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It's reported the post reached 5.9 million X accounts, accumulated more than 143,000 likes, and passed 10,000 reshares. IGN hasn't been able to find any reuploads of the movie on social media yet, but traces can still be found if you know where to look.

"DUDE NO I WAS WATCHING THIS SPIDERMAN BRAND NEW DAY MOVIE ON TWITTER AND IT SUDDENLY STOPPED PLAYING," one user said.

"Yo did anybody download that Spider-Man Brand New Day movie that just dropped? I forgot to download it before it got deleted," another user said with "loudly crying face" emojis.

Short segments revealing some of Spider-Man: Brand New Day's biggest reveals also started floating around on X. While some of those posts remain online, a message saying "this media has been disabled in response to a report by the copyright owner" can now be found in the video's place. Some users still have posts available stating they saw at least the first chunk of the movie before it was removed, while others say they were able to nearly finish it.

As the leak made its way online and was promptly removed, Marvel Studios has unfortunately followed in the footsteps of Christopher Nolan and his new movie, The Odyssey. A high-quality rip featuring all three hours of that film was posted on X last weekend, giving millions of users the opportunity to watch it or at least get a taste of what it's like instead of going to the theaters to watch it. While Sony told Variety it had no comment regarding its leak, Universal did share its own statement.

"We became aware of the unauthorized posting of the film and immediately initiated takedown protocols," Universal told Variety in a statement. "We take copyright infringement seriously and will pursue all appropriate remedies to protect our content and intellectual property rights."

It's unclear if Sony has any plans to take further action regarding the Spider-Man: Brand New Day leaks on X. For now, the film has only just been released in theaters today, July 31, 2026.

IGN gave Holland's latest swing a 7/10 review. The film brought in an incredible $72 million in box office previews, though how exactly it will fare throughout its opening weekend remains to be seen. Meanwhile, Sony has already been doing its best to combat leaks related to its post-credits scene.

Michael Cripe is a freelance writer with IGN. He's best known for his work at sites like The Pitch, The Escapist, and OnlySP. Be sure to give him a follow on Bluesky (@mikecripe.bsky.social) and Twitter (@MikeCripe). %!s()

As a child of the '90s-era pocket monster craze, I had what I suspect historians will call Monster-Taming Madness. A not-so-terrible, but sort of annoying affliction that meant I always had a Tamagotchi in my pocket, a handful of Pokémon cards, and the entire Spice Girls discography on standby for summoning creatures from discs in Monster Rancher.

Need to Know

What it is: Pokémon: Survival Evolved, a few of them open carry
Release date: July 10, 2026
Developer: Pocketpair
Publisher: Pocketpair
Reviewed on RTX 4080, AMD Ryzen 7 9800X3D, 64GB RAM
Steam Deck: Verified
Link: Steam

To say I was obsessed is putting it mildly, but in all that time I spent collecting little guys and preparing them to duke it out, I never once considered the obvious: What if I gave one of these guys a gun?

When it launched in early access, that's what Palworld was known as: Pokémon with guns. It's not an entirely unfair description of the survival crafting, creature-collecting adventure, and two years ago, I would've agreed with it. It certainly looks like a case of copying someone's homework, though that's not a good distillation of the Palworld 1.0 we have today.

Palworld has come a long way since early access, with the bones of a satisfying, iterative creature collector all here. I just wish I jived with more of the survival bits, and that Palworld embraced the things that make it stand apart from Pokémon outside of hokey ultra-violence satire.

The Pokémon in the room

Let's go ahead and get it out of the way—yes, Palworld's trainers, pal spheres, and even some monster designs are all similar to Pokémon. And yes, that's part of the appeal. It's also one of the least interesting influences when you start digging into the meat of Palworld's systems.

Comparisons to Ark or Conan Exiles feel more apt with its minion-like system for catching pals and deploying them to do base-keeping chores back home. In Ark, dinosaurs toddle about your base completing grindy survival crafting tasks, while thralls in Conan Exiles serve a similar purpose.

