15 Historical Dramas That Got Major Details Wrong

Historical movies and TV shows have a way of making the past feel vivid, whether they’re telling the story of a famous ruler, a legendary battle, or a real-life icon. But even the most celebrated productions don’t always stick to the facts. To keep the story moving, filmmakers often combine timelines, invent conversations, or change historical details altogether. While those creative choices can make for compelling entertainment, they also mean that some memorable scenes aren’t nearly as accurate as they seem.

Here’s a look at 15 historical dramas that got some major details wrong.

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Braveheart (1995)

Mel Gibson’s epic helped make William Wallace a household name, but it also played fast and loose with history. One of the biggest inaccuracies is Wallace’s clothing, as the blue face paint and kilts shown in the movie didn’t belong to the time period in which he actually lived.

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The Greatest Showman (2017)

The movie turns P.T. Barnum into an inspiring dreamer, but it leaves out many of the more controversial parts of his career. It also suggests singer Jenny Lind toured with Barnum because of a romantic connection, even though there’s no historical evidence that the two were ever involved.

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Pocahontas (1995)

Disney’s version centers on a romance between Pocahontas and John Smith, but historians widely agree that the relationship shown in the film never happened. Pocahontas was also around 10 or 11 years old when the English settlers first arrived, much younger than the teenager portrayed on screen.

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The Crown (2016-2023)

The series is based on real events, but many of its private conversations and family moments were created by the writers. For example, several tense exchanges between members of the royal family were invented because no record of those conversations exists.

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Bohemian Rhapsody (2018)

The movie rearranges several major events in Queen’s history, including when Freddie Mercury told his bandmates about his AIDS diagnosis. It also changes parts of the band’s formation and suggests Queen had broken up before Live Aid, something that never actually happened.

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The Tudors (2007-2010)

The show follows Henry VIII’s reign but frequently condenses timelines and reshapes historical figures. Henry’s sister Margaret, for instance, was given a storyline that actually combines elements from the lives of two different sisters.

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Gladiator (2000)

The movie’s biggest departure from history comes at the end. Emperor Commodus was not killed in the Colosseum by a former general, but was instead assassinated in a private plot involving people close to him.

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Titanic (1997)

Although the sinking of the Titanic is portrayed with remarkable historical detail, Jack Dawson and Rose DeWitt Bukater were completely fictional. Their love story was created to guide viewers through the real disaster without changing what actually happened to the ship.

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The Imitation Game (2014)

Alan Turing really did help crack Germany’s Enigma code during World War II, but the film changes parts of his personality and working relationships. It also suggests he built the decoding machine almost entirely on his own, when it was actually the result of a team effort.

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Pearl Harbor (2001)

The attack itself is based on real events, but the fictional love triangle takes center stage. The movie also compresses the timeline between Pearl Harbor and the Doolittle Raid, making the two events seem much closer together than they really were.

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300 (2006)

Frank Miller’s graphic novel inspired the film’s visual style, but many historical details were exaggerated along the way. Xerxes’ appearance, the size of the Persian army, and even the armor worn by the Spartans were all heavily stylized rather than historically accurate.

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Napoleon (2023)

Ridley Scott’s film condenses years of history into a single narrative and changes several key moments from Napoleon’s life. One example is the scene showing him firing cannons at the pyramids, something historians agree never happened.

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The Patriot (2000)

While inspired by the American Revolution, many of the movie’s characters and events are fictional. One of its most controversial scenes, showing British soldiers locking civilians inside a church before setting it on fire, has no documented basis in the war.

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The Last Samurai (2003)

Tom Cruise’s character never existed. Instead, he was created by combining elements of several real historical figures involved in Japan’s transition from the samurai era to a modern military, rather than representing one specific person.

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The Other Boleyn Girl (2008)

The film dramatizes the relationship between Anne and Mary Boleyn and reshapes several events at Henry VIII’s court. It also exaggerates the sisters’ rivalry, even though historians have found little evidence that their relationship was as hostile as the movie suggests.

14 Darker Facts from Hollywood’s Troubled Past

Hollywood has always had its glamorous side, but not everything behind the movies and red carpets is as polished as it looks. Over the years, plenty of stories have surfaced about difficult film sets, strict studio rules, behind-the-scenes feuds, and moments that changed the industry in unexpected ways. While audiences usually remember the finished movies, the road to getting them on screen wasn’t always smooth. Some productions became famous for what happened off camera, while others revealed a side of old Hollywood that studios would have rather kept out of the spotlight.

Here are 15 darker facts from Hollywood’s troubled past.

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The harsh filming conditions behind The Wizard of Oz

The production wasn’t exactly magical for the cast. Bert Lahr wore a heavy lion costume made from real animal fur, Buddy Ebsen had to leave the film after developing a severe lung reaction to the Tin Man’s aluminum makeup, and Margaret Hamilton suffered burns while filming one of the Wicked Witch’s scenes.

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Shelley Duvall’s treatment while filming The Shining

Director Stanley Kubrick became known for pushing Shelley Duvall through dozens of takes, especially during emotional scenes. She later said the demanding production left her physically and emotionally drained.

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Brandon Lee’s death during The Crow

Production came to a halt after Brandon Lee was fatally wounded by a prop gun that had been improperly prepared. The film was eventually finished, but the accident remains one of Hollywood’s most tragic behind-the-scenes stories.

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Tippi Hedren’s experience filming The Birds

Instead of relying on mechanical birds, Alfred Hitchcock insisted on using live ones for several scenes. After nearly a week of filming those sequences, Hedren was left scratched, exhausted, and emotionally shaken.

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Charlie Chaplin’s fall from favor in Hollywood

During the McCarthy era, Chaplin was accused of having communist sympathies despite never being charged with a crime. The controversy grew so intense that he left the United States and spent years living abroad.

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Hattie McDaniel’s historic Oscar came with segregation

When McDaniel became the first Black performer to win an Academy Award in 1940, she wasn’t allowed to sit with the rest of the Gone with the Wind cast because the ceremony took place in a segregated hotel.

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The studio contracts that controlled actors’ lives

For much of Hollywood’s Golden Age, actors couldn’t freely choose their roles or public image. Studios often decided everything from hairstyles to publicity appearances, and breaking a contract could end a career.

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Shirley Temple’s childhood under Hollywood’s spotlight

Temple became one of the world’s biggest stars before she was ten years old. While audiences adored her movies, her childhood was largely shaped by long workdays and the demands of the studio system.

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The making of The Texas Chain Saw Massacre pushed its cast to the limit

The film was made on a tiny budget, with the cast and crew working long hours inside a sweltering farmhouse during the Texas summer. Many involved later described the shoot as physically exhausting.

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The decades-long feud between Bette Davis and Joan Crawford

Competition for major roles eventually turned into one of Hollywood’s most famous rivalries. Their tense relationship fueled headlines for years and even followed them when they finally worked together.

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Who’s Afraid of Virginia Woolf? challenged Hollywood’s censorship rules

Its strong language and adult themes were considered so controversial at the time that the film became part of the debate over whether Hollywood’s strict Production Code still made sense.

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Cleopatra nearly became a financial disaster

Runaway costs, constant delays, and production setbacks pushed the budget far beyond expectations. The movie eventually became a hit, but not before nearly bankrupting 20th Century Fox.

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Buster Keaton kept working with a broken neck

While filming Sherlock Jr., Keaton injured his neck during a stunt but didn’t realize how serious it was until an X-ray years later revealed the fracture.

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The Exorcist’s production was filled with setbacks

Production was hit by a series of real-life setbacks, including a fire that destroyed much of the set, filming delays, and several injuries involving members of the cast and crew. Those events later fueled the movie’s “cursed” reputation.

15 Movies from the 1980s Your Uncle Still Tries to Make You Watch

Years go by, but there are still a handful of classic movies your uncle can’t believe you haven’t seen yet. Whether he’s quoting his favorite scenes, insisting they ‘don’t make them like this anymore,’ or casually dropping spoilers like it’s no big deal, these ’80s films have earned a permanent spot on his must-watch list. Some of them he probably saw in theaters, others he’s rewatched so many times he knows every line. Either way, they tend to come up in conversation more often than you’d expect.

Here’s a look at 15 movies from the 1980s your uncle still tries to make you watch.

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Back to the Future (1985)

Still one of the most beloved time travel movies ever made, it’s the kind of film that fans happily rewatch and introduce to every new generation. 

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The Breakfast Club (1985)

Its characters and themes still connect with audiences, proving that a good coming-of-age story doesn’t have an expiration date. 

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Ghostbusters (1984)

Between its unforgettable cast, memorable one-liners, and catchy theme song, this comedy has never really gone out of style. 

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Die Hard (1988) 

It’s the movie people bring up every holiday season, but it’s just as entertaining any other time of year. 

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Aliens (1986)

Instead of simply repeating what worked in the first film, this sequel raised the stakes and quickly won over action fans who wanted something bigger and more intense than the original.

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Beetlejuice (1988)

With its offbeat humor and unmistakable style, it’s still one of Tim Burton’s most recognizable films. 

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Blade Runner (1982)

It wasn’t a huge hit when it first came out, but over the years it earned a reputation as one of the most influential sci-fi movies ever made. 

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A Nightmare on Elm Street (1984)

Freddy Krueger became a horror legend almost overnight, and the original film still holds up surprisingly well.

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E.T. (1982)

Few family movies capture the sense of childhood wonder quite like this Steven Spielberg classic. 

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Gremlins (1984)

Equal parts funny, creepy, and chaotic, this is one of those movies that could only have come out of the 1980s. 

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Poltergeist (1982)

Its unforgettable scenes and eerie atmosphere are a big reason horror fans still recommend it to this day. 

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Raiders of the Lost Ark (1981) 

Adventure movies have spent decades trying to recapture the fun and excitement that made Indiana Jones an instant favorite. 

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Scarface (1983)

 Nearly every generation has discovered Scarface in one way or another, thanks to its unforgettable characters and larger-than-life reputation. 

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The Shining (1980)

Stanley Kubrick’s chilling adaptation still gets people debating what it all means, which is part of why it never really fades away. 

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The Terminator (1984)

A smart mix of sci-fi and action turned this into the film that launched one of Hollywood’s biggest franchises. 

15 Celebs With Some Real Big-Time Brains

Celebrities have lives that are as complex as that of any human being, making them more than just what they are famous for. Other than their fame, several stars earned prestigious degrees, excelled in demanding academic fields, or built impressive résumés outside the entertainment industry.

