(film review) - Spider-Man: Brand New Day

I made this film an absolute priority because I knew there was no way I'd avoid spoilers for long. This is one of those event movies. Like The Odyssey, I booked my ticket on the day, but this time it was even worse. The best seats had already gone, entire screenings were greyed out, and when I arrived at the cinema, it was absolutely rammed. This film is going to make all the money.

Before going in, a friend who had already seen it gave it a solid 7/10. Having now watched it myself, I completely understand that score... although I'd probably rate it a little higher. This feels like the beginning of a brand-new Spider-Man trilogy, and more importantly, it feels like a completely different era. If the first three Tom Holland films were Peter Parker growing up, Brand New Day is where adulthood begins.

The tone, style and execution are noticeably more mature and character-driven. That's not a criticism of Jon Watts' trilogy—I loved those films—but watching Homecoming and then Brand New Day back-to-back is like watching the Harry Potter films evolve. The world has grown up, and so has Peter Parker. I really enjoyed this film, and here's why.


The film opens by reminding audiences who Peter Parker is, the sacrifices he's made and everyone he's lost while being Spider-Man. He's still New York's friendly neighbourhood hero, but when the Department of Damage Control comes under attack, Spider-Man teams up with its director to track down the mysterious culprit. The problem? This new threat can influence other people, making them incredibly difficult to stop. Alongside the investigation, Peter is still trying to balance being Spider-Man, being Peter Parker and protecting the people closest to him without putting them in danger.

I do have to admit that my viewing experience wasn't ideal. Cinema etiquette was practically non-existent. People turned up late, shining phone torches down the already clearly lit and labelled steps. Others decided taking photos with the flash on was somehow acceptable. Half a row realised they were sitting in the wrong seats and shuffled around mid-film. Sitting on the aisle probably didn't help either, as I noticed absolutely everything. At one point I genuinely wanted to shout, "Oi! you with the phone, cut it out!" It wasn't constant, but it happened often enough to keep pulling me out of the experience. I even heard a baby crying twice—which honestly bothered me far less than the endless phone screens lighting up the cinema.

As for the film itself, it's top-notch. Maybe it runs a touch long, although that feeling was probably amplified by everything happening around me. There are a handful of nit-picks, but nothing major. I got genuinely emotional a couple of times, especially during one particular fake-out halfway through. I was furious... in the best possible way. That's exactly the reaction Destin wanted.

The story is excellent, but what really stood out was the character work. Tom Holland and Zendaya share some of the strongest scenes the franchise has ever produced. Their conversations feel genuine, mature and earned; you feel the growth and weight of the past being carried by Peter. The MCU also feels wonderfully alive here, with plenty of familiar faces, background cameos and subtle hints about where everything is heading next. Even the post-credit scene teases another intriguing step in Peter's future.

Visually, this film looks fantastic. The cinematography is gorgeous, the score is outstanding and, despite some large-scale action sequences, everything remains clear and easy to follow. You really feel like you are Spider-Man swinging through a real New York City. Everything felt authentic. The fight choreography is excellent, the pacing of the action works brilliantly, and the humour lands throughout. Spider-Man is as witty as ever, but a surprising amount of the comedy comes from Frank Castle. Yes, The Punisher. Oddly enough, his foul-mouthed personality works perfectly alongside Spider-Man's lighter energy.

Performance-wise, everyone delivers. Tom Holland and Zendaya give what I'd easily call their best performances in these roles. You can genuinely see both the actors and their characters maturing. The same goes for Sadie Sink, Michael Mando and Jon Bernthal. The chemistry between everyone feels effortless and believable.

Despite featuring plenty of MCU world-building, this still feels like a relatively intimate Spider-Man story. The film even jokes about itself being "small potatoes" several times, which genuinely made me laugh, but it's also what we want from a Spider-Man movie. Not every film must save the world, you know? But beneath that smaller scale are some fascinating ideas that clearly point towards much bigger things. Without spoiling anything, there's one concept where, in the future could involve either two companies or the company evolving into another company that I can easily see becoming a major storyline or major antagonist moving forward. You'll know exactly what I mean when you see it/catch it.