Palworld's pals work like the dinosaurs and thralls, but the execution is leagues better. Organizing your workforce is immediately satisfying in a way the others aren't, because you don't have to fight with it. I catch a pal, check its skills, and drop it at a crafting station to get started. There's no overly obtuse taming mechanic, and no need to engage with messy stat calculus. Even when I didn't have a clear grasp of all the nuances, my army of cute critters got their chores done without much fuss.

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Not every pal is willing to do every type of job, and I love how Palworld conveys their preferences through 'work suitability' levels—a clearly delineated set of specialty task icons highlighting a pal's capabilities. I was never left wondering why my new favorite early game pal, Pupperai, wasn't best in show for helping out around the base. It could only chop trees, pick berries, and move materials. Pupperai looks unemployable when the wild Tanzee nearby has those same skills, plus expertise in two additional task types.

My problem in Ark was always feeling so exhausted by the taming process that I would eventually just say 'fine, I'll do it myself,' before abandoning the idea. Pals will always try and help, at least a little, and the option for min-maxing is there through work suitability levels, partner skills, and passives.

Aesthetically displeasing

While I dig some of the new pal designs and scenery, Palworld's look and presentation occasionally sour me on the whole thing. There's just no way around how off-putting I find some of the game's tone and direction, which only grows worse as Palworld signals it's not very confident in its own artistic decisions. I get it, you aren't like the other games, you're different—the edgy older brother with a crude sense of humor.

I'm not just talking about Lovander giving me the bedroom eyes, either. Palworld has several little moments with weird tonal dissonance that feel inserted for virality or a need to prove it's different.

The first time I felt that way was right after crafting the Meat Cleaver, an early game tool you can use for butchering adorable critters like Lamball or Cattiva. So, being the monster that I am and unwilling to sacrifice Pupperai, I surveyed the starting area, judged all of its pals by their cuteness, and chose the one I liked the least as my first test subject. Sorry, Chikipi.

Violently butchering my pals didn't have much purpose, or at least not in the early game. In the time it took me to fetch a Chikipi from my Palbox and hack it apart, I could've already clobbered one in the wild without the weird blur effect making it into a goofy spectacle. There's no explicit gore to hide, it's just a bit for making the action cartoonishly violent. It was only in the very late game, when I unlocked the cleaver's automated mass-killing counterpart, that I saw any potential use for butchering pals at all.

Most of Palworld doesn't strain this hard to be shocking, but there's an air of the attitude sprinkled throughout. You'll find pals crying in cages, warnings that some little 'buddies' are working in various states of injury, and a handful of little guys wielding guns. Honestly, I'm glad there aren't more gun-wielding pals. That's more your avatar's thing. Tanzee, along with maybe four or five other pals are the only ones I can recall that stay strapped. You mostly just craft saddles to ride them like horses… or put them on the death machine.

Home groan

Legend has it that if you look into a mirror and whisper "survival crafting" three times, I'll come leaping out to ask what we're playing and when. I love'em, especially if they come with a good set of blocks because my friends always appoint me to the position of base architect, and I'm not stopping there. Our survival crafting house is getting the full service, appropriate holiday decor and all.

If you're also that person, bad news: Palworld makes for a pretty boring set of Legos.

If you're not that person, well, it's nice that the building is so bare-bones simple you can slap some crap on the ground and move on. But if I'm going to spend 100+ hours surviving and crafting, you're damn right I'm getting irritatingly picky about how my space looks.

Palworld's kit isn't all bad, but the underwhelming architecture and a few 1.0 tools are still worth mentioning:

• The building grid is massive and painfully strict. You have to stack three walls to accommodate bigger pals if you don't want to see them clipping through.
• Its building pieces, like walls and foundations, are of course oversized as a result. Palworld's map already suffers from a lot of empty space, and it's tough to let that go when my base looks the same way thanks to so much dead space.
• I love the new paint tool that changes the color of some building pieces. Light shades of wood are almost always a sin in my book, so I used it to customize wooden building pieces and turn them into darker grains.
• Paint works on storage furnishings too, and I love displays of color-coded chests. However, you can't paint some of the more basic furnishings like simple tables or chairs, though those futuristic production facilities need it the most.
• The alignment tool for snapping walls or furnishings neatly beside each other rules. We should make this mandatory in every base builder.

