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Over the weekend, the 2026 Pokémon World Championships included a flurry of new Pokémon announcements, including the first new Pokémon movie for seven years. Due to launch in theaters next year, Pokémon: Wild Card will feature a TCG player "battling and striving to be a champion", accompanied by a mysterious Mimikyu.

Of course, Mimikyu does not currently have a Mega Evolution — not in the series' original Pokémon X and Y batch of Megas, or in the fresh menagerie introduced last year via Pokémon Legends: Z-A. But there is something odd about the Mimikyu in that poster — do you see it?

Yes, the Mimikyu is glowing with rainbow-colored light — a very similar rainbow-colored light to the effect of Pokémon as Mega Energy, used to Mega Evolve. Is it a coincidence, or something more? And if we are about to see a Mega Mimikyu revealed, when could it debut in video game form?

One popular suggestion is that Mimikyu will evolve in next year's Pokémon Winds and Waves, the franchise's long-awaited 10th generation of games due to arrive exclusively for Nintendo Switch 2. With these games and Pokémon: Wild Card arriving around the same time, this would be a neat teaser — and certainly, anime movies and series have previously featured various Pokémon debuts before they're actually available in-game.

One other avenue for release could be via a final update to Pokémon Legends: Z-A, a game which focuses squarely on Mega Evolution. This would likely make more sense thematically, and there's been no suggestion that Winds and Waves will include Mega Evolution themselves. Indeed, as a new generation of games, the upcoming titles are more likely to feature their own regional mechanic (such as Gigantamax in Sword and Shield, or Terrestrialization in Scarlet/Violet).

Could Mega Mimikyu debut sooner rather than later in Legends: Z-A, as a way to tide fans over while news on Winds and Waves' launch window remains thin on the ground? Or could this all just be another one of Mimikyu's tricks? Fans seem convinced Mega Mimikyu is coming, either way.

Mega Mimikyu would be so goated and I would not be normal about it. I felt that it was such an obvious choice. Mega Mimikyu’s ability should restore disguise https://t.co/l1TzKnlz1Z

— 👑🤴🏻Spoopy🪦💀 (@Prince_Spoopy) September 1, 2026

Mega Mimikyu incoming?? https://t.co/rAu2VWlyZq

— Moxie✨✏️ (@Moxie2D) August 31, 2026

bet on mega mimikyu https://t.co/2aYhRo88DI

— abeo (@CassidyCrpKilla) August 31, 2026

For everything announced during the 2026 Pokémon World Championships and PokémonXP, check out our roundup. Pokémon: Wild Card may be the only feature-length movie announced, but another animated Pokémon project is making its way to screens in 2027. Pokémon Tales: The Misadventures of Sirfetch'd and Pichu was announced back in 2025, but news about the series streaming on DisneyXD and more was revealed during a panel at this year's PokémonXP.

Images credit: The Pokémon Company

Tom Phillips is IGN's News Editor. You can reach Tom at [email protected] or find him on Bluesky @tomphillipseg.bsky.social

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In an appearance on CNBC's "Squawk Box" on Wednesday, Abel said that while high yields are topical in Japan — with the nation's 10-year bond yield hitting a 30-year high this week — it's manageable, at least for major trading firms in the country. 

"Not a single one of the trading companies raised it as a fundamental challenge right now," he said. "They're still relatively modest when you think about it," Abel added, noting that Japan's yields, while at multi-decade highs, are still low relatively to other bond yields across the world. 

While Japan's multi-decade high in its 10-year bond yield is just above 3%, the U.S. 10-year Treasury Yield hit an almost three-year high on Tuesday when it crossed 4.8%.

Japan bond yield in 2026

Berkshire Hathaway has a greater than 10% stake in five of Japan's largest trading houses — Itochu, Marubeni, Mitsubishi, Mitsui and Sumitomo — which deal with everything from energy to consumer goods. Abel was visiting Tokyo, which included checking in with those five firms along with Berkshire's other investments in the country. 

Abel added that he expects Berkshire will still raise debt as appropriate in yen, despite the high yields.

The investments in the trading houses were originally made under a guarantee that Berkshire would never take double-digit stakes in any of the five. However, Abel said the company received permission from each of the individual trading houses to now own more than 10% in each six years after the initial investment. 