Although Brand New Day is very different from Homecoming, Far From Home and No Way Home, it probably shares the most DNA with No Way Home—just with a far more mature perspective. The stakes may not be universe-ending this time, but Peter's personal struggles hit much harder because they're grounded and relatable AND we have all seen and felt it. By the end, the film has something surprisingly meaningful to say about carrying the weight of the world on your shoulders and accepting that you don't always have to face it alone.

Go and see this film before someone inevitably spoils it for you.

(trailer review) - Jumanji: Open World

 

 

Have I seen every Jumanji film? Honestly, I'm not even sure anymore. I can't remember which one I watched last. What I do remember is enjoying it. Was it Oscar-worthy? Absolutely not. Was it a lot of fun? Definitely. So, am I surprised they're making another one? Not really. The films keep making money, and this trailer reminds you exactly why. The cast has great chemistry, the humour lands, and the franchise has carved out its own identity with its video game mechanics and playful lore since the original film starring Robin Williams



The trailer wastes no time, opening with mysterious green clouds, zebras stampeding through the streets, and the gang heading to a diner after Danny DeVito's character spots something unbelievable. Sitting inside is Dr. Bravestone himself, and it isn't long before they discover the rest of the playable Jumanji characters are there too. The catch? They're all stuck in demo mode. Cue a little boy claiming he saw a hippopotamus in the alleyway... only for a rhino to smash through the diner. It's exactly the kind of ridiculous chaos you'd expect from this franchise.

Dr. Bravestone says "Let's go," and there is a gag where we see the game characters sprinting with those exaggerated video game animated runs, only for someone to ask, "Why do they run like that?" It's a simple joke, but it works. We also get Dr. Bravestone driving like an absolute lunatic, Karen Gillan's avatar still speaking with a hilariously broad Spanish accent, Kevin Hart's avatar proudly declaring Bravestone the greatest driver in all of Jumanji, and even a Jack Black's Avatar getting killed in the real world before instantly respawning. The trailer leans heavily into its gaming rules, and honestly, that's where these films can be at their best.

So we gather that this time around the story flips the formula, so instead of just people entering the game, the game's characters have crossed into the real world, along with the other inhabitants of the game, along with the animals, while the familiar body-swapping mechanics return again, once everyone ends up back in Jumanji. It's another twist that I am not sure if it keeps the concept from feeling stale, as we have seen it before, but it can have some funny moments.

The final gag sees the mother inhabiting Dr. Bravestone's body, insisting that "violence is never the answer" before immediately discovering just how much fun it is punching people, complete with an Oprah-style, "You get one! You get one!" moment. It's silly, over-the-top, and exactly the kind of humour these films thrive on.

Will this reinvent the wheel? Probably not. It looks like another entertaining adventure packed with laughs, action, and just enough video game madness to entertain me and want to jump back into Jumanji one more time.

(film review) - Supergirl

It took me a while to get around to watching this. I work full-time, my weekends are busy, I'm trying to keep up with TV shows and films for personal enjoyment and for ReelReeviews, and quite frankly, there's just too much to watch. So when you listen to some of the reviews from the critics and YouTubers who see these films before you, and the general consensus is mixed to negative, it's easy to wonder why you'd spend your hard-earned money on them. Between the Guardians of the Galaxy comparisons and complaints about the story, I nearly skipped this altogether. But that's exactly why you should make up your own mind. Because... I actually liked it.
It is very far from perfect and certainly not amazing, but I genuinely had a good time with it.

