TV Premiere Dates: 2026 Calendar

Wondering when your favorite shows are coming back and what new series you can look forward to? We’ve got you covered with the Den of Geek 2026 TV Premiere Dates Calendar, where we keep track of TV series premiere dates, return dates, and more for the year and beyond. 

We’ll continue to update this page weekly as networks and streamers announce dates. A lot of these shows we’ll be watching or covering, so be sure to follow along with us! 

Please note that all times are ET. 

Note: These are U.S. releases. For upcoming British releases, head on over here.

DATESHOWNETWORK
Wednesday, April 8Trust Me: The False ProphetNetflix
Wednesday, April 8The Boys Season 5Prime Video
Wednesday, April 8The TestamentsHulu
Thursday, April 9Big MistakesNetflix
Thursday, April 9BandiNetflix
Thursday, April 9Hacks Season 5HBO Max
Thursday, April 9The Miniature WifePeacock
Friday, April 10Temptation Island Season 2Netflix
Friday, April 10Turn of the Tides Season 3Netflix
Saturday, April 11Fist of the North StarPrime Video
Sunday, April 12At Home With the Furys Season 2Netflix
Sunday, April 12The Audacity (9:00 p.m.)AMC
Sunday, April 12Euphoria Season 3HBO
Tuesday, April 14CrooksNetflix
Tuesday, April 14The Dark WizardHBO
Tuesday, April 14You Don’t Know Where I’m From, DawgParamount+
Wednesday, April 15Fake Profile Season 3Netflix
Wednesday, April 15Made With LoveNetflix
Wednesday, April 15Million Dollar Secret Season 2Netflix
Wednesday, April 15The Law According to Lidia Poët Season 3Netflix
Wednesday, April 15Margo’s Got Money TroublesApple TV
Wednesday, April 15Love Island: Beyond the Villa Season 2Peacock
Thursday, April 16Beef Season 2Netflix
Thursday, April 16DandelionNetflix
Friday, April 17RoommatesNetflix
Friday, April 17American GladiatorsPrime Video
Saturday, April 18We Are All Trying HereNetflix
Sunday, April 19From Season 4 (9:00 p.m.)MGM+
Monday, April 20Funny AF With Kevin HartNetflix
Monday, April 20KevinPrime Video
Monday, April 20Sullivan’s Crossing (8:00 p.m.)The CW
Tuesday, April 21UnchosenNetflix
Wednesday, April 22This Is a Gardening ShowNetflix
Wednesday, April 22Million Dollar Secret Season 2Netflix
Wednesday, April 22SantitaNetflix
Wednesday, April 22Sold Out on YouNetflix
Wednesday, April 22Criminal Record Season 2Apple TV
Thursday, April 23Stranger Things: Tales from ’85Netflix
Thursday, April 23Running Point Season 2Netflix
Thursday, April 23FlunkedNetflix
Thursday, April 23Half ManHBO
Friday, April 24Naughty Business (Cochinas)Prime Video
Friday, April 24New Bandits Season 2Prime Video
Monday, April 27Straight to HellNetflix
Tuesday, April 28My Killer Father: The Green Hollow MurdersParamount+
Wednesday, April 29The House of the SpiritsPrime Video
Wednesday, April 29Widow’s BayApple TV
Thursday, April 30Man on FireNetflix
Monday, May 4Lord of the FliesNetflix
Thursday, May 7M.I.A.Peacock
Friday, May 8UnconditionalApple TV
Monday, May 11Regular Show: The Lost TapesAdult Swim
Tuesday, May 12Devil May Cry Season 2Netflix
Tuesday, May 12U.S. Against the World: Four Years With the Men’s National Soccer Team (9:00 p.m.)HBO
Tuesday, May 12The Punisher: One Last KillDisney+
Wednesday, May 13Off CampusPrime Video
Friday, May 15Berlín and the Lady with an ErmineNetflix
Friday, May 15Rivals Season 2Hulu
Friday, May 15Dutton RanchParamount+
Thursday, May 21The BoroughsNetflix
Sunday, May 24Rick and Morty Season 9 (11:00 p.m.)Adult Swim
Wednesday, May 27Spider-NoirMGM+
Thursday, May 28The Four Seasons Season 2Netflix
Friday, May 29Star CityApple TV
Wednesday, June 3The Legend of Vox Machina Season 4Prime Video
Sunday, June 7The Vampire LestatAMC
Thursday, June 11Sweet Magnolias Season 5Netflix
Friday, June 19Sugar Season 2Apple TV
Thursday, June 25Avatar: The Last Airbender Season 2Netflix
Friday, June 26Life, Larry, and the Pursuit of Happiness (9:00 p.m.)HBO
Thursday, July 9Little House on the Prairie Season 1Netflix

If we’ve forgotten a show, feel free to drop a reminder in the comment section below!

Want to know what big movies are coming out in 2026? We’ve got you covered here.

From Méliès to Apollo 13: The Best Moon Movies

Humanity’s interest in the moon has never really wavered. This year’s Artemis II mission has proved that we’re still just as fascinated by space travel and exploration as we’ve ever been, and cinema has always been there along the way to help us imagine not just what it’s like to lift off into space, but the weirdness and isolation of actually being there.

Let’s take a look at some of the best moon movies ever made (and some that are so bad they’re good) as we travel to the moon and back.

Moon

Sam Rockwell dominates the screen in Duncan Jones’s directorial debut, Moon. It’s a showcase for the beloved yet still underrated actor, playing several versions of a miner working on the far side of the moon who, after three years of a solitary lunar shift, starts to question his reality. Featuring a haunting score by Clint Mansell, Moon is minimalist but atmospheric, and the answer to the slow-burning mystery surrounding Sam’s true nature lingers long after the credits roll, showing you can still make an enduring sci-fi movie on a low budget.

Apollo 13

Docudrama Apollo 13 features a stacked cast, with Tom Hanks, Kevin Bacon, the late Bill Paxton, Gary Sinise, Ed Harris and Kathleen Quinlan all on top form. The movie follows the Apollo 13 astronauts, who suffer an explosion on board their ship during a mission to the moon. On the ground, NASA has to find a way to bring the astronauts back safely. Ron Howard’s 1995 flick boasts impressive technical accuracy as it intercuts the action with actual news footage from the incident to recreate a powerful moment from the past in painstaking detail.

Moontrap

Cult movie Moontrap is pure pulp of the best kind, as Star Trek’s Walter Koenig and Bruce “Evil Dead” Campbell team up for a search-and-destroy moon mission to take out some killer cyborg alien…things. The details aren’t important. What’s important is that Moontrap is unapologetic, campy 80s sci-fi with neat practical effects and fun creature designs. It ticks along at a great pace until its 92 minutes are up, at which point you’ll wonder if it has a sequel. It does, and about twelve people have seen it; you could be lucky number 13!

First Man

Long before Project Hail Mary, Ryan Gosling went to space as Neil Armstrong in this thoughtful biopic that charts the years leading up to the Apollo 11 mission. First Man isn’t too interested in flashy sequences, preferring to linger on the isolation and psychological cost of being an astronaut during a dangerous time for space exploration, and Gosling puts in a restrained performance leading up to an unforgettably emotional scene on the surface of the moon. The movie might not have had the impact of Damien Chazelle’s other acclaimed movies, like La La Land and Whiplash, but it’s largely successful in telling Armstrong’s story from a new perspective.

Outland

Peter Hyams had already directed Capricorn One (an almost-moon movie) when he took on Outland, a gritty sci-fi thriller about a federal marshal (Sean Connery) trying to control mining colony chaos on the Jovian moon of Io (why restrict this list to Earth’s moon when there are so many more moons available?!) There’s some strong worldbuilding in this noirish tale, which follows Connery’s marshal as he begins to investigate some strange deaths with the help of the colony’s ballbusting doctor (Frances Sternhagen). It’s High Noon on Jupiter’s moon—what’s not to love?

A Trip to the Moon

A Trip to the Moon, or Le Voyage dans la Lune if you prefer (merci beaucoup) was the original moon movie. Director Georges Méliès was moved to make it after reading Jules Verne’s novels From the Earth to the Moon and Around the Moon, and in his short, silent film, we track a group of plucky astronomers who fly right into the moon’s eye like a big pizza pie, only to discover a group of underground lunar aliens who don’t take too kindly to the interruption. Boasting innovative early special effects, the film’s whimsical ideas of space travel might seem a bit silly now, but they understood, on some level, that the sci-fi genre was going to be big, even if it took a while to properly catch on.

Avatar

Probably the biggest, most ambitious, and most expensive movie on this list, Avatar is the franchise that just won’t die, and it all started with James Cameron’s first movie about the habitable moon of Pandora and a very human threat to one of its local tribes, the Na’vi. When veteran Jake Sully is recruited to explore Pandora in a Na’vi-human hybrid body (the titular avatar) things go unexpectedly sideways for the human forces who are determined to mine the moon for its rare unobtanium mineral—they simply did not foresee Sully falling in love with a local, and that’s on them.

Destination Moon

It was a long time before cinema began to imagine what a real trip to the moon might be like, but in 1950, with the help of author Robert A. Heinlein and magnificent Technicolor, Destination Moon told the story of a group of American industrialists who had to privately fund and build a rocket to reach the moon, effectively bypassing government hand-wringing and bureaucracy. In the 21st century, the movie feels oddly prescient as private aerospace firms take the lead in developing rockets and space systems, with NASA and the U.S. government increasingly dependent on them.

Fly Me to the Moon

If you’re looking for something a little different, Apple’s historical rom-com Fly Me to the Moon is a pleasant love letter to NASA featuring two bankable, charming stars. In the most recent film on this list, marketing whizz Kelly Jones (Scarlett Johansson) and NASA launch director Cole Davis (Channing Tatum) wrestle with the idea of falsifying an Apollo 11 moon landing just in case the real one goes horribly wrong.

Moonfall

Look, not every sci-fi movie needs to be realistic, or even good! Sometimes you’re just in the mood for some absolute nonsense, and who better positioned to deliver some absolute nonsense than the man behind Independence Day and 2012? In Roland Emmerich’s box office flop Moonfall, two astronauts and a conspiracy theorist discover some weird shenanigans going on with the moon when it drifts out of orbit. To say any more about the plot (such as it is) would spoil some truly ludicrous twists and turns, but this cheesy B-movie is definitely worth a watch if your standards aren’t too high and you just want to watch some good old-fashioned CGI disaster scenes.

Family Movie Turns Kevin Bacon and Kyra Sedgwick’s Real Lives into Cinematic Horror

Kevin Bacon and Kyra Sedgwick have been on our screens for so long that we almost feel like we know them. And with their daughter Sosie starring in Smile and son Travis composing music for films such as Space Oddity and Carry the Darkness, the entire family is coming to us via screens big and small. So when all four of them work together in a movie—a film titled Family Movie, in fact—audiences cannot help but think they’re getting a glimpse into the real people.

Audiences would be wrong. “We don’t play ourselves in the movie,” Kevin Bacon tells Den of Geek, after Family Movie debuted at SXSW. But he does allow that he and his wife do spend a lot of time filming their experiences. “We are a weird sort of family,” he adds. “We have a lot of home videos, and we’ve worked in all kinds of formats, starting with VHS and VHSC, and then going to miniDV. There are piles and piles of them sitting in our family.”

Despite what movie audiences might think, Family Movie does not take place in that living room. Instead, it takes place during the production of a low-budget slasher created by a filmmaking family. When real people start dying, the family realizes that the line between fact and fiction has become horrifically blurry.

According to Sedgwick, inspiration came not from family experience, but from the needs of the moment. “It was really a matter of practicality,” she explains. “During COVID and the double strikes, we started to think about what we could do that didn’t need a lot of people and didn’t need permission. We thought of a family that makes horror movies together because we thought it was kind of funny.”

“We pitched [screenwriter] Dan Beers the idea of a family making horror movies,” Kevin elaborates. “He did Zoom meetings with all of us individually and not only asked us to talk about ourselves, but also to talk about each other.

