The last few years of Xbox have been expensive. Under Phil Spencer’s leadership, Microsoft has spent billions of dollars in an attempt to build an ambitious future for gaming that looks a lot like Netflix. And while its subscription service Game Pass started out as a good deal for gamers (although now not so much), that spending spree has led to catastrophic layoffs, studio closures, and confused and inconsistent messaging about what Xbox actually stands for. And with Spencer set to retire as new leadership takes charge, the future of Microsoft’s gaming efforts looks increasingly unclear.
Spencer announced his retirement last week, after over a decade leading the Xbox division and nearly four at Microsoft. He’ll be replaced as CEO by Asha Sharma, formerly president of Microsoft’s CoreAI Product, while Xbox Game Studios boss Matt Booty has been promoted to EVP and CCO. As part of the restructuring, Xbox president Sarah Bond will be leaving Microsoft. One of Sharma’s commitments, she wrote in a memo, is “the return of Xbox.” But given the brand’s uncertain status right now following Spencer’s tenure, what that actually means is anybody’s guess.
Spencer took over the Xbox division in 2014, a year after the launch of the Xbox One. And while he was popular among fans for being the rare exec who also appeared to really be passionate about games, his legacy will ultimately hinge on the transformative changes that took place around Game Pass and cloud gaming.
Despite being a comparative latecomer, Microsoft made up ground quickly in the console race against Sony and Nintendo, due in large part to its prescient focus on online play through Xbox Live. With the follow-up Xbox 360, Microsoft found itself competing closely with the PS3, but that momentum was lost with its third console, the Xbox One, which never really recovered from a messy launch and ultimately sold less than half of what the PS4 sold.
Around this time, signs pointed to the console paradigm changing, with the cycle of releasing a new device every five years giving way to something more fluid, where hardware was less important and games carried over between devices. Meanwhile, streaming services like Netflix were upending the world of film and television. A service like Game Pass was a chance for Microsoft to get out of its third-place position by being early to where the games industry could be headed. At that point, Game Pass was still a nascent but exciting prospect, offering players an all-you-can-eat assortment of games at a reasonable price. But its unproven potential seemed to make Xbox rethink its entire strategy: If it couldn’t compete on console sales, maybe it could win with subscribers?
In fact, as early as 2019 Spencer was telling me that console sales didn’t really matter in the long run. “I don’t need to sell any specific version of the console in order for us to reach our business goals,” he said. “The business isn’t how many consoles you sell.” That’s a positive spin when you’re not selling a lot of consoles. So instead the focus was on reaching players where they were through Game Pass and the cloud.
But in order to do that, Game Pass needed games, and Microsoft went out and bought as many as it could. First, Microsoft spent $7.5 billion to acquire Bethesda, and along with it franchises like Fallout and Elder Scrolls, for the express purpose of getting more exclusives it could offer through Game Pass. Then it spent a whopping $68.7 billion on Activision Blizzard, the biggest publisher in the world, giving it access to everything from Call of Duty to Candy Crush to World of Warcraft. (These genre-defining franchises never became Xbox exclusives due to antitrust concerns.)
Problem is, even with all of those games, Game Pass hit a plateau; Microsoft announced that it hit 34 million subscribers in 2024, but there hasn’t been an update since then. Even while offering the service at a subsidized price that made Game Pass relatively affordable, it became clear the audience for a subscription like this wasn’t as large as Microsoft had anticipated. Back in 2022, Spencer hoped to hit 100 million subscribers by 2030. That seems increasingly unlikely now.
Meanwhile, the acquisition spree has had devastating effects. Thousands have been laid off as part of Activision’s integration into Microsoft, while a pair of Bethesda studios were shuttered for good. Games were canceled, and even successful studios like Forza developer Turn 10 were hit hard. Meanwhile, on the business side, the focus on Game Pass also messed up one of most consistent streams of revenue in video games: selling a Call of Duty every year. Putting the shooter series on Game Pass reportedly led to $300 million in lost sales. Game Pass keeps getting more expensive for consumers, and it’s unclear if it’s recouping the losses of selling games directly.