Kara Zor-El, Superman's cousin, had a very different upbringing from Kal-El, aka Superman. She grew up on Krypton before losing her family as a teenager and is eventually sent to Earth with Krypto. While celebrating her birthday off-world, Krypto is poisoned, sending Kara on a race against time to find the antidote before she loses the last living connection to her home. Along the way, she meets a young girl hunting the very same person.

One of the biggest criticisms after the trailer dropped was that it looked too much like Guardians of the Galaxy. Honestly, I think that's a lazy comparison. Yes, James Gunn is running the new DC Universe, and yes, the soundtrack gives off Guardians vibes. Maybe the film could have leaned more on its score than its needle drops, but beyond that, I never felt like I was watching a Marvel film or Guardians of the Galaxy; I did feel like a lot of these aliens were bipedal, human-looking, but why not, I guess; Star Wars is similar.

The story itself is fairly simple, and that's perfectly fine. This is not another world-ending spectacle. It is a smaller story about grief, loss and trying to save the last piece of Krypton Kara has left, so it was definitely more personal and character-driven.

The biggest issue is the execution, and with most comic-book material put onto screen, this is where the problem lies with a lot of the films and TV shows being pushed out, leading to this so-called comic-book fatigue.

Modern comic book films often feel the need to be overly childish to appeal to younger audiences. Constant silly humour and toilet jokes just aren't necessary, and unfortunately, this film falls into that trap a few times. It's a shame because the flying sequences and action are excellent, but some of the characters needed more development, and a few emotional moments don't land quite as well as they should.

Milly Alcock is fantastic and carries the film with ease. Her chemistry with her unlikely companion works really well, and Jason Momoa looks like he was born to play Lobo. He's chaotic, entertaining and leaves you wanting more, although his part in the movie is very small.

The villain, however, is just... fine. Serviceable, but ultimately forgettable. He didn't really carry any feelings of dread when he appeared on screen. You kinda wondered what was going to happen, but he just felt like a generic bad guy rather than a force to be scared of, but maybe that was the point considering his motives.

Supergirl is most definitely not essential viewing unless you're already invested in DC, or the character themself, but if you've been put off by the reviews, I'd still recommend giving it a chance. Talks of the movie being a bomb or flop to me really depend on how much the studio wanted to make and what they thought going in. Did they want the type of money Superman made, or do they want something a lot smaller, considering how secondary the character is? Moreover, if they wanted something a lot smaller (because the storyline also kind of dictates that), maybe they should have spent less money, unless what they spent, between $170-186 million, was justifiable? I mean, I understand the types of special effects needed to make someone fly, but the original Deadpool movie was made for $58 million. As a whole, Hollywood spend too much money on movies expecting to make what they spent back and then some, but if the storyline is poor but you are putting it out because "SUPERHEROES", there has been plenty of examples in movies history as to what works, and in 2026, in comic book movie history of late, as to what does NOT work and sometimes I feel, they are just not gettin i, hence the term, comic book fatigue when really it is mediocre fatigue and if I am honest, this dabbles in the category of mediocre.

It is not the disappointment many people have made it out to be, or how it came across to me at least, and I went in with a very low bar. It is simply a good film that had the potential to be a great one.

(trailer review) - Resident Evil

 

When I watched the teaser some months ago, I said that, for this film to work, it needed to stick as closely to the games as possible, making changes only where necessary while keeping the core of what made them so memorable. Do that, and you'll satisfy the fans while still bringing in general audiences if the story is compelling enough. I also admitted that, while I liked the teaser, I wasn't fully convinced. Well... this trailer changed that.
By the time it finished, the first words out of my mouth were, "Yes, this is definitely for me." It might sound like I've done a complete 180, but I haven't. I already liked what I saw—I just wasn't sold. Oddly enough, the moment that finally won me over wasn't a monster reveal or a big action sequence. It was the protagonist frantically searching drawers for shotgun shells. Anyone who's spent time with the Resident Evil games knows that feeling. Running low on ammo while desperately hoping the next cupboard saves your life is practically a gameplay mechanic in itself. It's such a small detail, but it's exactly the kind of authenticity I wanted to see. On top of that, this trailer also gives us a much better idea of the story.

