The mutants are coming. Indeed, with Marvel hard at work on developing another X-Men movie — one that will officially introduce a new version of the superteam to the Marvel Cinematic Universe (MCU) — it won't be long before they return to the big screen. Well, providing you don't consider its potential 2028 launch to be a lengthy wait...

But I digress. With San Diego Comic-Con (SDCC) 2026 almost upon us, and speculation that some sort of X-Men announcement will be made at the fan expo, interest over the next live-action X-Men film couldn't be higher. Read on to discover everything we know so far about the movie that's likely to usher in version 2.0 of the MCU.

X-Men movie release date: what we know

Marvel is yet to confirm a release date for its X-Men movie. It's still in the early stages of development, after all, so unless a surprise announcement comes at SDCC 2026, it will be some time before we know more.

That said, this film is high on Marvel's list of priorities. Speaking in late 2024, company president Kevin Feige said that MCU's future will be all about the X-Men after the Multiverse Saga comes to an end with next year's Avengers: Secret Wars.

More recently, Feige hinted (see the X/Twitter post above) that the new X-Men movie will be the first film to arrive after the sixth Avengers installment. With that movie due out in December 2027, we shouldn't expect MCU's first mutant-led project until some time in 2028.

Marvel's X-Men movie trailer: is there one?

Unsurprisingly, no. In fact, assuming Marvel returns to Hall H panel at SDCC 2028, I'd be amazed if we get any official footage before then.

Once a teaser is released, I'll update this section – but you'll be waiting a long time for one!

Marvel's X-Men cast rumors

Possible spoilers follow for Marvel's X-Men movie.

Predictably, nobody has been confirmed to appear in Marvel's X-Men movie yet. However, plenty of rumors have surfaced – and continue to circulate – about who's involved, so let's take a look at some of the biggest ones.

For starters, one report that did the rounds in July 2025 suggested that Marvel was eyeing rising stars over established names for its X-Men reboot. The reason? The Disney subsidiary wants to make movies for less — and that means it isn't looking to pay over the odds for A-listers.

And yet, the vast majority of actors who have been linked with roles in Marvel's mutant-led flick are what I'd consider to be household names.

One such star is Stranger Things alumnus Sadie Sink. After being cast as a mystery character in Spider-Man: Brand New Day, the long-running rumor is that Sink will play Jean Grey. If that's true — and there's now plenty of evidence to suggest it is — we'll almost certainly see her in this film.

Who else could pop up? Last May, the rumour mill was buzzing with reports about other potential X-Men cast members, including speculation that Bryan Cranston would play Charles Xavier/Professor X, Cynthia Erivo would portray Ororo Munroe/Storm, and recent retiree Daniel Day-Lewis had held talks to take on the role of Erik Lehnsherr/Magneto.

However, other actors have since been linked with two of those roles. In mid-July, Adam Driver was said to have been cast as Magneto, while Patrick Wilson is supposedly in the frame as Professor X (per knightedgemedia). For what it's worth, reliable industry insider Apocalyptic Horseman said that the latter might not be true.

Elsewhere, Obsession star Inde Navarrette revealed that she'd recently met with new X-Men director Jake Schreier — prompting fans to cast her in a variety of mutant roles. Meanwhile, after unreliable leaker Jeff Sneider claimed that Avatar star Trinity Jo-Li Bliss had been tapped to play Jubilee, Bliss herself denied the report (via The Direct).

Lastly, Lee Sung Jin, one of this film's co-writers, told Collider that he's a huge fan of Remy LeBeau/Gambit. Don't be surprised, then, if we see a new iteration of the Ragin' Cajun as part of this movie's ensemble.

Marvel's X-Men movie plot rumors

You already know what I'm going to say here, don't you? Surprise, surprise, Marvel's X-Men reboot doesn't have a story synopsis yet.

Thanks to Schreier and Jin, though, we've been given a glimpse into their creative process for the film, including the key inspiration behind the story they want to tell.

Schreier (via Collider) and Jin (via Men's Health) admitted that the literature penned by legendary scribe Chris Claremont, who's best known for working on the Uncanny X-Men comic book series for 16 years between 1975 and 1991, will be a major influence on their X-Men reboot. Jin also revealed (via The Watch podcast) that beloved Saturday morning cartoon X-Men: The Animated Series is also informing the narrative structure by way of its character-first and soap opera-esque elements.

Chatting to Deadline, Jin also explained that Feige wants him, co-writer Joanna Calo, and Schreier to " take a big swing and start anew, [and] not be beholden to any of the movies that have come before".

