Hot on the heels of the news that Prime Video’s live-action Tomb Raider series starring Sophie Turner begins filming next year comes word that Netflix’s animated series Tomb Raider: The Legend of Lara Croft is coming to an end.

Variety reports that Tomb Raider: The Legend of Lara Croft’s upcoming second season will also be its last. Season 2 launches on Netflix on December 11.

“When adventurer Lara Croft (voiced by Hayley Atwell) discovers a trail of stolen African Orisha masks, she joins forces with her best friend Sam (Karen Fukuhara) to retrieve the precious artifacts,” according to the season’s official plot synopsis.

“Lara’s thrilling new adventure takes her around the globe as she delves deeper into the hidden secrets of Orisha history, dodging the machinations of a dangerous and enigmatic billionaire who wants the masks for herself, while discovering these relics contain dark secrets and a power that defies logic. Power that may, in fact, be divine.”

Season 1 debuted in 2024. IGN’s Ryan McCaffrey wasn’t overly fond of the show, writing in his Tomb Raider: The Legend of Lara Croft, Season 1 review that it "isn’t terrible, but it’s well below the high bar set by other animated video game adaptations on Netflix."

Prime Video’s live-action Tomb Raider series begins filming in January 2026, with Phoebe Waller-Bridge serving as creator, writer, and executive producer. Chad Hodge is co-showrunner, while Jonathan van Tulleken (Shogun) will direct and executive produce.

Beyond the final season of Tomb Raider, Netflix’s new big animated video game adaptation is Splinter Cell: Deathwatch, which premieres in October.

Civilization VII developer Firaxis has laid off an unknown number of individuals today, despite the insistance of Take-Two CEO Strauss Zelnick that the game's sales are consistent with expectations.

Today, a number of Firaxis employees announced across social media that they had been let go, including members of production, narrative, and art. Civilization VII publisher 2K confirmed the layoffs to Game Developer, saying the studio was restructuring and optimizing its development process for "adaptability, collaboration, and creativity." The company did not confirm the number of individuals impacted.

Firaxis released Civilization VII earlier this year, and the game has since received a mixed reception on Steam amid player complaints about the game's user interface, lack of map variety, and that it was missing expected features. Since then, Firaxis has released a number of updates to the game to improve it in these areas.

In the meantime, Strauss Zelnick, CEO of 2K parent Take-Two, has said that while Civilization VII did get off to a "slow start", the company's internal projections for the "lifetime value" of the game still match initial expectations.

“I think the key thing is that Civ has always been a slow burn. It's always been a title that had — I'm not really a big believer in the long tail theory of the entertainment business — but Civ is an example of that theory. And right now our projections for the lifetime value of the title are very consistent with our initial expectations for the title.

“So while we were off to a slow start and while we have had to make changes — and there are more changes coming — I feel like consumer uptake is better and better and we feel really good about the title. I think over time it's going to take its place in its civilization pantheon in a very successful, credible way.”

Rebekah Valentine is a senior reporter for IGN. You can find her posting on BlueSky @duckvalentine.bsky.social. Got a story tip? Send it to rvalentine@ign.com.

The 2025 NFL season officially kicks off this week and if you're hoping to stream all of the games online, it is once again unnecessarily confusing. There is no single place where you can watch every NFL game live, and it gets even more confusing when you start factoring in some streaming exclusives coming later this year. If you're looking for the best way to watch as many NFL games as you can this season, you're likely going to need to be subscribed to multiple streaming services.

TL;DR – These Are the Best Streaming Services for NFL Games

For those who are only looking to watch the occasional game, most of the popular sports streaming services should do the trick. You can also get some games through other streaming services depending on the day. I'd recommend checking out the NFL website for an up-to-date schedule of games to find out where you can stream each one.

Fubo

Best Option for Most People

Hollow Knight: Silksong is already a huge hit on Steam despite causing Valve’s storefront to crash, posting massive concurrent player numbers.

At the time of this article’s publication, and as those storefront problems ease, Silksong was on a huge 453,993 concurrent players on Steam, making it the third most-played game on Valve’s platform behind only Counter-Strike 2 and Dota 2.

This number looks set to rise, too, as more people download the game ahead of its first weekend on sale. The question now is, just how big will it be? It’s already the 29th most-played game on Steam of all-time, with the likes of Helldivers 2 in its sights.

