Latest news with #TheWitcher
Newsweek
6 hours ago
- Entertainment
- Newsweek
Couple Adopts First Kitten—Can't Cope With How Huge He Becomes: 'Panther'
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. The joy of adopting a new pet often comes with surprises—but one couple got a larger surprise than they expected. For TikTok user Joanna and her husband, their first feline addition shattered all their expectations. What they thought was a standard kitten grew into a strikingly large, majestic cat now known as their "house panther"—and captivated a wide audience from a TikTok video. Joanna, 27, spoke to Newsweek about how they've adjusted to their kitty's size, and how deep their bond has grown since adopting. "When you think you adopted a it turns out you adopted a panther," Joanna captioned the video. "Adopted our first cat, was not expecting him to be the biggest cat we've ever seen! We love our Witcher." Photos from Joanna's TikTok video of her cat, Witcher, as a kitten and adult. Photos from Joanna's TikTok video of her cat, Witcher, as a kitten and adult. @thesweetlifeofjoanna/TikTok Joanna shared more about their journey with Witcher. Having always been drawn to the majestic appearance of black cats, her path to cat parenthood was somewhat unexpected. Already having a goldendoodle named Teddy, they considered adopting a kitten after realizing Teddy was overwhelmed by other dogs. Seeing a photo of "kitten Witcher with his cute face and prominently big ears," Joanna's heart was set. Witcher, originally named Toast by his foster parents, quickly lived up to his new namesake. Joanna and her husband named him Witcher, after Geralt of Rivia from The Witcher, recognizing his early traits of "stoicism, loyalty, independence, compassion and natural heroism," Joanna said. From the moment he arrived, Witcher's bravery was evident. Despite being dwarfed by Teddy, Witcher immediately began "setting boundaries." And the kitten didn't just bring vibrant energy; he also helped Teddy come out of his shell. Their bond blossomed into a "true brotherly bond," filled with cuddles and playful bouts around the house. The couple initially worried about the size difference during their play, constantly intervening. However, Witcher would hold his ground, and many times, even overtake Teddy. It wasn't long before they noticed the cat's remarkable growth. "Soon, we noticed his tail begun to match the size of his big ears," Joanna said. "Then his body begun stretching longer and longer. Before we knew it, when our friends would come over, they begun commenting 'wow, he is a long boy' or, 'wow he's only a few months old?' Even when I would send update photos to his foster parents, they were blown away by his size too." Joanna noted the significant change as their goldendoodle went from towering over Witcher, to Witcher becoming a "fair opponent" in their play. 'The Same Amount of Love' Beyond his impressive size, Witcher's core personality traits have remained. "My favorite his sense of bravery," Joanna shared, adding that he faces new people, pets, harness training and even long car drives with unwavering courage. Joanna, who once wasn't sure how she'd feel as a cat parent, now emphasizes that "cats and dogs display the same amount of love towards their fur parents—just in different ways." She urges those with strong opinions against cats to consider that they are animals that simply appreciate consistency and trust. For her, Witcher's affectionate moments, like cuddling and endless purrs, are "a very active choice he is making." She hopes that by showcasing Witcher's quirks, she can "bring a spotlight to black cats at large," advocating for their adoption given historical biases and misconceptions. She encourages anyone considering a loyal and loving companion to think about adopting a black cat, just like her magnificent "house panther."
Express Tribune
3 days ago
- Entertainment
- Express Tribune
THE END OF AN ERA?
