PSVR 2, PlayStation's next-gen VR headset, will be coming sometime in early 2023.

According to multiple PlayStation social media sites across Twitter and Instagram, the next-gen PlayStation VR headset has locked in a release window sometime in the early months of next year.

The window was confirmed on PlayStation's official Instagram account as well as numerous PlayStation regional Twitter accounts from France and Brazil.

PSVR 2 is Sony's next virtual reality headset. According to Sony, PSVR 2 will feature an OLED display with 2000x2040 pixels per eye and a refresh rate of up to 120Hz. It utilizes inside out eye tracking and will have 110 degree field of view.

Sony also announced that PSVR 2 will have over 20 games at launch. The company is also developing exclusive VR games for the headset including Horizon: Call of the Mountain, based on the popular Horizon series.

While the specs of the PSVR 2 can rival that of the Oculus Quest 2 and Valve Index, it is still a wired headset and requires a PlayStation 5 to operate. These factors could become hurdles when compared to the wireless Meta headsets, though those did receive a price bump earlier this year.

Will you be picking up Sony's next-gen PSVR 2 headset? Let us know in the comments.

Matt T.M. Kim is IGN's News Editor. You can reach him @lawoftd.

Spoiler Warning: This article contains major spoilers for a key scene in the House of the Dragon premiere.

House of the Dragon co-showrunner Miguel Sapochnik wanted the Game of Thrones spin-off's most harrowing scene to be "difficult to watch." Mission accomplished.

Social media was alive with conversation this morning about the House of the Dragon premiere's gruesome Caesarean section, which claims the life of both Queen Consort Aemma Targaryen (Sian Brooke) and her newborn son, who was to be the heir to the Seven Kingdoms. The twin tragedies spark the events that form the core of House of the Dragon's conflict.

Speaking with the Los Angeles Times, Sapochnick said that each birth in Game of Thrones "has a theme, just as the battles I've filmed in the past have a central concept."

According to Sapochnick, the theme of this birth was "torture."

"The hope and intention of the show — beyond the primary one of entertainment — is to shine a light on how the experience of men and women in this world has parallels to our own past and present," Sapochnik explained.

In House of the Dragon, King Viserys Targaryen (Paddy Considine) decides to allow the C-section to happen. As actress Sian Brooke points out, Aemma has no say over the procedure that ultimately claims her life.

"It's quite hard to think now, as a woman, to put yourself in [Aemma’s] position. It's so vulnerable to think, 'That's what you are: a vessel for childbirth,'" Brooke. "You've got this battle showing man’s eternal quest for power and status. And then within that, you’ve got this woman who's at the mercy of a man's decision."

"You think you've made this huge leap forward, with women being able to make decisions about their own bodies," she continued. "It's quite shocking, that, sadly, there is some similarity between that and centuries ago."

Brooke said she spent a day and a half "pinned to the bed with my legs akimbo" filming the birth. She also had a prosthetic belly filled with blood containing a pump designed to ensure that the blood flowed realistically.

Sapochnick, for his part, talked about how the scene came together in the editing room, with the perspective shifting from "Viserys' experience of the birth onto Aemma's" until he felt the show had found the "right balance."

"I know it may sound extreme, but we wanted it to be difficult to watch. We wanted people to remember that no matter what they thought of Viserys, he did this and he could never take it back," Sapochnik said. "It is the story's inciting incident and needed to be strong and unflinching."

Game of Thrones has a long history of showing women suffering horrifically, which in some cases has earned the show harsh criticism.

Millions of Game of Thrones fans ultimately tuned in for the premiere, crashing HBO Max in the process. Our review called it a "strong, well-cast start to the Game of Thrones spin-off" filled with "dragons, inbreeding, and resentment."

While you wait for the next episode, check out our analysis of Daemon Targaryen's Gold Cloaks and what they could mean for the rest of the series.

Kat Bailey is a Senior News Editor at IGN as well as co-host of Nintendo Voice Chat. Have a tip? Send her a DM at @the_katbot.

Spoiler Warning: This article contains major spoilers for a key scene in the House of the Dragon premiere.