This shift also significantly watered down the brand. Initially, the sales pitch for an Xbox was obvious: It was a powerful video game console from Microsoft. But with Game Pass and cloud gaming, the messaging changed. The “This is an Xbox” ad campaign tried to position Xbox not as a console, but any device — whether it’s a PC, smart TV, Windows handheld, or your phone — that could play Xbox games. And as these efforts struggled, Microsoft went a step further and made bringing games to rival platforms a pillar of its strategy. It may have bought Activision and Bethesda for exclusives, but now it’s one of the biggest publishers on PlayStation. Xbox is now a state of mind, it seems.
Criticisms have already been levied against Sharma because, unlike Spencer, she’s not a “gamer,” and instead has a background in Microsoft’s AI efforts and at companies like Instacart and Meta. But then again, the current presidents of Nintendo and Sony Interactive Entertainment aren’t known for being gamers, either, and they’ve managed to stay ahead of Xbox (albeit with their own stumbles). And being a gamer didn’t necessarily help Spencer, who saw some of where the industry was going but wasn’t able to change Xbox enough to meet that moment. Sharma could represent a huge shift for how Microsoft operates in gaming, but that’s also exactly what the company needs right now.
Which is all to say that “the return of Xbox” could mean a lot of things, because Xbox now means a lot of things. In her memo, Sharma describes it as “as a renewed commitment to Xbox starting with console” while also noting that “as we expand across PC, mobile, and cloud, Xbox should feel seamless, instant, and worthy of the communities we serve.” Which sounds a lot like the state of things right now.
Maybe we’ll never find out what an Xbox really is.
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![‘Lee Cronin’s The Mummy’ Originally Had a Much Bleaker Ending
Lee Cronin’s The Mummy wasn’t our favorite mummy movie, but it did have some recommendable qualities, including its high levels of gruesome gore. We also approved of the ending, which offered a satisfying twist to the agony that came before. And while The Mummy‘s test screenings were targeted by some since-debunked negative rumors (look, James Wan just wanted more snacks, that’s all!), apparently those same early showings helped writer-director Cronin figure out that all-important final note for his film. Star Jack Reynor talked about the original ending and the changes that were made, and we’ll add one of these in case you haven’t yet seen Lee Cronin’s The Mummy. At the end of Lee Cronin’s The Mummy, the characters have all realized that young Katie is possessed by a ferocious demon. She was kidnapped years earlier by her friend’s mother, a character the film calls “the Magician,” for the sole purpose of becoming the next containment vessel for this demon over a period of years.
The sarcophagus and wrappings covered in ancient writing she’s entombed in are meant to trap the demon as part of an obligation upheld by the Magician’s family for generations upon generations. The demon starts to escape when the sarcophagus is moved out of necessity from the Magician’s farm. Instead of relocating safely, the sarcophagus breaks open in a plane crash, and Katie—still alive, albeit mummified and barely clinging to her human soul—is sent from Egypt to New Mexico to reunite with her surprised and thankful mother, father, and two siblings.
The bulk of Lee Cronin’s The Mummy follows the creature formerly known as Katie causing horrifying, escalating chaos, while an Egyptian detective pokes into the case overseas, and Katie’s father, Charlie, played by Reynor, does his own research in a desperate attempt to figure out what’s wrong with his daughter.
At the end of the movie, the detective comes to New Mexico and helps Charlie manipulate the demon into leaping out of Katie and into Charlie. He saves his daughter, but dooms himself. That’s where the movie ended originally, apparently. The version that made it into theaters has an additional scene where the Magician, who’s been jailed for kidnapping Katie, gets a visit from a mummified Charlie. Again with the detective’s help, the demon makes another leap between bodies—this time, freeing Charlie and taking over the Magician’s soul instead.
That was a reshoot, Reynor told the Hollywood Reporter. “We came back and picked it up, which was cool because it was the one day where I actually got to be the Mummy. It’s fun to get into the makeup and get to be part of that legacy,” Reynor said, name-checking the Boris Karloff and Christopher Lee versions of the character. Even beyond becoming part of horror history, though, he understood the reason for the change.
“You make these decisions because you want to give the audience what they want, and I understand that. Is it a better movie, objectively speaking? I don’t know. I did like Lee’s original ending,” Reynor admitted. “But I also understand that if I went to see that movie with my teenage kids and they were bummed out because it was so fucking bleak at the end, maybe I’d be [more in favor of the new ending]. So I get it both ways. I see the merits of both for different reasons.” The new ending is cathartic; after all, the Magician was the one who singled Katie out for years of unimaginable torture, not to mention inflicting torment on her family. She deserves some payback other than prison time. But it also left another lingering question: what happens next?