Expect an entirely new take — in a live-action sense, anyway — of the iconic Stan Lee and Jack Kirby-created supergroup when their next movie lands in theaters.

Where can I watch the X-Men movies?

You can watch every live-action X-Men movie on Disney+, aka one of the world's best streaming services. Disney's primary streamer has been home to these flicks since the House of Mouse bought 20th Century Fox in March 2019. You can even find out how to watch the X-Men movies in order with our help while you're here.

Additionally, X-Men: The Animated Series and its sequel show X-Men 97 are also available to watch on Disney+. Not a subscriber? Find out if a Disney+ free trial is available or the price of Disney+ in your area if you want to sign up.

What does the future hold for the X-Men in the MCU?

In short: we have no idea. Marvel still has to get this movie off the ground, and as Schreier explained during an interview with Collider, it needs to be a major success if the franchise is to continue into Marvel Phase 7 and beyond.

If it succeeds, the X-Men could become one of the cornerstones of the MCU's next era. But if it doesn't? Frankly, that's a scenario that doesn't bear thinking about. The X-Men are one of the most popular superhero teams of all time, so if they can't help support Marvel's cinematic juggernaut in a post-Multiverse Saga world, who can?

While we wait for some much-needed news on Marvel's X-Men movie, find out what we know about Spider-Man: Brand New Day. Then, get the full lowdown on Avengers: Doomsday and learn everything we know so far about Avengers: Secret Wars.

On Episode 219 of This Week In Space, Rod Pyle and Tariq Malik discuss the space headlines for the past few weeks.

It's been busy, and some exciting things are happening! A couple of companies are moving into the space solar power arena — something we've long advocated — and that's welcome progress. Starship is set to fly Starship test number 13, and a lot is riding on this — the system is overdue for some proof of concept to keep up with NASA's HLS contract.

An exoplanet spotted a decade ago has shown signs of a potentially habitable atmosphere; there are landslides — big ones — on Pluto, and evidence of "space candy" sugars in an interstellar cloud are in the news. Finally, SpaceX is doubling down on their big defense contracts with a well-funded US Space Force. Join us for all the latest!

Download or subscribe to this show at: https://twit.tv/shows/this-week-in-space.

Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit

Space news of the week

• SpaceX's Starship Flight 13 test launch aborts at last second
• Meteorite that crashed through New Jersey house could hold the clues to life's origins
• Astronomers discover 1st atmosphere around a rocky Earth-like planet in the habitable zone
• How NASA’s Artemis III Lander Test Will Pave Way for Moon Landings
• NASA Taps SpaceX’s Starlink to Deliver Artemis III Imagery from Orion
• Blue Origin continues work on lunar landers during recovery from New Glenn explosion
• SpaceX launches 21 'data transport' satellites for US military
• The FCC just gave Reflect Orbital permission to launch its 1st space mirror to orbit. Tens of thousands more could follow
• A “disaster waiting to happen”? Industry officials worry about Crew Dragon availability.
• Spacecraft Commissioning On Track for Mission to Boost NASA’s Swift
• Raspberry sugar spotted in interstellar space, a sweet discovery that could reveal clues about life's origins
• Defense Innovation Unit - Space Power Beaming
• Nature study identifies a new way to spot nuclear weapons in orbit

Model Falcon 9!

Finally, did you know you can launch your own SpaceX rocket? Model rocket maker Estes' stunning scale model of a Falcon 9 rocket that you can pick up now. The launchable model is a detailed recreation of the Falcon 9 and retails for $149.99. You can save 10% by using the code IN-COLLECTSPACE at checkout, courtesy of our partners collectSPACE.com.

About This Week In Space

This Week in Space covers the new space age. Every Friday we take a deep dive into a fascinating topic. What's happening with the new race to the moon and other planets? When will SpaceX really send people to Mars?

Join Rod Pyle and Tariq Malik from Space.com as they tackle those questions and more each week on Friday afternoons. You can subscribe today on your favorite podcatcher.

It's almost inconceivable that 40 years have passed since what's been called the greatest sci-fi action film of all time (and not just by us) assaulted theaters with the juiced-up sequel to Ridley Scott's 1979 classic, "Alien."

Director James Cameron's propulsive vision for a gung-ho military-style movie would call upon Stan Winston Studio's elite creature effects crew from 1984's "The Terminator" — a team that would later work on "Predator," "Terminator 2: Judgment Day," "Jurassic Park," and "Predator 2."

