Head Coach Kyle Shanahan of the San Francisco 49ers | Image: Michael Zagaris / San Francisco 49ers / Getty Images
Four weeks ago, San Francisco 49ers coach Kyle Shanahan was involved in an accident near downtown Palo Alto. At the time Shanahan said only that the accident was his fault. But during a recent press conference he shared more details about the incident, including the fact that he had his Tesla's Autopilot engaged at the time. Shanahan was not passing the buck, however, saying it was his fault regardless of whether or not Autopilot was engaged.
"I've had Autopilot for nine years, so I'm pretty comfortable with it and, you know, who knows what happened when I turned around? Whether it malfunctioned or whether I knocked it off? That's somethi …
I’ve always been a fan of premium formats at the cinema, and thanks to the combination of a large screen, rich visuals, and sound that really packs a punch, Dolby Cinema has long been my go-to choice — even over IMAX.
This week, I ventured to a local AMC in New Jersey for Spider-Man: Brand New Day in Dolby Cinema. The theater featured stadium-style seating and was practically sold out, with only a handful of seats remaining in the front row. Considering the film has grossed more than a billion dollars globally, including over half a billion dollars in the US alone, it’s no surprise that tickets for Dolby Cinema and theaters in general have been hard to come by.
So, while my screening came a few days after opening, it was well worth the wait and ended up being one of my favorite Dolby Cinema experiences in a while.
For starters, the dual 4K laser projectors that power Dolby Cinema did a fantastic job with Spider-Man: Brand New Day. Colors were rich and vibrant, while the finer details in darker scenes remained visible without losing that cinematic contrast. Yes, a Dolby Cinema screen is typically smaller than a true IMAX screen, but that didn’t bother me here. Between the picture quality and the audio, I still felt completely immersed in the world of Spider-Man: Brand New Day.
I was pulled into the action almost immediately, and the combination of the screen, seating, and sound made the theater itself almost disappear.
You could, of course, opt for ScreenX, which wraps the image around you across the side walls, or catch Brand New Day on select IMAX screens in the US for a limited time. Just remember that those screenings aren’t necessarily the same as seeing a film presented in true 70mm IMAX — an important distinction when talking about premium cinema formats.
But for me, the real highlight was the Dolby Atmos sound.
Dolby Cinema’s audio setup is an expansive, full-range system designed to deliver sound throughout the theater, and Brand New Day makes particularly good use of it. It can pack a serious punch when the action kicks in, but what impressed me most was the low end. The bass wasn’t simply loud; it had weight and presence, adding another physical dimension to explosions, movement, and the film’s bigger action sequences.
Spoilers lie ahead
Spoilers for Spider-Man: Brand New Day ahead
(Image credit: Sony Pictures/Marvel Entertainment)
As noted above, the real highlight for me was the sound. While the entire mix was well done and made excellent use of Dolby Cinema’s audio capabilities, there is one scene in particular that stands out — hence the spoiler warning, as it revolves around a pretty major plot point.
As Peter Parker begins to deal with the rise of arachnid traits in his genes — see a taste in the image above — he starts experiencing heightened senses. When he heads onto a rooftop, the sequence becomes a fantastic showcase for what a well-designed cinema sound system can actually do.
You hear the rush and bustle of New York City around Peter. Footsteps take on a heightened presence. An empty bag of chips scraping and tumbling along the ground suddenly becomes an important part of the soundscape. Instead of simply hearing these sounds as background noise, you’re placed inside Peter’s heightened perception of them.
And this is where Dolby Atmos really shines, especially when it all rushes together.
From a spatial perspective, the mix does a tremendous job of pinpointing where sounds are coming from and matching them to what’s happening on screen. Sounds move around the theater in a way that feels deliberate rather than gimmicky, helping put you directly into Peter’s headspace. The result is a sequence that feels less like you’re watching someone experience heightened senses and more like you’re experiencing them alongside him.
It’s a real tour de force for the sound team — and arguably one of the better demonstrations I’ve experienced of what premium cinema audio can add to a movie beyond simply making things louder.
When I head in for my second viewing of Spider-Man: Brand New Day, it’ll most certainly be in Dolby Cinema again. The picture is excellent, the seating and presentation are fantastic, and the overall experience is incredibly immersive.
But ultimately, it’ll be for the sound.
Spider-Man: Brand New Day reminded me that when Dolby Cinema is firing on all cylinders, the audio can be just as important to the cinematic experience as what’s happening on the screen.
