Entertainment
Now Playing: The Album, Emily in Paris
Femme fatale overload!
Happy fall season! While there may be no Halloween parties this year and cozy autumn travels, we still find a way to have fun and relax in this crazy season. In between the so-called a-phone-calypse, here’s what’s now playing in GadgetMatch:
Games to play
Marvel’s Avengers
We’re in the middle of our playthrough for the review and the campaign mode has been fantastic so far. Called the “Reassemble Campaign,” it follows Kamala Khan AKA Ms. Marvel as she tries to bring the Avengers back together after a catastrophic event five years ago. — Rodneil
Tony Hawk’s Pro Skater 1+2
This is literally everything we loved about the cult classic game in the late 90s, early 2000s but in better detail and with a few new challenges to keep us playing. It’s a faithful remake that players will certainly enjoy. — Rodneil
Command and Conquer: Remastered Collection
Remember the RTS games, Command and Conquer and Red Alert? These popular games defined the genre especially with their compelling gameplay, fast-paced plot, and unforgettable cutscenes. Thankfully, EA has remastered the game in glorious 4K to appease fans who have been craving for another C&C game for years. It is definitely a game worth playing since the luminous leader Kane approves of the remaster himself. — Kenrick
NBA 2K21
It’s another NBA 2K game, this time with a different take to the whole experience. Yes, there are new shooting mechanics to master, a more prolonged take on MyCareer, and a MyTeam mode with progression rewards. But it’s still the same great basketball simulation game from before. I mean, you can simulate a pre-NBA bubble atmosphere in time for the playoffs. — Gab
Shows to binge-watch
Emily in Paris
Netflix’s new hit series — Emily in Paris — created an uproar in social media, portraying an American woman’s adventure in the city of love rocking her almost perfect life. Emily Cooper, played by Lily Collins, struggled as the only American in a Parisian office, got entangled in a web of romance and illicit affairs, and found herself in hilarious misadventures throughout the city. — MJ
Rascal Does Not Dream of Bunny Girl Senpai
This is a rather unusual Slice of Life/Harem anime. It has shades of the supernatural like what we’ve seen from Makoto Shinkai’s work in Your Name and Weathering With you. Of course, it’s not as visually stunning, but the story/stories can be just as engaging. Best binged on a cold weekend with coffee/tea/hot chocolate in hand. — Rodneil
Hi-Score
Hi-Score is a Netflix documentary that quirkily tells the origins of the video gaming industry. This is absolutely a MUST-WATCH for anyone that’s ever been into video games. The writing, pacing, and visuals are all on point and it’s a really fun way to learn about the history of video games. — Rodneil
As someone who literally has the word “retro” in all his active gamer tags, Hi-Score is a gold mine. It features some of the classic video games that ultimately served as the foundation for gaming as we know it today. The short docu-series also tackles the highs and lows of the industry, its major players, and the technologies they were rocking at the time. Combined with clever visuals and fluid storytelling, you get to immerse yourself in the history of the video gaming industry. — Gab
Memories of Alhambra
Can’t believe I’m late to the party on this show. A tech company CEO receives a tip from an augmented reality (AR) game creator but he was given little information to go on. The series (I’m only two episodes deep), follows the CEO tracking down the creator by playing through the game. Oh, and the female lead is Park Shin-Hye. ‘Nuff said. — Rodneil
It’s Okay Not To Be Okay (사이코지만 괜찮아)
A star-studded cast, A-class cinematography, life-like visual effects — these factors are already given why K-dramas get the hype. Getting deeper, I love this series mainly because the plot talks about mental health and trying to “deal with it” as a whole. It may not be the same for all, but most of us live in our fears and traumatic experiences. I love how they named each episode based on Ko Mun Yeong’s books. ‘The Cheerful Dog’ is definitely one of my favorites. — Vincenz
Haikyu!!
