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Video games have gotten better film and TV adaptations these days. Since 2020, we’ve gotten hits like the Sonic the Hedgehog movies, HBO’s The Last of Us, and Netflix’s Arcane. Now, indie film distributor NEON (Parasite, Anora) has joined in on this modern trend by screening one of the best video game movies ever, Exit 8. Directed and co-written by Genki Kawamura, this liminal horror film is based on the walking simulator, The Exit 8, by indie developer Kotake Create.

Exit 8 follows “The Lost Man” (Kazunari Ninomiya) as he tries to find his way out of a Tokyo subway tunnel that constantly repeats itself. To escape, he must follow these rules: “Do not overlook anything out of the ordinary. If you discover an anomaly, turn back immediately. If you don’t, carry on. Then leave from Exit 8.” Even the slightest mistake sends the protagonist back to the beginning, and the anomalies range from small to immensely terrifying.

In an interview with Digital Trends, Kawamura discusses how he was inspired to take a simple video game and transform it into an ingenious and profound nightmare.

This interview has been edited for length and clarity.

Digital Trends: Now, to get started… how are you feeling today? 

Kawamura: I’m really excited by how the U.S. audience is going to respond to this movie. I know it’s a very bizarre, probably not like your standard, movie. So with the U.S. release around the corner. I’m excited to see how the response is going to be.

Digital Trends: Well, as a U.S. citizen who saw an early screening, I think they’re really going to love it. Now Exit 8 is based on a popular video game.
Could you tell me how you approached adapting it into a feature-length film? 

Kawamura: As soon as The Exit 8 came out[I] played the game right away, and then went on to watch a lot of different streamers and their archives, and it dawned on me that there were as many stories as there were people playing this game.

There were as many instances of drama as there were players. And I go back to a panel that I did with Miyamoto Shigeru from Nintendo, where he said, “Truly great games. It not only has to entertain the player, but it has to entertain the people watching the player play the game as well.”

So with this movie, I set out to capture that phenomenon that’s happening within the video game industry itself where there are players, there are streamers, and there are viewers watching the streamers. 

Digital Trends: Right.
And personally, I think the movie is incredible. I was truly amazed by the camerawork and how you were able to perform so many long takes in this hallway that’s constantly changing. Could you tell me more about how you filmed the scenes on that set?

Kawamura: Well, I wanted to keep the secret, but I’ll give you a peek. We actually made two identical corridors. 
So it was like a copy-and-paste. There were two physical corridors back-to-back, and that’s what enabled us to do the single-cut looping shots physically.

So the Walking Man, Kochi Yamato, the actor, he would, for example, walk down the corridor once, and as soon as he walked past the camera, would run to the exit, get on a bicycle, bike to the beginning of the other corridor, catch his breath, and begin walking again. 


So our filming methods were very practical and analog because I didn’t want to use CG if at all possible. And because we had two identical corridors, the casting crew would get lost oftentimes.
So we had to name the corridors. We named one corridor “Hitchcock” and the other one “Kubrick.” 

Digital Trends: Amazing. Now, I’ve seen videos of The Exit 8 game, and [the film] really captures the look and feel of the source material. I know you had to build the film story from the ground up, as the game had no story. One of the biggest differences I noticed was that the protagonist…he’s about to be a father. Why did you decide to make a story about that?

Kawamura: I commute on the subway system in Tokyo to get to work every day, and there are many people I share the subway with, but we’re all on our smartphones. 
So it feels very isolated, and to the point where I’m sure a lot of people won’t even notice a crying baby on the train. And even with our smartphones, on our timelines, there are instances of war, of violence that we’ll scroll right past.

So I don’t think anyone on the train is responsible for directly killing anyone else, but I think there are a lot of anomalies happening that we just scroll right past and ignore, and we’re all guilty of this. So what if that guilt manifested itself in this white, sanitized corridor as anomalies and were reflected back on the people who scroll past them? I think that is what might truly be terrifying.