Creature crafter

Micromanaging pal work suitabilities was easily the best part of my Palworld base design experience, and getting into the nitty-gritty of breeding for other stats was a similar treat. It's another thing you don't have to fully engage with—I didn't even touch the system until approaching the final boss—but it's a delight for anyone also into Pokémon's stat-perfecting systems.

Pals have more situational builds, so I can spec them to help out with housekeeping, combat, or buffing duties. Do you want a Sekhmet for combat or crafting? Will Chillet keep your base cool, be your primary mount, or both? Their passives—a random selection of traits affecting everything from work speed to attack damage to their ability to work at night—are randomly assigned to pals caught in the wild, and help you breed for traits suiting their role.

I've got absolutely zero chill when it comes to in-game travel, so I didn't even fuss over breeding a more powerful sidekick for the final fight. I just wanted the fastest ride available, and that's led me down an Eidrolon Ignis breeding frenzy. Don't worry, Palworld doesn't make it weird. There's just a lot that goes into the process, which includes tasks like:

• Mass catching wild pals for the desired gender or passive. Sometimes you'll even stumble upon a Lucky pal, the game's version of shiny Pokémon.
• Adding pals with breeding-specific buffs to the team managing your base.
• Setting up facilities like the Breeding Farm and Egg Incubator; the Ranch for special food ingredients; or the Pal Condenser for merging weaker pals into your best one.
• Breeding for particular stats, passives, an entirely different pal, or even the chance at Mutated Eggs with special features.

I haven't seen many cool Mutated Eggs yet, and my main battle team remains mostly made up of pals caught in the wild, not bred for specialities. For most of my 100+ hours through the main story, I only tinkered with the Surgery Table to give pals special passive implants. It looks a bit grim when set up, but fortunately lacks the theatrical brutality of butchering. I rolled my eyes at the presentation, then tinkered with implant combinations for hours.

That's emblematic of my Palworld experience. Lots of little moments where I grimaced at edgy reminders it's a big kid's game before getting lost in the freedom of its systems. It was nice to skirt by in tough battles without going all-in on designer pals, but when the time came, I could indulge in the side of me that loves involving a spreadsheet.

"Gotta catch'em all," also takes on a whole new meaning when I can actually catch them all in a single game with no fuss. Pokémon's historically miserable system of transferring, trading, buying the same game in a different color, and limited events evolved into one of my biggest peeves with the series. Palworld doesn't have the same massive monster roster, or at least not yet.

Knowing I could complete the Palpedia was a delight that often kept my character and her team overleveled from pal-catching XP. I sped through most story bosses using the default world settings, and felt like I was missing out on seeing what my pals could do while I was busy blowing the place up. It wasn't until the late game that I was humbled by a monstrous boss pal. Several deaths later led me to give aerial combat an honest try, and well, I should've done that from the beginning.

A showdown with Panthalus—Palworld's mythical big whale beastie—forced me to respect the mechanics. It was either that, or risk drowning again. So, I relied on my flying pal, Jetragon, for safety.

My new strategy worked, and shooting missiles from above was more fun than running around with a gun. Both are effective, but from the sky I'm at least using my pal, and I like the control I have over both my character and her pal as a unit. Palworld let me experiment more than I realized, and I like that.

There's a push and pull between some of the things that matter most to me in survival crafting games, though I can't deny how good Palworld's creature collecting foundation is. I love micromanaging pals at my base, fighting alongside them, and perfecting pedigrees through implants and eggs. I'm disappointed by the base building, lackluster open world, and mundane exploration.

It also lacks personality, unless being bludgeoned to death with a bat labeled "violence" counts as one. We can argue it's parody or satire, sure, but it's not very good at that, either.

