When internet detectives revealed the PlayStation 5 was going to be huge, we were extremely amused — but even their fancy Photoshops couldn’t completely prepare us for how enormous the PS5 truly is.
Roughly half an hour after Sony finally revealed the next-gen console’s price and release date ($399 or $499, November 12th) the company released a full spec sheet that includes the console’s dimensions. And it’s a monster.
Quick, what’s the biggest console ever made? Did you say the original 2001 Xbox, or the VCR-sized original Xbox One? Perhaps the 60GB PS3, affectionately dubbed the “Phat”?
Wrong. The PS5 is bigger than all of them.
According to Sony, the PS5 is approximately 390mm (15.4 inches) tall, 260mm (10.24 inches) deep and 104mm (4.09 inches) wide, making it the single biggest game console you’ve probably ever heard of. The model without the disc drive? Same story, just 12 millimeters slimmer.
There’s barely a comparison. The PS5 is so much bigger, you can’t even argue the 3D perspective throws off its actual size. I’m pretty sure you’d need to go back to the days of game machines with built-in CRT televisions, or computers like the Commodore 64, to get much bigger.
And boy oh boy is this box bigger than the new Xbox Series X and Xbox Series S:
I don’t even need to tell you which console is which. It’s plainly obvious. Remember when we were worried whether the new Xbox would fit in our entertainment centers?
Oh, and there’s one little tidbit I forgot to mention, which makes this even better: Sony isn’t including the PS5’s “largest projection” or optional base in those measurements, according to its press release.
See those yellow and blue boxes? Now imagine some fins sticking out the top of them.
Here’s a 3D visualization of all seven consoles whose dimensions I plugged in, if you want to spin them around yourself. And in case you’re wondering, the PS5 will also weigh 4.5kg, or about 10 pounds. Dropping the disc drive brings you down to 3.9kg or 8.6 pounds.
Mind you, I loved my 60GB PS3 despite its girth, and I doubt I’ll feel differently about the PS5. The rest of the spec sheet is pretty impressive, too!
I’ll leave it below so you can peruse.
x86-64-AMD Ryzen™ “Zen 2”
8 Cores / 16 Threads
Variable frequency, up to 3.5 GHz
AMD Radeon™ RDNA 2-based graphics engine
Ray Tracing Acceleration
Variable frequency, up to 2.23 GHz (10.3 TFLOPS)
5.5GB/s Read Bandwidth (Raw)
Ultra HD Blu-ray (66G/100G) ~10xCAV
BD-ROM (25G/50G) ~8xCAV
BD-R/RE (25G/50G) ~8xCAV
PS5 Game Disc
Ultra HD Blu-ray, up to 100GB/disc
HDMI™ OUT port
Support of 4K 120Hz TVs, 8K TVs, VRR (specified by HDMI ver.2.1)
“Tempest” 3D AudioTech
PS5: Approx. 390mm x 104mm x 260mm (width x height x depth)
(excludes largest projection, excludes Base)
PS5 Digital Edition: Approx. 390mm x 92mm x 260mm (width x height x depth)
(excludes largest projection, excludes Base)
PS5 Digital Edition: 3.9kg
PS5 Digital Edition: 340W
USB Type-A port (Hi-Speed USB)
USB Type-A port (Super-Speed USB 10Gbps) x2
USB Type-C® port (Super-Speed USB 10Gbps)
Ethernet (10BASE-T, 100BASE-TX, 1000BASE-T)
IEEE 802.11 a/b/g/n/ac/ax
DualSense™ Wireless Controller Specifications
Approx. 160mm x 66mm x 106mm (excludes largest projection) (width x height x depth)
PS button, Create button, Options button,
Directional buttons (Up/Down/Left/Right), Action buttons (Triangle, Circle, Cross, Square),
R2/L2 button (with Trigger Effect)
Left stick / L3 button, Right stick / R3 button, Touch Pad button, MUTE button
2 Point Touch Pad, Capacitive Type, Click Mechanism
Six-axis motion sensing system (three-axis gyroscope + three-axis accelerometer)
Built-in Microphone Array, Built-in Mono Speaker, Stereo Headset Jack
Output : 48kHz/16bit, Input : 24kHz/16bit
Trigger Effect (on R2/L2 button), Vibration (haptic feedback by dual actuators), Indicators (Light bar / Player indicator / MUTE status)
USB Type-C® port (Hi-Speed USB), Stereo Headset Jack, Charging Terminals
USB connection (HID, Audio)
Built-in rechargeable lithium-ion battery
Hades guides and tips – Sports Grind Entertainment
Hades is an incredible game. Hades is also a lot to take in, with a ton of decisions to make, multiple weapons and currencies, and a story set in the Greek underworld that takes multiple playthroughs to complete. It’s also purposefully vague.