“So he gathered all this information, and when we got the first draft of the script, we were like, ‘Holy shit, how did you even know that?’ And it’s not pieces of dirt, but ways of being: language, our ways of relating to each other. He really picked up on something.”

That level of attention to the family interactions allowed the cast to provide input throughout the filming process, as seen in a dance performed by Sosie’s character.

“I spent an embarrassing amount of time choreographing it, and then we spent an embarrassing amount of time rehearsing it,” she says, laughing. “But it’s really fun, and ended up being a cool part of the movie.”

“I think the movie definitely reflects all our personalities individually, and how we relate to each other,” says Travis. “But we’re still acting, we’re playing characters.”

“We’re not playing ourselves,” interjects Sedgwick, more definitively.

And yet, the very fact that they’re making a horror movie reflects a very real fact about the family and its relationship to the genre.

“Travis wanted to get me into horror probably before I was quite ready for it. He’s three years older than me and he was obsessed with it,” says Sosie. “We had some fights about the Halloween mask he would torture me with.

“But as the years went on, I did come around to it. Now, he’s my horror inspiration. He always has me over to his house, and we watch horror movies together.”

“I feel like it’s something that was more pushed toward me,” reveals Travis. “Of course, when I was interested in it, I went to my folks for suggestions, and they were all good suggestions.”

“Yeah, but we didn’t show you Friday the 13th,” Kevin interjects, referring to the 1980 movie that saw him play a teen who gets killed by Jason. “Because they didn’t look at our movies at all. Any of our movies, not just Friday the 13th.”

“We just went right into Freddy vs. Jason,” quips Travis.

And with that playful shot at his dad’s film, Travis reminds us that no matter how much they insist that they’re playing characters, Family Movie absolutely still reflects aspects of the Bacon family.

Family Movie premiered March 13 at the SXSW Film & TV Festival.

20 Nerds Share the Nerdiest Moment of Their Life

What qualifies as a nerd nowadays? It seems the term went from a derogatory description to a near compliment, yet not everyone ‘nerds out’ about everything they like. To actually have a moment of, let’s say, nerditude, you need to not only be knowledgeable about a topic, but so much so that it goes from fun quirk to concern raiser.

This reddit thread shows the nerdiest redditors at their best, and we’ve compiled them up here. Look in awe as the nerds of reddit share the moments where they, too, realize how much of a nerd they truly are.

Nuclear Explosion Tier List

This reddit poster not only knows several nuclear testing sites by heart, he can visually differentiate each mushroom cloud at a glance. Some people have podcasts in the background, this user seems to have nuclear explosions on a loop.

Fresh Prince of Manliana

While the hit TV series The Fresh Prince of Bel-Air was memorable for a multitude of reasons, its theme song is one of the most endeering parts. Hence why it’s no wonder a redditor used it as a baseline to recreate Cicero’s oration against Cataline in 63BC.

Star Wars Fan Smacks Someone Over Spoiler

Star Wars fans take their plots very seriously, but no one gets into any kind of physical agression unless the situation is too critical. But if you see someone in full costume, waiting for hours in line to watch the first of the prequels, you shouldn’t spoil the ending to them. You’ll be in danger of getting smacked right across the face.

A Real Rail Gun

Yes, rail guns are real, not just a neat weapon from a videogame. It’s kind of way they all look the same, with the two horizontal metal bars that seem to electrically shoot something. It has more to do with magnets, and a redditor made the real deal just for an electronics degree.

Dota: Dragon's Blood Mirana

Calling Friends By Their Gamer Tag

Gaming can create real relationships, but more often than not, you’ll be calling those friends by the name you met them as. This is why, when a redditor met a lot of his online friends in the flesh (during a DOTA 2 tournament), they decided to just stick to their game names instead. Hopefully, they weren’t too silly.

Intense LARPing Session

There’s nothing wrong with a bit of roleplay, especially when everyone is on board with it. A redditor told the story of how he was introducing a friend to the concept, but were caught by a friend who thought they were doing ‘something else’ behind closed doors. They were so embarassed they were caught, that they might as well have been doing something more ‘intimate.’

A Wild D&D Party

Dungeons & Dragons might not be the nerdiest hobby you can have, but it is certainly one of the most popular ones. Collegue students were enjoying a (quite noisy) D&D session when campus police busted in thinking they would find alcohol and who knows what else, but they only found oddly-shapped dice.

No Flirting Noticed

When trying to flirt with a nerd, the main thing you’ll need is clarity. If you ask them to help you with, say, a programming class final project (as a redditor tells it), they won’t notice your advances as they are too focused explaining the subject to you. This redditor only knows about it due to them being told after the fact.

Dragon Ball Z - Best Battles

Dragon Ball Z Life

One redditor tells the story of how he was spending an amazing afternoon with a friend, playing Dragon Ball Z games and listening to Dragon Ball Z music in the background. Eventually, they check their phones only to realize they both had several missed calls. The phones weren’t silenced, but both of them had some Dragon Ball Z song as a ringtone, and it blended into the background.

Battle Tag Dating

Many of these stories are about dating, a crucial part to realize just how much of a nerd someone is. When a particular redditor was asked for their ‘sc,’ their gamer instinct kicked in and they assumed StarCraft. So they gave that person their Battle Tag. They were asking for their Snapchat.

Gary Gygax Obituary

When Gary Gygax passed in 2008, many D&D nerds wanted to pay homage to the father of their hobby on their own way. Two particular nerds went to the woods, drew a pentagram, proceeded to light a symbolic fire and drink soda from a plastic goblet. That is either someone’s nerdiest moment or the start of a succesful witchcraft career.

Jedi Safe Word

Nerding out about a topic can be overwhelming for people who don’t know the subject. One redditor comments how a friend had them develop a ‘safe word’ for when they were taking their fanatism too far. Too bad they didn’t share what that word was… probably something regarding 66.

No Girlfriends Allowed

When your nerdy boyfriend tells you he has a 16-person Halo LAN party planned, know that it isn’t that kind of party. The redditor says that, although warned, his girlfriend at the time showed up and it ended up why they broke up.

Dog Quest

Contrary to popular belief, dogs don’t know English. But they do pick up certain words, particularly the ones that involve food or going out for a walk. Well, one redditor taught their dog an entire phrase, so when the dog hears “we’re going on a quest,” it knows it means going out for a walk.

Battlefront LARP

A camp counselor organized a Battlefront LARP session with middle schoolers, using pool noddles as light sabers, and got so into it that he organized background music and speeches to go with it. He even joined the action, and considering they were over 30 kids, the main feat was keeping the event in check.

Binary Cake

A redditor was out with his wife looking for birthday candles, and she was turning 32. Not old by any means, but certainly too many candles to put on a cake, unless you find candles shapped like a 3 and a 2. The redditor went with 6 regular candles, and only lit the first. Because 100000 in binary is 32.

Ancient CD

This one is less about being a nerd and more about being old, but one redditor is particularly proud of a scar on their ankle. It was from repeatedly changing CDs from the tray on the computer, which used to be on ankle level back in the stone age.

Steamy Tutorial

After dating for a week, a redditor tells the story of how him and this girl ended up getting real close at his house. Yet before things could escalate, she asks about the Magic the Gathering cards on his shelf. They ended up playing several games before anything else happened, yet somehow that wasn’t the end of the relationship.

Unit of Measurement

Potatoes can be used for a lot of things, and according to a redditor, as a unit of measurement as well! It seems that a lot of nerdy reddit users do this, since many have gathered around this post and shared how they measure things in snails, cats, and even toasts.

Strange Pet

Having an axolotl as a pet is, while weird, not the most nerdy thing in the world. What is nerdy is hosting entire lectures about their physiology, relationship to Aztec myth and culture, Aztec mythology and the Spanish conquest of Mexico. All from the slightest of prompts.

Batman v Superman: Dawn of Justice – A Decade Since Fandom Broke

There was a time, not so long ago, when the mere thought of “fandom” filled folks with joy. Or at least amusement. In our modern world, where everything’s oversaturated by fine, algorithm-tuned hater content on YouTube, manosphere misanthropy on X and Reddit, and review-bombing at Rotten Tomatoes and Letterboxd, it is sometimes hard to remember those early “Wild West” days of the internet. But back then, and even during a good chunk of the 2010s, fan culture was seen as a unifying force by the converted, and a harmless pastime by the agnostic. It was never fully a source for division and despair.

There are many flashpoints that led to this transition from the geek’s golden age to a modern era of acrimony and internecine conflict in which the definition of “true fans” is constantly drawn into question. The first large-scale attempt to drive fan complaints and grievances toward coordinated bigotry (often with heaps of misogynistic harassment baked in) was “Gamergate” in late 2014. And for casual, non-terminally online civilians, it probably became a more recognizable in the aftermath of Star Wars: The Last Jedi, a movie which grossed $1.3 billion, earned glowing reviews, and still left online Star Wars fans so frenzied that small portions harassed its female stars until they left social media… and Disney cravenly caved to their demands in the sequel by minimizing the non-white characters and largely undoing everything transgressive about The Last Jedi.

And yet, in lieu of last month’s 10th anniversary milestone for Batman v Superman: Dawn of Justice coming and going, I think it’s worth acknowledging how this decade of decline started becoming undeniable following this very specific kind of pop culture car wreck. Before the spring of 2016, online nerdiness was generally seen as a form of escapism. Afterward, superhero movies, and soon enough pop culture writ large, became just another battleground in the ceaseless culture wars that plague us to this day.

Unto itself, Batman v Superman, nor the people who made the film, including director Zack Snyder and screenwriter Chris Terrio, can be blamed for this fan reaction (at least in 2016). To their credit, they sought to make a more ambitious epic than what had quickly become the superhero movie boilerplate of the 2010s thanks to the glut of Marvel Studios films. If Marvel movies were uniformly light, colorful (if in costume and not cinematography), and defined by a sense of winking self-effacement that frequently undercut any dramatic heft in favor of nudge-nudge easter eggs, then Snyder sought to make BvS grandiose, operatic, and endlessly dour.

Despite Superman and Batman often being contrasted by their varying sense of light and dark, hope and gloom, in the comics, Snyder’s vision of the DC Universe was uniformly gray, oppressive, and frankly nihilistic. Heroism is treated as a fool’s errand, with no less than the Man of Tomorrow glumly conceding at one point to Lois Lane that “no one stays good in this world.” Batman v Superman wanted to be aggressively “adult,” but that aggression came across more as adolescent angst to many critics at the time (including myself). It certainly suggested a more thoughtful world of realpolitik consequences for superheroes, with Superman at one point being subpoenaed to appear on Capitol Hill before a hostile committee hearing—albeit the way Snyder glibly then blows up that institution in the film’s second ham-fisted attempt to evoke 9/11 comes off less profound than it does desperate.

Indeed, that gap between aspiration and actual achievement is one of the reasons BvS remains so divisive to this day as simply a film. Critics largely loathed it, with the film still sitting at a bleak 28 percent on Rotten Tomatoes, and general audiences were not far behind. In spite of opening at a gargantuan $166 million, the film dropped an astounding 69.1 percent in its second weekend, suggesting an unsatisfied audience—and for that matter studio, which in the pre-COVID 2010s expected every major superhero event to be able to cross $1 billion like The Dark Knight Rises did four years earlier. Instead BvS tapped out at $874 million and was perceived as a disappointment by WB. (An irony now since the newest Superman movie is considered a success after crossing $600 million in 2025.) 

To be sure, WB had good reason to fret. As strongly hinted by its unwieldy title, Batman v Superman: Dawn of Justice was intended to be a clumsy shortcut to the studio’s very own Avengers movie, with two such Marvel crossovers in the previous four years already grossing $2.9 billion between them. But the general mainstream audience reaction to BvS was so sour that, sure enough, the following year’s Justice League was received with a shudder of indifference in the marketplace. The film opened to $93.8 million—a disastrous 44 percent down from Batman v Superman—and ultimately grossed only $661.3 million worldwide. This was a year after Marvel’s own nominal “Captain America vs. Iron Man” movie picked up a cool $1.1 billion, and barely six months removed from the next official Avengers movie grossing $2.1 billion in 2018.

