Spider-Noir Gets Tombstone to the Screen Before Brand New Day

Spider-Man has one of the most varied and wonderful rogues galleries in all of comic book history. Peter Parker regularly goes toe-to-toe with heavy-hitters like Green Goblin, Venom, and the Kingpin. But he also has a host of unimpressive weirdos, including the Gibbon and the Kangaroo. For the most part, they all stay in their place. Green Goblin and Doctor Octopus will always be the biggest threats, especially as Venom has become a hero and the Kingpin fights Daredevil, the rest of the Sinister Six, including Electro and Mysterio, can have an arc here and there, and then everyone else fights for the scraps.

But a new promo for the MGM+ series Spider-Noir suggests that the hierarchy of power among Spider-Man villains has changed. It’s not so much that D-lister Silvermane gets to be the show’s big bad, nor the muscle he sends to fight Nicolas Cage‘s hardboiled take on Spider-Man. It’s that Tombstone gets highlighted, just months before he’s slated to be a major problem for Tom Holland‘s Peter Parker in Spider-Man: Brand New Day.

Loosely adapted from the comic book series Spider-Man: Noir by David Hine, Fabrice Sapolsky, Carmine Di Giandomenico, and Marko Djurdjević, and spinning out of Spider-Man: Into the Spider-Verse, Spider-Noir stars Cage as Ben Reilly, a 1930s private investigator who can do whatever a spider can. As this latest promo shows us, Ben will be going up against the gangster Silvermane (Brendan Gleeson), who relies on a trio of toughs to do his dirty work, including Sandman (Jack Huston), Megawatt (Andrew Lewis Caldwell), and Tombstone (Abraham Popoola).

Tombstone, of course, isn’t a new thorn in Spidey’s side. First introduced in Web of Spider-Man #36 (1988), by Gerry Conway and Alex Saviuk, he’s been a regular player in stories about the New York underworld. Born Lonnie Lincoln, he grew up with Daily Bugle editor Robbie Robertson and was constantly teased for being a Black child with albinism. The bullying led Lonnie to a life of crime and to embrace his appearance. Taking the name Tombstone, he filed his teeth to sharp ends and built an imposing physique.

For most of his history, Tombstone’s been a constant C-lister. While the animated series The Spectacular Spider-Man made him that show’s version of Kingpin (and got Keith David to provide the voice!), he hasn’t appeared in any of the live-action movies, nor does he get more than a couple of arcs or side missions in any cartoons or games.

However, that’s starting to change. Lonnie Lincoln was a major supporting character in season one of Your Friendly Neighborhood Spider-Man, where he’s voiced by Eugene Byrd. That series imagines Lonnie as an extraordinarily talented good kid who befriends Peter Parker. The first series ends with him being forced to participate in the local gang, and being exposed to chemicals that will certainly transform him into the imposing Tombstone.

Moreover, Tombstone’s rumored to be the chief antagonist of the next MCU film, Spider-Man: Brand New Day. Played by Marvin Jones III (who also voiced the character in Into the Spider-Verse), Tombstone will be one of the many baddies who tangle with the overworked Spidey, including Boomerang and the Hand. How will that fit into a story that’s also about the Hulk, Punisher, and probably Jean Grey of the X-Men, as well as his regular pals MJ and Ned? We’re not sure.

But it’s clear that Tombstone is having a moment, and the next part will be in Spider-Noir. This Tombstone “links the comic book character to a very grounded backstory,” says Popoola, promising something unique from even the versions in Your Friendly Neighborhood Spider-Man and Brand New Day. In fact, he sounds unique from any other C-list hero, which can only help Tombstone move further to the top spot of evil among the sinister foes of Spider-Man.

Spider-Noir streams on MGM+ on May 27, 2026.

Looks Like The Rings of Power Season 3 Is Arriving Earlier Than We Thought

Most news about the Lord of the Rings franchise of late has centered on the forthcoming big screen adventure The Lord of the Rings: The Hunt for Gollum and Stephen Colbert’s in-the-works Shadows of the Past project. But if current rumors are to be believed, we’ll be headed back to Middle-earth well before then, thanks to Prime Video’s blockbuster fantasy saga The Lord of the Rings: The Rings of Power. 

The series, which still ranks as the most expensive ever made, has drawn its share of criticism for the liberties it’s taken with J.R.R. Tolkien’s source material and the changes it’s made to the backstories of some of its characters. But it’s still seen as a priority for the streamer, which is allegedly still on track to finish out its five-season vision despite the high costs associated with its production. 

Per The Hollywood Reporter, The Rings of Power season 3 will hit our screens later this year — months earlier than anyone expected. (The conventional wisdom up until this point was that a 2027 release was likely, given its extensive post-production needs.) While Prime Video hasn’t officially confirmed this report one way or the other, it makes a certain amount of sense. Season 2 concluded back in the Fall of 2024, and a late 2026 release would put the gap between seasons at two years, which is roughly the same amount of time that passed between the show’s first and second outings. 

When season 3 does arrive, though, things will look a bit different. Though season 2 concluded with the siege of Eregion and the death of Celebrimbor, its third outing will be set after a rather lengthy time jump. Honestly, this isn’t that big of a deal, since most of the story’s main characters are some variety of long-lived being that means the aging process doesn’t really apply to them. Plus, Tolkien’s history spans such a long period of time — a century passes between the forging of the 19 rings we saw made in season 2 and the One Ring to Rule them All in Mordor — that fast forwarding through some of the lesser bits is probably a smart choice. 

The Rings of Power will pick back up again at the height of the War of the Elves and Sauron, as the Dark Lord works to create his master ring. (Technically, these events also take place over a hundred years apart, but let’s go with it for the sake of brevity.) Beyond that, we don’t know much about what aspects of Tolkien’s history the third season will tackle, but it’s done some pretty detailed set-up for several major events, including the selection of the Nazgul, the closing of the Doors of Durin, and, probably most importantly, the Fall of Numenor. (And that’s not counting whatever they’re planning to do with Gandalf and that still-unidentified Dark Wizard next.)

Announced returning cast members include the major players: Charlie Vickers as Sauron, Morfydd Clark as Galadriel, and Robert Aramayo as Elrond, though those are far from the only familiar faces we’ll see in season 3. (An early preview clip features Lloyd Owen’s Elendil with his iconic blade Narsil.) The show is also adding some new faces in as-yet undisclosed roles, including Stranger Things star Jamie Campbell Bower and King & Conqueror’s Eddie Marsan, as well as Andrew Richardson, Zubin Varla, and Adam Young. Who are they all playing? Your guess is as good as ours.

The Lord of the Rings: The Rings of Power is streaming now on Prime Video.

Stranger Things: Tales From ’85 Restores the Spirit of Adventure to the Franchise

This article contains minor spoilers for Stranger Things: Tales From ’85

When we last left the kids of Hawkins, they weren’t kids at all. Mike, Will, Lucas, Dustin, Eleven, and Sam had all grown up and moved on from their adventures in the Upside Down, and with good reason. As punctuated by Joyce’s flashback before dismembering big bad Vecna in the series finale, these kids have lost a lot in their battle against a primordial evil—most importantly their childhood innocence.

So we cannot help but smile when, after a foreboding cold open, the first episode of Stranger Things: Tales From ’85 begins with the main kids running out of their houses to gather together and ride their bikes to school through the snow. Returned to youth through vibrant cell-shaded animation, the kids have all the innocence and energy that made us love them in the first place.

Created by Eric Robles, Tales From ’85 resets the clock, taking place between seasons two and three of the series. By this point, Will has already been trapped in the Upside Down and El exerted herself more than ever before to close it, but the kids begin the series more or less feeling like the worst is behind them.

Using animation solves one of the most notable problems facing Stranger Things. It took nine years to produce the forty-two episodes the show released over five seasons, and the kids had well advanced into adults. Twenty-somethings regularly played teenagers in the ’80s properties that inspired Stranger Things, but we first met these actors in pre-adolescence, making the disbelief harder to suspend. In animation, Dustin may have all of his teeth, but he’s not far removed from the adorable tyke of season one and El certainly doesn’t look like a wife and mother.

This isn’t to say that Tales From ’85 requires no buy-in from the audience. None of the original cast returns to lend their voices to the show, not even the adults. As a result, it does take some time to get used to slightly different voices coming from faces and characters we know well. For the most part, the transitions work with the kids, outside of minor details: Luca Diaz is a little less shrill than Finn Wolfhard was as season two Mike, Jolie Hoang-Rappaport shows a bit more emotional range than Sadie Sink as Max, and Braxton Quinney sometimes gives Dustin a southern accent missing in Gaten Matarazzo’s take. However, Brett Gipson feels like he’s playing a generic cartoon big guy instead of the lovable oaf who David Harbour portrayed.

Rather than harm the series, the adjustments help cement Tales From ’85‘s status as an animated spin-off, not unlike cartoon versions of live-action movies from the old days, such as The Real Ghostbusters or Godzilla: The Series. Tales From ’85 tones down the language and violence from the mainline series and puts the kids on a new adventure.

As seen in the first episode’s cold open, some manner of contaminated spore has been unleashed onto the town, infecting the plant life to create shark-like vines that glide through snow and pumpkins that threaten to devour humans. To deal with the problem, the kids form the Hawkins Investigators Club (HIC), offering their paranormal expertise as a service to citizens in need.

That premise seems to set up a classic Saturday morning-type series, in which each episode pits the HIC against some new Upside Down-related beastie. However, Tales From ’85 cant’ fully commit to such antiquated formatting, and instead plays like a modern season of television. There’s one overall story, and each episode is just a chapter, rather than a discrete narrative unto itself. This structural decision isn’t bad, per se, but it does feel like a missed opportunity, especially given how well everything else works in the show.

Those positives include the addition of new kid Nikki Baxter, a confident punk rocker voiced by Odessa A’zion (who cannot help but sound a little like alternate reality Bobby Hill, given the performer’s lineage). Nikki adds some of the same energy that Max first brought to the group, as a girl disinterested in nerd stuff and with more than enough energy to share with the timid boys. Moreover, she plays more realistically as a punk in a small town than those whom Eleven teamed up with in season two.

Moreover, Nikki bonds with Will, the most ignored of the main characters. Will’s arc in season five remains the most mishandled of the bunch, so teaming him with Nikki feels a bit like making up for later mistakes. Nikki brings out the best in Will, without the need to turn their friendship into a romantic relationship, as happened to Mike and Lucas with El and Max.

In short, Stranger Things: Tales From ’85 is the rare animated spin-off done right. It conveniently gives viewers an excuse to ignore the parent show’s bland later seasons and lets viewers jump right back into the fun. Even better, it offers its own exciting take on the world, giving the first real indication that Stranger Things can be more than a fad.

Stranger Things: Tales From ’85 is now streaming on Netflix.

The Vampire Lestat Trailer Could Not Have Picked a More Perfect Soundtrack

Lestat’s rock star era is officially here. Two years and a title change later, the third season of Interview with the Vampire, now rebranded as The Vampire Lestat in honor of the second novel in Anne Rice’s Vampire Chronicles series, is almost upon us, and if the trailer is anything to go by, it’s going to be a suitably wild ride. 