The trailer follows a courier making what should be a routine drop-off. After accepting another job, he accidentally hits someone on a snowy road, only for the body to mysteriously disappear. Looking for help, he takes refuge inside a nearby house, but something immediately feels off. The place is a mess, strange noises echo through the rooms, and after finding a shotgun, he desperately searches for ammunition as someone sprints through the snow towards the house. It's incredibly tense, and the frantic editing really sells the panic.

From there, the trailer ramps things up. We see him wandering through a deserted city, while Paul Walter Hauser explains that whatever happened in the town unfolded in just a matter of hours. Bodies fall from the sky, grotesque creatures begin emerging from impossible places, and the protagonist is left bloodied and fighting to survive. Just as he's about to pull the trigger on whatever's behind/past a door. At the end tag, we're finally told where he's heading. Raccoon City General.

That reveal alone was enough to put a smile on my face. Not that it was of any importance, but Raccoon City and Monsters/Zombies, this is simply another story told from the point of view of a random courier venturing into the city while all hell has broken loose. Plus, doing it this way does not put pressure on the studio and the makers of trying to stick as closely to the storylines within the game; they can play it a little fast and loose.

The teaser nailed the atmosphere, but this trailer finally gave me the confidence that the filmmakers understand what makes Resident Evil work. It feels tense, creepy, unpredictable and, most importantly, like it actually respects the games. If the finished film can maintain this level of tension while delivering on the horror, then this could be something special.

(trailer review) - Spider-Man: Brand New Day

 

If I'm honest, I didn't even want to watch this trailer. At this point, I'm seeing this film regardless, and recently I've found myself wanting to avoid as many trailers as possible once I'm already sold. I understand the marketing cycle—a teaser, the main trailer, Trailer 2, then the inevitable final or international trailer—but it's starting to feel like overkill. I felt exactly the same with Dune: Part Three. If you've already got me buying a ticket, why keep showing me more?

That said, this is the final trailer, Peter's Journey, the film is only a week or two away, and... I'm glad I gave in. This is really good.

Rather than trying to sell us on spectacle, the trailer focuses on Peter himself. It opens with him reading a letter as we're taken through his entire journey, from high school and Ned discovering his secret, to Europe with MJ, Mysterio's illusions, Doctor Octopus, the Green Goblin, Sandman, Electro, the Lizard and, of course, Aunt May. It's less of a recap and more of an emotional reminder of everything Peter has sacrificed.

The line that really hits is when Peter explains that the only way to stop the bad things from happening was to make everyone forget him. Watching him walk into MJ's café, choose not to tell her who he is, and simply order a coffee still stings. It's a great reminder that, beneath the suit, Peter Parker has lost almost everything.

From there, the trailer shifts gears. Peter accepts that he's the only one who can carry the truth before launching back into action. We get our first proper look at the new threats, with Tremell Tillman warning that the enemy "can be anyone." Spider-Man squares off against Scorpion, goes toe-to-toe with the Hulk, battles what certainly looks like The Hand, dodges a shuriken in slow motion, and even lands an electrified punch on the Hulk. The action looks fast, creative and exactly what I'd hoped to see.

The trailer ends on a classic Spider-Man note. Ned reveals that his Spider-Man tracker says the hero is nearby, only for Spider-Man to appear behind him and casually reply, "Oh yeah? No way. That's crazy." It's a simple gag, but it's the kind of humour that has always made these films work.

I went into this trailer thinking I didn't need to see another second of this film. I came out even more excited than I already was. Thankfully, the emotional core seems just as important as the action, and if that's true of the finished film, then Peter's next chapter could be something really special.

