/W6RYRVtERx— La-La Land Records (@LaLaLandRecords) April 6, 2021The #JohnWilliams Disaster Movie #Soundtrack Collection (4-CD SET) is back in stock! Get it NOW at https://t.co/M4LZNDtqCp for 25% OFF as part of our site-wide 25% OFF YOUR ENTIRE PURCHASE spring sale. Runs thru 4/20. pic.twitter.com/TDMHqHYamX— La-La Land Records (@LaLaLandRecords) April 6, 2021It’s official! #Ghostbusters 2 film score releasing this summer!: https://t.co/JIxBHKQxyA pic.twitter.com/9IhcLE2KqG— Ghostbusters News (@GBNewsdotcom) April 6, 2021Kevin Kiner InterviewThe Clone WarsKevin Kiner recently received an Annie Award-nomination and a Daytime Emmy nomination for his score for the series finale of Star Wars: The Clone Wars titled “Victory and Death.”It may sound surprising, but Kiner has written more music for Star Wars than any other composer ––The Clone Wars – 7 Seasons, 133 episodes, plus an animated featureRebels – 4 Seasons, 75 episodesThe Bad Batch – 1 Season (so far)Kiner has previously been nominated for the Primetime Emmys, Daytime Emmys, and Annie Awards for his work on The Clone Wars and Rebels.Since 2008, Kiner’s music has transported audiences to “a galaxy far, far away” and brought emotional resonance to the intergalactic adventures of Anakin Skywalker, Obi-Wan Kenobi, and fan favorite Ahsoka Tano.RELATED: New Star Wars: The Bad Batch Trailer for Disney+ Animated SeriesFor The Clone Wars – The Final Season, Kiner took a huge departure from the typical orchestral music Star Wars is known for, using almost exclusively synths to score some of the season’s most emotional moments – a delicate balance between connecting his music to the previous seasons while also pushing boundaries and paving the way for new sounds and new styles – expanding how we define the music of Star Wars.Kiner has also worked on CSI: Miami, Narcos: Mexico, Titans, Doom Patrol, and the Stuart Little TV series, among other projects.CS: You’re nominated for an Annie Award for the final episode of The Clone Wars. What’s it like to receive such an honor for your work?It’s just spectacular! And I wish we didn’t have to have a winners and losers. Part of my speech is always going to be — I haven’t won, or anything — but it was always going to be, ‘If you were in this category with me, you’re a really good composer, because composing for animation is the most difficult job I’ve ever had in my life. And I’ve written a lot of live action. For animation, you have to be a good composer to pull it off.CS: What makes animation so difficult?Kiner: It changes a little more often. Now, that’s starting to be less and less, especially with Bad Batch and especially the last season of Clone Wars, where much of the music was very similar to a feature film in terms of it just kind of grew; and didn’t have to change with every motion of every character and didn’t have to be quite as tight. I would take the extreme of animation, which would be the Looney Tunes kind of thing or things I did when I did the Harold and the Purple Crayon or Stuart Little — well, that’s just hard as heck because every 10 seconds or every five seconds, you’re going a different direction. You have to write a whole new tune, you know? So, a lot more work. You’re writing a lot more ideas; you have to come up with a lot more ideas.ComingSoon.net: How did you land such an amazing gig with the Clone Wars?Kevin Kiner: It was an audition process for and I’m still not sure you know why I was one of the five guys or four guys who audition for it. I think that George liked the music to CSI: Miami. I know he was trying to push the envelope. And we did very cutting-edge electronic music for CSI: Miami in those days, so, possibly, that’s why. But then I got the gig after the audition. And then I got to meet George Lucas. I didn’t meet him beforehand. I had met Dave Filoni and he kind of gave me the marching orders or the sketch of what they were looking for, for the audition piece. But then after I got the gig, I met George Lucas. And, you know, that was obviously a dream, because I had grown up watching Star Wars and I was a huge fan of John Williams and his music as well.CS: Did you see The Clone Wars as something that would have such a huge impact on pop culture?Kiner: I knew it was gonna be really good. And, I mean, you can never foresee how long of a run something’s gonna have. I think that I didn’t foresee. If you’d asked me back then I would have said, ‘Probably, it’ll go for four years,’ something like that. So, I definitely didn’t foresee the longevity. But who could foresee what Disney has done with the Star Wars property as well? I think it’s pretty clear that they know what they’re doing. So, nobody would have seen that. And you look at the success of things like The Mandalorian, as well