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Against all expectations, Magic: The Gathering – Final Fantasy is still available on Amazon. Given the way The Lord of the Rings: Tales of Middle-earth set disappeared faster than Texas draft beer at Tifa’s bar, you’d expect these to be long gone by now. For now you can still grab a box without emptying Materia slots on the secondary market. It won’t last, though. We all know how this goes.

UK Deals: MTG Final Fantasy Is Still Available

Launching globally on June 13, 2025, this set is the latest in Magic’s Universes Beyond series. Bringing Cloud, Squall, Terra, Aerith, and the rest of Final Fantasy’s biggest names into the world of cardboard combat. It covers every mainline Final Fantasy game from I to XVI, so if you grew up on pixel sprites, PS1 polygons, or you’re still pretending to understand the plot of Final Fantasy XV, there’s something in here for you.

Yes, these are Standard legal. Show up to Friday Night Magic and drop Sephiroth, Planet’s Heir on some poor unsuspecting soul. It probably won’t make you any friends, but we don’t suffer the weak either.

MTG FF Commander Pre-Built Decks

If you prefer Commander, the set has four pre-con decks, each led by a Final Fantasy icon. There’s Cloud’s Limit Break deck (Final Fantasy VII), Terra’s Revival Trance deck (Final Fantasy VI), Tidus’ Counter Blitz deck (Final Fantasy X), and Y’shtola’s Scions & Spellcraft deck (Final Fantasy XIV). And if that’s not flashy enough, there are Collector’s Edition versions where every card gets the Surge Foil treatment because we all know shiny cardboard is the real endgame.

MTG FF Boosters and Boxes

It doesn’t stop there. The set also packs Borderless Character cards with 55 Final Fantasy legends, Woodblock-inspired art for Final Fantasy IX, and Through the Ages reprints, where classic Magic cards get reimagined with Final Fantasy artwork. There are also serialized cards in the Collector Boosters, but no one knows what they are yet. It’s something ridiculous that’ll sell for the price of a second-hand car no doubt.

For now, Magic: The Gathering – Final Fantasy is still up on Amazon, but let’s be honest, it’s only a matter of time before it’s gone and people start whinging about scalpers. So, if you fancy getting in at a reasonable price instead of paying double in a month, now’s your chance.

Christian Wait is a contributing freelancer for IGN covering everything collectable and deals. Christian has over 7 years of experience in the Gaming and Tech industry with bylines at Mashable and Pocket-Tactics. Christian also makes hand-painted collectibles for Saber Miniatures. Christian is also the author of “Pokemon Ultimate Unofficial Gaming Guide by GamesWarrior”. Find Christian on X @ChrisReggieWait.

They don’t make them like Danny Dolinski anymore. As played with characteristic off-kilter charisma by Christoph Waltz, the aging contract killer at the center of Old Guy swaggers around in a vintage leather jacket, exchanges playfully cutting banter with his criminal associates, and sports a shaggy coiffure. That all prompts a disappointing indicator of this crime-comedy’s joke-telling ability: “The ’90s called: They want your haircut back.” In short: Dolinski is another era’s idea of cool, something that’s made abundantly clear when he’s assigned to train the overzealous upstart (Cooper Hoffman) who could take his place as London’s top hired gun. And once our homicidal odd couple picks up a third wheel played by Lucy Liu, Old Guy starts to feel like a bygone era’s idea of a cool movie, the sort of thing Quentin Tarantino or Steven Soderbergh would’ve populated with underworld smart alecks and crate-digging needle drops when Dolinski was at his peak. And I say this as someone of the age to have a sense of nostalgia for such things. This just doesn’t land.

The throwback vibes are subtle, but the exploration of aging is not: Just as Old Guy director Simon West has fewer opportunities to pull out his old Con Air flash these days, Dolinski is frustrated by his employer’s lowered expectations and a bum shooting hand. That seems like it should be enough for a diverting-but-unmemorable caper, but this one unfortunately crams in a whole buddy-movie arc and a halfhearted romance, too. And even then, it needs to pad out a plot involving an ill-fated trip to Belfast and a hostile mob takeover to get across the 90-minute mark.

There are times when Old Guy mimics the rope-a-dope tactics of its protagonist, its outward doddering giving way to a level of surprise and impact it doesn’t seem capable of – a target’s relative pulled out of the line of fire with a little How the Grinch Stole Christmas routine, or a briefly pulse-elevating car chase. But scenes like these are exceptions; so many others are driven by characters and relationships, and those are dragged down by Dolinski’s failure to convincingly or meaningfully click with Hoffman’s Wihlborg or Liu’s Anata. (You have to hand it to screenwriter Greg Johnson: His script may not be particularly novel or memorable, but the character names sure are.)