Their fame tends to overshadow their academic backgrounds, yet these celebrities prove that intelligence and star power can go hand in hand. Here are just a few famous faces whose educational credentials and accomplishments show they have plenty of brains to match their talent.

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Mayim Bialik

Long before playing neuroscientist Amy Farrah Fowler on The Big Bang Theory, Mayim Bialik earned a Ph.D. in neuroscience from the University of California, Los Angeles, with research focusing on obsessive-compulsive disorder in adolescents.

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Brian May

While famous as Queen’s legendary guitarist, Brian May also earned a Ph.D. in astrophysics from Imperial College London. He completed the degree decades after pausing his studies to pursue one of rock’s greatest careers.

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Ken Jeong

Before becoming a comedian and actor, Ken Jeong earned his M.D. from the University of North Carolina School of Medicine. He completed a residency in internal medicine and practiced as a licensed physician before acting full-time.

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Dolph Lundgren

Action star Dolph Lundgren holds a degree in chemical engineering from the Royal Institute of Technology in Sweden and received a Fulbright Scholarship to study chemical engineering at the Massachusetts Institute of Technology before choosing acting.

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Natalie Portman

Natalie Portman graduated from Harvard University with a bachelor’s degree in psychology while continuing her acting career. She has also co-authored scientific research and spoken openly about prioritizing education alongside Hollywood success.

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Rowan Atkinson

Best known as Mr. Bean, Rowan Atkinson earned a master’s degree in electrical engineering from The Queen’s College, Oxford. His technical background contrasts sharply with the delightfully clueless characters that made him internationally famous.

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Lisa Kudrow

Before finding fame on Friends, Lisa Kudrow earned a biology degree from Vassar College. She even worked with her father, a physician and headache specialist, on medical research before pursuing acting.

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Cindy Crawford

Cindy Crawford was valedictorian of her high school class and earned an academic scholarship to Northwestern University to study chemical engineering. She left to pursue modeling but has often spoken about the importance of education.

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James Franco

James Franco became known almost as much for attending university as for acting. He earned degrees from UCLA, Columbia University, Brooklyn College, and Yale while studying subjects ranging from creative writing to filmmaking.

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David Duchovny

David Duchovny graduated from Princeton University with a degree in English literature before earning a master’s from Yale University. He was pursuing a Ph.D. when acting opportunities led him away from academia.

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Jodie Foster

Jodie Foster graduated magna c laude from Yale University with a degree in literature. Fluent in French, she has also served as a translator and frequently conducts interviews in multiple languages.

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Geena Davis

Geena Davis earned a bachelor’s degree in drama from Boston University, but her achievements extend further. She later founded the Geena Davis Institute on Gender in Media, which researches representation in entertainment using data-driven analysis.

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Shaquille O’Neal

Although primarily known for basketball, Shaquille O’Neal has steadily pursued higher education. He earned a doctoral degree in education from Barry University, demonstrating a long-term commitment to learning after his NBA career began.

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John Legend

John Legend graduated magna c. laude from the University of Pennsylvania with a degree in English and an emphasis on African American literature. He completed his studies before launching his award-winning music career.

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Emma Watson

Emma Watson balanced a demanding film career with higher education, graduating from Brown University with a bachelor’s degree in English literature. She completed her studies while filming major projects and later became a prominent advocate for education and gender equality.

15 People Share the Movie So Disturbing They Couldn’t Get Through It

There is a time for every real movie fan, particularly during their teen years, where they are dared (by themselves or others) to watch harrowing films. These are movies with subject matters, content, or just vibes that make them near impossible to watch all the way through.

Different users of Reddit came together to share their experiences, including the movies that made them take a break before finishing them, if they finished them at all. Consider this list not a dare for you to follow in their footsteps, but a fair warning to avoid most if not all of these movies.

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Inside

Part of the New French Extremity movement, Inside has earned a reputation as one of the most intense horror films ever made. Its relentless atmosphere and uncompromising violence have caused countless viewers to abandon it before the credits roll.

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The Last House on the Left

Wes Craven’s debut remains one of horror’s most controversial films. Its raw filmmaking style and deeply upsetting subject matter continue to make it an exceptionally difficult watch for many audiences.

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The Girl with the Dragon Tattoo

The original Swedish adaptation of Stieg Larsson’s novel is widely praised for its performances and faithful storytelling. At the same time, its bleak atmosphere and disturbing subject matter make it an emotionally demanding watch that many viewers struggle to finish.

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The Trials of Gabriel Fernandez

This true crime documentary series chronicles a heartbreaking real-life case that many find emotionally unbearable. Its devastating subject matter makes it one of the most difficult documentaries to watch from beginning to end.

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Watership Down

Although animated, Watership Down is far from a typical family film. Its surprisingly dark tone and unsettling imagery have traumatized unsuspecting viewers for generations.

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Threads

This British television film presents the aftermath of nuclear war with chilling realism. Its relentlessly bleak depiction of societal collapse has left many viewers emotionally drained long before the final scene.

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Salò, or the 120 Days of Sodom

Pier Paolo Pasolini’s controversial drama remains infamous for its shocking content and political themes. Its disturbing imagery has made it one of cinema’s most notoriously difficult films to sit through.

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I Spit on Your Grave

Known as one of exploitation cinema’s most controversial titles, I Spit on Your Grave pushes audiences with prolonged scenes of brutality that many find too upsetting to continue watching.

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Cannibal Holocaust

Few horror films have generated as much controversy as Cannibal Holocaust. Its graphic violence, documentary presentation, and inclusion of real animal deaths continue to make it an especially challenging experience.

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Bone Tomahawk

What begins as a slow-burning western gradually transforms into brutal horror. One particularly infamous sequence has become legendary for catching audiences completely off guard with its graphic violence.

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Ghosts of Rwanda

This PBS documentary examines the Rwandan genocide through firsthand accounts and historical footage. Its emotionally devastating subject matter makes it an incredibly difficult viewing experience despite its historical importance.

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A Serbian Film

Few films have achieved the notorious reputation of A Serbian Film. Its deliberately shocking content has made it a benchmark for extreme cinema and one that many viewers simply cannot finish.

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Free Solo

Not every entry discussed on the thread was horror-themed, as shown by the inclusion of Free Solo. The documentary’s real-life footage of Alex Honnold climbing without ropes creates an overwhelming sense of anxiety that some viewers find physically unbearable.

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The Impossible

Based on the 2004 Indian Ocean tsunami, The Impossible recreates the disaster with remarkable realism. Its relentless tension and emotional intensity can be overwhelming, particularly for viewers affected by real-world tragedies.

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The Road

Starring Viggo Mortensen, The Road depicts a father and son’s struggle through a post-apocalyptic wasteland. Its crushing atmosphere and persistent sense of hopelessness make it one of the bleakest survival films ever made.

14 Actors Who Were Too Old to Star in Action Flicks

Action heroes are supposed to sprint across rooftops, trade punches with trained killers, and survive impossible odds. Yet Hollywood has increasingly asked audiences to believe actors well into their sixties, seventies, and even eighties could still do it all.

Granted, many relied on stunt doubles, careful editing, and decades of star power to push away our disbelief. We don’t know if audiences found it inspiring or a little hard to believe, but that hasn’t stopped them; these stars proved that age rarely stops Hollywood from handing someone another gun, car chase, or fistfight.

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Harrison Ford

At 81, Harrison Ford returned as Indiana Jones in Indiana Jones and the Dial of Destiny (2023). While digital de-aging and stunt doubles helped, the film still centered on octogenarian action sequences.

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Liam Neeson

Liam Neeson reinvented himself as an action star in his mid-50s and continued leading films like Retribution and Absolution into his 70s, becoming one of Hollywood’s defining “late-life” action heroes.

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Sylvester Stallone

Sylvester Stallone kept returning to physically demanding roles in Rambo: Last Blood, The Expendables series, and Armor well into his 70s, continuing to play characters decades younger than his actual age.

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Arnold Schwarzenegger

After years away from starring roles, Arnold Schwarzenegger returned for films like The Last Stand, Sabotage, and Terminator: Dark Fate. Even in his 70s, Hollywood still cast him as an unstoppable action hero.

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Bruce Willis

Bruce Willis continued making numerous action thrillers throughout his 60s. Although many later productions drew criticism, studios kept casting him as the capable lone hero until his retirement from acting.

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Jackie Chan

Jackie Chan built his reputation performing his own stunts, yet continued starring in action movies such as Ride On and Hidden Strike after turning 65, despite naturally slowing down with age.

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Clint Eastwood

Clint Eastwood was already in his late 70s when he starred in Gran Torino, portraying a veteran willing to confront violent gangs. Even with fewer fight scenes, the role still demanded action hero credibility.

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Helen Mirren

Helen Mirren embraced blockbuster action surprisingly late, appearing in the RED films, the Fast & Furious franchise, and Shazam! Fury of the Gods. She continued taking action roles well into her late 70s.

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Denzel Washington

Denzel Washington was in his 60s while filming The Equalizer 3, continuing to portray Robert McCall as a relentless vigilante capable of defeating much younger opponents in brutal hand-to-hand combat.

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John Travolta

John Travolta continued headlining action thrillers such as Speed Kills, Paradise City, and Cash Out into his late 60s and early 70s. Many of these films relied heavily on editing and stunt work to sell the action sequences.

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Robert De Niro

At 76, Robert De Niro starred in The Irishman. While not a traditional action movie, the film’s de-aging technology drew attention during fight scenes, where his movements often betrayed the character’s supposedly younger age.

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Pierce Brosnan

Long after leaving James Bond behind, Pierce Brosnan returned to action with films such as The November Man and Fast Charlie, proving Hollywood still viewed him as a convincing action lead in his 60s.

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Sean Connery

Sean Connery was 63 when he led The Rock and 73 during The League of Extraordinary Gentlemen. Both films expected him to remain an imposing action figure despite being well past traditional leading-man age.

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Dolph Lundgren

Dolph Lundgren never fully left the genre, continuing to appear in The Expendables films, Aquaman, and numerous action thrillers throughout his 60s while maintaining the imposing screen presence that made him famous.