(film review) - The Oddysey

As some of you may know, Christopher Nolan is one of my favourite directors. Bar two films, I've seen everything he's directed, and I'll get around to those eventually. What I never thought I'd say, though, is that I'd be halfway through a Christopher Nolan film thinking, "Yeah... this one isn't for me."

Don't get me wrong, I really liked 'Oppenheimer', and I enjoyed 'Dunkirk', but neither reached the heights of 'Tenet' for me. I know Tenet divides opinion, but I absolutely loved it. Yes, Nolan maybe pushed audiences a little too hard with that one, but I was completely on board.

This? Halfway through, I genuinely wasn't. Something just wasn't clicking. I couldn't put my finger on what it was, but I remember thinking, "This isn't connecting with me at all."

Then something happened. It's like someone flipped a switch.

By the time the credits rolled, I'd gone from questioning whether this was for me to walking out saying, "That was amazing." Let me explain.


The story opens on a beach, where Elliott Page's character encounters advancing soldiers near the Trojan Horse. Fatally wounded, they manage to utter one final warning—that the horse is a gift. Naturally, the Trojans accept it. From there, Nolan does what Nolan does best, jumping across timelines as we're introduced to Odysseus' home, his family, the aftermath of the war, his legendary bow, and the trials he and his men must endure on their long journey home, all while exploring his defiance of the gods and the consequences of his choices.


I'll be honest—I don't know The Odyssey particularly well. I know bits and pieces, but it's been years since I've revisited the story, and I genuinely wondered whether my lack of familiarity was hurting my enjoyment. Maybe it was that. Maybe it was simply the way the narrative unfolded. Whatever it was, I wasn't invested... until I suddenly was.

By the final act, I was completely hooked. In fact, if one particular moment had gone the way I feared it might, I'd have wanted to flip a table in the cinema. There weren't any tables, thankfully, but the rage would've been real.

I genuinely have no major negatives.

The Cyclops sequence was the first moment that completely floored me. Without venturing into spoiler territory, the design alone was enough to make me feel genuinely uncomfortable. It was unlike any Cyclops I've seen on screen before, and it was honestly terrifying.

Then there are the giants in the forest.

You've seen them in the trailers. You've seen them on the posters. Trust me... you haven't seen them. That entire sequence is astonishing.

But the standout moment of the entire film comes later. It's graphic, brutal, incredibly tense, and, in my opinion, the best scene in the entire movie. I was completely captivated. Matt Damon's Odysseus has spent the whole film trying to get home (like other Matt Damon films — trying to get home), and for the first time, I genuinely believed he might not make it.

The remaining trials are all handled brilliantly. Some are visually stronger than others, but every challenge feels distinct, memorable, and cinematic.

Performance-wise, everyone turns up.

Regardless of where people stand on Elliott Page personally, their performance here is exceptional. There's one particular scene that absolutely had me invested emotionally and reminded me just how talented they are. The only thing that didn't quite work for me was one brief running sequence at the end of it, which I did not buy, but that's about as nitpicky as I can get.


Matt Damon is excellent throughout, while Anne Hathaway, Himesh Patel, Charlize Theron, Tom Holland, Jon Bernthal, and Robert Pattinson all bring their A-game whenever they're on screen. The cast is stacked, and it absolutely delivers.

Ludwig Göransson's score is phenomenal. At this point, the man simply doesn't miss. Every emotional beat lands exactly where it should.

If you've seen Christopher Nolan's work before, you'll know linear storytelling isn't exactly his thing. Even Tenet, arguably one of his more straightforward films structurally, literally plays in reverse. The Odyssey is no different. It jumps around, trusts the audience, and never spoon-feeds you.


Visually, though, this might be one of his most breathtaking films yet. The crashing waves at the beginning instantly reminded me of 'Inception', while the forests, landscapes, and sequence involving Elliott Page are absolutely stunning. You can also tell just how much of this was achieved practically. Yes, CGI is used where necessary, but Nolan's commitment to doing as much as possible in-camera gives the film a scale and authenticity that's becoming increasingly rare.

