This past Saturday, something pretty weird happened in Pokémon GO: Immediately after the monthly “Community Day” event came to a close, a strange, new, never-before-seen Pokémon showed up. And by “showed up,” I mean it was everywhere. Around the globe, this thing was spawning every few feet. A grey blob with a hex nut for a head; it wasn’t like anything that anyone had seen in-game before.
It looked like this:
Weirder yet: No one could actually catch it. If you managed to get it to stay in a Pokéball, it would always turn into something else (in most cases, it turned into a Ditto). Just a few hours later, it was mostly gone.
Was it just a glitch? Many players assumed that Niantic put this thing in as a placeholder and a glitch brought it into public view. Or did they really just drop an entirely new Pokémon into the game out of nowhere?
Three days later, we’ve got an answer: It’s not a glitch.
This video just popped up on the official Pokémon YouTube channel, shining a bit of light on what’s going on:
In short: Its name is Meltan, and it’s an upcoming Mythical Pokémon. It all seems to be a big publicity tie-in with the upcoming Let’s Go, Pikachu! and Let’s Go, Eevee! titles that’ll launch on the Switch next month. Based on the limited info we have so far, it seems like to get a Meltan in the new games, you’ll have to catch him in Pokémon GO.
This whole stunt was pretty damned clever. Thanks to special, limited-time spawns, Pokémon GO’s Community Day events are when just about anyone who still plays the game will be actively looking at their screen. By sneaking Meltan in there for a bit at the end, they pretty much guaranteed a wave of “WTF?” would roll around the world. All for a little grey blob with a nut on his head.
As for how to catch an actual Meltan rather than a Ditto-lookalike: that’s still a mystery. Catching Mythical Pokémon in GO thus far has involved “Special Research” quests — a series of tasks that take a few days or weeks of play to complete. We might be looking at another one of those here.
Today is a red-letter day for Disney property announcements: release dates have been set for the Disney+ series Loki and Star Wars: The Bad Batch, and the new Spider-Man film has a new name.
We’ll start with Spider-Man. Following a marketing stunt in which three different stars of the movie shared three fake movie names alongside initial images from the film on Instagram, the actual title for the new Spider-Man movie has been revealed in a cheeky Twitter video and blog post: Spider Man: No Way Home.
The fake names that had circulated previously included Spider-Man: Phone Home, Spider-Man: Home-Wrecker, and Spider-Man: Home Slice.
Spider-Man: No Way Home will premiere on December 17, 2021.
And speaking of release dates and Marvel characters, the Disney+ series Loki premieres June 11. The series had been previously announced, but this is the first time we know the exact day to expect the first episode.
Here’s Marvel Studios’ description of the series:
Loki features the God of Mischief as he steps out of his brother’s shadow in a new series that takes place after the events of Avengers: Endgame. Tom Hiddleston returns as the title character, joined by Owen Wilson, Gugu Mbatha-Raw, Sophia Di Martino, Wunmi Mosaku, and Richard E. Grant. Kate Herron directs Loki, and Michael Waldron is head writer.
But Disney’s plethora of announcements today is not limited to Marvel. The new Star Wars animated series Star Wars: The Bad Batch will hit Disney+ on that marketer-and-fan-conceived Star Wars holiday May the 4th.
The first episode will premiere that day, while the second will hit shortly after on May 7. From then on, new episodes will go live each Friday.
The series is produced by Dave Filoni, Athena Portillo, Bead Rau, Jennifer Corbett, Carrie Beck, and Josh Rimes—all of whom worked on one prior animated series or another, such as Star Wars: The Clone Wars or Star Wars Resistance. Filoni also directed multiple episodes of The Mandalorian.
Here’s Disney’s synopsis:
The series follows the elite and experimental troopers of Clone Force 99 (first introduced in Star Wars: The Clone Wars) as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War. Members of Bad Batch, as they prefer to be called—a unique squad of clones who vary genetically from their brothers in the Clone Army—each possess a singular exceptional skill, which makes them extraordinarily effective soldiers and a formidable crew.
Disney+ still has more Star Wars and Marvel content coming, including The Book of Boba Fett, Star Wars: Andor, Star Wars: Obi-Wan Kenobi, Star Wars: The Acolyte, Star Wars: Ashoka, The Falcon and the Winter Soldier, Hawkeye, Ms. Marvel, What If?, Moon Knight, She-Hulk, Secret Invasion, Ironheart, Armor Wars, and I Am Groot.