Speaking purely in dollars and cents, the “DC Extended Universe,” or whatever else you want to call it, had been a commercial disappointment up to that point.

However, fandom (thankfully) is not defined purely by dollars, cents, or corporate bottom lines. It springs from what people like, and a healthy subset of DC fans liked Batman v Superman, and Snyder’s Man of Steel too. Some even came of age when these movies were in theaters and found nostalgic value in all of the above, and hell, David Ayer’s helter-skelter Suicide Squad too!

So they had reason to be disappointed in the fact that WB effectively “canceled” the DCEU as it was originally conceived by Snyder and screenwriters like Terrio and David Ayer. They perhaps more rightly deserved to be frustrated, too, by 2017’s Justice League being a Frankenstein’s Monster of a production, with Snyder being pressured to leave in post-production during a time of personal tragedy in his life; all so WB could bring in Joss Whedon to rewrite and ghost-direct large portions of the movie into something a little more zippy and tonally discordant with the rest of the picture.

Creatively speaking, fans, and most assuredly Snyder, had good reason to be disappointed with Justice League. The eventual “Snyder Cut” of the production released on HBO Max during the pandemic in 2021 is an assuredly better film (although at an indulgent 242 minutes, hardly the masterpiece his most ardent defenders make it out to be). Still, we’d argue his vision never did connect with a larger audience, and the 2017 cut of Justice League’s bitter opening weekend bears that out. Audiences rejected the movie even before seeing the committee-room compromise that WB had made in a panic.

Beyond the quality of either of these two movies—or three if you count the two cuts of Justice League as effectively separate films—what remains as the greatest legacy of BvS is how it shaped DC fandom, the superhero movie genre, and just fan culture at-large in the decade that followed. The divisive reception to Dawn of Justice wasn’t just a death knell for the DCEU as it then existed, but of any broader sense of online enthusiasm that previously marked the announcement of a new IP-leaning film.

2013’s Man of Steel, also directed by Snyder, was fairly divisive in its own right, but its flaws did not dim the excitement for either BvS or Suicide Squad three years later. Nor was the prequel trilogy of Star Wars films in the 2000s—hardly critical triumphs in their own time—treated as an albatross around the 2010s’ shiny new Star Wars trilogy from Disney. At least not at first.

Admittedly the quality of these 2010s studio tentpole extravaganzas played a big role in the shifting tastes of audiences—personally I cannot think of many worse geek-targeted spectacles than The Rise of Skywalker or Justice League—but it is fair to argue fan culture itself changed for the worse in the aftermath. Not only would Justice League be judged for the sins of BvS and the studio that abandoned its director in its aftermath, but so would every DC film released henceforth.

To this day, a small but vocal contingent of online fans persist in posting daily on X, Reddit, or their neighborhood HoA boards about how much they hate the new James Gunn Superman films because they don’t star Henry Cavill as an Ayn Randian Übermensch. And no Star Wars film, TV show, or lunchbox can be announced or released without preemptive backlash on TikTok. 

In this course of things, fandom has changed from being a refuge for nerds to another exhausting outlet for purveyors of conflict. Indeed, as first teased by the Gamergate episode of 2014/15, bad faith opportunists and political hacks can make entire careers out of gaming YouTube algorithms with content designed to enrage and radicalize, often by perceiving any fan-friendly film or TV show starring a woman or person of color as an attack on (white) culture and therefore “tragic.” And to be sure, this early-20th century, Aryan-coded view of Western culture fits snugly with the Batman/Superman film where the Dark Knight muses, “My parents taught me a different lesson dying in the gutter for no reason at all. They told me the world only makes sense if you force it to.”

Maybe, in the end, it’s a good thing if the fandom wars of the last decade teach the next generation not to invest so much of their personality and interest in products owned by corporate entities who have turned out to be quite susceptible to reactionary political pressures. Increasingly, superheroes, Star Wars, and their ilk are perceived as a Millennials-and-up fantasies, with their multigenerational appeal ebbing for the first time in decades as younger gens opt out of dealing with all that fire. Why would you when there’s anime, K-Pop, Minecraft, and Roblox to play with?

Nonetheless, it’s a shame to see what once was a sanctuary for giddy geekiness dragged down into Martha Wayne’s monochrome gutter.

Movie Details That Only Make Sense After You Know the Twist

Some movies are designed to be experienced twice. The first time, you follow the story as it unfolds. The second time, you start noticing everything that was hiding in plain sight. From subtle dialogue choices to background details and character behavior, certain films quietly lay the groundwork for their biggest reveals long before they happen.

These are carefully placed hints that only click once you know the truth. Looking back, it’s often surprising how obvious they seem. These are the details that reward attentive viewers and make revisiting a film feel like discovering it all over again.

The Sixth Sense

Malcolm is never shown interacting with anyone except Cole, and his wife never acknowledges him, details that feel natural until the twist reframes every scene.

Fight Club

Tyler Durden is never seen interacting independently with others, and subtle continuity errors hint at the shared identity long before the reveal.

Shutter Island

Staff members treat Teddy cautiously and speak in coded language, behavior that only makes sense once his true identity is revealed.

The Others

The house rules about darkness and silence mirror the family’s actual condition, and the “intruders” behave like frightened occupants, not aggressors.

The Prestige

Borden’s behavior, including inconsistent mannerisms and relationships, only aligns once the truth about his identity is revealed.

Parasite

The house’s architecture and layout subtly foreshadow hidden spaces, with early scenes quietly setting up the basement reveal.

The Usual Suspects

Verbal Kint’s story pulls details from objects around him, which only becomes obvious after the final reveal of his identity.

Memento

Leonard’s confidence in his system clashes with small inconsistencies, which gain meaning once his self-deception becomes clear.

Black Swan

Hallucinations and shifting realities appear subtle at first, but later clarify that many interactions may not have happened as shown.

Arrival

Scenes that appear to be flashbacks are actually glimpses of the future, recontextualizing the entire emotional structure of the film.

The Village

The creatures’ limitations and the elders’ behavior only make sense once the true nature of the setting is revealed.

Oldboy

The protagonist’s interactions and emotional reactions take on a disturbing new meaning once the truth behind his imprisonment is revealed.

The Game

Strange coincidences and escalating events feel chaotic until the twist reframes them as orchestrated elements of a controlled experience.

Donnie Darko

Seemingly random events and cryptic dialogue gain coherence once the film’s time loop mechanics are understood.

The Machinist

Trevor’s paranoia and physical decline are filled with clues that point toward his guilt, only fully understood after the reveal.

Hereditary

Background details, symbols, and character behavior quietly foreshadow the film’s outcome, becoming much clearer after the ending.

The Book of Eli

Eli’s behavior and combat style hint at his condition, details that only fully make sense once the twist is revealed.

20 People Share Their “10/10, No Notes” Movie

There is no such thing as a “perfect movie,” since the people that make films are just as human as you and I, and we are all prone to mistakes. We are also prone to like things more than others, so while there might not be an objectively perfect movie, there might be one for you.

At least that’s what the people in r/AskReddit think, since when prompted, they all simply answered what their 10/10 movie was. Below are my picks for best movies from that post, since I’m just as biased as all those redditors are.

Alien

A horror, sci-fi and survival thriller that nails all aspects of those genres and builds upon them. Not only a birth of a franchise, but with no wasted scenes, it is a masterclass of cinema.

Rachel McAdams in Mean Girls

Mean Girls

A constant source of comedy gold, it even had a musical remake/sequel in 2024. Still, nothing holds up like the original, with quotable lines that remain as fetch as ever.

My Cousin Vinny

A courtroom comedy that balances humor and legal accuracy, with sharp dialogue and standout performances that make every scene feel purposeful and endlessly rewatchable.

The Emperor’s New Groove

Fast-paced and relentlessly funny, the film wastes no time, delivering constant jokes, memorable characters, and a tone that never overstays its welcome.

The Incredibles

A rare superhero film that blends family drama with action, maintaining strong pacing and emotional stakes while delivering one of Pixar’s most cohesive stories.

The Princess Bride

A perfect mix of romance, comedy, and adventure, with endlessly quotable dialogue and a story that appeals equally to kids and adults.

Matilda

A charming adaptation that balances dark humor with heartfelt moments, anchored by strong performances and a tone that respects its young audience.

Terminator 2: Judgment Day

A sequel that surpasses the original with groundbreaking effects, tight pacing, and a compelling emotional core that elevates its action.

Jurassic Park

Combining practical effects and early CGI, the film delivers awe and suspense, with clean storytelling that keeps tension high throughout.

The Truman Show

A concept-driven story executed with precision, balancing satire and emotion while building toward a satisfying and thought-provoking conclusion.

The Thing

A masterclass in paranoia and practical effects, where atmosphere and distrust drive the tension from beginning to end.

The Shawshank Redemption

A slow-building drama that pays off every setup, delivering emotional resonance and a widely praised, deeply satisfying ending.

The Matrix

Blending philosophy with action, the film introduces a groundbreaking concept and executes it with clarity, style, and lasting influence. Shame it never got a sequel.

Wall-E and Eve Dancing

WALL-E

A largely dialogue-free opening showcases visual storytelling at its best, combining environmental themes with a heartfelt, universally accessible narrative.

Office Space

A sharply observed workplace comedy that resonates through its relatable frustrations, memorable characters, and consistent comedic tone.

Back to the Future

A tightly constructed time travel story where every detail pays off, maintaining momentum and charm from start to finish.

Galaxy Quest

A loving parody that stands on its own, balancing satire and sincerity while delivering a surprisingly heartfelt sci-fi adventure.

The Mummy

A perfect blend of action, horror, and humor, with strong pacing and charismatic leads that make it consistently entertaining.

Pirates of the Caribbean: The Curse of the Black Pearl

A blockbuster that balances spectacle and character work, elevated by a standout performance and a tightly structured adventure.

Puss in Boots: The Last Wish

A sequel that surprises with emotional depth, striking animation, and a story that resonates beyond its fairy tale premise.

16 Films That Changed Their Whole Ending at the Last Minute

Movies often begin production with a firm ending in mind, yet things can change depending on a variety of factors. Behind the scenes, endings can change due to test screenings, studio pressure, or a shift in creative direction late in production. Making these sorts of changes gets quite costly.

These last-minute decisions can completely reshape a film’s message, tone, and impact. What makes it to theaters isn’t always the first version imagined, and in some cases, it’s not even close.

I Am Legend

Originally ended with Neville surviving and realizing the creatures had intelligence, but test audiences preferred a more heroic sacrifice, leading to a reshot theatrical ending. Neither ending has anything to do with the original book’s ending.

Blade Runner

The original cut had a darker, ambiguous ending, but the studio added narration and a happier conclusion using leftover footage from another film.

Fatal Attraction

Originally ended with Glenn Close’s character taking her own life, but after negative audience reactions, the ending was changed to a more violent confrontation.

Get Out

Director Jordan Peele originally planned a bleak ending where Chris is arrested, but changed it to a more hopeful version following early screenings.

Little Shop of Horrors

The original ending had the plant conquering the world, but test audiences disliked it, leading to a reshot, more upbeat finale.

World War Z

The entire third act was rewritten and reshot, replacing a large-scale battle ending with a more contained, suspense-driven conclusion.

Felicity Jones in Rogue One

Rogue One: A Star Wars Story

Extensive reshoots altered the final act significantly, changing character fates and restructuring how the ending connects to the larger franchise.

Scott Pilgrim vs. the World

Originally ended with Scott ending up with Knives, but was changed to Ramona after feedback and alignment with the comic’s conclusion.

28 Days Later

Several endings were filmed, including a darker hospital ending, but a more hopeful conclusion was chosen for the theatrical release.

Dodgeball: A True Underdog Story

Originally, the protagonists lose the final match, but the ending was changed after audiences rejected the downbeat conclusion.

Paranormal Activity

Multiple endings were tested, including police involvement and different character fates, before settling on the theatrical version.

Titanic

An alternate ending featuring present-day characters reacting to the necklace was filmed but cut in favor of a more emotional, streamlined conclusion.

Terminator 2: Judgment Day

A future-set epilogue showing Sarah Connor as an elderly woman was removed to preserve the film’s ambiguity.

