Apple’s Shelved Thriller The Savant Is Back From Limbo

A highly anticipated Apple TV thriller series that was pulled from the streamer’s release schedule last year seems to be back on track.

The Savant, which stars Jessica Chastain and is based on a Cosmopolitan profile of an anonymous American Defamation League sleuth who infiltrates online hate groups to try to prevent public attacks, was abruptly shelved three days before it was due to drop on September 26, 2025. Apple gave no reason for the delay, but it followed the September 10 assassination of right-wing political activist Charlie Kirk, and Deadline reported that the series “includes a sniper in action and the bombing of a government building among other acts of violence.”

Chastain indicated to Variety this past weekend that The Savant is now heading for its release, saying, “Before it was like, ‘I don’t know if we’re going to see it,’ but now I can say, ‘We’re going to see it.’” The series is reportedly eyeing a July streaming premiere.

When The Savant was originally sent into limbo, Chastain wrote on Instagram that she was not “aligned” with Apple on the decision to pause the show’s release.

“In the last five years since we’ve been making the show, we’ve seen an unfortunate amount of violence in the United States: the kidnapping attempt on Michigan Governor Gretchen Whitmer; the January 6th attack on the Capitol; the assassination attempts on President Trump; the political assassinations of Democratic representatives in Minnesota; the attack on Speaker Pelosi’s husband; the assassination of conservative commentator Charlie Kirk; the recent shooting at an ABC affiliate station in California; and over 300 school shootings across this country,” Chastain wrote in a post addressing the delay, adding, “These incidents, though far from encompassing the full range of violence witnessed in the United States, illustrate a broader mindset that crosses the political spectrum and must be confronted. I’ve never shied away from difficult subjects, and while I wish this show wasn’t so relevant, unfortunately it is.”

The Savant stars Pablo Schreiber (Halo) and James Badge Dale (The Pacific) alongside Chastain, and boasts cinematography by longtime Steven Spielberg collaborator Janusz Kamiński. It’s been created for Apple TV by Canadian playwright Melissa James Gibson.

Avengers: Endgame Re-Release Will “Create a Bridge” to Doomsday with New Footage

This past weekend brought us more news about Endgame: The Search for More Money after Marvel’s Avengers: Doomsday CinemaCon presentation revealed that it was heading for a re-release. Director Joe Russo, who co-helmed Endgame and is back for Doomsday, has now suggested fans won’t want to miss the former’s re-release in September as it will “create a bridge” with the latter.

“It’s critically important to re-release the movie, and, in fact, we’ll be re-releasing the film with footage that is set in the Doomsday story that we have added to Avengers: Endgame,” Russo told the crowd at the Sands Film Festival.

Russo didn’t address whether this meant that some of Endgame would be retconned to ensure Doomsday’s plot makes sense, but did say that the new version of Endgame is a “critical companion story” that sets up the fifth Avengers movie.

The news arrived just days after The Walt Disney Company announced huge layoffs that hit the visual development team at Marvel Studios hard.

The CinemaCon Doomsday footage apparently teased an Avengers vs X-Men scenario for the forthcoming Marvel blockbuster, in which Gambit fights Shang-Chi and Mystique fights Yelena Belova, while Thor attempts to attack Doctor Doom outside the X-Mansion but is easily thwarted. At the climax of the trailer, Chris Evans’s Captain America is said to show up and grab Mjolnir.

Robert Downey Jr. is coming back to the MCU to portray Doctor Doom in Doomsday. Russo told Deadline that the actor, who previously played Tony Stark aka Iron Man from 2008 to 2019, had been talking to them about returning for at least a couple of years before he settled on his preferred path.

“I was at dinner with him in New York, and he had mentioned to me that he was thinking about this, and the concept was for him to play the ultimate villain,” Russo revealed. “He played the ultimate hero, and now he’s going to play the ultimate villain. I thought it was a very clever idea.”

Avengers: Endgame will be re-released on September 25. Avengers: Doomsday is set for release on December 18.

He Bled Neon: Marshawn Lynch, Rita Ora on Taking a Las Vegas Crime Story Off the Strip

He Bled Neon blends two of cinema’s favorite concepts: revenge thrillers and the neon lights of Las Vegas.

Joe Cole stars as Ethan, a young man who returns to his native Las Vegas for his brother’s funeral, only to be informed that his brother’s death may have been engineered by shadowy figures in the criminal underworld. He then reunites with his old childhood friends (played by Rita Ora, Marshawn Lynch, and Ismael Cruz Cordova) to investigate the murder and reconnect with the grimy, hardscrabble nature of his upbringing.

It’s the kind of story you only see in movies…sort of.

“Twenty years ago, my step brother and best friend passed away. I got a text message from a mutual friend like how it happens in the movie,” producer and story writer Nate Bolotin tells Den of Geek. “I had to go back, bury him, reconnect with people that I had lost touch with. Someone came up to me at the funeral and said ‘Hey, you know, I think there’s some foul play here.’ We never went too deep. Then 15 years later it just clicked and I’m like we haven’t seen a Vegas noir thriller and the world outside the Vegas strip and the classic lights you’re familiar with and everything.”

“I’m calling bullshit,” Marshawn Lynch interrupts. “I remember you telling me that story. I think you left out the part where you went on a killing spree and starting knocking shit down. Oh shit! Allegedly. Allegedly.”

So Bolotin’s life story might not be identical to Ethan’s experience in He Bled Neon. He did not, in fact, go on a killing spree and start knocking shit down. But it’s still way closer to the setup of a Vegas noir thriller than anyone sitting down to view the film might anticipate. And the movie takes its story inspiration’s lead when it comes to authenticity. Its biggest asset in that mission, it turns out, is the aforementioned Marshawn Lynch.

Once a star NFL running back whose stiff arm turned defenders into quaking jelly, Marshawn Lynch has enjoyed a flourishing second career as an actor, host, and media personality. While previous projects like coming-of-age comedy Bottoms and improv exercise Murderville have leveraged his hulking physicality for comedic effect, He Bled Neon fully leans into the action star potential of the man nicknamed “Beast Mode.”

“Marshawn being authentic and himself really helped all of our performances,” Cruz Cordova (who plays Arondir on The Lord of the Rings: The Rings of Power) says. “He Instilled in us a gravitas and a realness that we can all embody. It was a real asset to have somebody rooted in the culture who can speak on it. It allowed us to feel authentic.”

Less acquainted with the vibe of the Southwestern United States but no less committed to capturing an authentic feel is British singer, songwriter, TV personality, actress, and all-around mega celeb Rita Ora. Born in Kosovo, Ora and her family emigrated to the United Kingdom in her youth due to the persecution of Albanians amid the political disintegration of Yugoslavia. She says that experience helps her empathize with outsiders and underdogs, regardless of the setting.

“I really went deep in my background as an immigrant, as a refugeee, as somebody who always felt they had to work 10 times harder in the room. I think with my character, she definitely is in a sort of male dominated world but it doesn’t feel like that. She feels like one of the gang. You don’t get that sense of ‘oh we’re different in that way.’ It’s kind of how I grew up. I was always a tomboy growing up. I had girlfriends but the guys were my guys.

Outside of its opening flashback sequences, He Bled Neon doesn’t visually conform to many of our expectations surrounding Las Vegas crime thrillers. The action here is mostly off the strip where neon lighting is sparse and desert sand is abundant. Still, director Drew Kirsch sought to capture an authentic Nevadan vibrance all the same.

“When Nate brought me the outline originally I had a vision for the world pretty quickly. My style has always been pretty vibrant. Vegas has that eclectic vibrance off the strip. There was a ton of texture. Vegas was a character in its own. I started looking at neon photographers – found a guy named Greg Girard – he was a huge inspiration to the look and feel of the film.”

In its pursuit of off-the-strip authenticity, He Bled Neon may be light on the neon but rest assured there’s plenty of bleeding.

He Bled Neon premiered March 16 at the SXSW Film & TV Festival.

14 Celebrities You Didn’t Know Were Still Alive

When we spend long enough without talking to a friend, we wonder how they are doing, not if they are alive. Well, the rules apply differently for celebrities, since being absent from the public eye can be synonymous with death for said public. But that doesn’t mean they are.

Granted, some of these famous people have ages over the three digits, but we shouldn’t think someone has met their demise just because we haven’t heard of them. These are just a few celebrities that are very much alive, contrary to popular belief.

Bob Dylan

Despite decades of cultural influence, Dylan keeps a relatively low profile outside of touring. He still performs and releases work, even as rumors about his death periodically resurface online.

Jack Nicholson

Once one of Hollywood’s most recognizable faces, Nicholson has stepped away from acting for years. Rare public appearances and long gaps between sightings have fueled speculation about his status.

Rick Moranis

Rick Moranis

After dominating comedies in the 1980s and 1990s, Moranis left acting to focus on family. His long absence from major films has made many forget he’s still active in smaller projects.

Terrence Malick

A legendary but extremely private filmmaker, Malick rarely gives interviews or appears publicly. His long gaps between films and near-total absence from media keep him largely out of public awareness.

Angus T. Jones

After rising to fame on Two and a Half Men, Jones stepped away from acting and public life. His sudden disappearance from Hollywood left many assuming he had completely vanished.

Phoebe Cates

A major star in the 1980s, Cates retired from acting and now runs a boutique in New York. Her decades-long absence from films makes her easy to forget.