The story of EA and Bioware’s beleaguered action-RPG Anthem has apparently ended. According to an official Bioware blog post, the ambitious jetpack-combat game’s “overhaul” project is dead. The staff that had been assigned to rebuild the game into a better shape has been reassigned to work on other Bioware projects, particularly Dragon Age 4 and the next Mass Effect game.
A little over one year ago, Anthem‘s flight-combat skies looked a bit clearer, thanks to an announcement from developer Bioware that it intended to build a “substantial reinvention” of the always-online co-op adventure game. From what we saw in the game’s March 2019 launch version, EA and Bioware clearly intended for the game to receive regularly updated content, but negative reviews (including my own) made clear that Bioware needed to go back to the drawing board to rebuild the game’s basic building blocks before we had any interest in returning to the game.
No more singing of the Anthem
Then-general manager Casey Hudson made a February 2020 statement acknowledging those criticisms. After listing aspects of the game that needed work, he offered a pledge to fans: that Bioware would complete “fundamental work… to bring out the full potential of the experience… specifically working to reinvent the core gameplay loop with clear goals, motivating challenges, and progression with meaningful rewards—while preserving the fun of flying and fighting in a vast science-fantasy setting.”
However, 10 months later, Hudson departed Bioware, as did Dragon Age 4 executive producer Mark Darrah. Bioware announced this news with assurances that projects like Dragon Age 4 would continue apace, but none of that day’s blog posts, including one penned by Hudson, included any formal assurance that “Anthem Next” was in similarly good shape.
Ttwo weeks ago, Bloomberg reporter Jason Schreier reported that Anthem‘s “reinvention” development was under serious review by EA executives, who would decide whether the project would continue or die. According to Schreier, Bioware’s pitch to EA would be to expand that team from its 30-person staff to a number closer to 90 in order to match the work’s scope. From the sound of Bioware’s Wednesday announcement, that reported meeting didn’t go well for Anthem.
That reassigned team will certainly have its hands full with other projects, particularly the previously announced sequels to Dragon Age and Mass Effect. As of press time, EA only has one announced launch date for an upcoming Bioware game: the remastered Mass Effect Legendary Edition, slated to launch on PCs and consoles May 14.
In November 2019, a beekeeper in Blaine, Washington, named Ted McFall was horrified to discover thousands of tiny mutilated bodies littering the ground: an entire colony of his honeybees had been brutally decapitated. The culprit: the Asian giant hornet (Vespa mandarinia), a species native to southeast Asia and parts of the Russian far East. Somehow, these so-called “murder hornets” had found their way to the Pacific Northwest, where they posing a dire ecological threat to North American honeybee populations.
The story of the quest to track and eradicate the hornets before their numbers became overwhelming is the subject of a new documentary: Attack of the Murder Hornets, now streaming on Discovery+. Featuring genuine suspense, a colorful cast of characters crossing socioeconomic lines, and a tone that draws on classic horror and science fiction movies, it’s one of the best nature documentaries you’re likely to see this year.
Asian giant hornets are what’s known as apex predators, sporting enormous mandibles, the better to rip the heads off their prey and remove the tasty thoraxes (which include muscles that power the bee’s wings for flying and movement). A single hornet can decapitate 20 bees in one minute, and just a handful can wipe out 30,000 bees in 90 minutes. The hornet has a venomous, extremely painful sting—and its stinger is long enough to puncture traditional beekeeping suits. Conrad Berube, a beekeeper and entomologist who had the misfortune to be stung seven times while exterminating a murder hornet nest, told The New York Times, “It was like having red-hot thumbtacks being driven into my flesh.” And while Japanese honeybees, for example, have evolved defenses against the murder hornet, North American honeybees have not, as the slaughter of McFall’s colony aptly demonstrated.
Director Michael Paul Stephenson’s credits include two documentaries: Best Worst Movie—about his experience co-starring in the 1990 cult comedy/horror film, Troll 2—and The American Scream. So when he pitched his idea for a documentary about the murder hornets to Discovery, some of that horror sensibility crept in, including B-movie-inspired artwork showing a gigantic hornet menacing beekeepers and scientists.
