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Last week the surprise news emerged that there is a new Ghostbusters movie on the way, which will be released in 2020. The film will be directed by Jason Reitman, son of Ivan Reitman, who helmed the 1984 original. The first teaser was also revealed. However, there’s one star connected with the Ghostbusters franchise who is not happy with this news.

Leslie Jones, who starred in the 2016 Ghostbusters reboot, took to Twitter to express her displeasure over the new movie. Jones appeared alongside Melissa McCarthy, Kristen Wiig, and Kate McKinnon in the reboot, which was directed by Bridesmaid’s Paul Feig. However, it was a commercial disappointment and plans for a sequel were cancelled.

In her tweet, Jones made it quite clear that she was not happy with the decision not to continue with an all-female Ghostbusters crew. She also described it as “like something Trump would do.” Check it out below:

No official announcement has been made about the cast of the new movie. However, according to The Hollywood Reporter, Reitman is looking to cast four teens in the lead, specifically two boys and two girls. The site also states that the young stars will team up with the remaining members of the original cast–Dan Akyroyd, Bill Murray, and Ernie Hudson. All three actors also had cameos in the 2016 reboot.

There were initially plans to make a sequel to the reboot. However, the movie ultimately lost money, and within a few months of release Feig admitted that he would be “very surprised” if another movie with that cast happened.

Nevertheless, Reitman was supportive of the reboot when the new one was announced. He told Entertainment Weekly that he would “love to see more stories from [the 2016 cast],” even though his new film “will follow the trajectory of the original film.”

In 2017, entrepreneur Billy McFarland attempted to put on a fantastical music festival in the Bahamas called the Fyre Festival. This elitist and very expensive event ended up being a total disaster. Now, both Netflix and Hulu have competing documentaries about this moment in history, but which one should you watch?

Both of these movies pretty much come to the same conclusion, that event coordinator Billy McFarland is a functioning sociopath, compulsive liar, and a modern-day snake oil salesman. However, how both these films come to that conclusion is very different.

Netflix’s Fyre and Hulu’s Fyre Fraud recount the events leading up to the Fyre Festival and how it all came together, which was way too quickly and without any experienced leader running it all. From having to switch the island where it was going to be held, to FEMA tents being used instead of villas, to the bands dropping out the last minute, it is the story of someone who desperately wants to be something he is ultimately not, a tech billionaire.

Fyre, Netflix’s documentary about the event, has a bit more of a mature take on the events and presents them as seriously as possible. This is one of director Chris Smith’s best documentaries, which is saying quite a lot as he also directed 2017’s Jim and Andy: The Great Beyond for Netflix and 1999’s cult classic American Movie. The story is delivered as more of a mystery, asking the audience, “What went wrong?” It’s apparent, from the get-go, that the problem was lack of planning and trying to rush out a product–which rests squarely on the shoulders of Billy McFarland.

The subjects being interviewed for the piece are those who worked on the festival, from the ones who set up the stages and “sleeping” areas to those involved in the planning of the event. As the movie progresses, it becomes clear that it’s nothing short of a “clusterf***,” with McFarland’s response to most problems being something along the lines of, “think positive and it will all work out.” It doesn’t.

Fyre feels like a smashing success as it is a wonderfully engrossing movie from start to finish. It is essentially a rollercoaster ride of a story, for those who are only semi-familiar with what happened at the event.

Over at Hulu, Fyre Fraud almost has a comedic bent to the entire piece, especially with the musical cues transitioning between each scene, which is hard to take in when the thesis for the film is that Fyre Media founder Billy McFarland was knowingly defrauding everyone around him. Fyre Fraud lets the audience know that everything about this festival was a part of the malicious intent that McFarland had. It’s clearly a leap away from what Netflix’s Fyre.

It feels as though Fyre Fraud is geared much more to a younger audience, yet at the same time, a chunk of an early portion of the movie focuses heavily on what “celebrity influencers” and “social media” are, so choices like that are a bit bizarre. Additionally, the movie jumps around quite a bit in the Fyre Festival timeline.

Fyre Fraud is much more about a Cliffsnotes version behind-the-scenes before and after the event–including from people that attended the event–but the one thing Hulu’s documentary has over Netflix’s is interviews with Billy McFarland. However, it’s not as in-depth as you may hope for. There are even portions left in the movie where McFarland states he refuses to answer questions or simply says, “I don’t know.” However, the McFarland interviews alone make it worth your while to watch Fyre Fraud. Additionally, the Hulu documentary makes it a point mention that Jerry Media produced the Netflix documentary, and Jerry Media who were behind the social media marketing for Fyre Fest, and needless to say, Fyre Fraud is not kind to Jerry Media, while Netflix’s documentary tends to paint them in a much better light.