Likewise, our main character and I think [that] our society at large has become more and more selfish.
So this idea of taking responsibility for a brand-new life is something that I don’t think a lot of consideration is given to, especially from the main character.

Digital Trends: Yeah, I picked up a lot of those themes from the story. Now, since the movie shows the characters going down the same hallway over and over again, did you fear that the film would get too repetitive for the audience as a feature-length film?
How did you keep the film engaging and surprising to your audience? 

Kawamura: How I did that part of it was the characters. 
So I wanted to capture the idea of you’re watching different livestreams of different players, and by switching the point of view or the characters that were following, I think we’re able to keep the audiences engaged.

And at the same time, as we were developing the film, the corridor itself began to take on this characteristic of its own, and I would even argue that the corridor could be the main character of this film.

The corridor is almost like this monster that takes on a will of its own as it sort of toys with the humans that enter it, and this sign, “Exit No. 8.”
This yellow sign it oversees all of it is almost this divine creature, this God that’s watching humans within the corridor. So it feels like how from 2001: A Space Odyssey, if we can get the corridor and the sign to have that kind of projection. I thought that would be really interesting. 


Digital Trends: Yeah, it’s funny you mentioned that because I did see the hallway as a sort of a sentient entity, but I was getting more of the hotel from Stanley Kubrick’s The Shining. Was that one of your influences in making the story? 

Kawasura: It was a very big influence, and I’m glad that you were able to pick up on that reference.

Digital Trends: Thank you. Now, I read online that there have been talks about an English remake of Exit 8 getting made, as well as remakes being made by filmmakers and many other countries. Have there been any updates about where the franchise is going to go going forward?

Kawamura: I’m currently touring in the United States, and we’re also taking meetings for different potential remakes, but I think to myself that it’d be really cool to see different cities and their own subway and underground networks and systems because I think each Exit 8 is going to have its own drama.

Each city will have its own Exit 8, which will have its own drama. So if there’s this larger Exit 8 universe where all the different stories are kind of part of the universe, that would be really, really cool. 


Digital Trends: Yeah, I’m really looking forward to seeing where the franchise takes you. Do you have any other films or TV shows in development at the moment? 

Kawamura: My latest novel is coming out this autumn. It’s titled The Horse and I, based on a true story, where a woman embezzles $10 million and spends it all on her riding horses. It’s going to be a thriller. 
So that’s what I’m working on at the moment.

Digital Trends: That sounds pretty exciting. And now, on the topic of thrillers, I’ve seen from your past filmography that you haven’t done a lot of scary movies…Can you tell me how you approach creating horror and terrifying your audience in film?

Kawamura: I have a lot of history producing animation in Japan, and there are a lot of legends that precede me, Kon Satoshi, Oshii Momoru. These legendary animation directors are really good at taking what’s happening within the human mind and within the human head and sort of putting that out, like projecting it outside into the world and different visual expression.

And I thought if I could somehow do that using the live-action medium, that would create a different kind of moviegoing experience. And for me personally, I find what happens within the human mind much more terrifying than monsters or ghosts. 


Exit 8 is in U.S. theaters on April 10.

Crimson Desert has a new late-game problem, and it is a pretty funny one. The true warriors among the players are not happy with the peaceful quiet time after finishing the game.

Some people who have spent hundreds of hours in Pearl Abyss’ sprawling open-world RPG are starting to complain that the world has become “too peaceful” because they have effectively wiped out most of the enemies in certain areas. One player cited by IGN said that more than 100 hours in, certain zones were becoming too peaceful to properly test endgame builds and upgraded gear.

When “too much game” becomes a real problem

This looks like a strange complaint at first, but it says a lot about how people are playing Crimson Desert right now. It has only been a few weeks since the game came out, yet some of its most dedicated players have already sunk enough time into its work to start running into the limits of enemy density and persistence. This appears to be the result of players finishing missions and clearing out large parts of the map so thoroughly that the world begins to feel unusually quiet.