The Nightmare on Elm Street Reboot Should Ditch Freddy Krueger

Not many horror villains are as big or iconic as Freddy Krueger. His burned face, razor glove, taunting voice, and darkly comedic zingers straight up defined the Nightmare on Elm Street franchise, so most people immediately think of Freddy as a key part of it. But if the franchise is ever going to feel truly frightening again, its next chapter might need to do something a bit controversial: forget Freddy.

It may sound unthinkable, yet when we heard that Paramount had snagged the rights to adapt Wes Craven’s original screenplay for A Nightmare on Elm Street and planned to reboot the franchise again, the idea of an entry without Freddy wormed its way into our brains and refused to leave. 

Unlike Halloween, which risked it all on an installment without Michael Myers and notably flopped in the attempt, Nightmare on Elm Street has never actually tested whether its core concept is strong enough to survive without its iconic antagonist tagging along. The franchise has always treated Nightmare and Freddy as inseparable, even though Craven’s original hook was arguably the upsetting vulnerability of sleep itself. 

People obviously weren’t ready for Halloween III: Season of the Witch when it was first released, but it’s now considered a cult classic and a real high point of the franchise. Is it time for Nightmare’s new studio to risk it all on a terrifying tale of teens suffering from sleep deprivation without Freddy pulling their REM strings? Sure! Genuinely, why not? If Obsession, Backrooms, and Jason Blum’s entire career have taught us anything, then it’s that, on a low enough budget, rolling the dice on an interesting horror idea is absolutely worthwhile. In 2026, horror is evolving once more; why shouldn’t Nightmare evolve with it?

Is it also sacrilegious to suggest that Freddy just isn’t that scary anymore? Maybe, but we do feel like that might be the case. Robert Englund’s magnificent take on the character started out cruel and unpredictable but grew goofier as it went along (save for New Nightmare), and the franchise became less about frightening audiences and more about waiting for his next wisecrack. Of course, Paramount could try making Freddy scarier, but Warner Bros. already tried that with Samuel Bayer’s 2010 reboot, and it didn’t work. Jackie Earle Hayley, taking over the role from Englund, is a fantastic actor, and the minds behind the film gave Haley a ton of extra backstory for his version of Freddy. Unfortunately, it felt lifeless, and Haley was doomed to have his performance compared to Englund’s. Though it ended up being the second-highest-grossing film in the franchise behind Freddy vs. Jason, you’d be hard-pressed to find many horror fans willing to describe it as even remotely good.

Interestingly, when the new reboot was announced, Craven’s widow, Iya Lebunka, didn’t even mention Freddy in her statement about the Paramount deal. “We look forward to bringing the world of Wes Craven’s Nightmare on Elm Street to a new and completely engaged generation of fans,” she wrote. “We know that Wes would have been thrilled to see how horror is taking its long overdue place in the cultural canon. We can’t wait for all of us to sit together in a dark theater — around the campfire of today — as the next chapter of the Nightmare story unfolds.” 

The next chapters of Craven’s Scream franchise (penned off and on by writer Kevin Williamson) continue to unfold, too. Some are watchable; some are diabolical, but none have really broken away from Ghostface. They mostly keep making money but don’t live up to the original because Scream wasn’t a game-changer because of Ghostface; it was the film’s meta, irreverent approach that sold it. Similarly, A Nightmare on Elm Street wasn’t necessarily scary because of Freddy. It was scary because it turned the simple act of falling asleep into a source of terror. That premise was the real innovation; Freddy was just a monster. 

This new Nightmare on Elm Street reboot could introduce a new dream predator or dispense with the idea completely. Whatever the angle, the dream world itself needs to feel unpredictable and horrifying again. Fewer groanworthy wisecracks, perhaps embracing the relentless dread of modern horror masterpieces like It Follows and Pulse. Horror thrives on the unknown, and many people already know Freddy and have grown weary of his boiler-room shenanigans. We’d love to see every dream sequence in this reboot become an unsettling, surreal series of events that forces our new batch of teens to navigate some really weird and terrifying nightmares. Does that not sound better than hearing that yet another actor will be trying to make Freddy their own, once again inviting inevitable comparisons to Englund?

We know you’re smart enough to understand where we’re coming from, but to be clear: none of this would erase Freddy from horror history or what he means to fans. Freddy will always be there in his films, games, comics, novels, board games, music videos, TV show, and endless merch. But we would be fascinated to see what happens when A Nightmare on Elm Street is pushed into a new era of innovation. Given Craven’s history of reinventing horror, it feels like he would have at least been open to it.

14 TV Shows That Quietly Recast Major Characters and Thought We Wouldn’t Notice

There are times where shows need to recast a television character between seasons, and it is always a risky move. Audiences spend years getting attached to specific actors, making even minor changes immediately noticeable, and very jarring on first watch.

The reasons vary from scheduling conflicts and creative decisions to contract disputes and personal circumstances. The replacements can be quickly accepted, but they can as easily become examples of television pretending viewers wouldn’t notice a completely different face playing the same role. These shows all made significant recasting decisions during their runs.

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Bewitched, Darrin Stephens

One of television’s most famous recasts occurred when Dick York left Bewitched and was replaced by Dick Sargent as Darrin Stephens. The show largely continued without offering much in-universe explanation for the change.

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Roseanne, Becky Conner

Becky Conner was originally played by Lecy Goranson before Sarah Chalke took over the role for several seasons. The sitcom eventually leaned into the confusion with jokes acknowledging the character’s changing appearance.

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Game of Thrones, Daario Naharis

Daario Naharis first appeared as a flamboyant mercenary played by Ed Skrein. Beginning in Season 4, Michiel Huisman assumed the role, and the series moved forward with little direct acknowledgment.

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Fresh Prince of Bel-Air, Aunt Viv

Janet Hubert originated the role of Vivian Banks before Daphne Maxwell Reid replaced her in later seasons. The switch became one of the most discussed recasts in sitcom history.

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Family Matters, Harriette Winslow

Jo Marie Payton portrayed Harriette Winslow for most of the series before Judyann Elder took over near the end. The transition happened late enough that many viewers immediately noticed the difference.

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The O.C., Kaitlin Cooper

Young Kaitlin Cooper was played by Shailene Woodley during her early appearances. When the character returned as a teenager, Willa Holland stepped into the role and remained for the rest of the series.

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My Wife and Kids, Claire Kyle

Claire Kyle was originally played by Jazz Raycole during the first season of My Wife and Kids. Jennifer Freeman took over the role beginning in Season 2, and the sitcom largely carried on without addressing the noticeable change in appearance.

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Spartacus

After Andy Whitfield became ill and was unable to continue, Liam McIntyre assumed the title role. The series handled the difficult situation respectfully while continuing the story of its central character.

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Last Man Standing, Mandy Baxter

Molly Ephraim originally played Mandy Baxter before Molly McCook inherited the role following the show’s revival. The recast generated considerable discussion among longtime viewers.

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That ’70s Show, Laurie Forman

Lisa Robin Kelly portrayed Laurie Forman for much of the series before Christina Moore took over. The character’s sharp personality remained, but the change was difficult for fans to overlook.

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Dynasty, Cristal Carrington

The modern Dynasty reboot recast Cristal multiple times throughout its run. Different actresses portrayed versions of the same central character, creating one of television’s more unusual recasting situations.

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Riverdale, Reggie Mantle

Ross Butler played Reggie Mantle during the show’s first season. Charles Melton took over afterward, becoming the version of the character most viewers associate with the series.

The Fosters, Jesus Adams Foster

Jake T. Austin originated the role of Jesus Adams Foster before Noah Centineo stepped in. The transition occurred mid-series and became one of the show’s most notable casting changes.

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The Waltons, John-Boy Walton

Richard Thomas left The Waltons after establishing John-Boy as one of television’s most recognizable characters. Producers later recast the role with Robert Wightman and largely expected viewers to accept the change and continue following the story.

14 Actors Who Played Characters Even Smarter Than They Are

How do you even start to play a character that is leagues smarter than you? I wouldn’t know where to begin, yet several professional performers have found ways to do so convincingly. Of course, the role of making the character smart is the work of the script; the actor has to make the character convincing.

Over the years, many performers have taken on roles as scientists, detectives, strategists, and masterminds whose intellect far exceeds that of the average person. These characters became memorable not because the actors shared their expertise, but because they made brilliance look effortless.

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Benedict Cumberbatch, Sherlock Holmes

In Sherlock, Benedict Cumberbatch portrayed Arthur Conan Doyle’s legendary detective as a whirlwind of deduction and observation. Sherlock’s ability to solve complex mysteries from tiny clues places him among television’s most intellectually gifted characters.

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Jim Parsons, Sheldon Cooper

Jim Parsons won multiple Emmy Awards playing Sheldon Cooper on The Big Bang Theory. Theoretical physicist Sheldon is portrayed as possessing an exceptional intellect, complete with advanced scientific knowledge and an extraordinary memory.

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Jodie Foster, Dr. Ellie Arroway

In Contact, Jodie Foster plays a brilliant astronomer searching for extraterrestrial intelligence. The role required her to convincingly portray a scientist capable of understanding concepts that challenge even experienced researchers.

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Matt Damon, Will Hunting

Good Will Hunting centers on a janitor whose mathematical abilities astonish MIT professors. Matt Damon successfully sold audiences on a character whose genius-level intellect allows him to solve problems experts cannot.

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Russell Crowe, John Nash

Russell Crowe portrayed Nobel Prize-winning mathematician John Nash in A Beautiful Mind. Nash’s groundbreaking contributions to game theory made him one of the most influential mathematical thinkers of the twentieth century.

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Natalie Portman, Jane Foster

In the Marvel Cinematic Universe, Jane Foster is an accomplished astrophysicist studying cosmic phenomena beyond current scientific understanding. Natalie Portman brought credibility to a character regularly dealing with advanced theoretical concepts.

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Robert Downey Jr., Tony Stark

Tony Stark is repeatedly described as one of the smartest people in the Marvel universe. Robert Downey Jr. made audiences believe he could design revolutionary technology while solving problems few others even understand.

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David Suchet, Hercule Poirot

David Suchet’s portrayal of Agatha Christie’s famous detective remains definitive for many fans. Poirot’s remarkable attention to detail and analytical thinking allow him to solve mysteries that baffle everyone around him.

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Hugh Laurie, Dr. Gregory House

On House, Hugh Laurie played a diagnostician capable of solving baffling medical mysteries. House’s near-superhuman ability to connect seemingly unrelated symptoms made him one of television’s smartest characters.