So if you can only watch one of these movies, which one do you choose? Even knowing the fact that Jerry Media had a hand in it, Netflix’s Fyre is the way to go. It’s not as malicious right off the bat when it comes to the way it represents its subjects–or millenials as a whole–and Smith finds probably the best way to tell this story without getting too in-depth with McFarland’s life. However, both movies present different sides of the same story. Fyre Fraud gives the audience more insight into McFarland’s life, which the Netflix doc doesn’t. So make sure to check out both of the movies, but make sure to watch Netflix’s first, as it’s the better one.

Bandai Namco’s Ace Combat 7: Skies Unknown debuts at No.2 in the UK games chart, below only New Super Mario Bros. U Deluxe, which keeps its place atop the physical chart for the week ending January 19. Ace Combat sells better this week than big hitters such as Red Dead Redemption 2, Call of Duty: Black Ops 4, and FIFA 19, which finish at No.3, No.4, and No.5, respectively.

The remainder of the chart stays largely unchanged in a week lacking many new releases. Super Smash Bros. Ultimate drops one place to No.6, while it’s a good week once again for Activision’s platforming remasters as Crash Bandicoot N. Sane Trilogy and Spyro Reignited Trilogy both manage a top 10 finish.

You can read the full top 10 sales chart below, courtesy of UKIE and sales monitor Chart-Track. Note this table does not include digital sales data, and so should not be considered representative of all UK game sales.

Ace Combat 7 enjoys “the biggest debut in the long running series’ history,” according to Chart-Track. It launched last week to a positive critical reception, including an 8/10 from GameSpot.

“Good aerial combat is important for a game involving jet fighters, but it’s a given quality for Ace Combat,” wrote Edmond Tran in our Ace Combat 7 review. “Skies Unknown boasts a beautiful photorealistic world, entertaining mission variety, and a reason to get excited about clouds. But most importantly, it carries renewed devotion to the history and stories of its fictional universe, and with that, it brings back the human, emotional center that makes it remarkable. Ace Combat 7 is a fantastic return for a series that is at its best when it wears its heart on its wings.”

1. New Super Mario Bros. U Deluxe
2. Ace Combat 7: Skies Unknown
3. Red Dead Redemption 2
4. Call of Duty: Black Ops 4
5. FIFA 19
6. Super Smash Bros. Ultimate
7. Mario Kart 8 Deluxe
8. Grand Theft Auto V
9. Crash Bandicoot N. Sane Trilogy
10. Spyro Reignited Trilogy

Overwatch has begun teasing its next in-game event, 2019’s Lunar New Year. The annual event focuses on Chinese culture and often introduces new skins based on Chinese historical figures or folklore. Blizzard has revealed its first three skins for the upcoming Year of the Pig, with fresh looks for Reaper, Hanzo, and Reinhardt.

The skins were rolled out on the official Twitter account. Reaper gets a new look as Lu Bu Reaper. Hanzo grows a mighty beard as Huang Zhong Hanzo. Finally, Reinhardt loses the helmet for Guan Yu Reinhardt. All three are modeled after generals who lived during the Han dynasty, so there’s a definite theme to the inclusions so far.

Year of the Pig will begin on January 24 and last through February 8. New skins are being debuted daily through Twitter and Facebook. That leaves a few more days for more skin reveals. Some possible contenders include Brigitte, Wrecking Ball, and Ashe, all of which were released after the last Lunar New Year event.

Last year’s Lunar New Year event was the Year of the Dog, which debuted a host of new skins and a capture-the-flag mode. The most recent Overwatch event focused on Ana and paired with a free skin for the character, right on the heels of the annual Winter Wonderland event.

With its simple character designs and a game world that often looks like a young kid designed it by cutting up and sticking together different bits of colored paper, Pikuniku sometimes feels like a video game adaption of a children’s book. It tells a simple story that doesn’t always quite make sense, it’s pointedly very silly, and there are scenes within it that seem to be based on how a child understands the world. A giant company pays a town by making money rain from the sky; a trendy nightclub will only let you in if you dress “cool” by wearing sunglasses; you play a game someone “invented,” but which is, essentially, just basketball mixed with soccer.

But Pikuniku (Japanese for “picnic”) never feels like it was designed specifically for children. It’s a game about battling a corporate takeover, and the writing has the playful, sarcastically irreverent tone you’re more likely to see from someone in their 20s or 30s. But the childish veneer is charming, and while Pikuniku isn’t the deepest game around, it’s lovely, funny, and engrossing in its own weird way.