Part of Hades’ charm is figuring out how the game works, but we’re here to guide your journey of discovery like your own personal Charon. Start with our Hades beginner’s guide and tips on how to get started. Once you unlock your arsenal, we have a guide to help you choose a weapon. We’ll also introduce you to the interesting ways that damage stacks up in Hades, including a tip on a quick way to double your damage output.
As you delve a little deeper into Hades’ mechanics, we’ve got explainers for how to heal, what those door symbols mean, how Hades’ God Mode works, how to use Nectar — including why you should give it to the goodest boy Cerberus first — and why weapons glow purple sometimes.
Serious Sam 4: Say something once, why say it again?
Where did the joy go?
Serious Sam 4 is almost a carbon copy of the previous games in the series, with a little extra emphasis on story, and some technical magic tricks that allow the developer to show a huge number of enemies on screen at once. None of these things really makes a difference in the experience of playing the game itself, however.
I have so many fond memories of playing the past games. Serious Sam releases have always been simple affairs with a lot of guns and a lot of enemies, and they’re at their best when played with fast music pumping in the background.
The franchise used to deliver an even sillier take on the action of fast-paced first-person shooters like the Doom and Quake series, without any of the self-serious aesthetics or even basic nods to realism. I can’t think of many other games that operated as such effective stress relievers, even in short bursts. The Serious Sam franchise has always been a little bit of an underdog in that way, but without any meaningful improvements to that basic idea, why did we suddenly need a new one in 2020?
Serious Sam returns, and repeats
The last mainline Serious Sam game was Serious Sam 3: BFE, released back in 2011. That game introduced iron sights and running to the formula, which were barely incremental improvements, but the new game doesn’t even go that far. Serious Sam 4 is just more of what I already expected from developer Croteam, created with an updated version of the Serious Engine.
The past games in the series weren’t broke, and their design certainly hasn’t been fixed with Serious Sam 4. Aliens have taken over the planet, and Sam Stone is here to crack one-liners and to send them all back to hell. Like the other games in the franchise, this one is another first-person shooter with large environments, hordes of enemies to kill, and a variety of weapons, each suited to a specific tactical need, all of which should be used in turn when the action calls for them. I spent most of my time running backward in the game’s large, open areas, twisting side to side to avoid being shot, and keeping an eye on my ammo while also scanning the level for healing items and armor.
Serious Sam 4 forces me to keep multiple things in my head at once, along with a willingness to change tactics once another wave of enemies warps in to keep me busy. There are skeleton beasts that throw bones and gallop at me, diving to slash at my face with their claws. There are the infamous headless enemies who scream (through their neck-holes, I guess) while running toward me, holding explosives to make sure I don’t get comfortable in one spot for too long; belching, vomiting beasts covered with pustules; and much more.
The enemy design has always been one of Croteam’s strong suits. Each type of enemy is easy to identify, even at a distance, and each one gives hints about their numbers, direction, and attacks through sound as well as visuals. Juggling each enemy threat without making myself vulnerable to the next is a big part of the Serious Sam magic, and that challenge comes through in this game as well.
There is very little real-world logic at play here. Instead, the game operates according to the rule of cool: Sam can carry all these guns at once because it’s cool to have an arsenal. Enemies can warp into wherever Sam is, in whatever numbers they want, because he’s meant to be overwhelmed. The story has Sam trying to find the literal Ark of the Covenant to save the world.
Why not, right?
The problem is that I’ve played this game already, multiple times. The effect of being nearly overwhelmed, while usually just barely staying in control, is wearing off through repetition. The engine can’t quite keep up with the situations that unfold in the game or the increased emphasis on secondary characters and conversation. That’s especially apparent when there’s a pause for conversations and everyone’s face looks a little off, or when enemies seem confused by their own numbers and stand around, waiting to be picked off.