All of this isn’t happening in a tiny RPG, either. Despite how enormous Crimson Desert is, many players are still stuck in the first region even after more than 100 hours. So these “nothing left to kill” complaints feel bizarre and a little impressive at the same time.

A weird complaint, but not a bad sign

This does not sound like an issue for the average player. Rather, this is more like a side effect of the most committed fans who have exhausted certain pockets of the large open world faster than most people ever will. However, it still raises an interesting question about how Pearl Abyss wants its world to behave long-term.

If players are building stronger endgame loadouts, they also need enough worthwhile enemies to actually use them on. While most open-world games get criticized for throwing too many enemies at players, this seems like an issue where the studio needs to throw in a few more.

Scrolling through a streaming library looking for something to watch is its own kind of exhausting. But Tubi just fixed it. The free streaming service has been integrated into ChatGPT, making it the first video streaming platform to do so.

Starting today, you can ask ChatGPT directly for movie and TV recommendations from Tubi’s library and start watching within seconds, all without leaving the chat interface.

How to use Tubi inside ChatGPT?

Getting started is straightforward on both desktop and mobile. On your desktop, click “Apps” in the ChatGPT sidebar, search for Tubi, and connect it. On mobile, tap the plus button near the prompt bar, select Explore Apps, search for Tubi, and connect it.

Once connected, you can either type @Tubi or start your message with something like “Using Tubi, recommend…” followed by whatever you are in the mood for. Your requests can be as broad or specific as you like, from underrated comedy films to movies with your favorite action heroes.

ChatGPT will search Tubi’s library and return matches within seconds. If the first round of recommendations does not quite land, you can keep refining by saying things like “make it scarier” or “suggest something shorter.”

From ChatGPT’s recommendation to watching on Tubi

Once you spot something worth watching, a “Watch on Tubi” button takes you straight into the app and starts playing without any additional search.

The more detail you pack into your prompt, the better your results will be. Listing a few titles you already love and asking for something similar is a solid way to get the most out of it.

ChatGPT opened its app store last December and has been steadily growing its ecosystem since. It currently includes apps for platforms like Apple Music, Zillow, Spotify, and Canva.

With Tubi now live as the first streamer in ChatGPT’s growing app ecosystem, the next question is how long before Netflix, Disney Plus, and others follow.

Sony has never really struggled to sell expensive headphones, but this time it seems ready to test just how far premium can stretch. Fresh off launching the Sony WF-1000XM6 and Sony WH-1000XM6, the brand is now reportedly working on something far more exclusive and significantly more expensive. The kind of product that doesn’t just sit in the lineup, but quietly makes even the Apple AirPods Max feel a little more reasonable than usual.

The ColleXion isn’t just a name

Sony is reportedly working on a new pair of premium headphones called the Sony The ColleXion, and they’re not trying to blend in with the rest of the lineup. If anything, they’re trying to stand above it. These headphones are expected to retail for around €629 in Europe. To put that into perspective, the WH-1000XM6 launched at €449. That’s already firmly in premium territory. The ColleXion is a whole new level that is trying to nudge into luxury audio pricing.

However, there’s still no official word on features, specs, or what exactly justifies the price jump. But given Sony’s track record with noise cancellation, sound tuning, and comfort, expectations are already unreasonably high. And if this really is positioned as a limited-edition product, don’t be surprised if design and materials play a bigger role than usual. The Sony The ColleXion is expected to launch globally on May 19, 2026, which means we’re likely just weeks away from a flood of leaks that will either justify the price or make it even more mysterious. Either way, it’s going to be interesting.

Wait! There’s more

Alongside The ColleXion, the company is also introducing a new Sandstone color for the Sony WH-1000XM6. It’s set to launch on the same day, May 19, and will cost the same as existing variants. A safe choice, for those who prefer their upgrades a little less existential.

