Reacher season is my favorite time of year, and season 4 will account for much of my screen time over the next few months.
If you remember, the end of season 3 saw Reacher (Alan Ritchson) finally kill Quinn (Brian Tee) point-blank with a shotgun after reminding him of how he murdered Kohl (Mariah Robinson).
Reacher then, as is is way, leaves town... but does that mean that the drama stops? Of course not — it's just a new beginning (especially as season 5 has already been confirmed).
I haven't even seen any previews yet, but my advice is to strap in for what could be the wildest ride yet. But when do Reacher season 4 episodes 1-3 arrive on Prime Video?
What time can I watch Reacher season 4 episodes 1-3 on Prime Video?
We're expecting episodes 1-3 of Reacher season 4 to be available on Prime Video on August 12 at 12am PT / 3am ET in the US.
Internationally, look out for the below times:
US – 12am PT / 3am ET
Canada – 12am PT / 3am ET
UK – 8am BST
India – 12:30pm IST
Singapore – 3pm SGT
Australia – 6pm AEST
New Zealand – 8pm NZDT
When do new episodes of Reacher season 4 come out?
(Image credit: Prime Video)
After its three-episode premiere, Reacher season 4 episodes will be airing on a weekly basis. This gives us the following season schedule:
Episode 1: August 12
Episode 2: August 12
Episode 3: August 12
Episode 4: August 19
Episode 5: August 26
Episode 6: September 2
Episode 7: September 9
Episode 8: September 16
Interestingly, the Reacher season 4 finale coincides with the day that all episodes of spinoff Neagley will arrive on Prime Video.
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.
After falling in love with Disneyland Handcrafted, I was excited to dive into the studio's latest documentary movie, Disney Worldbuilders. Directed by Leslie Iwerks, the new movie has a tiny runtime of 58 minutes and call me greedy, but I really wanted more.
Disney Worldbuilders gets up-close-and-personal with some of Disney's most influential voices, where we learn about creative processes and their lasting impact on both cinema and the Disney Parks around the world.
Even though I loved what I saw, I did feel as though Worldbuilders tries to squeeze too much into its runtime. Unlike Handcrafted, which solely focuses on Walt's vision for Disneyland in Anaheim, this jumps around between subjects, and I wish we'd had an episode for each person interviewed so we could've taken a deeper dive.
The stacked line-up is made up of Bob Iger, James Cameron, Jon Favreau, Kevin Feige, Jennifer Lee, Pete Docter, Dave Filoni, Jared Bush, and Josh D’Amaro. That's a lot of people to talk to in under an hour, so I really wish we'd had more time with all of them!
Bob Iger in particular deserves a documentary of his own, and I hope we get one so we can properly examine the huge impact he's had on the Walt Disney Company, because it's not to be sniffed at. His segments didn't seem to fit with the rest of the interviews.
Still, that doesn't mean Worldbuilders is not worth your time. Far from it, in fact; I think it gives some really valuable and inspiring insights from some of the biggest names across Disney properties like Pixar, Star Wars, and Marvel, and it's hard not to smile when you're greeted with this footage.
Jennifer Lee and her sister have an emotional scene in Disney Worldbuilders. (Image credit: Disney)
The scale of the Disney Parks really is fascinating, and I liked how we were able to see the early days of areas such as Hollywood Studios' Galaxy's Edge and Animal Kingdom’s Pandora, especially how the directors of those movies responded to seeing their creations come to life. Now, fans get to walk through the worlds we see on screen, and the constant innovation going on across the global parks is jaw-dropping.
I found myself getting emotional during certain parts, particularly Jennifer Lee's reaction to World of Frozen at Disneyland Paris. Seeing her wandering around with Olaf and reflecting on her relationship with her sister is incredibly touching, given how Anna and Elsa are such inspirational figures to a lot of people out there.
Even though the interviews with each subject are short, we do get a lot of heartfelt anecdotes which I found to be very interesting. As someone who has been enamored with filmmaking from a young age, it's inspiring to see how these amazing creatives can help shape future attractions for all ages. In Worldbuilders, they reflect on their own childhoods and how they ended up working for one of the biggest media companies in the world.