Army of Darkness

Different endings exist, including a darker version where Ash oversleeps into a ruined future, replaced by a more upbeat theatrical ending.

Salt

Multiple endings were filmed with different implications about Evelyn Salt’s fate, with the theatrical version chosen late in production.

1408

Several alternate endings exist, ranging from survival to death, with different versions released depending on the format.

The Boys Season 5 Premiere Review: So Close to the Bone It Saws Straight Through It

This article contains spoilers for The Boys season 5 episodes 1 and 2.

When we last saw The Boys at the end of season 4, things were a real mess. Hughie, Frenchie, and Mother’s Milk had been marched off to a “Freedom Camp,” Butcher’s health was deteriorating after taking a concoction of Temp-V and Compound-V, and Homelander had taken over the United States. In the opening two episodes of season 5, things are still a real mess.

As the final season kicks off, a light at the end of the tunnel is quickly extinguished. Annie’s resistance manages to hijack one of Homelander’s events to broadcast footage of his botched Flight 37 rescue mission, only for Vought to spin the horrifying scene as an AI-generated hoax. Homelander, humiliated by the attempted smear, insists on stamping out any ill feeling toward him by convincing Sister Sage that posting derogatory memes about him should be a crime.

Scenes from the Freedom Camp are also grim, as some struggle to keep hope alive under the watchful eye of Supe guards (including the OP Cindy,) along with the frequent beatings they dish out.

Luckily, Butcher formulates a plan to rescue them that includes pulling Kimiko out of Manila and using a tunnel-digging Supe to get them into the camp, but former Seven member A-Train, now a trusted ally, meets his maker in the rescue attempt, hunted down by Homelander after saving Hughie from certain death. RIP to a real one. At least he died mocking Homelander and making him feel like a total waste of space, which is pretty much all we can ask for in a situation like this.

Homelander’s ego takes such a knock that he unthaws Soldier Boy (Jensen Ackles) in a desperate attempt to get some fatherly validation, and a clear softening of the character follows ahead of his upcoming spinoff series, Vought Rising. The camera often lingers on Ackles’s expressive face, showing his inner turmoil rather than focusing solely on his typically crass, dismissive nature.

Homelander then sends him out like a canary in a coal mine to confront Butcher’s Supe-killing virus, which doesn’t work for reasons that will hopefully become clear in the next episode, but also plants a seed of doubt in our minds that it will work on Homelander. Nonetheless, the introduction of Rock Hard during the virus dry run is utterly hilarious, and it’s satisfying to see the lava-jizzing Supe get his comeuppance, even if the virus turns out to be less effective than Butcher hoped.

Since The Boys isn’t setting up a fresh story for the season and is still stitching together season 4 threads as it heads toward its endgame, any new characters will have to make a serious impact. Hamilton star Daveed Diggs is a wise casting choice, adding an immediate presence as Oh-Father, a megachurch preacher in a marriage of political convenience with Vice President Ashley Barrett (Colby Minifie). Ashley is now a mindreader after injecting Compound-V to stay in Vought’s circle of trust, with a whole other version of herself trying to reason with her on the back of her head. It certainly adds to the frantic anxiety we usually associate with Ashley. Her inner struggle is now a physical presence onscreen.

Hubby Oh-Father is also a pedophile in the comics that the show is adapting. There’s no sign of that element of the character here (yet) but he spews all-too-familiar rhetoric against Starlight: her followers are Satanic and they eat babies, he says, immediately linking these lies to their support of transgender surgery. It’s painful to watch because we see it every day on TV and across social media, fuelling discrimination and demonizing marginalized groups. Oh-Father selects lines from the Bible out of context to back up his tirades while his congregation swells with misplaced rage. A spiraling Homelander is even triggered by Oh-Father’s performance, seeing a bright light and hearing a motherly voice calling to him.

It all seems to be teasing a distinctly religious aspect to Vought’s machinations this season, going hand in hand with the company’s unflinching fascism and propaganda. The Boys continues to hold a mirror up to American politics, but its satire feels slightly behind in these first two episodes, rather than one step ahead, which is actually fucking terrifying. A moment where an accused Starlighter is hauled off to a camp in front of their distressed child is chilling.

So far, the dark satire of season 5 is pitch black, perhaps too dark at times to elicit the usual chuckles the show gets from us. As absolute power corrupts the already corrupt, absolutely, the show asks us not to look away, but it’s so close to the bone it saws straight through it.

Lingering Thoughts

Dr. Sameer Shah (Omid Abtahi) is helping the boys with their Supe-slaying virus. Though Butcher has blamed his lover’s death on Homelander, it feels like only a matter of time before Sameer discovers the truth and Butcher’s plan goes tits up.

It’s nice to hear Kimiko speak, but after four seasons without hearing her, it’s a little jarring at the moment. No doubt we’ll get used to it. Kimiko and Frenchie’s long-awaited romantic relationship seems utterly doomed, however, as does Hughie and Annie’s.

Annie has come around to Butcher’s way of thinking, and Hughie’s “Polymorph Rimmer,” major leaflet campaign, give-peace-a-chance witterings have become a bit grating. He probably thought Kendall Jenner’s Pepsi peace offering was heartwarming! Get a grip, Hughie, for fuck’s sake.

Chace Crawford really gives everything to his role as The Deep. His toe-curling, bootlicking brand of cringe never fails to bring a little levity to the show, and his combative working relationship with imposter Black Noir is intriguing.

Not enough is said about how great Valorie Curry is as Firecracker. Her desperation to be Homelander’s trusted confidant is increasing by the second, and Curry is so good at playing the super-religious, people-pleaser type we’ve seen embraced by the administration before being publicly punted by them.

New episodes of The Boys season 5 premiere Wednesdays on Prime Video.

Daredevil: Born Again Season 2 Episode 4 Review – Gloves Off

This article contains spoilers for Daredevil: Born Again season 2 episode 4.

Finally, in the fourth episode of its second season, Daredevil starts to find redemption. No, not Matt Murdock himself, obviously. The Devil of Hell’s Kitchen remains just as mired in guilt as ever, especially as his no-kill rule continues to drive a wedge between Karen Page and himself. Rather, the show Born Again finally finds its feet in a brutal manner, paying off dangling plot threads with a Bullseye kill spree, Fisk showing off his physical might, and the death of a major character.

The appropriately-named “Gloves Off,” written by Chantelle M. Wells and directed by Solvan “Slick” Naim marks a shift from the political maneuvering and legal thumb waddling that has mired Daredevil since he left Netflix and arrived on Disney+. But is this embrace of superhero action enough to atone for the show’s past sins, particularly its dullness?

Let’s start by unpacking the opening scene, a bravado bit of supervillainy that has been a long time coming. Even more than Wilson Fisk, Bullseye is Daredevil’s arch-enemy, an amoral killer with all of the acumen of Matt Murdock and absolutely none of the guilt. He played a key role in Frank Miller‘s reinvention of Daredevil in the 1980s, famously killing Elektra in 1982’s Daredevil #181 and has been a favorite of writers ever since. So it was a bit odd when the Netflix series introduced Wilson Bethel as “Dex” Pointdexter, an FBI agent with the same power set as Bullseye, but not the name, costume, or attitude. Season 1 of Born Again pointed him closer in the right direction, having him kill Foggy Nelson and then go rogue, but he did not fully arrive until the opening of “Gloves Off.”

And what an arrival it is. The scene gestures toward the sweetheart with a psychopath’s mind that Bethel’s been playing since the Netflix days, as Dex walks into a diner, orders a milkshake, and enjoys the pleasant music floating through the air—before gleefully murdering the AVTF thugs who arrive in response to his distress call.

The sequence feels like a release: for Bethel, for the show, and for the audience. Naim indulges in the novelty of Bullseye, who murders people with spit wads, silver wear, and lunch trays. The camera whips around the room with no regard for realism or even proper filmic composition, highlighting the uncanny sensation of Bullseye transforming a Normal Rockwell diner into a killing field. Throughout it all, Bethel maintains a sense of aw-shucks innocence that recalls Tim O’Kelly’s performance in the Peter Bogdanovich movie Targets, an all-American boy committing all-American murder.

The opening scene offers a clean break from the previous episodes of Born Again, in both seasons. While we haven’t completely left behind the political and legal wrangling that has driven the series so far, we now have a proper supervillain for our superhero to fight.

In fact, “Gloves Off” gives us two supervillains, transforming Mayor Fisk back into the Kingpin, the brutish leader who conquered the underworld. This episode climaxes with a much-hyped boxing match between Fisk and some random fighter, a guy who is named and presented as a challenge, but merely exists to get pummeled. And pummeled he is.

Although not quite as ecstatic as Bullseye’s rampage, the boxing match does look incredible (there’s a reason Disney has included it in Born Again‘s marketing). However, the real pleasure comes from the break it provides for Kingpin as a character. For too long, he’s felt caged by his suit and his position, maneuvered into office by his wife Vanessa instead of any genuine desires on his part, outside of the need to win and to impress her. As soon as Fisk enters the ring, he’s back on his terms, all fists and anger.

Which makes the climax of the fight so poignant, and turns the show’s shift into superhero action more than just a descent to base violence. Even more so than in the comics, Vanessa has been Fisk’s connection to polite society. She saw him as something more than a brute, even if she was willing to use his tendencies to advance her own social standing. The joy of Vincent D’Onofrio‘s take on Fisk has been the way he so desperately wanted to believe her vision of him, even if it felt wrong.

When Vanessa turns toward Wilson to reveal the fatal wound, Fisk’s worst fears are confirmed. It’s not just that he’s losing his wife (and that the show is losing a fine performance by Ayelet Zurer). Rather, it’s that the violence of his world overcame the sophistication of hers, killing her in the process.

The fact that Vanessa dies in a morass that involved Fisk at his most violent and the interjection of Daredevil and Bullseye gives Kingpin new motivation for his vendetta against them, in terms that are more clear than they were at the end of last season. In his mind, Daredevil and Bullseye want only destruction, and he’s now ready to give it to them.

That character turn gives “Gloves Off” a clarity that’s been missing from Born Again. However, it remains to be seen if the show will carry this momentum through the political and legal storylines that were set up earlier in the season, or if Daredevil will backslide into the middling TV that it has been so far.

Daredevil: Born Again season 2 streams new episodes each Tuesday at 9 p.m. ET on Disney+.

No More Dark Phoenix! The MCU X-Men Must Stay Away From These Stories

Every day, it seems like we get more news about the upcoming MCU X-Men movie. All signs point to Sadie Sink debuting as Jean Grey in Spider-Man: Brand New Day this summer, Thunderbolts* director Jake Schreier is set to helm the movie, and Beef scribes Lee Sung Jin and Joanna Calo will pen the script, promising plenty of soapy interpersonal conflict.

However, one bit of news does raise some concerns. Speaking with Collider, Schreier confirmed that he and his creative team are already looking towards future sequels. “What are the different places this can go? What are the places that [have] been in the comics? What hasn’t been explored as much, and how can that be incorporated?” he mused. While looking to the comics is a smart move, there are some classic stories that the MCU X-Men should avoid… especially the Dark Phoenix Saga.

Phoenix No More… Please!

It’s easy to see why the movies would want to adapt the Dark Phoenix Saga. The storyline represented the first example of what Chris Claremont, working then with artist and co-plotter John Byrne, could bring to the franchise, reinventing the perpetual Z-listers as characters worthy of rich drama and heavy themes. However, as by demonstrated the two failed movie adaptations of the storyline (both, strangely, written by Simon Kinberg, no single film has enough space to chart Jean Grey’s corruption, sacrifice, and eventual victory over the Phoenix Force.

During his seventeen-year run on Uncanny X-Men, Claremont established himself as a master at serialized storytelling. He ensured that each single issue told a satisfying tale, while constantly setting up an ongoing threat or concern. The seeds of the Dark Phoenix storyline begin in 1976’s Uncanny X-Men #100, when the X-Men face robot clones of their teammates in space, and resolves in 1980’s Uncanny X-Men #138, in which Cyclops leaves the team after Jean’s death. Along the way, the team fights the Hellfire Club, some leprechauns, and Colossus as a Communist crusader called the Proletarian.