The giants alone left me wondering, "How on earth did they pull that off?"

What surprised me most is just how much this film grew on me. I genuinely thought I was watching my least favourite Christopher Nolan film... only for it to completely win me over.

I'm already considering seeing it again.

And if this really is only the beginning of Nolan's take on this world, then I want him to direct every single sequel, spin-off, or connected story. Because if history has taught us anything, it's that when Christopher Nolan commits to a world, you're almost guaranteed something ambitious, unforgettable, and worth watching.

(trailer review) - The Batman Part 2

 

Let's be honest for a moment. When Robert Pattinson was announced as Batman, the internet lost its mind. Why? Because he was "the guy from Twilight." It had very little to do with his ability as an actor and everything to do with people judging him for starring in a young adult franchise. By that point, Pattinson had already spent years proving himself outside of Twilight. I'd heard about many of those performances, but for me, it was 'The Devil All the Time' and, more importantly, 'Tenet' that really sold me. The former was decent, but I absolutely loved Tenet, and it reminded me that Pattinson has far more range than people often give him credit for.

As always, a vocal section of fans had already decided he wasn't right for the role before seeing a single frame. Then the film released... and suddenly those same people went quiet. Matt Reeves delivered one of the best Batman films in years, Pattinson's performance won over a huge number of sceptics, and almost overnight the conversation shifted from "Why him?" to "When are we getting the sequel?"

Well... here it is.

Calling this a trailer is probably generous. It's more of a production announcement than anything else. There's no story, no supporting characters and no real footage beyond Batman slowly turning towards the camera.

And honestly... that's enough.

We've been waiting for this sequel for what feels like forever, so simply seeing Batman back on screen is enough to get me excited. Sometimes you don't need explosions, villains or a big reveal. Sometimes a slow turn of the cape and cowl is all it takes to remind you why you're looking forward to the next chapter.

(trailer review) - Digger

The first trailer for this film was... unusual. Rather than showing us much of the movie itself, it played like a celebration of Tom Cruise's career, showcasing decades of films and reminding us why he's remained one of Hollywood's biggest stars. Whether you like him personally or not—and I know opinions on him are divided—it's hard to argue with his work ethic. From dramas to action films, the occasional comedy, and those now legendary stunts, Tom Cruise has spent over 40 years throwing absolutely everything into his performances which also includes either riding a motocycle or spinting any chance he gets. If you ever hear him talk about filmmaking, it's obvious he genuinely loves the craft. I honestly can't think of a film where he's simply phoned it in.

Which brings me to Digger.

For years, people have wanted a spin-off centred around Les Grossman, one of Tropic Thunder's most unforgettable characters. If that film is never going to happen, then Digger might just be the next best thing, because this looks completely unhinged—in the best possible way.



After the opening montage, the trailer immediately changes gears. A spade hits the ground, a cowboy boot steps into frame, and we're reminded this comes from Academy Award-winning director Alejandro G. Iñárritu. Visually, it already feels different. We get a slow-motion walk through a corridor into a packed amphitheatre before Tom Cruise delivers the line that sold the trailer for me: "When all else fails, you hit them with the truth. The hard truth." He then punctuates it with exaggerated finger guns, and from that moment on, the trailer descends into glorious chaos.

Warplanes fill the skies, crowds erupt into violence, Cruise stands triumphantly with flames behind him, and, in perhaps the most ridiculous image of all, drops into the splits while holding a spade. It's bizarre, unpredictable, and somehow incredibly funny. Even the tagline—"A comedy of catastrophic proportions"—feels like an understatement.

I still don't entirely know what Digger is about... and honestly, I don't care. Sometimes a trailer just sells you on its energy, and this one absolutely does. If this is the closest we're ever going to get to a Les Grossman-style Tom Cruise comedy again, then sign me up.