At least Old Guy has a firm grasp on its actual old guy. Much of that credit goes to Waltz, who’s in his element – and sporting an immaculate mustache – as the underestimated charmer talking his way through sticky situations. There’s a lot of work put in to earn our sympathy for him, which makes sense given his line of work: He’s a professional murderer, but he’s a professional murderer in a vulnerable state, recovering from surgery and threatened by the presence of young gun Wihlborg. In one of Old Guy’s few moments of filmmaking panache, West breaks the slow-motion, party-hearty euphoria of Dolinski’s post-work drinks, drugs, and dancing routine to show us what he looks like from an outsider’s perspective. As Wihlborg approaches his reluctant partner in a bar, what we see is a rhythmless boob dancing with women half his age. It’s a funny image, but it’s also a little sad. But the script keeps such emotions in reserve, turning them off and on with a plot-centric inconsistency that’s also applied to Dolinski’s supposedly debilitating injury. Sometimes he’s hobbled, sometimes he’s an action hero, and it makes no sense.

But Old Guy just can’t settle for being a decent character study of a GOAT in decline. In the scenes between hit men, I heard a yearning for (and, in the case of Waltz, the voice of) the downtime banter of Reservoir Dogs, Pulp Fiction, and Jackie Brown. The love story in the midst of all this aspires to the fireworks of the George Clooney-Jennifer Lopez scenes in Out of Sight, but only gives off a few sparks – the chemistry just isn’t there between Waltz and Liu or their characters.

Old Guy is at least aware enough of its limitations to keep its action sequences sensible, showing Dolinski’s particular set of skills through on-the-fly ingenuity rather than any superhuman gun-fu. It doesn’t make for the most thrilling shootouts, and his deadly accuracy eventually robs any standoff of its suspense, but it is amusing to see him take out multiple adversaries at once by applying his skills with munitions in the kitchen.

The generational warfare, meanwhile, has all the depth and heat of a newspaper op-ed about millennials’ financially ruinous appetite for avocado toast. Dolinski debates whether Wihlborg is a member of that touchy-feely cohort, or if his strident teetotaling and hypebeast fashions mark him as a member of Gen Z – a quasi-quip that only emphasizes Old Guy’s sweaty uncertainty about its wunderkind assassin. It’s possible that the hardline stances he spouts are signs of someone who’s not sure who he is, either, but for all of the sincerity Hoffman lends to his character’s unearned convictions, Wihlborg never really comes into focus. It’s fitting, then, that our first glimpse of his killer instincts takes place in the fuzzed-out background of a close-up on Waltz.

Pity poor Lucy Liu, stranded in an extraneous subplot that’s only there to deliver her character – one who runs a karaoke joint and into Dolinski’s arms. Around the midway point, Old Guy bafflingly mucks with its own momentum by cutting between Dolinski and Wihlborg’s most trying job and Anata’s date with a nice doctor. What could possibly be going on here that’s as important as the high-stakes hit on one of their rival organization’s top men? Whatever the reason, it speaks to the amount of filler bulking up the story because it has precious little to say. The dancefloor interludes really pile up across this hour-and-a-half, though none are as flagrantly drawn out as Dolinski and Wihlborg’s arrival at their handler’s dog-track HQ, where they pause to watch a hairy metaphor for their relationship do a slo-mo lap through the dirt.

There’s no real tension here, just inevitability: When Dolinski instructs an injured colleague to look at a picture postcard of a tropical paradise, a clock ought to pop up onscreen, counting down to the shot of that mope’s blood splattering across the postcard because there’s no subversion of cliche to be found here. Uneasy alliances will be struck, fragile trusts will be betrayed, and the full range of our main hitman’s righteous fury will be uncorked.

It’s certainly not impossible for these previously loved puzzle pieces to be taken out from the box and arranged in such a way that they can still come together into something cohesive. But here it’s hard to get too invested in the outcome, or what happens to any of these characters, when most of their interactions are stitched together from hermetically framed shots that seal Waltz, Hoffman, and Liu off from one another. It’s just one more facet of Old Guy that makes this ensemble piece feel like several parallel one-man shows.

Surface season 2 premieres Friday, February 21 on Apple TV+. New episodes debut through April 11.

Considering Surface is an amnesia thriller, it’s on theme (and maybe a tad on the nose) if you can’t remember what happened in the first season finale. After all, it aired over two and a half years ago. Struggling to recall plot points would be a detriment to other shows, but this one stars Gugu Mbatha-Raw as a woman trying to figure out her past – add to that a change of setting from San Francisco to London, and this second season counts as both a soft reboot and a worthy jumping-on point.

