Even though Ghostbusters 2020 has been shooting for over a month now, there haven’t been many details that have leaked from the film’s set up in Canada. But producer Ivan Reitman has given us a little piece of information about the new movie that gives us at least some small idea of the supernatural activity that’s happening in the new movie…and it also provides a new detail about Paul Rudd‘s character in the movie.

Yet another Skarsgard has joined the Stephen King adaptation universe. Alexander Skarsgard, brother of Bill “Pennywise” Skarsgard, has signed on to the cast of the CBS All Access adaptation of The Stand. Skarsgard will be playing Randall Flagg, the big bad of the epic apocalyptic saga. Skarsgard joins a cast that includes James Marsden, Amber Heard, and Whoopi Goldberg, with Josh Boone directing. Collider broke the news on Alexander Skarsgard joining The Stand TV series cast as Randall Flagg.

Patty Jenkins is joining Netflix’s high-profile crowd of creators. The director of Wonder Woman and the upcoming Wonder Woman 1984 has signed a multi-year overall deal with Netflix to produce new TV series for the streaming service. It will be her latest foray into television after directing this year’s TNT limited series I Am The Night. Variety broke the news that Jenkins has signed a multi-year overall TV deal with Netflix that is valued at around $10 million over three years.

Well now. The Tomb Raider sequel just got very interesting. Very interesting indeed. Alicia Vikander reprising her role aside, Deadline is reporting that British horror auteur Ben Wheatley (Kill List, A Field in England, High-Rise and Free Fire) has been hired to direct the sequel.    Known by and large for directing small and edgy thrillers and horrors with bleak humor this would mark Wheatley's first forray into big budget tentpole spectacle.

The theatrical double-dip is a brazen but confident assault on fandom’s wallet. Not all properties could sustain such greed, but for proven billion-dollar earners like Star Wars and The Avengers, the gluttony on behalf of the consumer is just as insatiable as that of the salivating studio. It’s not blood from a stone but blood from an already drained, upturned cow that can still provide the necessary driblets for black pudding. Physical media is as dead as Dillinger, and Director’s Cuts, Reduxes, and Final Cuts can no longer wait for home viewing.