Back in the mid-2010s, when the idea of 'binge-watching' was still novel, you could impress someone you met at a party by saying you watched Black Mirror. The streaming service Netflix had already changed how people rented movies—killing Blockbuster with the casual cruelty of convenience—but now, it wanted to change what people watched. By the time Stranger Things dropped in 2016, the game had already changed. The show, with its mix of Spielbergian nostalgia and synth-scored sci-fi, hit audiences like a cultural bomb. Kids dressed up as Eleven for Halloween. Adults argued over the ethics of what happened in the Upside Down. Netflix had hit a bullseye. And more importantly, it had found its business model: make people stay subscribed, not just for content, but for connection. Fast forward to 2025. Stranger Things is nearing its final season. Squid Game, the Korean thriller that became a global parable about class, is also wrapping up. And the streamer, now sitting atop a global empire of 270+ million subscribers, faces the kind of existential question that haunts legacy studios and tech giants alike: What happens when your biggest hits stop hitting? Shows like Stranger Things, The Crown, The Witcher, and Squid Game weren't just were global cultural events, they brought in millions of subscribers, shaped social media discourse, and most importantly justified Netflix's spendthrift content budget to nervous investors. The blockbusters that built the brand Stranger Things wasn't Netflix's first original hit—but it was the one that felt tectonic. House of Cards and Orange Is the New Black had kicked off the 'prestige streaming TV' era, giving Netflix credibility in awards circuits and pop culture columns. But Stranger Things was different. It had meme power. Fandom. Merchandising potential. It was a world that extended beyond the screen—and into Funko Pops, comic cons, and even retro-style video games. By the time Season 4 dropped in 2022, it had clocked over 1.3 billion hours of viewing — making it Netflix's second most-watched English-language series ever, only behind Wednesday. Kate Bush's 1985 track 'Running Up That Hill' became a Gen Z anthem nearly 40 years later, charting in multiple countries — a symbol of how a single show could ripple through pop culture, music charts, and fashion. Then came The Witcher, with its CGI monsters and Henry Cavill's brooding charisma. Adapted from Polish fantasy novels and games, the show became Netflix's answer to HBO's Game of Thrones—minus the incest and prestige polish. Though critically uneven, it made money globally. But nothing prepared anyone for Squid Game. Then came Squid Game. Released with minimal fanfare in 2021, the South Korean thriller became an overnight global phenomenon. Within 28 days, 111 million accounts had tuned in. It wasn't just the most-watched Netflix show in history at the time — it reshaped the perception of international content. It proved that language was no longer a barrier; if the story was good enough, audiences would follow. It tapped into a pandemic-era malaise: economic anxiety, social isolation, the sense that we were all playing some perverse, rigged game. Netflix reported that 142 million households had watched it in the first month. It became the platform's biggest show ever at the time, helping to stem a slowdown in growth and proving the viability of non-English language content in global markets. While Stranger Things and Squid Game were pop-cultural tsunamis, they weren't alone in making Netflix what it is. The Crown lent prestige and awards legitimacy. Bridgerton brought in the romance crowd with period drama and redefined inclusivity in costume storytelling. The Witcher pulled in fantasy lovers post-Game of Thrones. Money Heist (La Casa de Papel), a Spanish-language crime thriller, became a bankable brand globally, despite originally being a flop on Spanish TV. Even lighter fare like Emily in Paris, Outer Banks, or reality TV hits like Love is Blind and Too Hot to Handle drove viewership numbers and kept the content wheel spinning between prestige projects. Netflix had a machine: fund broadly, promote smartly, find a breakout, ride the wave, and double down. But as the biggest shows begin to sunset, the cracks in the model are becoming visible. The problem with blockbusters Unlike linear TV, which offered seasons year after year at regular intervals, Netflix binge-dumped content. Stranger Things seasons dropped two years apart. Squid Game took even longer to follow up. In between, Netflix relied on a pipeline of content to keep subscribers around — a gamble that became harder as competition intensified. Enter Disney+, HBO Max, Apple TV+, and Amazon Prime — all offering their own prestige fare, some with