Featuring star Sam Reid in all his David Bowie-esque glory, the vibes, unsurprisingly, are immaculate. Where the Louis-focused Interview with the Vampire reflected that character’s more somber, melancholy, and frequently guilt-ridden approach to telling his own story, Lestat’s take on things is all bold colors, stylized graphics, and a booming soundtrack, featuring Reid himself performing a banging cover of Billy Idol’s “Dancing with Myself”. A genuinely perfect choice given how so much of this season will inevitably be about Lestat on his own, attempting to correct the record presented in Daniel Molloy’s infamous book and offering differing perspectives on some of the events from the show’s previous seasons. 

Much like the titular vampire himself, The Vampire Lestat’s trailer covers up a multitude of sins and traumas with flashing lights, arresting costumes, and screaming fangirls. But this tour isn’t going to be for the faint of heart. The novel not only recounts his life as a mortal and his early years as a vampire, but it also introduces a half dozen major characters from his past, including Gabrielle, Magnus, Marius, Nicolas, and Those Who Must Be Kept, whose shadows loom large over Lestat’s past and present. 

 There’s a surprisingly small amount of footage we haven’t seen before in this clip, which is primarily focused on Lestat’s rock star persona. But there are some fun hints of things to come: a quick glimpse of Lestat (probably as a human) in eighteenth-century France, what appears to be his abduction by Magnus before being turned, and the appearance of Queen of the Damned’s Baby Jenks in the present day. There is also, of course, an appearance by Lestat’s mother, Gabriella (Gabrielle in the book, but let’s go with it), who has a very… let’s just call it complicated relationship with her son. 

In Rice’s novel, Gabriella always had a particular affection for Lestat, her youngest child, whom she considered to be the most like her, rather than her cruel husband. She helps Lestat flee to Paris as a young man, he eventually turns her when she’s dying of consumption, and things take a turn for the blatantly incestuous between them. The trailer shows the pair about to kiss, which is scandalous enough (though book-accurate) in and of itself. But because the TV universe has established that — unlike in the books — vampires can and do have sex, there’s every possibility that The Vampire Lestat will take things even further with this particular relationship. 

Undoubtedly, there will be a lot to unpack when the series hits our screens this June.

The Vampire Lestat will premiere June 7 on AMC and AMC+. 

10 Comic Book Villains Who Deserve Their Own Movie

The age of heroes has ended. Now it’s time to bring on the bad guys. The upcoming Clayface movie is just the latest example of supervillains getting the spotlight. Not only did Clayface’s fellow Arkham inmate the Joker get two feature films, but Lex Luthor will be the co-lead of the Superman sequel Man of Tomorrow, and Doctor Doom will drive Avengers: Doomsday. On the small screen, Loki and Penguin carried their own shows, and Kingpin is the co-lead of Daredevil: Born Again.

Impressive as this list certainly is, studios have only begun to scratch the surface of interesting supervillains. Let’s look at some of the most compelling evildoers in comic book history, some bad guys who deserve to do good on the silver screen!

Baron Zemo

Last year’s Thunderbolts* remains one of the best recent Marvel offerings. But for all that movie got right, we can’t help but lament the loss of a proper Thunderbolts movie, one that adapted the team’s original incarnation from the mid-1990s. The first Thunderbolts were the Masters of Evil disguised as superheroes, and led by the wonderfully hammy Baron Zemo.

Although we’ve seen Baron Zemo in Captain America: Civil War and The Falcon and the Winter Soldier, played by the able Daniel Brühl, that soulful sad sack has little to do with the blustery baddie of the comics. A proper Baron Zemo movie would have to lean into his pure awfulness, even if it told a Thunderbolts-style story, in which he begins to see the value of heroism when masquerading as the dashing Citizen V. Also, the film would have to be very, very clear that Zemo is 100% a villain if he harbors any fascist sympathies.

Bizarro

Bizarro

Even though he’s really only appeared in the most recent Superman movie, and even then in a slightly skewed form, Bizarro is a perfect bad guy concept. Since his first appearance in 1958’s Superboy #68, written by Otto Binder and penciled by George Papp, Bizarro has been everything from a defective clone to a denizen of a counter-Earth to a Kryptonian gone wrong. No matter how he’s explained, Bizarro is fundamentally Superman’s perfect opposite, down to his tendency to say “No” when he means “Yes” and “Bad” when he means “Good.”

A great Bizarro movie would take place on Htrae (Earth, backwards), the Bizarro World introduced in the Silver Age. For the most part, the movie would play it straight, with Bizarro as the Superman of a backwards reality, taking advantage of all the absurd comedy the premise invites. Would that make for a good movie? In Bizarro-speak, “No!” In regular-speak, “Absolutely!”

Darkseid

Even the biggest Zack Snyder hater has to admit that the director’s take on Justice League villain Darkseid isn’t uniquely bad. It’s bad, to be sure, as is every other story that reduces the New Gods antagonist to just a generic villain bent on conquering the universe, but even greats like John Byrne and Jim Starlin have mishandled the Jack Kirby creation.

A film would be an opportunity to show Darkseid in his full, soul-crushing glory. The movie would certainly deal with Darkseid’s origin, showing how he went from Prince Uxas to become the absolute ruler of the planet Apokolips. And it might even show Darkseid’s ultimate end, destroyed by his own son, Orion. But the film must primarily illustrate Darkseid’s worldview, his commitment to destroying all vivaciousness and individuality, his desire to control the Anti-Life Equation.

Green Goblin

The Green Goblin is one of the most recognizable comic book villains, and not just because Willem Dafoe put in such an incredible performance in the Spider-Man movies. He matches the Joker’s hideous smile with a lizard-like green pallor, topping it all off with a cool glider jet and distinctive pumpkin bombs. Gobbie will forever be in the supervillain hall of fame, if only for throwing Gwen Stacy off the George Washington bridge, resulting in Peter Parker accidentally killing the love of his life.

Yet, Norman isn’t all evil. When not corrupted by the formula that gave him his incredible abilities, Norman Osborn is just your run-of-the-mill industrialist, who seeks power and success to avoid dealing with the death of his wife. In his most interesting stories, Norman is also a victim of the Goblin. An interesting movie could be made about Norman trying to build his company and convincing himself that he’s fundamentally good, while wrestling with the Green Goblin deep within him.

Junkman

Unless you’re a fan of indie comics from the 1990s, you’ve probably never heard of the Junkman. And that’s the tragedy of the character. Born Hiram Potterstone, Junkman troubles the heroes of Astro City, the titular setting of the great series from writer Kurt Busiek. Like all of the Astro City characters, the Junkman riffs on established superhero tropes, recalling classic evil geniuses such as Paste Pot Pete or Gizmo.

A Junkman film would adapt the character’s sole appearance, in 1997’s Kurt Busiek’s Astro City #10, written by Busiek and penciled by Brent Anderson. The story “Show ‘Em All” finds Hiram spending his old age on a sunny beach in South America, enjoying his millions after pulling off the perfect crime. There’s just one problem: his heist was so perfect that no one knows he did it. In fact, no one believes he can pull it off at all. Junkman’s story is a classic “careful what you wish for” tale, told through the cape and cowl perspective.

Magneto in Uncanny X-Men #200, penciled by John Romita Jr., inked by Dan Green, colored by Glynis Oliver

Magneto

In his first appearance in 1963’s X-Men #1, Magneto captures an American military base and threatens to use its explosives against ordinary humans. Such was the standard supervillain stuff that the Master of Magnetism did throughout the Silver Age, at least until writer Chris Claremont took over the X-Men. Under Claremont’s guidance, Magneto not only received pardon for his crimes from the UN (in part because he was turned into a baby and then into an adult, because comics) but even his evil deeds were re-examined in light of his history as a Jewish survivor of the Holocaust.

A good Magneto movie could expand the bits we saw in X-Men: First Class, when Erik Lehnsherr (Michael Fassbender) used his powers to hunt and execute former Nazis. A great Magneto movie would examine that history in light of his own supervillainy, exploring the way the oppressed can become an oppressor. That moral complexity has always often been present in the comics, but a full feature could give the concept the attention it deserves.

Monsieur Mallah and the Brain

Most of the bad guys on this list are fighters. But Monsieur Mallah and the Brain are lovers. The couple’s first appearance in 1964’s Doom Patrol #86, by Arnold Drake and Bruno Premiani, followed the standard model for an adventure featuring the world’s strangest heroes, with the Brain guiding Mallah and other members of the Brotherhood of Evil in a Silver Age caper with a Doom Patrol twist. But when Grant Morrison began writing Doom Patrol in the ’80s, they reimagined the two as devoted lovers seeking against the team’s leader, Niles Caulder, aka the Chief.

A movie focused on Monsieur Mallah and the Brain would take a cue from the Morrison run. The two would still belong to the Brotherhood of Evil, but, apropos of Morrison’s perspective-twisting approach, they would fight for liberation against restrictive normality. And at the center of it all would be a love story, which must be played as seriously as possible, despite all the absurdity going on around them.

Mystique

In a way, Mystique has already led a movie or two, if we count the First Class era of X-Men movies, in which Jennifer Lawrence‘s star-power pushed her shapeshifter to the forefront. But any X-Men fan can tell you that neither she nor the blue femme fatale played by Rebecca Romijn had much to do with the character from the comics.

A proper Mystique movie would draw more closely from the comics. The film could feature Mystique leading the Freedom Force, a group of evil mutants doing work for the U.S. government, and forever trying to outwit her handler Val Cooper. Or it could adapt the Brian K. Vaughn series from the 2000s, an espionage tale that made the most of her covert abilities. Perhaps it could draw from the recent Krakoa arc, in which Mystique was willing to burn down the mutant paradise to reunite with her lost wife, Destiny. And those are just three options out of the multitude offered by the multifarious mutant.

Star Sapphire

Ask most Green Lantern fans, and they’ll say that arch-enemy Sinestro deserves more attention. But the more compelling member of Hal Jordan’s Rogues Gallery is the one who is closest to him, the space-faring Star Sapphire. When introduced in 1962’s Green Lantern #16, by John Broome and Gil Kane, Star Sapphire was the alter-ego of Jordan’s girlfriend Carol Ferris, who gets turned into a murderous man-hater by an alien gem.

Over the years, the icky qualities of that original concept have been revised, to the point now that Carol has gained control over the gem and, in addition to no longer trying to force Green Lantern to marry her, has become a member of the Justice League. A great Star Sapphire movie would take place at the point of that change, with Carol still tempted by the obsessive feelings invoked by the gem, but fighting for a healthier understand of the power of love.

The Tick

As much as we would absolutely adore a film about the big blue bug of justice, that’s not the Tick we’re talking about. No, we want to see a movie about Barry Hubris, the guy who claims he was the Tick before the Tick. Barry first appears in 1986’s The Tick #11, written and drawn by creator Ben Edlund, demanding that the nigh-invincible blue guy give up the moniker and restore it to him. Of course, the Tick and Arthur win the right to keep the name, which drives Barry to remove his costume… and everything else, and spend the rest of his days running around in the nude.

A movie about Barry would build on the character’s later appearances, where we learn that he too was an inmate at Evanston Asylum, where the Tick we know and love got his gimmick, and that he makes a habit of stealing the identities of other super-people. A comedic film following Barry as he battles with the voices in his head and trying to find a superhero name that fits him would make for a delightful comic book parody, worthy of the name “the Tick.”