Silksong is one of the most anticipated games of 2025. Over six years after its initial announcement and as the most wishlisted game on Steam, Silksong finally launched today, September 4, across PC, Nintendo Switch, Nintendo Switch 2, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series X and S priced $19.99 and weighing in at 7.62GB.

Of course, Silksong’s true player count will be much bigger across all platforms. Neither Sony, Nintendo nor Microsoft make player numbers public, but Silksong crashed those storefronts, too, so it will be massive everywhere. And let’s remember Silksong is a day-one Game Pass title. Yep, this one’s enormous, perhaps even the biggest indie game launch of all time.

Little was known about Silksong ahead of launch, so players are only now discovering its secrets. One of the first revelations is the achievements list (Silksong has 52 Achievements and 53 Trophies to unlock and discover).

Be sure to check out IGN's Silksong coverage, which includes the story of the superfan behind the YouTube Channel Daily Silksong News, who can finally rest after an incredible 1,693 days of videos.

Be sure to stay up-to-date with all the latest from IGN by clicking here and setting IGN as a preferred source in Google.

Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

We now live in an era where we can’t always trust our eyes — and that has led none other than Lady Gaga to come under fire for potential AI usage in her latest music video for “The Dead Dance,” her new song for the Netflix show Wednesday.

So how did this happen, exactly? Let’s break it all down all the way from the beginning, including whether or not the signs actually do point to AI being used in the visual directed by Tim Burton himself.

First of all: Gaga on Wednesday! Yes, it’s happening. Lady Gaga was previously announced as a guest star for Season 2 of the beloved streaming series, and was revealed to be showing up in the second half of the season, which would air on September 3. A couple days before the release date on September 1, the show’s official social media accounts shared the first glimpse of her in costume as Rosaline Rotwood.

The old cliche is that war never changes, but what happens when the hellish actions of war manifest as monsters that trap people in time loops of their worst deeds? Well, even then it turns out the cruelty of mankind itself are still worse than any supernatural destruction, and Hell is Us uses its fantastical near-future setting to take a dark, authentic look at the horrors of war. While the actual act of fighting your way through the monsters of this devastated nation isn’t doing much that’s new to the action-adventure genre, Hell is Us kept me entertained throughout my 38-hour adventure nonetheless. Its combat is simple but satisfying and its world is full of puzzles that push you to really pay attention, which makes for a campaign filled with intrigue, grief, and sometimes a little frustration.

Hell is Us is equal parts exploration, combat, and puzzle solving. It’s a familiar formula if you’ve played games like God of War or Resident Evil before, but roaming the fictional country of Hadea as Remi, an exile smuggled out of the country as a child, proved to be a different kind of challenge. You're told upfront that there is no map, waypoint system, or indication of where to go next. I had to retrain my brain in the early hours of Hell is Us as I adapted to how it does things, like I was riding a bike without training wheels for the first time. While frustrating at first, that annoyance seemed to fade away around the midpoint of Act One, and I could feel myself more quickly pinpointing the necessary clues I needed to progress.

What starts as a quest for answers about Remi’s missing family, his whole reason for returning to Hadea, quickly becomes a series of puzzles and scavenger hunts that reveal a bigger picture. With both that mystery and a large number of items to collect, the lack of a traditional map or waypoint system meant I found it almost mandatory to keep physical notes on what I had seen. That was especially true as I assembled a lengthy list of puzzles and NPCs that required specific items I had yet to find, with some items that wouldn't even become available until later portions of the story.

At first, I was caught off guard by how front and center the puzzle component is in Hell is Us – not because I disliked that, but because it just wasn't what I expected going in. There are plenty of puzzles to solve with all the usual suspects represented: aligning symbols to open doors, delivering specific items to NPCs, deciphering safe codes, finding color-coded keys, stepping on pressure plates, and more. While I've only solved about three-quarters of them so far, most solutions have ranged from obvious to mild head scratchers – this is nice place for them to land because there are a lot of things to keep track of on your own at once, but I never got stuck in one place for too long (and the rewards typically were worth the effort).

The only mildly frustrating part of some puzzles is that you don't always know upfront if you have everything you need to solve them, or if certain key pieces are even available yet, as many items don't show up until you progress further. That would usually be such a minor inconvenience that it wouldn't even be worth mentioning; however, because Hell is Us takes pride in not automatically tracking the specifics of stuff like quests and puzzles, if you don't keep detailed notes or if you happen to take a few days off from playing, it can lead to running around in circles searching for an unknowable solution.