The Magician was the person in charge of handing down the knowledge of how to contain the demon to the next generation. Now that she’s become its current vessel, who will be keeping an eye out? Presumably, that burden now transfers to her only surviving child—a girl around Katie’s age—who’ll have to select a new innocent victim someday and perform the same ritual once her mother’s body starts to break down. We probably won’t get another Lee Cronin’s The Mummy to explore that further, but thinking about it too much does make the new ending a little less suffused with the gleeful spirit of revenge. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Lee #Cronins #Mummy #Originally #BleakerJack Reynor,Lee Cronin’s The Mummy ‘Lee Cronin’s The Mummy’ Originally Had a Much Bleaker Ending
Lee Cronin’s The Mummy wasn’t our favorite mummy movie, but it did have some recommendable qualities, including its high levels of gruesome gore. We also approved of the ending, which offered a satisfying twist to the agony that came before. And while The Mummy‘s test screenings were targeted by some since-debunked negative rumors (look, James Wan just wanted more snacks, that’s all!), apparently those same early showings helped writer-director Cronin figure out that all-important final note for his film. Star Jack Reynor talked about the original ending and the changes that were made, and we’ll add one of these in case you haven’t yet seen Lee Cronin’s The Mummy. At the end of Lee Cronin’s The Mummy, the characters have all realized that young Katie is possessed by a ferocious demon. She was kidnapped years earlier by her friend’s mother, a character the film calls “the Magician,” for the sole purpose of becoming the next containment vessel for this demon over a period of years.
The sarcophagus and wrappings covered in ancient writing she’s entombed in are meant to trap the demon as part of an obligation upheld by the Magician’s family for generations upon generations. The demon starts to escape when the sarcophagus is moved out of necessity from the Magician’s farm. Instead of relocating safely, the sarcophagus breaks open in a plane crash, and Katie—still alive, albeit mummified and barely clinging to her human soul—is sent from Egypt to New Mexico to reunite with her surprised and thankful mother, father, and two siblings.
The bulk of Lee Cronin’s The Mummy follows the creature formerly known as Katie causing horrifying, escalating chaos, while an Egyptian detective pokes into the case overseas, and Katie’s father, Charlie, played by Reynor, does his own research in a desperate attempt to figure out what’s wrong with his daughter.
At the end of the movie, the detective comes to New Mexico and helps Charlie manipulate the demon into leaping out of Katie and into Charlie. He saves his daughter, but dooms himself. That’s where the movie ended originally, apparently. The version that made it into theaters has an additional scene where the Magician, who’s been jailed for kidnapping Katie, gets a visit from a mummified Charlie. Again with the detective’s help, the demon makes another leap between bodies—this time, freeing Charlie and taking over the Magician’s soul instead.
That was a reshoot, Reynor told the Hollywood Reporter. “We came back and picked it up, which was cool because it was the one day where I actually got to be the Mummy. It’s fun to get into the makeup and get to be part of that legacy,” Reynor said, name-checking the Boris Karloff and Christopher Lee versions of the character. Even beyond becoming part of horror history, though, he understood the reason for the change.
“You make these decisions because you want to give the audience what they want, and I understand that. Is it a better movie, objectively speaking? I don’t know. I did like Lee’s original ending,” Reynor admitted. “But I also understand that if I went to see that movie with my teenage kids and they were bummed out because it was so fucking bleak at the end, maybe I’d be [more in favor of the new ending]. So I get it both ways. I see the merits of both for different reasons.” The new ending is cathartic; after all, the Magician was the one who singled Katie out for years of unimaginable torture, not to mention inflicting torment on her family. She deserves some payback other than prison time. But it also left another lingering question: what happens next?
The Magician was the person in charge of handing down the knowledge of how to contain the demon to the next generation. Now that she’s become its current vessel, who will be keeping an eye out? Presumably, that burden now transfers to her only surviving child—a girl around Katie’s age—who’ll have to select a new innocent victim someday and perform the same ritual once her mother’s body starts to break down. We probably won’t get another Lee Cronin’s The Mummy to explore that further, but thinking about it too much does make the new ending a little less suffused with the gleeful spirit of revenge. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Lee #Cronins #Mummy #Originally #BleakerJack Reynor,Lee Cronin’s The Mummy](https://gizmodo.com/app/uploads/2025/09/io9-2025-spoiler.png)

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