Chili Finger’s Cast and Creators Turn Real-Life News Into Black Comedy

In March 2005, no one could stop talking about Wendy’s. Specifically, everyone talked about the fast-food chain’s chili, after a woman claimed to have found a severed finger in her meal. When the claim turned out to be fraudulent, most people forgot about the instance, but not writer Stephen Helstad and his co-director Edd Benda. The duo fictionalized the event for the black comedy Chili Finger, starring Judy Greer, Bryan Cranston, and John Goodman, putting them at risk for the thing that makes Wendy’s famous today: their savage social media presence.

“We know you should never mess around with Wendy’s Twitter profile,” Helstad admits to Den of Geek at SXSW, where Chili Finger held its premiere. “We do all this in love.”

Greer stars in Chili Finger as Jessica Lipki who sues fast food join Blake Junior’s for $100,000 after claiming that she found a finger in her side dish. The suit draws the attention of fixer Dave (Cranston), who investigates the instance on behalf of CEO Blake (Goodman) and his daughter and successor Blake Jr. II (Madeline Wise), drawing attention to Lipki’s home life, including the empty-nest status she’s recently entered with her husband Ron (Sean Astin).

As that description suggests, Chili Finger is less concerned with relitigated a tabloid-ready piece of news from two decades ago and is more interested in exploring the humanity of those involved.

“A lot of films show the stages of parenthood as just new parents, or when the kids are adolescents and it’s hard with teenagers, or later in life, when the kids are getting married,” observes Helstad. “We wanted to explore those immediate days and hours when the nest is first emptied. What does it feel like when a family of three or four is all of a sudden a family of two. Normal day-to-day things are starkly different.”

“We took Lady Bird as an influence,” adds Benda. “As we were developing Chili Finger, it was fun for us to imagine: what the movie would have been like if we stayed with Tracy Letts and Laurie Metcalf?

“Tonally, Greta Gerwig did her job so well that we didn’t want to emulate her,” Benda continues with a self-aware laugh. “But we really loved the way she treated that relationship at the moment of the kids’ departure. It was so beautiful that it left us asking about what happens to them. What if, in that moment, you found a finger in your bowl of chili?

That question helped draw Greer’s involvement, especially since the script so accurately reflected her own experiences as a parent watching her children leave.

“It’s so funny to me that these two young men in their thirties made a movie about a woman who’s an empty-nester, entering midlife and having an existential crisis,” Greer says with a laugh. “I’m always saying, ‘We need to champion women’s voices!” and then I ask them, ‘Why did you guys write such a great character?’

“I remember vividly when I was an empty-nester, and I was a weird one because I had step-kids and came into their lives a bit later. First, it was all about them, and then, all of a sudden, they were gone, and they don’t need you anymore. It’s very strange. You need a moment to get your bearings.”

“Jess has a lot of feelings in the movie,” Greer continues. “I tried to do all of my acting faces and have all the feelings that I’ve ever felt in this role. She loses her cool quite a bit, but I like her because she gets it back. She starts out as a real grown-up, and she just makes a series of terrible decisions. It’s like gambling: you get in, and then you think you have to stay in it.

“It’s interesting because I’m so cautious, and I get to be someone who decides to abandon all caution. I loved being her.”

For Helstad, Jess’s complexity was part of their design. “It was important to us that she has a plan and she gets away with it,” he explains. “But then all these wants and needs and egos of other people, which she did not calculate for get in the way. We wanted her plan to be so innocuous that we accept that it’s well-thought-out, but then it gets away from her.”

Jess isn’t the only woman dealing with complex family relationships in Chili Finger, as the film also explores the tensions between CEO Blake Junior and his daughter Blake Jr. II, who’s ready to take over the business.

“Family drew me to the picture,” says Goodman. “It just seemed like a no-brainer,” he adds, much to the joy of Helstad and Benda.

Relieved as they are to have a big name like Goodman, they’re also thrilled with the work of the performer sharing scenes with him, Madeline Wise as Blake Junior II.

“Madeline Wise is incredible,” Benda declares. “To watch her stand toe-to-toe with John Goodman and Bryan Cranston and Judy Greer and Sean Astin—she had to deliver against a Mount Rushmore of talent, and she did it.”

Between Goodman’s Blake Junior and Wise’s Blake Jr. II, Greer faces off against some formidable competition in Chili Finger. It’s a good thing that she’s already dealt with heavies in Halloween, the Ant-Man films, the Jurassic World trilogy, and the Planet of the Apes movies. Even then, Greer’s not done.

“I’d love to be in the Bourne franchise,” she reveals. “Can someone just throw me a helicopter, but I live, and I have a gun and kill some bad guys?”

“We give a quick zoom and a camera shake, and we’re halfway there,” offers Benda.

Maybe Benda’s joking, or maybe he’s actually offering to help her. Or, most likely, he truly wants Greer to be an action star because he and Helstad will need all the help they can get when the Wendy’s Twitter account hears about Chili Finger.

Chili Finger premiered March 14 at the SXSW Film & TV Festival.

The 15 Video Games a Parent Would Least Want Their Child to Play

A good way to avoid your child playing something they shouldn’t is by checking age ratings; if the game isn’t for children, it’ll be labeled as such. But we all know parenting isn’t that simple, and kids will often ask for games that, while targeted at mature audiences, might not really be that bad.

Well, these next few games are that bad, and no child should really play them. Some of their covers give the problems away, but not all of them. If you need to know the most controversial games your child shouldn’t play, or if you’re looking for something with true adult themes, these are the games to watch out for.

Dead Island 2 Builds

Dead Island 2

Known for its hyper-detailed gore system, the game emphasizes dismemberment and realistic damage to enemies. Its focus on graphic violence makes it one of the most viscerally disturbing mainstream releases in recent years.

Doom the Dark Ages review

DOOM The Dark Ages

Fast-paced combat revolves around tearing apart demons in brutal, close-range executions. The game’s emphasis on aggressive violence and graphic finishing moves makes it unsuitable for younger audiences.

Mortal Kombat 1 Reboot

Mortal Kombat 1 (2023)

Famous for its “Fatalities,” the game features highly detailed finishing moves involving dismemberment and gore, pushing boundaries of violence in fighting games and making it particularly unsettling for children.

The Last of Us Part II

Beyond its violence, the game is emotionally heavy, depicting revenge, trauma, and morally complex decisions. Its realistic brutality and bleak tone make it especially intense for younger players.

Grace in Resident Evil Requiem

Resident Evil Requiem

Combines survival horror with graphic violence, including disturbing enemy designs and intense combat scenarios, creating an experience that can be frightening and overwhelming for younger audiences.

Dead Space Remake

Dead Space

Players must strategically dismember grotesque enemies, with the game leaning heavily into body horror and unsettling imagery, reinforcing its reputation as one of the most disturbing sci-fi horror experiences.

Outlast Trials

Set in a disturbing experimentation program, the game features torture, psychological horror, and disturbing scenarios, making it one of the more unsettling modern horror experiences.

Scorn

Its biomechanical world is filled with grotesque imagery and disturbing design, focusing more on discomfort and atmosphere than traditional gameplay, creating an experience that can be deeply unsettling.

Cyberpunk 2077

Cyberpunk 2077

Features mature themes including violence, drug use, and explicit content. Its open-world freedom allows players to engage in morally questionable activities that parents may find inappropriate.

Grand Theft Auto 5

Grand Theft Auto V

Still widely played, the game includes crime, drug use, and explicit content, allowing players to engage in violent and illegal activities freely, making it the most common concern for parents.

Dying Light 2

Dying Light 2: Stay Human

Combines parkour with brutal zombie combat, featuring graphic dismemberment and intense horror elements that make it unsuitable for younger audiences.

Alan Wake 2

A psychological horror experience with disturbing imagery and themes, relying on tension and fear rather than constant action, making it deeply unsettling in a different way.

Sniper Elite 5

Features detailed “kill cam” sequences that show bullets impacting bodies in slow motion, including graphic internal damage, which can be unsettling despite its tactical gameplay.

God of War: Ragnarok

God of War Ragnarök

Combines intense combat with mature themes about violence, fate, and loss, making it more emotionally and visually intense than its fantasy setting might suggest.

Baldur’s Gate 3

Includes mature themes such as violence, explicit romance options, and morally complex choices, giving players freedom that may not be appropriate for younger audiences.

Hitman 3

Centers on assassination gameplay, encouraging players to creatively eliminate targets, often in morally questionable or darkly humorous ways.

Far Cry 6

Depicts a violent revolution with torture, executions, and intense combat scenarios, making its themes and imagery unsuitable for children.

Dead by Daylight

A multiplayer horror game built around chasing and killing survivors, featuring iconic killers and disturbing imagery that can be frightening for younger players.

Horses

A controversial indie title exploring themes like abuse, slavery, and psychological trauma, so disturbing it was removed from major storefronts, highlighting just how uncomfortable its subject matter is.

15 Artists Who Never Won a Grammy But Probably Should Have

The Grammy Awards are considered the highest form of recognition in the music industry, even if their history is filled with notable omissions. Across its history, some of the most influential, commercially successful, and critically respected artists still have never taken home a competitive Grammy.

We’re talking about musicians who have racked up multiple nominations, chart-topping hits, and lasting cultural impact, yet remain overlooked when awards are handed out. This list highlights artists frequently cited in that conversation, focusing on names whose absence from the winners’ circle feels increasingly difficult to justify given their legacy.

Katy Perry

Despite numerous chart-topping hits and over a dozen Grammy nominations, Katy Perry has never won a Grammy. Her dominance of late 2000s pop, including multiple number-one singles, is often cited as a major gap in Grammy recognition.

Nicki Minaj

Nicki Minaj has earned multiple Grammy nominations across rap and pop categories but remains without a win. Her influence on modern hip-hop and mainstream crossover success is frequently highlighted in discussions about major Grammy snubs.

Snoop Dogg

With more than a dozen nominations, Snoop Dogg holds one of the longest Grammy droughts among major artists. His decades-long career and cultural impact make his lack of a win one of the most commonly cited oversights.

Brian McKnight

Brian McKnight has amassed a high number of Grammy nominations without winning, often cited as one of the most extreme examples. His consistent presence in R&B over decades contrasts sharply with his lack of awards.

Björk

Known for her experimental sound and critical acclaim, Björk has received multiple nominations but never won. Her influence on alternative and electronic music is frequently contrasted with her lack of Grammy recognition.

ABBA

Despite global success and enduring popularity, ABBA never won a competitive Grammy. Their continued cultural relevance highlights how major commercial impact does not always translate into awards recognition.

Jennifer Lopez

Jennifer Lopez has maintained decades of success across music and film, yet has never won a Grammy. Her commercial achievements often come up in conversations about mainstream artists overlooked by the Recording Academy.

Busta Rhymes

With numerous nominations and a long career, Busta Rhymes remains Grammy-less. His influence on rap performance and style is often cited as deserving stronger recognition.

Sia

Sia has received multiple Grammy nominations for both her own work and songwriting contributions. Despite critical acclaim and commercial success, she has yet to win, making her a recurring name in snub discussions.

Blake Shelton

A major figure in country music with numerous nominations, Blake Shelton has never won a Grammy. His long-standing popularity contrasts with his absence from the winners’ circle.

Lana Del Rey

Critically acclaimed and highly influential in alternative pop, Lana Del Rey has been nominated multiple times but remains without a win. Her artistic impact is often highlighted in debates about Grammy recognition.