At the game’s opening, your character–Piku, an entity made up of an oblong red body with dots for eyes and two long spindly legs coming out of it–awakens in a cave, prompted by a ghost to go outside. The opening tutorial doesn’t take long, because the controls are simple: You can jump, causing Piku to spin haphazardly as he moves through the air, you can kick in any direction, and you can curl your legs into yourself and roll around in ball form. You spend the rest of the game wandering through the small game world, encountering characters and helping solve their problems until, eventually, you find yourself fighting against Sunshine Inc, a giant corporation that is sending robots all over the land to harvest natural resources from the game’s three regions.

Progression rarely requires much thoughtful effort. You explore the world on a 2D plane, talking to as many people as you can, kicking at everything, and solving objectives as they’re handed to you. There are platforming elements that require some finesse, especially when you explore some of the slightly more challenging optional side quests that pop up throughout the game. Pikuniku is entertaining rather than challenging, though, and even the hardest areas you’ll find are unlikely to trip you up for longer than a few minutes. But this is to the game’s advantage–it’s accessible to inexperienced and young players, and I never felt like the game would have been more enjoyable if it pushed me harder. Piku’s weird, wobbly walk, his awkward jump, and the force of his kicks mean that just moving through the game world is inherently entertaining.

Your ability to kick everything and everyone is crucial, and much of the puzzle solving in the game comes down to kicking an object from one place to another. The kick mechanic is great fun, with objects reacting differently depending on the angle and distance you hit them from, although there are occasional moments of frustration when, for instance, a box gets wedged into a corner and is tricky to get out. Getting stuck for a moment kicking something out of a corner, or dealing with an object that isn’t behaving how you’d like, can interrupt the flow of gameplay.

You can kick every character you meet in the game with no real punishment, which rarely stops being funny. In a few other instances Piku needs to don different hats or use items he has collected to push forward. Again, the mechanics around this are quite simple–if you see a blooming flower, for instance, you know that you need to use the watering can hat on it because a silhouette of that hat will appear above it. This makes it easy to keep track of what you might now be able to do or unlock when you find a new item. It’s not the deepest mechanic, but it means that finding a hat or item can spark immediate excitement when you already know what it’ll do.

Pikuniku throws little minigames and oddities at you among all the platforming to mix things up. At one point early on, you’re asked to draw a new face for a scarecrow using the analog stick; later, you need to win a button-matching dance-off against a robot. There’s even a Dig Dug parody, which amusingly devolves into a little joke about how some retro games don’t age well. There are boss fights, too (there’s no combat in the game otherwise), and while they’re not super involved affairs they use the game’s simple mechanics to good effect.

Pikuniku is a funny game on numerous levels–the script often undercuts tension and plays with tropes in amusing ways, the goofy way you flip when you jump is a constant source of amusement, and the game will often throw you into strange situations without much explanation. Mess with a toaster in someone’s house, for instance, and you’ll be hurled into the “toast dimension,” which is essentially a dungeon area that you can escape by completing the simple platforming challenge within. In another instance, you enter a pottery store that is clearly begging you to smash everything inside it–it’s a clear Zelda homage, but the real delight is in the merchant’s zen approach to your destruction. Pikuniku is playful and mischievous. Even the soundtrack is wonderfully kooky, and often faintly reminiscent of Koji Kondo’s work with Nintendo.

However, Pikuniku doesn’t last long. You can jump back in after the end credits, which roll within about three hours, and enjoy the aftermath of everything you achieved, but even mopping up the last few missions and trying to collect all the optional trophies scattered around the game world doesn’t add much. The world you’re exploring is compact, and it doesn’t take long for you to feel like you’ve seen everything there is to see. Pikuniku is so charming, and so much fun, that I wanted more time with it (even though the ending is great and absolutely bonkers). The game wrapped up before I was ready to leave it behind, and more story content, or another village to explore, would have gone a long way.

Pikuniku also comes with nine two-player levels, as well as a multiplayer version of Baskick, the aforementioned basketball/soccer hybrid featured in the campaign. These levels are divided between co-op challenges where Piku and his identical friend Niku need to work together and competitive levels where you race one another. You can play with two detached Joy-Cons, and the game holds up well on the smaller screen if you’re playing in portable mode. This is not a major component of the game, though, so don’t expect a whole second campaign. You’re unlikely to get more than an hour out of these levels, but its simplicity makes it ideal to play with a younger relative or someone with little gaming experience.

While Pikuniku is a light experience, it’s got enough charm and verve to stick with you well beyond completion. From Piku’s weird wobbly gait and looping jumps in the opening right through to the game’s funny, bizarre ending, Pikuniku is more gripping than its simple aesthetic and playful tone would suggest. It’ll make you feel like a kid again.