With all of its success, I hope Palworld uses future updates to establish a more confident identity that relies less on being the most audacious person in the room. It's full of enough thoughtful systems and entertaining loops worth embracing—no need to dress it down in callow internet humor.

Evergreen Writer

Andrea has been covering games for nearly a decade, picking up bylines at IGN, USA Today, Fanbyte, and Destructoid before joining the PC Gamer team in 2025. She's got a soft spot for older RPGs and is willing to try just about anything with a lovey-dovey "I can fix them" romance element. Her weekly to-do always includes a bit of MMO time, endlessly achievement hunting and raiding in Final Fantasy 14. Outside of those staples, she's often got a few survival-crafting games on rotation and loves a good scare in co-op horror games.

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Cady was previously played by Robert Mitchum in 1962 and Robert De Niro in 1991, but the brilliance of Bardem’s performance lies in the long stretches of perceived stillness, heightening the tension of the cat-and-mouse game he plays with the Bowden family, which star Lily Collias described as “a lot of fun” but “sometimes very jarring.”

“We’re playing cat and mouse, and then the cameras turn off, and I still feel like a mouse,” Collias told Variety at the “Cape Fear” finale screening in New York. “And he still feels like Tom from ‘Tom and Jerry.’”

Collias plays Natalie Bowden, the daughter of Anna (Amy Adams) and Tom (Patrick Wilson), two lawyers who Bardem’s Cady blames for his incarceration. After 10 episodes of buildup, the series finale depicts an epic battle in which Cady invades the Bowden’s home, placing Anna and Tom on “trial” for colluding against him and threatening their children.

“[Episode] 10 felt almost like a play,” Collias said. “It was just the family and him in the house, and we were doing the most insane things and laughing so hard off camera. It felt like such a joy that it was actually a beautiful time.”

Before filming one violent sequence in which Cady grabs Natalie by the hair, Collias says Bardem politely apologized in advance and made sure she felt comfortable with the physicality.

“We would go through such weird circumstances, it’s little things that make me still giggle to this day,” Collias said. “In Episode 10, there’s one point where he has to grab me by my hair, and before the scene, he’s like, ‘I’m so sorry, my love. Is it OK if I just — I’m going to grab you like that?’ I’m like, ‘Yeah, that’s fine.’ Then we start rolling and I see this thing coming up to me and I’m like, ‘What the fuck?! Well, OK, that’s your job!’”

When asked about filming the intense finale scenes, Bardem smirked, explaining how he’s learned to lean into the “play” involved with acting as he’s gotten older.

“For me, it’s more about a game,” Bardem said. “You use your imagination to jump in and step out of it. I respect everybody’s process, as long as those processes respect other people’s processes. For me, the fun part is to really be part of a group of people that imagine things that don’t exist, and they create it together based on the fact that it’s all a big lie.” %!s()

Shortly after the release of the original PlayStation, Sony was still so eager to court PC gamers that it took out a 16 page ad supplement in this very magazine to hype up its "PlayStation mega-hits" with "CD-quality audio."

"Sony is just as committed to bringing great games to the PC as they are to creating cutting-edge PlayStation titles," the ad reads, as it explains that storied PC publisher Psygnosis had become a subsidiary of Sony Interactive. "In fact, with all the high-end design work coming out of Sony Interactive, PC gaming may never be the same..."

While many of the games featured throughout the 16 page ad insert are not exactly all-timers, it's fun to look back and see a few closely associated with the PlayStation console, namely WipEout and Twisted Metal, listed for PC. It also promotes a game called Eastern Mind: The Lost Souls of Tong Nou as "one of Japan's most popular CD-ROM titles." (Hardcore Gaming 101, by contrast, says "the game wasn't much of a success.)

It's not exactly a gotcha to point out that the Sony of today is no longer talking up CD-ROMs or how awesome its PC games are. But stumbling upon this ad while I was looking at old issues of PC Gamer magazine still made me a bit wistful. It was cool when games came on discs and Sony was still eager enough to court PC gamers that it was boasting about games that "displayed in stunning SVGA with up to 32,768 colors" and "full 360 degree freedom of movement through a 3D world."