Fans who'd grown up on the original "Star Wars" trilogy were adults when they went through the ordeal of Han, Luke and Leia dying on screen. If tears were shed then, however, spare a thought for the kids who'd queued to watch "Transformers: The Movie" back in 1986, only to see many of their heroes expiring in the cartoon spin-off's opening act.
If you can have a bloodbath of sentient machines, this was it, as robots in disguise met their maker at an alarming rate. Ironhide? Dead. Ratchet? No more. Starscream? Pushing up mechanical daisies. Not even the iconic Optimus Prime was spared, as the noble leader of the Autobots met a brutal end at the hands of his nemesis, Decepticon leader Megatron.
This may seem like a recipe for traumatizing the film's target audience — and for many of "Transformers: The Movie"'s young viewers, it was a genuinely disturbing experience. But toy manufacturer Hasbro had ulterior motives for killing their darlings.
(Image credit: Paramount Pictures/Hasbro)
Like "Masters of the Universe" (and many other '80s cartoons before and after), the popular "Transformers" TV show was a thinly veiled commercial for one of the hottest toylines on the planet. But, the theory went, the kids who'd been watching since the series debuted in 1984 would now be familiar/bored with the original line-up, and already have the relevant robots in disguise in their toyboxes. By instigating an on-screen cull, Hasbro believed they'd be able to make way for new characters, and keep their young fans coming back for more.
"They created the story using characters that could best be merchandised for the movie," director Nelson Shin (who, in a previous life, had helped to animate the lightsabers in the original "Star Wars") told SFX magazine in 2011. "Only with that consideration could I have freedom to change the storyline. What I tried to focus on was animation-izing the story. For example, when Optimus Prime died, I changed his color from red and blue into gray in order to show that the spirit was gone from his body."
(Image credit: Paramount / Hasbro)
Although screenwriter Ron Friedman was sceptical — "I told Hasbro and their lieutenants they would have to bring him back, but they said no and had 'great things planned'," he recalled to Todd Matthy.com — many of the production team had little idea of the emotional carnage they were about to unleash.
"We didn't know that [Optimus Prime] was an icon," story consultant Flint Dille admitted in an interview on the "Transformers: The Movie" DVD. "It was a toy show. We just thought we were killing off the old product line to replace it with new products.
"Kids were crying in the theaters," he continued. "We heard about people leaving the movie. We were getting a lot of nasty notes about it. There was some kid who locked himself in his bedroom for two weeks."
(Image credit: Paramount / Hasbro)
Forty years on from its original release, a movie with such a high death count looks like a misguided brand extension for a popular Saturday morning cartoon — especially as the TV incarnation hadn't killed anyone across its two seasons to date. But for all its flaws, "Transformers: The Movie"'s storytelling was arguably bolder than any other Hollywood animation of the era.
It was also an impressive technical feat. Although the visuals are a visible step-up from the TV version, Shin (who'd been supervising producer on the cartoon from day one) and his team had to work to extremely tight deadlines to meet the film's release date:
"Time constraints and the sheer amount of work needed were the two biggest challenges, since everything had to be hand-drawn by people!"
(Image credit: Paramount / Hasbro)
The film is set in 2005, some 20 years on from the original series. The Decepticons have taken control of the Transformer homeworld of Cybertron, while human Autobot chum Spike Witwicky (a kid in the TV show) is now grown up with a son of his own. When the villains attack the Autobots' base on Earth, Optimus Prime is fatally wounded, with Megatron also at death's door.
A moment where he pleads, "Don't leave me, Soundwave!" to his loyal cassette player lieutenant is unintentionally hilarious, though still can't compete with a later sequence in which the surviving Autobots dance for joy with some new allies — tonally this movie is all over the place.
Having been cast adrift by the duplicitous Starscream, Megatron runs into a planet-sized robot in disguise named Unicron, who has a similar world-chomping MO as Marvel's Galactus. He wants to get his hands on the Autobots' Matrix of Leadership (the only thing in the universe that can kill him), so he transforms a reluctant Megatron into the souped-up Galvatron, and sends him out to hunt for the McGuffin.
(Image credit: Paramount / Hasbro)
It makes for a madcap 85 minutes as two factions of mostly unfamiliar faces vie to come out on top. The story is mostly told via the medium of fast-paced laser battles, alongside encounters with the surprising number of robotic lifeforms who populate the galaxy. Among them are a five-faced being with a penchant for feeding its fellow machines to mechanical sharks, and some scrapyard dwellers whose conversation is based on snippets from TV ads.