Back in 2022, Surface fell into the meandering traps that affect so many streaming series, treating its first season like one long pilot episode. Thankfully, its sophomore outing is more urgent in its quest for the truth – and much less forgettable as a result. Memory loss from the accident that kick-started Surface still clouds a lot about Sophie, but the mystery stretches back to her childhood; she’s gone to England to crack the mystery of her mother’s death and its connection to a beautiful heiress. In London, where she goes by Tess, Sophie still travels in the same upper-class circles, and leaving behind the rich, Californian embezzlement victims of season 1 in favor of the ultra-wealthy Huntley family ups the ante for season 2 considerably. The money here is old, and the sizable closets are stuffed with skeletons. When Sophie’s ongoing probe intersects with a reporter’s investigation of abuses tied to the Huntleys, the puzzle at the heart of Surface takes on a new weight..

Having stolen millions of dollars from her husband, James (Oliver Jackson-Cohen), Sophie doesn’t have to ditch her life of luxury: Plush hotels, designer clothing, exclusive clubs, and expensive booze are still on the menu. How quickly she reconnects with the youngest Huntley sibling, Eliza (Millie Brady), reminds us of how good Sophie is at faking it until she makes it, and Mbatha-Raw expertly walks the line between drawing attention and slipping beneath the radar. While Brady portrays Eliza like a frayed nerve, Ted Lasso’s Phil Dunster plays troubled Huntley scion Quinn with a sinister edge, ditching the lovable-idiot aura that made him an AFC Richmond fan favorite – and showcasing his range in the process.

The Huntleys are preparing for Quinn’s lavish wedding, and his relationship with fiancée Grace (Freida Pinto) takes some surprising turns throughout the eight episodes. Grace’s uncertainty about becoming a permanent member of the family stirs up some conflict, but Pinto’s time on screen ebbs and flows and the role ultimately feels like a wasted opportunity. (What brief flashes we see of her complexities are far too fleeting.) Pinto isn’t the only one to get a short shift story-wise: the material for family members played by Joely Richardson and Tara Fitzgerald is similarly meager, but the actors make the most of it. Dunster gets the meatier part, juggling Quinn’s own follies and those of his father and grandfather.

Giving Sophie a part-ally, part-foil in the form of journalist Callum Walsh (Gavin Drea) brings us closer to the truth about what happened to her mother. Sophie’s amnesia means we’re learning everything at the same time she is, and vital information is frustratingly withheld until later in the season. You might be able to figure out the broad brushstrokes from the clues strewn about season 2, but it isn’t an entirely predictable outcome, fortunately – the finale culminates in some unexpected twists

Sophie had her therapist to confide in in season 1, but the keepers of her secrets are more fluid this time around. Considering Eliza hasn’t seen Sophie for a decade, it’s hardly surprising that she’s less than thrilled to see her former friend. The push-pull between the two is explored in some depth, but this thread unravels as the season progresses – disappointingly lost amid other, flashier developments like the fallout of Sophie fleeing San Francisco. Jackson-Cohen is listed as a season regular and appears briefly in the season 2 trailer, so it’s no spoiler to say that James eventually re-enters the picture. When he does, the season kicks up a gear, because it isn’t immediately clear whether he’ll be friend or foe to Sophie. The actor has a knack for playing a menacing husband with layers, and once again, he hits different notes between arrogance and vulnerability.

Having seen the whole season, I can assure you that answers are forthcoming, and there’s far less withholding and fewer bloated misdirects on the horizon. The second season improves on the first, and another tantalizing cliffhanger promises there’s still more of this story to be told. There’s more to Surface than its slick and seductive appearance, and Mbatha-Raw mines Sophie’s potent mix of grief and rage to new, satisfying depths in season 2.

The next Tom Holland Spider-Man has been delayed by one week, and probably for good reason.

Sony updated its release calendar today and shared that the fourth Spider-Man movie will now be released on July 31, 2026, a week later than its previously announced July 24, 2026 release. The likely reason is to give the next Spider-Man movie some breathing room from Christopher Nolan’s The Odyssey.

Thanks to the date shift, the fourth Spider-Man movie is now coming out two weeks after The Odyssey hits theaters, whereas before it would only be one week removed. Not that Tom Holland would complain considering he’s starring in both movies.

This buffer will give both films a chance to premiere on Imax screens, something we know Christopher Nolan loves to do.

Marvel announced that a fourth Spider-Man movie starring Tom Holland is officially in the works and will be the next Marvel movie following Avengers: Doomsday which is coming out on May 1, 2026. The next Spider-Man film will be directed by Destin Daniel Cretton who directed Shang-Chi for Marvel and was previously set to direct the next Avengers movie before storylines changed as a result of the situation around the Kang character.

Now the Russo Brothers are back to direct Avengers: Doomsday with Robert Downey Jr. stepping in as Doctor Doom. Wild. Check out our complete list of upcoming MCU projects here and get ready for the Oddy-Man 4 or whatever combo word people will come up for The Odyssey Spider-Man 4 double feature.

Matt Kim is IGN’s Senior Features Editor.