Arctic Monkeys

Despite critical and commercial success, Arctic Monkeys have never won a Grammy. Their consistent output and influence on indie rock make their absence notable.

Depeche Mode

Pioneers of electronic and synth-pop music, Depeche Mode have received nominations but no wins. Their long-term influence is frequently cited as deserving greater recognition.

Journey

Journey’s enduring popularity and iconic songs have not translated into Grammy wins. Their omission is often mentioned when discussing classic rock acts overlooked by the awards.

Guns N’ Roses

Guns N’ Roses achieved massive success and influence but never secured a Grammy win. Their continued relevance makes their absence from the winners list stand out.

17 Movies Remembered Entirely for One Scene

All filmmakers want their movies to be remembered as a whole experience, marking lives with their message. Yet, many films survive in pop culture almost entirely because of a single unforgettable moment. Usually, it’s a shocking twist, a quotable line, or a visually striking sequence, making these scenes take on a life of their own, often eclipsing the rest of the movie.

In some cases, they even become more famous than the film itself, referenced and parodied far beyond their original context. This phenomenon highlights how one perfectly executed idea can define an entire production. These are movies that, for better or worse, are largely remembered for just one standout scene.

Glengarry Glen Ross

Alec Baldwin’s aggressive “Always Be Closing” speech dominates the film’s legacy, despite appearing in only one scene. The performance became endlessly quoted, often overshadowing the rest of the drama, which has faded compared to that singular, explosive moment.

Basic Instinct

Sharon Stone’s interrogation scene, particularly the leg-crossing moment, became one of the most infamous sequences in cinema. Its shock value and cultural impact far outlasted the film’s plot, which is often considered secondary in discussions.

Risky Business

Tom Cruise’s dance in a shirt and socks became a defining pop culture image. The scene’s simplicity and energy turned it into a lasting icon, often remembered more vividly than the film’s broader narrative.

Deep Blue Sea

Samuel L. Jackson’s sudden death mid-speech stands out as the film’s defining moment. The shock and timing made it memorable, while the rest of the movie is often regarded as a fairly standard creature feature.

Mac and Me

The infamous wheelchair cliff scene became widely known through repeated parody, particularly in talk show gags. That single moment largely defines the film’s reputation, overshadowing its broader narrative and quality.

Taken

Liam Neeson’s “particular set of skills” phone call is endlessly quoted and parodied. While the film itself is a straightforward action thriller, that single speech became its lasting cultural footprint.

A Few Good Men

“You can’t handle the truth!” remains one of the most famous courtroom moments ever. The intensity of that confrontation often overshadows the rest of the film, which is less frequently referenced in pop culture.

Thelma & Louise

The final scene of the car driving off the cliff became iconic and widely referenced. That ending defines the film’s legacy so strongly that it often eclipses the journey leading up to it.

Free Willy

The whale jumping over the boy is the image most people associate with the film. Its emotional payoff became so iconic that it effectively represents the entire movie in public memory.

Up

The opening montage depicting Carl and Ellie’s life is widely regarded as one of Pixar’s most emotional sequences. It is frequently discussed independently, often overshadowing the film’s more whimsical main adventure.

Say Anything…

The boombox scene, with John Cusack holding it overhead, became a defining romantic image. Many recognize the visual instantly, even if they struggle to recall the rest of the film’s details.

Al Pacino as Tony Montana Dies in Scarface

Scarface

“Say hello to my little friend” is one of the most quoted lines in film history. That climactic shootout scene has become shorthand for the movie, often eclipsing its longer narrative arc.

Demi Moore and Patrick Swayze on the set of Ghost

Ghost

The pottery wheel scene became a defining romantic moment in cinema. Its cultural impact, aided by music and chemistry between leads, often overshadows the rest of the supernatural storyline.

American Psycho

The business card comparison scene is widely shared and parodied. Its tension and absurdity made it one of the most memorable moments, often standing apart from the film’s broader narrative.

The Sixth Sense

“I see dead people” became one of the most quoted lines in modern cinema. The line’s delivery and context made it synonymous with the film, often recalled even by those who haven’t seen it.

Dirty Dancing

The final lift during the closing dance became the film’s defining image. That moment is frequently referenced in pop culture, often standing in for the entire movie.

Psycho

The shower scene remains one of the most famous sequences in film history. Its editing, music, and shock value made it iconic, often eclipsing the rest of the movie in public memory.

15 Movies Clearly Designed for a Sequel That Never Came

Hollywood has increasingly leaned on franchise-building, with many films designed less as standalone stories and more as the first chapter in a larger saga. This approach often leads to endings filled with cliffhangers, unresolved arcs, or explicit sequel teases meant to hook audiences for future installments.

However, not every gamble pays off. Call it weak box office returns, mixed reception, or behind-the-scenes complications; many of these planned follow-ups never happen. The result is a collection of films that feel incomplete in hindsight, frozen mid-story. These are movies that clearly aimed for more but ultimately remained one-offs.

Rosa Salazar - Alita Battle Angel

Alita: Battle Angel

Ending on a direct setup for a larger conflict, the film introduces a major antagonist in its final moments while leaving its central revenge arc unresolved. Despite its ambition, a sequel has yet to materialize following its mixed reception.

Eragon

The fantasy adaptation concludes with a clear continuation in mind, leaving its central war and character arcs unfinished. Its poor critical reception and box office performance effectively halted any plans to continue the intended franchise.

Green Lantern

The film’s post-credits scene explicitly teases a villain transformation meant to carry into a sequel. Negative reception and underwhelming box office results led to the franchise being scrapped instead.

Miles Teller, Kate Mara, Jamie Bell, and Michael B. Jordan in Fantastic Four (2015)

Fantastic Four

Despite a troubled production, the reboot ends with the team newly formed and positioned for future adventures. Poor reception led to immediate cancellation of any planned sequel.

The Mummy

Intended as the launch of Universal’s “Dark Universe,” the film ends by setting up a shared monster franchise. Its failure at the box office caused the entire cinematic universe plan to collapse.

King Arthur: Legend of the Sword

Planned as the first in a six-film series, the movie lays groundwork for a larger mythology. Its commercial failure ensured the broader saga never moved forward.

The Last Airbender

Ending with its villain’s rise to power, the film clearly sets up the next chapter of the story. Critical backlash prevented any continuation of the planned trilogy.

Dredd

While more subtle, the film establishes a larger world and future cases for its protagonist. Despite strong fan support, financial performance stalled any sequel plans.

Rooney Mara as Lisbeth Salander in The Girl With the Dragon Tattoo

The Girl with the Dragon Tattoo

Designed as the first installment in a trilogy, the film leaves room for continuation. Plans for sequels were ultimately abandoned despite the source material offering a clear path forward.

Russell Crowe and Paul Bettany in Master and Commander

Master and Commander: The Far Side of the World

Concludes with its characters setting off on another mission, mirroring the episodic nature of its source material. Despite critical acclaim, no sequel followed.

Chronicles of Narnia - Voyage of the Dawn Treader

The Chronicles of Narnia: The Voyage of the Dawn Treader

Finishes with a clear path toward adapting the next book, but declining box office returns halted further entries in the series.

Ender’s Game

Leaves its protagonist embarking on a new mission, clearly setting up a continuation of the story. Underperformance prevented adaptation of the remaining books.

I Am Number Four

Introduces a larger mythology and multiple surviving characters meant for future installments. Despite franchise intentions, the sequel was never produced.

The Sorcerer’s Apprentice

Ends with unresolved threats and a clear continuation setup, positioning its protagonist for future adventures. Lackluster box office performance halted any sequel plans.

Van Helsing

Builds a broader monster-hunting world and leaves its protagonist’s journey open-ended. Intended as a franchise starter, it never received a direct sequel despite its scope.

15 Things That Really Didn’t Need Their Own Movie

Studios have spent decades turning recognizable IP into feature films, often stretching thin concepts into full-length productions. From books padded far beyond their scope to video games and toys with little narrative foundation, many adaptations have faced criticism for existing more as brand extensions than creative necessities.

While some projects find success, others become shorthand for excess, misjudgment, or missed potential. Here, we highlight films frequently cited in that conversation, focusing on releases that struggled to justify their own existence despite built-in recognition. Each example reflects a broader trend of prioritizing familiarity over storytelling in modern Hollywood production cycles.

Battleship

A loose adaptation of a board game with minimal narrative basis, widely criticized for generic blockbuster storytelling and poor reception, ultimately losing significant money despite its massive budget.

The Care Bears Movie

Frequently described as a feature-length commercial for a toy line, emblematic of early merchandising-driven filmmaking despite moderate box office success.

Bratz

A doll-based adaptation heavily criticized for shallow storytelling and poor execution, often cited among failed attempts to turn toy brands into viable film franchises.

UglyDolls

Based on plush toys, the film drew criticism for predictable storytelling and reliance on brand recognition rather than compelling narrative.

Playmobil: The Movie

Compared unfavorably to more successful toy adaptations, often criticized for lacking originality and failing to justify its existence beyond brand promotion.

Max Steel

A box office failure based on an action figure line, criticized for weak plotting and generic superhero tropes.

The Emoji Movie

Widely mocked as an example of adapting non-narrative concepts, criticized for being overly commercial and creatively thin.

Monster Hunter

A video game adaptation frequently cited for straying from its source material and delivering a generic action narrative.

Borderlands

Borderlands

Critically panned upon release, with reviewers calling it generic and poorly executed, often listed among the worst films of its year.

Doom

Based on a minimal-story shooter, often cited as an example of stretching a thin premise into a full-length feature.

Ouija

Based on a spirit board, frequently cited as a concept stretched into a horror film primarily due to brand recognition.

Prince of Persia: The Sands of Time

A big-budget adaptation of the video game series that drew criticism for its generic adventure tone and deviations from the source material, often cited as an unnecessary attempt to launch a franchise that never materialized.

Jem and the Holograms

A poorly received adaptation of a toy-linked franchise, criticized for failing to capture the appeal of its source material.

Papa Smurf in 2025 Movie

The Smurfs

A heavily commercialized adaptation often criticized for blending live-action and animation without strong narrative justification.

Assassin’s Creed

Despite the popularity of the games, the film received mixed-to-negative reviews for its convoluted narrative and heavy exposition, frequently referenced as a case where a strong IP didn’t translate into a compelling or necessary film adaptation.

Clayface Brings the Horror Genre to Superhero Movies

Almost by definition, superhero movies are about hope and goodness. Even when things get dark for guys like Batman or the Punisher, their respective films end on notes of redemption. The Hulk may roar and Wolverine may growl, but eventually, the real baddies are defeated and the innocents are saved.

Not so with Clayface, the latest entry in the DCU. The first trailer for the adaptation of the classic Batman villain doesn’t reveal much about the film’s plot but it does make sure we understand the tone. Clayface will be a horror movie, complete with sharp music stings, plenty of gore, and some disturbing images of melting faces.

Clayface stars Tom Rhys Harries as Matt Hagen, a rising film star whose career falls apart after he experiences a horrible accident, resulting in the bandaged imagery seen in the trailer. Through scientist Dr. Caitlin Bates (Naomi Ackie), Hagen participates in an experimental procedure that transforms his body into moldable clay… at first. Where the comic book Clayface uses his new condition to commit crime, the trailer suggests that Hagen’s melting body creates a sense of visceral terror.