The "Junkions"' leader, Wreck-Gar, is voiced by Monty Python's Eric Idle, just one of the numerous star names whose presence would have meant little, if anything, to the film's young audience back in 1986. Megatron's Galvatron upgrade brought with it the dulcet tones of "Star Trek"'s Leonard Nimoy, reckless Autobot up-and-comer Hot Rod was voiced by "The Breakfast Club"'s Judd Nelson, and Robert Stack (whom readers of a certain vintage will recognize from "Airplane!") was Optimus Prime's ultra-serious number two, Ultra Magnus.
The biggest name of all was a bona fide Hollywood legend, as Orson Welles delivered his final performance as Unicron. Of the "Citizen Kane" auteur, Shin said, "He was co-operative and professional, and I liked working with him," though Welles was apparently a little less convinced.
(Image credit: Paramount / Hasbro)
"You know what I did this morning?" he reportedly complained to a friend. "I played the voice of a toy… I menace somebody called something-or-other. Then I'm destroyed. My plan to destroy whoever-it-is is thwarted, and I tear myself apart on the screen."
The filmmakers also spent more of their reported $6 million budget than they probably should have on a soundtrack powered by '80s hair metal and power ballads — Stan Bush's "The Touch", originally written for Sylvester Stallone vehicle "Cobra", went on to have a second life when the fictional Dirk Diggler "covered" the song in Paul Thomas Anderson's "Boogie Nights".
In hindsight, few of the creative decisions above were conducive to winning over a fanbase who'd have been happy with an extended episode of the TV show. "Transformers: The Movie" subsequently struggled to make back its budget at the box office, an also-ran in a packed summer that also included "Aliens", "Flight of the Navigator" and "Short Circuit".
(Image credit: Paramount / Hasbro)
It's since gone on to pick up a cult following, but still feels like one for completists — ask a casual fan to name a Transformer, and they're going to say Optimus Prime, Bumblebee or Megatron ahead of movie debutants Kup, Arcee (belatedly the first female Autobot) or Rodimus Prime.
Perhaps inevitably, Optimus Prime didn't stay dead for long, and made his inevitable comeback in the next season of the TV show. The good/bad thing about living in a modern pop culture universe is that death doesn't have to be the end.
"Transformers: The Movie" returns to theaters with a 40th anniversary re-release on September 17. It's also available to buy or rent on Amazon Prime Video.
On Episode 222 of This Week In Space, Rod Pyle and Tariq Malik are joined by space writer Rich Edwards to discuss the best ways to repel space invaders.
We've all seen the movies... the aliens come to Earth, the aliens overcome the inferior humans, and the aliens fall prey to something dumb they overlooked, like microbes, Windows 95, or most absurdly, water. From the 1950s through yesterday, some of the best movies we've seen were about the invasion of our planet. They can be clever, scary, or even downright dumb, but they are all fun.
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.
Buc-ee’s mega-convenience store and 120-pump gas station in Mount Crawford, Virginia. | Image: Chip Somodevilla / Getty Images
Buc-ee's became something of a viralsensation during the World Cup, but it has a troubling history of suing small gas stations and convenience stores. On a recent episode of Last Week Tonight, John Oliver literally begged the company to sue him for selling merch featuring his squirrel mascot, Mr. Nutterbutter, with branding that reads "Buc-Off." But Buc-ee's has so far declined to take the bait, instead targeting yet another small business that lacks the deep pockets and legal team of HBO.
According to WDTN, an NBC affiliate in Miami Valley, Ohio, Buc-ee's opened its first locations in the state earlier this year. And now it's targeting es …
Tom Vek burst onto the scene in 2005 with his album We Have Sound, which garnered a solid 7.6 from the tastemakers of the day over at Pitchfork. His undeniably catchy brand of dancy indietronica landed him an appearance on The OC and placement on the Grand Theft Auto IV soundtrack. His follow-up, Leisure Seizure, had a lengthy gestation period, but arrived in 2011 to similar success, reaching No. 79 on the UK charts.
