Square Enix has revealed a new Final Fantasy 7 Revelation Moogle karaoke mini-game, and it’s as adorable as you would expect. The developer released new gameplay showing off the rhythm game, which has players joining a Moogle idol group to perform songs.

Final Fantasy 7 Revelation Moogles Trade Their Shop for an Idol Group

Square Enix has shared new Final Fantasy 7 Revelation gameplay on X, revealing a major career change for the Moogles in the 2027 title. In FF7 Revelation, the Moogle Emporium has gone out of business, and its merchant has decided to form an idol group instead.

In the short clip, the Moogle merchant explains to Cloud why the Emporium had to close up shop: “The Moogle Emporium is no more! The threat of both the meteor and the Weapons scared away all our clientele. Without customers I wouldn’t be able to bring joy to anyone. That’s when I knew I needed to switch gears, kupo! So I decided to form a Moogle Idol Group. Moogle studios, is going to bring smiles to our fans worldwide!”

If you’ve played the previous Final Fantasy 7 remake games, this is quite the plot development for our favorite bite-sized merchants. Hilariously, Square Enix also released a second video showing the Moogle mini-game in action. And well, these fluffy performers are taking their new careers seriously!

How the Final Fantasy 7 Revelation Moogle Karaoke Mini-Game Works

The Final Fantasy 7 Revelation Moogle mini-game looks similar to the karaoke games in Yakuza. Controller button prompts move across the screen, and players have to press the matching buttons in time with the music.

However, the Moogles aren’t just dancing along to a backing track. The idol group performs an original song complete with lyrics encouraging players to dance, shake their pom, and let loose. Naturally, there are plenty of “kupos” thrown in the lyrics as well.

For your convenience, here is the full gameplay clip so you can watch it yourself:

As the world changes in Final Fantasy VII Revelation, the Moogle House finds itself facing financial trouble.

In a last-ditch effort to bounce back, the Moogles are starting an unexpected idol business…! pic.twitter.com/ScMcuKHLoJ

— FINAL FANTASY VII (@finalfantasyvii) October 30, 2026

While Final Fantasy 7 Revelation certainly has a heavy story, Square Enix is continuing to make room for the original game’s lighthearted side. In September, the developer also revealed the new FF7 Revelation hot springs feature, which lets Cloud and his friends take a break in the sauna.

Between spa visits and Moogle karaoke, the party has a few ways to unwind before facing Sephiroth in the final showdown of the remake series.

The post Final Fantasy 7 Revelation Reveals Surprising Moogle Makeover appeared first on VICE.

“You Can See Everything” is not your standard documentary. Nathan Fielder and Lance Oppenheim’s film isn’t the first nonfictional chronicle of Elizabeth Holmes’ enigmatic psyche, but it is the most revealing. Any director pointing their camera at Holmes — before or after she was convicted of fraud for her bogus Theranos blood-testing device — won’t capture the whole truth. That’s what happens when a subject is obscured by layers of semi-permeable barriers of their own making: Eventually, the image distorts. Fielder, the film’s ringmaster, has no choice but to forgo conventional documentary tactics and seek detours. Perhaps if he takes his own unorthodox approach, the two will cancel each other out, leaving something substantial behind.

But, then again, what is a “standard” documentary? In recent years, streaming’s popularity has significantly impacted the genre and how audiences perceive it. Once executives realized there was an endless cash cow to milk in true crime and tawdry scandal, a deluge of rushed, ineffective documentaries and docuseries hit the top platforms like a string of hydrogen bombs, leveling their audience’s standards and turning their taste to ash. 

Everything was and is fair game. Murder victims, abuse survivors, pyramid and multilevel marketing schemes, unsavory business practices, music festival scams, campus life, cult leaders; you name it, you can probably find a documentary on it. The sad thing is, this boom produced legitimately compelling offerings and important stories, told well, too. But that doesn’t matter when the market’s not only crowded, but recycling its wares every week. In this era, powerful, complex stories of the intrepid human spirit sit next to ephemeral tales of cheaply made, mildew-ridden leggings. And guess which option the algorithm favors?

In just shy of three weeks, “You Can See Everything” has taken a sledgehammer to this era of cobbled-together documentaries. The film is on track to become the most successful theatrically released documentary ever, staring down two Michaels (Jackson and Moore) and two nature docs (“March of the Penguins” and “Earth”) as it climbs the ranks before its international release. 