House of the Dragon co-showrunner Miguel Sapochnik wanted the Game of Thrones spin-off's most harrowing scene to be "difficult to watch." Mission accomplished.

Social media was alive with conversation this morning about the House of the Dragon premiere's gruesome Caesarean section, which claims the life of both Queen Consort Aemma Targaryen (Sian Brooke) and her newborn son, who was to be the heir to the Seven Kingdoms. The twin tragedies spark the events that form the core of House of the Dragon's conflict.

Speaking with the Los Angeles Times, Sapochnick said that each birth in Game of Thrones "has a theme, just as the battles I've filmed in the past have a central concept."

According to Sapochnick, the theme of this birth was "torture."

"The hope and intention of the show — beyond the primary one of entertainment — is to shine a light on how the experience of men and women in this world has parallels to our own past and present," Sapochnik explained.

In House of the Dragon, King Viserys Targaryen (Paddy Considine) decides to allow the C-section to happen. As actress Sian Brooke points out, Aemma has no say over the procedure that ultimately claims her life.

"It's quite hard to think now, as a woman, to put yourself in [Aemma’s] position. It's so vulnerable to think, 'That's what you are: a vessel for childbirth,'" Brooke. "You've got this battle showing man’s eternal quest for power and status. And then within that, you’ve got this woman who's at the mercy of a man's decision."

"You think you've made this huge leap forward, with women being able to make decisions about their own bodies," she continued. "It's quite shocking, that, sadly, there is some similarity between that and centuries ago."

Brooke said she spent a day and a half "pinned to the bed with my legs akimbo" filming the birth. She also had a prosthetic belly filled with blood containing a pump designed to ensure that the blood flowed realistically.

Sapochnick, for his part, talked about how the scene came together in the editing room, with the perspective shifting from "Viserys' experience of the birth onto Aemma's" until he felt the show had found the "right balance."

"I know it may sound extreme, but we wanted it to be difficult to watch. We wanted people to remember that no matter what they thought of Viserys, he did this and he could never take it back," Sapochnik said. "It is the story's inciting incident and needed to be strong and unflinching."

Game of Thrones has a long history of showing women suffering horrifically, which in some cases has earned the show harsh criticism.

Millions of Game of Thrones fans ultimately tuned in for the premiere, crashing HBO Max in the process. Our review called it a "strong, well-cast start to the Game of Thrones spin-off" filled with "dragons, inbreeding, and resentment."

While you wait for the next episode, check out our analysis of Daemon Targaryen's Gold Cloaks and what they could mean for the rest of the series.

Kat Bailey is a Senior News Editor at IGN as well as co-host of Nintendo Voice Chat. Have a tip? Send her a DM at @the_katbot.

Despite consistently charting on Netflix since its release, The Sandman's creator is worried that the show's success may not be enough for Netflix to greenlight future seasons.

Neil Gaiman, the writer of The Sandman comic and Executive Producer of the Netflix adaptation, said the show's costly development means it needs to perform incredibly well to earn a second season. On Twitter, Gaiman responded to a fan asking why Season Two of The Sandman isn't a sure thing.

"Because Sandman is a really expensive show," Gaiman explained. "And for Netflix to release the money to let us make another season we have to perform incredibly well. So yes, we've been the top show in the world for the last two weeks. That still may not be enough."

Because Sandman is a really expensive show. And for Netflix to release the money to let us make another season we have to perform incredibly well. So yes, we've been the top show in the world for the last two weeks. That still may not be enough. https://t.co/m7VusGL2rW

— Neil Gaiman (@neilhimself) August 21, 2022

Back when The Sandman was announced in 2019, it was reported as a "massive" financial deal and the most expensive series that DC Entertainment had ever taken on at the time.

Gaiman also shared some insight into how Netflix measures the success of its content, saying that the streamer looks at completion rates — the percentage of people that actually finish a series or movie — rather than just the number of people watching it in general. So, if you want to contribute to The Sandman's success, be sure to finish watching the series all the way through.

It shouldn't be too difficult for most fans to finish the show, as we called the first season "everything longtime fans could have dreamed of in an adaptation" in our Sandman review.