Vek has continued to release music at regular intervals over the last 15 years, dropping Newer Symbols in 2022. But in 2020 he started toying with this idea he had for a music player called Sleevenote. Inspired by viny …
Fans of classic animation have a massive reason to celebrate today. Warner Bros. just confirmed that comedy legend Jim Carrey will star in a brand new live-action adaptation of the beloved cartoon series, The Jetsons. The massive studio dropped this major update during its recent quarterly shareholder letter, officially adding the long-rumored space age family […]
Trying Season 5 Episode 5 puts Princess, Nikki, and Jason through three very different emotional situations, while the episode keeps the familiar humor at the center of the story. Princess continues waiting for Kat, Nikki finally confronts her feelings for Kerry, and Jason learns that helping someone is rarely as simple as it looks. Season […]
Sugar Season 2 Episode 8 finally gives John Sugar the answer he has been chasing for years, but the truth about his missing sister Djen leaves him with an even bigger problem heading into a possible third season. Warning: Major spoilers for Sugar Season 2 Episode 8, “Like Sugar,” follow. The finale picks up after […]
Silo Season 3 Episode 7 will release on Apple TV on Friday, August 14, 2026, continuing the show’s weekly schedule as Juliette’s fight against the system enters a more dangerous stage. The upcoming episode is titled “Radio,” and it follows Episode 6, “The Drive,” which pushed Juliette closer to a mission that could expose another […]
Silo Season 3 Episode 7 is setting up Juliette Nichols’ most dangerous move since her return, as the plan involving Silo 17 finally starts taking shape after Episode 6. The next episode is titled “Radio,” which strongly points toward communication becoming a major part of Juliette’s plan. Episode 7 arrives on Apple TV on August […]
Silo Season 3 Episode 6, titled “The Drive,” gives Juliette Nichols a possible route back to Silo 17, but the ending reveals that The Algorithm has already turned her rescue plan into something far more dangerous. Episode 6 arrived on Apple TV on August 7, 2026, as the 10-episode season entered its second half. Season […]
Spider-Man is swinging past the competition to set a massive new milestone in theaters right now. The latest Marvel adventure, Spider-Man: Brand New Day, has officially become the fastest movie in history to cross the half-billion mark at the domestic box office. Fans are showing up in huge numbers every single day, helping the highly […]
The highly anticipated sequel to the blockbuster Michael Jackson biopic is officially moving forward. During a recent earnings call, Lionsgate Motion Picture Group Chair Adam Fogelson shared a fresh update on when fans can expect Michael 2 to hit theaters. While the studio has not given a firm green light just yet, it is already […]
Adam Sandler is bringing the original cast back together to film a new comedy sequel. Production for the upcoming movie Grown Ups 3 has officially started, arriving more than a full decade after the second film played in theaters. Viewers finally got a clear look at the reunion when Sandler posted a new photo from […]
Robert Pattinson is stepping into the intense world of reality television in the brand new trailer for the upcoming movie Primetime. A24 dropped the gripping footage on August 6, giving fans their first real look at the actor completely transforming into Chris Hansen. The film explores the origins of the highly controversial hit television show […]
Bonfire series planned for Apple is no longer proceeding at the streaming service, ending the latest attempt to transform Tom Wolfe’s The Bonfire of the Vanities into an episodic television drama.
The project had assembled a notable creative team. David E. Kelley was attached to write and executive produce, while The Batman director Matt Reeves was expected to direct the eight-episode adaptation and serve as an executive producer through his 6th & Idaho Productions company.
Warner Bros. Television was producing the series, with Sarah Geismer representing 6th & Idaho and Matthew Tinker participating through David E. Kelley Productions.
According to industry reports, Apple and the creative team were not aligned on the direction of the adaptation. Kelley was also reportedly dissatisfied with how the development process had been handled. The exact source of the disagreement has not been disclosed.
Apple has not announced the project as a formal cancellation, and it never received a public premiere date or cast. Its departure from Apple instead ends one stage of development while leaving Warner Bros. Television with the possibility of taking the adaptation elsewhere.
Tom Wolfe’s | Image Source: Google
Apple Ends the Project After Four Months
News of the Bonfire series first emerged in April 2026. Kelley was expected to write the adaptation after working with Apple on Presumed Innocent and Margo’s Got Money Troubles, while Reeves would direct after completing his existing film commitments.
The partnership appeared well suited to a complicated literary adaptation. Kelley has extensive experience turning novels into television dramas, including Big Little Lies, The Lincoln Lawyer, Nine Perfect Strangers, Presumed Innocent, and Wolfe’s A Man in Full.
Reeves brought a different set of strengths. His work on The Batman, Dawn of the Planet of the Apes, War for the Planet of the Apes, and Cloverfield demonstrated his ability to handle large casts, morally compromised characters, and cities presented as active elements of the story.
The arrangement also connected Warner Bros. Television with Apple’s preference for recognizable creators and established literary properties. Wolfe’s novel offered a prestigious title, a large ensemble, and a view of New York society that could support a limited-series structure.
The development reportedly lasted only a few months before the creative relationship broke down. No actors had been announced, and there was no indication that cameras were close to rolling.
The absence of production activity makes the development easier to stop than a commissioned series with actors, sets, and crews already under contract. It also means Apple can leave the project without abandoning completed episodes or disrupting a release calendar.