So why do we need another Serious Sam game now? I don’t know, and Croteam didn’t seem to have a good answer to offer, either. While id Software found ways to keep the tone and ideas behind the Doom series intact while branching out in play and design with Doom (2016) and Doom Eternal, Croteam seems too fond of the base Serious Sam experience to try anything as daring. So we’re left with a retread of past games, with some impressive vistas filled with enemies and not much else.
It’s not bad, but again, the joy of the old games feels like it has been squeezed out through repetition and a lack of forward motion. There’s just not enough here to allow Serious Sam 4 to compete with the other big first-person shooters of the year. Still, maybe hardcore fans will be comforted by the return of a series that barely changes, even after almost a decade away.
Serious Sam 4 is out now on Windows PC and Stadia, and is coming to PlayStation 4 and Xbox One in 2021. The game was played on PC using a download code provided by Devolver Digital. Sports Grind Entertainment has affiliate partnerships. These do not influence editorial content, though Sports Grind Entertainment may earn commissions for products purchased via affiliate links. You can find additional information about Sports Grind Entertainment’s ethics policy here.
Great British Baking Show is back on Netflix and coming for Nailed It
What did the Sports Grind Entertainment staff spend their weekend watching? Whether it’s the latest virally popular Netflix series, discovering an animated gem, or educating ourselves in older genre classics, most of us find something worth recommending before we head back to work.
And as usual, the answers range widely, as some people check out what’s new and popular on streaming services, and some return to past favorites. So here’s what we’re watching right now, and what you might enjoy watching as well. Head to the comments to drop in your own recommendations.
Great British Baking Show
The Great British Baking Show is back! A new season of Netflix’s baking competition series (known as The Great British Bake Off overseas) kicked off with Cake Week on Friday, a thoroughly polite dustup involving Battenbergs, pineapple upside-down cakes, and fondant-wrapped busts of famous people composed of cake sponge. The first episode of the new season was full of delicious drama to the point of being overbaked: cakes were hastily microwaved, accidentally knocked onto the floor, melted into puddles, and savaged by Paul Hollywood. One baker even combined bubble gum and soda flavors in a cake that makes one wonder if they’ve ever seen Prue and Paul give an opinion on taste. But the star of the show was baker Dave’s tribute to former Blink-182 guitarist Tom DeLonge.
The show’s showstopper challenge demanded that bakers create a bust of one of their heroes from cake. Construction-based bakes are always stressful to watch, but this particular challenge was pure “you tried” comedy. Cribbing from Netflix’s own Nailed It!, almost every cake hero was a melted, blobby mess, but it was Three Flavours of Tom DeLonge that reached viral hit status on Twitter. I feel for the bakers; cake sponge does not have sculptural qualities of clay or marble, so everyone deserves an A for effort. The Great British Baking Show’s graphics department also deserves praise for the delightful interior shots of DeLonge’s head. If there’s one way to start a season, it’s with the fondant flesh of a pop punk legend (that no one on the show seems to know).
It was a momentous episode, not just for Three Flavours of Tom DeLonge. New co-host Matt Lucas joined the show, replacing Sandi Toksvig, and brought a fun, slightly creepy energy to the proceedings. It was also the first GBBO season filmed during lockdown — the show is being produced in a “bubble,” an extra layer of challenge for this season’s bakers. I’m delighted that appointment television is here again. —Michael McWhertor
The Great British Baking Show Collection 8 is streaming on Netflix.
And everything else we’re watching…
A handful of movies from my childhood blew my little brain: Gattaca, Tron, and Contact. I haven’t watched any of these films in two decades, so I figure what better way to pass quarantine than see how they hit my grown-up noggin.