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Noah Wyle, Flynn Carsen

The hero of The Librarian franchise possesses dozens of academic degrees and encyclopedic knowledge across countless subjects. Noah Wyle had the challenge of portraying a character with almost unbelievable intellectual credentials.

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LeVar Burton, Geordi La Forge

As chief engineer of the USS Enterprise in Star Trek: The Next Generation, Geordi La Forge routinely solves advanced technological problems. The role required LeVar Burton to embody an exceptionally gifted engineer.

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Rami Malek, Elliot Alderson

In Mr. Robot, Elliot Alderson is an elite cybersecurity expert and hacker. Rami Malek convincingly portrayed a character capable of understanding and manipulating complex computer systems at the highest levels.

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Viola Davis, Annalise Keating

Annalise Keating from How to Get Away with Murder is one of television’s most formidable legal minds. Viola Davis brought intelligence and authority to a character renowned for strategic thinking.

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Patrick Stewart, Professor Charles Xavier

Professor X is both a powerful telepath and one of Marvel’s most respected intellectuals. Patrick Stewart gave gravitas to a character whose wisdom and intelligence are central to the X-Men mythos.

10 Actors Who Allegedly Can’t Cry On Cue

Actors need to be experts in portraying emotion on the screen, even when they aren’t feeling the same way their character does. Many of those moments can be easily interpreted by a professional, although one ability is harder to come by than others: crying on the spot.

Fortunately, convincing screen acting doesn’t always require real tears. Throughout Hollywood history, plenty of respected performers have delivered emotional scenes despite acknowledging that crying on cue doesn’t come easily to them. Here are some actors who have either admitted struggling with it or discussed relying on techniques to help make it happen.

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Jennifer Lawrence

Jennifer Lawrence has spoken about not being particularly sensitive on set and has joked about her difficulty accessing certain emotions. In emotional scenes, she has discussed relying heavily on preparation rather than naturally tearing up.

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Daniel Kaluuya

Despite delivering powerful emotional performances, Daniel Kaluuya has discussed using production techniques to enhance tears during certain scenes. His work demonstrates that convincing emotion and natural tear production are not always the same thing.

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Henry Cavill

Henry Cavill has been cited among actors who have used artificial tears or eye drops for emotional scenes. Even major stars sometimes need practical assistance when a script requires visible tears.

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Jean Marsh

The veteran actress once gave a famously blunt answer when asked about crying on cue, joking that she would simply turn around and poke herself in the eye rather than summon tears naturally.

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Johnny Depp

Johnny Depp has occasionally discussed preferring physical and technical approaches to performance over method-style emotional recall. Reports and interviews over the years have often noted his use of filmmaking tricks during emotional scenes.

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Keanu Reeves

Keanu Reeves is celebrated for restraint and subtlety rather than overt emotional displays. Some acting observers have pointed out that many of his emotional moments rely on expression and delivery rather than dramatic on-screen crying.

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Clint Eastwood

Throughout his career, Clint Eastwood became famous for stoicism. His most memorable performances often communicate emotion through silence and restraint rather than visible tears or emotional outbursts.

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Harrison Ford

Ford’s acting style frequently relies on understatement. Even in emotionally charged scenes, he tends to project feeling through dialogue and expression rather than overt crying, a trait that became part of his screen identity.

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Sylvester Stallone

Although Stallone has delivered moving dramatic performances, he has often spoken about acting as a technical craft. His emotional scenes typically focus on intensity and conviction rather than visible tears.

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Mark Wahlberg

Mark Wahlberg has occasionally discussed the challenges of emotional acting and has generally been associated with straightforward, grounded performances. His screen presence tends to emphasize realism over highly demonstrative emotional displays.

15 Shows You’re Officially Old if You Watched Growing Up

Nothing makes time feel real quite like realizing the shows you watched as a kid are now decades old. For my generation of people, childhood television was filled with Saturday morning cartoons, after-school favorites, and sitcoms that once seemed brand new.

We look back fondly at these shows of the past, reminding us that time passes for everyone, particularly if you look up how the stars of these shows look now. If you remember rushing home to catch these shows or arguing with friends about them the next day, you may have reached the age where nostalgia hits a little harder than expected.

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DuckTales

Premiering in 1987, DuckTales became a defining cartoon for many children growing up in the late 1980s and early 1990s. Hearing its theme song today is enough to trigger instant nostalgia.

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Tiny Toon Adventures

Debuting in 1990, Tiny Toon Adventures introduced a new generation to the Looney Tunes style of humor. Kids who watched Buster and Babs Bunny after school are now well into adulthood.

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Animaniacs

The Warner siblings first burst onto television screens in 1993. Packed with pop culture references and clever writing, Animaniacs entertained children while sneaking jokes past unsuspecting parents.

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Batman: The Animated Series

Widely regarded as one of the greatest superhero cartoons ever made, this 1992 series helped define Batman for an entire generation that is now approaching middle age.

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The X-Files

Beginning in 1993, The X-Files turned paranormal investigations into must-see television. Anyone who stayed up watching Mulder and Scully chase conspiracies has been carrying those memories for decades.

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Boy Meets World

The coming-of-age adventures of Cory Matthews began in 1993 and followed viewers through childhood and adolescence. Many fans grew up alongside the characters and now find themselves older than Mr. Feeny was.

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Rugrats

Premiering in 1991, Rugrats transformed everyday toddler adventures into imaginative stories. Children who once related to Tommy Pickles are now old enough to have children of their own.

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Mighty Morphin Power Rangers

The original Power Rangers debuted in 1993 and quickly became a cultural phenomenon. Many fans who collected action figures and practiced karate moves in the backyard are now in their 40s.

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Recess

Disney’s Recess premiered in 1997 and perfectly captured the importance of playground politics. Viewers who once worried about fourth-grade social hierarchies are now dealing with mortgages and careers.

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Doug

Originally debuting in 1991, Doug focused on the everyday concerns of adolescence. Its relatable stories about school, friendships, and awkward moments still resonate with the generation that grew up watching.

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Freakazoid!

This quirky superhero parody premiered in 1995 and embraced absurd comedy long before internet humor became mainstream. Fans who understood its references are now firmly in the adult demographic.

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Are You Afraid of the Dark?

The anthology horror series first aired in 1990 and introduced countless children to spooky storytelling. Many viewers can still remember specific episodes that kept them awake at night.

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Gargoyles

Premiering in 1994, Gargoyles stood out for its surprisingly complex storytelling and darker tone. Kids who rushed home to watch Goliath and his clan are now firmly in the nostalgia demographic the show helped create.

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Home Improvement

Tim Allen’s sitcom debuted in 1991 and became one of television’s biggest hits. Viewers who watched the Taylor family every week are now roughly the same age Tim was in early seasons.

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The Fresh Prince of Bel-Air

Beginning in 1990, Will Smith’s breakout sitcom blended comedy with memorable life lessons. For many viewers, it remains one of the defining television experiences of the 1990s.

15 of the Funniest Gags from the Austin Powers Franchise

Mike Myers’ Austin Powers movies became comedy staples by spoofing spy films, swinging-’60s culture, and blockbuster sequels all at once. The franchise mixed outrageous visual gags, ridiculous villains, and endlessly quotable dialogue into a style that felt both goofy and surprisingly clever.

Many of its funniest moments come from jokes that escalate far beyond where they logically should, whether it’s a tiny misunderstanding turning into a massive scene or a simple sight gag becoming comedy gold. These are some of the franchise’s most memorable laughs that fans still quote decades later.

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The Never-Ending Hallway Turn

In Austin Powers: International Man of Mystery, Austin gets trapped trying to turn a luggage cart in a narrow hallway. The joke keeps escalating as he repeatedly reverses and crashes instead of simply getting out.

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Dr. Evil Wants One Million Dollars

Fresh from decades of cryogenic freezing, Dr. Evil demands “one million dollars” as ransom. His organization reacts with confusion because the amount sounds laughably small by modern standards.

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The Steamroller That Takes Forever

A guard screams in terror as a painfully slow steamroller inches toward him. The absurdly long buildup makes the eventual impact far funnier than a quick gag ever could.

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Austin’s Awkward Medical Exam

After being thawed out, Austin undergoes a medical checkup while making increasingly inappropriate comments. The scene perfectly establishes how hilariously out of place he is in the 1990s.

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The Mole Obsession

Dr. Evil becomes fixated on a henchman’s facial mole, repeatedly interrupting serious business to comment on it. The running gag grows funnier because nobody else knows how to respond.

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Mini-Me’s Silent Attitude

Mini-Me barely speaks, yet constantly steals scenes through exaggerated reactions and tiny acts of aggression. His deadpan presence becomes one of the franchise’s most reliable comedy weapons.

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The Swedish Enlarger Pump

Austin insists a suspicious-looking device is “not mine” while explaining it’s a Swedish “enlarger” pump. The increasingly desperate denial turns an already ridiculous prop into a classic gag.

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Fat Bast’s Introductions

Fat Bast repeatedly introduces himself with outrageous confidence and crude jokes. His shameless self-description became one of the most quoted recurring bits in the entire franchise.

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The Zip-It Scene

Dr. Evil repeatedly tells Scott to “zip it” during family arguments. Their dysfunctional father-son dynamic hilariously clashes with the fact that one of them is trying to conquer the world.

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Austin Mistakes a Robot for a Real Person

In Austin Powers: The Spy Who Shagged Me, Austin mourns a robot guard he just destroyed, imagining a tragic family life for the machine. The over-the-top guilt makes the scene unforgettable.

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The Tent Shadow Illusion

Silhouettes behind a tent make innocent actions look wildly inappropriate. The joke relies entirely on visual misunderstanding, and the escalating reactions from onlookers sell every second.

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Dr. Evil Joins a Therapy Group

Dr. Evil attends group therapy with other villains and complains about his childhood. Treating supervillains like ordinary patients creates a surprisingly effective parody of self-help culture.

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Goldmember Loves Gold

In Austin Powers in Goldmember, Goldmember’s obsession with gold extends to his clothes, food, and bizarre personal habits. The character is funny simply because every sentence returns to gold.

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The Long Urination After Cryogenic Sleep

Austin emerges from cryogenic freezing and immediately needs the bathroom. The scene stretches the obvious joke far beyond normal limits, which is exactly why it works.