Development Never Reached Production
A television project entering development is not the same as a series receiving a complete production order. Writers can prepare scripts, directors can become attached, and studios can negotiate with a streaming service before a final budget or filming commitment is approved.
The Bonfire of the Vanities was widely discussed as an eight-episode Apple adaptation, but Apple never unveiled it through its official press service. The project did not appear with a cast, production date, first-look image, or planned release window.
That distinction makes “stalled” more accurate than suggesting that Apple canceled a finished series. The adaptation remains intellectual property controlled through its rights and production arrangements, but the version developed for Apple has stopped advancing.
Creative alignment can cover several areas, including tone, period setting, episode structure, budget, casting, and how closely a project follows its source. None of those issues has been identified publicly as the specific cause of the disagreement.
The source material presents difficult choices. Wolfe wrote the novel as a detailed portrait of 1980s New York, with Wall Street, tabloid journalism, city politics, race, class, and personal ambition colliding around a single incident.
An adaptation could preserve that period or move the story into a contemporary financial and media environment. Keeping the 1980s setting would retain the social ecosystem Wolfe observed, while modernization would require substantial changes to technology, journalism, policing, politics, and the financial industry.
Reports of creative differences do not establish which approach Apple, Kelley, Reeves, or Warner Bros. preferred. Until one of the parties discusses the project, the disagreement remains undefined.
Image Credit: AppleMagazine
A Difficult Novel to Translate
Published in 1987 after being serialized in Rolling Stone, The Bonfire of the Vanities follows Sherman McCoy, a wealthy bond trader who considers himself a “Master of the Universe.”
McCoy’s protected life begins collapsing after he and his mistress take a wrong turn into the Bronx. Their encounter with two young Black men ends in a hit-and-run, creating an opportunity for journalists, attorneys, politicians, activists, and social climbers to exploit the case.
The novel spreads its attention across several communities and institutions. Its satire depends on the reader observing how each group manipulates the incident while claiming moral authority. That scope gives television more room than a feature film, but it also requires precise control of perspective and tone.
Brian De Palma directed the previous film adaptation, released by Warner Bros. in 1990. Tom Hanks played Sherman McCoy alongside Melanie Griffith, Bruce Willis, Morgan Freeman, Kim Cattrall, and F. Murray Abraham.
Despite the cast and an estimated production budget of approximately $47 million, the film earned about $15.6 million domestically. Critics objected to its casting, tonal decisions, and changes to Wolfe’s characters.
The difficult production later became the subject of Julie Salamon’s The Devil’s Candy, a detailed account of how an expensive adaptation made by accomplished filmmakers deteriorated through compromises and conflicting decisions.
The film’s reputation has followed every subsequent effort to revisit Wolfe’s novel. A television version has frequently been proposed as a better format because it can preserve more characters, institutional detail, and social context.
Amazon began developing an eight-episode adaptation in 2016 with Chuck Lorre and Warner Bros. Television. That version was intended to update the story while approaching it through themes of race, class, politics, and media. It never entered production.
Apple’s attempt therefore becomes another chapter in a long development history rather than the first revival since De Palma’s film.
The Kelley Relationship May Continue
The collapse of this project does not necessarily end David E. Kelley’s relationship with Apple. His adaptation of Presumed Innocent became a major drama for the service, while Margo’s Got Money Troubles expanded his work with the company into comedy-drama.
Large producers and streaming services regularly continue working together after deciding against an individual project. Each adaptation has its own creative, financial, and scheduling demands.
The reported dissatisfaction does introduce uncertainty around whether Kelley would remain involved if Warner Bros. Television places the series with another distributor. Reeves’ position is similarly unknown, particularly because directing all eight episodes would require a substantial scheduling commitment.
Apple can continue expanding its collection of literary adaptations without Bonfire. Its existing slate includes projects derived from novels, nonfiction books, short stories, podcasts, and magazine reporting, often with established filmmakers receiving considerable creative control.
The decision also illustrates how selective Apple can be before production. Projects in development may attract prominent writers and directors without ever becoming Apple Originals available to subscribers.
Warner Bros. Television remains attached as the studio behind the adaptation, giving it a potential route to another streaming service or network. No new buyer, revised creative team, or timetable has been reported for The Bonfire of the Vanities.
Silo Season 3 Episode 6 will arrive on Apple TV on Friday, August 7, 2026, continuing Juliette Nichols’ search for the truth while the Before Times storyline moves closer to the creation of the silos. The upcoming chapter is titled “The Drive.” Apple has confirmed that Season 3 contains 10 episodes, with a new episode […]
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