The same is true of most major X-Men storylines under Claremont. The Mutant Massacre only makes sense because previous stories established the Morlocks, the unsightly mutants who hide in the tunnels underneath New York, and the team’s fraught relationship to them. Inferno requires years of storytelling to not only trace Jean Grey’s return from the dead, but also Cyclops’s marriage to Jean’s clone, Madelyne Pryor, who becomes the demonic Goblin Queen after her husband rejects her. And The Fall of the Mutants, which ends with the X-Men faking their deaths and hiding out in the Australian Outback, doesn’t make sense until we see how badly the mutants work as mainstream superheroes.

Even the major stories after Claremont have the same problem. How can you adapt Grant Morrison‘s pop-art take on the team unless we accept that mutants have long been feared and hated? The Messiah Complex epic is based on the idea that the mutant population is growing, which sounds like an ideal model for an MCU adaptation, except the central conflict stems from the Scarlet Witch magically undoing mutations years before. Even the recent Krakoa arc, in which the mutants gain their own sovereign nation, gains its power from decades of stories about mutant oppression.

Evolve or Die

So where should Schreier look when planning the adventures of the MCU X-Men? Certainly, there are some great starting points in the comics (see: X-Men: Year One). But most of the comics spring from the tapestry of Marvel’s shared universe, a universe that was built differently in the MCU. Schreier and his writers don’t have the advantage of a world that already fears and hates people born with powers, even if Wonder Man and, presumably, Brand New Day are starting to seed some of that prejudice.

Instead, the MCU X-Men must look to the comics for themes, not for specific story beats. Sure, they can do a story about a mutant who cannot control their powers, but Jean’s arc is too tough. What about people like Havok, Rogue, or even Cyclops, who have accidentally hurt people they love because of their abilities? You can do a story about mutants forming a haven against a hateful public, but it would have to be something smaller than the nation of Krakoa.

Such an approach to the X-Men requires Marvel to change the way it approaches adaptation, but it’s not a huge change. After all, Civil War, Age of Ultron, and Infinity War all take basic ideas from their comic book predecessors, but go in new directions that suit this particular version of Captain America, Iron Man, and the Avengers. Further, Schreier already did this with Thunderbolts*, which gestures at storylines about misfits working for a malevolent government authority or becoming the Avengers, but doesn’t copy any specific beat.

From the Ashes

Obviously, X-Men is an important franchise for Marvel. Not only do they contain some of the most popular superheroes in the company’s roster, but they also offer space for some of the best storytelling the genre has to offer. As the MCU loses its grip on popular culture, it’s clear that the studio needs the X-Men to reignite the movie-going public’s interest.

The X-Men have done this time and again in the comics. But Schreier, Jin, and Calo can’t take beloved storylines and put them on the screen and just trust that they’ll be beloved in this new context as they were on the page.

Instead, they should follow the model of the characters they’re writing. They need to let these stories mutate, helping them evolve to match a new medium and a new movie-going audience. The audience deserves to see why the X-Men have captured the imagination of readers for decades, with stories that work for the current movie-going audience.

The Best Episodes of The Orville

The Orville surprised many when it debuted in 2017 and became the ultimate love letter to the Star Trek franchise. Given that it wasn’t actually a Star Trek show, and Trek itself was going in a very different direction at the time, Seth MacFarlane’s sci-fi comedy drama had all the necessary heart to appeal to Trek fans who weren’t quite sure they could stick with the “NuTrek” mission.

Though it initially struggled to find a good balance between comedy and drama, The Orville soon hit its stride and became one of the best shows on TV, delivering some absolutely fantastic episodes throughout its three-season run.

Four years after its last season unfolded, we’re still waiting on a new season of The Orville. There’s certainly one planned, but in the meantime, let’s look back at the best episodes of the show to date.

“Pria”

Season 1 Episode 5

Charlize Theron is arguably the biggest guest star to appear on The Orville, and she did it all the way back in season 1. MacFarlane and Theron have been close friends ever since they starred alongside each other in A Million Ways to Die in the West, so they probably had a great time making “Pria,” one of the standout episodes of the show’s first season, especially with Star Trek’s own Will Riker, Jonathan Frakes, at the helm!

Theron is wicked in the early instalment as Pria Lavesque, who is rescued from her troubled mining ship by The Orville and charms Captain Ed Mercer (MacFarlane,) but isn’t quite what she seems. Kelly Grayson (Adrianne Palicki) and Alara (Halston Sage) soon dig deeper, and when it’s discovered that Pria is a time-traveller who intends to sell the ship and abandon the crew, the Orville gang must work together to stop her. Though that’s the meat of “Pria,” there’s also an incredible little side story between Malloy (Scott Grimes) and Isaac (Mark Jackson) involving the concept of jokes that leads to Malloy getting his leg cut off.

“Mad Idolatry”

Season 1 Episode 12

Grayson finds herself in a bizarre situation after her shuttle team crashes on a planet that only appears in The Orville’s universe every 11 days. 700 years pass between Grayson’s first visit and the next appearance, and in the meantime, she’s become a goddess to the burgeoning civilization that lives there. Not loving that the planet’s inhabitants are worshipping Grayson, she and Mercer try to tell them the truth, but it only leads to more religious turmoil. Luckily, Isaac is fine with staying behind on the next 700-year haul to move them away from their Grayson-era idolatry.

“Mad Idolatry” is a fan favorite for a reason because it explores the tricky role that religion plays in a society’s development. As the episode concludes, the planet’s representatives even manage to make Grayson feel a little better about the centuries of war and bloodshed that followed her initial appearance by telling her that if it hadn’t been her, they’d have found someone else to worship as a deity, conceding that it’s likely part of every culture’s evolution.

“Identity Part 1 & 2”

Season 2 Episodes 8 & 9

Everything changes halfway through the second season of The Orville when the ship takes a trip to Isaac’s homeworld, Kaylon 1, in an attempt to revive their favorite android Science Officer after he suddenly shuts down. Leading up to the excursion, Dr. Claire Finn (Penny Johnson Jerald) has embarked on a romantic relationship with Isaac, so when the crew is informed that Isaac has completed his Union mission and that he wants to remain on his home planet, everyone is sad, including Dr. Finn. Meanwhile, her son makes a grim discovery when he finds billions of humanoid remains underground. It turns out that the Kaylon overthrew and killed their creators, and Isaac was sent by the Kaylon to determine whether they could coexist with the Planetary Union. Deciding that they can’t, they motor toward Earth to exterminate all life and expand their dominance in the universe.

This is basically The Orville’s version of the Star Trek: The Next Generation two-parter, “The Best of Both Worlds,” with the crew racing against time to stop the Kaylon from killing everyone on Earth by tapping into the humanity that’s grown in Isaac during his mission. It’s tense, dramatic, action-packed, and one hell of a double punch.

“Lasting Impressions”

Season 2 Episode 11

“Lasting Impressions” is that rare episode of The Orville to make it to memetown. The scene where Bortus (Peter Macon) and his mate Klyden (Chad L. Coleman) discover cigarettes is hilarious for anyone who’s ever taken up smoking, and social media agrees, with the clip popping up every few months and tickling people who have never even seen the show.

The pair’s addiction to nicotine is beyond the pale, but it’s only a sub-plot in this story, which is a spin on the creepy Leah Brahms episodes of The Next Generation, where Gordon becomes obsessed with a simulation of a 21st-century woman called Laura (Leighton Meester) after the crew finds her cell phone in a time capsule. Unlike Geordi La Forge’s scenario, everyone knows that Gordon’s antics are tragic and lonely, including Gordon (eventually.) The simulated Laura is also written with her own agency rather than as a fantasy version of the character that panders to Gordon. It’s a modern update of the story, written by a woman, that acknowledges boundaries and consent in a way that TNG struggled with all those years ago.

“The Road Not Taken”

Season 2 Episode 14

The season 2 finale takes a bold turn, as Grayson’s failed memory wipe from the previous episode leads to a new timeline in “The Road Not Taken.” To put it bluntly, everything is a total mess. Since Grayson never dated Mercer, the butterfly effect of her choices means that the Orville crew never stopped the Kaylon from destroying Earth, and now the android race is rampaging through the galaxy.

Grayson manages to reunite most of the crew and explains the situation, and there’s a terrific surprise appearance from an alternate version of former Chief of Security Alara Kitan, who resigned earlier in the season. Thankfully, they all pull together to correct the timeline, but the episode is certainly a grim vision of how the universe might have ended up if the events of the “Identity” two-parter had gone differently.

“A Tale of Two Topas”

Season 3 Episode 5

This heartwrenching season 3 explores the gender assignment decisions made by The Orville’s Moclan couple, Bortus and Klyden. Their species is supposed to be strictly male, and their child, Topa (Imani Pullum) was assigned male at birth, despite being born female. When Topa subsequently struggles with their gender identity and informs Grayson that they wish to be female again, this complicates the political alliance between the Union and the Moclans, who would leave the Union if the crew granted Topa’s wishes. Not only that, Klyden is furiously opposed to altering Topa’s gender, leading to a breakup when Bortus supports her.

Themes of identity, autonomy and parental love are explored without hesitation in the episode, along with how different societies handle gender diversity. MacFarlane wrote and directed “A Tale of Two Topas” himself, proving (if there was ever any doubt) that he’s much more than crass jokes and silly voices.

“Twice in a Lifetime”

Season 3 Episode 6

“Twice in a Lifetime” is a devastating episode that shows us what happens when Gordon is accidentally sent back in time to 2015. After years of isolation and diligent adherence to the rules of time travel, Gordon finally breaks them, falling in love with the real-life version of the woman he recreated in the simulation from “Lasting Impressions,” and starting a family with her. When the crew arrives to rescue him in 2025, Gordon refuses to return, in violation of Union law. Making a difficult decision, they use dysonium to jump back in time to a month after Gordon arrives in 2015. They pick him up and consequently erase his family.

Grayson and Mercer decide to tell Gordon that they prevented his romance with Laura and his children from ever existing, but he isn’t too bothered because he knows it was the right thing to do. The Gordon who doesn’t know any better might not be too fussed, but the audience is made to feel the true weight of the decision, knowing the happiness that Gordon lost and will likely never find again.

“Domino”

Season 3 Episode 9

Acting as the penultimate episode of the series (for now,) “Domino” wraps up some loose ends between the Union and the races it now finds itself at odds with. The Moclans have joined forces with the Krill, but there’s “good” news when Isaac and ensign Charly Burke (Anne Winters) feel the Kaylon threat could be extinguished thanks to a newly invented device capable of wiping out their fleet.

The Union isn’t quite sure about a possible Kaylon genocide, so it decides to use the device as leverage to settle things with them, but the admiral hands the weapon over to the Krill so they can do what the Union can’t bring itself to do, leading the Union into a brief alliance with the Kaylon to battle the new Moclan/Krill threat. Charly sacrifices herself to destroy the device, and the Kaylon reconsider their judgment of the Union as a result. The alliance continues, and Isaac honors Charly’s sacrifice at her funeral.

“Domino” somehow has epic finale energy while still managing to tackle the shades of gray within the ethics of war, as the Union wrestles with destroying their enemy at a massive galactic cost. It’s a difficult balance, and the results are hard to beat.

Marvel TV Chief Wants More She-Hulk, Fans Are Less Sure

In “Whose Show Is This?“, the final episode of She-Hulk: Attorney at Law, Jennifer Walters confronts K.E.V.I.N., the robotic creative force of the MCU. She peppers K.E.V.I.N. with a series of questions about not just what has happened in the previous seven episodes of her series, but also about the MCU in general. When she demands to know, “When are we getting the X-Men?” Walters turns toward the camera and delivers a goofy thumbs up, knowing that she’s speaking for the fans.

Or is she? She-Hulk: Attorney at Law remains one of the most divisive entries in the MCU. Well, divisive from a fan perspective. For Marvel Television chief Brad Winderbaum, She-Hulk is “one of our best-performing shows. It just hit the general audience.” Appearing on The Escape Pod, Winderbaum went on to say, “I love She-Hulk. I’d love to make more She-Hulk.” Do fans feel the same?