Gaiman's words on how Netflix chooses what to renew line up with our own report on the subject, where former Netflix VP Cindy Holland said, "the biggest thing that we look at is, are we getting enough viewership to justify the cost of the series?" Completion rate is one consideration, along with the social media conversation and the fandom, among others.

For more, check out how Netflix's Sandman adaption changed Calliope's story in a big way. Or, read about the recently-released surprise episode of The Sandman.

Logan Plant is a freelance writer for IGN. You can find him on Twitter @LoganJPlant.

Despite consistently charting on Netflix since its release, The Sandman's creator is worried that the show's success may not be enough for Netflix to greenlight future seasons.

Neil Gaiman, the writer of The Sandman comic and Executive Producer of the Netflix adaptation, said the show's costly development means it needs to perform incredibly well to earn a second season. On Twitter, Gaiman responded to a fan asking why Season Two of The Sandman isn't a sure thing.

"Because Sandman is a really expensive show," Gaiman explained. "And for Netflix to release the money to let us make another season we have to perform incredibly well. So yes, we've been the top show in the world for the last two weeks. That still may not be enough."

Because Sandman is a really expensive show. And for Netflix to release the money to let us make another season we have to perform incredibly well. So yes, we've been the top show in the world for the last two weeks. That still may not be enough. https://t.co/m7VusGL2rW

— Neil Gaiman (@neilhimself) August 21, 2022

Back when The Sandman was announced in 2019, it was reported as a "massive" financial deal and the most expensive series that DC Entertainment had ever taken on at the time.

Gaiman also shared some insight into how Netflix measures the success of its content, saying that the streamer looks at completion rates — the percentage of people that actually finish a series or movie — rather than just the number of people watching it in general. So, if you want to contribute to The Sandman's success, be sure to finish watching the series all the way through.

It shouldn't be too difficult for most fans to finish the show, as we called the first season "everything longtime fans could have dreamed of in an adaptation" in our Sandman review.

Gaiman's words on how Netflix chooses what to renew line up with our own report on the subject, where former Netflix VP Cindy Holland said, "the biggest thing that we look at is, are we getting enough viewership to justify the cost of the series?" Completion rate is one consideration, along with the social media conversation and the fandom, among others.

For more, check out how Netflix's Sandman adaption changed Calliope's story in a big way. Or, read about the recently-released surprise episode of The Sandman.

Logan Plant is a freelance writer for IGN. You can find him on Twitter @LoganJPlant.

Slightly Mad Studios announced that it will be delisting both Project Cars and Project Cars 2 from digital storefronts on October 3 and September 21, respectively.

“Due to expiring car and track licenses, both Project Cars and Project Cars 2 will be delisted from sale in the coming months,” the studio said on Twitter. “The games remain fully playable, and our players will still be able to enjoy all the game features, including multiplayer. We will remove Project Cars from sale on October 3rd and Project Cars 2 on September 21.”

The studio continued, “We remain focused on making the best sim racing titles, and as mentioned previously, we look forward to sharing more on the next Slightly Mad project when the time is right.”

An update from the Slightly Mad Team on #ProjectCARS and #ProjectCARS2. pic.twitter.com/VtWEow5jao

— Project CARS (@projectcarsgame) August 22, 2022

That doesn't mean that Project Cars and its sequel will be gone forever. While the games will soon be unable to be purchased digitally, physical copies of them will still exist. Furthermore, players will still be able to enjoy the games in their totality as the multiplayer servers will stay up.

The latest iteration of the series, Project Cars 3, remains unaffected. However, the mobile game Project Cars Go shut down seven months after its release in March 2021. Another Slightly Mad Studios game, Fast & Furious: Crossroads, was delisted back in April.

While details about the next project from Slightly Mad Studios are unknown, the studio was acquired by Codemasters in 2019 and then was subsequently acquired by EA last year.

George Yang is a freelance writer for IGN. You can follow him on Twitter @yinyangfooey

Slightly Mad Studios announced that it will be delisting both Project Cars and Project Cars 2 from digital storefronts on October 3 and September 21, respectively.