Speaking of running in circles, while the first act is initially pretty straightforward, I found myself getting a bit lost after a few hours. Without a map, it was tough to figure out where I had and hadn't been. You can't progress to new locations without uncovering specific clues or NPCs that give you information about those zones, so I began to lose steam towards the midpoint of Act One. However, this pain point completely went away in the following two acts thanks to the combination of more characters that reliably offer information about the quest and my own acclimation to how I was meant to decipher the bread crumbs of the story.

As Remi, you are a firsthand witness to Hell is Us’ themes of hate, violence, brutality, and humanity being its own worst enemy. They are seen in every NPC conversation, location, and piece of lore you find on the search for Remi's family. You would think that the worst of what you have to face are the Hollowed monsters plaguing the streets and countrysides of Hadea, but if history has told us anything time and time again, our worst enemies are always ourselves. It wasn't those haunting enemies that stuck with me past the credits, but the imagery of the world, the harrowing events described by its survivors, and the vitriol characters often had for one another.

It’s almost impossible not to draw parallels between the horrors portrayed throughout Remi's journey and current events happening in the real world. Hadea's towns are ravaged by war, filled with imagery of civilian executions and propaganda as two fictional races of people, the Palomians and Sabinians, constantly blame the other for everything wrong in the world. Add in the rise of those terrifying new Hollow creatures, which are impervious to traditional weapons, and it culminates in a believable alternate history with horrors rooted in our own.

Hell is Us wears its grim view of a collapsed civilization and its struggling population on its sleeve. Every major NPC can be asked about Hadea, the war, peacekeepers, the Hollow creatures, and both the Palomians and Sabinians. And unlike the obscure puzzles and riddles throughout the world, the characters speak plainly about their feelings on each topic – be that a young girl who wishes everyone on the other side would die or a member of the military who has no issues whatsoever with collateral damage. While these conversations won't progress any storylines or assist in sidequests, they all help to paint an effective picture of the current state of the world and how it came to be.

These conversations were enlightening, but they were also tough to swallow in today's world, especially when myself and many others use video games as a means of escapism. There were times when it often felt like too much, but the thought of ignoring these kinds of experiences felt cynical and disrespectful to those enduring similar tragedies daily. Even minor NPCs struck a chord as I encountered small settlements of survivors, many of whom have lost families, limbs, and more. Hell is Us never strays away from showing the cost of war, and it’s better for it.

These tragedies aren't just there for show, either, as they also feed into the important time loop mechanic. Time loops appear as concentrated spheres of negative energy derived from truly heinous actions such as public executions, murders, and other tragic events, and they can only be cleared by removing an area of its time loop guardians. Though most are optional, clearing them provides rewards like key items for certain puzzles or NPCs and various weapon upgrades, and also stops enemies from respawning in that vicinity, which was enough incentive for me to tackle them when convenient. The guardians appear as regular Hollow enemies at a glance, but are slightly tougher fights due to their higher health and attack power – although, more often than not they were still so easy I would only realize I had just faced a guardian after the fact, so they didn’t stand out as meaningful or memorable fights to match the somber moments around them.

Combat not quite scratching the itch I hoped it would was a consistent theme throughout most of Hell is Us. It has all the staples you'd expect in an action-adventure game: attack combos, charge attacks, parries, dodges, and special abilities that improve both your weapons and a drone that fights alongside you. But while it has the ingredients of a great combat system, they never come together to make something more impressive than the sum of those parts. That isn't to say combat is bad in any way, because is can still be quite fun – but it never really wowed me, either. Even the special executions for certain enemies, which shift the camera perspective in an attempt to punch up the stylishness of those moves, didn't amaze me despite being functionally useful.

Early on, Remi learns that standard weapons are useless against the Hollow enemies and quickly builds up an arsenal of limbic weapons with special properties – swords, twin axes, polearms, and more, each with their own strengths and weaknesses. As you explore and solve various puzzles or help the citizens of Hadea, you unlock glyphs that can be equipped to weapons to augment them with properties such as Rage, Ecstasy, Terror, and Grief. Upgrading weapons with different properties will not only change their appearance, but also change which abilities they can equip. I was a big fan of Rage as it supercharged my aggressive playstyle, allowing me to stagger enemies and giving me some range options. Meanwhile, Terror ended up being the augment for my second weapon as it allowed me to drain enemies of their health at a safe distance.