(trailer review) - Dune: Part 3

(TEASER TRAILER) 

The previous trailer for this film did absolutely nothing for me. Maybe it was the mood I was in, or maybe it's because I loved the first two films so much that I was already sold. At this point, I don't need convincing—I just want to watch the movie. So, you'd think another trailer wouldn't change my mind. Well... I've done a complete 180. This is the trailer that got me excited. Maybe it's because release day is finally creeping closer, but this looks absolutely phenomenal.

The trailer opens with Paul confronting Chani as she angrily reminds him that she trusted him, and that he swore he'd never seize power in his own name. Their confrontation is intercut with flashes of happier times, brutal battles, and Paul walking away from absolute devastation. It's an emotional opening that immediately sets the tone.

Things only escalate from there. Paul asks, "What do you know about me?" before someone replies, "You have conquered the galaxy. You have destroyed thousands of worlds, and I think you are way beyond redemption." That's a hell of a line. We then get what initially looks like a sparring session before it's revealed to be a fight with someone who looks like Duncan, who claims to have brought Paul a peace proposal that would ultimately destroy him.

Then the trailer just starts showing off. Massive battles, our best look yet at Robert Pattinson's mysterious character Feyd-Rau, the Fremen standing on a beach with crashing waves—a visual I never expected to see in Dune—and the princess, played by Florence Pugh, warning that anyone trying to stop Paul has just signed their own death warrant. Feyd-Rau says, "I've found someone," before Chani slams her fist into the sand and summons a sandworm, all cut together with more breathtaking action. The trailer ends with Paul simply saying, "I'm sorry."

Visually, this looks every bit as spectacular as the previous films, but this trailer also feels far more emotionally charged. It hints at the consequences of Paul's choices, raises plenty of questions, and somehow leaves me wanting even more. Mission accomplished.

(series review) [STREAMING] - X-Men '97: Season 2 - Episode 1, 2 & 3

 

If you read my review of the first season of X-Men '97, you'll know I loved it. It captured everything that made the '90s series special, but with a richer colour palette, stronger voice acting and even more ambitious storytelling. Best of all, it fully respected what came before, continuing storylines from the original five seasons instead of pretending they never happened.

It never spoon-fed the audience or leaned too far into being overly mature or childish. The themes were darker, but it was still every bit as accessible as the original series. Rather than a reboot or retelling, it felt like a genuine continuation—just upgraded.

Now we're two years on, with Beau DeMayo no longer involved. It'll be interesting to see where the storytelling goes, but based on these opening episodes, the series hasn't missed a beat.

Episode 1

Following the events of Season 1, the X-Men have vanished, leaving Bishop and Forge to search for them across time. Forge eventually finds Storm, Wolverine, Morph, Cyclops, Jean and Nathan Summers in the distant future, where Mother Askani leads the fight against Apocalypse. Realising they'll need more allies, Cable joins forces with Psylocke and Archangel to recruit two new members for the battle ahead.

Episode 2

Back in 1997, mutant children flee to the X-Mansion seeking safety, only to be intercepted by X-Factor, the government's mutant task force. Meanwhile, Cable assembles his new X-Force team to hunt one of Apocalypse's Horsemen, War. A meeting with Emma Frost quickly goes sideways, landing them in X-Factor's custody, but Jubilee finds a way to rescue the captured mutants and get them to safety.

Episode 3

In ancient Egypt, Magneto believes En Sabah Nur can still be saved, while Charles insists his future as Apocalypse is inevitable. Magneto attempts to steer him onto a different path, but Rama-Tut's manipulations continue pushing En Sabah Nur towards his destiny. Elsewhere, Beast, Nightcrawler, Rogue and Professor X study future technology in the hope of returning home, only to be accused of working alongside Rama-Tut. As tensions boil over, En Sabah Nur clashes with the X-Men, Bishop joins the fight, and Rama-Tut moves to eliminate them all.