Everyone has some sort of experience watching Mary Poppins in some form or another. Although it has been over half a century since Julie Andrews graced the screen as Poppins, the title character lives on in fans’ hearts and dreams. Now she’s back in Mary Poppins Returns. Well, the character, at least. This time Emily Blunt takes on the role made famous by Andrews in 1964. She brings back the warm charm and snark that fans know about the seemingly magical British nanny.

We were fortunate enough to join our fellow journalists to talk to the cast about the sequel, where Blunt addressed what it was like to play the role and what she did to prepare for it. Check out what she had to say below.

Disney’s Ralph Breaks the Internet takes its titular character (John C. Reilly) and Vanellope Von Schweetz (Sarah Silverman) out of Mr. Litwak’s arcade and inserts them into the world of the Internet where they will have an adventure of a lifetime while also meeting new friends like Yesss (Taraji P Henson) and Shank (Gal Gadot).

We and our fellow journalists were recently invited to attend the press conference for the sequel, which is directed by Phil Johnston and Rich Moore from a screenplay penned by Johnston and Pamela Ribon. While there, we learned a few more things about Ralph Breaks the Internet including Vanellope’s own princess song, the recording process, a possible sequel, and so much more. Check it all out, below.

Ralph Breaks the Internet is the Disney Animation Studio sequel to 2012’s Wreck-It Ralph. In it, Ralph (John C. Reilly) must venture to a world where no arcade game sprite has been before, the Internet. With the help of the always energetic Vanellope (Sarah Silverman), the two must search for a rare Sugar Rush game replacement part or risk losing the machine, entirely. Along their journey, they will come across new technological advances like Yesss (Taraji P. Henson), an algorithm that determines what’s popular. But the Internet is so much bigger than they originally thought, and they will be thrust into a larger than life world that may or may not survive Ralph’s wrecking.

We got a chance to join our fellow journalists to talk to directors Rich Moore and Phil Johnston, and producer Clark Spencer. During the Q&A portion of the early preview, they talked about some of the inspiration behind the film, Ralph and Vanellope’s new journey, and what obstacles they must overcome. There may be some slight spoilers ahead, but nothing too revealing. Check out what they had to say below.

Over the summer I caught a screening of Chris Moore‘s Triggered and I absolutely loved it. The film is currently running the festival circuit and is scheduled to come out in wide release next year. Moore’s first horror film Blessed are the Children was just picked up by Wild Eye Releasing and is available today on Amazon and Amazon Instant Video. His films are slashers with a taboos twists. Blessed are the Children is about a woman who terminates a pregnancy is stalked by masked maniacs who protest outside abortion clinics, while Triggered takes a unique turn at portraying social justice warriors. One thing for sure, the young filmmaker has a flair all his own. I got a chance to speak with about his upcoming films, his influences and aspirations.

Check out the interview below (with some spoilers!).

New York Comic-Con wrapped up on October 7th and ended a crazy four days at the Javits Convention Center in NYC. My last press roundtable of that weekend was for the upcoming science fiction film Prospect, which stars Jay Duplass (Transparent), Pedro Pascal (Game Of Thrones), and Sophie Thatcher, who makes her feature-film debut here.

The film, which had its premiere in March at the SXSW Film Festival, was written and directed by Chris Caldwell and Zeek Earl, and is a feature-length version of their 2014 short. It will be released on November 2, 2018 in Regal theaters, which will be offering an exclusive art print by Christopher Shy, as well as an exclusive download of the film’s accompanying Playbill, Aurelac Prospecting: Guide To Getting Rich On The Green Moon, that delves into the film’s world-building.