Meg Ryan

Once a defining romantic comedy star, Ryan gradually stepped away from major roles. With fewer appearances in recent years, many are surprised to learn she’s still active behind the scenes.

Dan Aykroyd

Though still occasionally working, Aykroyd has largely stepped out of the spotlight compared to his peak years, leading some to assume he’s no longer active.

Mel Brooks

A comedy legend from a previous era, Brooks remains alive well into his later years. His reduced public presence and advanced age often lead people to assume otherwise.

Eva Marie Saint

An Oscar-winning actress from Hollywood’s golden era, Saint has lived past 100 years. Her long absence from mainstream media makes her continued presence surprising to many.

Christopher Lloyd and Michael J Fox in Back to the Future

Christopher Lloyd

Best known for iconic roles in the 1980s, Lloyd still makes occasional appearances. However, his lower profile compared to his peak years makes his continued activity easy to overlook.

Jeff Bridges and John Goodman in The Big Lebowski

Jeff Bridges

After a serious health battle and fewer roles in recent years, Bridges has kept a lower profile. Many are surprised to learn he continues to work and appear publicly.

Bridget Fonda

After stepping away from acting in the early 2000s, Fonda disappeared entirely from Hollywood. Her complete absence from media for years has made her status a frequent question.

Geena Davis in The Long Kiss Goodnight

Geena Davis

Once a major star, Davis has shifted focus toward advocacy and selective roles, leading to a lower public profile compared to her peak years.

16 Video Game Endings That Made Players Regret the Journey

Good games are shaped by both their beginnings and their endings, but a good premise doesn’t always end at the same height. Be it due to rushed development, cut corners, or just a vision that does not align to that of the general audiences, some game endings make it feel like the entire journey was pointless.

Of course, that isn’t the case for everyone, but these titles in particular left a sour taste in the minds of plenty of players. While the most frequent offenders are the games that claim ‘player choice matters,’ a badly done bossfight or final section can be just as regretful.

Life is Strange

A choice-driven narrative that ultimately boils down to two endings that ignore most prior decisions, making players feel like their choices never mattered and leaving both outcomes emotionally punishing.

Mass Effect 3

After three games of decision-making, the original ending reduced everything to a few similar choices, sparking massive backlash and forcing developers to release an extended cut to address complaints.

Fable II

The game builds up player choices and wealth as meaningful, only to end with a brief, underwhelming resolution that feels disconnected from everything the player spent hours building.

The Last of Us Part II

A deeply divisive ending that leaves players emotionally drained, with many feeling the journey’s violence and sacrifice ultimately lead to a bleak and unsatisfying resolution.

Far Cry 5

After hours of fighting to stop a cult, the ending either results in nuclear devastation or reinforces the villain’s ideology, making the entire struggle feel futile.

Heavy Rain

Despite being built on player decisions, plot holes and inconsistent character motivations in the ending left many players feeling their choices didn’t fully align with the outcome.

Halo 2

The abrupt cliffhanger ending cuts off just as the story reaches its peak, leaving players frustrated after investing heavily in the narrative.

Metal Gear Solid V: The Phantom Pain

An unfinished narrative and missing final chapter make the ending feel incomplete, leaving major storylines unresolved due to the game’s troubled development.

Assassin’s Creed III

The modern-day storyline concludes abruptly, while the historical narrative feels rushed, leaving many players dissatisfied with how both arcs wrap up.

Borderlands

The Vault’s reveal and final payoff feel minimal compared to the buildup, leaving players disappointed after a long journey toward what seemed like a major reward.

Silent Hill: Homecoming

The endings vary, but many feel disconnected from player actions, with some outcomes seeming arbitrary rather than earned.

Dead Space 3

A controversial ending that leans heavily into action and sequel setup, leaving players frustrated with the lack of resolution.

Deus Ex: Human Revolution

Despite offering multiple endings, they are presented in a similar format that minimizes the impact of player choices, making the conclusion feel less meaningful.

Rage

The game ends abruptly after the final mission, offering almost no narrative resolution and leaving players confused about whether they missed something.

Firewatch

A deliberately grounded ending that subverts expectations, leaving some players disappointed by the lack of a dramatic payoff after building tension throughout the game.

Dying Light

The final confrontation relies heavily on quick-time events, stripping away player control and making the ending feel disconnected from the gameplay experience.

19 Directors Who Pushed Forward Despite Public Pushback

Movies can face a lot of backlash before release, whether due to controversial subject matter, political themes, or public outrage over creative choices. In these cases, directors are often forced to decide whether to compromise or stand their ground.

Many projects are altered or abandoned, yet a few move forward exactly as intended, despite the noise surrounding them. These films often arrive with intense scrutiny, sometimes becoming bigger cultural talking points because of it. These are the directors who chose to push ahead anyway, sticking to their vision even when audiences, critics, or entire groups demanded otherwise.

Martin Scorsese, The Last Temptation of Christ

The film sparked intense religious protests and bans before release, yet Scorsese refused to back down, defending it as a personal exploration of faith despite widespread backlash.

Stanley Kubrick, A Clockwork Orange

Accused of glorifying violence, the film faced major criticism and was even withdrawn from UK circulation for years, but Kubrick stood by his vision and refused to alter the film.

Oliver Stone, JFK

Stone faced accusations of promoting conspiracy theories and distorting history, but he pushed forward with the film, defending it as a challenge to official narratives.

Mel Gibson, The Passion of the Christ

Before release, the film was criticized for alleged antisemitism and extreme violence. Gibson self-financed and released it anyway, where it became a massive commercial success.

Quentin Tarantino, Django Unchained

The film drew controversy over its use of racial slurs and depiction of slavery, but Tarantino defended his approach as historically grounded and necessary for the story.

Lars von Trier, The House That Jack Built

The film’s graphic violence led to walkouts at its premiere, yet von Trier continued to defend its artistic intent despite strong backlash and controversy.

Todd Phillips, Joker

Concerns that the film could incite violence led to media scrutiny before release, but Phillips dismissed the criticism and released the film unchanged.

Kevin Smith, Dogma

Religious groups protested the film’s themes and portrayal of Catholicism, but Smith leaned into the controversy and even joined protests, defending the film’s satirical intent.

Darren Aronofsky, mother!

The film’s disturbing imagery and allegorical storytelling divided audiences, but Aronofsky stood firm, explaining it as an intentionally polarizing artistic statement.

Gaspar Noé, Irreversible

The film’s extreme content and structure led to outrage and walkouts, but Noé maintained his vision, emphasizing its purpose as a challenging cinematic experience.

Seth Rogen and Evan Goldberg, The Interview

After threats and a major cyberattack tied to its subject matter, the filmmakers still pushed for release, ultimately distributing the film through alternative means.

Harmony Korine, Spring Breakers

Criticized for its portrayal of youth culture and excess, Korine defended the film as intentional commentary, refusing to adjust its provocative tone.

Catherine Hardwicke, Thirteen

The film faced criticism for its raw depiction of teenage behavior, but Hardwicke pushed forward, emphasizing its basis in real experiences.

David Cronenberg, Crash

The film’s explicit themes caused bans and public outrage, yet Cronenberg defended it as an exploration of human psychology and released it without compromise.

Adrien Brody in The Pianist

Roman Polanski, The Pianist

Despite Polanski’s personal legal controversies, he continued directing internationally, and the film was released to critical acclaim despite ongoing public debate.

Lars von Trier, Antichrist

The film’s graphic and disturbing content sparked strong reactions at festivals, but von Trier remained committed to his vision despite controversy.

Ridley Scott, Exodus: Gods and Kings

The film faced backlash over casting choices, but Scott defended his decisions and released the film without major changes.

Darren Aronofsky, Noah

Religious groups criticized its interpretation of biblical material, yet Aronofsky stood by his creative approach and released the film largely unchanged.

Levan Akin, And Then We Danced

Facing protests and threats in Georgia over its LGBTQ themes, Akin continued production and release, with the film becoming a symbol of cultural resistance.

15 Ridiculous Hollywood Rumors That People Actually Believed

We know that we shouldn’t believe everything we read online, but wanting to believe the gossip is part of the fun. But as these stories show, such rumors tend to be false nearly always. That doesn’t stop them from spreading, or from being entertaining to imagine.

From immortal beings to conspiracy theories, Hollywood is filled to the brim with outlandish stories waiting to be uncovered. While all of these are proven false (or too outlandish to ever be true), we will keep looking, for the truth could be out there. Or just the next viral meme.

Paul McCartney Was Replaced by a Lookalike

The long-running “Paul is dead” conspiracy claimed The Beatles secretly replaced him after a fatal accident. It has been repeatedly debunked, with McCartney himself joking about the absurd theory.

Richard Gere and the Gerbil Story

A bizarre rumor claimed Gere required medical treatment involving a gerbil. The story has no evidence and has been repeatedly denied, yet it remains one of the most infamous celebrity myths.

Stanley Kubrick Faked the Moon Landing

The theory claims Kubrick directed fake footage of the Apollo landing. There is no credible evidence supporting this, and it’s widely dismissed as a conspiracy theory.

Lea Michele Can’t Read

A viral internet theory suggested the actress relied on others to read scripts aloud. It has no factual basis and is treated as a meme rather than a serious claim.

The Wizard of Oz “Hanging Munchkin”

Viewers claimed a background figure was a hanging body. It has been clarified as a bird moving in the background, not anything sinister.

Three Men and a Baby “Ghost Boy”

A supposed ghost visible in the background was actually a cardboard cutout of Ted Danson, not a paranormal presence.