Ultimately, this would have worked so much better in an episodic format because I could have happily watched eight hours of this, as opposed to the one hour we did get. I am hopeful that Disney will do more long-form Parks-focused documentaries like this, especially ones that talk to the creatives responsible for writing these worlds we know and love.
Spotify wants to introduce new ways for listeners to engage with the artists they love the most, all while expressing their own creativity.
The streamer’s audio mixing feature for playlists has sky-rocketed in popularity, introducing a new way for listeners to modify their playlists. Now Spotify is working on a new AI-powered fan-made covers and remix tool — and it’s seeking the help of Merlin.
Spotify’s upcoming remix tool will come as a subscription add-on, though we don’t know when it’s due to drop or how much it will be on top of the current $12.99/ £12.99/ AU$15.99 monthly Spotify Premium plan.
Despite knowing very little about it, we do know that the remix feature will garner significant attention across the board of users, artists, organizations, and analysts alike. So what’s the end-goal for Spotify, and what are people saying about its potential knock-on effects for musicians and listeners?
What is the agreement?
(Image credit: Spotify)
On August 4, Spotify and digital licensing partner Merlin announced a new agreement that would give artists on labels under the Merlin name the option to lend their music to Spotify’s remix feature. Merlin is the second organization to sign on to the deal, following Universal Music Group in May.
For Spotify, the goal is simple: to ‘give listeners a new way to engage with the music they love from participating artists and songwriters,’ as stated in the announcement. Spotify also says the tool ‘will create an additional revenue stream for participating artists’.
However, despite knowing the tool will be AI-powered, Spotify hasn’t gone into detail as to exactly how it will allow listeners to create their own remixes of their favorite songs. The discourse around AI-generated slop is still a hot topic, and Spotify is still bearing the brunt of harsh criticism, so its venture into launching AI-powered music add-ons has left everyone scratching their heads.
What are Spotify’s competitors saying?
(Image credit: Qobuz)
As far as rival music streamers go, it’s safe to say the top dogs aren’t too interested in integrating AI throughout their respective UXs. While the likes of Apple Music and Tidal use algorithmic recommendations to fuel discovery, the number of generative AI tools is nowhere near as saturated as Spotify.
Listening to an artist’s music in the way it was released is the only concern for most companies, particularly for Dan Mackta, Managing Director at Qobuz, who gave us the following statement: “Qobuz isn’t looking at anything like this. The finished music that great artists release is good enough for us and our community”.
The desire to keep the traditional listening experience in place is quite prevalent on the one hand. Some users just want to kick back with an album or playlist, hit the play button, and let the music do its thing. But as music analyst and founder of MIDiA Research Mark Mulligan points out, the yearning for active participation is growing.
Mulligan detailed this in a comment shared with us: “A growing share of consumers want to do more than just listen. Audio modification is an opportunity both to tap into consumer creativity and fandom. Playing around with your favourite artist’s song is an ultimate expression of fandom”.
Additionally, he backed this up with his own findings from the recent MIDiA Q1 2026 consumer survey: “The potential of audio modification is significant. Consumer demand is clear, with 54% of consumers interested in some form of audio modification, from changing speed to swapping vocals, rising to 80% for 16–19-year-olds”.
Participatory music is a rising phenomenon, and software labels like A Vinyl Bar in Shibuya want to create experiences that go beyond just listening to a song. However, AI is out of the question, and the creativity is placed in the hands of the user, not generated by a machine.
What are artists/ organizations saying?
(Image credit: Musician's Union)
In light of Spotify’s announcement, it’s not just competitors that are having their say on the AI-powered remix tool. Additionally, artists and music organizations are questioning the long-term financial effects the feature could have.
Musician’s Union is a UK-based organization that represents artists in all areas of the music industry, and its General Secretary Naomi Pohl views Spotify’s partnership with two minds.