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Dr. Evil’s Ridiculous Family Reveal

The franchise eventually reveals increasingly absurd connections between Austin, Dr. Evil, and other characters. Each sequel adds another layer of ridiculous family history, turning the spy saga into a soap opera.

Crystal Lake Teaser Promises Friday the 13th Prequel Will Be Just a Slasher (Complimentary)

In October of 2022, A24 announced plans to make a Friday the 13th prequel with Bryan Fuller at the helm. Individually, we love most of those words. A24 continues to produce and distribute some of our favorite movies, including Marty Supreme, Backrooms, and The Invite. Ever since he got his start writing for Star Trek: Voyager and Deep Space Nine, Bryan Fuller has been one of our favorite creatives, thanks to shows such as Pushing Daisies and Hannibal. Yet, wonderful as they are, A24 and Fuller initially seemed like bad fits for Friday the 13th, perhaps the most crassly simplistic slasher franchise of the ’80s.

While various production choices have given us hope, including the addition of the always-reliable Linda Cardellini as Jason’s mother Pamela, our fears about the series were not assuaged until the first teaser for the show. Yes, there’s an A24 logo, and, no, there’s baritone voice over. But everything else feels like it was pulled from a trailer that would have played before a random Paramount release in the 1980s: a cheery song sang by children, gauzy shots of skinny people looking out on the titular lake, and people turning toward the camera and screaming as the screen turns red. In short, Crystal Lake looks like a trashy slasher, as it should be.

As established in the first Friday the 13th movie from 1980, Pamela Voorhees (originally played by Betsy Palmer, and then by Nana Visitor in the 2009 remake) came to Camp Crystal Lake as a cook. After her son Jason drowns in 1957 because of two counselors making out instead of watching him, Pamela took revenge. The murders gave the camp the nickname “Camp Blood,” and caused it to be closed down for 13 years, until new owners tried to rebrand it in the first movie.

Almost immediately after the first film, the Friday the 13th timeline became convoluted, especially since 1981’s Part II revealed that Jason had not died, that he had been hanging out in the woods, and saw his mother get beheaded by final girl Alice Hardy.

Between those inconsistencies and bare bones backstory, Friday the 13th was primed for a pretentious and convoluted prequel. Fuller left the project in 2024, to be replaced by Bradley Caleb Kane as showrunner. While Kane has done solid work as a writer for programs such as Fringe, Lodge 49, and It: Welcome to Derry, one could also imagine a modern TV professional repeating the Surf Dracula Phenomenon, making a show that builds up to the thing we want instead of just giving it to us each episode.

Certainly, Crystal Lake won’t give us the thing we ultimately want: Jason putting on his hockey mask and bending teenagers backwards. But the trailer seems to say that the show will give us everything else. Pamela’s got a big ol’ knife and she’s going to stick it into some dumb, sex-ed up teens all summer long.

Is that enough to sustain a full season of television? Who knows! But it’s enough to satisfy slasher fans, and they should be the primary concern for anyone making a Friday the 13th property, no matter how many television geniuses and boutique labels are involved.

Crystal Lake streams on Peacock on October 15, 2026.

How Sam Neill’s Laugh Made Cinema’s Scariest Meta Moment Even More Frightening

New Zealand actor Sam Neill has died at the age of 78, leaving behind an impressive filmography of memorable television and film performances. In addition to blockbusters like Jurassic Park and dramas such as The Piano, fans will surely point out his excellent work in horror movies, naming Event Horizon or Possession. But Neill’s greatest horror performance came in an oft-overlooked movie, one that everyone recognizes as great, but rarely gets the cult appreciation even afforded The Omen III.

The third part of his loose “Apocalypse Trilogy,” which also includes The Thing and Prince of Darkness, the 1994 John Carpenter movie In the Mouth of Madness takes a literary approach to the end of the world. Neill plays insurance investigator John Trent, hired by a publisher to look into the disappearance of their famed author, a Stephen King analogue called Sutter Cane. As the cynical Trent investigates further, the lines between fiction and reality blur into a Lovecraftian nightmare, leading to a mind-bending metatextual moment. Yet, the scariest thing at all is what Trent does at the end, delivering an utterly joyless, thundering laugh, played to perfection by Neill.

“You want to know about my ‘them’?” asks Trent in the first scene of In the Mouth of Madness, Neill cooly delivering the line with his smirk emphasized by his signature sharp eyebrows. When the doctor operating the mental asylum (played by the equally great and also late David Warner) responds with confusion, Trent continues, “My ‘them.’ Every paranoid schizophrenic has one; a ‘them,’ a ‘they,’ an ‘it.’ And you want to hear about my ‘them,’ don’t you?”

The coldness in Neill’s delivery of these lines contrasts with his behavior just a few moments before, when orderlies dragged a kicking and fighting Trent into the insane asylum. Once calm, Trent explains how he got there, allowing the movie to flashback to the beginning of the story. When Sutter Cane (Jürgen Prochnow) goes missing and his publisher tries to cash in the insurance policy, a skeptical Trent investigates. Trent believes that Cane and the publisher are attempting a stunt to drum up excitement for his new book, In the Mouth of Madness.

However, when Trent traces the clues to Hobb’s End, the heretofore fictional New England town at the center of all of Cane’s books, he cannot help but acknowledge the strange things around him. People transform into monsters, acts of violence occur, and time shifts wildly, all apparently according to Cane’s will. When Trent finally meets the author, Cane explains that his fans loved his work so ardently that his fiction has become truth and he’s become a god, a fact he proves by twisting reality around him.

The end of the film returns to the beginning, with Trent at the asylum. An undefined event seems to wipe out everyone else, and Trent walks free, moving out of the asylum and into the city, where he sees a movie theater with the words, “In the Mouth of Madness with John Trent” on the marquee. With popcorn in hand, Trent sits down and watches the show: In the Mouth of Madness, the same movie we just watched.

As he realizes what he’s seeing, Trent breaks out in laughter, a big boisterous chuckle, complete with snorts and guffaws. Yet, at no point does Neill allow any joy to creep in. Even before the laughter shifts to wailing, a change that occurs mere seconds before the final credits roll, Neill allows every other feeling to sneak into the laugh. He’s angry, frightened, confused, sad—anything but happy. He widens his eyes and throws back his head, acting out all of the motions of a big belly laugh.

In this one scene, Neill embodies the uncanny nature of the film. From the very beginning, Carpenter and screenwriter (and current Warner Bros. co-chair) Michael De Luca have been signaling that something’s off in the world of the film. Sometimes, those signals arrive in big, obvious ways, as when a paper boy (a pre-Anakin Hayden Christensen) transforms into an old man while peddling past Trent and his partner Styles (Julie Carmen). Other times, it’s more subtle, as when a doctor played by John Glover flashes a cheesy smile while checking Trent into the asylum.

Like The Thing and Prince of Darkness, In the Mouth of Madness scares the viewer by showing them the end of the world, a world undone by forces that cannot be named or even imagined. Those two films use more visceral imagery to achieve this effect, whether its Rob Bottin’s creature effects or nightmare-inducing video tape. In the Mouth of Madness certainly has its share of memorable visuals (“Did I ever tell you my favorite color was blue?”).

But its greatest effect is Neill himself. Neill could project skepticism with ease, just slightly turning his head so Trent could glare at a Caine superfan from the corner of his eye. He could play the anger of Trent yelling at the citizens of Hobb’s End who insisted that Caine wrote the end of all their stories. But his greatest feat occurs at the end, when Trent finally resigns himself to the falseness of the world around him, unleashing a laugh that contains no happiness, only ineffable terror.

Tom Cruise Gives Advice to YouTube and Gen-Z Filmmakers

Tom Cruise is pelvic-thrusting and finger-pistol shooting his way into auteur territory again as revealed in the first full trailer release for Digger, the upcoming dark satire from four-time Academy Award winner Alejandro González Iñárritu. 

After more than a decade of action movies filling up Cruise’s resume, Film Twitter’s patron saint of cinema is bringing Mission: Impossible levels of enthusiasm to his first collaboration with Iñárritu. And at a Digger press event last week on the Warner Bros. lot in Burbank, Cruise held court in a theater full of reporters and influencers to discuss the experience of filming with the director and the helmer’s long-time cinematographer Emmanuel Lubezki, as well as the glee of subsuming himself in prosthetics and finding the “rhythm” of this larger than life character, Digger Rockwell. 

Also long embracing his status as a statesman for the cinematic experience, Cruise seemed eager to discuss the state of moviemaking, particularly during a summer that might represent something of an inflection point. Hence after presenting the Digger trailer, Cruise talked to Den of Geek exclusively about how he sees the theatrical hits from younger Gen-Z filmmakers/YouTubers released this year as a great sign of the health of Hollywood.

“I feel very good,” the actor told us with his trademark intensity about the future of cinema. Furthermore, he has advice for the next generation of talent making the jump to theatrical: “Don’t ask for permission to create. You know Steven Spielberg started out directing an episode of Marcus Welby, M.D., learning the craft. I’m still seeing that. I love movies. And I see a lot of movies, and there are a lot of great movies still to come this summer.”

Earlier during the moderated Q&A around the Digger trailer presentation, Cruise set some broader context for his current temperature taking of the industry. “Since I was a kid, I’ve traveled the world and I go and I watch movies with audiences, and I’m very curious about, do they feel the same way I do?” Cruise said. “That’s the beauty of this art form, everyone has the things they like and their own taste and what works and what doesn’t work. I tell people, learn these skills and go off and communicate your own stories. You don’t have to do it like I do. Do your thing.”

The actor and Iñárritu are certainly embracing that with Digger. In a pre-taped message from the director in London, where he’s mixing the film, Iñárritu said Digger is based on a character archetype he conjured up a decade ago after The Revenant.  

“People often ask me why I chose Tom to play Digger,” he offered. “To me, that’s like asking somebody why you drink water when you are thirsty? Because it’s what you need. The film needed Tom.” 

Iñárritu said of the character and film that “it’s absurd, it’s dangerous, but certainly comedic, because the source of great comedy is tragedy.” All of that is personified through Cruise’s frighteningly wealthy industrialist who kicks humanity toward the precipice of environmental ruin, and then wants to be the cowboy frantically barreling in to save the day. The Digger trailer teases the bombast of Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb with the pointed environmental satire of Bong Joon-ho’s Okja and Mickey 17

Cruise said of jumping into Digger: “There’s nothing better than to physically and metaphorically stand on the edge of a cliff and go, ‘Let’s do this. And I trust you and whatever we’re going to do, I know this is going to be a hell of an experience, and let’s come together and let’s do it. Let’s all do it.’ I have never had something that could challenge me in this way and neither has Alejandro…. And when you see this film, it’s totally original.”