Jamie Lee Curtis and Judy Greer in Halloween (2018)

Jamie Lee Curtis Was Born Intersex

A rumor claimed Curtis was born with both male and female anatomy. She has publicly denied this, and no credible evidence supports the claim.

Avril Lavigne Was Replaced by a Double

A conspiracy claimed the singer died and was replaced by a lookalike named Melissa. It has been thoroughly debunked and treated as an internet hoax.

Keanu Reeves as Constantine

Keanu Reeves Is Immortal

Online theories claim Reeves has lived for centuries without aging. While humorous, there’s no basis for this beyond coincidental resemblance to historical figures.

Jennifer Aniston and Barack Obama

A bizarre tabloid claim suggested a hidden relationship. Aniston publicly dismissed the story as completely false.

Denzel Washington and whip in Glory

Denzel Washington Started a New “Anti-Woke” Actors Union

A viral rumor claimed Washington and others were forming a rival union. Fact-checks confirmed the story originated from satire and was entirely false.

Jackie Chan and Chris Tucker in Rush Hour

Jackie Chan Died Multiple Times

Chan has repeatedly been the subject of death hoaxes online, all of which were false and later debunked, since he is still alive.

Elvis Presley Faked His Death

A long-standing conspiracy suggests Elvis went into hiding. There is no credible evidence, and official records confirm his death in 1977.

Lady Gaga as Harley Quinn in Joker 2

Lady Gaga Is Actually a Man

A baseless rumor that spread online despite having no evidence, repeatedly denied and widely dismissed as misinformation.

The Blair Witch Project Was Real Footage

Early marketing blurred reality and fiction, leading some to believe the footage was genuine. It was always a scripted film with actors.

20 Times People Were Injured, or Worse, On Movie Sets

Movies might look effortless on screen, even if we know that filmmaking can be physically demanding, and sometimes dangerously unpredictable. Stunts, special effects, and challenging environments all carry real risks, even with safety measures in place.

Over the years, there have been numerous incidents where actors, stunt performers, and crew members were seriously injured, and in some cases, tragically lost their lives. These moments serve as stark reminders of how much can go wrong during production. From high-profile accidents to lesser-known tragedies, these are the times when the illusion of movie-making gave way to very real consequences.

The Crow (1994)

Brandon Lee was fatally wounded when a prop gun fired a projectile left lodged in the barrel. The tragedy became one of the most infamous on-set accidents in film history.

Rust

Cinematographer Halyna Hutchins was killed and director Joel Souza injured when a prop gun discharged during filming, sparking major industry-wide discussions about firearm safety on sets.

Twilight Zone: The Movie

Actor Vic Morrow and two child actors were killed when a helicopter crashed during a stunt sequence, leading to legal battles and lasting changes in safety regulations for film productions.

Zazie Beets as Domino in Deadpool 2.

Deadpool 2

Stunt performer Joi “SJ” Harris died during a motorcycle stunt that went wrong, marking a rare fatal accident on a modern superhero film set.

Resident Evil: The Final Chapter

Stuntwoman Olivia Jackson suffered severe injuries, including the loss of an arm, after a motorcycle stunt malfunctioned during filming.

The Expendables 2

A stuntman was killed and another seriously injured during a boat explosion sequence that went wrong on set.

Daniel Radcliffe and Emma Watson in Harry Potter and the Deathly Hallows Part 2

Harry Potter and the Deathly Hallows: Part 1

Stunt double David Holmes was paralyzed during a rehearsal involving an explosion stunt, ending his career and raising concerns about stunt safety.

Maze Runner: The Death Cure

Dylan O’Brien suffered serious injuries, including fractures and a concussion, after being struck by a vehicle during a stunt gone wrong.

The Passion of the Christ

Jim Caviezel was struck by lightning during filming and also suffered multiple injuries during production, adding to the already physically demanding shoot.

xXx (2002)

Stuntman Harry O’Connor died after colliding with a bridge while performing a high-speed parasailing stunt.

Top Gun 1986

Top Gun (1986)

Stunt pilot Art Scholl was killed when his plane crashed into the ocean while filming aerial footage for the movie.

Titanic

Kate Winslet suffered hypothermia and other minor injuries during long water shoots, reflecting the harsh filming conditions used to achieve realism.

The Abyss

Ed Harris nearly drowned during an underwater sequence due to equipment issues, later describing the experience as one of the most stressful of his career.

Roar (1981)

Dozens of cast and crew members were injured while filming with real lions, including Tippi Hedren and Melanie Griffith, making it one of the most dangerous productions ever.

Uma Thurman in Kill Bill Vol. 2

Kill Bill: Volume 2

Uma Thurman was injured in a car crash while performing a stunt she was reportedly pressured to do, leading to long-term physical issues.

Back to the Future Part III

Michael J. Fox nearly suffocated during a hanging scene when a stunt went wrong and he briefly lost consciousness.

Buttercup and Westley in The Princess Bride

The Princess Bride

Cary Elwes was accidentally struck in the head during a sword fight and required stitches, with the injury partially visible in the film.

Gladiator

Oliver Reed died of a heart attack during filming, forcing the production to use early CGI and rewrites to complete his remaining scenes.

Brendan Fraser and Rachel Weisz in The Mummy Returns

The Mummy (1999)

Brendan Fraser nearly died during a hanging scene when the stunt went wrong, leaving him briefly unconscious.

Noah’s Ark (1928)

An early large-scale flood sequence resulted in multiple injuries and reportedly several deaths among extras, making it one of the earliest examples of dangerous large-scale filmmaking.

15 Times Nobody Bought That The Actor Could Play Their Instrument

Whenever an actor portraits a musician, there is at least some level of effort to convince the audience that the character can play an instrument. Of course, we don’t expect actors to learn new skills every day, but we at least expect them to convince us that they do.

Some performances, however, fall flat in that front, either because the lack of experience wasn’t hidden properly, or because some audience members have more experience with the instrument than the actors themselves. While these movies aren’t bad by any means, their acting around instruments (particularly pianos) left some room for improvement.

Crossroads (1986)

Ralph Macchio’s guitar playing was widely noted as unconvincing, with mismatched hand movements and editing tricks making it clear a professional musician handled the actual performance behind the scenes.

Elvis

Kurt Russell’s portrayal relied heavily on miming to pre-recorded tracks, and while the performance worked dramatically, the instrument handling itself often doesn’t match the music being heard.

Amadeus

Tom Hulce’s portrayal of Mozart is powerful, but his piano playing was largely simulated, with editing and hand doubles used to match the complexity of the compositions.

Ray

Although Jamie Foxx is musically skilled, some piano scenes relied on careful editing and doubles, and attentive viewers can spot moments where hand movements don’t fully align with the music.

Bohemian Rhapsody

Rami Malek delivers a strong performance as Freddie Mercury, but the piano playing in certain scenes doesn’t always match the complexity of the soundtrack, revealing the use of stand-ins and playback.

Walk the Line

Joaquin Phoenix learned guitar basics, but some performances simplify or obscure the playing, making certain moments feel less convincing to experienced musicians.

Adrien Brody in The Pianist

The Pianist

Adrien Brody trained for the role, but many complex piano sequences were performed by professionals, with editing used to blend his performance, occasionally resulting in noticeable mismatches.

Shine

Geoffrey Rush’s intense piano scenes rely on doubles for the most technically demanding passages, and while the acting sells the moment, the playing itself doesn’t always fully convince.

Immortal Beloved

Gary Oldman’s Beethoven performances are largely mimed, with professional recordings layered over, leading to moments where the physical performance doesn’t fully align with the music.

La Bamba

Lou Diamond Phillips captures the spirit of Ritchie Valens, but guitar scenes rely heavily on miming, with noticeable discrepancies between hand movements and the music.

The Dirt

Actors portraying Mötley Crüe members focus more on attitude than technical accuracy, resulting in instrument performances that often feel loosely synced rather than convincingly played.

Rock Star

Mark Wahlberg’s portrayal of a singer is energetic, but the band performances around him often feature exaggerated or mismatched playing that doesn’t fully align with the soundtrack.

Almost Famous

While emotionally authentic, some band performance scenes feature simplified or inaccurate instrument handling, especially in wider shots where synchronization slips.

The Runaways

Despite strong performances, some guitar and bass scenes feel loosely matched to the music, with noticeable inconsistencies in fingering and timing.

Yesterday

Himesh Patel performs convincingly overall, but certain scenes simplify guitar playing, and some viewers noted minor inconsistencies between what’s played and what’s heard.

From Season 4: Harold Perrineau Talks Episode 1’s Big Reveal and the End of the Show

This article contains From season 4 episode 1 spoilers.

“I thought the whole idea was brilliant,” From star Harold Perrineau tells Den of Geek in the days leading up to the show’s season 4 premiere. “You’d never expect that.”

He’s talking, of course, about The Man in the Yellow Suit’s latest insidious move on From’s beleaguered Township. At the climax of season 3, he’d warned Jim (Eion Bailey) and Julie (Hannah Cheramy) that “knowledge comes with a cost” and ripped Jim’s throat out, but for anyone who thought the show’s most mysterious malevolent entity would take a break from his horrifying machinations after Jim’s shocking death, there was a surprise in store.