Enjoy this look back at a better time—or at least a time when "over 40 huge mazes to explore" was all it took to convince someone to buy your game.

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Wes has been covering games and hardware for more than 10 years, first at tech sites like The Wirecutter and Tested before joining the PC Gamer team in 2014. Wes plays a little bit of everything, but he'll always jump at the chance to cover emulation and Japanese games.

When he's not obsessively optimizing and re-optimizing a tangle of conveyor belts in Satisfactory (it's really becoming a problem), he's probably playing a 20-year-old Final Fantasy or some opaque ASCII roguelike. With a focus on writing and editing features, he seeks out personal stories and in-depth histories from the corners of PC gaming and its niche communities. 50% pizza by volume (deep dish, to be specific). %!s()

That means his entire career, from runway highs to antisemitic lows, will fall into focus at the Met. It will cover the start at his namesake label before he segued to culture-shifting work at Givenchy and later, Dior, where he led the famed house for nearly 15 years as creative director from October 1996 through March 2011. More recently, he has led Maison Margiela from 2014 through 2024.

And it will not shy away from his firing by Dior when video footage surfaced showing an inebriated Galliano making antisemitic remarks in a Paris café. The tirade not only led to a professional downfall and a retreat from public life for approximately two years, Galliano was found guilty by a Paris court of public insults based on religion, race, and ethnicity. He received a fine and was forced to pay damages and court fees. Galliano’s retreat, well-detailed in reports, interviews and a documentary, included meeting with Jewish leaders, rabbis and receiving blessings from groups like the Anti-Defamation League.

Per today’s news — as detailed in a press release and an exclusive report from The New York Times’ Vanessa Friedman — the Met’s exhibition is not meant to present “a conventional narrative of disgrace and redemption” but rather “how aesthetic achievement, ethical accountability and institutional recognition intersect.” In addition to his accountability for the drunken tirade, Galliano has also said recovery has been key to this new chapter of his life after alcoholism and drug addiction caused turmoil in the previous era.

“John Galliano has exerted a profound influence on fashion over the past four decades,” offered Max Hollein, The Met’s Marina Kellen French director and CEO, in a statement. “His work brings historical inquiry, artistic imagination, theatrical expression and technical experimentation into dynamic relation. Drawing upon the depth of The Costume Institute’s scholarship and the breadth of The Met’s collections, ‘John Galliano: Horizons’ will offer an expansive examination of his creative practice while attending closely to the historical, cultural and ethical circumstances through which his work is understood.”

Per NYT‘s Friedman, the decision did not come easily or expeditiously. She reports that Galliano, Met Costume Institute curator Andrew Bolton, Vogue global editorial director Anna Wintour (a longtime Galliano champion), and a “handful of influential rabbis and Jewish leaders in New York City” met for a closed-door meeting in May to discuss the possibility of a Galliano exhibit. Friedman reported that it was “one of several such meetings” held with Jewish leaders over the past year.

According to a press release, Galliano’s exhibit will be divided into three sections, “Bearings,” “Horizons” and “Atlas of Transformation.” It will be accompanied by a catalog penned by Bolton, published by The Met and distributed internationally by Yale University Press.

“Every Galliano collection begins as a journey among things separated by time, place, or medium: portrait and posture, silhouette and story, memory and material,” per Bolton in a press release. “‘Horizons’ approaches fashion as a form of cartography, mapping not territories but affinities, tensions, and transformations. It traces how images become ideas, ideas become material, and material becomes emotion. Yet a horizon reveals not only what lies before us, but also where we stand. The exhibition therefore considers both how Galliano has remapped the world through fashion and how his conduct, its consequences, and changing cultural values have reshaped our understanding of his work.”

Galliano is now designing for Zara under a two-year deal to “re-author the brand’s archive” by “deconstructing and reconfiguring them into new seasonal expressions and creations.” His first collection is expected in September.