Digger releases on Oct. 2, 2026.

Lin-Manuel Miranda Threw Away His Shot at Joining the MCU But He’s Okay With That

Casting can be a tricky business. Sometimes the perfect actor is the first choice, and other times the right fit only becomes clear after a “no thanks.” That’s exactly how Lin-Manuel Miranda views his almost soiree into the MCU, having revealed he turned down the chance to play an infamous Spider-Man villain. In the end, it seemed history had its eyes on someone else to play Vulture. 

Yes, Vulture

Talking to Josh Horowitz via the Happy Sad Confused podcast, Miranda spoke about his love for comics and added that, like any New Yorker, he was a fan of Spider-Man growing up. That prompted Horowitz to bring up Miranda’s previous comments about turning down a Marvel role in 2016, around the time he was leaving Hamilton, leading him to suspect the rejected project was Spider-Man: Homecoming.

Taking a shot in the dark about what character had been offered, Horowitz floated the reasonable guess of Mr. Harrington, Peter Parker’s endearingly awkward science teacher played by Martin Starr. Miranda laughed, replying, “I would have been so miscast,” before revealing that not only had he been picked to play Adrian Toomes, but also that Kevin Feige had personally offered him the part over the phone. 

“Kevin Feige told me the entire plot over the phone,” Miranda explained, recalling how excited he was by the story and his immediate reaction to hearing the details. His enthusiasm led him to ask Feige when production would begin, only for the Marvel Studios president to reveal that filming would start the moment Miranda stepped off stage in Hamilton.

Faced with such a quick work turnaround, Miranda ultimately decided to pass on the role. “I went, ‘Well, I would really like to—I love these movies, but I would really like to stay married, so I cannot do this,’” he said, a decision that makes sense considering his grueling 18-month run on Hamilton. Miranda also pushed back against Horowitz’s suggestion that he would have been a great fit for Vulture, insisting that “Michael Keaton was perfect” and that Marvel “found exactly who they needed” for the role. 

There’s no denying that Lin-Manuel Miranda is a lyrical genius but also a good actor to boot, so maybe, just maybe, he would have made for an interesting Vulture. In reality, though, Miranda being the first choice for the role is a pretty surprising casting decision, especially considering how different the character’s intimidating presence and grounded villainy are from the energetic charisma he’s known for. 

Unsurprisingly, the idea of Miranda playing one of Spider-Man’s biggest villains sent fans into a frenzy of imagination. Reactions ranged from scene reimaginings poking fun at Miranda’s inability to resist a good rap to feelings of frankly understandable dread at what could have been. Others were more forgiving, acknowledging that while the Hamilton star is undeniably talented, Keaton’s performance defined the character and cemented Vulture as one of the MCU’s standout villains. 

In the end, Miranda may not have taken flight as Vulture, but he still managed to leave his mark on Spider-Man: Homecoming in a way he probably never expected. Adding as a quick side note in his interview with Horowitz, Miranda shared that Feige told him his reaction to hearing the film’s story helped reassure the producer that he was on the right track.

“By the way though, Kevin does say, he goes, ‘When I told you that over the phone, that’s when I knew the movie was going to work because of your reaction.’ That’s my little footnote in history, was me going ‘OH!’” Miranda said. 

And honestly, that’s the best possible outcome. Miranda got to contribute a well-needed spark of excitement behind the scenes, while Michael Keaton delivered the iconic performance that helped make Homecoming one of the MCU’s strongest solo outings. After all, there’s more than one way to be in the room where it happens.

Raised by Wolves Producer Confirms What Really Killed Season 3

Fans of Aaron Guzikowski’s Raised by Wolves were gutted to hear that there would be no season 3 of the acclaimed sci-fi series back in June 2022. At the time, Abubakar Salim, who led the cast as Father alongside Amanda Collin as Mother, suggested that the huge WarnerMedia and Discovery Inc. merger was responsible for Raised by Wolves’ sudden cancelation, which has now been confirmed by David W. Zucker, CCO at Ridley Scott’s Scott Free Productions.

Zucker told ScreenRant that the merger was indeed to blame for Raised by Wolves’ fate, noting that new CEO “David Zaslav [came] in” and that led to “our third season [getting] set aside” by HBO Max, adding, “I personally wish that we would be able to bring Raised by Wolves back,” and noting that he “never thought we would make an Alien or Blade Runner series” so keeps “hoping that [show] might have another day.”

The Raised by Wolves producer was, of course, referring to two of Scott Free Productions’ newer offerings, Alien: Earth, currently in production on a second season, and Blade Runner 2099, an upcoming miniseries set to debut on Prime Video in 2027. Still, you can sense that Raised by Wolves has certainly not been forgotten by those behind the scenes, even with some shiny new toys to play with.

Raised by Wolves imagined a future version of Earth that had been destroyed in a war between atheists and a religious group called the Mithraic. In the aftermath, two androids (Collin’s Mother and Salim’s Father) were sent to a distant planet along with human embryos in an effort to start a society of peaceful atheists. However, this plan was disrupted when Mithraic colonists also arrived and reignited the old feud between the two groups. Not only that, their new planet was full of secrets that challenged both religious and scientific explanations, and many of the show’s mysteries were left unresolved after the show’s abrupt cancellation.

After the WBD merger, the series was removed from HBO Max, and it is still searching for a streaming home.

Digger Trailer Looks Like Dr. Strangelove For the 21st Century

It looks like Tom Cruise has learned to stop worrying and love the bomb. Well, okay, Mission: Impossible—The Final Reckoning wasn’t a bomb, but it did end(?) the franchise on a down note. Now he’s taking the end of that franchise to go in a completely different direction, joining Mexican director Alejandro González Iñárritu for the satire Digger. The first trailer for the long-awaited movie has just dropped, featuring Cruise as blustery Southern-fried oil baron Digger Rockwell, a character that both resonates with his past performances and is totally new.

At a Digger event with Cruise on the Warner Bros. lot attended by Den of Geek correspondent Tara Bennett, the actor discussed the creation of Digger Rockwell. “If you start to feel the musicality of the character, it has a rhythm, and it’s not a rhythm like anything else,” he muses. “So the behavior of a character, the movement of a character, these are things that as we’re looking at the makeup side, as you’re developing, you got to go, is this our tone? Is it drama? Is it comedy? Is it too much? You’re dialing it in.”

Those questions about the movie’s tone are only intensified by Digger‘s first trailer. But we might find some answers by looking back at an earlier satire that also laughed at a crisis, Stanley Kubrick‘s satirical classic Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.

In the trailer for Digger, we see how the titular character’s operation has unleashed an environmental disaster, one that merits the attention of world leaders, including the President of the United States (John Goodman). With the help of his friends and advisors, played by familiar faces such as Sandra Hüller and Riz Ahmed, Digger seeks to either fix the problem he created or control the public perception of the issue. Also, he must care for his beloved cat, who appears in the form of a charmingly ragged puppet.

Such a mixture of tones cannot help but recall Dr. Strangelove, the 1964 hit adaptation of the novel Red Alert by Peter George. Doctor Strangelove is a farce about a Cold War flub that pushes the world to the brink of nuclear disaster. In the face of such devastation, the famously cold Kubrick amps up the wacky comedy. Sterling Hayden and George C. Scott play military hawks General Jack D. Ripper and General Buck Turgidson, while Peter Sellers portrays three different characters: the officious RAF officer Group Captain Lionel Mandrake, the milquetoast President Merkin Muffley, and the titular Dr. Strangelove, a mad scientist and former Nazi.

For his part, Cruise has made his own memorable characters, a point he reflected upon at the Digger event, where he noted the similarities and differences between Digger Rockwell and other icons he’s portrayed.

“Like anything, there’s not one rhythm or comedy-fits-all, as we know. I mean, if you look at the difference between a Risky Business to a Jerry McGuire to a Les Grossman [of Tropic Thunder], Edge of Tomorrow, it has its own musicality. It has its own vision,” Cruise explains.

Kubrick made Strangelove at the height of the Cold War, when the possibility of nuclear annihilation was real. Yet, the Looney Tunes sense of humor was only heightened by those tensions, making the comedy sharper and allowing the audience to laugh at such absurdly high stakes.

Digger seems poised to do the same with our current situation. Although the trailer features shots of fighter jets and talk of a nuclear arms race, pointing to threats that have not actually receded since 1964, it focuses more on the devastating effect our energy systems have on the environment. Moreover, Digger reminds us that our economic system allows oligarchs to operate unilaterally, despite their reckless behavior and utter lack of expertise. We see the real-life cost of such structures every day on the news.

For Cruise, those high stakes are part of the excitement. He reveals, “There’s nothing better than to physically and metaphorically stand on the edge of a cliff and go, ‘Let’s do this. And I trust you and whatever we’re going to do, I know this is going to be a hell of an experience and let’s come together and let’s do it. Let’s all do it.’ I have never had something that could challenge me in this way and neither has Alejandro when we went in, ever. And when you see this film, it’s totally original.”

As anyone who has seen his movies Birdman or The Revenant knows, Iñárritu has no problem being original. What is surprising is the level of playfulness that the filmmaker puts into Digger. He seems to shoot every scene at an extreme angle, on sets with gaudy colors, with cinematographer Emmanuel Lubezki going as dramatic as possible and actors devouring every bit of scenery.

“The director sets the frame and the lenses and the lighting. It’s really my favorite thing,” explains Cruise. “Alejandro, he shows me, ‘I want you to look like this;’ And it wasn’t like he said, ‘This is the kind of character.’ So, I’m thinking, ‘This guy’s got fucking balls,’ and I’m like, ‘I can’t wait. Let’s go.'”

Clearly, Cruise is more than happy to oblige Iñárritu’s plans for a bigger movie. Gone is the open-heartedness that made Ethan Hunt such a compelling hero. In its place is a jauntiness that allows Doctor Strangelove to be such an enduring classic. Will Cruise and Iñárritu do the same with Digger? Or is that mission just too impossible?

Digger debuts in theaters on October 2, 2026.