The fourth season premiere kicks off right where we left off, with The Man in the Yellow Suit dismissing people as “fragile things” and chatting to a dying Jim, admitting that he always liked him and that it’s a shame he won’t get to see what’s about to happen, because that’s his “favorite part.” This is as ominous and vague as you’d expect from the old geezer, but it’s safe to say we never saw his next move coming.

After he digs up a suitcase and grins with anticipation, a new arrival crashes their car straight into the Sheriff’s Station. Boyd Stevens (Perrineau) and his friends immediately come to the rescue, helping to extract an unconscious pastor and his injured passenger, who turns out to be a sheltered and vulnerable girl called Sofia (Julia Doyle). She frets about her father’s condition, but when she finally wakes him, there’s a shocking revelation: Sofia isn’t the pastor’s daughter; she’s The Man in the Yellow Suit in disguise.

“Julia is so good as Sofia,” Perrineau enthuses about the latest big addition to the cast. “She’s got just the right amount of totally sweet, but a little crazy in her eyes. She’s just perfect for [the role].”

With The Man in the Yellow Suit having now infiltrated the Township and teasing that its denizens are about to “tear themselves apart,” you’d assume that MGM+’s cult horror show was finally heading toward its conclusion. Perrineau says there were different time scales in mind for wrapping up the show, but the creative team knew how it would end.

“When I first got the job, they mentioned that it was best as a five-season show, but they could end it in four, or go to six,” he explains. “I know that they have a specific ending, and we haven’t gotten there just yet.” Hours after speaking with him, MGM+ confirms that From has been renewed for a fifth and final season.

Perrineau still seems to be having a lot of fun playing Boyd, a retired US Army veteran and the de facto leader of the cursed town, though he admits his character has been through a lot. “He has a dogged need to finish his task, and his task is to save everybody. He’s a man of service, so that is what he’s going to do, or he will lose his life trying. His weakness is that he’s human, and he’s up against something that we don’t even understand, that’s supernatural, otherworldly. How do you compete against that? He’s getting older. He’s got Parkinson’s. The man has been shot, stabbed, all the things, but the other part of him is his spirit to win and to survive and to save all the people there. I think those are the things that serve him best.”

We also couldn’t help but ask Perrineau what we can expect from the season 4 finale, given the unexpectedly shocking opening episode.

“Just wait,” he says with a smile. “Just wait.”

From season 4 premieres new episodes Sundays on MGM+.

High School Comedy ‘Brian’ Celebrates the Awkwardness of Growing Up

High school is never easy. It’s especially rough for someone like Brian, who is socially awkward, riddled with panic attacks, and harboring a crush on his English teacher. That last part might not be universal, but in his directorial debut Brian, Will Ropp captures a sharply self-aware coming-of-age story where plenty of viewers will recognize themselves in a teenager searching for a rulebook on how to be normal.

Written by Saturday Night Live writer Mike Scollins, the film follows Brian (Ben Wang) as he confronts his social anxiety by running for student body president, which is led by his English teacher and crush, Brooke (Natalie Morales). With support from his overbearing but loving parents (Randall Park and Edi Patterson), a new classmate (Joshua Colley), and his therapist (William H. Macy), Brian begins to build both a campaign and a stronger idea of what it means to be a good friend.

But on this quest, there’s some extremely funny missteps along the way, brought to life by a bubbly cast and a director who fully embraces the script’s charm.

Brian premiered at South by Southwest as part of the Narrative Feature Competition, and while it didn’t take home a prize, it stood out to critics for its humor and heartfelt coming-of-age story. Cast members Wang, Morales, Patterson, Park, and Macy, along with director Ropp, stopped by the Den of Geek studio at SXSW to discuss bringing the project to life.

Wang says playing an awkward teenager with intense anxiety came naturally to him. While, of course, he wanted to preserve the humor, he also made sure scenes dealing with mental health were approached with authenticity.

“I mostly just showed up and was myself,” Wang says. “Making it real meant that I derived most of the quirks, the tics, and the personality for the character from pieces of me.”

Authenticity is a throughline across the production, including Ropp’s decision to give Brian a roller backpack. Wang shares that he also used one in high school without realizing it was considered “embarrassing,” while Ropp admits he had one too before ditching it after being made fun of; though he still questions why the bag has such a reputation.

“So, I didn’t understand why everyone was like, ‘This is a really great detail to show. This is really funny,’” Ropp says. “I was like, ‘Why? Why is that funny? It’s efficient.’” 

Wang’s character wheels his bookbag into English class as he pursues an inappropriate crush on his teacher. Morales, who has previously played educators, including in Language Lessons, which screened at the 2021 SXSW Film Festival and won the Audience Award, portrays a very different kind of teacher here.

“I had so many scenes with Ben, who’s an incredible actor and scene partner and so fun to play off of,” Morales says. “It’s always fun when someone’s obsessed with you and loves you because then you get to go home feeling that way. Although, this particular situation was very inappropriate, and I was glad to shut it down.”

The film’s comedy is anchored by Patterson and Park, who lean into their characters’ over-the-top excitement when Brian brings a friend over for the first time. The pair share that they improvised heavily, building off each other to push every take further. Fortunately for audiences, much of that improvisation made it into the final cut.

As writers and comedians, Patterson and Park say they look for the same qualities that make a strong coming-of-age film.

“For my taste, it’s about specificity and authenticity,” Patterson says. “And then two more: humor and heart. I think this movie has all of those things.”

Before running for student body president, Brian auditions for his high school production of Julius Caesar. Dressed in a toga and putting on a thick Shakespearean accent, he makes it through the audition, but doesn’t quite get the reaction he was hoping for from the directors.

Wang says he’s personally had his share of embarrassing auditions while applying to drama schools. At one audition, he was asked to sing a song, which he hadn’t prepared for. He had  recently watched Cabaret, so he decided to sing the opening track, “Willkommen,” only to realize after the first line that he’d made a mistake.

“I remembered the rest of the song was in German and French,” Wang says. “Instead of doing the sensible thing, which is [singing] a different song… I was like, ‘I’m just going to make some shit up.’ Because how would this guy who has a doctorate in theater know that I’m singing the wrong lyrics?”

Brian showcases the joy of independent filmmaking and highlights how strong cast camaraderie elevates the material. Although it does not yet have a confirmed theatrical or streaming release date, the coming-of-age film continues to build anticipation following its festival debut.

Macy, who plays Brian’s therapist, was happy to be a part of a project that spotlights serious issues through the lens of high school students in a sincere way. He also reflects on what he would say to teenagers who feel as out of place as Brian.

“Calm down,” Macy says. “It’ll all pass. I wish I’d said that to myself. Bring your roller [backpack], wear white socks. Do anything you want because it’s all nonsense. There’s so much pressure in high school.”

Brian premiered March 14 at the SXSW Film & TV Festival.

The Problem With the Mystery of Lee Cronin’s The Mummy

This article contains spoilers for Lee Cronin’s The Mummy.

What happened to Katie? Even more than the promise of supernatural horror, that question drove the marketing for Lee Cronin’s The Mummy, the latest take on the classic monster. The Mummy does indeed answer the question, leaving no filmgoer mystified when they leave the theater. However, that answer comes around the two-hour mark of a 133-minute film, most of which is filled with nasty imagery.

However, that may be for the best. Because while Cronin’s film delivers all the same gleeful gore that he provided in 2023’s Evil Dead Rise, the mystery—and in fact, everything involving Egypt, Katie’s disappearance, and even the Mummy in general—feels superfluous.

The Mummy, Unwrapped

Most of Lee Cronin’s The Mummy focuses on the Cannon family: father Charlie (Jack Reynor), mother Larissa (Laia Costa), and their three children. Eight years after their oldest daughter Katie (played by Emily Mitchell as a child and Natalie Grace as a teen) went missing in Egypt, the couple learns that she has been found, trapped in a sarcophagus but still alive. The family brings Katie back to their New Mexico home to reintegrate her with their other children, Sebastián (Shylo Molina) and Maud (Billie Roy), as well as Larissa’s mother Carmen (Verónica Falcón). But not only does Katie get worse instead of better, but rot also spreads throughout the home, infecting the other children and leading to all manner of grotesque chaos.

A television reporter, Charlie copes by investigating the sarcophagus that held his daughter and the markings on the bandages that covered her body. That search sends him to Professor Bixler (Mark Mitchinson), who explains that the markings speak of the Nasmaranian, an ancient Egyptian demon known as the destroyer of families.

Charlie’s research also brings him back to Detective Dalia Zaki (Moon Knight‘s May Calamawy), who initially investigated Katie’s disappearance in Cairo eight years ago. Thanks to a hint from Katie, who manages to break from the Nasmaranian’s control long enough to tap out a Morse code message to her father, Detective Zaki discovers Layla Khalil (May Elghety), who has connections to a cult led by a woman known only as the Magician (Hayat Kamille).

Layla provides Zaki with a VHS tape documenting a horrific ritual, in which the Magician directs a group of masked individuals to lower a screaming Katie atop a bandaged figure, who spits some concoction into her mouth. According to the Magician, this ritual is necessary to bind the Nasmaranian, and an innocent, young body makes for a better living prison than the body of an older host.

Evil Dead in Disguise

As the above description indicates, there is a lot of lore going on in Lee Cronin’s The Mummy. And yet, one gets the sense that Lee Cronin, the director, has little to no interest in any of it. Despite a compelling performance by Calamawy and some neat visuals, most of the stuff in Egypt drags. It almost feels like Cronin devised the Nasmaranian plot (based on completely made-up mythology) simply to justify calling the movie The Mummy, which in turn, justified the production as the next part of Blumhouse‘s new Universal horror films, alongside Leigh Whannell’s The Invisible Man and Wolf Man.