“Due to expiring car and track licenses, both Project Cars and Project Cars 2 will be delisted from sale in the coming months,” the studio said on Twitter. “The games remain fully playable, and our players will still be able to enjoy all the game features, including multiplayer. We will remove Project Cars from sale on October 3rd and Project Cars 2 on September 21.”

The studio continued, “We remain focused on making the best sim racing titles, and as mentioned previously, we look forward to sharing more on the next Slightly Mad project when the time is right.”

An update from the Slightly Mad Team on #ProjectCARS and #ProjectCARS2. pic.twitter.com/VtWEow5jao

— Project CARS (@projectcarsgame) August 22, 2022

That doesn't mean that Project Cars and its sequel will be gone forever. While the games will soon be unable to be purchased digitally, physical copies of them will still exist. Furthermore, players will still be able to enjoy the games in their totality as the multiplayer servers will stay up.

The latest iteration of the series, Project Cars 3, remains unaffected. However, the mobile game Project Cars Go shut down seven months after its release in March 2021. Another Slightly Mad Studios game, Fast & Furious: Crossroads, was delisted back in April.

While details about the next project from Slightly Mad Studios are unknown, the studio was acquired by Codemasters in 2019 and then was subsequently acquired by EA last year.

George Yang is a freelance writer for IGN. You can follow him on Twitter @yinyangfooey

Saul Goodman always knew how to pull a crowd, and the Better Call Saul finale was no exception. According to Nielsen Live+3 Ratings, the series finale of Better Call Saul was the most watched episode of the show since 2017 with 2.7 million viewers on AMC.

In fact, the final episode was the most watched episode of the show since the Season 3 finale on June 19, 2017, which drew an impressive 1.8 million viewers.

“There has been so much said about this final season of Better Call Saul, so many accolades directed at this extraordinary piece of television – from viewers, critics and everyone else who knows what an accomplishment it is to deliver entertainment at this level,” said AMC president of entertainment Dan McDermott. “I just want to cap this final season by saying thank you.”

“Thanks to Peter and Vince and the entire creative team, including Mark Johnson and Melissa Bernstein. Thanks to Bob, Rhea, Jonathan, Giancarlo and the entire cast,” added McDermott. “Thanks to our partners at Sony and to every viewer who went along on this legendary ride. We are so proud to have been the home of Better Call Saul for all these years and unforgettable seasons. Now we put this series up on the mantel as a reminder of the excellence we all aspire to every day.”

Better Call Saul came full circle for its series finale which aired on August 15.

The beleaguered lawyer found his past catching up with him as he wound up back in the dock facing a moral dilemma. Face up to his crimes and be a better man, or work his magic and talk his way out of it?

Saul Goodman certainly worked his magic on viewers, as Better Call Saul became the third most-watched cable drama in key demographics for the current season.

The final season of Better Call Saul is also up for several Emmys with nominations including Outstanding Drama Series, Outstanding Lead Actor in a Drama Series; Outstanding Supporting Actress in a Drama Series #; and additional nominations in sound, music, and writing.

Want to read more about Better Call Saul? Check out what the show gets right about prequels, as well as the great idea one of its stars has about what’s next for Jimmy and Kim.

Ryan Leston is an entertainment journalist and film critic for IGN. You can follow him on Twitter.

IGN is excited to reveal two new cards from Magic: The Gathering’s next set, Dominaria United. We’ve got the first look at a new rare merfolk creature with kicker called Vodalian Mindsinger, as well as the latest in a long and storied line of Lotus artifacts with a mythic rare called Timeless Lotus.

Both cards are visible in the gallery below, and you can flip through to see each one individually.

Timeless Lotus is a five-mana Legendary Artifact that enters the battlefield tapped and can tap to add five mana, one of each color. That’s a ton of mana to come from a single mana rock like this, though the high cost and tapped entry do slow it down significantly. The two closest comparisons that came to my mind were Gilded Lotus, which is another lotus that costs five and taps for three mana of a single color (without entering tapped), and Jegantha, the Wellspring, a five-mana creature that also taps for one of each color but with a restriction on how it can be spent.