Hell is Us also takes a different approach to healing while in combat: dealing damage refills your health, but only if you cash in after landing an attack or combo without taking damage. This was a double-edged sword for me, as it’s an interestingly unique system, but one that meant I would often not worry about how much damage I was taking because I knew that landing one or two combos would be enough to heal me back up in a pinch. It allowed me to be more aggressive in the hopes of outhealing any damage I took, but occasionally my bravado would get the best of me and lead to either death or finishing a fight with critical health. My strategy had to change as I reached the later acts, with specific enemies that could chain attacks to interrupt or stagger me, preventing me from retaliating or causing me to get overwhelmed by a group.

That said, Hell is Us lacks enemy variety overall, with only five types of visually distinct Hollow enemies. That is a letdown, because I really liked their designs – which range from a humanoid with an eerie black void of black in place of its face and chest, to a mage with large ribbed wings that creates damaging zones on the ground – and was hoping to see the team behind them flex their creative muscles even more. It is similarly lacking in the boss department, with only two traditional bosses across the three acts. It does have a few gauntlets of enemies to fight through that act as pseudo bosses for certain areas, but they just don't have the same impact after delving through multiple floors of a dungeon.

Thankfully, the roster is padded out with 12 Haze-type enemies in addition to the Hollows. These don't have the same cool, distinct designs, instead looking like more generic shapes or creatures made of smaller colorful blocks. But what they lack in visual flair, they make up for in challenge, as these enemies were often the ones to either overwhelm me or give me a better fight. Early on, Hollow enemies become entwined with each other and various Haze enemies, preventing them from losing health until the attached Hazes have been subjugated. This creates a small dance of taking down the Haze and then attempting to defeat the Hollow before that Haze could respawn, adding a nice layer of complexity to the otherwise simple combat.

Get ready, users: Tron: Ares is on its way to becoming a reality, and I phrase it that way for a reason. Tron: Ares is poised to make good on the open ending of 2010’s Tron: Legacy with a plot focused on programs from the digital world making their way into the real world.

In early 2024, Disney invited IGN to visit the set of Tron: Ares to share a wealth of details about what a modern Tron movie looks like, and how it attempts to establish an identity (disc) of its very own.

Tron: Ares Is Proud Of Its Legacy… But May Keep It At Arm’s Length

Our set visit began with a roundtable discussion with the film’s producer, Justin Springer, whose involvement with the franchise began as a co-producer on 2010’s Tron: Legacy, and naturally, one of the first questions was about how Ares would continue that film’s story. Reports on the then-untitled Tron 3 had pegged it as more of a reboot, centered around a new program called Ares coming into the real world. That was especially confusing, seeing as, on paper, that sounds like a very logical continuation of the events of Tron: Legacy, which you’ll remember ends with Sam Flynn (son of Jeff Bridges’ Kevin Flynn) bringing the sentient program Quorra back with him into the real world.

Springer essentially confirmed Ares as a soft reboot of Tron, mentioning a feeling on Disney’s part that Ares represented a “good time to move on” from the events of Legacy. But as our set visit continued, and certainly as we learned later in 2024 that Jeff Bridges would indeed return as Kevin Flynn (or whatever biodigital spirit version of him we see in the trailer), that sentiment felt more and more like semantics shmantics. No, it’s safe to say based on what we’ve seen up to this point that Tron: Ares is firmly a sequel to Tron: Legacy, even if the Flynns are no longer the center of attention.

When talking about how Ares, Springer put this into the context of how the Tron series has evolved since 1982, saying that if Tron asked what the inner world of a computer would look like, and Legacy followed that on with considering how that world would evolve in isolation, Ares should be focused on the question of what happens when the lines of the computer world and our own start to blur? Which, hey, when artificial intelligence is dominating the global conversation, feels like an obvious thing to dig into.

Lightcycles Are Practically-Built For The First Time Ever

When it comes to Tron imagery, it doesn’t get more iconic than the lightcycle. The sleek, rounded edges of the originals, and the glassy hardlight trails they leave in their wake, got a serious glow-up in Tron: Legacy. In both of those films, lightcycles were entirely digital creations, but with Tron: Ares all about bringing the digital creations of the Grid into the real world, it was time for lightcycles to shift into another gear.