“The Merlin and Spotify announcement sounds positive as it suggests artists will have the choice to participate in licensing deals or not and, crucially, that they will share in any revenue generated by the use of their works. This is better than the blanket approach taken by some major labels,” she tells us, but she also raises concerns about how artists will be paid, adding the following:
“However, as with music streaming royalties, there is a question over how artists signed to independent labels will be paid by their label. Artists should in theory get 50% of any revenue their label receives, but in practice this may not happen in all cases as it will depend on the label’s interpretation of the artist’s contract. Many artists signed before AI deals were even conceived of. And, as with music streaming, session or backing musicians on tracks currently stand to receive no share of revenue”.
When it comes to royalties, Spotify has faced severe criticism due to its payment model. Because Spotify pools money generated from subscriptions, it means the most streamed artists over the year will receive a higher percentage of the profits made. So, even if you spend an entire year supporting and streaming an up-and-coming indie band, your subscription money is still going to artists like Taylor Swift.
Royalties aside, the other concern lies within the protection of music in its original form. PRS for Music, who handle the rights and royalties behind music, feel this strongly. “More generally, streaming services are embracing new technologies, including AI, to give fans new ways to engage with the music they love,” a PRS spokesperson told us.
But despite these emerging consumer tools, what could easily get lost is the care for the music itself. PRS fears this will become less of a priority, adding “Creators, and their work, must be central to the development of these new tools. They must be designed specifically to protect the integrity of the work above all else, and to ensure creators are fairly paid for the value they bring to each and every platform”.
At the end of the day, these platforms are there not only for fans to listen and engage with music, but they're there for artists to allow fans to hear music the way they intended. Though Spotify's AI-powered remix tool would be a creative addition to the service, how long will it be before everyone reverts to streaming AI-generated mashups instead of the real thing?
A Google user has had the LOTR movies pulled from their account
Licensing changes are the most likely reason
It's another argument for physical media — or for piracy
We've seen multiple incidents over the years where users have had movies and shows in their digital libraries unceremoniously yanked due to changes in licensing rules, but that doesn't make it any easier to swallow when it happens again.
This time a user posting to Reddit (via Neowin) has had their Lord of the Rings Extended Editions removed, after paying good money for them four years ago. As per a Google support representative, these films are "no longer available in our catalog".
The unlucky user doesn't say how much they paid for the three movies, but they're unlikely to have come cheap — and now they're left with nothing. It's a galling turn of events, even if it's not that surprising any more.
Buried in the small print of pretty much all the digital content services you use will be warnings about changes in catalog availability, and unfortunately that applies to purchases as well as libraries rented month to month (as on Netflix).
The affected user didn't even get a refund or a gift card for their troubles, as the purchase falls outside the standard 120-day window when these offers are available. They're just going to have to find it and watch it somewhere else.
As you might expect, the general Reddit reaction is one of dismay. "This is why physical media matters," says one commenter, while another says "you will own nothing and be happy" (while pointing out that they own the Blu-rays).
It's certainly strong evidence that physical media is the way forward at this stage. As convenient and simple as digital purchases might be, they're always vulnerable to changes in the policies and agreements of online stories and the production studios.
Many of the Redditors responding to the case argue that these kinds of actions essentially legitimize piracy too. You also have the option of putting together a Plex library, which works like your own personal Netflix — and is yours to keep.
I still haven't got my head around the new Sky TV thriller Possession, with all five episodes now available to stream.
We follow Claudia (Gugu Mbatha-Raw), an ambitious biracial lawyer who travels to Jamaica to challenge an inheritance claim made by a local man against a wealthy white aristocrat.
However, she arrives to find the disputed estate is a former plantation that has long haunted her dreams. Cue a terrifying slew of 1800s flashbacks, curses, and misunderstood spiritual connection.
It's colonial horror with a fresh 2020s take, and the supernatural tone might remind you of one of the biggest box office hits of the last five years.
In fact, it's the cast's immediate answer when I ask for their opinion on what would be best to double bill with Possession, but there's one connection that I didn't see coming.
Stream Sinners on HBO Max after binging Possession on Sky TV
"It was being made at the same time we were making this show, so we didn't realise that there was a connection, but Sinners keeps getting brought up," director Storm Saulter tells me when I put the double bill question to him and Mbatha-Raw.
"It's different, but it's also speaking about certain histories: about Afro-spiritualists, voodoo, magic, connection to Obeah (a monster from West African folklore).