Sports anime always make people feel things. Haikyu!! isn’t an exception, a volleyball anime based on the manga of the same name. With its fourth season’s second cour of 12 episodes premiering this October, it’s a good time to binge-watch the anime. Savor the feeling of triumph, defeat, discomfort, challenge, perseverance, pressure, and hope! — MJ
Movies to see
My Hero Academia: Heroes Rising
Like any other OVA, none of the events from this feature film will have any significant repercussions on the main storyline. However, it’s easily one of the best OVAs out there. Nearly every single member of Class-1A was given ample time to shine with Deku and Bakugo taking center stage in the final action sequence. This has literally all the quirks you love from My Hero Academia condensed in a satisfying movie. — Rodneil
The Social Dilemma
“If you’re not paying for the product, you are the product.” The Social Dilemma digs deep into the machinations of social networking and how, as some of us have known, it’s designed to keep us glued to our devices. It’s an insightful and well-presented documentation of how social media can affect our psychological disposition and a case study against how the current system in general just isn’t good for humanity. — Rodneil
The Promise
Late to the party with The Promise but I just recently saw this on Netflix and it left a strong impression on me. Set in the twilight years of the Ottoman Empire, the story focuses on a fictional love triangle between an Armenian medical student, a dancer from Paris of Armenian heritage, and an American journalist with the very real events that lead to the death of millions of Armenians as an extremely vivid backdrop. An event in history that’s often glossed over but deserves to be discussed. Starring Oscar Isaac, Christian Bale, and Charlotte Le Bon, you can expect great acting but do watch it for the history lesson too. — Carol
Bill & Ted Face the Music
A direct sequel to the cult duology of the ‘80s and ‘90s, Bill & Ted Face the Music brings the same quirky, lighthearted charm of the original with Keanu Reeves and Alex Winter. Pressured to write the song that will unite all of humanity, Bill and Ted attempt to steal the song from their future selves. What follows is the same hijinx we all know and love from the excellent duo. It’s the right amount of lightheartedness we all need in this dark corner of 2020. — Luigi
Nadie Sabe Que Estoy Aqúi (Nobody Knows I’m Here)
Follow the story of Memo, a singer turned recluse who met a girl that changes his life — for better or worse. This film is not your usual romance drama though. The whole story centers around Memo’s struggle between keeping his former identity hidden and expressing his desire to break free. It’s one of the better Spanish films on Netflix. The film brilliantly puts a twist in the old “follow your dreams” tale too. You may be taken aback by how the film ends, but rest assured that you’ll be hooked to Memo’s character once his talents truly shine. — Kenrick
Albums/Songs/Podcasts to listen to
The Album by BLACKPINK
Four long years after their official debut, the popular K-Pop group finally releases their first full-length album. The title track “Lovesick Girls” is a little different from the hard-hitting, beat-dropping tracks that catapulted them to global recognition. But it’s exactly the jolt the group and its dedicated fanbase — the BLINKS — needed after the long wait. — Rodneil
“Not Shy” by ITZY
This one’s a banger. ITZY has been taking the K-Pop world by storm ever since they debuted and their overall unique vibe just keeps growing. What I personally noticed is how some of their songs sound like they’re typically arranged for boy groups. The same is true with their choreography. Honorable mention to their B-side track “Surf” which has also been on my regular rotation recently. — Rodneil
“More & More (English Version)” by TWICE
TWICE’s global fanbase is growing exponentially and as a treat, the girls recorded an English Version of the song. Quite a feat considering none of them are native English speakers. The song sounds amazing, the translation isn’t awkward, and the girls’ performance on the pronunciation and vocals are top-notch. Yes, I’m whipped for TWICE. — Rodneil
“Solo” by Jay Park feat. Hoodie
Lately I’ve been spending nights mindlessly scrolling through TikTok and ran into this viral video of Jay Park. I looked up the song and was instantly hooked to its smooth vibe. It’s been on repeat over the past few days. — Rodneil
“HOLO” by Lee Hi
One of my anthems this quarantine. It’s a song that I usually play especially when I feel alone or just thinking about a particular person I’ve always been missing. This track reminds me that everything will be alright, and this “feeling” (if ever this is JUST one) will stop one day. Playing this together with her 2016 track ‘Breathe’ makes me cry even more. — Vincenz
“Where The Sea Sleeps” by Day6 (Even of Day)
Don’t let Day6’s Denimalz characters in the music video fool you. Unlike those cute visuals and storyline, the lyrics suggest otherwise. I’ll be honest, I bawled my eyes out more than enough while watching the music video all because of the translated lyrics. This has been one of my most repeated songs this 2020 — and I think you should, too. — Vincenz
“Bon Voyage” by YooA (of OH MY GIRL)
If you’re fond of animated Disney/Pixar films together with their OSTs (especially Moana), this one’s for you. YooA’s debut song truly feels magical, whimsical, and ethereal. All these adjectives combined aren’t even enough to say how perfect this song is. Her fairy-like visuals complement well with the MV’s nature-y setting. It even feels like I’m watching a Korean version of a Disney live-action film. — Vincenz
BONUS: Someone actually edited the song with Moana in it.