Cameron's "Aliens" greatly expands upon the xenomorph life cycle with the inclusion of a matriarchal beast that his screenplay described as "a massive silhouette in the mist, the ALIEN QUEEN glowers over her eggs like a great, glistening black insect-Buddha. Her fanged head is an unimaginable horror. Her six limbs, the four arms and two powerful legs, are folded grotesquely over her distended abdomen."

The brilliant filmmaker and Winston's energetic gang would craft and operate this 14-foot-tall articulated hydraulic puppet fabricated from fiberglass, foam rubber, and plastic. It contained two stunt performers in the torso and puppeteers on the ground manipulating legs and limbs.

Production was led by Stan Winston, Shane Mahan, Alec Gillis, John Rosengrant, Tom Woodruff Jr., and Lindsay MacGowan, the core wizards who’d later found the acclaimed Legacy Effects firm with J. Alan Scott following Stan Winston’s unfortunate death in 2008. Gillis and Woodruff would eventually split off to form Amalgamated Dynamics in 1988.

We caught up with Mahan and MacGowan to have them offer memories of working on "Aliens" at Pinewood Studios and specifically constructing this magnificent drooling, hissing monster that's spawned countless nightmares since the blockbuster landed on July 18, 1986.

"It was 1983 when I started at Stan's on the first 'Terminator,'” Mahan tells Space. "I’d worked with Jim on a Roger Corman movie that Makeup Effects Lab was doing, 'Battle Beyond the Stars.' [...] During 'Terminator,' Jim had drawings of Sigourney and the Power Loader he'd brought into the shop. I'd see them out of the corner of my eye and knew exactly what it was supposed to be. It was clearly an alien of that world with Sigourney Weaver.

"I was intrigued by it all because four years before, when 'Alien' had come out, it was so amazing cinematically. The lifecycle of the creature, and the organic nature of it. I had no idea that seven years later we'd be in England doing a sequel."

Mahan and posse began working on the Queen's preliminary designs in Southern California at Stan Winston's shop, where they conducted the infamous 'garbage bag test' out in the back parking lot, so named due to the flailing puppet being wrapped in black plastic trash bags.

"It was a proof of concept of how that was going to work," he explains. "Moving to Windsor, England, and setting up shop at Pinewood Studios was extraordinarily exciting. We then started making the full-size process of making the Queen and all the other effects, and we met the English crew, and Lindsay was one of them."

MacGowan fondly remembers his experience on the ambitious project and being recruited to join Stan Winston and the rest of the guys.

"They were legends at that point for us. We were also young and goofy, and it's amazing they actually let us do what we did when we were that young," MacGowan notes. "I was at college at the time, and I’d skip off college and make my way to Pinewood. It was like here’s the rock ‘n' roll Americans, and then we have our more reserved English team that got influenced by the American team. It was a lot of fun and some of my favorite memories of starting in the business.

"I remember it being incredibly cold at Pinewood at the time. There was no insulation in the warehouse, and we had these giant propane jet heaters, and they kept going out. We’d be nice and warm, then suddenly the flame would be out. It was a great time to get to know Shane, John, Alec, and Tom. I look at them as my American brothers."

Having everything under one roof, being created pre-shooting, was a great asset as it allowed Cameron to constantly oversee the process and monitor the progress being made.

"We were life-casting all the actors, various teams were doing the xenomorph warriors and the eggs and the facehuggers," Mahan adds. "It was a pretty big build list, and we had four or five months to get everything done. John Richardson was a great special effects man from the Bond films, and we all thought that was cool to work with guys that had done James Bond movies.

"That was my first time in England, so the setting was very new and exciting. Of course, we blew off a lot of steam occasionally, but we were very serious about just getting it all done. We knew we had a lot to live up to because of the first film. Very few people, if any, had come back from working on that first film. You don’t know how it's going to turn out. We all thought the 'Aliens' script was great. Jim had a lot of turmoil there and didn’t have a good time on his own for various reasons, but we weren't really privy to that."

Before hopping across the pond to the UK, Mahan and his ace crew did molds and castings using a quarter-scale maquette of the Alien Queen sculpted at Stan Winston's shop for their design master.

"Back then, everything had to be done by measurements, by plotting out, and by eye. Today, it's so simple to have a computer generate and mill out a perfectly formed section. You had to use a really focused artistic eye to get exactly where we were supposed to be.