"So I think those are two pieces in two different worlds, but they speak to the history, tradition, forward-thinking, and that the past is present."
Once Saulter says this, I don't know why I didn't make the same connection sooner. Though Sinners is more concerned with vampires in a more traditional sense, director Ryan Coogler's vision was so uniquely steeped in cultural history that's usually not done justice in mainstream media — and Possession fits that same criteria.
In fact, I think that Sinners is a much better fit than Belle, Mbatha-Raw's 2013 film critics have already compared to Possession.
She plays the titular character Dido Elizabeth Belle, who was a mixed-race illegitimate daughter of a Royal Navy Admiral raised in 18th Century England.
But does Mbatha-Raw see the connection that everybody else has?
"Obviously, to me, they're very separate projects, but I can see that there's some common themes," she responds. "Belle was a period drama that, was about one of the fewer known biracial aristocrats in England whose uncle was the Lord Chief Justice of England. In Possession, I'm playing the lawyer, so I definitely see, some of the comparisons there.
"It's a privilege to have a canon of work behind me where occasionally you have the privilege to really confront some of these issues in your work. It's not lost on me."
And if watching Possession, Sinners and potentially Belle is too much for some? "Get outside... go for a walk," Mbatha-Raw jokes.
FaceTime Dual Capture is bringing simultaneous front-and-rear camera streaming to video calls in iOS 27, allowing compatible iPhones to show the caller and their surroundings without repeatedly switching between cameras.
The feature expands technology Apple introduced with the iPhone 17 family. Dual Capture already allows the Camera app to record through the Center Stage front camera and a rear camera at the same time. iOS 27 brings a similar capability directly into live FaceTime calls.
During a call, the front camera can continue showing the speaker while the rear camera displays whatever the iPhone is pointing toward. Someone attending a concert can share the performance and remain visible. A parent can show a child playing without disappearing from the conversation. A person asking for technical assistance can remain on screen while directing the rear camera toward the equipment causing the problem.
Dual Capture removes the awkward sequence of switching to the rear camera, showing something, and switching back to continue speaking face to face. Both perspectives remain available inside the same call.
Image Credit: Thomas Trutschel Photothek/Getty Images
FaceTime Dual Capture Changes Camera Switching
The normal FaceTime camera control changes from a simple front-or-rear choice on supported iPhones. When the caller activates the rear camera, iOS 27 keeps the front camera visible by default.
The main view displays the rear camera feed while a smaller window contains the front camera image. This picture-in-picture arrangement gives the other participant a continuous view of the caller’s reaction, commentary, or explanation.
To activate both cameras during a supported FaceTime call:
FaceTime > Start a video call > Tap the Flip button
Tapping the Flip button turns on the rear camera without immediately removing the front view. The other participant begins receiving both perspectives as part of the FaceTime stream.
The caller can disable the front view when it is no longer needed. This provides a conventional rear-camera presentation for situations where the surroundings should occupy the complete image.
To return to a single camera view:
FaceTime > Tap the camera view > Disable the front camera
The exact labels and placement may change before the public release of iOS 27 because the feature is still being tested in beta software. Its basic behavior is already established: the Flip control activates the rear camera while retaining the front camera feed.
Dual Capture does not create two independent FaceTime calls. Both images belong to one video stream, so the caller does not need a second account, device, or invitation.
The feature also differs from screen sharing. FaceTime screen sharing transmits applications and interface activity from the iPhone display. Dual Capture transmits live video from two physical cameras.
Image Source: Google
Which iPhones Support Dual Capture
Apple has limited FaceTime Dual Capture transmission to the iPhone 17, iPhone 17 Pro, iPhone 17 Pro Max, and iPhone Air. Each model includes Apple’s 18MP Center Stage front camera and the Dual Capture capability introduced in the Camera app.
An older iPhone that supports iOS 27 cannot originate a Dual Capture stream. It continues to use the normal option of selecting either the front camera or a rear camera during a call.
Older models can still receive and display a Dual Capture feed when they are running iOS 27. This allows an iPhone 16 or another supported device to see both views transmitted from an iPhone 17, even though it cannot send the same presentation back.