as The Clone Wars and a lot of that — even though Disney wasn’t initially involved in Clone Wars, but they were involved in season seven and bringing it back for the fans. I mean, that’s really listening to your fans. You got to give them props for that. A lot of people get down on large corporations or big companies like that, and sometimes it’s rightfully so. But I think Disney’s really listened to the fans and brought Clone Wars back to be finished.CS: What prompted the change in music over the final season of The Clone Wars?Kiner: Well, the world had changed, the zeitgeist had changed. We had things like Game of Thrones and Westworld and I started working on Titans and Doom Patrol, and that got me all into the electronic thing. I started working with my sons. And they were really into electronic music as well. Also, it was an evolution. I’m sure if you go from the first year or season of Clone Wars music and then you go to the very last episode, there’s a drastic change. But if you go through Clone Wars, and then go through Rebels and then back to Clone Wars, there’s less of a drastic change. Yes, it continues to grow and continues to be different. But, you know, the change isn’t as drastic if you go along the timeline.And the other answer to that question is that Filoni has a big impact. And he was really getting into electronic scores and what was happening in the world and the zeitgeist, like I said, of our day, and of cinema and music for cinema.CS: One of the big moments for season seven is the final scene with Ahsoka discarding her lightsaber, which is then found much later by Darth Vader. What led you to score the scene in the manner that you did?Kiner: Dave Filoni was at the forefront of choosing that kind of sound and telling us that he wanted it scored that way. That said, I thought at the time, it was a huge risk. Because, you know, Star Wars music had not gone that far outside of the orchestra realm before. My sons co-write a lot of these with me, and one of them said the other day that when they saw The Mandalorian they were really relieved, because it was like, yeah, you can do different things in Star Wars. And it’s okay. And we just finished [season seven] when Mandalorian came out and there was a little apprehension of whether going that electronic in Star Wars, whether it was okay or not to do that. Now, again, we were pretty strategic and that music at the end is still very large in scope. It’s extremely dramatic. That’s a hallmark — those two things I just said, the large nested scope and the drama and the seriousness of it — those are hallmarks of Star Wars music in general. So, we did go electronic, but we stay within a lot of the milieu of Star Wars music and the feel and the cinematic scope, even though it was electronic. Dave was really into that. So, it’s really cool to work with somebody that closely who’s really into stretching things.CS: Have you ever been approached to score a Star Wars film?Kiner: So, the answer is no, I have not been approached to do any of that. I hear rumblings every once in a while, but that’s probably more fans than anything. Of course, I would love to score a feature film. I would also love to do exactly what I do. And, you know, I’m writing for The Bad Batch currently, and to have written all of The Clone Wars and Rebels … it’s an extreme honor and it’s also been a lot of fun. You know, these days — someone just asked me which television shows that I watch and my favorite movies, and I had to go back to Grand Budapest Cafe to find a favorite movie. I just really like TV shows these days. I mean, I mentioned Game of Thrones and the first season of Westworld. There’s a show called Devs, Mr. Robot — all these great shows that I personally watch. And I’m not feeling that from feature films as much these days. I think Clone Wars stands up there with anything and it’s a great, great privilege to be part of that.Anne Nikitin InterviewAnne Nikitin is an Ivor Novello and Emmy-nominated composer who has worked on projects such as Bart Layton’s critically acclaimed heist movie American Animals and BAFTA-winning film The Imposter, Sky Atlantic’s Little Birds, the BBC/Amazon Prime series The Pale Horse, and Stardust, starring Johnny Flynn with whom she co-composed part of the score.Fate: The Winx Saga is a six-episode coming-of-age series which follows the story of five unlikely friends attending Alfea, a magical boarding school in the Otherworld where they must learn to master their magical powers while navigating love, rivalries and the monsters that threaten their very existence.The live-action series stars Abigail Cowen (Chilling Adventures of Sabrina) as Bloom, Hannah van der Westhuysen as Stella, Precious Mustapha as Aisha, Eliot Salt (Normal