The trailer’s tone shouldn’t be too much of a surprise, given the pedigree of the creators. Clayface comes from co-writer Mike Flanagan, the man behind the Netflix series The Haunting of Hill House and Midnight Mass. To hear DCU co-head James Gunn tell it, Flanagan came to him with a pitch for Clayface that was so compelling, he had to put it into production. To helm the project, Gunn chose James Watkins, recently of the Speak No Evil remake.

Moreover, the trailer seems to be bringing Clayface back to horror roots. When the character debuted in 1940’s Detective Comics #40 by Bill Finger and Bob Kane, he was Basil Karlo, a B-movie actor who lost the ability to distinguish between the real world and the movies, becoming the killer he played on screen. Another Clayface, Matt Hagen, first appeared in Detective Comics #298 (1961), courtesy of Bill Finger and Sheldon Moldoff. This Clayface transformed into a hulking slime beast after exposure to a strange plasm.

Clayface is hardly the only superhero character who borrows from horror fiction. Batman and villains like the Joker have clear connections to the scarier side of pulp fiction. The Hulk began as a riff on Dr. Jeckyll & Mr. Hyde, with some Frankenstein thrown in for the design. The Fantastic Four and Ant-Man stemmed from the Twilight Zone-style stories that Jack Kirby and Stan Lee were telling throughout the ’50s.

And yet, few movies have been willing to fully embrace the horror side of superheroes. While indies such as Spawn and Faust: Love of the Damned mix capes with creatures of the night, only the Blade franchise and The New Mutants really went into horror—and even then, they return to superheroics by story’s end.

If this trailer is to be believed, Clayface will do something very different. It will remold the comic book superhero movie into something new, shocking, and completely unexpected.

Clayface arrives in theaters on Oct. 23, 2026.

Coyote vs. Acme Trailer Mocks Warner Bros. Tax Write-Offs

You’d think that Warner Bros. would know more about things exploding in your face. For more than 75 years, the studio has been producing cartoons about Wile E. Coyote, the genius scavenger whose plots to catch the Roadrunner are thwarted by faulty contraptions from the Acme Corporation. And yet, Warner Bros. CEO David Zaslav decided to shelve the completed movie Coyote vs. Acme because he thought a tax write-off would be more profitable than any box office revenue it could generate.

Yet, thanks to fan outcry and the efforts of distributor Ketchup Entertainment, Coyote vs. Acme will finally see the light of day. And the first trailer for the picture has no intention of letting bygones be bygones with its old studio. The teaser includes plenty of gags at Warners’ expense, conflating the Hollywood stalwart with the inconsistent and unethical Acme.

The trailer lays out the basic premise of Coyote vs. Acme, directed by Dave Green and based on a screenplay by Samy Burch (who created the story with James Gunn and Jeremy Slater). After years of dealing with Acme’s substandard products, Wile E. Coyote employs a crusading lawyer played by Will Forte to bring the company to justice. Complicating things is not only Acme’s lawyer, played by John Cena, but also the owner, the apparent toon-traitor Foghorn Leghorn.

The blustering rooster threatens Cena to keep Acme’s secrets hidden, and says in the closing voice-over, “The Acme Corporation is releasing this film for accounting purposes only!”

That last bit may be a clear shot at Warner Bros. choosing tax breaks over Looney Tunes, but the entire trailer has a whole anti-corporate feel. Forte, costumed like he’s the most embarrassing member of the Spotlight team, rages, “These companies think they can do whatever they want. We’re sick of it!” Conversely, Acme’s lawyer trots out the time-tested tactic of blaming the individual for any of the products’ shortcomings.

Also, the trailer is full of classic Looney Tunes bits, including Bugs Bunny in drag, Daffy Duck going bonkers, and, uh, Tweety Bird with a shotgun. Not sure what that last one is about.

In total, Coyote vs. Acme looks like a delightful combination of Looney Tunes bits and courtroom comedy. That last part may be particularly important, because as wonderful as the original Looney Tunes certainly are—especially the Coyote and Roadrunner shorts made by Chuck Jones—the characters don’t always work in movie form, no matter what deluded millennials say about Space Jam. In fact, Ketchup Entertainment also rescued The Day the Earth Blew Up from Zaslav’s cuts last year, but the movie barely made back its budget.

If Coyote vs. Acme can capitalize on the goodwill we feel toward the characters and combine Looney Tunes wackiness with a successful legal comedy, then maybe Ketchup Entertainment will have a hit on their hands. And everyone else will have one more reason to laugh at WB’s lousy tax strategy.

Coyote vs. Acme arrives in theaters on August 28, 2026.

Stranger Things: Freddy Krueger Actor Returns to Hawkins, But as a New Character

Stranger Things owes a lot to ’80s horror. There’s the Stephen King font used by the titles, the heavy use of synths on the score, and a scary monster who represents the sins of generations past. Creators Matt and Ross Duffer have paid that debt in several ways, including by casting Robert Englund, Freddy Krueger himself, as Victor Creel, father of the boy who would become Vecna.

With the animated series Stranger Things: Tales From ’85, the Duffers are paying back that debt twice by bringing Englund back as a new character. According to a release in EW, Englund will play “Cosmo Russo … editor-in-chief of The Weekly Watcher, a Hawkins tabloid magazine that’s notorious for its sensationalized, often exaggerated, and false accounts of local scandals, mysteries, and supernatural occurrences.”

In a way, England’s recasting falls in line with the way that Tales From ’85 is approaching all of its characters. Although the show features recognizable names like Mike Wheeler, Chief Hopper, and Eleven, the faces have changed. Instead of Finn Wolfhard, David Harbour, and Millie Bobby Brown, it’s Luca Diaz, Jeremy Jordan, and Brooklyn Davey Norstedt providing voices. Rounding out the cast is Marty Supreme standout Odessa A’zion as cool kid Nikki Baxter, comedian Janeane Garofalo as her mother Anna, and The First Power star Lou Diamond Phillips as new character Daniel Fischer.

However, bringing back an actor from the main series but putting him in a new role seems to be part of Tales From ’85‘s plan to separate itself from the mainline Stranger Things mythology. Set between seasons 2 and 3 of the main series, Tales From ’85 certainly has stuff about the Upside Down and features recognizable monsters like the Demo-Dog. But the show’s trailers have emphasized a light-hearted, carefree tone, bringing the series back to the kid adventures that made it such a massive hit.

That reset feels even more important now, after the much-hyped final episode of the main series. While the feature-length fifth season did certainly generate much discussion, enough to justify Netflix‘s decision to put the last episode in theaters, the reception has been mixed, to say the least. While some thrilled to the epic stakes the series developed, others felt like Stranger Things lost the things that made it special.

Tales From ’85 is primed to give those fans what they want, as demonstrated by Englund’s shifty new character. Per Netflix: “Cosmo is fully aware of his reputation as an opportunist, but he simply doesn’t care. His focus is on the people who eagerly line up at the supermarket, drawn in by his bombastic headlines, compelling them to pick up a copy. Despite his public sensationalism, he privately believes that Hawkins is genuinely steeped in strange happenings.”

Strange happenings and supermarket tabloids? A goofy opportunist played by a horror legend? That sounds like pure, nostalgic fun, and an ’80s horror icon is the perfect person to make it happen.

Stranger Things: Tales From ’85 streams on Netflix on April 23, 2026.

“If You’re a Dreamer, You Better Be a Doer”: Inside Netflix’s New Lainey Wilson Documentary

Even if you aren’t a country, it’s decent odds you’ve heard of Lainey Wilson: a Grammy-winning country artist who has also racked up 16 Academy of Country Music Awards and nine Country Music Association Awards, including Entertainer of the Year in 2023 and 2025. Taylor Sheridan even created a role specifically for her on the final season of Yellowstone, casting her as a love interest for Ryan (Ian Bohen), who mirrored Wilson’s own signature style and even performed several of her own songs. 

But now, thanks to the forthcoming Netflix documentary, Lainey Wilson: Keepin’ Country Cool, everyone’s about to find out why she’s become such a big star. Directed by Amy Scott, the filmmaker behind such documentaries as Sheryl, Melissa Etheridge: I’m Not Broken, and Counting Crows: Have You Seen Me Lately, Keepin’ Country Cool aims to chronicle Wilson’s transition from living in a camper trailer to one of the most recognizable names in country music. 

“Musicians and artists are really fascinating to me,” Scott tells Den of Geek at SXSW 2026. “I like to understand how they work, how they make the things that they make, and they usually lead really unique lives.” 

Scott wasn’t overly familiar with her subject before making the film. But she was won over fairly quickly by Wilson’s work ethic and charisma. 

“I didn’t know a lot of her work [before I made the film],” Scott says. “But country is one word that means a lot of different things historically. So, I was a big fan of country, but maybe more so of older stuff. I wasn’t as familiar with her. But now we’ve spent a lot of time with her, and I love her music. I think she’s an incredible entertainer. She’s got it.” 

Wilson released her first album in 2014, but didn’t land a major label deal until five years later. Her first number one single, “Things a Man Oughta Know,” was released in 2020. And now seemed the right time to tell her story. 

“There were some producers that had the idea, and they all make really cool films, and they got together with Lainey’s team and thought this might be a really interesting year to capture because she’s on this rapid ascent,” Scott says. “And those moments are fleeting that an artist will let you come into their world and be vulnerable as they take off. So [the film] had been conceived, and they had seen some of my previous films about musicians. It was a good fit.”

While Wilson herself wasn’t involved with determining the documentary’s direction or its day-to-day filming choices, Scott says both she and her team were very collaborative. 

“She wasn’t involved in any creative decision in terms of the film,” Scott says. “You don’t want someone sort of dictating what you’re going to film or not. She’s extremely down to earth and very open, let us come into her world with a very small crew, who are all incredible documentarians, and we’re all filming. And then a cool thing that happened with her team — and this had not happened to me before — but she had a photographer too, and they’ve [been] friends and known each other for years. He filmed a lot of video and worked with us to share footage, and we sort of became one team. I thought that really [added an] additional layer of intimacy and accessibility that would have taken us a lot more time to build that trust.”

As with any documentary, Keepin’ Country Cool is about showing off many different sides of its subject, from Wilson’s abilities as a performer to her more unexpected personal traits.

“Vulnerability can come in many different flavors. It can be a vulnerability about struggles. But vulnerability is also when you can be funny and have a really unguarded, self-deprecating nature,” Scott says. And what we realized very early on is she’s really, really funny. That was kind of like, ‘Oh, I didn’t know that about her, so I think we definitely have to showcase this woman’s sense of humor.”

One of the film’s repeated themes involves the often-unseen hard work — not to mention the considerable time — it takes to become a success, a win that many often (incorrectly) perceive as an “overnight sensation.”

“You know, it’s a story about dreaming,” Scott says. “She says this line at the beginning, it’s in one of her speeches, but I thought it was so profound:’ If you’re going to be a dreamer, you better be a doer.’ That’s just the point of the whole thing. Nothing is given to you, but if you can dream it, then you should go and do it. So I think it’s really inspirational for anyone else [who’s] chasing their dreams.”

For Wilson, this means constantly working — both when it comes to her present-day activities like touring and other professional commitments, and thinking about what’s coming next. 

“One thing, and I don’t know if this is the case for all musicians, but it was a new thing for me, is to see that she’s on tour constantly. She never stops. She doesn’t sit still. But when she does, she goes, and she starts songwriting the next record,” Scott says. “So she’s banking all these songs, and she’s constantly looking to make the next record. So we did capture a handful of the moments in the process of her looking forward, not just touring past records, but building toward [the next one].” 