The Odyssey Finally Brings Tom Holland and Tom Holland Together

Years of British historian Tom Holland being confused with British Spider-Man actor Tom Holland online have reached a pleasing high point, as the pair have finally gotten together for the former’s enormously popular podcast, The Rest Is History, which he co-hosts with fellow historian Dominic Sandbrook.

Holland and Holland leaned into the oft-repeated social media mix-up by recreating the “Spider-Man pointing” meme before sitting down in their chairs, both marked “Tom Holland,” to discuss Spidey Holland’s new Christopher Nolan movie, The Odyssey.

Viewers of the video version of the podcast were swift with their own jokes about the Holland vs. Holland encounter, with one writing “Legendary superhero meets a guy who was in the Uncharted movie,” while another posted, “My favourite historian meets the guy who always comes up when I google search for him.”

Historian Holland previously praised Nolan’s upcoming fantasy action movie after attending the London premiere, suggesting that those who have expressed negative opinions or made judgements about the film’s creative choices before even seeing it may be “missing out,” and in the podcast episode, which you can check out below, Spidey Holland also seemed keen to discuss the ways in which Nolan has “pushed the boundaries” of the perceived historical accuracy of The Odyssey, noting that Homer’s ancient Greek epic has been subject to a “humongous game of telephone” over the years.

“Odysseus’ side of the story, Matt’s side of the story, represents the myth,” Holland explained to Holland. “And this humongous game of telephone has been played with this text. You know, it wasn’t written down for hundreds of years. There was a dark period in ancient Greece where no one would write anything down, so they would sing the song. So to me, what I love about the creative choices that Chris has made on that side of the story is that he’s kind of pushed the boundaries of what might be deemed historically accurate or reality, because that is the myth.”

Actor Holland has been making the rounds in a PR blitz over the past month or so, promoting both The Odyssey, where he portrays Telemachus, and Spider-Man: Brand New Day, where he will reprise the role of wall-crawler Peter Parker for Sony and Marvel in what is expected to be an absolute slam-dunk summer blockbuster.

The Odyssey is set for release on July 17, while Spider-Man: Brand New Day is heading for a July 31 release.

Looks Like Spider-Man: Brand New Day Just Added Another Avenger

Kevin Feige seems to be staying one step ahead of notable spoiler generator Tom Holland this time around, as the Marvel boss rolled up at BiliBili World in Shanghai this past weekend to tease yet another recognizable addition to the cast of Spider-Man: Brand New Day ahead of the movie’s release later this month.

While standing next to a woman dressed as Florence Pugh’s MCU character Yelena Belova on stage, Feige told the audience at BiliBili World that “If you’re a fan of Yelena, wait until Avengers: Doomsday. Yelena plays a big part in that,” adding, “But if you don’t want to wait until then, you might see Yelena a little bit sooner in the movies.”

Since Brand New Day is the only remaining Marvel movie left on the calendar before Avengers: Doomsday is released, we can probably put the pieces together ourselves here and say that Pugh will indeed appear in the upcoming Spidey fourquel, though whether that’s in the main plot of the film or a post-credits scene remains to be seen.

Pugh has made quite an impact on the Marvel Cinematic Universe since her debut in 2021’s Black Widow, where she was introduced as Natasha Romanoff’s estranged sister. The two spent some time together in their childhood years before being separated and trained in General Dreykov’s Red Room, where they became elite assassins known as “Black Widows.” Yelena eventually broke away from the group’s conditioning and repaired her relationship with Natasha before she died during the events of Avengers: Endgame.

Yelena then disappeared during the Blip and resurfaced under the employ of Valentina Allegra de Fontaine (Julia Louis-Dreyfus), who tried to dispose of her but accidentally forced her to team up with powerful yet forgotten villains and antiheroes like John Walker and Ghost. Along with Red Guardian, Bucky Barnes, and Bob Reynolds a.k.a Sentry, they were encouraged to form the New Avengers under Fontaine’s guidance.

Doomsday will mark Pugh’s first appearance in a real Avengers movie, but it is not yet known whether her character will survive the events of the movie to reappear in Marvel’s follow-up blockbuster, Avengers: Secret Wars. The actress has been candid in the past about her popular role, telling Total Film that when she first signed up to play Yelena, “lots of people from the indie-film world were all telling me that I was never going to go back to small movies again, and it always kind of wound me up,” but added that she thinks “there’s beauty in all types of those films. There’s beauty in the massive, epic storylines like Dune, like Marvel, like even Oppenheimer that I did. They’re amazing, mega movies.”

It looks like we can now add Brand New Day to Pugh’s impressive list of amazing, mega movies.

Spider-Man: Brand New Day is set for release on July 31.

Anne Hathaway and Matt Damon on the ‘Deeply Kind Person Behind Christopher Nolan’s Genius’

Christopher Nolan’s reputation precedes the man these days. He is one of the last Hollywood directors whose name alone is a brand; a calling card; a promise on the poster that you’re about to see something epic. It’s synonymous with IMAX spectacle and enigmatic characters. What might be less publicized or celebrated, however, are the humane qualities that make him so compelling as a storyteller. They’re crucial though for any leader whom men and women will follow on to the ends of the earth—or at least the Tyrrhenian Sea off the coast of Sicily.

“So before the scene where I’m lashed to the mast and face the Sirens, Chris was waiting for me on the dock with Hoyte [van Hoytema],” actor Matt Damon says with a smile, and perhaps the hint of a sigh, while recounting to us The Odyssey’s shoot across the Mediterranean. The scene in question is pivotal in Homer’s epic poem about a Greek king unable to get home. In the Ancient Greek text, it is here where the ethereal Sirens whisper sweet honey into Odysseus’ ear as he’s tied to his ship’s mast, sailing past their treacherous rocks. In Nolan’s movie, that sweetness is also implied, as is the Sirens’ primal beauty as observed from a distance. But what most forcefully trickles into Odysseus’ ear—and across Damon’s face in extended closeup—is nothing less than psychological agony. He hears the broken promises and waylaid desires whispered between a separated husband and wife. And feels the tears of torment.

“So it’s at six in the morning when we’d leave,” Damon explains, “and I had my armor and everything on, and saw them on the dock. Normally they took off on the camera boat before us, because it takes about an hour to get out there, but they knew I had to do this scene that day. And Chris said, ‘Hoyte and I were saying we should start with [you], and shoot till we’re happy. And then we’ll get the other pieces that we need.’”

It’s a small gesture, but for an actor like Damon, it might be the most graceful piece of direction he ever got from Nolan after three films together. Instead of focusing on the riggings, coverage, or capturing the Greeks’ authentic, wooden longship in the morning sun, Nolan and his cinematographer would just shoot one of the most emotionally taxing closeups of the movie until they, and Damon, were satisfied.

“That does a lot of things,” Damon says. “Number one, it means you’re not going to have to sit around all day. It’s like, I know I have one hour on a boat ride [where] I can get my mind right, and the second I step off that boat we’re going. And we’re going to shoot till we’re happy, meaning we’re going to do this a lot, we’re not leaving until we get everything we need. It seems like very simple direction, but there’s a lot of wisdom.”

Wisdom, and as added by Damon’s co-star and the other emotional anchor of The Odyssey, acute empathy.

“There’s a lot of humanity,” Anne Hathaway says of her director. “So I liked Chris, I was sort of amazed by him, but those little moments make you realize, ‘Oh, there’s a really deeply kind person inside this genius that we revere.’”

Hathaway’s seen it many times over, having collaborated with Nolan for longer than Damon, beginning with her stint as Catwoman in 2012’s The Dark Knight Rises, which is an experience she still looks back on with pride, especially with how it established a fruitful creative relationship.

“When we were working on Dark Knight Rises together, which I think I was 27 years old or something like that on, I couldn’t believe my good luck,” Hathaway remembers. “Because I was still very much the girl from The Princess Diaries, but all of a sudden I got to be on a Christopher Nolan movie playing this character that had meant so much to me my entire life. So I just wanted to be so prepared, I wanted to do such a good job. I just wanted to leave it all on the table, and I think he knew that about me.”

She continues, “So we were doing a sequence and before it even started, he just came up to me and said, ‘You know what, I just wanted to let you know we’re going to do a lot of takes of this because I’ve just had it in my head a certain way for a really long time, and I just need it to flow this certain way. So I’m going to do a lot of takes, but it’s not because you’re doing anything wrong.’” It is a note of humility and preemptive concern.

That probing sympathy for all the filmmaking talent and characterization at play becomes blindingly self-evident in The Odyssey, a film where the entire cast from stars like Damon and Hathaway, to the smallest of supporting roles, are filled with Oscar winners and AAA talent. Hence while even Homer’s Helen of Troy is depicted mostly as the dutiful wife of Menelaus, the Spartan king who fought a bloody war of attrition for 10 years on the shores of Troy after she was taken by (or left him for?) a Trojan prince, the Helen played by Lupita Nyong’o opposite Jon Bernthal’s Menelaus must convey oceans of pained emotions in only a handful of scenes.

“Helen of Troy is kind of ubiquitous,” Nyong’o says. “We all know a version of the Helen story… but oftentimes the women are footnotes in these stories, so it was nice to flesh it out.” While she had not read The Odyssey in full while growing up in Kenya, Nyong’o became extremely familiar with various versions of the Trojan War myth, and what a woman like Helen might think about having an entire war fought in her name.

Adds the Oscar winner, “I do think that this film asks us to consider more than just her face.”

It also asks us to consider the emotional turmoil of even a man who clearly seems to resent that face after being reunited with it. Bernthal’s Menelaus is still married to Helen after the war’s end—which is more accurate to the Greek myths than 2004’s Troy ever got—but there is an inherent contradiction between how coldly the Spartan king treats his returned wife versus the genuine kindness he shows Telemachus, Odysseus’ young adult son played by Tom Holland.

“I think in the canon of Chris’ work and in the canon of all great storytelling, it’s always a gray area,” Bernthal reflects. “It’s not, ‘Okay, this is a good guy, this is the bad guy.’ It’s about what are the characters going through? I think there’s deep shame, there’s deep anger, there’s deep bitterness, there’s deep sadness, there’s deep survivor’s guilt. All this stuff is going on.”

Like Homer, it is tapping into universal emotions bigger than just heroes and villains. Anyone can relate to the pull of wanting to go home—or the fear that they blew it somehow by leaving. In some ways, The Odyssey feels like a culmination in Nolan’s work, and not just because it is the third movie where a hero must fight his way across vast distances to get back to Ms. Hathaway. It is also another story about the longing of home and family—and the fear of being unable to see them again not because of external forces, but due to internal, human ones.