"We also had to make action suits, and there were a lot of them. I think there were 13 or 14, and then there were like eight eight-foot-tall puppets that were more spindly and long that were going to be used on wires and get hit and blow up and get shot. Then there was one articulated half-animatronic that would play in various scenes. You have to imagine an era that was pre-CGI. There was no reliance on rod removal or performer puppeteer removal. You had to hide everything and everybody in the frame. So in the dropship fight, it’s an enormous amount of people making the Queen operate, and you don’t see them.

"That all comes down to Jim Cameron and his magnificent eye for framing this action scene without seeing the crane or any of the support devices. Directors today, most of them don't even have any idea how to do that. And that was the magic of Jim Cameron and still is. He had the designing thought of shot composition and action that played off the best attributes of that hydraulic/actor-driven Queen. Because there were two guys inside and nine of us on her tail, her head, the cable, her hands, the feet. We were everywhere."

MacGowan took his role very seriously to get the fit and finishing perfect for this elegant egg-laying beast that would end up being the seething, android-ripping superstar of the popular 1986 sequel. -

"It was really just to honor what Giger had done in the past, but also to give Jim what he was looking for in his vision for the Queen," he recalls. "The Queen is really Jim's design and entire look. Our focus was making sure that we got what Jim wanted, but still make sure that fans of the original movie, which was all of us, could really appreciate."

As a mentor to his dedicated young crew of VFX creators, Winston schooled them in the subtle art of injecting personality and emotion into their creature performances.

"It's something they always reinforced, but if you’re a student of horror and science fiction films, you know all the great creatures and monsters have got some sympathetic or some interesting personality," adds Mahan. "Even the xenomorph in the first film, the personality is that it does not care. It's just going to kill you. But that’s still a personality trait.

"We were always taught by Stan that these are not effects; these are characters that we’re making; these are actors in the film. It just happens to be a creature from space, or a robot from the future, or a dinosaur. Whatever it is, it has to be believed, and we’ve always carried that philosophy through."

As to the mystery of exactly where the original Alien Queen screen-used puppet ended up, Mahan has a few clues, but sadly admits that most of it has unfortunately been lost to time.

"Jim has one in his museum, and I think collector Bob Burns did have a head," Mahan shares. "The rest of it might be that it's fallen into disrepair. I know when we left, a lot of it was put into containers at Pinewood, and it sat and rotted for years. We always wanted to get that back, but I’ve not seen a real Queen in a while.

While the classic design hasn't changed much over the years, Mahan notes that the materials used to make creatures like the Alien Queen have.

"The head was fiberglass and had other foam rubber parts. The materials back then were not very sophisticated," explains Mahan. "The materials we have today, like what we did on 'Alien: Romulus', are like from outer space. They're translucent silicones, and they stretch well, and there’s lightweight plastic 3D-grown parts."

"Back then, the only thing we had was clear urethane that I got the cowl of her head to kind of move around. The original idea was that the skin on her face was supposed to be translucent. It ended up being foam rubber painted to look translucent. A lot of those materials have just fallen apart. On screen, it's pretty impressive.

"When we did 'Alien: Romulus,' Lindsay and I had not done an 'Alien' film since 'Aliens.' When that opportunity came up to revisit that world, the sensory memories came flooding back. It's one of those movies where I think I remember every day that I was on set for that film.”

"Aliens" is available to stream on Disney+ in the UK, and to rent and buy on various platforms in the US.

It's not known whether "Ulysses 31" was on Christopher Nolan's radar in his teenage years, but it's intriguing to think it could have influenced the director's decision to take on Homer's "The Odyssey".

This animated space opera, a French/Japanese co-production, delivered a crash course in Greek mythology to a generation of kids who grew up in the '80s. And, although it looks more like "Star Wars" than Homer's original tale, it had a decent stab at transferring the Classics to the 31st century (the clue really was in the title), years before the Coen brothers took "The Odyssey" to the Deep South in "O Brother, Where Art Thou?"

The cartoon's core premise would be familiar to any Greek scholar, even though purists would surely bristle at the hero going under his Roman pseudonym, Ulysses, rather than the original Greek Odysseus.

At heart, it's that old story of a ship's captain racing to get home from Troy (in this case, a starbase) before his wife, Penelope, marries another man. That voyage is soon waylaid, however, when Ulysses' son, Telemachus, is abducted to become a sacrifice to a giant robot Cyclops.

Ulysses quickly lives up to the promise of his famous theme song — "Always fighting all the evil forces, bringing peace and justice to all" — by vanquishing the one-eyed menace and rescuing Telemachus along with Yumi and Numinor (a pair of blue alien Zotrians who, as far as we can tell, do not feature in the original Homer).