Abel reiterated that the company continues to see value in these investments, which have yielded strong returns for Berkshire as shares of the trading houses have grown substantially since the initial investment six years ago. 

"It's really, one, a long-term investment that we intend to hold for many decades, and then, secondly, we've been building really strong relationships with each of the companies, and looking at other opportunities here in Japan, and for that matter, abroad," he said. "And those are just exceptional discussions." %!s()

Total mortgage application volume rose just 0.8% last week compared with the previous week, according to the Mortgage Bankers Association's seasonally adjusted index.

The average contract interest rate for 30-year fixed-rate mortgages with conforming loan balances, $832,750 or less, increased to 6.79% from 6.78%, with points decreasing to 0.65 from 0.66, including the origination fee, for loans with a 20% down payment.

"Mortgage rates reached their highest levels in four weeks as investors' concerns about inflation and growing deficits push yields higher across the globe," said Mike Fratantoni, senior vice president and chief economist at the MBA, in a release.

Applications for a mortgage to purchase a home did eke out a small gain, up 2% for the week but still 0.2% lower than the same week one year ago. Last year, rates were 15 basis points lower.

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"In many local markets, potential buyers have plenty of homes to choose, and this is likely supporting transaction volume," Fratantoni said. "Another trend we're monitoring is more borrowers choosing ARMs [adjustable-rate mortgages], with the ARM share back to 8 percent last week, its highest level in 5 weeks."

These ARMs can be fixed for up to 10 years, but the fact that they will adjust to whatever the rate is in the future makes them riskier. The average contract interest rate for 5/1 ARMs last week fell to 5.94%.

Applications to refinance a home loan dropped 1% for the week and were 19% lower than the same week one year ago. With rates as high as they are now, most borrowers have very little incentive to refinance unless they need to pull equity out of their homes.

Mortgage rates continued to move up this week, reaching the highest level since June 2025, according to Mortgage News Daily. %!s()

“It’s much harder for women to get their films financed,” said Gyllenhaal, the festival’s competition jury president this year, when asked about the dearth of women in Venice’s selection. “Also, could it be possible that the things that women, having had a different experience of being alive in the world, want to make movies about are not always deemed high art?”

“I really am walking in with a question as to why there are so few women in the main competition,” she later added.

This year’s competition has drawn scrutiny for its stark gender imbalance. Just one of the original list of 20 Golden Lion contenders — May el-Toukhy’s Woman Unknown — is directed by a woman, down from six female-directed competition titles last year. The festival later added to the competition with the Gaza documentary NAZA, co-directed by Yuval Abraham and Rachel Szor, bringing the total to two. Venice artistic director Alberto Barbera acknowledged the disparity when announcing the lineup, calling it a recent low for the festival.

But Gyllenhaal also tipped her hat to Venice for selecting her as the event’s jury chief this year. “Alberto and Julia asking me to be the head of the main jury competition — after the two films in particular that I have made — is a very important thing to consider, too,” she said.

Gyllenhaal’s jury includes Tunisian filmmaker Kaouther Ben Hania, whose acclaimed Palestinian drama The Voice of Hind Rajab won last year’s Silver Lion Grand Jury Prize; Oscar-winning composer Daniel Blumberg; film scholar Francesco Casetti; French director Xavier Giannoli; Afghan filmmaker Shahrbanoo Sadat; and Hong Kong filmmaking legend Johnnie To. 

Together they will select the Golden Lion winner and Venice’s other main competition prizes from a field that includes Danny Boyle’s Rupert Murdoch drama Ink, Robert Pattinson thriller Primetime, Martin McDonagh’s Wild Horse Nine, Korean auteur Lee Chang-dong’s much-anticipated return Possible Love and NAZA, among others.

Gyllenhaal has a significant history with Venice. Her 2021 feature directing debut, The Lost Daughter, premiered in competition on the Lido and earned her the festival’s best screenplay prize before going on to receive three Oscar nominations. She also has a project in Venice this year. Her Marilyn Monroe-inspired advertorial short Flesh Impact, starring Dakota Johnson, Ellen Burstyn and Peter Sarsgaard, will screen out of competition later in the event.