People) as Terra, Elisha Applebaum as Musa, and Sadie Soverall as Beatrix.Fate: The Winx Saga is executive produced by Brian Young (The Vampire Diaries, Kyle XY), Iginio Straffi, and Archery Pictures’ Judy Counihan and Kris Thykier.Season one of the series is currently streaming on Netflix.ComingSoon.net: What drew you to Fate: The Winx Saga?Anne Nikitin: So, basically, I was introduced to the creator, Brian Young, by the music supervisor, who I worked with before on another project. And Brian and I clicked, we hit it off really well. I wrote some music for him, which he really liked. And that was it. And I was really excited to hear about this project because I love dark, magical fantasy. And I thought I could have a lot of fun with the score on this one.CS: What were some of the challenges presented by the series, because here’s a lot of emotional teenage drama to go with the magical elements?Nikitin: Well, basically, we decided early on that we didn’t want a huge orchestral score, we wanted it to be quite intimate, but also to have a lot of power when we needed. We needed that for some of the magical scenes and some of the chase scenes. We also wanted to have a lot of emotional tenderness and tension as well. And a feeling of magic, of course, and a feeling of being an otherworldly place. And yet also something that typical teenagers and young adults can relate to, in our world. So, I tried to fuse classical strings and harp for the magical effects; and for the more emotional effects, use more urban, contemporary edgy beats.CS: One of my favorite cues is in episode six when Bloom finally unleashes her powers. The music is very powerful, but also filled with, as you said, urban beats. Is that an early sequence you started on, or did you begin writing on a different scene?Nikitin: I didn’t see the transformation for a long time. And that was a scene where they were toying with commercial music and score music. And I ended up being a combination of the two. But a lot of my early sketches for the show had already combined elements of strings and the harp with the synth sound, because — from what I was told — it was gonna have to be a modern contemporary feel. And I also wanted to make sure that my music complimented a lot of commercial tracks that they use. They wanted to use very, very contemporary commercial tracks, and I didn’t want my music to stick out as something that didn’t quite fit into that world. So, I had to make sure that it sort of matched in that way.CS: What is the process of scoring for a TV series? And when do you stop tinkering with the score?Nikitin: Well, a solid deadline will help you stop tinkering [laughs]. Luckily, on the show, I was brought on board very early in the process. It was really nice because I did have time to tinker. Sometimes you really got to bust them out to meet the deadlines and it’s hit or miss with whether you can become proud of the music you’ve written when it’s such a rush rush job. But with this one, we had time to experiment. And I worked very closely with Brian, the creator, to make sure that we were on the same page with the music and how the score should sound. Luckily, we were, but it did take some trial and error to get there, especially on episode one. And then of course, Netflix also wanted to hear the score I’d written episode one, and had some notes as well. Everybody has to be happy. It’s not just me, it has to complement the vision of the Creator as well.CS: How much freedom do you have on each TV show?Nikitin: It changes from show to show. On this show, I felt like I had a lot of freedom. And it was so fun, because I felt that Brian had entrusted me with his baby, to create something for him. And he really liked what I did. And a lot of the guide music that they had in there wasn’t working for the show, which was good for me because it meant that I could come in with a fresh approach and a clean slate; and really just try and create a world that felt like me, but that could please, Brian, as well.RELATED: Fate: The Winx Saga Trailer Preview Netflix’s Newest Teen Fantasy SeriesCS: What was your favorite aspect of this score that you’re excited for audiences to hear?Nikitin: I really love all the sort of magical elements. When the main character is trying to learn her magic — or trying to control her magic, I should say — I really loved writing for those moments. They were quite magical. They could be powerful. They were tender and sensitive at times. And I really enjoyed working those things.CS: Were there any concepts or ideas that you had in season one that that you’re planning to expand upon for season two?Nikitin: I wouldn’t normally shelve anything for next season, because I’m so concentrated on getting season one out of the door. But there are a few tracks where Brian really loved them but they just weren’t fitting here, and he would say, ‘Let’s put them in the bank for season two.’ We really think we’re going to find a place for them there. So that was quite an easel actually. But, you know, it didn’t happen very often. But I’ve got a couple of little things that I might try and pull out.CS: Can you tell us a little bit about your career? What got you into the music industry and onto this career path?Nikitin: Yeah, sure. So, I’ve always loved music, and I’ve always wanted to write music since I can remember. I started off as a classical composer, and I should say, contemporary music. And then I realized that my passion was with film music, because I’ve always loved books. I’ve got a degree in English, and I really wanted to marry music with storytelling. And I thought film music was the right way to do it, and to sort of express myself as a musician. And I studied film music, and then just really waited patiently until I was able to earn my first job. It took a while. It took a lot of hard work; lots of long nights writing short films, scoring short films and getting to know people in the industry. But it’s really happened.CS: How do you think you’ve evolved as composer since the first job that you’ve had?Nikitin: I think my very first job, I knew nothing really about the process. And I was very shy. And I felt privileged to be writing music for somebody who was actually going to pay me to do it, and it was going to be on film and television. And, of course, I still feel privileged to be doing this for a living. I think I’m in a very, very lucky position. But I feel a lot more confident now. Back then I would be worried about speaking out with the director and telling them what I thought. I would always be the sort of ‘yes’ person. And of course, I’m still the ‘yes’ person — you still have to be flexible like that. But I’m definitely more confident in giving my opinion and discussing the project as more of a collaboration. But I think that comes with any sort of profession, as you grow into it you become more confident.

Exclusive: Bruce Dern reflects on Family Plot’s 45th anniversaryOscar and Golden Globe nominee Bruce Dern has a number of iconic titles on his filmography across his 60-plus-year career and while chatting with the star for the indie dramedy Last Call, ComingSoon.net looked back to the past with Dern to reflect on Alfred Hitchcock’s comedic thriller Family Plot for its 45th anniversary!RELATED: CS Interview: Bruce Dern Talks Last Call, Nebraska and More!Prior to starring in the 1976 film, Dern had worked with Hitchcock on two episodes of The Alfred Hitchcock Hour and as the sailor in Marnie whom the central mother and daughter “beat to death with a fire poker” that instituted the titular character’s fear of the color red. When coming on to the film, Dern was originally set to star alongside Roy Thinnes in the role of jeweler Arthur Adamson, to which Dern was excited at the prospect given Thinnes’ stardom at the time, though was surprised to learn about his being replaced by William Devane part of the way through shooting.“I had a history with Hitchcock, so he hired me and we went to work and I didn’t know Roy, Roy was pretty big stuff to me, because he had his own TV series, he was above the title on a movie he’d done,” Dern explained. “But I was there with my partner, Barbara Harris, and I came to work on a Monday and Bill Devane was there. I made a point to sit next to Hitch every single day, for 52 days, and he invited me, he said, ‘Why don’t you pull up your chair over here?’ I took my chair, I walked over to him and said I’m not gonna miss this opportunity. He said ‘It’s quite alright, Bruce, I welcome you.’ I said, ‘What’s going on?’ He said, ‘Well, I don’t think Roy was having a very nice time,’ and that was the end of the discussion.”Click here to rent or purchase Family Plot and the 1972 novel the film is based on!A sudden casting decision aside, Dern recalls nothing but having a good time working on the thriller with Hitchcock and his cast and crew, looking back at two key situations that he felt pointed to the filmmaker’s legendary talent in the director’s chair.“At the end of the first day of shooting, he asked the first assistant, he said, ‘I would like to have a word with my crew if you please,'” Dern remembered. “So he sat in the little director’s chair and when he got up out of the little director’s chair, his girth was so big that his waist was sticking out of the arm holes on the side, so the chair went with him and he took about two steps and realized, he never turned, but he said to me, ‘A hand please, Bruce.’ So I grabbed the legs of the chair and he walked out of the chair, because their legs were very low to the ground. He walked onto the apron of the set, and he said, ‘Ladies and gentlemen, I said thank you for a rather remarkable first day.’ He walked around the set and thanked 77 crew members, personally, shaking their hands and knowing their first names. The other thing that he did was he said I had a shot where I had to walk into a county recorders office looking for information on this Mrs. Rainbird, who’s the lady we’re looking for. So I have to go into the recording office, and as I go to the door, Hitchcock says to the cameraman, ‘What I’d like is I’d like Bruce, as he approaches the door, to only have half his face lit.’ So we did the shot, when the shot was over, he leaned back in his chair, cupped his hands and talked to a guy on a follow spot, which was on me 40 feet in the air. He said, ‘Leonard, are you right handed or left?’ He said, ‘Well, Mr Hitchcock, I’m right handed.’ He said, ‘Well, I wonder if in this particular take of Bruce, you might use your left hand on your flap and that way you won’t cover his face so quickly.’ He did it, he printed it and it was exactly right, the weaker hand worked more.”RELATED: CS Interview: Cathy Moriarty on But I’m A Cheerleader 20th AnniversaryBased on Victor Canning’s 1972 novel The Rainbird Pattern, the story centers on two couples, a fake psychic and her cab-driving boyfriend and a pair of professional thieves and kidnappers as their lives come into conflict during the search for a missing heir. Alongside Dern, Harris and Devane, the cast for the film included Karen Black, Cathleen Nesbitt, Ed Lauter, Katherine Helmond and Nicholas Colasanto.Making its debut at the 1976 Cannes Film Festival, Hitchcock’s final film received rave reviews from critics and saw Harris land a Golden Globe nomination for her performance in the film.

Brooklyn Nine-Nine final season begins productionMelissa Fumero took to Instagram to share a new behind-the-scenes photo from the set of Brooklyn Nine-Nine, confirming that production on the upcoming eighth and final season of the hit NBC sitcom has finally begun. Unlike previous seasons, the final season will only be airing ten episodes which are scheduled to premiere sometime this year. Featuring Fumero, Terry Crews and Andre Braugher, you can check out the full set photo below!In response to the unlawful death of George Floyd, the eighth season has redeveloped a few times with the original plan for the season scrapped and reworked in order for the police workplace comedy to address police brutality. In addition, showrunner Dan Goor previously confirmed that the final season will also get to cover the ongoing pandemic. This isn’t the first time that the sitcom didn’t shy away from including serious issues in its episodes as they previously tackled racial profiling, homophobia, discrimination and workplace harassment.RELATED:Allison Janney-Led Sitcom Mom Officially Ending With Season 8In Brooklyn Nine-Nine, Detective Jake Peralta (Andy Samberg), a talented and carefree cop with the best arrest record, has never had to follow the rules too closely or work very hard. That changes when Ray Holt, a man with a lot to prove, becomes the new commanding officer of Brooklyn’s 99th precinct. As Holt reminds Peralta to respect the badge, an extremely competitive colleague — Detective Amy Santiago — starts to close in on the hotshot cop’s arrest record. Other members of the precinct include Sgt. Terry Jeffords, a devoted family man, Detective Charles Boyle, a hard worker who idolizes Jake, and Rosa Diaz, a sexy-yet-intimidating detective. Civilian office manager Gina Linetti is tasked with cleaning up everyone’s mess, while somehow getting involved in everyone’s business.The Golden Globe-winning series stars Andy Samberg, Andre Braugher, Terry Crews, Melissa Fumero, Stephanie Beatriz, Joe Lo Truglio, Chelsea Peretti, Dirk Blocker, and Joel McKinnon Miller. It was created, written, and executive produced by Dan Goor (Parks and Recreation) and Michael Schur (The Good Place), and produced by Universal Television, 3 Arts Entertainment, Fremulon, and Dr. Goor Productions. Goor, Schur, David Miner, and Luke Del Tredici serve as executive producers.RELATED: Ryan Murphy’s FX Drama Pose Ending with Season 3Brooklyn Nine-Nine originally aired on Fox for its first five seasons before being cancelled by the network, only to be swiftly picked up by NBC, Andy Samberg’s previous home during his time on Saturday Night Live, where it thrived in viewership and acclaim, with its most recent season reaching 24 million viewers and averaging 9.5 million in total audience measurement and was NBC’s No. 2-rated program digitally and garnered 74 million official YouTube video views, a 66 percent increase from the previous season’s 44.7 million.