According to Scott, no documentary is ever crafted in a straight line, and Keepin’ Country Cool doesn’t tell Wilson’s story that way, either. Instead, she, like those of us watching at home, is really just along for the ride. 

In an ideal world, you map it all out, and you get all your checkpoints along the way and everything like that. But that’s just not realistic. Documentaries are not narratives that way,” Scott laughs. “They take twists and turns, and after a while, it became apparent that we’re not chasing the tour. We’re chasing Lainey. And her life is all over the place. Her life is not a straight line. So we just tried to hold on to that mechanical bull ride.”

Lainey Wilson: Keepin’ Country Cool premiered March 17 at the SXSW Film & TV Festival. It is now available to stream on Netflix.

Project Hail Mary Throws Oscars Curveball with Surprise Contender

Pretty much everyone agrees that making Rocky’s voice that of his lead puppeteer, James Ortiz, was absolutely the right decision. Though Project Hail Mary makes a point of trying out different voices for the alien before settling on Ortiz, even Meryl Streep isn’t the right fit for the plucky Eridian, who pulls out all the stops to save the stars alongside Ryan Gosling’s Dr. Ryland Grace in the smash hit sci-fi movie.

But Ortiz’s impact may go much further than his initial performance as everyone’s favorite rock-like alien chum. Variety has revealed that he will be submitted for Best Supporting Actor at next year’s Oscars.

Ortiz still has a potentially bumpy road ahead, despite being eligible for the award. It’s not a sure thing because the Oscars still have to decide to nominate him. If that actually happens, it would be unprecedented territory for the Academy, which has never recognized a puppeteer or voice performer behind a puppet character in its acting categories. Nor has it ever recognized motion capture performers in those categories who voice characters, like Andy Serkis and his iconic Gollum in The Lord of the Rings.

All that might be about to change thanks to Ortiz’s outstanding puppetry and voice performance in Project Hail Mary.

“Typically, we talk about puppetry as a technical achievement, and it is,” Ortiz explained. “It’s a spectacle. For me as a performer, however, that’s never my entry point. I’m interested in the heart of the character — what they’re trying to communicate, what they’re feeling underneath all of it. When we can take a medium like puppetry, which is often seen as decorative, and bring to life a character with a beating heart in a way that genuinely affects people, then we’re doing something truly meaningful.”

If Ortiz is indeed nominated for Best Supporting Actor, fans of this year’s hopeful blockbuster could start to believe that the times, they are a-changin’. The move might also generate early buzz around next year’s Oscars ceremony after ratings for the 98th Academy Awards hit a four-year low in the U.S..

Invincible Season 4: Lee Pace On What Really Motivates Thragg

Through its first three seasons, Prime Video super hero series Invincible put forth an imposing rogues’ gallery for title character Mark Grayson a.k.a. Invincible (Steven Yeun) to contend with. Mark’s antagonists have ranged from weak Z-listers (The Elephant, Doc Seismic), to challenging but manageable apocalyptic threats (the Thraxans, Sequids) to terrifyingly powerful supervillains (Angstrom Levy, Conquest).

What the adaptation of Robert Kirkman, Cory Walker, and Ryan Ottley’s comics has been missing up to this point, however, is a “big bad.” That has all changed in Invincible season 4 with the introduction of Grand Regent Thragg. The new and all-powerful leader of the dying Viltrum Empire, Thragg is the monster at the end of the story. He’s the archnemesis, the final boss, the endgame villain. It’s against him that all other Invincible baddies, minor or major, shall be judged from here on out.

Though the show is already blessed with an impressive roster of voice acting talent, co-showrunners Robert Kirkman and Simon Racioppa knew they had to go above and beyond to find Thragg. Thankfully, they knew just the guy to reach out to.

“I’ve always wanted to work with Lee Pace,” Kirkman told Den of Geek. “I would run into him at events and things and admire him from afar. He just has this quiet power that he exudes with his voice that we thought would be absolutely perfect for that character. So the casting process was basically asking if Lee was available.”

A genre staple since 2007’s Pushing Daisies, the Oklahoma-native Pace has popped off the screen in projects like The Hobbit trilogy the Twilight saga, and Halt and Catch Fire. He’s also become something of a go-to man in the hyper-specific character category of “galactic tyrants,” having played Ronan the Accuser in Guardians of the Galaxy and multiple generations of “Brother Day” Emperor Cleon clones (it’s hard to explain) in Apple TV’s excellent Foundation.

Pace chatted with Den of Geek about why he took the role of Thragg, what drives the zealous leader, and how he differs from his other major sci-fi strongmen.

What was the process of getting this role like? Robert Kirkman mentioned he crossed paths with you during The Walking Dead/Halt and Catch Fire AMC days and thought you’d be great for Thragg.

They called and said “would you do it?” I did some poking around about the show and I saw how cool it was, this thing that they were making. I think Kirkman is not only a really fun person to spend time with but he’s made such an interesting world here and such a cool character with Thragg that I was like yeah let’s do it. This is a fun beast of a character. Let’s jump in. 

What do you find most appealing about Thragg? What do you like most about him as a character, if not necessarily a person or alien?

I guess what I found fun about him is not only is he a real badass, he’s insanely durable and violent and that’s a fun thing to play. But he’s desperate. His people that he’s responsible for have been through hell and are almost on the brink of annihilation. And he’s got a lot of fight in him but he’s got a big fight ahead of him.

Obviously with something like this, so much of the story is told visually. We can bring what we can bring to it. I thought what I can bring to it is a sense of character with the voice that can hopefully go on that journey with the audience. They’ve got a relationship to this character. I just wanted to make him fun. Honestly I think the fight in him is a lot of fun. His violent “never say die” attitude. I will kill anyone I need to kill to get the justice I need to see – that’s a fun character to play. That’s got a lot of diesel behind him. 

When doing the voice work, did you ever get to see any early animations of Thragg in motion? How does that help inform the performance?

I did a lot of my recording for this season [early] and then we don’t come back until much much later. I see how it came together and do a little bit of cleanup. But I researched the character and came in prepared so I had a sense of what I wanted to play. I also very much put my hands in Kirkman and Simon. I wanted to give them all the options they need to play the character. I’m gonna do it like this, I’m gonna do it like that, I’m gonna try to give you every color you might want to use to work with it.

When you have the other actors you’re playing with, the rhythm, the speed of the scene, the intention of the character – all those things are what you’re working with as an actor. In a situation like this where you’re alone in a booth I thought the best I could do was give them options. But now I’ve seen my voice with the animation and I think, going forward, there is a definite sense that I’ve learned something about it – that I’ve settled into the character. 

Having now seen Thragg in action, are you surprised at how still he is? I think maybe that’s why Kirkman thought of you for the role: the ability to express power with little kinetic motion.

One thing we talked about, which I enjoyed seeing expressed in the animation, is that he’s a pretty cool customer. He keeps a lid on it. And he has for a very long time. He’s playing a very long game. When he loses his temper, he really fucking loses it and becomes a sociopathic, rageful beast. Until then he’s very clever, he’s very strong. He understands the power he holds. Because he’s earned it. I think the stillness communicates a lot. The calmness I wanted to bring to these beginning scenes is in line with that. We’ve got a long way to go with the character. I want to pace it. [Editor’s Note: The interview then made a “You want to Lee Pace it?” joke that Mr. Pace politely chuckled at. I am so sorry.]

I don’t always love the “Did X role help inform how you play Y role?” question but I think it’s apt here. Has playing multiple generations and iterations of Cleon on Foundation helped you better understand Thragg or at least give you a toolset to better capture this tyrant?

I can’t say “no” because you never know what’s gone into the machine and become a part of the software. But I guess the way I approach the Cleons is they are very messy humans in a world where you’ve got stuff like incredible intellects, very sophisticated robots, and a fourth dimension; and they’re just these bloody animals who are doing the best they can. They’re holding onto power the best they can and standing in their own way. They’ve got blindspots, they’ve got mistakes that not even they’ve made but their ancestors or previous iterations of themselves have made. I just think about them as increasingly messy.

But Thragg is not a mess. He’s got his shit together and he’s fighting an impossible fight. When we find him there are like 50 Viltrumites left. He still has the ambition to bring them all back. He’s got nothing. He’s playing with no cards in his hand and he still thinks he can win it. That’s who he is. There’s nothing but fight in him. He’s coming to this at the right time. Coming to Mark, coming to Omni-Man at the right time to figure out what his endgame is. And it turns out to be… well, you know, but he comes to it with a lot of fight. He’s ready for this. He’s expecting this.

All eight episodes of Invincible season 4 are available to stream on Prime Video now.

Over Your Dead Body: Jorma Taccone Wants a Remake “With Teeth”

As one-third of the legendary comedy trio The Lonely Island, Jorma Taccone is best known for his originality. Alongside childhood friends and collaborators Andy Samberg (star of Brooklyn Nine-Nine) and Akiva Schaffer (director of The Naked Gun), Taccone has helped introduce the world to novel concepts like SNL Digital Shorts, Grammy-winning comedy rap, and the hot mess that is MacGruber.

Taccone’s career is so wrapped up in originality that, when presented with the opportunity to direct Over Your Dead Body, an adaptation of 2021 Norwegian action comedy The Trip, he hesitated.

’ll be completely honest: I did not want to make a remake,” Taccone tells Den of Geek. “Then I watched the original and I absolutely loved the original. I love [writers Nick Kocher and Brian McElhaney’s] first draft that I read. It was the challenge of it. Can we do all of these tones?”

There are indeed a lot of tones to tackle when it comes to Over Your Dead Body. Jason Segel and Samara Weaving star as Dan and Lisa, an unhappily married couple who abscond to Dan’s father’s cottage upstate, each with secret plans to murder the other. While that premise alone could easily sustain 105 minutes of a dark romantic comedy, the film continues to up the ante in increasingly grim and unexpected ways. A pair of escaped convicts (Keith Jardine, Timothy Olyphant) and their collaborator guard (Juliette Lewis) stumble their way into the plot and before you know it everything and everyone is covered in blood.

“It feels like it’s almost three movies in one,” Taccone says. “It’s sort of a suspense drama, then it becomes more of a home invasion movie, then it becomes an action movie.”

According to the movie’s writers, the duo known as BriTANick, that escalation and diversity of tone was a blessing, not a burden.

“I think what’s so fun about adapting it is that the story structure is excellent,” Nick Kocher says. “It basically remained intact. The way that we’ve been describing it is we got an empty house that we got to decorate. We changed stuff up with the characters, the motivations, and the dialogue. And got to inject our humor into it. It was really fun and easier than having to come up with structure all by yourself.”

“Structure’s the hardest thing to write,” Brian McElhaney adds. “This movie just worked and we just got to take it, make it our own thing and add our comedy to it. It was actually a really great writing process, which isn’t always the case.”

The end result is a movie that Taccone says he is happy he bent his “no remakes” rule to make.

“I’m just so proud to have made a remake that I feel like has teeth. I feel like American remakes don’t always have the teeth of the original. It’s dark, it’s fucked up, and it’s more gory than the original, weirdly enough.”

Over Your Dead Body premiered March 14 at the SXSW Film & TV Festival. It releases in theaters on April 24.

