Whether it’s a cup of tea on a rainy day, re-watching your favourite sitcom, or pulling on those old pyjamas you really should’ve replaced by now, we all have our own homely comforts.
But for a generation of children of the 1990s and 2000s, nothing says “this is living” like unloading assault rifles and lobbing grenades during online bouts of Call Of Duty (COD).
“It’s like putting on a cosy old jumper,” says long-time fan Sam Jones, who started playing in 2007, aged 11.
“And as I grew older, it became a comfort. You’ve less time, people drop off, find different interests, but I’ve still got a core group of four or five mates who’ve been playing for 15 years.”
“I started playing COD, actually the original Modern Warfare, when I was a kid,” she recalls, with a belated apology to her parents for ignoring the game’s age rating.
“I’d have friends over and I have really fond memories of playing those games and making those friendships.”
Sixteen years later and she’s the narrative director on Modern Warfare III, which releases on 10 November.
Yes, COD has been around so long that childhood fans are now the ones making it.
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This one’s the latest instalment in COD’s Modern Warfare subseries, which returned after a long absence in 2019.
Modern Warfare first ran from 2007 to 2011, ending with its own Modern Warfare III. While the rebooted entries have been unconnected plot-wise, they offer plenty of nods, winks, and references to veteran players.
It makes the new game a fitting way to mark the franchise’s anniversary and show how far the series has come.
Ever-increasing scope
“It feels like it just gets bigger,” says creative director Dave Swenson, who’s worked on COD for north of a decade.
“The army of artists, audio people and designers that come together to make the games is pretty amazing and it’s a huge undertaking over several years to create one.”
Despite the annual release cadence, each COD is a multi-year project for the people who make it.
The franchise calls on three main development studios: Infinity Ward, the original creators of the franchise; Treyarch, which birthed the popular Black Ops subseries; and Modern Warfare III’s team Sledgehammer.
There has been a new mainline entry every year since 2005, while free-to-play COD Mobile on smartphones and Fortnite-like Warzone have also taken on lives of their own.
‘I met my grooms men on Call Of Duty!’
Tom Lynch is one fan who will always hold Warzone in particularly high regard.
He made such firm friends on the virtual battlefield while stuck at home during the lockdowns of 2020 and 2021 that they wound up being far more than just squad mates.
“Because we didn’t have anywhere to go, COD became a great social setting to hang out with mates,” he says.
“And it put me in touch with friends I hadn’t seen in a while – and then also met people through the game who ultimately became the groomsmen at my wedding!”
Record revenues
Between the mainline series, Warzone, and the mobile game, it’s no surprise that at last count, there were more than 3,000 people working on the franchise.
Sledgehammer alone has teams spanning the US, Canada, Australia, and the UK.
Johanna Fairies, who manages the franchise at publisher Activision Blizzard, believes the teams have “continued to raise the bar on what ambition looks like”.
“The gaming industry is only getting more competitive,” she says.
“But the annualised cycle has been quite unique to us – to be able to sustain that is a feat unto itself.
“It brings even more meaning to the 20th anniversary.”
‘An interesting challenge’
Directors Swenson and Carlton are confident they’re on to another winner with Modern Warfare III, which boasts a story-driven campaign and a raft of online multiplayer modes.
The online experience is notable this year for letting players carry over progress from the previous game, while the campaign strives to freshen things up despite an inevitable sense of familiarity.
Swenson is excited by the campaign’s new “open combat missions”, with are far less linear than fans are used to, instead encouraging them to approach objectives as they see fit.
But serving as a direct sequel to 2022’s Modern Warfare II, and also a sort-of remake of 2011’s game, Carlton admits she knew there were specific story beats she had to hit.
“It’s an interesting challenge,” Carlton says of writing a blockbuster game like this, which begins with an almighty brainstorm session featuring enough whiteboards and post-it notes to fill a terminal.
“You start with the end in mind, work backwards, sometimes you work forwards, sometimes you’re in the middle!”
One nailed-on narrative decision was the return of fan-favourite villain Vladimir Makarov, an ultranationalist Russian terrorist with his mind set on sparking World War III.
Trailers suggest his return coincides with a reimagining of one of the franchise’s most infamous levels, “No Russian”, which tasked players with participating in a mass shooting at a Russian airport in a bid to gain Makarov’s trust.
Swenson and Carlton are keeping their lips sealed on how it plays out this time.
Real modern warfare
Of course, depressingly, the idea of a new world war erupting from eastern Europe or elsewhere doesn’t feel as innocently escapist as the developers may have thought when Modern Warfare debuted in 2007.
Forget Second World War archive footage, today’s COD writers need only turn on the news to see marching armies, rolling tanks, and toppled buildings that would look right at home in the games.
Creative director Swenson admits his team “can’t help but be inspired by the world around us”, but insists this franchise remains solely concerned with being entertainment.
“There’s real conflict happening in the world today and it’s really heartbreaking,” he says.
“[But] this game is a work of fiction and a story that’s been in the making and we’ve been working on for years.
“As a company, we don’t use this game to make any political commentary or anything like that.”
Regardless of what the real world has in store over the next year, few things are as assured as COD’s usual October/November release date.
It remains to be seen whether Microsoft’s record takeover of Activision will change the series’ trajectory, but the money involved would suggest a reluctance to stop milking this epic cash cow any time soon.