legacy franchises (Star Wars, Lord of the Rings, Game of Thrones), others with buzzy new titles (Severance, The Bear, The Boys). Suddenly, Netflix was no longer the only game in town. Worse still, the streamer's own release model may have backfired. Releasing an entire season in one go made for headlines, memes, and cultural moments — but those moments were fleeting. Compare that to HBO's week-to-week strategy, which allowed Succession, Euphoria, and The Last of Us to dominate conversations for months. Netflix's shift from a growth-at-all-costs model to a more mature, revenue-focused one was inevitable. With subscriber growth slowing in North America and Europe, and saturation looming in mature markets, the company has introduced ads, cracked down on password sharing, and flirted with licensing content to others — all moves that would've seemed blasphemous five years ago. These aren't signs of desperation so much as maturation. But they do signal the end of a certain kind of Netflix era — the one defined by wild experimentation and blank-check funding for passion projects. Remember when Netflix gave the creators of Game of Thrones $200 million to make The Three-Body Problem? Or funded Martin Scorsese's $160 million The Irishman? Today, Netflix is far more surgical. And that could be good — or very bad — for riskier storytelling. So what does Netflix have coming up to replace its aging giants? First, there's the second season of Squid Game, a high-stakes gamble if ever there was one. Series creator Hwang Dong-hyuk returns, but can lightning strike twice? The sleeper hit had the advantage of novelty and zero expectations. Season two carries the weight of history. Then there's One Piece, the anime adaptation that shocked skeptics with its success. A second season is confirmed, and if it continues to grow, Netflix may have a long-running franchise on its hands. Wednesday, the gothic teen spin-off of The Addams Family, became the most-watched English-language series in Netflix history. With Tim Burton and Jenna Ortega returning for Season 2, it's arguably Netflix's biggest active asset now. Also in development are adaptations of The Chronicles of Narnia, fresh Avatar: The Last Airbender content (after a lukewarm start), and another round of The Witcher, albeit without Cavill. These all carry potential — but also risk. The 'middle show' crisis One of Netflix's quieter dilemmas is what insiders call the 'middle show' crisis. While top shows get massive budgets and marketing, and cheap reality shows get renewals because they're inexpensive to produce, mid-budget, quality series often fall through the cracks. Critically loved shows like Mindhunter, Glow, Archive 81, and 1899 were cancelled despite strong fanbases. The algorithm, it seems, doesn't reward slow builds. Netflix has trained audiences to look for the next big thing — but that leaves little room for cult hits to grow organically. This is where competitors are gaining ground. Apple TV+ is patient and prestige-focused, willing to let shows like Slow Horses or For All Mankind build over time. HBO has decades of reputation in nurturing quality. Even Amazon is doubling down on genre bets and global reach. Netflix, in contrast, sometimes seems caught in its own system: make everything available, see what pops, cut the rest. Is Netflix currently the place for prestige drama? Bingeable fluff? Global storytelling? True crime? Live events? The platform's breadth is unmatched, but with that comes dilution. Disney+ has Marvel and Star Wars. HBO has high-end drama. Prime has genre and scale. Apple has polish. Netflix… has everything, but stands for less. Yet there's a problem with lightning-in-a-bottle shows: they don't last forever. Stranger Things is bowing out with its fifth and final season. The kids have grown up. The charm of '80s nostalgia is wearing thin. Squid Game's creator, Hwang Dong-hyuk, always intended it as a critique of the very systems that made it a commercial juggernaut. Even The Witcher has lost its lead actor, Cavill, and faces declining buzz with each season. So what is Netflix doing to prepare for life after its flagship titles? The answer, predictably, is a little of everything. But whether it sticks is another question. The franchise factory approach In recent years, Netflix has shifted strategy. Rather than hope for breakout hits, it's trying to build franchises intentionally. That's meant spinoffs (like Stranger Things: The First Shadow, a prequel stage play, and potential animated series), sequels (Extraction 2, Enola Holmes 2), and universe-building (The Witcher: Blood Origin, though critics would rather forget it existed). It's also meant poaching talent and IP from traditional Hollywood. Deals with the Duffer Brothers (Stranger Things creators), Shonda Rhimes (Bridgerton, Inventing Anna), and Ryan Murphy (Dahmer, The Watcher) were meant to lock in brand-name storytellers. But results have been mixed. Shonda's Bridgerton universe continues to deliver, especially in international markets. Murphy's shows rack up views, but rarely become cultural events. Netflix has also bet big on international hits — Korean dramas, Japanese anime, Indian thrillers, Spanish heist sagas (Money Heist was a phenomenon). In 2023 alone, Netflix spent over $1 billion on Korean content. It's a smart hedge: local-language shows with global appeal often deliver better ROI than expensive American productions. But is any of it iconic? Does it break through the noise like Squid Game did? Not quite yet. Algorithms don't create magic Netflix's advantage, and maybe its Achilles heel, is its data. It knows what people watch, when they stop, what thumbnail makes them click. This has led to a model of commissioning content that feels more like market research than art. The result is a sprawling catalogue of 'good enough' shows: entertaining, formulaic, and largely forgettable. Think of the dozens of crime thrillers, rom-coms, and reality dating shows that get a weekend spike, trend for two days, then disappear into the abyss of the 'More Like This' section. Critics call this the 'content treadmill.' It's not about making hits. It's about making enough to keep churn low and engagement high. But this risks turning Netflix into a utility — like cable TV — rather than a tastemaker. In contrast, HBO (now Max) still tries to brand itself as a curator. Apple TV+ has a leaner slate but wins Emmys. Disney+ rides the strength of 80 years of IP. Netflix has volume, but volume doesn't inspire devotion. Live sports, ads, and the YouTube pivot In 2022, Netflix launched an ad-supported tier. This marked a seismic shift in its business model, long held up as the 'no ads' disruptor. But with subscriber growth plateauing in key markets, the company needed new revenue streams. The next frontier? Live content. Netflix has started dabbling in live comedy specials (Chris Rock: Selective Outrage) and is reportedly exploring sports rights. It recently struck a deal with WWE to stream Monday Night Raw starting in 2025. This is less about prestige, more about stickiness. Sports and live events bring consistent, appointment-based viewership — something Netflix has never had. There's also a move toward interactive and short-form content. Bandersnatch tested interactive storytelling. Korean Physical: 100 shows how global reality TV can cross borders. The streamer even acquired game studios and is quietly developing mobile games tied to its IP—hoping that users won't just watch Squid Game, but play it. If this all sounds like a pivot toward being a hybrid of YouTube, cable TV, and Xbox — it kind of is. One thing Netflix still lacks is its own massive IP universe. Disney has Marvel. Warner has DC. Amazon has The Lord of the Rings. Netflix's biggest assets (Stranger Things, Squid Game, Bridgerton) are original, but don't have the longevity of 60-year-old comic book characters or fantasy epics. It tried to fix this by spending lavishly. The $200 million The Gray Man franchise (with Ryan Gosling and Chris Evans) was meant to be the next Bond. It didn't quite land. The $450 million acquisition of Knives Out sequels promised a new detective franchise—only for the second film, Glass Onion, to burn hot and fast, then disappear. When you don't own the underlying IP, you don't own the future. And Netflix, for all its streaming dominance, is still renting its place in the culture. What next? The question isn't just what shows come next—it's what kind of company Netflix wants to be. Does it double down on prestige? Go full global? Turn into an interactive tech platform with games and live events? To survive post-Stranger Things, it might have to do all of the above. Already, Netflix is releasing more reality TV (Love Is Blind, Too Hot to Handle), more animated fare (Arcane, The Dragon Prince), more docu-series (The Tinder Swindler, Beckham, American Nightmare). It's diversifying, not in the name of art, but insurance. But the real answer might lie in how it nurtures the next wave of talent. The next Squid Game won't be found by an algorithm. It will come from some obscure writer in Seoul, or Karachi, or São Paulo, with a story that cuts through noise and speaks to this chaotic, collapsing, post-pandemic world. The hits of Netflix's past were surprising, risky, plain weird even. BoJack Horseman, Dark, Sex Education, Russian Doll. The next era of Netflix might require less strategy and more instinct. Because you can build a business on data. But culture? That still takes vision.