“I’ve watched a lot of documentaries, and a lot of them, it’s interview, B-roll, interview, B-roll, political statement, theme,” he told Ars. Stephenson wanted to do something different and shoot his murder hornet documentary through a horror/sci-fi lens.
Among those featured in Attack of the Murder Hornets: Chris Looney, an entomologist with the Washington State Department of Agriculture (WSDA); McFall and fellow beekeeper Ruthie Danielson; a government scientist and insect expert named Sven-Erik Spichiger; and Berube, who was the first to find and destroy a murder hornet nest in Vancouver Island, Canada. Stephenson’s team chronicled the race against the breeding clock to find and destroy a similar hornet nest in Washington state.
Ars sat down with Stephenson to learn more.
Ars Technica: What drew you to make a documentary about murder hornets?
Michael Paul Stephenson: I read The New York Times article last May and thought, “Murder hornets? What is going on? We’re all locked in our homes. Now we have murder hornets.” Immediately, I was like, “This feels like a horror movie. It feels like a science fiction drama.” I thought, “What does this look like through the lens of horror and science fiction? What is the Stranger Things version of this?” Discovery immediately connected to that sensibility. I’m always drawn to characters first, revealing themes through people who have something at stake. End of the day for me, it’s what’s the story, who are the characters, how do you tell it in a way that people remember? The story had this intriguing mix of government public service workers and scientists and beekeepers, all trying to stop an invasive species, having to deal with this gigantic hornet that is not native to the country.
Ars Technica: Can you talk a little bit about the camera technology and the overall look you were shooting for?
Michael Paul Stephenson: The majority of the film is shot on two RED MONSTROs at 8K. It was really important to us to embrace natural light as much as possible. We had to shoot with very high-speed lenses because we were dealing with low light. We wanted this to feel like science in real time. We wanted it to feel like we are there with these people in this moment. And we wanted to give it a sense of design. What would the narrative version of the scene look like? Let’s shoot it so that we can edit it as such. So it’s about multiple cameras and coverage and making sure that we’re not only covering our scientists, but we’re covering the reaction of the scientist.
I had planned on using drones early on—not too much because I think drones can be so overused. But I wanted to also shoot from the hornet’s POV. Hornets articulate themselves in a totally different way than just the normal drone beauty shot. That’s when I got tipped off about racing drones, which I had not used before. They’re smaller, and the way they can articulate through the forest on a dime is much different than the regular drone.
Ars Technica: I assume you also had to wear the special anti-murder hornet suit to avoid being stung.
Michael Paul Stephenson: With the hornets specifically, I had to wear the same special suit [as the scientists], and it’s its own form of terror. We had to wear those when we found the nest and if we got too close. The night of the eradication, it’s dark. We’re in suits. Nobody knew what was going to happen. We knew that these things can spray venom. They can sting.
There was a moment, ironically, when I was shooting the bees at night with Ted [McFall], and we were surrounded by bees. I had a regular bee suit on, not the crazy hornet suit. As I’m suiting up, it’s dark, and I see the silhouette of a bee crawl up right in front of my nose. And, I’m like, “Uh-oh. That’s not good. That’s on the inside of my mask.” I had left a portion of my suit open. Within a minute of noticing that, I got stung six times because more bees got into my suit. I guess when a bee stings you, other bees will find it and they’ll sting you, too.
Ars Technica: A substantial portion of your film focuses on the efforts to track a murder hornet back to the nest. That whole sequence conveys just how hard doing science really is on a practical level. Things rarely work on the first attempt.
Michael Paul Stephenson: Science is an iterative process, it progresses in fits and starts—not unlike creativity or making a movie. You fall a few times, get back up. It sounds wrong, but I loved the failure, because it shows the persistence and the commitment that these public servants have and the slim chance that they will succeed. It’s easy to be critical of other people. “Oh, they should do this or they should do that.” But there’s few people who actually get in the ring and try to do the work, knowing that they face public scrutiny. Let’s face it—the odds of them finding the nest were slim at best. Seeing them not give up—even as the public is like, “Ah, they failed”—only makes me appreciate what they’re trying to do it for in the first place. I think that it gives you a real defining sense of their character and how important this is to them.
I probably would have quit. While we were filming, I was expecting at some point for them to be like, “Ah, we’re done. We’re just not going to find this thing. Who knows what’s going to happen? Maybe it won’t be that big of a threat. We’ll just roll the dice.” Never once did they ever give me that sort of thing. They are heroes.