Sure, Cronin shoots the Egyptian mystery scenes with the same flair he brings to the other parts of the movie: lots of split diopters, Dutch angles, and a color palette that resembles used flypaper. But none of those scenes have the same energy as the best moments of the film, which makes the whole thing feel like Cronin’s just paying lip service to the Mummy trappings while actually making a very different film than anything Boris Karloff, Brendan Fraser, or even Tom Cruise did.

And what is that movie? Frankly, it’s Evil Dead. As much as his Mummy movie feels uninspired when Professor Bixler is babbling about the Nasmaranian, it turns electric when Cronin dials the meanness up to wacky degrees. The sequence in which young Maud, infected by the Nasmaranian’s control of Katie, pulls out her teeth and then climbs into the casket of her dead grandmother best illustrates Cronin’s real interests. The shot of Maud flashing a bloody smile, her grandmother’s false teeth in place of her own, has more power than anything that happens in Egypt.

The Curse of Compromise

That moment feels right out of a Sam Raimi picture, as do all the best parts of Lee Cronin’s The Mummy. The only thing that doesn’t feel inspired by the horror legend is the run time, which goes way past the hour and a half that Raimi prefers and falls between Oz, The Great and Powerful‘s 130 minutes and Spider-Man 3‘s 139 minutes.

Which is, perhaps, fitting. With the exception of Doctor Strange in the Multiverse of Madness, those two entries in the Raimi filmography show the clearest signs of studio interference. All of the actual Mummy stuff in Lee Cronin’s The Mummy—including a tacked-on “happy” ending, in which Larissa and Zaki bring a Nasmaranian-infected Charlie to exact revenge on the Magician—feels like studio concessions. It’s just too bad that including them bloats the film, diminishing the power of the nasty good stuff.

What happened to Katie? The answers provided by The Mummy don’t really matter. What happens when Katie gets free? Now that’s the only question that Lee Cronin’s The Mummy really wants to answer.

Lee Cronin’s The Mummy is now playing in theaters.

Kevin Feige Confirms the Marvel Comic That Inspired Avengers: Doomsday

Even though it releases this year, we still know very little about Avengers: Doomsday. Sure, we know that the main cast will sit in nice chairs, and we know that Steve Rogers, Thor, the X-Men, and the Wakandans will return in Doomsday, but even the teasers released last year were “stories” and “clues,” not necessarily scenes from the film. Heck, we still don’t even know which Marvel Comics will be adapted for the film.

Until now. Speaking to EW after debuting footage at CinemaCon, Kevin Feige confirmed the central storyline. “We’re not talking too much about story, but I think people know that the story of Doomsday is inspired by a very famous comic run in which universes are colliding and earths encounter one another and different timelines encounter one another,” he said.

Feige is, of course, talking about Secret Wars, the 2015 series written by Jonathan Hickman and illustrated by Esad Ribić. Well, technically, he’s talking about the run-up to Secret Wars, which began in earnest when Hickman began writing the series Avengers and New Avengers in 2013.

New Avengers focused on the Illuminati, a secret collection of the most influential or brilliant men in the Marvel Universe: Iron Man, Reed Richards, Namor, Black Bolt, Black Panther, Doctor Strange, Professor X, and (initially) Captain America. After discovering the existence of Incursions, in which the Earths of two universes collide and eradicate those respective realities, the Illuminati worked covertly to find a way to stop it, and even destroyed another world to save their own.

Elements of New Avengers have already made their way into the MCU, with a variation of the Illuminati appearing in Doctor Strange and the Multiverse of Madness, which also ends with Clea (Charlize Theron, remember?) recruiting Stephen Strange to stop Incursions. Samuel Sterns’s warning to Sam at the end of Captain America: Brave New World also recalls a New Avengers plot line, in which a more overtly villainous version of the Illuminati begins attacking other realities.

However, we haven’t seen much from Hickman’s run on the mainline Avengers book. That story begins after the first arc of New Avengers. When Steve Rogers objects to the group’s extreme measures, the Illuminati erases his memory of their actions, including the existence of Incursions. Out of guilt, Tony Stark teams with Steve to launch the Avengers Machine, a version of the team with a massive line-up that spans nations and planets.

Looking at the cast of Avengers: Doomsday, one gets the sense that the heroes of the MCU are building their own Avengers Machine. Even though we know that the New Avengers (a.k.a. the Thunderbolts, still under the control of Valentina Allegra de Fontaine) and Sam Wilson’s Avengers are at odds, they’ll certainly come together to fight Doctor Doom. Throw in heroes from other realities, including the Fantastic Four and the Fox X-Men, and we have enough for a multi-dimensional Avengers line-up.

Will that be enough to thwart Doctor Doom, the greatest threat the Marvel Universe has ever faced? The answer to that question is just one of the many things we still don’t know about Avengers: Doomsday.

Avengers: Doomsday comes to theaters on December 18, 2026.

SNL: Bob Odenkirk Reveals Why It Took Years to Get Chris Farley In That Van Down By the River

One time, many years ago, Bob Odenkirk was asked by his daughter what was the most fun he ever had in showbiz. For the Emmy-winning actor whose credits include zeitgeist-defining TV dramas and Tony-nominated plays, plus a late career swerve into the role of unlikely action star (as proven again in this weekend’s new kick-ass thriller Normal), that should be a tough quandary. And yet, without missing a beat, Odenkirk knew the answer before she finished the question.

It was standing on a small, sweaty Chicago stage next to Chris Farley as he uttered lamentable words about “living in a van DOWN BY THE RIVER!” 

Says Odenkirk, “I told her doing this scene with Chris Farley, nothing will ever beat that. It was a joy from the beginning to the end, and he would not leave the stage until he had made all the other actors laugh.”

It was also a scene that Odenkirk wrote from top to bottom back in his own Second City days—years before it was transferred to Saturday Night Live.

“So I was already at Saturday Night Live as a writer for three years, and then I went back in the summer to do Second City,” Odenkirk explains about the origins of Farley’s now beloved Matt Foley character. “I’m from Chicago and being invited to be on the mainstage of Second City Theater is like being asked to play for the Cubs when it comes to performance and theater. So you’re going to say yes, and I did say yes.”

At the time, Odenkirk was already developing a reputation as a comedic writer and performer, having worked on SNL as a writer beginning in 1987 and returning to Chicago during his first summer hiatus on the show to perform a stage show he wrote with two other SNL young guns: Robert Smigel and Conan O’Brien. But by his third summer hiatus, Odenkirk wasn’t just showing his own wares, but acting and writing in Flag Burning Permitted in Lobby Only, a Second City Mainstage revue that featured SNL on-screen talent.

“I got into that troupe with Chris Farley and Timmy Meadows,” says Odenkirk, “and other great friends, Jill Talley and Dave Pasquesi. We wrote a show, and I wrote ‘The Motivational Speaker,’ and then we all went—me, Tim, Chris—went back to SNL. That was my fourth year.”

It was also his last year on SNL. Yet during that year, and despite Farley and Odenkirk’s lobbying, Matt Foley did not make the jump to television. Nor did  he appear the next season, after Odenkirk left New York for LA. It wouldn’t be until near the end of Farley’s fourth season that Foley finally got to tell kids at home about that damn van by that damn river.

“They finally relented and did ‘The Motivational Speaker’ as a sketch on Saturday Night Live, which I very much appreciated, and Chris did too,” says Odenkirk. “Chris loved playing that character and he wanted to get that same reaction that he got at Second City.”

Why did it take so long for Matt to make the jump from Second City to SNL?

“I think a lot of the actors from Saturday Night Live come from Second City or from the Groundlings in LA,” Odenkirk considers, “and they’re kind of not sure how much they want you to bring your characters wholecloth from your theater company onto that national stage into the TV. And I think [there is] even some suspicion that they won’t work. They worked so well where they worked, but that’s a small theater space, and yet it’s happened many times. Many of the characters you see Groundlings [alumni] do on Saturday Night Live do come from the Groundlings, but usually they go through more of a mutation, whereas ‘The Motivational Speaker’ character, that was exactly what I wrote back in Chicago. It’s the exact same scene, same words, same order. So I think SNL is justifiably uncertain about the idea of taking things directly and putting them now on the TV.”

With that said, when the sketch finally made it to the air, it was with the greatest sense of satisfaction and relief for Odenkirk. That apparently went for Farley as well.

“Doing that scene was the greatest joy,” Odenkirk says. “I played the father in the scene when we did it at Second City. Everything about that scene was magic. Writing it pretty much exactly the way it’s done, and it was all just touched with magic, and Chris was born to be that guy, so I was thrilled. I had left the show and I got a phone call, ‘They’re going to do the scene.’ And Lorne [Michaels] was great. They gave me credit. It was the greatest.”

And to this day, it’s routinely cited as the best or among the best sketches in SNL history. All thanks to America’s next action star.

Ridley Scott’s The Dog Stars Trailer Imagines a Hopeful Post-Apocalypse

For the past 20 years, we sure have spent a lot of time imagining the end of the world. From The Hunger Games to The Walking Dead to Snowpiercer, pop culture has been obsessed with describing the fall of civilization and the bloody aftermath that follows. Generally, these stories follow a pretty familiar pattern, with fleeting moments of safety and kindness interrupted by violence and humanity at its worst.