More importantly, the film has ignited endless conversation thanks to its capricious subject and equally unpredictable experimentation with form, garnering chatter about whether it may be the first documentary nominated for best picture at next year’s Oscars. As another taxing year nears its end, the popularity of “You Can See Everything” reflects audiences’ desire to go deeper than the surface level most streaming documentaries are content to skim. But the film is also testing those who see the genre as one specific thing, made one specific way. 

Fielder’s film is one of many from this year reconfiguring the wider idea of what documentaries can and should look like, away from the style monopolizing the genre of late and toward something more varied and essential. Considered alongside an excellent lineup of contemporaries, “You Can See Everything” stresses that the genre isn’t about uncovering truths, but playing with our subjective relationship to them.

That notion isn’t always easy to remember when, to many, “documentary” remains somewhat of a cinematic pejorative. Whether by a diet of snoozy docs shown in history class on a wheeled-in television from the AV room, or the genre’s reputation for being innately less thrilling than narrative filmmaking because it contends with reality over fiction, documentaries simply don’t have the best rap. Their audience generally skews older, and for some, an older crowd’s curiosities skew boring. This is partly why those ripped-from-the-headlines streaming documentaries are so popular: They reflect stories that are buzzy but fleeting, perfect for those whose attention spans are already shot.

But the idea that a documentary that isn’t detailing some recent or mysterious event is inherently tedious is a gross misconception. Documentaries are about life, and as such, their relevance is evergreen. The past informs both the present and the future. And dismissing the past as unimportant in the face of, let’s say, some hot new documentary about a man who stole $10,000 worth of orange juice from a local supermarket last Tuesday means we won’t have a present worth loving or a future worth living. The hypothetical orange juice documentary sounds interesting, but it has no value unless it can do more than regurgitate a Wikipedia article or a news story with a few worthless talking heads thrown in. Documentaries can take many forms; being an arm of journalism is just one, and often it’s not very compelling.

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Occasionally, I’ve come across friends, family and acquaintances who don’t have a strong relationship to the genre, but are curious about how to forge one. In response, I like to give two pieces of advice. The first comes from Carolyn Strachan, a filmmaker and professor who taught an ethnographic films course I took in college, and changed my relationship to the genre with one simple sentence: “The only rule of a documentary is to press record.” The second comes from me, many years later: every best-of-the-year film list should include one documentary, if not more. Once someone remembers to consider docs alongside their narrative companions, that attention reshapes their connection to the genre.

Institutions also play a role in fostering that love, too. That a documentary has never been nominated for the best picture Oscar is cuckoo bananas, pure and simple. How can such a premier establishment as the Academy claim to revere filmmaking if they’re unwilling to prop up all forms of the art? There are dozens off the top of my head, released this decade alone, that should’ve been in contention — documentaries as important and memorable, if not more, than the narrative movies nominated in the category. The double standard is why “You Can See Everything” having legitimate chances at multiple top awards next year is so exciting. This could be a watershed moment. We might witness history being made in real time, like we did when “Parasite” became the first non-English film to win the top Oscar in 2020. While such an accolade might not reroute the dire timeline we’ve lived in since then, it could open countless doors and even more minds, and deservingly so, for a film as mercurial and labyrinthine as Fielder and Oppenheim’s.

But “You Can See Everything” is far from the only doc that should be in contention, either for best picture or your own best-of list. This year has been decent for film as a whole, but fantastic for documentaries, which have surpassed 2026’s mainstream narrative films in many ways. Right now, “Once Upon a Time in Harlem,” a new-old film from the great American icon William Greaves, is expanding into more theaters. It’s both an account of the past, peering into an intimate gathering of Black luminaries during the Harlem Renaissance, and a tale for right now — funny, moving and pertinent, even if it was originally filmed in 1972. Just as applicable to the present is “NAZA,” the harrowing film uncovering the extent of Israeli surveillance and war crimes, which stands to dictate which way the world will spin.

 

Historical events a little reminiscent of stereotypical docs? Want something guaranteed to cheer you up? First, don’t be so quick to dismiss. But also, try John Wilson’s “The History of Concrete” or “Paralyzed by Hope: The Maria Bamford Story,” two very different films helmed by two very funny people, that have as much to do with how we operate as people as they do with zany subject matter. Or, let’s say “You Can See Everything” has opened your eyes to all of the different, strange and unwieldy forms a documentary can take. 