“We Ride” by Brave Girls
After two years of hiatus, Brave Girls is finally back with a single! Their comeback song is a completely new concept from their daring hits ‘Deepened’ and ‘Rollin’. ‘We Ride’ focuses on the “city pop” genre which is slowly gaining popularity among listeners. As the genre suggests, music video visuals give us a “Neon Tokyo” vibe while the track features ‘80’s synthpop. It may not be as loud and repetitive, but it’s honestly the perfect song for pure chill and night road trips (hoping this pandemic will end sooner tho for this to become a reality). — Vincenz
folklore
Taylor Swift’s recent album, “folklore”, surprised the world in different ways: a shift from lovey-dovey pop music to sentimental indie folk music, and the album being a secret project throughout Swift’s isolation during the lockdown. In essence, this new album harnesses the power of storytelling, music, and emotions — it even looks like the pinnacle of Swift’s journey as a talented artist and musician. This album is best enjoyed with a cup of coffee, especially on a rainy day. — MJ
Dynamite by BTS
Haven’t gone down the K-Pop rabbit hole (yet) but this song has the ability to stick to your head and just inject a big dose of positivity into your day. Which is – admittedly – something a lot of people need during these times. A true-blue pop song that doesn’t need to pretend to be anything else. — Carol
Books to read
Eat, Pray, Love
When I decided to read Elizabeth Gilbert’s 2006 memoir, it’s like the universe conspired to guide me in my own self-exploration — which happened to be the book’s central theme. It’s a story of enjoying the world as a human being, enriching your spiritual life, and finding harmony and balance to make the most out of your life. It’s a great read for anyone embarking on a journey of self-discovery and recovery of broken hearts and souls. — MJ
I was hyped and pleasantly surprised walking out of the cinema.
Mortal Kombat II is proof that something great can emerge even from a shoddy foundation.
Where Mortal Kombat I felt like a high budget Hollywood B movie. The sequel levels everything up. It felt a lot more confident from the start—like it knew exactly what it wanted to be.
It didn’t take long to feel the difference either. Somewhere within the first hour, it was already clear this was operating on a completely different level.
Night and day from MK1
It’s funny because I didn’t even see Mortal Kombat I until a day before Mortal Kombat II’s screening.
There was a moment when the main characters were journeying through the desert. I paused, watched something else, then came back just to power through. That wasn’t the case with MK II.
MK1 had a really strong start showcasing the history between Scorpion and Sub-Zero, but it quickly went downhill. The main character was easily its weakest part. MK II fixes that by finally telling the story from the lens of actual characters that exist in Mortal Kombat lore.
If anything, the biggest difference is tone. MK1 felt like it took itself a little too seriously. MK II is self-aware of how absurd everything is. It’s campy without being too cheeky.
And more importantly—it actually feels like a proper action blockbuster. Not stitched together. Not dragging. Just locked in from start to finish.
Cage & Kitana
Johnny Cage and Kitana brought their own brand of charisma, humor, and energy. They were the perfect anchors for the kind of story MK II wanted to tell.
Cage, especially, changes the tone of every scene he’s in. He feels like what Cole Young should have been—a self-aware, not too serious lens for the audience to grasp the world of Mortal Kombat.