It’s hard to figure out what, exactly, fans want from She-Hulk. Unquestionably, She-Hulk suffered from bad faith viewers who would never be happy about a series with a woman in the lead, especially one who expressed sexual agency and happily shared a single night with Matt Murdock (whose own sexual trysts do not receive the same scrutiny). When you add in star Tatiana Maslany‘s outspoken defense of trans rights and refusal to debate those bad faith critics, people who were ready to hate the show found exactly what they were looking for.

At the same time, there are some legitimate complaints to be launched against the series. First looks at She-Hulk highlighted the series’ rough digital effects, which came at a time when the public had run out of tolerance for such shoddy visuals, especially as news of poor working conditions came to light. Further, there was the show’s sense of humor. Although She-Hulk has been a comedic character since the landmark John Byrne run in the 1990s, which the aforementioned meta-textual scene emulates, Attorney at Law had a very modern sense of humor that didn’t land with all viewers.

Finally, She-Hulk continued some of Marvel’s worst storytelling instincts, especially in relationship to the Hulk. Where Avengers: Endgame and even Shang-Chi and the Legend of the Ten Rings promised us that Bruce’s Hulk condition and his withered arm were permanent problems with no easy solutions, She-Hulk reveals that it wasn’t a big deal, and he figured it all out off-screen. Then there was the tease at the end, which introduces Hulk’s son Skaar in an awkward family reunion, setting up a story beat that continues to go nowhere.

In short, there are lots of reasons—reasonable and horrible—to dislike more Attorney at Law. But Winderbaum insists that the show resonated with the larger public, and he may be right. Since her debut in 1979, She-Hulk has been a mainstay in the Marvel Universe, often carrying her own series and serving as a reliable member of the Avengers and the Fantastic Four.

Moreover, She-Hulk: Attorney at Law may have arrived at the height of superhero fatigue, but it did offer something different than the usual cape and cowl story. Beyond even its sitcom tone, She-Hulk was a legal show, and devoted time to Ally McBeal-like plots about frivolous lawsuits and weird partners. That’s not something you’ll get from even a Daredevil show, which also features a lawyer as a main character.

That last point may be all Winderbaum needs to justify a second season of Attorney at Law. The MCU has continued to grow and mutate since it started with Iron Man in 2008, and its closer to its comic book predecessor now. Not every comic book is for every reader, and sometimes the best comics—including the aforementioned Byrne run on She-Hulk—exist simply because a creative person really believes in the vision, even if no one else does.

Plus, if season 2 gives us another scene of the always-delightful Maslany making goofy faces while teasing Kevin Feige, then maybe all the other stuff is worth it.

She-Hulk: Attorney at Law is available to stream on Disney+.

Sender Cast On Turning Online Deliveries Into Existential Horror

The best horror movies change the way we look at the world. Psycho made us scared of showers, A Nightmare on Elm Street made us scared to sleep, and Midsommar made us scared of all of Scandinavia. With his new thriller Sender, writer/director Russell Goldman hopes to make us scared of online retail.

Goldman may very well pull it off, in part because Sender deals with a real-world phenomenon known as a brushing scam. “Someone, with really no rhyme or reason, will send you cheap objects, most likely related to your search history online,” Goldman explains to Den of Geek before Sender‘s premiere at SXSW. “They send it to your home so that they can write reviews in your name that are five stars, and those products can get boosted in the algorithms. It’s very circuitous, and it’s a way that people make money, but it makes you feel insane.”

Jamie Lee Curtis, who plays a supporting role in Sender and serves as executive producer, understands that sense of insanity because her sister was caught in a brushing scam. “When my sister Kelly turned 64 she called me and asked if I sent her walking sticks for her birthday as a joke. When I told her no, she tracked it down and found that it came from a post office box in Iowa somewhere.”

She brought the idea to Russell, who works for Curtis’s production company, Comet Pictures, and who also had his own experience with a brushing scam. “I bought a Valentine’s Day gift for my now wife. It was a dress, and when I opened the box, I found muddied chin guards instead of a dress. They smelled foul,” he remembers.

“This was near the end of COVID, so I was very particular about what was coming in and out of my home. The paranoia around that feeling was so funny and strange that I wanted to make a movie about it.”

Curtis adds, “We talked about how creepy it would be for a woman basically trapped in her house to start receiving packages that she did not ask for. The information around what she gets and why she gets it is very personal. Paranoia and psychological torture occur.”

Frightening as the premise is, it falls on Severance breakout Britt Lower to bring that paranoia to life as Julia, a recovering alcoholic.

“Julia’s world has gotten much quieter in her journey to sobriety, so every detail of her life is hyper-focused,” explains Lower. “She’s getting a quick fix by ordering things online, and then these other things start coming in. She’s been addicted to something else, and all of a sudden she transitions to trying to quickly fix her life by ordering a bunch of stuff. It gets way out of hand.”

Yet, for Lower’s co-stars, receiving mail is a pleasurable experience. Mostly.

“My associations with getting packages are so positive,” raves Anna Baryshnikov, who plays Julia’s sister, Tatiana. “Around Christmas, my parents were always sent a popcorn tin that was divided three ways, with cheese and caramel. The idea of things arriving is so delightful to me, especially what it is yet.

“It’s probably a testament to me not being famous, because I’m not scared about getting things I don’t know about. It’s usually something I ordered for myself that I forgot about,” she continues, laughing at herself. “I’m an emotional shopper, and I can really remember what mood I was in when I made a decision that silky pajamas were going to change my life.”

Co-star David Dastmalchian has had far less positive experiences with the mail. “I got dirty underwear,” he admits. “I have a fan mail post office box, and I’ve received them a couple of times, probably from the same person.

“My dear stepfather, whom I love so much and has been such a saint, said I had to stop looking at stuff when it came in. He’s my first line of defense, so anything that is scary or inappropriate never gets to me because he goes through everything. I get all the nice stuff. But when the underwear was there when I was picking up stuff myself one time, and it was accompanied by a really bizarre letter.”

In light of Dastmalchian’s experiences, maybe Sender isn’t making deliveries scarier; maybe its just capturing the horror that’s already there.

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

The 14 Most Evil Doctors of Movies and TV

Some villains choose lab coats over capes. ‘Evil doctors’ are one of fiction’s most unsettling archetypes, blending intelligence with a complete disregard for ethics. From figures like Dr. Hannibal Lecter to modern examples like Rick Sanchez, these characters are represent a willingness to push science far beyond moral limits.

Whether driven by curiosity, power, or obsession, they often believe they are justified, which makes everything even more disturbing. We will explore some of the most memorable doctors in fiction, who turned their skillset into something unspeakably dangerous.

Dr. Josef Heiter (The Human Centipede)

A former surgeon obsessed with grotesque human experimentation, his film is one of the most disturbing examples of unethical medical horror. Not to mention, disgusting to watch.

Herbert West (Re-Animator)

Driven by obsession with reanimation, he disregards ethics entirely, a character that represents the purest mad scientist archetype. He’s basically Dr. Frankenstein if he loved his creations.

Dr. Moreau (The Island of Dr. Moreau)

Conducts cruel and painful experiments on animals to create ‘human-like’ hybrids, embodying scientific cruelty without moral restraint.

Nathan Bateman (Ex Machina)

A tech CEO-scientist who manipulates AI and humans alike, being one of the most modern “realistic” evil scientists.

Dr. Brenner (Stranger Things)

A government scientist conducting brutal experiments on children, driven by control and curiosity, a clear example of cold, institutional scientific cruelty.

Dr. Hannibal Lecter (The Silence of the Lambs)

A psychiatrist who combines intelligence with extreme violence, making him one of the most chilling ‘doctor’ villains in cinema. Other than the films, the character also has a TV show called Hannibal.

Dr. Arnim Zola (MCU)

A Hydra scientist conducting inhumane experiments, showing how science can be weaponized for authoritarian power. Many characters start off innocent like him, but all would end up as Arnim Zola given enough time.

Dr. Seth Brundle (The Fly)

His self-experimentation spirals into body horror, a classic example of scientific ambition turning catastrophic. He might be the one being hurt by his science, but it doesn’t change the amoral aspect of it.

Dr. Lawrence Gordon (Saw)

A surgeon entangled in morally twisted games, his descent into true evil starts as he follows Jigsaw’s vision. His story is one about corruption rather than the allure of a powerful position.

Dr. Walter Bishop (Walternate, Fringe)

A scientist that would sacrifice entire universes for his own goals. To clarify, this isn’t the Prime Universe’s Walter Bishop, but his evil variant from the Alternate Universe.

Dr. Ivo Shandor (Ghostbusters)

A cult-leading scientist whose experiments bridge science and the supernatural, resulting in catastrophic consequences. Ironically, he was quickly dealt with by the very thing he wanted to summon.

Dr. Karl Ruprecht Kroenen (Hellboy)

A scientist obsessed with occult experimentation and immortality, blending science with horror elements. He has that added “German during WWII” element that automatically makes someone the most evil person in a room.

Dr. Olivia Octavius (Into the Spider-Verse)

A brilliant scientist secretly manipulating advanced technology for destructive purposes, blending charm with hidden menace in a modern take on the trope.

Rick and Morty are terrified by damage to their spaceship.

Rick Sanchez (Rick and Morty)

A genius scientist whose intelligence is matched by his moral detachment, Rick routinely performs dangerous experiments, manipulates entire realities, and disregards ethical consequences, often treating people as expendable variables in his pursuits.

13 Times a Director Pushed an Actor To, and Past Their Limit

Directing is certainly a difficult craft, but sometimes too much is too much. Throughout film history, certain directors are known for pushing actors far beyond their comfort zones in pursuit of authenticity. Whether through endless retakes, emotional manipulation, or physically demanding conditions, these methods spark ongoing debate among fans and industry professionals alike.

In some cases, the results are unforgettable performances. In others, they raise serious questions about ethics on set. From psychological pressure to real physical risk, these stories reveal what can happen when directors chase perfection at any cost.

The Shining, Stanley Kubrick & Shelley Duvall

Kubrick pushed Duvall through extreme emotional strain, demanding repeated takes of intense scenes, including one reportedly filmed over 100 times, leaving her exhausted and emotionally drained.

Apocalypse Now, Francis Ford Coppola & Martin Sheen

Sheen suffered a real heart attack during production, with Coppola continuing to push the chaotic shoot, blending real distress with the film’s intense psychological tone.

Black Swan, Darren Aronofsky & Natalie Portman

Portman underwent intense physical training and extreme weight loss, pushed to embody a professional ballerina, resulting in injuries and exhaustion during production.

The Revenant, Alejandro G. Iñárritu & Leonardo DiCaprio

DiCaprio endured freezing conditions, ate raw bison liver (as a vegetarian), and performed physically punishing scenes, as Iñárritu insisted on natural lighting and harsh realism.

Fitzcarraldo, Werner Herzog & Klaus Kinski

Herzog famously insisted on hauling a real ship over a mountain, pushing Kinski and the crew through dangerous, exhausting conditions for the sake of authenticity.

A Clockwork Orange, Stanley Kubrick & Malcolm McDowell

McDowell suffered a scratched cornea during the eye-clamp scene, with Kubrick pushing for realism despite the physical discomfort and risk involved.

The Birds, Alfred Hitchcock & Tippi Hedren

Hitchcock used real birds during attack scenes, subjecting Hedren to days of physically and emotionally distressing filming that left her reportedly traumatized.

The Exorcist, William Friedkin & Linda Blair

Blair was subjected to intense physical effects that caused injuries, as Friedkin prioritized realism in the film’s disturbing possession scenes. He even fired a gun on set without warning among other manipulations to provoke real fear.

The Island of Dr. Moreau, John Frankenheimer & Val Kilmer

A chaotic production environment led to intense clashes, with Kilmer’s behavior and the director’s pressure creating a volatile and exhausting set.

Whiplash, Damien Chazelle & Miles Teller

Teller practiced drumming to the point of bleeding, with Chazelle pushing for authenticity in performance intensity that mirrored the film’s narrative.