I began my nostalgia tour this weekend with Contact, which I enjoyed, just not as much as I did as a kid. Jodie Foster plays an astronomer searching for intelligent life (and meaning) in the universe, while slowly falling in love with a journalist/political influencer/self-help icon played by Matthew McConaughey. As a grown-up, the central “man of science vs. woman of faith” debate feels more polemical — I’d forgotten that McConaughey plays a preacher-turned-spiritual guru to the President of the United States. The core message feels a little thinner (especially compared to the more recent Arrival) but the story is no less propulsive, particularly the final 40 minutes which play like an acid trip at the planetarium. Getting older can be a drag, but here’s a positive: we get to rewatch great films, discovering new things to love, seeing them, in a way, for the first time with a fresh perspective. Now to see if Tron holds up to my impossible childhood expectations! —Chris Plante
Contact is streaming on HBO Max.
I slept on Doctor Sleep. Reviews from last fall’s sequel to The Shining were mixed (and our critic’s take was dire!). But in the months after the movie bombed at the box office, I only heard good things about Hush and Gerald’s Game director Mike Flanagan’s take on the Stephen King novel — including praise for an extended cut that turned a two-and-a-half-hour movie into a three-hour-movie. Having respected a lot of Flanagan’s past work, and feeling high off his Netflix series The Haunting of Hill House and The Haunting of Bly Manor (more on that after the embargo next month), I finally carved out time to witness what many saw as a misguided attempt to build on Stanley Kubrick’s cinematic legacy.
Heeeeeeeeere’s Johnny with a take: Doctor Sleep is fantastic. Using traces of Kubrick’s movie as nightmarish memories, Flanagan ties the paths of recovering alcoholic Dan Torrance (Ewan McGregor), superpowered shiner Abra Stone (Kyliegh Curran), and Rose the Hat (Rebecca Ferguson), the psychic leader of a soul-sucking, immortal cult, together into a sprawling mythological epic. Similar to the two Haunting series, Flanagan has a sense for how to keep King’s literary flavor intact, and the characters grounded in reality. The violence is vicious — trigger warning: Rose and her gang feed on helpless kids like Jacob Tremblay! — the theme of self-destruction is as terrifying as the supernatural, and the eventual stretch of story that leads Dan back to the Overlook hotel feels earned. For me, the movie doesn’t feel like a Shining sequel at all, and more of what I’d always hoped we’d get out of a Dark Tower adaptation: A mesmerizing collision of fantasy and reality staged atop a bedrock of mythology. —Matt Patches
Doctor Sleep is streaming on HBO Max and HBO Go.
The Green Inferno
There is a scene in Eli Roth’s grueling cannibal exploitation horror film The Green Inferno that almost made my 100-minute investment in the film feel worth it: A group of protestors, held captive by native people after their plane crashes in the jungle, are fed a mysterious meal. Upon realizing that they are consuming their recently departed friend Samantha, the lone vegan in the group slashes her own throat. Immediately following her death by suicide, one of her fellow protestors concocts a plan to stuff her stomach with his weed stash, hoping that their captors will get so stoned when they cook her, that the prisoners will be able to escape amid the confusion. Yet another protestor decides this is an opportune moment to masturbate, which he justifies as a release to clear his mind. Disgusted, a third protestor starts to strangle the wanker, leading to the inspired closed captioning description “[tugging intensifies].”
It is an ugly, bewildering scene that skyrockets The Green Inferno into wild, text-your-friends “you seeing this shit?!” absurdist territory. I can’t necessarily recommend The Green Inferno, a brutally gory and smug reproach of “slacktivism,” but if you’re interested in watching this particular scene, it takes place approximately 69 minutes into the film. —MM
The Green Inferno is streaming on Netflix.
King of the Hill
As a kid, I only knew about King of the Hill from an online mini golf Flash game I would play with my siblings on the family computer. Recommended by my Texan buddy who said the show is an accurate depiction of Texas life, I’ve finally been watching the series and … I am addicted. I found out Bobby Hill’s voice actress also voiced Pajama Sam, the star of one of Humongous Entertainment’s old computer games, and my life hasn’t been quite the same since. My friend said they were interested in using charcoal to grill some Korean BBQ, and I only half-ironically scolded them for not using propane. That’s where my life is at this moment. —Julia Lee
King of the Hill is streaming on Hulu.
Mystic Pop-up Bar
Having completed (and loved) Strong Girl Bong-soon, I dug around Netflix’s impressive catalogue of supernatural Korean shows to find something else lightheart. Mystic Pop-up Bar is mostly lighthearted but also occasionally complicated and sad, and I definitely found myself reaching for the tissues as I polished the show off over the weekend.