But the first trailer for The Dog Stars suggests that Ridley Scott has something else in mind. The trailer introduces Jacob Elordi as Hig, a pilot living after the fall of civilization with his dog, the one remnant of his happy marriage in the before-times. While his partner Bangley (Josh Brolin) has a heart cold enough to survive, Hig desires something more, and may find it with medic Cima (Margaret Qualley). Set to a slower version of Van Morrison’s “Into the Mystic,” the trailer is all optimism and hope, despite the cruel surroundings.

Hope is built into the source material, the 2012 novel by Peter Heller. The book became a hit not just because it met the expectations of the post-apocalyptic genre, including depictions of the way humans can mistreat one another, but also because of its humor and its poetic depiction of a soulful hero. If Scott can translate those elements to screen, then The Dog Stars may be able to add another hit to his incredible career.

The Dog Stars‘s timing couldn’t be better, as moviegoers are ready to find hope at the end of the world. Based on the novel by Andy Weir. Project Hail Mary has been a favorite among audiences precisely because it sets a delightful buddy comedy between Ryan Gosling and his puppet pal against the backdrop of impending doom. That movie suggests that the apocalypse can be canceled if you’ve got a good friend by your side.

But, of course, Project Hail Mary is directed by Phil Lord and Christopher Miller, two filmmakers known for their carefree projects. The same definitely cannot be said of Ridley Scott. Even before he became the delightfully grouchy old man he is today, Scott had no problem getting bleak, as demonstrated by the company putting profits over people in Alien, the general dourness of Blade Runner, and the military incompetence on display in Black Hawk Down. Even those who find some triumph in the ending of Thelma & Louise have to acknowledge that the duo does drive off a cliff.

That said, Scott did helm The Martian, an optimistic adventure also based on a Weir book. If Scott can stay in that tone for The Dog Stars then he can continue to give us hope in hard times, and maybe score another box office hit for himself.

The Dog Stars arrives in theaters on August 28, 2026.

The Mandalorian & Grogu Trailer Teases Baby Yoda vs. Babu Frik in the Cutest Lil’ Battle Ever

Star Wars fans are nothing if not forgiving. They have gone from screaming about how George Lucas has ruined their childhood to embracing the prequels as really good, actually. They’ve gone from feeling embarrassment whenever The Holiday Special is mentioned to cheering when Life Day gets name-dropped in official releases. And they even admit that The Rise of Skywalker can’t be all bad, because it gave us Babu Frik.

Never one to let goodwill go untapped, Disney has moved Babu Frik, or at least some of his fellow Anzellans out of J. J. Abrams‘s mess of a saga capper and into The Mandalorian & Grogu. And they immediately start causing trouble. In the final trailer for the upcoming film, a quartet of Anzellans shout at Grogu, even evoking his better name when they sneer, “A horrible baby!” and “That’s a bad baby!”

On one hand, the Anzellans are wrong. Grogu is a very good baby, so good that he even made Werner Herzog wonder if, in fact, love and kindness existed in the universe. More importantly, Grogu made the movie The Mandalorian & Grogu possible, as he made the show a pop culture phenomenon when it first hit Disney+ back in 2019.

What initially began as a space Western set in post-Return of the Jedi universe, complete with Ludwig Göransson doing his best Ennio Morricone score, quickly became the story about an adorable green goober and his armored protector. And then it became a sequel to The Clone Wars, as Bo-Katan, Ahsoka Tano, and others from the animated series became the focus.

Judging by the latest trailer, The Mandalorian & Grogu will try to tie together all these disparate elements. Characters from The Clone Wars and its sequel Rebels will be represented, in the form of Rotta the Hutt (Jeremy Allen White), Zeb (Steve Blum), and bounty hunter Embo. And the cuteness factor is in full effect, as demonstrated by the spat between the Anzellans and Baby Yoda.

But much of the trailer focuses on Mando himself, Din Djarin (Pedro Pascal), as he tries to complete his mission to Grogu, getting some help and pep talks from Sigourney Weaver as Colonel Ward, a former fighter pilot in the resistance.

If director Jon Favreau, who wrote the script with Dave Filoni and Noah Kloor, can weave all those elements together, then The Mandalorian & Grogu can be a true crowd-pleaser, finally washing away the stink left by the last Star Wars theatrical release, Rise of Skywalker. And if he can’t, well… give it a decade or so. Eventually, someone on the internet will start yelling about how it’s actually a masterpiece.

The Mandalorian & Grogu arrives in theaters on May 22, 2026.

Jonathan Frakes Weighs In on the State of Modern Star Trek

It’s a time of transition in the world of Star Trek. The sci-fi franchise is celebrating its 60th anniversary this year, but its future feels a whole lot more uncertain than such a significant milestone would normally imply. Star Trek: Strange New Worlds has wrapped filming on its fifth and final season. Star Trek: Starfleet Academy won’t continue beyond its already filmed second outing. And while we technically still have full seasons of both those shows still to air, for the first time in over a decade, there’s no new Trek in the works. Nothing’s in production, nothing’s been announced, and nothing’s in development. Even talk surrounding potential projects, like the formerly buzzy James Kirk prequel going by the name Star Trek: Year One, seems to have stalled. (The dismantling of the Enterprise sets from Strange New Worlds certainly seems like a bad sign there, as well.) 

No one seems to know what’s next for the franchise, and that includes many of the folks who have starred in it. Jonathan Frakes is probably most recognizable for playing William Riker on Star Trek: The Next Generation, but he’s also made guest appearances in a half dozen subsequent series, from Star Trek: Voyager to Star Trek: Picard.

Speaking to TrekMovie.com’s All Access: Star Trek podcast, Frakes admits that the current state of Trek production — or lack thereof — is “unfortunate,” but points out that, after 60 years, the franchise is nothing if not resilient. 

“I think, sadly, to celebrate the 60th anniversary of our incredible franchise, it seemed very unfortunate that they’ve chosen this moment to not have any new Trek in production,” he said. “It seems like a very unfortunate irony. I’m sure that Trek will resurface, it always has, and it always will. And the power that Roddenberry invested in it seems to have made it through six decades.” 

If anyone would know, it would probably be Frakes. He’s been around this franchise for decades, helmed episodes across seven different Trek series, and directed two feature films. Most recently, he directed an episode of Starfleet Academy, and has a rather frank read on the multiple reasons why modern Trek may be struggling at the moment. 

“Some people who either didn’t like or didn’t approve or didn’t support the latest endeavors, for whatever reason,” he says. “Perhaps it’s the changing of the guard at Paramount+ and CBS [Studios]. Perhaps it’s indecision. Perhaps it’s the amount of money it costs to make how beautiful the show is; the level of the production has become this sort of “shoot to thrill” cinematic phenomenon that when we did the show back in the ’80s, we counted on storytelling and acting and the occasional camera move [laughs]. It’s a different beast now, and that beast is very expensive, and as we know, it’s called show business.”

In the end, however, Frakes remains “optimistic” about Star Trek’s future, though he admits to some frustration about the lack of any news about where the franchise might be headed next.

“I’m very optimistic about the future. I just wish that something was percolating now,” he says. “I know that there’s talk of another movie. I don’t think it’s going to be one of the J.J. movies. It seems it’s going to be a brand-new [idea]. I know that there’s also a percolating idea about the Paul Wesley [Star Trek: Year One], which would be the origin of Kirk, but that’s all I’ve got. All I’ve got is rumor and innuendo, and none of it is encouraging… But in truth, there will be a Star Trek on the air through 2027. That gives us a lot of time to get something else in the oven, if you will.”

16 Movies That Feel Like They’re Missing Crucial Scenes

There are times where a movie rushes past a plot point and, as audience members, we often feel confused as to how things ended up where they are. Motivations might suddenly change or characters arrive at destinations without a clear journey. This feeling can come from actual deleted scenes, or from the feeling that some connective tissue was missing.

Whatever the case, these films aren’t bad per se, but do feel like something is missing. They left us trying to fill the gaps on our own, wondering what happened in the supposed scenes that never made it to screen.

The Snowman

Famously incomplete, the production reportedly failed to shoot key parts of the script, leaving major story beats unexplained and transitions abrupt, making the film feel like entire chunks of the narrative are simply missing.

Justice League

Heavy reshoots and editing led to a film that jumps between plot points with little connective tissue, making character arcs and story developments feel rushed and underexplained.

Suicide Squad

Re-edited after early reactions, the film feels like a collection of disconnected scenes, with abrupt character introductions and tonal shifts that suggest significant material was cut or rearranged.

Fantastic Four (2015)

A drastic tonal shift halfway through and noticeable gaps in character development make it feel like key scenes tying the story together were removed during reshoots and editing.

Daisy Ridley as Rey in Star Wars: The Rise of Skywalker.

Star Wars: The Rise of Skywalker

Rapid pacing and constant plot developments leave little room for explanation, with many viewers noting that major events seem to happen off-screen or without proper buildup.

Daniel Craig with gun in Quantum of Solace

Quantum of Solace

Aggressive editing and fast pacing result in action scenes that feel fragmented, making it difficult to follow the narrative and giving the impression that connective moments were removed.

Kingdom of Heaven (Theatrical Cut)

The theatrical version removes substantial character development and political context, making motivations unclear, while the director’s cut reveals how much essential material was originally missing.

