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Tom Holland Reveals Full ‘Spider-Man: Brand New Day' Costume: 'Are You Ready?'

Tom Holland Reveals Full ‘Spider-Man: Brand New Day' Costume: 'Are You Ready?'

Yahooa day ago
After Sony Pictures teased Spider-Man's new ensemble, Tom Holland suited up in the web-slinger's costume for a short teaser.
On Saturday, the BAFTA winner revealed his costume for the upcoming sequel Spider-Man: Brand New Day, set to premiere in theaters on July 31, 2026.
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'Are you ready? – 7.31.2026,' Holland captioned the clip, in which his silhouette is revealed in the massive doorway of a soundstage before walking to the camera in costume.
The studio previously teased that 'something brand new is coming,' sharing a first glimpse at the superhero uniform on Friday, marking the 63rd anniversary of the character's first comic book appearance.
In October, Sony added the follow-up to Spider-Man: No Way Home (2021) to its summer 2026 schedule, later revealing the title in March at CinemaCon.
'I'm obviously over the moon and so excited,' Holland previously said. 'Playing Spider-Man is like hanging out with an old pal. And I think we were really restricted with what we could do in the last movie because of COVID; we shot the entire film on stages.'
Holland continued, 'Now, we're really gonna lean into that old-school filmmaking and shoot in real locations, which is why we're starting in Glasgow and we're gonna use the streets of Glasgow to build this massive set-piece that we're putting together. So it's gonna feel like making [2017's] Spider-Man 1 again. It's been such a long time since I've done it, it's gonna feel like a breath of fresh air, and I think the fans are going to be over the moon with what we're putting together.'
Helmed by Shang-Chi and the Legend of the Ten Rings director Destin Daniel Cretton, producers include Amy Pascal and Marvel Studios head Kevin Feige returning. Zendaya will reprise her role as MJ, with production expected to commence after she and Holland both have completed filming Christopher Nolan's The Odyssey. Sadie Sink and Liza Colón-Zayas have also joined the cast in undisclosed roles.
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Ioan Gruffudd Reacts to Cut Wolverine Scene in 'Fantastic Four, 'Says It was a 'Thrill' to Play Hugh Jackman for a 'Brief Second'
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Yahoo

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  • Yahoo

Ioan Gruffudd Reacts to Cut Wolverine Scene in 'Fantastic Four, 'Says It was a 'Thrill' to Play Hugh Jackman for a 'Brief Second'

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time13 minutes ago

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If You've Ever Fallen for a Disaster, Dinner in America Will Hit Too Hard

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The uproar over Vogue's AI-generated ad isn't just about fashion
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TechCrunch

time13 minutes ago

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The uproar over Vogue's AI-generated ad isn't just about fashion