After years of rumors and leaks, Apple’s iPhone Fold is finally inching closer to a launch, and according to Bloomberg’s Mark Gurman, arguably the most reliable Apple oracle, the foldable is on track for a September 2026 debut. 

Earlier this week, Nikkei Asia raised eyebrows by flagging development snags with the iPhone Fold, particularly during testing. Gurman, however, pushes back, reporting that despite the device’s complex design, Apple remains committed to its September launch window. 

Is the iPhone Fold’s launch on track?

The supply at launch might be tighter than for other iPhones, but the launch timeline itself stands. Does that mean that the purported iPhone Fold will be available to purchase alongside the iPhone 18 Pro models in September 2026? It doesn’t seem so. 

While Apple intends to reveal or showcase the iPhone Fold alongside the iPhone 18 Pro and the iPhone 18 Pro Max in September this year, shipping may follow later. In his newsletter, Gurman drew a parallel between the rumored foldable and the iPhone X. 

When will Apple chip the iPhone Fold?

Apple announced the revolutionary iPhone X in September 2007, but deliveries began in November. The Fold, at least for now, could follow a similar path, potentially hitting hands as late as December this year. 

In exchange for the long wait, buyers could get a book-style foldable that unfolds from a 5.5-inch outer screen to a 7.8-inch inner screen that mimics the aspect ratio and look of the iPad mini, has a 4.5-4.8 mm side profile, runs on a new Apple chip, and has a dual-rear-facing camera array. 

Pricing, however, is the most sensitive aspect of the iPhone Fold, which, in my opinion, can make or break the company’s product lineup. For now, the general consensus on the internet points toward a starting price of over $2,000 for the baseline variant.

A hot minute after the first-ever MacBook Neo just hit the store shelves, Apple is already plotting its successor. According to Tim Culpan, a Taiwan-based tech columnist and former Bloomberg reporter, writing in his Culpium newsletter, a next-generation MacBook Neo is on track for a 2027 arrival, with two substantial upgrades. 

What’s actually changing, and what isn’t?

The current-generation MacBook Neo runs on the A18 Pro chip, the same chip that powers the iPhone 16 Pro, and it is roughly as powerful as the M1 chip on the 2020 MacBook Air. Its successor, however, could be equipped with a binned version of the A19 Pro chip (with five cores instead of a GPU).

For those catching up, A19 Pro is the same chip that powers the iPhone 17 Pro models. Although the difference in performance isn’t exactly stellar, it is in the lower double digits, which could make a difference while you’re multitasking, using apps in split view, or working on other demanding workflows. 

In addition to the new chipset, the purported MacBook Neo 2 could also feature 12GB of unified memory, up from 8GB on the current model. Again, an upgrade that will improve the device’s overall performance and longevity, starting at $599. 

Why is Apple already planning the next one?

The current MacBook Neo lineup is selling quite well. Culpan notes that Apple is already in talks with suppliers to speed up production, as the sales have surpassed the initial expectations. 

The company is yet to determine manufacturing capacity and supply chain constraints related to increased production, but overall, it seems to be moving toward a second-generation MacBook Neo that could arrive in 2027. 

One thing is clear: Apple sees the MacBook Neo as a lineup, not just a product. At $599, it caters to a market segment that the company had largely abandoned for years. A 2027 follow-up with a better chip and increased memory could bring in more sales than the current one. 

If you have been looking for more reasons to love your Roku device, here is a good one. Roku has quietly expanded The Roku Channel with six brand new free channels, available right now on all Roku TVs and streaming players.

This latest addition brings the platform’s already expansive library, which covers hundreds of live channels and thousands of on-demand titles, even further.

What are the six new free channels on Roku?

Here is the full list of what just landed on The Roku Channel:

• Channel 313 : Rawhide
• Channel 314 : The Beverly Hillbillies
• Channel 624 : Ink Master
• Channel 815 : Toso.o
• Channel 978 : MTV en Español
• Channel 6036 : Westerns