Metro
4 days ago
- Entertainment
- Metro
The Witcher dev CD Projekt's new game revealed in oddly descriptive job listing
Details have emerged about the new, original IP from the makers of The Witcher and Cyberpunk 2077, as CD Projekt juggles multiple projects. Everyone's attention might be on The Witcher 4 right now, but developer CD Projekt has several games currently in development. Along with the fantasy role-player, which is expected to launch in 2027, the studio is cooking up a sequel to Cyberpunk 2077 and another game set in The Witcher universe codenamed Project Sirius. A remake of The Witcher 1 is also in development, albeit at an external studio. The most mysterious project in the pipeline is Project Hadar, which we know nothing about except that it's an original IP. However, thanks to a new job listing, we now have some basic details on what to expect. As spotted on Reddit, the job listing is for a Senior Gameplay Designer at CD Projekt's main studio in Warsaw, Poland. The job description mentions it is for Project Hadar specifically, which is described as being in 'its early days'. 'This is an exciting opportunity to join a team that's building a universe from the ground up where your ideas, experience, and creativity can directly shape the project's vision, identity, and direction,' the description reads. While there aren't many concrete details, the post states Project Hadar will be built in Unreal Engine 5. Elsewhere, it implies the game is an action role-player with an emphasis on melee combat. Sign up to the GameCentral newsletter for a unique take on the week in gaming, alongside the latest reviews and more. Delivered to your inbox every Saturday morning. Under the 'qualifications' segment for the role, it reads: 'At least 5+ years of professional experience in a similar role, preferably in RPG/action titles with melee-orientated combat.' More Trending While the genre isn't surprising, considering action role-players are CD Projekt's bread and butter, the focus on melee combat suggests it might be closer to The Witcher than Cyberpunk 2077. The latter had melee combat but it was largely secondary to the gunplay and hacking. The big question for Project Hadar is the game's setting, considering the studio has already covered fantasy and sci-fi in a big way. If it does lean on melee combat, it could potentially pre-date guns, so perhaps a historical game akin to Kingdom Come: Deliverance 2? Melee combat is usually the weakest element in CD Projekt's games so this could be a purposeful attempt to address that head-on. The description brings to mind something like God Of War but whether that's specifically what they're aiming for is impossible to tell at the moment. Whatever it is, it's likely Project Hadar will be many years away yet. After The Witcher 4, the studio's next game will be Cyberpunk 2, which might not be out until 2030, so Project Hadar could be a decade away depending on how things shake out. Email gamecentral@ leave a comment below, follow us on Twitter. To submit Inbox letters and Reader's Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. MORE: Xbox games for Switch 2 'expected' soon ahead of rumoured Nintendo Direct MORE: Mario and Peach are just 'good friends' says Nintendo despite kissing for decades MORE: Star Wars Outlaws 2 cancelled by Ubisoft claims insider
Business Upturn
4 days ago
- Entertainment
- Business Upturn
The Witcher Season 4: Latest updates on release date, cast and plot details
By Aman Shukla Published on July 25, 2025, 19:30 IST Last updated July 25, 2025, 12:38 IST If you've been missing the monster-hunting chaos and chaotic bard energy of The Witcher , you're not alone. Netflix's epic fantasy series is getting ready to return with Season 4, and there's a lot to talk about—new cast, major character shifts, and some pretty intense plotlines ahead. Whether you're here to mourn the exit of Henry Cavill or you're just excited to get back to the Continent, here's a full breakdown of what's happening in Season 4, when it might drop, and what kind of story chaos we're in for. Release Date: When Will The Witcher Season 4 Premiere? Netflix hasn't dropped a release date just yet, but here's what we know: filming started back in April 2024 and wrapped up around October. That gives the post-production team plenty of time to work their magic—literally. With all the VFX and editing this show demands, a 2025 release is the most likely bet. Word on the street points to a mid-to-late 2025 premiere—so think somewhere between July and November. Some whispers have