Daredevil (2003)

The theatrical version omits entire subplots, resulting in uneven pacing and missing motivations, which are later restored in the director’s cut to create a more coherent narrative.

The Amazing Spider-Man 2

Multiple plot threads are introduced and abandoned, creating a fragmented story that feels like important connective scenes or explanations were removed during editing.

Green Lantern

Heavy studio interference led to a film that rushed through major story beats, making the world-building and character development feel incomplete.

X-Men Origins: Wolverine

The film’s pacing and structure feel uneven, with abrupt transitions and underdeveloped relationships suggesting that significant story elements were cut or reshaped.

Jupiter Ascending

Dense world-building is introduced with minimal explanation, leaving audiences to piece together rules and motivations that feel like they were never fully shown on screen.

Eragon

The adaptation compresses a lengthy novel into a short film, leaving out crucial development and making the story feel rushed and incomplete.

The Golden Compass

Key elements of the source material’s ending were removed or altered, leaving the film feeling abruptly cut off and missing important narrative resolution.

The Dark Tower

Attempting to condense multiple novels into one film, the story feels stripped down, with major concepts introduced but never properly explored.

Avengers: Age of Ultron

Packed with setups for future films, the narrative feels cluttered and fragmented, with multiple ideas competing for attention rather than forming a cohesive story.

15 Video Game Boss Fights More Frustrating Than Fun

Boss fights are meant to be the ultimate test of everything a game has taught you. At their best, they feel challenging, rewarding, and satisfying to overcome, although not every fight reaches that goal. Some rely on cheap mechanics, awkward design choices, or sudden difficulty spikes that turn the experience into pure frustration.

Instead of feeling like a fair challenge, these encounters can feel tedious, confusing, or even broken. Bad design or just questionable decisions brought these fights into being, making them the boss fights that players remember not for the victory, but for how exhausting it was to get there.

Malenia, Elden Ring

Her ability to heal with every hit, combined with extremely fast attacks, makes the fight feel punishing even for skilled players, often turning it into a test of patience rather than mastery.

Bed of Chaos, Dark Souls

Less a fight and more a platforming puzzle filled with instant-death hazards, this encounter frustrates players with unpredictable mechanics and repeated resets rather than rewarding combat skill.

The Genie, The Legend of Zelda: Link’s Awakening

Constant taunting, slow text interruptions, and repetitive mechanics make this early boss more annoying than difficult, dragging out the fight unnecessarily.

Psycho Mantis, Metal Gear Solid

Breaking the fourth wall by reading player inputs was innovative, but requiring players to switch controller ports made the fight confusing and frustrating without prior knowledge.

Ruby Weapon, Final Fantasy VII

A brutally punishing optional boss with devastating attacks and strict conditions, often requiring specific strategies that feel more like trial-and-error than skill-based gameplay.

Yellow Devil, Mega Man

Its pattern requires near-perfect timing and memorization, punishing mistakes harshly and turning the fight into a rigid sequence rather than an engaging challenge.

Whitney’s Gym Battle, Pokémon

Beyond just Miltank, the entire gym fight becomes frustrating due to limited counters available early in the game, amplifying the sense of imbalance.

Atlas, BioShock

After a strong narrative buildup, the final fight turns into a simplistic and repetitive encounter, widely criticized for ignoring the game’s core mechanics.

Rais, Dying Light

The climactic battle boils down to quick-time events, removing player agency and making the finale feel more like a cutscene than an actual boss fight.

Demise, The Legend of Zelda: Skyward Sword

Despite heavy buildup, the fight can feel underwhelming or overly simple for some players, creating frustration from unmet expectations rather than difficulty.

Deathstroke, Batman: Arkham Origins

A visually impressive fight that quickly becomes repetitive, relying heavily on counter mechanics that can feel more like memorization than dynamic combat.

Ustanak, Resident Evil 6

Repeated encounters and scripted chase sequences make the character feel more like an interruption than a meaningful boss, breaking the pacing of the game.

The Marauder, DOOM Eternal

Highly restrictive mechanics force players into a narrow strategy, punishing deviation and slowing down the game’s otherwise fast-paced combat flow.

Lingering Will, Kingdom Hearts II Final Mix

An optional super boss with extremely aggressive patterns and minimal room for error, often requiring precise strategies that can feel punishing rather than enjoyable.

Absolute Radiance, Hollow Knight

A multi-phase fight with intense precision requirements and long attempts, where failure near the end forces players to restart entirely, making it feel more draining than satisfying.

15 ‘Serious’ Movies That Nobody Treats as Such

Filmmakers often want their movies to be taken with the seriousness and passion that went into making them, but they can’t control how the audience reacts. With a combination of awkward dialogue, over-the-top performances, and moments that feel unintentionally absurd, certain “serious” movies end up being remembered more for laughs than impact.

Over time, many of these films gain a second life through memes, quotes, and ironic appreciation. Instead of being taken at face value, they’re enjoyed in a completely different way. They might not be what the authors intended, but they are certainly outliving many other ‘legitimate’ pieces of media.

The Room

Tommy Wiseau intended an intense romantic drama, but awkward dialogue, bizarre performances, and inconsistent storytelling turned it into one of the most famous “so bad it’s good” movies ever.

Morbius

A dark superhero film that quickly became an internet joke, with memes overshadowing its serious tone and turning it into a cultural punchline rather than the grounded story it aimed to be.

Showgirls

Originally positioned as a serious drama about ambition and exploitation, it became infamous for its exaggerated performances and tone, later gaining a cult following largely for its unintentional comedy.

The Happening

M. Night Shyamalan’s environmental thriller was meant to be tense and thought-provoking, but its stiff dialogue and performances led audiences to laugh at moments that were clearly meant to be serious.

Twilight

A sincere romantic drama at its core, but its melodramatic tone, awkward dialogue, and certain performances turned many scenes into memes and unintentional comedy over time.

Fifty Shades of Grey

Intended as a serious, dramatic romance, but its dialogue, pacing, and performances made many viewers treat it more as an awkward, often unintentionally funny experience.

The Wicker Man (2006)

A remake intended as a disturbing horror film, but Nicolas Cage’s extreme performance and bizarre moments made it widely known for unintentionally hilarious scenes.

Cats

A serious musical adaptation that became a viral sensation for all the wrong reasons, with uncanny visuals and performances that audiences found more bizarre than emotionally engaging.

Troll 2

Made as a straightforward horror film, but its low-budget execution, odd dialogue, and performances turned it into a cult classic celebrated for its absurdity.

Jared Leto House of Gucci

House of Gucci

A dramatic true story featuring exaggerated accents and performances, leading many viewers to treat it as campy entertainment rather than the serious biographical drama it set out to be.

Jupiter Ascending

An ambitious sci-fi epic with serious world-building, but its dialogue and performances often came across as unintentionally funny, overshadowing its intended grandeur.

Dakota Johnson in Madame Web

Madame Web

Positioned as a serious superhero entry, but its dialogue, editing, and performances quickly turned it into a meme-heavy release that audiences engaged with ironically.

The Day After Tomorrow

A disaster film meant to be intense and emotional, but some of its exaggerated scenarios and dialogue have made certain scenes unintentionally humorous over time.

Con Air

Intended as a gritty action film, yet its exaggerated characters and line delivery have made it a favorite for ironic enjoyment.

Birdemic: Shock and Terror

A sincere eco-horror film that became infamous for its effects and performances, turning it into a cult favorite enjoyed for its unintentional comedy.

15 Performers Who Aren’t in the Rock & Roll Hall of Fame But Probably Should Be

The Rock & Roll Hall of Fame is meant to celebrate the most influential artists in music history, even though a lot of them aren’t in it. For every well-deserved inductee, there are notable names still missing, artists with massive influence, loyal fanbases, and lasting cultural impact.

We don’t know if it is due to genre bias, changing industry trends, or simply being overlooked, but some performers remain outside looking in despite careers that clearly shaped modern music. These are the performers many fans and critics agree have done more than enough to earn a place in the Hall.

Motörhead

A hugely influential heavy metal band led by Lemmy, Motörhead helped define speed metal and influenced generations of rock acts, yet remain uninducted for decades despite widespread recognition of their impact.

The Smiths

One of the most influential alternative bands of the 1980s, The Smiths shaped indie rock and inspired countless artists, yet their absence from the Hall continues to be one of the most frequently cited omissions.

Alice in Chains

Another cornerstone of the grunge era, Alice in Chains blended heavy metal and alternative rock in a way that influenced countless bands, yet remain outside the Hall.

The Pixies

Widely credited with shaping alternative rock and influencing bands like Nirvana, The Pixies are often cited as one of the most important bands still missing from the Hall.

Sonic Youth

A pioneering force in experimental and alternative rock, Sonic Youth’s influence on indie music is undeniable, making their absence particularly notable among critics.

Jethro Tull

Blending rock with progressive and folk influences, Jethro Tull achieved both critical and commercial success, yet their absence is often cited as a major oversight.

Thin Lizzy

Their twin-guitar sound and influence on hard rock and metal have been widely acknowledged, making their continued exclusion from the Hall a frequent point of contention.

Boston

With one of the best-selling debut albums in history, Boston’s polished rock sound defined an era, yet they remain outside the Hall despite their commercial impact.

Styx

Blending progressive rock and pop sensibilities, Styx achieved major commercial success, yet their absence continues to stand out compared to similar bands already inducted.

Megadeth

One of the “Big Four” of thrash metal, Megadeth played a major role in shaping the genre, making their exclusion notable given the Hall’s recognition of other metal acts.