The press conference proceeded after some confusion during the weekend over whether the jury’s meeting with the media — a staple of all major film festivals — would take place at all. Venice organizers stated on Saturday that the jury presser might be scrapped due to a “scheduling conflict” involving a jury member; but by Sunday, the festival said a solution had been found, and the briefing would be held as usual. 

The brief interregnum stirred industry speculation about the role politics might play at the 83rd edition, as various global conflicts — the war in Gaza, Russia’s invasion of Ukraine, and the U.S.-Iran war — loom in the background of the world’s oldest film festival. Festival chief Barbera has described this year’s lineup as the “most political” of recent years. 

Venice’s blue-chip festival peers, meanwhile, showed earlier this year the two directions a major cultural event might take amid this globally fraught moment. In February, the Berlin festival became engulfed by political discord and social media point-scoring after jury president Wim Wenders told reporters during the opening press conference that filmmakers “have to stay out of politics.” But the Cannes Film Festival later went ahead in May with plenty of carefully calibrated political statements from filmmakers but notably less acrimony. 

Gyllenhaal was asked near the outset of the Venice press conference whether she feels filmmakers have a responsibility to be political amid the world’s current challenges. 

“We could say, ‘How are we possibly here talking about movies right now, when the world is in a state of emergency?'” she replied. “To me, the answer has something to do with empathy. I think that film allows an opening into an opportunity to find empathy inside of ourselves. Personally, I don’t believe that there is any subject or any filmmaker that shouldn’t be heard. I think we can challenge ourselves to hear stories about the most corrupt, the most perverse people, because it opens up the opportunity to find empathy for those people — and even to look at the ways in which we might have a little bad guy inside us, a little perversity inside us, a little corruption inside us, fight it as we might.”

She added: “I think that if movies really are an honest look into other people’s experience, then they are fundamentally, unavoidably political, as well as a lot of other things.”

The 83rd edition of the Venice Film Festival officially opens Wednesday evening on the Lido with a ceremony that will fete George Clooney with a Golden Lion for lifetime achievement and conclude with the world premiere of Boyle’s Ink, starring Jack O’Connell, Guy Pearce, and Claire Foy. The festival concludes with an awards ceremony on Sept. 12.   %!s()

The 95-minute drama, set against India’s sand mining crisis, follows 12-year-old Maya (newcomer Maya Mehta) as she returns to India with her mother to reunite with her estranged father, a sand mining businessman, and forms a bond with Kiran, a young worker.

After an accident, a police investigation turns Maya into a key witness, with her father relying on her to absolve him. As her mother unravels, Maya uncovers a pattern of silence and exploitation that leads her to confront her father’s deception and her family’s complicity.

Adnani has said the title is rooted in the sand mining crisis in India, where extraction of river sand has accelerated erosion and contributed to flooding. “Sand, in this world, is currency — and many people are unaware that we are running out of it, and that its extraction is causing land erosion worldwide,” she writes in the film’s production notes.

In the clip, Maya questions her father’s view of what holds their family together. “We are family. We are connected by blood,” he tells her. “Is that what you think connects us?” she replies, before naming what she believes actually binds them: “The house, money.”

Mehta, making her screen debut, stars alongside Mohammad Zeeshan Ayyub (Article 15, Jogi, Raanjhanaa) as Rohan and Ellora Torchia (Midsommar, Ali & Ava, House of the Dragon) as Priti, with Krish Raj More as Kiran, Ravi Patil as Dadya and Jyoti Dogra as Art.

Adnani is a Chilean-born, Indian-origin writer-director based in London. Her short film White Ant premiered at Sundance, was longlisted for a BIFA, won Best UK Short at Raindance in 2023 and was acquired by Canal+. She is a London Film School and Berlinale Talents alumna.

Our Share of Sand is produced by Sara Bonakdar for Fifth Mirror Pictures, with Alan McAlex, Balthazar de Ganay, Giorgos Karnavas and Michael Graf also producing. Developed with Film4 and the BFI, the UK-Greek co-production was shot in India, co-produced with Karnavas’ Heretic and made in association with McAlex’s Suitable Pictures (Santosh, Sister Midnight). Global Constellation is handling international sales.

Check out the clip of Our Share of Sand below.