Kill Bill Volume 2, Quentin Tarantino & Uma Thurman

Tarantino insisted Thurman perform a driving stunt herself, resulting in a crash that caused injuries and later controversy over on-set safety.

Alien in The Abyss

The Abyss, James Cameron & Ed Harris

Harris experienced extreme stress filming underwater sequences, including a near-drowning moment that left him emotionally shaken.

Roar, Noel Marshall & Tippi Hedren

Actors worked with real lions and wild animals, leading to numerous injuries, highlighting the extreme risks taken during production.

12 Movie Stars Who Chose to Leave the Industry On Their Terms

In an industry built on constant visibility, walking away from fame can be hard to do. But some movie stars have done exactly that, stepping back from acting not because they had to, but because they wanted to.

Whether driven by burnout, personal priorities, health, or simply a desire for a quieter life, the gist of it is that these actors made deliberate choices to leave Hollywood behind. Even at the top, stepping away can be the ultimate career move, and there’s incredible respect to be had for these individuals.

Gene Hackman

Retired after Welcome to Mooseport (2004), choosing a quieter life focused on writing novels and stepping away from the stress of acting.

Jack Nicholson

Quietly stepped away from acting in the 2010s, reportedly due to memory issues, ending a legendary multi-decade career. His last movie was How Do You Know.

Sean Connery

Retired after The League of Extraordinary Gentlemen (2003), expressing frustration with the industry and choosing to leave on his own terms.

Greta Garbo

Famously stepped away from acting at just 36, choosing privacy over continued fame despite her massive success.

Shirley Temple

Retired from acting as a young adult, later transitioning into diplomacy and public service rather than continuing in Hollywood.

Bridget Fonda

Stepped away from acting in the early 2000s after a successful run, choosing a private life away from the spotlight. Her last role was in Snow Queen.

Freddie Prinze Jr.

Left acting to work behind the scenes and pursue other creative interests outside Hollywood, like his YouTube channel. Has returned to acting in very select roles, either with close friends or family.

Amanda Bynes

Stepped away from acting in the early 2010s, later focusing on fashion and personal projects outside the entertainment industry.

Portia de Rossi

Announced retirement from acting to focus on business ventures and philanthropy. She was mostly known for her role as Lindsay Bluth Fünke on Arrested Development.

Cary Grant

Retired at the height of his fame in the 1960s, choosing to prioritize family life over continued film roles, with his last movie being Walk, Don’t Run.

Mara Wilson

Left acting after childhood success, later focusing on writing and advocacy work rather than continuing in film.

Taylor Momsen

Known for Gossip Girl, she left acting to focus fully on her music career, stepping away from a successful television presence.

HBO Max Just Added the Best Version of Alien 3

For more than 30 years, cinephiles would scoff at those who suggested the Alien franchise took a nose dive after Alien and Aliens. Few would seriously argue that the third entry exceeds the Ridley Scott original or the James Cameron sequel. But those in the know would point out that the version of Alien 3 that hit theaters on May 22, 1992, wasn’t anything close to what director David Fincher had in mind. They would know that because they’d seen the so-called “Assembly Cut” of Alien 3, a version of the movie that better matched Fincher’s vision.

For years, the Assembly Cut was only available on home video, unlike the more widely-circulated directors’ cuts of the first two movies. But in a rare instance of HBO Max adding a classic instead of removing it, the Assembly Cut is now available to watch on the streamer, giving everyone a chance to see the better movie.

Every version of Alien 3 picks up sometime after the end of Aliens, with Ellen Ripley (Sigourney Weaver) crashing on planet Fury 161, a prison planet populated only by violent man. Ripley forms a bond with physician Clemens (Charles Dance) and benefits from the attempts by holy man Dillon (Charles S. Dutton) to keep them in line. But when a Xenomorph reveals itself on Fury, she becomes their only hope of survival.

Alien 3 managed to out gross its predecessors at the theater, but it failed to win over audiences. Many took umbrage with the film’s bleak tone, starting with the off-screen deaths of Aliens survivors Hicks and Newt and continuing to the final moments, in which Ripley throws herself into a flaming furnace instead of allowing Weyland-Yutani to gain access to the Xenomorph Queen embryo that was implanted inside her. Yet, the movie managed to give the franchise some of its most iconic imagery, including the shot of a bald-headed Ripley turning her face from the Xenomorph right next to her.

The film’s problems extend from its rough production period, marked by creative differences and false-starts. Producers Walter Hill, David Giler, and Gordon Carroll considered several different ideas for the third movie, including a film that focused on Michael Biehn’s Hicks, a satire on capitalist mall culture written by William Gibson, and a story set on a wooden planet, populated by anti-technology monks. That last idea, created by director Vincent Ward, was good enough to get the film into production, but he was soon replaced by Fincher, making his first jump from music videos to feature films.

Fincher shot Alien 3, and the movie hit theaters with his name in the opening credits. However, to this day, he has disowned the movie, claiming that the producers did the final edit, making notable changes to his story.

To be clear, Fincher does not claim the Assembly Cut either, precisely because that’s what it is: an assembly. An assembly cut is a normal part of the filmmaking process, a version of the movie cobbled together after principal photography has completed, but before the editing has commenced and, in most cases, before additional elements such as special effects, score, sound effects, etc. have been added. Because Fincher did not get to oversee those elements, he does not consider the Assembly Cut of Alien 3 to be a movie at all, let alone his movie.

Yet, it’s easy to see why fans would treat the Assembly Cut as the “true” version of Alien 3. The movie takes more time building dread and fleshing out the characters and their world. Dillon and Golic, the madman played by Paul McGann, are more compelling than they are in the theatrical vision, and Ripley’s death has greater power.

Does the Assembly Cut make Alien 3 into a good movie? That depends on how you feel about the film’s punishing tone. But there’s no question that the Assembly Cut makes Alien 3 far more interesting, something everyone can see for themselves now.

Alien 3: The Assembly Cut is now streaming on HBO Max.

What Happens When Creators Have Five Minutes to Pitch a TV Series

Four projects, five minutes each to wow a panel of experts. SXSW’s seventh annual Episodic Pitch-A-Thon presented by SeriesFest featured live disrobement, vertical microdrama reenactments, genre-spanning pitches, and absolutely no room for boredom. 

The premise is simple: with only five minutes, filmmakers must pitch their TV series to a panel of experts, while on stage, in front of a live audience. 

Typically, in a studio setting, filmmakers have 30 to 60 minutes to pitch their work. However, it’s important to be able to distill the pitch down to five minutes. According to Randi Kleiner, co-founder and CEO of SeriesFest and moderator of the panel, “You never know when you’re going to be in a networking event or somewhere where you just need to catch somebody’s attention really quickly.” 

Before the event, the four teams worked with mentors and event partners from the Working Artist Group. This workshop helped the filmmakers cut their pitches to five minutes. 

The panel of industry experts included Alex Schmider, Senior Director of Entertainment at GLAAD, Jason Hiro Kim, founder of Hiro’s Omakase, and Julie Ann Crommett, Founder and CEO of Collective Moxie. Alongside Kleiner, the panelists gave feedback to the filmmakers after hearing their pitches. 

The first pitch began with a quiet narration by director Johnny Rey Diaz, joined on stage by showrunner and lead actor Ash T. 

“A man disrobes in a quiet bedroom all alone,” Diaz said. 

Behind him, Ash T — playing character Raag — dropped his robe, leaving him on stage in nothing but underwear and a poorly placed baldcap. He continued to perform the scene as Diaz narrated, dropping to his knees to perform a yoga pose and throwing his head back in ecstasy; right before he is interrupted by his mother walking in.

Son of a Bikram is a half-hour dark comedy series following Raag, a loner obsessed with yoga. Upon discovering he’s the illegitimate son of yoga guru Bikram Choudhury, he becomes desperate to connect with the father he never knew. 

The series premiered at SXSW’s Independent TV Pilot Program and won the Independent TV Pilot Competition Special Jury Award at SXSW’s Film & TV Awards Ceremony.

“This unique spin on cultural identity crisis takes its viewer into a surreal and bizarre universe where you should never meet your heroes,” the jurors said. “For blending drama and comedy and infusing it with distinct and memorable characters Special Jury recognition goes to Son of a Bikram.”

The next project was presented by creative producer Becky Perryman and writer Miranda Latimer. 

HAG, directed by Anna Ginsburg, is a six-part 2D-animated fantasy satire about modern adulthood. It follows 30-something, post-breakup Lilith through her journey of self-discovery and her battles against the patriarchy, societal pressures, and her own biological clock.  

“Adult animation series are booming, but we don’t see many that explore the female and what we’re going through as females,” Perryman said. “HAG brings a new perspective to this genre, and we want to approach it with fantasy and body horror, to explore the anxieties of the modern life.”

Stylistically, the creators asked the audience to imagine “Lena Dunham getting her period on a broomstick at the Quidditch Cup.” 

HAG premiered at SXSW’s Animated Short Program and won the Animated Shorts Competition Special Jury Award at SXSW’s Film & TV Awards Ceremony.

“The one word that all the jurors kept repeating for this short was VOICE,” the jurors said. “This story is both relatable and totally bonkers in the best way, thanks to the craftsmanship and auteurship of the filmmaker. Its zany, high-wire humor is matched by sharp deliberate creative choices that never lose sight of character. We would be excited to rewatch this film over and over again.”

The second half of the event featured two series currently in early stages of development. 

Generational by Yuna, an Australian producer, is an eight episode half-hour family drama following three generations of a family negotiating their personal crises while dealing with their grandmother’s unconventional age gap relationship.

The show kicks off with Margaret, the family’s 65-year-old matriarch, leaving her husband of 50 years for a 30-year-old named Fabricio. After being a dutiful mother and grandmother for years, Margaret is “a good girl who’s broken bad.”

Set in Middle America suburbs, Generational is a relatable and authentic story of identity and taboos. It forces both characters and audience to ask one question: Are you following your own desires? 

The final series was pitched by developers Leo Villares and Victor Nauwynck. 

Feed is a narrative horror-comedy series featuring the odd and fascinating world of vertical microdramas. 

Clara, an ambitious young actor, has been invited to Romania to star in what she thinks will be her big break. Upon arrival, she discovers that this is no Hollywood movie; instead she is going to be starring in a romantasy vertical microdrama called Second Chance with my Secret CEO Werewolf Husband, a.k.a. “Temu Twilight.” To make matters worse, the production seems cursed.

Acknowledging that the audience may not be aware of what a vertical microdrama entails, Villares and Nauwynck provided a live example. 

Playing CEO Alpha Lupus and CEO Vladimir, they fight over the city, murders, and child support. Thirty seconds and a couple of bad American accents later, the audience was more than familiar with what the world of microdramas entails. 

With actual experience directing vertical series (seven to be exact), Villares and Nauwynck want to shoot and release the entire series of Second Chance with my Secret CEO Werewolf Husband online alongside the horizontal TV show. 

“That will allow us to have a really fun two pronged release strategy where we’ll be reaching both vertical audiences and horizontal ones, allowing for a bunch of cross pollination, Easter eggs and all that good stuff,” Villares said.

While Feed is meant to be a fun and bizarre journey, Villares and Nauwynck also hope to send a serious message to viewers.

Feed is a warning cry about the rise of AI in human storytelling and a love letter to our craft, which is in great danger,” Villares said.

The event ended with an entertained audience, intrigued panel, and proud filmmakers. 

SeriesFest will host its own festival in Denver, Colorado May 6-10. About 55 independently produced pilots will be shown in competition.

Robert Downey Jr.’s Easter Post Teases an Unconfirmed Avengers: Doomsday Hero

This article contains potential spoilers for Avengers: Doomsday.

Doctor Victor Von Doom may be a merciless despot who craves nothing less than total world domination. However, Doctor Doom also insists that the children of his country Latveria live in joy and safety, so the image that Robert Downey Jr. posted on Easter Sunday isn’t entirely out of character with the villain he’s playing in Avengers: Doomsday. The post features art by an unattributed artist showing Doom holding a basket full of eggs, each of which has a superhero’s logo.