Maybe you’re craving another doc that will turn itself inside-out, revealing an underbelly of broken mirrors. Brace yourself for “Remake,” Ross McElwee’s magnificent story of fatherhood and filmmaking forced askew. It’s my personal favorite of the year, sitting just above “You Can See Everything.” Make it a double feature if you so wish, but you might need to lie on the floor and stare at the ceiling after.

But if you want facts, plain and simple, you won’t find them in any of those films. You will, however, find truths, and many of them. That’s the wonderful thing about documentaries: They might deal in reality, but the genre uses nonfictional perspective to highlight the difference between fact and truth. Reality exists in the middle, somewhere in the opaque. The thrill comes from the squint — the desperate, reflexive need to make out something in the haze. What’s laid before the viewer will never be the whole picture. Any documentary that tells you otherwise has more in common with narrative filmmaking. As it turns out, truth is indeed stranger than fiction.

The post “You Can See Everything” leads 2026’s documentary revolution appeared first on Salon.com.

The Zelda Ocarina of Time Remake release date is almost here. Here is when the highly anticipated Zelda Remake launches on Nintendo Switch 2, including when players in North America should be able to start playing a day early.

Zelda Ocarina of Time Remake Release Date Explained

The Zelda Ocarina of Time Remake release date is Thursday, November 5, 2026. However, the game is expected to become playable on November 4 for players in western North America who purchase it digitally through the Nintendo eShop.

According to Nintendo’s official support site, digital games that are also sold physically usually unlock at 9:00 PM PT the night before their listed release date. Therefore, Zelda Ocarina of Time Remake should launch in North America at 9:00 PM PT on November 4 / 12:00 AM ET on November 5.

That means players on the West Coast will be able to jump into Hyrule on Wednesday evening. Players on the East Coast, meanwhile, will need to wait until midnight. That said, Nintendo’s regional guidance differs, with its UK support page saying most software becomes available at midnight on its release date.

Zelda Ocarina of Time Remake Release Times

Figuring out exactly when you can start playing can be a bit confusing due to time zones. So we have broken down the expected Zelda Ocarina of Time Remake launch times in reach major region below:

Region	Date	Expected Local Release Time
North America (PST)	November 4	9:00 PM
North America (MST)	November 4	10:00 PM
North America (CST)	November 4	11:00 PM
North America (EST)	November 5	12:00 AM
United Kingdom (GMT)	November 5	12:00 AM
Central Europe (CET)	November 5	12:00 AM
Japan (JST)	November 5	12:00 AM
South Korea (KST)	November 5	12:00 AM
Australia (Sydney, AEDT)	November 5	12:00 AM
New Zealand (Auckland, NZDT)	November 5	12:00 AM

Note: These are expected digital unlock times based on Nintendo’s usual regional release pattern, rather than a game-specific launch schedule. Your Nintendo eShop country determines which regional release applies. Nintendo says exact availability can vary by title.

How Many Days Until Zelda Ocarina of Time Remake Comes Out?

At the time of writing, the Zelda Ocarina of Time Remake comes out in six days on November 5, 2026. However, if you are counting down every hour in excitement, we’ve created a countdown timer below that shows you how many days are left until launch:

Does Zelda Ocarina of Time Remake Have a Deluxe Edition?

Nintendo has not announced a Deluxe Edition of Zelda Ocarina of Time Remake. There is also no announced paid early access period or edition-exclusive in-game bonus content. Players can purchase the standard game either physically or digitally.

However, early physical buyers can get special packaging featuring textured gold foil cover artwork. Nintendo says this box is included with the first print run of the game and will be available while supplies last.

So, if you want the shiny cover for your collection, pre-ordering a physical copy is worth considering. Check that your retailer lists the special packaging before ordering.

Zelda Ocarina of Time Remake Amiibo Support Explained

New Young Link and Young Zelda amiibo figures are scheduled to launch in 2027. Nintendo has confirmed that these figures will unlock special in-game masks that feature a retro graphical style.

These unlocks are tied to the amiibo figures, rather than a Deluxe Edition or pre-order bonus. So, while there will be additional items available through amiibo, you do not need to choose a more expensive edition of the game to get them.

The post Zelda Ocarina of Time Remake Release Date and Launch Times Explained appeared first on VICE.