Where Cage is the funny, grounded audience stand-in, Kitana is the heart and soul of the film.
It’s her story that kicks things off. While MK1 arguably had the stronger intro, MK II delivers a more consistent vibe and energy throughout. Kitana’s emotional journey becomes the core, and her growth alongside Cage’s is what ties everything together.
The returning cast, meanwhile, feels like proper foundations. Like veterans welcoming new, highly billed members and giving them space to shine.
And then there’s Kano. Absolutely loved Kano here. He was already an asshole in the first one—and somehow even more so in the sequel. But this time, his motivations and decisions actually make even more sense. His banter with Cage was also hilarious.
It’s a fighting game movie. Relax.
A lot of the charm comes from how the movie embraces its absurdity.
Johnny Cage, in particular, calls out everything that sounds ridiculous about the Mortal Kombat tournament. He practically calls it unbelievably stupid without actually saying it—but does it in a way that’s inviting and incredibly funny.
It feels self-aware that it’s a campy fighting game movie—and it fully commits to that. That balance is what lets it be corny, campy, absurd, and bizarre… but in an endearing way.
There’s also some heart here. Like I said, Cage brings the humor, but Kitana brings the emotional weight. She grounds the film without clashing with its tone. Her journey gives the story something to hold onto beyond just fights.
And yes, even if it’s tighter than the first film, there will still be moments where you go, “huh?” That’s fine.
This is a fighting game movie. These stories are rarely known for being deep. What matters is that MK II makes the most of what it has—and finds a solid balance of humor, heart, and chaos.
Finish him.
The fights are just better. Plain and simple.
They’re edited better. Yes, there are still quick cuts—very Hollywood—but the sequences feel more sustained. Each hit also felt weightier than the first film. You actually feel the impact.
And when the fatalities come, they hit harder. They’re at the right level of gore—not too much, not too little. Each one gets a reaction. They’re cool without being self-indulgent.
What also helps is how distinct each fight feels. They lean into each character’s style, so nothing feels repetitive. It genuinely feels like the fighting game come to life.
The pacing is spot on too. People wanted a tournament—and that’s exactly what we got. Fights come one after the other in the best way possible, and each one tells its own story without taking away from the main plot.
It really does feel like a proper tournament arc. And a damn good one at that.
Flawless Victory? Not quite.
There are still moments that will make casual viewers go, “huh?” Some lines of dialogue. Some head-scratching beats. But given the film’s tone, they land anyway.
The story is tighter, but still shallow. It’s a fighting game movie—don’t expect it to say anything profound. Its job is to tie everything together and build around the fights, and that’s exactly what it does.
There are still small messy moments here and there. But you’ll likely walk away on a high. Maybe even wanting to watch it again. Because everything it does right—it does really well.
If this were a fighting game match, MK1 felt like barely scraping by but still getting the win in Round 1. Then, Mortal Kombat II is the second round which feels more like a definitive victory.
And yeah—Kitana? She’ll make you glad you have eyes. Will make you want to shout “Get over here” every time she’s on screen.
I didn’t watch The Devil Wears Prada when it first came out in 2006.
I came to it a few years later, at a time when I was still figuring things out—career, identity, even the kind of movies I allowed myself to enjoy. It wasn’t something I would’ve picked on my own back then.
At the time, it felt like a story about love versus career. I was about to graduate with a Mass Communication degree, unsure of where I was headed, trying to make sense of both ambition and connection.
Watching it again recently, it lands differently.
It’s less about choosing between two things—and more about understanding who you are, and having the courage to follow that honestly.
That’s what makes The Devil Wears Prada 2 feel so deliberate. It doesn’t just revisit the past. It builds on it.
Growth over spectacle
There’s a version of this sequel that could’ve leaned entirely on nostalgia. Bigger moments. Sharper outfits. A louder version of what already worked.
This isn’t that.
The film is grander, but in ways that feel earned. It embraces the 20-year gap instead of ignoring it, placing its characters exactly where you’d expect them to be—not in status, but in spirit.
Miranda Priestly still commands every room, but no longer feels as unassailable as she once did.