even suggested a possible push to early 2026 if things run long, but Netflix's official fan site, Tudum , has confirmed that 2025 is still the target. The best part? Season 5 is already in the can, since they filmed both seasons back-to-back. So, once Season 4 hits, we hopefully won't have to wait forever for the big finale. Cast: A New Geralt and Exciting Additions Yes, it's happening: Henry Cavill has officially handed over the swords. Liam Hemsworth is stepping into the role of Geralt of Rivia, and while it's definitely a bold change, Liam seems genuinely pumped about it. He's called himself a long-time fan of the franchise, and Netflix even gave us a sneak peek at him in costume. And honestly? Not bad. The look is definitely working. Of course, Cavill left some massive boots to fill, but the show's team has done everything they can to smooth the transition—from makeup and costume design to how Geralt's arc will evolve going forward. If you're still skeptical, you're not alone, but let's give Liam a chance to prove himself. Alongside Hemsworth, the core trio is still standing strong: Freya Allan returns as Ciri, who's gone from princess to criminal-in-training (more on that later). Anya Chalotra is back as Yennefer, now the leader of Aretuza and still trying to protect the people she loves. Joey Batey is still Jaskier—because what's The Witcher without a snarky, heartbroken bard? We're also getting some new faces this time around: Laurence Fishburne joins as Regis , a mysterious barber-surgeon with a serious past. Sharlto Copley plays Leo Bonhart , a bounty hunter you definitely don't want to mess with. James Purefoy is stepping in as Skellen , an advisor with plenty of political games up his sleeve. Danny Woodburn will play Zoltan , a fan-favorite dwarf from the books and games. And Aggy K. Adams joins as Iskra, a brand-new character we don't know much about yet. A few characters won't be returning, though—Vesemir, Tissaia, Lydia, Rience, and others are out due to either story reasons or actor schedules. Their absence is definitely going to shift the emotional tone of this season, especially for characters like Francesca, who's lost nearly everything. Also, fun little update: Shani, the red-haired medic from the games, has been cast—though she might be saved for Season 5. Plot: What to Expect in Witcher Season 4 Okay, let's talk story. Season 3 ended on a pretty dark note—Geralt, Yennefer, and Ciri were all torn apart after getting absolutely wrecked by Vilgefortz. Now, Season 4 picks up in the aftermath of that defeat, with each of them off on their own, trying to survive and hopefully reunite. Here's what's brewing: Geralt is teaming up with Jaskier and Milva, a skilled archer, to track down what he thinks is Ciri. Problem is… it's a decoy. The real Ciri is doing her own thing, and Geralt doesn't know it yet. Ciri has joined a group called The Rats—basically a gang of young criminals—and her arc's about to get a lot grittier. She's also still being hunted by Vilgefortz, who has plans to use the Monoliths to reshape the world. No pressure. Yennefer, meanwhile, is stepping into a leadership role at Aretuza, trying to rally what's left of the magic community and rebuild after Nilfgaard's attack. This season's pulling from some of the most emotional books in the series— Baptism of Fire , The Tower of the Swallow , and Lady of the Lake . So yeah, things are going to get messy, intense, and probably heartbreaking. There's also a war brewing between Nilfgaard and the Northern Kingdoms, and with new characters like Regis and Bonhart entering the mix, it's safe to say this season's going to be packed with tension, betrayal, and plenty of sword-swinging action. Ahmedabad Plane Crash Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at
CNA
6 days ago
- Entertainment
- CNA
Immersive live concert experience featuring music from The Witcher 3 coming to Singapore in November
Something extraordinary is coming. For the first time ever in Asia, The Witcher in Concert is coming to Singapore this November. This immersive live concert, featuring music from The Witcher 3: Wild Hunt by CD Projekt Red, will take place on Nov 29 and 30 at Sands Theatre, Marina Bay Sands. Following its acclaimed tours across North America and Europe, the concert arrives in Singapore to celebrate the 10th anniversary of the beloved video game, The Witcher 3: Wild Hunt. Audiences will be transported into the epic tale of the protagonist, Geralt of Rivia, through a powerful blend of live orchestral music, storytelling and immersive visuals.