Slayer

Another member of the “Big Four,” Slayer’s extreme sound helped define thrash metal, and their absence is often cited in discussions about the Hall’s treatment of heavier genres.

The New York Dolls

A proto-punk band that influenced punk and glam rock movements, their impact far outweighs their commercial success, making their absence a long-standing criticism.

Beck

Blending genres and consistently reinventing his sound, Beck has had a long and influential career, yet has not been inducted despite critical acclaim.

Devo

Known for their unique style and satirical approach, Devo influenced new wave and alternative music, making their absence from the Hall a frequent point of debate.

The Guess Who

A major Canadian rock band with several classic hits, they have been cited among notable omissions despite their commercial success and influence.

Dan Stevens in The Terror: Devil In Silver Has Serious Legion Vibes

Period drama Downton Abbey may have made Dan Stevens a household name back in the 2010s, but his career since playing Matthew Crawley has been a delightful mix of weirdo character pieces and entertaining Hollywood blockbuster roles, with some occasional offbeat voicework thrown on top. (He is the best part of Godzilla x Kong: The New Empire, and we will not be taking questions at this time.) Stevens has a half-dozen projects currently in the works, ranging from another Godzilla movie to playing a serial killer on the most recent Dexter revival. But it’s his next role that feels strangely familiar — if only thanks to the disturbing nature of its setting.

Stevens will lead the new installment of AMC’s critically acclaimed horror franchise, The Terror. Subtitled Devil in Silver, the series will adapt Victor LaValle’s book of the same name and is something of a swerve from its predecessors in that it’s a contemporary story versus a period piece. (Season 1 followed a doomed 19th-century Arctic expedition, while season 2 was set in a Japanese internment camp in California during World War II.)  

Stevens plays Pepper, a working-class man who is unjustly committed to New Hyde Psychiatric Hospital, an institution filled with the kinds of people society vastly prefers to forget. But something darker is hidden in one of the institution’s locked wards, and in order to escape, Pepper will have to confront both the monstrous entity that seems to feed on the suffering of others — and the demons inside himself.

One part horror thriller and one part furious takedown of the inequities inherent in America’s mental health system, LaValle’s novel wrestles with questions of faith, race, and class through familiar genre tropes. It’s also a fairly familiar position for Stevens to be in as an actor, who has found himself unwillingly snared in a mental institution once before. 

Granted, FX’s critically acclaimed X-Men series, Legion, was a very different sort of story and David Haller was a very different sort of leading role. But its cadre of colorful patients, questions of reality and mental capacity, and threats of a constantly creeping evil seem fairly similar if a bit more supernaturally tinged than mutant-focused this time around. (Legion, by the way, is all-around excellent, and if you’ve never seen it before, please fix your life immediately.) 

LaValle is serving as co-showrunner alongside Halt and Catch Fire’s Chris Cantwell, and the series’ stacked cast includes such familiar faces as Judith Light, CCH Pounder, Stephen Root, and Aasif Mandvi.

The Terror: Devil in Silver premieres on AMC+ and Shudder on May 7.

Anne Hathaway’s ‘Wrecking Ball’ Lip Sync Win Paved the Way for Mother Mary Reign

David Lowery has a rule. Someone isn’t cast in his films until he meets them for the first time. “That really is always what seals the deal,” the filmmaker confides when we catch up on the eve of the release of his new A24 pop star spookfest, Mother Mary. “Like you have a conversation with someone.”

Yet the filmmaker, whose singular taste for casting led to him tapping Dev Patel as Sir Gawain in the hallucinatory and devilish The Green Knight, and landing Robert Redford in his final starring role, The Old Man & the Gun, has a confession to make when it comes to Anne Hathaway. He already had a pretty good idea she would be the Mother Mary after seeing her completely dominate a Miley Cyrus anthem a decade ago on a now defunct Spike TV reality competition.

“I won’t lie that watching her do ‘Wrecking Ball’ on Lip Sync Battle, I was pretty sure that she would be able to hold her own on a stage in front of hundreds of people,” Lowery says with a sheepish smile.

Indeed, in the iconic viral video and much discussed sequence, Hathaway squared off with longtime friend and Devil Wears Prada co-star Emily Blunt by launching herself onto a literal wrecking ball and swinging it across a crowded studio audience for a sequence clearly designed to wow TikTok before the Chinese video platform was even a thing.

It’s also of a piece with the much darker Mother Mary, a film that enters the pop music arena with a sullen and troubled disposition as the titular pop star played by Hathaway, Mother Mary, is driven to distraction and regret when one night she shows up on the front door of her estranged best friend, and one-time costume designer, Sam (Michaela Coel). The diva has a request to make about a dress… as well as a confession: one night, not so long ago, she saw a ghost. And it’s been by her side every night since.

While developing the iconography and look of Mother Mary, Lowery, who also wrote the film, admits he looked to pop stars past and present to understand the lifestyle.

“None of us knew what being a pop star was like, so we turned to the plethora of documentaries that exist to fill in the blanks for ourselves,” Lowery explains. “We turned to everything from Madonna’s Truth or Dare back in the ‘90s to, for me, a huge one was Taylor Swift’s Reputation tour film that was on Netflix. All of these influences went into the cauldron, but then we were also always trying to think of how we can make the sort of platonic ideal of a pop star—a pop star who can represent all things for all people.”

He adds, “For that purpose, we looked away from music and turned to fashion. We turned to other forms of iconography, including of course religious iconography, to try to figure out what this particular pop star’s language was.”

Curiously, Lowery seems to omit the one most obvious influences on Mother Mary: Lady Gaga, an iconoclastic artist that like Mary in the film is renowned for her extreme fashion choices and dabbling in Catholic imagery. Although Hathaway’s Catholic imagery takes on an added menace in the horror-adjacent context of the film. Even then, however, the filmmaker is quick to point out there is an intentional irony since he and Hathaway strove to make the woman under the dress seem soft-spoken and shaken to the point of humility.

“I find a lot of corollaries between the two sides of that coin that apply both in this movie and in life,” Lowery says of the duality between horror and religion, the frightening and the divine. “One of the important things for me when I was making this was to distinguish between the tone of the movie, as it relates to art and pop and pop culture, and the tone of Mother Mary the character. Because there’s an intersection of the two, certainly, but they are two different things. The tone of Mother Mary was less outra. She’s a pop star who embraces her audience in a very specific way, and the movie has a much thornier quality to it than she herself does, and it was really important to find that balance.”

Finding it with Hathaway, his very own wrecking ball, was also key to making the film sing.

“The journey of creating this character was so intense,” says Lowery. “I think for both of us, I just was left with nothing but gratitude that Annie took it so far. I asked for 100 percent, and she came back with 200. I never knew what 200 looked like until I met her, and that was an incredible gift that she gave not only to this movie, but gave to me.”

Mother Mary is in theaters on Friday, April 17.

It’s Probably a Miracle That the Good Omens Finale Exists

To quote another popular genre series: The universe is vast and complicated and ridiculous. And sometimes, very rarely, impossible things just happen, and we call them miracles. That’s a line from Doctor Who, but the sentiment basically applies to the third and final season of Prime Good Omens, a project that many of its most ardent fans feared might never actually see the light of day. 

Sexual misconduct and assault allegations against creator Neil Gaiman, one-half of the writing duo who penned the original novel, paused early production on the series’ third season, and all signs indicated that Good Omens could well join the ranks of several other cancelled shelved projects connected to the author (see also: Dead Boy Detectives, The Graveyard Book, and Anansi Boys). Gaiman has repeatedly denied the allegations, but behind-the-scenes scuttlebutt definitely hinted that the show came within a hairsbreadth of being cancelled entirely.

Gaiman eventually did step back from the production to allow its final outing to go forward, though in a somewhat truncated fashion: Its original six-episode runtime was cut down to just a single 90-minute movie. But as recently as June 2025, even star Michael Sheen admitted he wasn’t sure that anyone would ever actually see it

The good news is that Good Omens will get its proper ending this May, though there’s almost no way to completely separate the project’s conclusion from the dark, uncomfortable cloud that has surrounded the finale’s creation. It’s been almost three years since the season 2 finale dropped its devastating cliffhanger, so on some level, it’s a comfort to know that our last glimpse of Sheen’s angel Aziraphale and David Tennant’s demon Crowley won’t be that heartrending break-up that saw them finally kiss before seemingly being separated forever. Will the feature be everything that fans wanted? Of course not. But given that it seemed pretty likely for a good long while that they wouldn’t get anything, the Ineffable Plan probably deserves some credit for achieving this much.

The trailer indicates that the finale will most likely speedrun through many of the plot points that had been previously hinted at: Aziraphale and Crowley must overcome their estrangement to thwart yet another apocalypse, this time in the form of the Second Coming. Extraordinary stand-out Bilal Hasna has been cast as Jesus, who appears to have gone missing from the heavenly realm. And something called the Book of Life also appears to have vanished. 

Many of these plot beats echo the madcap romp feel of the show’s first season, which saw our favorite celestial duo attempting to track down the Antichrist. Maybe everything really does come full circle in the end. And, of course, we’re all assuming that Aziraphale and Crowley will finally have to confront their feelings for one another (and probably kiss again, if the series’ love of rom-com tropes are anything to go by). That’s a lot to cram into 90 minutes. But, heck, maybe the show can actually pull it off. It’s done the seemingly impossible before.