The lotus has always been a symbol of raw power in Magic, tracing its lineage back to the game’s most iconic (and most expensive) card from the very first set: Black Lotus. I could go into its history, but if you’re interested in learning more I’d highly recommend this video from YouTuber Rhystic Studies expertly breaking down its significance, as well as this recent one from Magic designer Gavin Verhey digging into all the times the lotus has made its way back onto a card.

Our other preview card, Vodalian Mindsinger, is sure to make many a merfolk fan happy. It’s a 2/2 blue Merfolk Wizard for three-mana that lets you take control of a creature with power less than its own for as long as you control it. The kicker is that it literally has kicker, letting you pay one and a red, one and a green, or both to have it enter the battlefield with two or four +1/+1 counters on it, raising the cost but also growing its size to allow you to steal bigger things. It’s just a shame that the kicker’s red mana-pip means this won’t be playable in the vast majority of merfolk-themed commander decks.

Wizards of the Coast also previously announced that original cards from the 1994 set Legends will be hiding in Collector booster packs, which leaves an opportunity to open some extremely rare cards in you're lucky. And in unrelated Magic news, WOTC also revealed just last week that the card game would be getting a Doctor Who crossover late next year.

Tom Marks is IGN's Deputy Reviews Editor. He enjoys card games, puzzles, platformers, puzzle-platformers, and plenty more.

It’s a Wonderful Life star Virginia Patton has died, aged 97. The actress, who starred as Ruth Dakin Bailey in the iconic holiday classic, died on Thursday at an assisted living facility in Albany, Georgia.

“Virginia Ann Patton Moss passed peacefully of natural causes on August 18, 2022,” said a statement from Mathews Funeral Home. “Virginia touched so many lives with her gifts of kindness and grace. She will always be remembered for her warm hugs, her zest for life, her elegance, and her deep faith in God. Virginia’s presence made any gathering extra special, and her passion for family and friends was immeasurable.”

We are saddened to hear of Virginia Patton Moss’ passing. She played Ruth Dakin Bailey (Harry’s wife) in ‘It’s A Wonderful Life’. Our thoughts are with her family and friends. pic.twitter.com/keDIGgMYTJ

— Jimmy Stewart Museum (@Jimmy_Dot_Org) August 21, 2022

Patton made her Hollywood debut in 1943 with a handful of uncredited roles but made her breakthrough the following year starring as Carrie Lou in the film, Janie.

Her most recognizable role came just two years later when she starred as Ruth Dakin Bailey in Frank Capra’s 1946 classic, It’s a Wonderful Life. Her character was married to Harry Bailey (Todd Karns) in the legendary holiday classic, and her big scene saw her meeting George (James Stewart) and Uncle Billy (Thomas Mitchell) at the Bedford Falls train station.

“When you were on the set, you knew your lines, you knew your business,” she recalled in 2012. “It was a camaraderie, but it was a business. It was a wonderful atmosphere that some other directors didn’t produce.”

The young starlet went on to clinch a handful of other film roles, but ultimately left Hollywood in 1949 – her final film role as Millie Dale in The Lucky Stiff.

At the age of just 24, Patton retired from Hollywood and married Cruse W. Moss, moving to Ann Arbor to focus on raising a family. She was also the niece of General George S. Patton.

“I have a beautiful letter that [Capra] wrote me because I kept in touch with him,” she revealed. “And he said, ‘I just knew you’d be a wonderful mother with three little bambinos and a wonderful husband.’”

She later studied at the University of Michigan and became a well-known force for good in the Ann Arbor community, serving as a boy and girl scout leader for 10 years as well as joining the Boards of the University of Michigan Kelsey Museum and the Stearns Collection of Musical Instruments.

She was a docent at the University of Michigan Museum of Art for over 25 years.

Patton also served on the Boards of the American Institute of Archeology, the Washtenaw County Mental Health Services Agency, and Cleary College’s Board of Trustees.

Patton is survived by her two children, Carol Moss Loop and Michael Cruse Moss, as well as her seven grandchildren and three great-grandchildren.

Ryan Leston is an entertainment journalist and film critic for IGN. You can follow him on Twitter.