Along with producer Justin Springer, we spent most of our set visit with Darren Gilford, Tron: Ares’ production designer, who returns from having worked on Legacy. Gilford’s done impressive work over the last twenty years updating the visual language of established IP for the 21st century, and not just for Tron.

Gilford was also the production designer for the Star Wars sequel trilogy, and he designed The Dark Knight’s rad-as-hell Bat-pod motorcycle. He carried that experience directly into Tron: Ares, tasked with creating practical, working lightcycles for the first time so they could be towed on filming rigs for some of the chase scenes we’ve seen represented in trailers and in the footage debuted during the film’s Hall H panel at San Diego Comic-Con this past summer.

The design of the Ares’s lightcycle is more iterative than evolutionary, hearkening heavily to the Legacy design, and definitely favors cool over comfort. I can be sure of that because each of the journalists in attendance got a chance to mount the thing while it was on its hydraulic rig and yeah, going belly down on a cyberpunk speeder looks a lot cooler than it feels. But hey, the pictures are sweet.

Gilford mentioned the importance of the lightcycle illustrating Tron: Ares’ theme of combining man and machine in its design, and the way you slot into it does evoke a sense of putting on a bike as opposed to getting on a bike. In a world where companies like Meta and Apple are pushing consumers towards wearable AR/VR tech that blurs the line between the digital and the corporeal, it makes a lot of sense for Tron: Ares to be finding ways like this for the action to reinforce those themes.

The Grids

During our walkthroughs with Justin Springer, we saw a lot of storyboards for what’s to come in Tron: Ares (perhaps even a little more than intended…) and one of the most intriguing elements hinted at is how the film will be approaching the idea of “The Grid”, the digital frontier which characters often find themselves rezzed into (never turn your back on a laser in a Tron movie, kids.) Now that we have footage from the trailers to back this up, I think I’m safe saying that there will be multiple Grids in the film.

Before we continue, though, there’s some canon context that may be helpful to reinforce, because Tron and Tron: Legacy’s digital worlds are actually not one and the same. The “grid” in 1982’s Tron is firmly ensconced within ENCOM’s computer intranet. That is to say, the digital world of the original Tron is a closed system under the control of the Master Control Program, an efficiency-focused artificial intelligence visualized as a spinning conical face. After Flynn finds himself zapped into that system, he overthrows the Master Control Program, ostensibly freeing all of the subjugated programs from their pre-determined functions and roles.

Can you imagine if you hit play on your favorite podcast on Spotify and your computer started stress-testing your GPU? Neither could the creatives behind Tron, because it was 1982 and no one was interested in diving that deep into the questions implied by that kind of revolution. The MCP was destroyed, the good guys get proof that Dillinger had stolen the credit for Flynn’s Space Paranoids game; a classic “story over, movie over” ending.

Tron: Legacy drills down on the metaphysical aspects of that ending a little bit more, as we learn Kevin Flynn created his own Grid outside of ENCOM to test the limits of digital creation, tests which eventually lead to the genesis of the ISOs, an immaculately conceived digital race of programs which weren’t written by Users. It’s this Grid which Kevin Flynn, his estranged son Sam, and the ISO Quorra liberate from the reign of Clu, Kevin Flynn’s authoritarian digital avatar. So that’s two Tron movies, each with their own Grid.

Without giving too much away, Tron: Ares seems poised to acknowledge these branching digital realities with at least three separate systems: one belonging to the Dillinger Corporation, one belonging to ENCOM, and one that’s still a bit of a mystery but is sure to get fans of the original Tron aesthetic excited (again, all three of these are represented in the trailer!).

Blending Real and Digital Worlds

The Tron franchise has a reputation of being at the cutting edge of filmmaking technology: the 1982 original is widely considered the first movie to extensively use computer-generated imagery, and Legacy helped pioneer 3D filmmaking in the 21st century, shooting on a custom stereoscopic rig. Legacy is also remembered for being on the bleeding edge of photorealistic digital character design… and a solid reminder of why we use the phrase “bleeding edge.” From a story perspective, the villain Clu being a clone of Jeff Bridges’ Kevin Flynn at his most ambitious makes a ton of sense… but the execution has aged worse than anything else in Tron: Legacy.