“The first thing I said to Chris when I read the script was, ‘Wow, this traffic’s in a lot of the same themes as Oppenheimer,’” Damon reveals. “Just because I just felt that’s a story about accountability for what you’ve done and the decisions you’ve made. Odysseus is very much responsible for his own ingenuity and living with the effects of that.”

It is another film about a great man who does terrible things, and in the aftermath is unsure if he even deserves the home life he yearns for. It’s about the moral anguish of a struggling husband tied to the mast, not the spectacle he alone might be privy to. The intimate scope of Nolan’s epics in a nutshell.

The Odyssey opens in theaters on Friday, July 17.

Marvel Reveals New Look at Avengers: Doomsday With Loki at the Center of Everything

A new official look at Avengers: Doomsday’s ensemble cast offers some fascinating insights into the upcoming superhero blockbuster, which is still keeping much of its story under wraps ahead of Marvel’s return to San Diego Comic-Con later this month.

Although the ensemble was already announced a while ago with some strategically placed chairs, this new look seems to confirm a few rumors about the construction of the film’s team-ups, but also highlights Loki (Tom Hiddleston) in quite a mysterious yet important way.

Andy Park, who has been a key part of Marvel’s Visual Development team since 2010 and was laid off by the company in April 2026 as part of The Walt Disney Company’s devastating corporate cuts, shared the new look at Avengers: Doomsday on social media this past weekend, writing that it marked “the final full film I had the honor of leading as Director of Visual Development at Marvel Studios” and that the impressive illustration “commemorates that journey & reveals the characters & their looks for the first time.”

Fans were quick to point out that there seem to be three distinct superhero teams in Avengers: Doomsday, with The New Avengers, Thor, Ant-Man, and a bearded Steve Rogers grouped together, the X-Men aligned, and the Fantastic Four standing with Sam Wilson Captain America, Shang-Chi, Shuri Black Panther and M’Baku.

Though the reveal of Doctor Doom’s menacingly masked face between Steve Rogers (holding a reformed Mjolnir) and Reed Richards seems to confirm that both heroes will indeed play a large role in whatever plans Doom has for the Marvel Cinematic Universe, it was the center of Park’s illustration that drew a surprising amount of attention, for it was there that fans noticed the almost spectral illustration of Hiddleston’s Loki right in the center, still sitting atop his throne at the foot of Yggdrasil, where he maintains the multiversal timelines of the MCU.

The exact nature of Loki’s role in Avengers: Doomsday has been one of the movie’s greatest mysteries. As a villain, Loki was a huge part of the first Avengers film back in 2012, but was killed off at the start of Avengers: Infinity War. A variant of the character then managed to escape during the Time Heist in Avengers: Endgame, leading him on a time-bending journey in the critically acclaimed Disney+ series Loki.

Removing Loki from his glorious purpose as the God who now sits at the heart of the MCU’s timelines has long been theorized as a key move for any villain who would want to mess with the multiverse, but whether Doctor Doom will find Loki an easy target remains to be seen in Avengers: Doomsday, which will lead to the Multiverse Saga-ending Avengers: Secret Wars in 2027.

Naturally, Hiddleston has been tight-lipped about what we can expect from his beloved character in Avengers: Doomsday, simply telling GQ that the film is “monumental” and that the “surprising” center of the story “has never been done before.”

Avengers: Doomsday is set for release on December 18.

15 People Share the Gaming ‘Masterpiece’ They Just Can’t Get Into

Not everyone likes everything, and that’s ok; having distinct tastes is what makes us interesting, and worthy of sharing experiences. But of course, when everyone is singing the praise of a game or franchise, you want to know what that is all about. Only to encounter that these so-called ‘masterpieces’ don’t really click with you.

We know there’s nothing wrong with that, even if we can’t help but feel left out. This is how users of Reddit felt when sharing their own experiences, and these are the most notable games they mentioned. Look through this list to find people who think like you, or wonder how they could not enjoy the timeless classic you love.

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The Sims

The Sims remains one of the best-selling life simulation franchises ever made, but its open-ended gameplay isn’t for everyone. Some players simply prefer games with clearer objectives and a stronger sense of progression.

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Undertale

Praised for its memorable characters, humor, and unconventional combat system, Undertale has earned classic status. Even so, its unique style and quirky presentation don’t resonate with every player who gives it a try.

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Fortnite

As one of the defining battle royale games, Fortnite attracts millions with its constant updates and crossover events. For others, the fast-paced multiplayer focus and competitive nature never quite click.

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Metro 2033

Known for its immersive atmosphere and post-apocalyptic storytelling, Metro 2033 has a devoted following. Some players, however, struggle with its slower pacing and survival mechanics despite appreciating its world-building.

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Hollow Knight

Hollow Knight is widely regarded as one of the finest Metroidvanias ever made. Its challenging combat, interconnected world, and demanding exploration can nevertheless prove frustrating for players seeking a more forgiving experience.

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The Witcher 3: Wild Hunt

Frequently cited among the greatest RPGs ever created, The Witcher 3 offers a massive world and acclaimed storytelling. Some players simply never connect with its combat, pacing, or lengthy quest structure.

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Red Dead Redemption 2

Rockstar’s western epic is celebrated for its realism and attention to detail. Others find its deliberately slow movement, lengthy animations, and methodical pacing difficult to enjoy despite recognizing its craftsmanship.

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Outer Wilds

Outer Wilds has been praised for its exploration and mystery-driven design. Players expecting more traditional progression sometimes struggle with its time loop structure and the freedom to uncover answers independently.

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The Legend of Zelda: Breath of the Wild

Nintendo reinvented the Zelda formula with a vast open world and player freedom. While many embraced the changes, others missed the series’ traditional dungeon structure and found weapon durability frustrating.

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The Elder Scrolls V: Skyrim

Skyrim has remained enormously popular for more than a decade thanks to its expansive world and modding community. Still, some players never become invested in its combat or open-ended quest design.

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Diablo III

Blizzard’s action RPG refined its gameplay considerably after launch and built a loyal audience. Even so, its loot-focused progression and repetitive endgame loop aren’t enough to hook every player.

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Disco Elysium

Acclaimed for its writing and role-playing depth, Disco Elysium stands apart from most RPGs. Players looking for traditional combat or faster gameplay sometimes find its dialogue-heavy approach difficult to embrace.

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Warframe

Warframe offers years’ worth of content and fast-paced cooperative gameplay. However, its complex systems, steep learning curve, and overwhelming amount of mechanics can discourage newcomers before everything falls into place.

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Elden Ring

FromSoftware’s acclaimed open-world adventure earned widespread praise for its exploration and challenging combat. Even so, its demanding difficulty and minimal guidance remain significant barriers for players who prefer more accessible experiences.

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Factorio

Factorio has become a benchmark for factory-building games through its intricate automation systems. Players who don’t enjoy optimization, logistics, or gradually expanding production lines often find it difficult to get invested.

15 Movies Where Your Mom Can’t Stop Asking Questions

Older generations tend to have problems following overly complicated movies, especially if they’re used to having movies only as background noise or as a relaxing activity. If you’re watching a movie with them, they’ll feel like the plot is impossible to follow. It’s hard to enjoy a film when watching with someone who keeps wondering who’s who, what just happened, or why everyone suddenly looks different.

Through their complicated plots and original ideas, these films reward careful viewing and tend to generate a steady stream of questions from anyone who isn’t completely locked into the story. Be careful who you choose as a watching partner in the future.

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Inception

Christopher Nolan’s dream-heist thriller constantly shifts between multiple dream layers moving at different speeds. Missing one explanation about the rules almost guarantees confusion once the story reaches its increasingly complex finale.

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Tenet

Time inversion, overlapping timelines, and dialogue packed with scientific terminology make Tenet one of Christopher Nolan’s most demanding films. Even attentive viewers often need a second watch to fully piece everything together.

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The Prestige

The rivalry between two magicians unfolds through journals, flashbacks, and carefully hidden twists. The movie constantly encourages viewers to question what they’re seeing until the final revelations reframe everything.

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Mulholland Drive

David Lynch’s surreal mystery deliberately blurs dreams, identity, and reality. Rather than offering straightforward answers, the film invites interpretation, making it a guaranteed source of confused questions during family movie night.

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Memento

Because the main storyline unfolds in reverse chronological order, viewers gradually discover information alongside the protagonist. Looking away for even a few minutes makes reconnecting the narrative significantly more difficult.

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Primer

Made on a tiny budget, Primer presents time travel with remarkable complexity and very little exposition. The overlapping timelines have inspired countless diagrams from fans trying to untangle the story.

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Cloud Atlas

Six interconnected stories unfold across different eras with actors playing multiple roles under extensive makeup. Keeping track of the shifting timelines and recurring faces can become surprisingly challenging.

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Donnie Darko

Between alternate timelines, mysterious visions, and philosophical discussions about time travel, Donnie Darko leaves many viewers debating its meaning long after the credits finish rolling.

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Everything Everywhere All at Once

The film rapidly jumps across countless alternate universes while balancing action, comedy, and emotional family drama. Its constant multiverse shifts require viewers to pay close attention throughout.

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Coherence

A dinner party becomes increasingly confusing after a cosmic event causes multiple realities to overlap. The film reveals its mysteries gradually, rewarding viewers who carefully track each character’s movements.

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The Fountain

Darren Aronofsky tells three seemingly connected stories spanning different periods and realities. The emotional throughline eventually emerges, but the unconventional structure often leaves first-time viewers searching for answers.

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Shutter Island

Martin Scorsese’s psychological thriller constantly challenges the audience’s understanding of reality. As new clues emerge, viewers are encouraged to reconsider everything they believed about the investigation.

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Enemy

Denis Villeneuve’s adaptation of José Saramago’s novel embraces ambiguity from beginning to end. Doppelgängers, symbolism, and an unforgettable final image have made it one of modern cinema’s most debated films.

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The Matrix Reloaded

The sequel expands its mythology with philosophical conversations, new factions, and complicated rules governing the Matrix. Viewers expecting another straightforward action movie often find themselves struggling to keep up.

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Synecdoche, New York

Charlie Kaufman’s drama steadily dissolves the boundaries between reality, theater, and imagination. As years pass in unconventional ways and stories fold into each other, following the narrative becomes increasingly demanding.