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San Francisco | REGISTER NOW They said the Guess ad drama highlights questions arising within creative industries being touched by AI's silicon fingers: When high-quality creative work can be done by AI in a fraction of the time and cost, what's the point of humans? And in the world of fashion, what happens to the humans — the models, photographers, stylists, and set designers — performing those jobs? 'It's just so much cheaper' Sinead Bovell, a model and founder of the WAYE organization who wrote about CGI models for Vogue five years ago, told TechCrunch that 'e-commerce models' are most under threat of automation. E-commerce models are the ones who pose for advertisements or display clothes and accessories for online shoppers. Compared to high-fashion models, whose striking, often unattainable looks are featured in editorial spreads and on runways, they're more realistic and relatable. 'E-commerce is where most models make their bread and butter,' Bovell said. 'It's not necessarily the path to model fame or model prestige, but it is the path for financial security.' sinead bovell, founder & model Image Credits:Sinead Bovell That fact is running in direct contrast to the pressure many brands feel to automate such shoots. Paul Mouginot, an art technologist who has worked with luxury brands, said it's simply expensive to work with live models, especially when it comes to photographing them in countless garments, shoes, and accessories. 'AI now lets you start with a flat-lay product shoot, place it on a photorealistic virtual model, and even position that model in a coherent setting, producing images that look like genuine fashion editorials,' he told TechCrunch. Brands, in some ways, have been doing this for a while, he said. Mouginot, who is French, cited the French retailer Veepee as an example of a company that has used virtual mannequins to sell clothes since at least 2013. Other notable brands like H&M, Mango, and Calvin Klein have also resorted to AI models. Amy Odell, a fashion writer and author of a recently published biography on Gwyneth Paltrow, put it more simply: 'It's just so much cheaper for [brands] to use AI models now. Brands need a lot of content, and it just adds up. So if they can save money on their print ad or their TikTok feed, they will.' PJ Pereira, co-founder of AI ad firm Silverside AI, said it really comes down to scale. Every conversation he's had with fashion brands circles around the fact that the entire marketing system was built for a world where brands produced just four big pieces of content per year. Social media and e-commerce has changed that, and now they need anywhere from 400 to 400,000 pieces; it's too expensive for brands, especially small ones, to keep up. 'There's no way to scale from four to 400 or 400,000 with just process tweaks,' he added. 'You need a new system. People get angry. They assume this is about taking money away from artists and models. But that's not what I've seen.' From 'diverse' models to AI avatars Murray, a commercial model, understands the cost benefits of using AI models, but only to an extent. sarah murray Image Credits:Courtesy of Sarah Murray She lamented that brands like Levi's claim AI is only meant to supplement human talent, not take away. 'If those [brands] ever had the opportunity to stand in line at an open casting call, they would know about the endless amounts of models, including myself, that would dream of opportunities to work with their brands,' she said. 'They would never need to supplement with anything fake.' She thinks such a shift will impact 'non-traditional' — think, diverse — commercial models, such as herself. That was the main problem with the Levi's ad. Rather than hiring diverse talent, it artificially generated it. Bovell calls this 'robot cultural appropriation,' or the idea that brands can just generate certain, especially diverse, identities to tell a brand story, even if the person who created the technology isn't of that same identity. And though Pereira argues that it's unrealistic to shoot every garment on every type of model, that hasn't calmed the fears many diverse models have about what's to come. 'We already see an unprecedented use of certain terms in our contracts that we worry indicate that we are possibly signing away our rights for a brand to use our face and anything recognizable as ourselves to train their future AI systems,' Murray said. Some see generating likenesses of models as a way forward in the AI era. Sara Ziff, a former model and founder of the Model Alliance, is working to pass the Fashion Workers Act, which would require brands to get a model's clear consent and provide compensation for using their digital replicas. Mouginot said this lets models appear at several shoots on the same day and possibly generate additional income. That's 'precious when a sought-after model is already traveling constantly,' he continued. But at the same time, whenever an avatar is hired, human labor is replaced. 'What few players gain can mean fewer opportunities for many others.' If anything, Bovell said the bar is now higher for models looking to compete with the distinctive and the digitized. She suggested that models use their platforms to build their personal brands, differentiate themselves, and work on new revenue streams like podcasting or brand endorsements. 'Start to take those opportunities to tell your unique human story,' she said. 'AI will never have a unique human story.' That sort of entrepreneurial mindset is becoming table stakes across industries — from journalism to coding — as AI creates the conditions for the most self-directed learners to rise. Room for another view Artcare AI-generated model. Image Credits:Artcare Mouginot sees a world where some platforms stop working with human models altogether, though he also believes humans share a desire for the 'sensual reality of objects, for a touch of imperfection and for human connection.' 'Many breakthrough models succeed precisely because of a distinctive trait, teeth, gaze, attitude, that is slightly imperfect by strict standards yet utterly charming,' he said. 'Such nuances are hard to erode in zeros and ones.' This is where startup and creative studio Artcare thrives, according to Sandrine Decorde, the firm's CEO and co-founder. She refers to her team as 'AI artisans,' creative people who use tools like Flux from Black Forest Labs to fine-tune AI-generated models that have that touch of unique humanity. Much of the work Decorde's firm does today involves producing AI-generated babies and children for brands. Employing minors in the fashion industry has historically been a gray area rife with exploitation and abuse. Ethically, Decorde argues, bringing generative AI to children's fashion makes sense, particularly when the market demand is so high. 'It's like sewing; it's very delicate,' she told TechCrunch, referring to creating AI-generated models. 'The more time we spend on our datasets and image refinements, the better and more consistent our models are.' Screenshot from Seraphinne Vallora's Instagram page. Image Credits:Seraphinne Vallora Part of the work is building out a library of distinctive artifacts. Decorde noted that many AI-generated models — like the ones created by Seraphinne Vallora, the agency behind Vogue's Guess ad — are too homogenous. Their lips are too perfect and symmetrical. Their jawlines are all the same. 'Imagery needs to make an impact,' Decorde said, noting that many fashion brands like to work exclusively with certain models, a desire that has spilled over into AI-generated models. 'A model embodies a fashion brand.' Pereira added that his firm combats homogeneity in AI 'with intention' and warned that as more content gets made by more people who aren't intentional, all of the output feeds back into computer models, amplifying bias. 'Just like you would cast for a wide range of models, you have to prompt for that,' he said. 'You need to train [models] with a wide range of appearances. Because if you don't, the AI will reflect whatever biases it was trained on.' An AI future is promised, but uncertain The usage of AI modeling technology in fashion is mostly still in its experimental phase, Claudia Wagner, founder of modeling booking platform Ubooker, told TechCrunch. She and her team saw the Guess ad and said it was interesting technically, but it wasn't impactful or new. H&M Digital model Image Credits:H&M 'It feels like another example of a brand using AI to be part of the current narrative,' she told TechCrunch. 'We're all in a phase of testing and exploring what AI can add — but the real value will come when it's used with purpose, not just for visibility.' Brands are getting visibility from using AI — and the Guess ad is the latest example. Pereira said his firm recently tested a fully AI-generated product video on TikTok that got more than a million views with mostly negative comments. 'But if you look past the comments, you see that there's a silent majority — almost 20x engagement — that vastly outnumber the criticism,' he continued. 'The click-through rate was 30x the number of complaints, and the product saw a steep hike in sales.' He, like Wagner, doesn't think AI models are going away anytime soon. If anything, the process of using AI will be integrated into the creative workflow. 'Some brands feel good about using fully artificial models,' Pereira said. 'Others prefer starting with real people and licensing their likeness to build synthetic shoots. And some brands simply don't want to do it — they worry their audiences won't accept it.' Wagner said what is becoming evident is that human talent remains central, especially when authenticity and identity are part of a brand's story. That's especially true for luxury heritage brands, which are usually slow to adopt new technologies. Though Decorde noted many high-fashion brands are quietly experimenting with AI, Mouginot said many are still trying to define their AI policies and are avoiding fully AI-generated people at the moment. It's one reason why Vogue's inclusion of an AI model was such a shock. Bovell pondered if the ad was Vogue's way of testing how the world would react to merging high fashion with AI. So far the reaction hasn't been great. It's unclear if the magazine thinks it ride out the backlash. 'What Vogue does matters,' Odell said. 'If Vogue ends up doing editorials with AI models, I think that's going to make it okay. In the same way the industry was really resistant to Kim Kardashian and then Vogue featured her. Then it was okay.'

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