As for Ares’ technological raison d’etre, our time on the set didn’t afford us much sense of what that is. Recent comments from Tron: Ares director Joachim Rønning suggest that the film as a whole is the “holy grail of computer graphics”, and the footage we’ve seen so far certainly looks sharp as hell, but the jury’s out on whether or to what degree we can expect any brand-new tech to help bring the story to life.

What was well-represented during our time on set though was that Tron: Ares is using every method under the sun to bring its story to life. Though there was definitely some on-location filming, our set visit was restricted to the soundstages we toured in Vancouver, where we got to watch a scene being shot against the volume digital set technology that’s been rapidly adopted by studios in recent years. That scene was set in the real world, featuring Greta Lee’s Eve Kim at the base of a communications tower, which itself was on top of a snowy mountain. Lee was hauling a long cable over to a console in the tower, so this seemed like it was a piece of a larger action sequence being grabbed.

Cool as the volume may have been to behold though, sometimes the old ways are best. We got to walk through the bridge of Ares’ command ship, a massive red-and-black chamber that definitely communicates the austere power and focus the Dillinger programs wield. After that, Darren Gilford brought us through the set of an executive suite at Encom headquarters, the centerpiece of which was an office walled in on all sides by glass. It belongs (belonged?) to Kevin Flynn, and Encom seems to have preserved it as a monument to their lost president (sometime around the year 1989, according to Gilford).

Flynn’s office is full of easter eggs, like a rolodex I spotted opened to the contact info of Tron’s “user” Alan Bradley… Gilford mentioned my flagging of that may make me the first person to spot an easter egg in Tron: Ares, and if there’s an award for that, I have not seen it come through the mail.

Star Wars: Jedi’s Cameron Monaghan Wields Dual Lightsabers In A Fight Scene

Finally, we also observed a rehearsal for a fight scene that incited a true “holy sh!t” moment for the Star Wars fans among the assembled journalists… and given we’re the nerds that got sent to the new Tron movie set, that was most of us. My colleagues and I were brought onto a blue screen stage where a dozen or so stunt performers were practicing fight choreography for a battle with Caius, a program played by Cameron Monaghan, who our audience may know for his role as Cal Kestis from the Star Wars: Jedi games.

The worlds of Tron and Star Wars collided in a big way when Monaghan walked out onto the stage duel-wielding a pair of lightsaber-esque batons and ready to kick all kinds of ass, with eerie similarity to his Jedi: Survivor character Cal Kestis. It was an especially surreal moment for me: I had just beaten the recently released Star Wars Jedi: Survivor and used the dual wield stance nearly exclusively. Was this some kind of glitch in the system? Had I been digitized into a computer world somewhere along the way? Am I still in the computer right now!?

I hope not, because then I won’t be able to see Tron: Ares when it comes out on October 10th. Are you excited for Tron: Ares? Let me know in the comments, and for more on the movie, check out my reaction to the footage they debuted at San Diego Comic-Con and for everything else, biodigital jazz or otherwise, keep it here on IGN.

Streaming has made entertainment more accessible than ever, but that doesn't mean it's cheap. Most streaming services have continuously hiked their own prices and limited password sharing, and confusing licensing deals sometimes make it surprisingly difficult to find an entire franchise in the same spot.

Nowadays it's common to debate, as I'm doing constantly, which subscriptions are worth keeping for the long haul. Plenty of streaming services – particularly the newer ones – offer free trials, bundles, and discounts to try and attract new subscribers. "New subscriber," of course, meaning "different e-mail address."

The best time to save on subscriptions is undoubtedbly Black Friday, when most streaming services offer their biggest discounts of the year. But if you're trying to find savings sooner rather than later, these are some of the best streaming deals available right now.

TL;DR: These Are the Best Streaming Deals Right Now:

Save With Bundles: Disney+, Hulu, HBO Max, and ESPN Unlimited

I’m back with my monthly roundup of the best new books to keep an eye out for, and quite a few of our most anticipated reads of 2025 are dropping this month. From fantasy and romance to cosy crime, a Greek mythology retelling, and an age gap romance, there’s something for every reader.

So, here are the books that you won’t want to miss this September. Missed August’s roundup? You can find it right here.

The Secret of Secrets by Dan Brown

• Release date: September 9