The no-nonsense bar owner Weol-ju (Hwang Jung-eum) is an afterlife reject, forced to settle the grudges of 100,000 souls or be destroyed. With only a few more conflicts to resolve and less than a month to do it, she’s feeling the pressure. If only she could harness the powers of sweet Han Kang-bae (Yook Sung-jae), who can make people confess their deepest truth with only a touch. Even with the help of gentle former-cop Chief Gwi (Choi Won-young), she’s going to have a hard time fighting off rogue demons and reincarnated menaces to get it done.
The show takes its time unraveling its backstory (there is 500 years worth!), constantly hinting at the truth and rarely pulling a “gotcha!” style twist. Plus the food — there’s no shortage of glamorous food shots that will remind you to stop and eat while you marathon this incredibly engaging, moving show. —Jenna Stoeber
Mystic Pop-up Bar is streaming on Netflix.
The thing about the Paddington movies is that they are perfect. I’ve seen them before, but rewatched them over the weekend with my partner, who had not seen them, with Paddington on Saturday night and Paddington 2 on Sunday night. I honestly had forgotten that they are actually kind of emotionally harrowing, and ended up crying a few times.
If you’re not familiar with Paddington Bear, the general gist of the story is that a polite little bear named Paddington is trying to make his way in the city of London after leaving his home in “darkest Peru.” It’s just a sweet time for everyone. Ben Whishaw provides Paddington’s voice in the films, and Nicole Kidman and Hugh Grant star as the villains in the first and second film, respectively. A third Paddington is supposedly on the way, or at least it had better be. —Karen Han
Paddington/Paddington 2 are available to rent on Amazon.
If you watched The Mandalorian and thought “this Pedro Pascal guy sure does a good job playing a reticent mercenary, but I wonder what he’d be like as a chatty mercenary instead? And also wore a helmet where I could actually see his face?” then you’d have as good of a time as I did watching this low-budget sci-fi flick.
Centered around a financially struggling father and daughter who search alien moons and planets for valuable commodities, Prospect isn’t trying to tell an expansive or existential story. Instead it focuses on the relationships that people choose (or are forced into) when living on the ragged edge of society. The practical effects do an extraordinary job of making the world feel tactile and lived in and the Pacific Northwest location is made just alien enough to seem otherworldly. And despite some similarities to Pascal’s role as the Mandalorian, his roguish performance is quite different here, not the least because we can see that charismatic face. —Clayton Ashley
Prospect is streaming on Hulu
Trolls: World Tour
When the news gets inescapably heavy and depressing, as it did last week, it’s tempting to retreat into something completely undemanding and unchallenging, and also potentially fun and pretty. That’s why I finally watched Trolls: World Tour, which just arrived on Hulu after an early stint in the “premium rental” $20 trenches. The original Trolls movie is a surprisingly good time — it’s surreal and almost obscenely perky, with some lively original songs that bring a subversive edge to its feel-good kid-movie vibe. The whole thing is consciously designed like an acid trip, complete with DayGlo colors and warping landscapes full of unexpected singing flowers and talking objects. So I’d hoped for something similar from the sequel.
I didn’t get it — the sequel’s a pretty standard kids’ quest movie, with a villain (voiced by Crazy Ex-Girlfriend’s Rachel Bloom) out to steal everyone’s uniqueness, and heroes (Anna Kendrick and Justin Timberlake) using music to stop her. The frustrating thing about the film for an adult viewer: the whole point of the plot is that all music is equally valid and that pop may be fun, but it shouldn’t overshadow other music, and yet all the music in the film is fed through a pop filter anyway.
But the visual design! The Trolls films are built around the conceit that the stories are being told through scrapbooks after the fact, so the entire world is designed like a crafting party, with fabric buildings, yarn stages, and a felt balloon. My absolute favorite images included a gorgeous canyon made of piled-up quilts, a pond where the foamy edge of the water is the ragged, frayed edge of a piece of cloth, and a waterfall consisting of silver ribbons. The songs are kinda boring and the plot’s pretty rote, but this film is shockingly beautiful and thought-through in all the design elements. —Tasha Robinson
Trolls: World Tour is streaming on Hulu and rentable on Amazon.
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