The Top 10 Movies and Shows Streaming Right Now, How Many Do You Know?

Streaming platforms continue to rotate fresh hits into the spotlight, with both returning favorites and newer releases pulling strong viewership over the past month. From reality TV and crime docuseries to anime adaptations and major film releases, the current lineup reflects a wide range of audience tastes.

There are certainly some old timers in here, but quite a few entries here are from new and fresh IPs. Based on recent viewing figures, these are the movies and shows audiences have been watching the most right now. Here’s a look at the top performers and what’s driving their popularity across streaming platforms.

Ripple: Season 1, 2,000,000 views

A serialized drama centered on interconnected lives, Ripple has steadily gained traction through word of mouth. Its first season’s performance suggests growing audience curiosity, positioning it as a developing contender among recent original series.

Beauty in Black: Season 2, 2,300,000 views

Returning with its second season, Beauty in Black continues exploring ambition, relationships, and personal struggles. The increase in viewership indicates sustained interest, likely driven by ongoing character arcs and expanding storylines.

Virgin River: Season 7, 2,400,000 views

A romantic drama about a nurse practitioner who relocates to a small town, Virgin River remains a consistent draw. Its seventh season maintains the show’s steady appeal, reflecting a loyal fanbase that continues to follow its ongoing drama.

Homicide New York: Season 2, 2,600,000 views

This true crime docuseries continues to attract viewers with its second season. Its performance highlights the enduring popularity of true crime-inspired storytelling on streaming platforms.

WWE Raw, 3,000,000 views

The long-running wrestling program remains a reliable performer in weekly streaming metrics. Its March 30 episode drew strong numbers, underscoring the brand’s continued relevance and dedicated fanbase.

Love on the Spectrum: Season 4, 3,400,000 views

This reality series continues resonating with audiences in its fourth season. Its growing viewership reflects ongoing interest in its heartfelt and personal storytelling approach.

One Piece. (L to R) Emily Rudd as Nami, Iñaki Godoy as Monkey D. Luffy, Mackenyu Arata as Roronoa Zoro in season 1 of One Piece.

One Piece: Season 2, 3,500,000 views

Following a successful debut, One Piece returns with strong numbers for its second season. Its continued performance shows the adaptation is maintaining momentum among both new viewers and longtime fans.

The Predator of Seville, 4,700,000 views

This crime-focused limited series has emerged as a notable performer, drawing significant attention. Its centered on a dangerous predator, detailing the investigation and impact of their actions on a community.

Something Very Bad Is Going to Happen: Season 1, 6,900,000 views

One of the biggest breakout shows in this list, its debut season has attracted a substantial audience. It’s a thriller series built around an impending crisis, following characters as tension escalates toward a major, unavoidable event.

XO, Kitty: Season 3, 12,900,000 views

Leading the pack, XO, Kitty continues to dominate with its third season. The teen romantic drama’s massive viewership highlights its strong appeal and sustained popularity within the streaming landscape.

Let Him Go , 3,700,000 views

Moving on to movies, we have a drama that has found renewed life on streaming, drawing solid numbers. Its performance shows how older releases can gain fresh audiences through platform availability.

Gru in Despicable Me 4

Despicable Me 4, 3,800,000 views

The latest installment in the franchise continues to attract viewers. This animated comedy continues Gru’s story as he balances family life with new threats, alongside the antics of the Minions.

Madagascar (2005)

Madagascar, 4,900,000 views

A familiar animated favorite, Madagascar remains a strong performer years after release. Its continued viewership highlights its lasting appeal among family audiences.

Rumi in KPop Demon Hunters

KPop Demon Hunters, 5,100,000 views

This title has gained noticeable traction, drawing a sizable audience. It continues to be the most watched movie of all time on the Netflix platform; we are only considering last month’s viewing numbers here.

Jamie Bell as Duke Shelby in Peaky Blinders

Peaky Blinders: The Immortal Man, 5,900,000 views

Expanding on the popular series, this film has attracted significant attention. It follows Tommy Shelby as he faces new power struggles and lingering consequences of his past.

War Machine, 6,100,000 views

This war-themed film continues to pull viewers on streaming. Its consistent performance reflects ongoing interest in military-focused narratives.

40 Acres, 6,200,000 views

A lesser-known entry that has gained traction, 40 Acres has drawn a solid audience. Its streaming numbers suggest growing visibility among viewers.

The Truth and Tragedy of Moriah Wilson, 6,700,000 views

This true crime documentary has resonated strongly with audiences. Its high viewership reflects continued demand for real-life stories and investigative content.

Untold: The Death & Life of Lamar Odom, 8,400,000 views

Part of the Untold series, this installment has achieved major numbers. It goes over Lamar Odom’s career, personal struggles, and recovery after a near-fatal overdose.

Anaconda, 9,900,000 views

Leading the movie side of the list, this modern reimagining is doing surprisingly well on streaming platforms. It already crushed it at the box office, so it continues to see renewed success.

15 Movies Where the Twist Raises More Questions Than Answers

A great twist is supposed to change how you see everything that came before it. Some, instead of providing clarity, do the exact opposite. There are movies that reveal just enough to shift the narrative, only to leave key details unexplained or open to interpretation.

These are the twists that spark endless debates, theories, and rewatches, due to how they refuse to answer all the questions. Whether it’s ambiguous endings, unreliable realities, or unanswered queries, these films embrace uncertainty. In many cases, that lack of resolution is exactly what makes them so memorable long after their prime.

Inception

The spinning top ending leaves one central question unanswered: is Cobb still dreaming? The film provides clues but no resolution, turning its final moment into one of the most debated conclusions in modern cinema.

Mulholland Drive

Its late-film shift reframes everything as a fractured dream or reality, but never confirms which is which. The twist doesn’t clarify events, it complicates them, making interpretation part of the experience.

The Thing

The final scene leaves viewers unsure whether either survivor is infected. The ambiguity reinforces paranoia, offering no clear answer and ensuring the story’s tension continues even after the credits.

Enemy

The sudden final image reframes the entire film in symbolic terms, leaving viewers questioning identity, control, and reality. Rather than explaining anything, the twist deepens the mystery.

Donnie Darko

Its time-loop resolution answers some plot points but leaves the mechanics and meaning unclear. The twist creates a framework, but not a full explanation of what actually happened.

American Psycho

The ending questions whether the murders were real or imagined. Instead of resolving the mystery, it reinforces ambiguity about Patrick Bateman’s actions and mental state.

The Shining

The final photograph suggests Jack has always been part of the hotel, but offers no explanation. The twist raises more questions about time, identity, and the hotel’s influence.

Black Swan

The reveal of Nina’s injury blurs the line between reality and hallucination. It leaves viewers questioning what actually occurred and whether her transformation was literal or psychological.

The Lighthouse

As the story descends into madness, its final moments offer no clear explanation of what’s real. The twist-like ending embraces ambiguity rather than resolution.

Annihilation

The ending suggests duplication or transformation, but never clarifies what the characters have become. The twist expands the mystery instead of resolving it.

Coherence

The twist introduces multiple overlapping realities, but never fully explains how they function, leaving viewers uncertain about which version of events is “real.”

No Country for Old Men

The film’s ending avoids resolution entirely, shifting focus to reflection rather than answers. Its final monologue raises more questions about fate and justice than it resolves.

Burning

The disappearance at the center of the story is never explained. The final act suggests possibilities without confirming any, leaving the truth deliberately uncertain.

Under the Skin

The ending raises questions about identity and transformation, offering little explanation about the protagonist’s nature or purpose.

Sorry to Bother You

Its late twist radically shifts the film’s reality, but instead of clarifying the narrative, it expands its themes into something even more surreal and open-ended.

20 Interesting Movie Facts That Are More ‘Unsettling’ Than ‘Fun’

Sadly, not every behind-the-scenes story is a fun bit of trivia. Some reveal just how far productions have gone in the name of realism, ambition, or simply getting the shot. Over the years, certain movies have become tied to stories of unsafe conditions, real injuries, or decisions that feel quite questionable.

These aren’t the kind of facts that make a film more enjoyable. If anything, they can make certain scenes harder to watch once you know what actually happened. From risky stunts to troubling production choices, these are the movie facts that stick with you for reasons that are anything but entertaining.

The Exorcist

Multiple injuries occurred during filming, including actors being physically harmed by rigged effects, while a mysterious fire destroyed much of the set. These incidents fueled long-standing claims that the production was “cursed.”

Poltergeist

Real human skeletons were used in a pool scene because they were cheaper than props, something the actors reportedly didn’t know at the time, adding an extra layer of discomfort to an already intense sequence.

Candyman

Tony Todd agreed to be covered in real bees for key scenes, receiving multiple stings in the process. The realism comes at the cost of genuine physical discomfort.

Scream

Ulrich was accidentally stabbed in a sensitive area during filming due to a prop mishap, and his reaction in the scene was genuine pain rather than acting.

The Wizard of Oz

The Tin Man’s original actor suffered severe breathing issues due to aluminum dust makeup, forcing a recasting, while others dealt with toxic materials used for costumes and effects.

Alien

The famous chestburster scene used real animal organs, and the cast’s shocked reactions were genuine, as they weren’t fully informed about how graphic the effect would be.

Blue Velvet

Dennis Hopper stayed deeply in character during filming, creating an uncomfortable atmosphere for cast members due to his intense and unpredictable behavior.

The Passion of the Christ

Jim Caviezel endured extreme physical strain, including dislocated shoulders and being struck during filming, adding a disturbing level of realism to the already intense scenes.

Rosemary’s Baby

The film became associated with real-life tragedy after director Roman Polanski’s wife, Sharon Tate, was murdered shortly after its release, adding a disturbing context to the film’s legacy.

The Omen

Several eerie incidents occurred during production, including lightning striking planes carrying crew members and a fatal animal attack involving a crew member, contributing to its reputation as a “cursed” film.

Deliverance

The river rapids scene was filmed with minimal safety measures, resulting in real injuries, including actor Burt Reynolds being hurt during a stunt that was left in the film.

Saving Private Ryan

Actors underwent intense military-style training before filming, creating a physically and mentally exhausting experience that mirrored the film’s brutal subject matter.

The Passion of Joan of Arc

Lead actress Maria Falconetti reportedly underwent extreme emotional strain during filming, contributing to the film’s powerful but unsettling realism.

Singing in the Rain

Debbie Reynolds pushed herself to exhaustion during filming, reportedly dancing until her feet bled, highlighting the physical toll behind even seemingly joyful productions.

The Conqueror

Filmed near a nuclear test site in Utah, many cast and crew members later developed cancer, including John Wayne. While not definitively proven, the unusually high illness rate has made the production deeply unsettling in retrospect.

Ben-Hur

The chariot race is often rumored to have caused fatalities. While deaths are debated, numerous injuries occurred, and the scale of the stunt work created genuinely dangerous conditions for performers.

Sorcerer

Filming in remote jungle locations exposed cast and crew to dangerous conditions, including disease, extreme weather, and logistical breakdowns, making the production notoriously grueling and hazardous.

Bruce Campbell in the Evil Dead 1981

The Evil Dead

Bruce Campbell endured real physical punishment during filming, including being struck by debris and rigged equipment, with the low-budget production forcing actors to perform risky scenes themselves.