Both participants need iOS 27 for the new FaceTime layout to work as intended. The transmitting device must also be one of the supported iPhone 17-generation models.
This limitation is based on Apple’s official feature support rather than the simple presence of front and rear cameras. Earlier iPhones have camera hardware capable of operating in several multi-camera applications, but Apple has not extended its native Dual Capture implementation to them.
Third-party applications have offered forms of simultaneous multi-camera recording for years through Apple’s developer frameworks. The difference is that iOS 27 integrates the experience into FaceTime, where users can activate it through the familiar camera-switching control.
iPhone 17 Owners Receive a Second Dual Capture Feature
Describing FaceTime Dual Capture as retro-compatible with the iPhone 17 does not fully explain its relationship with the hardware. The iPhone 17 family introduced Apple’s native Dual Capture recording in 2025, and iOS 27 now gives that existing camera system another purpose.
Inside the Camera app, Dual Capture produces a saved video containing front and rear views. Apple lists support for recording at up to 4K Dolby Vision at 30 frames per second on the iPhone 17.
FaceTime uses the camera pairing for live communication instead. Network quality, bandwidth, device temperature, and FaceTime processing can affect the transmitted resolution, so users should not assume that a call will preserve the Camera app’s maximum 4K recording specification.
The Center Stage front camera also contributes more than resolution. Its square sensor gives the iPhone greater freedom to adjust framing without requiring the device to be physically rotated. Center Stage can help keep the caller positioned inside the smaller front-camera view while the rear camera follows the subject being shared.
That combination makes Dual Capture more useful than placing two untreated camera feeds beside each other. FaceTime can preserve the speaker’s presence while directing most of the screen toward the event, object, or location being discussed.
The feature may require more processing power and energy than an ordinary single-camera call. Running two camera sensors while encoding and transmitting live video can increase battery consumption and device temperature, especially during long calls over cellular data.
Apple has not published separate battery estimates for Dual Capture FaceTime calls. Users planning extended sessions may want access to power and a stable Wi-Fi connection.
iOS 27 Prepares FaceTime for iPhone 18
FaceTime Dual Capture arrives shortly before Apple’s expected iPhone 18 generation, making it likely to become part of how the company demonstrates the new phones’ camera and communication abilities.
Apple has not announced the iPhone 18 lineup or confirmed its final camera specifications. Compatibility with FaceTime Dual Capture is therefore expected from the software’s “iPhone 17 and newer” positioning, but individual iPhone 18 models should not be treated as confirmed until Apple presents them.
The software release gives existing iPhone 17 owners access without requiring another hardware purchase. That approach also provides Apple with a working FaceTime feature before the next iPhone launch rather than introducing the camera mode and communication interface at the same moment.
Future hardware could improve the experience through faster processors, stronger image stabilization, upgraded sensors, or more efficient video encoding. None of those additions is required for the supported iPhone 17 family, which already contains the camera system needed to transmit both views.
Dual Capture is only one part of the FaceTime update. Apple is also improving video-call quality when the network connection is weak, addressing a problem that becomes especially relevant when two live camera views require transmission. Traditional Chinese support is joining FaceTime Live Captions as well.
The weak-connection improvement may determine how dependable Dual Capture becomes away from Wi-Fi. A feature designed for travel, events, repairs, and outdoor calls needs to tolerate changes in cellular bandwidth without freezing both views or forcing the session to end.
FaceTime Dual Capture remains part of the iOS 27 beta as Apple prepares the public update for September. Apple can still adjust the interface, performance, device requirements, and picture-in-picture behavior before the completed software reaches iPhone 17 owners.
Disney is “exploring a free product” for streaming customers, CEO Josh D’Amaro confirmed in a call with investors today.
D’Amaro, who succeeded Bob Iger as Disney’s chief in March, said that a free Disney-owned streaming service would help Disney reach more “price-sensitive” customers, which is a “strategic priority” for Disney, according to a transcript of the call.
A free streaming service would also generate more ad revenue, which has become increasingly important for streaming services challenged by plateauing subscriber numbers, subscriber churn, and competition from cheaper and free rivals.
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