For the most part, the logos all match characters we expected to be in Doomsday ever since Marvel slowly announced the cast with a video about chairs last year: there’s the X-Men, Fantastic Four, Shang-Chi, Namor, Loki, etc. However, those looking closely also notice the logo of a hero who has NOT been confirmed, that of Spider-Man.

The lack of Spider-Man has been a glaring omission in the Doomsday cast so far. Not only is Spider-Man, far and away, the most popular superhero around the world, but he played an integral role in the last major Avengers movies, Infinity War and Endgame. Moreover, Spider-Man: Brand New Day comes to theaters just months before Doomsday, which means that something in that movie will certainly relate to the events of the later film.

And yet, there’s been no word about ol’ web head joining the Avengers, the X-Men, or the Fantastic Four against Doctor Doom.

Well, no official word, that is. Unofficially, leakers have long reported that Doomsday will begin with a scene that sees Cyclops, Magneto, and other members of the X-Men from the 20th Century Fox movies battling against Tobey Maguire as Spider-Man.

Why would these heroes fight one another? Outside of Spidey’s established and well-earned frustrations with the X-Men, the fight reportedly involves the central premise of Doomsday. The Fox X-Men universe and the Maguire Spidey universe are experiencing an Incursion, a multiversal event in which one universe collides with another. For reasons not yet clear, but they probably involve Doom’s manipulations, the heroes are both trying to defend their own Earth by destroying the Earth of the others.

The plot point comes directly from the lead-up to the Secret Wars storyline in the comics, in which Reed Richards, Black Panther, Iron Man, and other powerful figures in the Marvel Universe banded together as the Illuminati to find a way to stop the Incursions. In their darkest and most desperate moment, the Illuminati destroyed other Earths to save their own.

Will the Maguire Spider-Man be forced to make a similar choice? Or will other Spideys, perhaps played by Andrew Garfield, Tom Holland, or, dare we hope for it, Nicholas Hammond be involved?

We won’t know for sure until Doomsday hits theaters later this year. Because Doom may suffer the games played by children, but Doom will suffer no untimely spoilers.

Avengers: Doomsday arrives December 18, 2026.

Defenders Assemble for Daredevil: Born Again Season 3

Mike Colter and Finn Jones have joined Krysten Ritter on the set of Daredevil: Born Again’s third season. Colter and Jones were spotted wearing black hooded cloaks as the Marvel series continued filming in New York, but the cloaks did nothing to disguise the pair, who played Luke Cage and Danny Rand, aka Iron Fist, in the Netflix-Marvel era.

Ritter is set to reprise the character of Jessica Jones in the second season of the Charlie Cox-led Disney+ show. Colter and Jones have been absent from the plot to date, but it appears they will be back in the mix during season 3.

The foursome last shared the screen in Marvel’s The Defenders in 2017, having built up to the miniseries with solo shows Daredevil, Jessica Jones, Luke Cage, and the less well-received Iron Fist, yet the highly anticipated team-up had a fairly muted response. Some fans felt the show’s story didn’t quite live up to the expectations The Defenders had proven they could meet in the pages of Marvel Comics. However, it looks like Born Again season 3 will get another chance to showcase the superhero team.

At the time of writing, Marvel is only three episodes deep in the rollout of season 2, where Matt Murdock (Cox) is in hiding following Mayor Wilson Fisk’s (Vincent D’Onofrio) implementation of his Anti-Vigilante Task Force to gather and imprison the vigilantes of New York City, including Murdock’s Daredevil. Not much is known about Jessica Jones’s place in all this, but she’ll be an ally of Matt’s with a role similar to Jon Bernthal’s Punisher in season 1.

When season 2 concludes, Marvel fans will then be treated to the special presentation The Punisher: One Last Kill on Disney+ on May 12, which will lead into the events of Marvel and Sony’s Spider-Man: Brand New Day on July 31.

It’s a busy year for Marvel. The studio also has the much-hyped Avengers: Doomsday coming to theaters in December, and the VisionQuest TV series is also set to debut later this year, completing its WandaVision trilogy.

Unsettling Movie Details We Didn’t Catch the First Time

There are a lot of reasons to rewatch a movie. Sharing it with someone else, re-living how it made you feel, or to trying to understand certain scenes better. However, these films deserve a second watch for how they are constructed and for what they hint throughout their runtime.

The details in question aren’t just meant for a second viewing. You might think you didn’t see it, but you did, albeit unconsciously. These unsettling design choices build the sense of tension long before any reveal, priming your brain for the experience at hand.

Hereditary

Background characters are hidden in plain sight throughout the film, especially in dark corners of scenes (particularly ceilings), something many viewers only notice on rewatch.

Get Out

The house staff’s odd behavior hints early at their true nature, especially their speech patterns and physical movements.

The Sixth Sense

All scenes with Malcolm avoid direct interaction with others, subtly revealing the twist long before it’s confirmed.

It Follows

Background characters sometimes walk slowly toward the camera, implying the entity’s presence even when not directly acknowledged.

Midsommar

Disturbing imagery is hidden and blended in murals and backgrounds, foreshadowing key events in ways that are easy to miss initially.

Fight Club

Tyler Durden appears in single-frame flashes before being introduced, subtly signaling his connection to the narrator.

The Others

Small inconsistencies in how characters interact with objects foreshadow the film’s central twist.

Se7en

The killer’s meticulous planning is hinted at through small environmental details that only fully make sense after the ending.

Us

Early dialogue and visual cues foreshadow the twist about identity, including mirrored movements and subtle behavior differences.

The Babadook

The creature’s presence is hinted in background shadows and set design before it becomes explicit.

Gone Girl

Amy’s manipulation is hinted at early through inconsistencies in her diary entries and tone.

The Invisible Man

Empty space in frames often isn’t narratively empty, suggesting the antagonist’s presence before it’s confirmed.

The Conjuring

Background elements, especially in wide shots, often include barely visible figures that hint at supernatural activity.

Insidious

The red-faced demon appears briefly in the background before its full reveal, something many viewers miss initially.

Black Swan

Reflections and background figures subtly suggest Nina’s deteriorating mental state before it becomes explicit.

The Blair Witch Project

Small environmental details hint at being watched or followed, enhancing the sense of unseen presence.

Annihilation

Subtle mutations in the environment and characters foreshadow the film’s themes of transformation and loss of identity.

The Lighthouse

Background sounds and imagery suggest psychological breakdowns and possible supernatural elements that remain ambiguous.

Shutter Island

Dialogue slips and character reactions subtly hint at the truth behind Teddy’s situation long before the reveal.

17 Movie Fun Facts You Didn’t Know You Didn’t Know

We like to consider ourselves as savvy individuals that can spot tricks when they are made, even though the point of movie magic is to not look behind the curtain. But some curtains are so well hidden that they might as well be walls, at least until you notice them.

These facts, while fun, also lets us enjoy the real artistry of movie making. Not everything is CGI, a lot requires creativity, and it certainly isn’t obvious on first viewing. Lets dive into a few of the incredible ways that movies are made, and that you might not yet know.

The Lord of the Rings

The size difference between hobbits and humans was often achieved with forced perspective and scaled sets, not CGI, making interactions feel natural without digital effects.

Psycho

The famous shower scene used chocolate syrup as blood because it looked more convincing than real blood in black-and-white filming.

Jurassic Park

The T-Rex’s roar is a mix of animal sounds like elephants and tigers, since we have no way of knowing what dinosaurs sounded like, making the iconic sound entirely synthetic.

The Matrix

The green tint in Matrix scenes subtly signals the simulated world, while real-world scenes use cooler tones, a visual cue many viewers only notice later.

Titanic

Many background extras were digitally duplicated to make crowds appear larger, blending practical filming with early CGI in a way most never notice.

Star Wars

Lightsaber sounds were created by combining projector hums and TV interference, turning everyday noises into one of cinema’s most recognizable effects.

Jaws

The shark is rarely shown clearly because mechanical issues limited its use, unintentionally increasing suspense by leaving more to the imagination.

Inception

The slowed-down version of “Non, je ne regrette rien” is embedded in the score, tying the film’s music directly to its time mechanics.

Harry Potter film series

The moving staircases weren’t fully CGI; many were practical builds combined with digital extensions to create believable shifting environments.

The Godfather

The film’s dim lighting was a deliberate stylistic choice to create a somber tone, not a limitation of equipment as some people tend to assume.

Gladiator

Large portions of the Colosseum were digitally added, with only partial sets constructed, blending practical and CGI elements seamlessly.

The Avengers

Many city destruction scenes combine real locations with digital overlays, making CGI feel grounded by anchoring it to real-world environments.

Mad Max Fury Road

Despite its reputation for CGI, most stunts were practical, with digital effects mainly used to enhance or clean up real footage.

E.T. the Extra-Terrestrial

The animatronic E.T. combined multiple puppeteers and mechanical systems, creating lifelike expressions without relying on digital effects.

The Social Network

The Winklevoss twins were portrayed using one actor’s performance mapped onto another’s body, creating the illusion of identical twins seamlessly.

The Shining

The hotel layout is intentionally inconsistent, creating subconscious unease as spaces don’t logically connect the way real architecture would.

Spider-Man

Many web-swinging shots combine practical stunts with CGI, creating a hybrid effect that feels more grounded than fully digital animation.

16 Movies That Got the Science Wrong, But We Didn’t Care

The people behind the movies we know and love are masters of their craft, and while a lot of research goes into filmmaking, we can’t expect them to research every inch of the story. We as an audience can look past these ‘mistakes’ and enjoy movies for what they are: entertainment.

That doesn’t mean we don’t have fun pointing them out. No matter if you want to imagine the most scientific-accurate plot, or if you just like to laugh at unrealistic physics, these movies certainly got a few things wrong, and we love them in spite of it.

Avengers: Endgame

The film’s time travel rules contradict themselves and real physics, using one set of time travel rules for most of the plot, and a different one when it comes to Captain America.

Ant-Man

The logic of the Pym Particle allows objects to alter the distance between their atoms to grow larger or smaller, without altering the mass. That would make every giant object as light as a feather, and would make entering the Quantum Realm open a black hole.

Armageddon

Mocked even by the actors themselves, the idea that training oil drillers to become astronauts being easier than the other way around is absurd. At the end of the day, it is an absurd movie.

Lucy

Built entirely on the myth that humans use only 10% of their brain, a concept widely debunked but still central to the film’s appeal.

2012

Takes extreme liberties with geology and climate science, not to mention the speed on which disasters can happen.

Halle Berry and Patrick Wilson in Moonfall

Moonfall

Its physics-defying premise about the Moon’s structure is such clear nonsense, that audiences come back to the movie with the mantra “so bad it’s good.”

Gravity

Praised for realism, yet still compresses orbital mechanics and distances in ways that wouldn’t work in reality, something experts and fans both note.

Interstellar

Grounded in real theory, but its final act ventures into speculative science that stretches plausibility, blending physics with emotional storytelling. Great final act, just not that scientifically grounded.

San Andreas

An earthquake in San Andreas generates a tsunami in… San Andreas. While this makes for some interesting visuals, it doesn’t make sense if you know how tectonic plates work.

Jurassic Park

A surprise to some, but dinosaurs can’t be harvested from the blood of ancient mosquitoes. But hey, life finds a way.

The Matrix

While the premise of the film is iconic, the idea of humans as batteries is scientifically inefficient. The machines have no real use for humanity in the end.

Star Wars

Sound in space, explosive physics, and hyperspace all ignore real science, yet the franchise thrives on its mythic storytelling.

Inception

Dream-sharing technology has no scientific basis, but its internal logic and presentation make it believable within the film’s world.

Tenet

Time inversion introduces complex physics concepts that don’t align with reality, yet audiences engage with it as a conceptual puzzle.

I Am Legend

The virus’s behavior and mutation stretch biological plausibility, yet the emotional core of the story carries the film. Of course, the book has the real emotional payoff.

Cast of The Fast and the Furious

The Fast and the Furious

Physics-defying stunts ignore basic mechanics, but the franchise embraces this exaggeration as part of its identity. They even ask how come they can get away with this at different points in the franchise.