The Fly

Jeff Goldblum spent hours in heavy prosthetics that were physically taxing and isolating, contributing to the film’s disturbing realism while highlighting the uncomfortable demands placed on actors in effects-heavy roles.

Nosferatu the Vampyre

Real rats were used extensively during filming, creating unsanitary and chaotic conditions, with thousands of animals handled on set in ways that raised concerns about both safety and ethics.

15 of Gaming’s Most Transformational Mechanics

The purpose of a video game is to entertain, and some go above and beyond that task. There are gameplay mechanics that are so innovative, either still or for their time, that they have changed how we perceive the interactive medium today. They pass far beyond enjoyment and become a new way to tell stories.

These mechanics shape entire genres, influence countless developers, and often become the defining feature of the games that introduced them. From combat systems to navigation and storytelling tools, these are the mechanics that left a lasting impact on how games are made and played.

Portal, Portal Gun

The portal mechanic redefined puzzle design by allowing players to create instant pathways through space. Its physics-based interactions forced players to think in entirely new ways, influencing countless puzzle games and proving that a single mechanic could carry an entire experience.

Middle-earth: Shadow of War

Middle-earth: Shadow of Mordor, Nemesis System

The Nemesis system created dynamic enemies that remember encounters, evolve, and react to player actions. This emergent storytelling system generates unique rivalries, making each player’s experience feel personal and unpredictable rather than scripted. Sadly, as a trademarked system, only Warner Brothers can use it on their games.

Guild Wars 2, Megaserver Structure

Instead of traditional servers, the game uses dynamic map instances that keep areas populated and eliminate login queues. This approach helped redefine MMO structure, reducing downtime and ensuring players always encounter active worlds .

Ghost of Tsushima Ending Explained

Ghost of Tsushima, Guiding Wind

Replacing the minimap with environmental cues, the guiding wind directs players naturally through the world. This design reduces UI clutter and increases immersion, influencing how modern open-world games approach navigation.

BPM: Bullets Per Minute, Rhythm Shooting

By tying every action to a musical beat, the game merges rhythm mechanics with first-person shooting. This creates a unique gameplay loop where timing becomes as important as aim, pushing genre boundaries in unexpected ways.

It Takes Two, Mandatory Co-op

The game requires two players at all times, building every mechanic around cooperation. This design reinforces collaboration at a structural level, making co-op not optional, but essential to the entire experience.

Resident Evil 4, Over-the-Shoulder Camera

Its over-the-shoulder aiming system transformed third-person shooters, blending precision shooting with immersive perspective. This camera style became a standard across action games for years, influencing countless titles.

Sekiro: Shadows Die Twice, Posture and Parrying

The combat system revolves around breaking enemy posture through precise parries rather than depleting health. This shifts focus from endurance to mastery, redefining melee combat pacing and rewarding aggressive, skill-based play.

Apex Legends

Apex Legends, Ping System

The ping system allows players to communicate complex information without voice chat. Its intuitive design improved accessibility and teamwork, quickly becoming a staple in multiplayer games across genres.

Heaven’s Vault, Translation System

Players gradually decipher an ancient language, turning translation into gameplay. This mechanic blends narrative and puzzle-solving, making understanding the story itself an interactive process rather than passive exposition.

Death Stranding, Asynchronous Multiplayer

Players indirectly assist each other through shared structures and resources without direct interaction. This asynchronous cooperation system creates a sense of community in a single-player experience, influencing later online design philosophies.

The Legend of Zelda: Tears of the Kingdom, Ultrahand Building

The building system allows players to construct vehicles and solutions freely, encouraging creativity over predefined solutions. It represents a shift toward systemic design where player ingenuity drives progression.

Lies of P combat styles

Lies of P, Weapon Assembly

Weapons can be split and recombined into new forms, allowing players to customize movesets and stats. This modular system adds flexibility to combat, expanding build variety beyond traditional weapon upgrades.

Before Your Eyes, Blink Detection

Using webcam tracking, the game advances the story when players blink. This simple mechanic creates emotional impact by tying narrative progression to involuntary human behavior, making it one of the most unique storytelling tools in gaming.

Dark Souls, Bonfire System

Bonfires serve as checkpoints, healing stations, and risk-reward reset points. This system reshaped difficulty design, influencing countless games with its balance of tension, punishment, and progression.

17 ‘Fluff’ Movies That Were Anything But

The so-called ‘fluff’ movies are easy to dismiss at first glance. Bright posters, familiar genres, and simple premises might make them seem like light entertainment with little else going on. Every so often, though, a film marketed as light or disposable reveals something deeper underneath.

It may be their sharp social commentary, emotional weight, or surprisingly thoughtful themes; the point is that these movies end up sticking with audiences long after they have ended. What looks like fluff often hides meaning in plain sight, rewarding viewers who take a closer look. These are the films that prove you shouldn’t judge a movie solely by its tone, genre, or marketing.

Legally Blonde

Often dismissed as a shallow comedy, the film actually explores sexism and assumptions about intelligence. Elle Woods’ journey highlights how perception shapes opportunity, turning what looks like fluff into a story about self-worth and breaking stereotypes.

Rachel McAdams in Mean Girls

Mean Girls

Presented as a teen comedy, it delivers sharp commentary on social hierarchies and peer pressure. Its humor masks a surprisingly accurate portrayal of identity, conformity, and the way people shape themselves to fit in.

Clueless

A glossy teen comedy on the surface, but beneath it lies a coming-of-age story about growth, empathy, and self-awareness. Its light tone hides a character arc that feels more grounded than expected.

Meryl Streep in The Devil Wears Prada

The Devil Wears Prada

Marketed as a stylish workplace comedy, it digs into ambition, personal compromise, and the cost of success. The film raises questions about identity and priorities beneath its fashion-driven exterior.

13 Going on 30

What seems like a simple body-swap fantasy becomes a reflection on regret and growing up. Its premise allows it to explore how small choices shape a person’s life over time.

Click

Advertised as a broad comedy, it takes a darker turn by examining missed opportunities and life passing too quickly. The film’s second half shifts into a surprisingly emotional meditation on time and priorities.

Groundhog Day

Built on a comedic time-loop premise, it evolves into a story about self-improvement and meaning. The repetition becomes a tool to explore personal growth and the search for purpose.

The LEGO Movie

A toy-based comedy that evolves into a story about creativity and conformity. Its meta-narrative challenges rigid thinking and celebrates imagination in ways few expected from its premise.

Toy Story 3

Marketed as a family adventure, it deals with aging, abandonment, and letting go. Its emotional core resonates with audiences far beyond its target demographic.

Emma Stone in Easy A

Easy A

A high school comedy that tackles reputation and double standards. Its modern take on classic literature adds depth to what initially appears to be a straightforward teen film.

Ryan Gosling and Steve Carell in Crazy Stupid Love

Crazy, Stupid, Love

What starts as a romantic comedy expands into a layered look at relationships, identity, and personal reinvention. Its interconnected stories give it more emotional weight than expected.

Julia Roberts and Hugh Grant in Notting Hill

Notting Hill

A classic romantic comedy that also examines fame and privacy. It explores the imbalance between ordinary life and celebrity in a way that adds depth to its central relationship.

Guardians of the Galaxy Vol. 3

Despite its comedic tone, the film deals with trauma, loss, and found family. Its emotional focus gives weight to a franchise often seen as purely entertaining.

Starship Troopers

Initially viewed as a straightforward sci-fi action film, it is actually a satire of militarism and propaganda, critiquing authoritarian ideology beneath its explosive surface.

School of Rock

A light comedy that becomes a story about mentorship and self-expression. Its message about creativity and confidence resonates beyond its simple premise.

Enchanted

A fairy tale parody that explores the clash between fantasy and reality. It reflects on expectations shaped by stories and how they translate to real life.

Roxanne and Max in "A Goofy Movie."

A Goofy Movie

A simple animated adventure that becomes a story about parent-child relationships. Its emotional core has resonated strongly with audiences over time.

The 15 ‘Coolest’ Movie Stars Since the 1950s

“Cool” is one of those qualities that’s hard to define, but we recognize it instantly. It’s about presence, and the ability to command a scene. Since the 1950s, certain movie stars have embodied that effortless charisma, shaping how audiences think about aura.

Some did it through quiet intensity, others through charm or unpredictability, but all of them made it look natural. Across decades and genres, these actors became the reason people watched, paid their tickets, and became franchise fans. While there are quite a few more actors that could be added, these are our personal picks.

Marlon Brando

One of the earliest modern movie icons, Brando redefined on-screen cool with a mix of rebellion and naturalistic acting. His performances, especially early in his career, introduced a raw, effortless charisma that influenced generations of actors.

Bette Davis

Davis brought a sharp, commanding presence to every role, often portraying complex, uncompromising characters. Her performances showed confidence and intensity, proving that charisma didn’t need to be understated to be effective.

Sidney Poitier

Poitier’s calm authority and elegance made him one of the most respected figures in Hollywood. His performances carried a quiet confidence that stood out, helping redefine what a leading-man looked like.

Janet Leigh

Leigh balanced classic Hollywood charm with moments of vulnerability, most famously in Psycho. Her ability to shift between warmth and tension gave her a distinctive presence.

Jack Nicholson

Nicholson’s unpredictable energy and unmistakable presence made him one of Hollywood’s most magnetic stars. Whether playing charm or menace, he brought a sense of control that defined his version of cool.

Kurt Russell

Russell built a reputation on rugged, laid-back roles that felt effortless. From action heroes to antiheroes, his relaxed delivery and confidence made him a consistent presence across multiple decades.

Faye Dunaway

Dunaway’s performances combined glamour with intensity, particularly in the 1970s. Her ability to dominate the screen with both style and emotional weight made her one of the era’s defining personalities.

Sigourney Weaver

Weaver brought a different kind of cool to Hollywood, grounded in strength and intelligence. Her role as Ripley helped redefine action heroes, proving that composure under pressure could be just as compelling as bravado.

Harrison Ford

Ford’s appeal lies in his grounded, no-nonsense approach to characters. Whether as Han Solo or Indiana Jones, his dry humor and quiet confidence made him one of cinema’s most enduring stars.

Diane Keaton

Keaton’s charm comes from her individuality and unconventional style. Her performances often feel natural and unscripted, giving her a kind allure that stands apart from more traditional Hollywood personas.

Tom Hanks in Road to Perdition

Tom Hanks

Hanks is rarely thought of as cool, yet he has a reputation built on reliability and authenticity. His ability to move between genres while remaining relatable has made him one of the most consistently admired actors in Hollywood.

Meryl Streep in Mamma Mia

Meryl Streep

Streep’s charisma comes from her mastery of the craft. Her versatility and control allow her to disappear into roles while maintaining a strong presence, making her one of the most respected actors of her generation.

Brad Pitt in Seven Ending

Brad Pitt

Pitt combines classic movie star looks with a self-aware approach to his roles. His effortless screen presence and adaptability have made him one of the defining “cool” actors of the modern era.

Robert Pattinson as Mickey 17 and 18

Robert Pattinson

Pattinson has reshaped his image through unconventional roles, trading blockbuster fame for indie credibility. His willingness to take risks has given him a modern, understated kind of cool.

Jennifer Lawrence in Die My Love

Jennifer Lawrence

Lawrence’s appeal comes from her mix of charisma and relatability. Her natural delivery and off-screen personality translate into performances that feel grounded, giving her a contemporary, approachable version of a movie star.