Whether 2024 sees another Modern Warfare, a return to a prior conflict, or something entirely new, the developers themselves seem to guarantee one thing.
Actor James Norton, who stars in a new film telling the story of the world’s first “test-tube baby”, has criticised how “prohibitively expensive” IVF can be in the UK.
In Joy, the star portrays the real-life scientist Bob Edwards, who – along with obstetrician Patrick Steptoe and embryologist Jean Purdy – spent a decade tirelessly working on medical ways to help infertility.
The film charts the 10 years leading up to the birth of Louise Joy Brown, who was dubbed the world’s first test-tube baby, in 1978.
Norton, who is best known for playing Tommy Lee Royce in the BAFTA-winning series Happy Valley, told Sky News he has friends who were IVF babies and other friends who have had their own children thanks to the fertility treatment.
“But I didn’t know about these three scientists and their sacrifice, tenacity and skill,” he said. The star hopes the film will be “a catalyst for conversation” about the treatment and its availability.
“We know for a fact that Jean, Bob and Patrick would not have liked the fact that IVF is now so means based,” he said. “It’s prohibitively expensive for some… and there is a postcode lottery which means that some people are precluded from that opportunity.”
Now, IVF is considered a wonder of modern medicine. More than 12 million people owe their existence today to the treatment Edwards, Steptoe and Purdy worked so hard to devise.
But Joy shows how public backlash in the years leading up to Louise’s birth saw the team vilified – accused of playing God and creating “Frankenstein babies”.
Bill Nighy and Thomasin McKenzie star alongside Norton, with the script written by acclaimed screenwriter Jack Thorne and his wife Rachel Mason.
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The couple went through seven rounds of IVF themselves to conceive their son.
While the film is set in the 1970s, the reality is that societal pressures haven’t changed all that much for many going through IVF today – with the costs now both emotional and financial.
“IVF is still seen as a luxury product, as something that some people get access to and others don’t,” said Thorne, speaking about their experiences in the UK.
“Louise was a working-class girl with working-class parents. Working class IVF babies are very, very rare now.”
In the run-up to the US election, Donald Trump saw IVF as a campaigning point – promising his government, or insurance companies, would pay for the treatment for all women should he be elected. He called himself the “father of IVF” at a campaign event – a remark described as “quite bizarre” by Kamala Harris.
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Bill Nighy ‘proud’ of new film on IVF breakthrough
“I don’t think Trump is a blueprint for this,” Norton said. “I don’t know how that fits alongside his questions around pro-choice.”
In the UK, statistics from fertility regulator HEFA show the proportion of IVF cycles paid for by the NHS has dropped from 40% to 27% in the last decade.
“It’s so expensive,” Norton said. “Those who want a child should have that choice… and some people’s lack of access to this incredibly important science actually means that people don’t have the choice.”
Joy is in UK cinemas from 15 November, and on Netflix from 22 November
Cillian Murphy and his wife Yvonne McGuinness have bought a cinema the Oscar-winning actor used to visit as a child.
The couple will refurbish The Phoenix Cinema in Dingle, County Kerry, south-west Ireland, next year.
The venue, which had previously been used as a dance hall, had been in operation for more than 100 years, and on the market for three before Murphy and McGuinness bought the building.
Oppenheimer and Peaky Blinders star Murphy, from Cork, said: “I’ve been going to see films at The Phoenix since I was a young boy on summer holidays.
“My dad saw movies there when he was a young man before me, and we’ve watched many films at The Phoenix with our own kids. We recognise what the cinema means to Dingle.”
McGuinness added: “We want to open the doors again, expand the creative potential of the site, re-establishing its place in the cultural fabric of this unique town.”
The Phoenix is the only cinema in the tourist area of the Dingle Peninsula, and without it, the closest other movie theatre for residents of the town is in Tralee, almost 30 miles away.
It opened in 1919 and was reconstructed twice in the decades that followed, after fires damaged the building.
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Its previous owners struggled to keep The Phoenix going amid the COVID-19 pandemic and shut the cinema’s doors in November 2021, citing rising costs, falling attendance and challenging exhibition terms.
Murphy took awards season by storm this year, winning a Golden Globe, a Bafta and an Oscar for his performance as the titular character in Oppenheimer.
Next year, he will reprise one of his most well-known roles by playing Tommy Shelby in a movie version of Peaky Blinders.
Ed Sheeran helped Ipswich Town to sign a player over the summer just before getting on stage with Taylor Swift, according to the club’s chief executive.
Mark Ashton claims the pop star got on a video call to encourage a prospective new signing to seal his move to the East Anglia outfit.
He did not reveal the player’s name, but said he is “certainly scoring a few goals” and is a fan of Sheeran, who is a minor shareholder at his hometown club.
“Ed jumped on a Zoom call with him at the training ground, just before he stepped on stage with Taylor Swift,” Ashton told a Soccerex industry event in Miami.
“Hopefully that was a key part in getting the player across the line.”
Sheeran and pop icon Swift were on stage together on 15 August at Wembley Stadium, one day before Sammie Szmodics signed from Blackburn.
After scoring an overhead kick in Ipswich’s 2-1 win over Tottenham this month, he shared a picture of himself with Sheeran on Instagram.
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