Unfortunately for Ulysses and his crew, he messed with the wrong giant robot Cyclops, because this one happened to belong to the Greek sea god Poseidon, who's now taken up residence in outer space. The deity is so annoyed at the puny mortal's impudence that he gets his brother, Zeus (aka the head honcho in Olympus), to inflict divine retribution.

Ulysses is subsequently sentenced to "travel among unknown stars" (his ship, the Odyssey, has its navigational databanks purged) while his crewmates — referred to, in what now sounds like contemporary corporate jargon, as "companions" — are put into a perpetual slumber. If he's going to make it home to Penelope, he'll need to find the Kingdom of Hades before his 26-episode run comes to an end.

It's less an update of Homer than a riff on his greatest hits, with several other notable classics of the Classical period thrown in for good measure. In addition to slaying the Cyclops, Ulysses follows in OG Odysseus's footsteps when he meets the Sirens and Lotus Eaters.

But he also ventures beyond the confines of Homer's narrative when he encounters Sisyphus (fated to devote his entire life to a repetitive, pointless task), Orpheus (en route to Hades to rescue Eurydice, the love of his life), and three-headed dog Cerberus, reinvented as an interceptor satellite with, yes, three heads.

Many of the character names are also familiar. Priam, the commander of the Troy starbase, shares his name with Troy's last king in antiquity, while Nestor, Ulysses' second in command, is an advisor in the original story. Shirka, the computer on Ulysses' ship, takes her name from Circe, a sorceress.

But the show also adopts a pretty liberal approach to the source material. Homer's version of Telemachus spends much of the story separated from his dad, whereas "Ulysses 31"'s is a constant presence. While Odysseus's shipmates mostly wound up dead, here they're plunged into a state of literal suspended animation, lifelessly floating in the ship's hold.

And Ulysses is already aware of the Greek gods before he makes first contact — in one episode, he even travels back thousands of years in time to meet his famous namesake.

If this sounds like writers sanitising the story for younger audiences, well, it didn't feel that way if you watched the show as a kid. At times, "Ulysses 31" is genuinely freaky, from those levitating lifeless bodies to some truly grotesque monsters. The gods themselves are also an unnerving presence, omnipresent beings of colossal power who see humans as their playthings and view Ulysses' toils as some twisted spectator sport.

Besides, unlike "Masters of the Universe" and many of the other biggest sci-fi cartoons of the '80s, the good guys weren't always guaranteed to win. Being Ulysses — a single dad guiding his son and adopted daughter Yumi through the cosmos — wasn't easy.

Now 45 years old (though it didn't find its way onto British and American TV screens until the mid-'80s), "Ulysses 31" is showing its age. The animation is often rudimentary, particularly in outer-space scenes that are effectively a cut-out of a starship being dragged across a stellar background. The dialogue, meanwhile, is played hilariously straight — good luck finding a laugh among these uncharted stars — and often consists of someone shouting another character's name. "Telemachus!" "Father!" "My son!" "Yumi!" etc. Telemachus's small red robot pal, Nono, is up there with the most irritating "cute" sidekicks of the era — quite the achievement in an extremely competitive field.

But there's also plenty to like. As static as they sometimes look, the spaceship designs have the feel of a classic space opera book cover, particularly Ulysses' eye-shaped craft, the aptly named Odyssey. The series also borrows heavily from a more modern piece of mythology, namely the "Star Wars" saga. Ulysses may not be a Jedi (as far as we know), but his gun/laser sword weapon looks a lot like a lightsaber. Some of the incidental music even apes John Williams' score from a galaxy far, far away.

Which brings us on to the soundtrack, the main reason this show lives on in the collective consciousness of a generation.

The work of Denny Crockett, Ike Egan, and, on selected tracks, Shuki Levy and Haim Saban (the latter duo also composed for "Masters of the Universe", "Jayce and the Wheeled Warriors," and many more cartoon classics), the music is a cut above. "The Curse of the Gods" refrain is loaded with menace, totally living up to its portentous title, and then there's that theme song.

Seriously, to people of a certain age — even those who remember nothing else about the show — hearing the name "Ulysses" is enough to get them singing "Ulysee-ee-ee-ee-ees" ad infinitum, an earworm truly worthy of the gods of Olympus.

Homer's tales may still be remembered thousands of years after he wrote them, but you can guarantee he didn't have a tune quite like that.

"Ulysses 31" isn't on any major streaming service, but there are fan uploads on YouTube if you want to experience the show for yourself.