Andy Sachs carries experience. She’s no longer the green assistant, but an accomplished journalist whose relationship with Miranda still shapes her decisions.
Emily Charlton feels fully realized—no longer orbiting power, but owning her place within it.
And Nigel remains a pillar. Dependable to both Miranda and Andy, an almost invisible hand that guides more than it claims.
None of them feel stuck in who they were. That’s the point.
What it says about the work
This is where the film hit me the hardest.
Working in tech media, I constantly see the push toward generative AI—toward making everything faster, more efficient, more scalable. A lot of it is impressive. Some of it is genuinely useful.
But some of it is also unsettling.
We’re at a point where generative visuals can fool people. Where audio—music even—can sound convincing enough that you stop questioning where it came from. That’s the part that lingers.
Because music, for me, is personal. It’s how I process things. And realizing that something artificial can mimic that emotional weight—even if imperfectly—feels dangerous in a quieter, harder-to-define way.
This film doesn’t shout about AI. It doesn’t need to. Instead, it argues for something more fundamental.
That the human touch still matters.
That taste, judgment, and intention aren’t things you can replicate at scale.
That the pain of heartbreak, the joy of victory, and the complicated weight of living—these are things that come from experience. And experience leaves a mark. We leave a part of ourselves in everything we create, whether we mean to or not.
That’s something I don’t think can ever be fully replicated.
AI is a helpful tool. But it should not be relied upon for things that require a piece of our soul.
Direction that understands power
A lot of that message lands because of how The Devil Wears Prada 2 is directed.
Blocking and staging do most of the talking. Who stands where, who moves first, who stays still—these choices define power before any dialogue kicks in.
The camera follows emotion closely. Moments of uncertainty feel slightly unsteady. Scenes of control are composed and precise.
It’s not trying to impress you. It knows exactly what it’s doing.
Sound that knows its place
The sound design follows that same discipline.
Nothing competes. Nothing distracts.
Every element feels intentional–supporting the scene instead of demanding attention. It’s cohesive in a way that’s easy to overlook, but once you notice it, you realize how much it’s doing.
Dialogue that winks, but doesn’t linger
There are a few “wink” moments–lines that echo the original, callbacks that longtime fans will catch instantly.
But the film shows restraint.
It never lets those moments take over. They’re accents, not the foundation.
Nostalgia used with purpose
That restraint carries through how the film handles nostalgia as a whole.
It doesn’t rely on it. It uses it.
Parallels to the original are there, but they exist to highlight change—not to recreate what once worked.
It’s less about remembering.More about understanding what time has done.
Why it works now
What makes The Devil Wears Prada 2 land isn’t just that it’s well-made.
It’s that it feels necessary.
In a world that keeps pushing toward speed, output, and efficiency, this film slows things down just enough to remind you what actually matters.
The intention behind every line, every scene feels sharp—like it could only come from people who care. Who care about the craft. Who care about making something that connects.
It might sound like a tired argument. But it’s still true.
The breadth and depth of humans who care is irreplaceable.
The teaser trailer for DC Studio’s horror thriller, Clayface, has just been released. It is the studio’s first-ever foray into the genre, with the film co-written by Mike Flanagan and directed by James Watkins.
The R-rated standalone film is still part of the new James Gunn DC Universe, taking place within the main DCU timeline before the events of the 2025 Superman.
It stars Tom Rhys Harries as the titular Gotham City villain. He is joined by Naomi Ackie, David Dencik, Max Minghella, Eddie Marsan, Nancy Carroll, and Joshua James.
The film opens internationally on October 21 and in North America on October 23.
Here’s a quick look at the film’s teaser trailer:
Clayface explores one man’s horrifying descent from rising Hollywood star to revenge-filled monster.
The story revolves around the loss of one’s identity and humanity, corrosive love, and dark underbelly of scientific ambition.
Joining Watkins in his creative team are director of photography Rob Hardy, production designer James Price, editor Jon Harris, visual effects supervisor Angus Bickerton, costume designer Keith Madden, and casting director Lucy Bevan.
In addition, here’s a quick look at the movie’s teaser poster:
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