Timothée Chalamet Prepares Audiences for a Darker Paul in Dune 3

If you’re not paying much attention, Dune and its sequel Dune: Part Two can seem like a typical hero’s journey tale. It follows Paul Atreides, a boy who comes with his father to the desert planet of Arrakis to find himself caught in the middle of an interplanetary coup, a religious uprising, centuries of manipulation by space nuns, and one lady’s decision to have a baby. By the time the dust storm settles, Paul has become Muad’Dib, the savior of the Fremen and galactic emperor.

Yet, attentive watchers and, especially readers of the novels by Frank Herbert, know that the Dune franchise regards Paul as just one more charismatic leader, unworthy of trust and given to destructive goals. Those viewers certainly include Paul’s actor Timothée Chalamet, who described his character’s role in Dune: Part Three to attendees at CinemaCon. “He’s become his worst vision,” he said (via EW) of Paul, a person still “trying to figure out how to still protect those who he loves in his life while becoming the all-powerful dark emperor of the universe.”

“All-Powerful Dark Emperor” is not what most moviegoers want from their heroes. One need only look at the enormous backlash Rian Johnson continues to get for saying that Luke Skywalker made some bad decisions in the years after Return of the Jedi. A weirdo like Alan Moore can turn Harry Potter‘s “Chosen One” arc into something stomach-churning for his League of Extraordinary Gentlemen series, but most people just want to see the local kid do good, to see the stableboy pull the sword from the stone and become a very good king, no questions asked.

But that’s never been Paul’s story, not even in Herbert’s telling. While he certainly doesn’t pin all the blame on Paul and, in fact, allows his protagonist to see that the Fremen jihad would happen regardless of his actions, Herbert never frames the character as a hero. Instead, he understands Paul as someone just as subject to the currents of history as everyone else. Further, the books’ most pointed criticism pokes at those who would deify those people, such as Princess Irulan and the hagiographies she presents as historical records.

Dune Messiah, the source material for Dune: Part Three made this point more strongly than any of Herbert’s other books. While later entries featured previously-killed characters and Paul’s very large sandworm son to act as villains and antagonists, Messiah took a smaller focus to show how his actions affected those around him. The story follows a conspiracy against Paul, one that involves the face-dancer Scytale (Robert Pattinson, hopefully as weird as possible) and that strikes out at Chani as well.

Despite the small stakes of Dune Messiah, Dune: Part Three promises to have a more epic scope, just by virtue of being a blockbuster trilogy. “It was just deeply moving to be part of a sci-fi trilogy on the scale of Lord of the Rings, but in a time when movie theaters and movies aren’t as naturally successful as they used to be, you know,” Chalemet added. “It’s a deep honor, if not the biggest one of my career, to be working with ‘The One,’ which is Denis Villeneuve, the real Paul Atreides.”

Wait, did Chalemet mean that as a compliment? Maybe he isn’t paying as much attention as we thought…

Dune: Part Three comes to theaters on December 18, 2026.

Jinx and Susie Are the Linchpin of Margo’s Got Money Troubles’ Modern Family

Margo has way more than money troubles in the Apple TV series Margo’s Got Money Troubles.

After an affair with her married English professor leads to an unexpected pregnancy, Margo Millet (Elle Fanning) confronts a laundry list of issues from negotiating with the baby’s father, to mollifying her sleep-deprived roommates to, yes, a lack of money. And while she’s able to solve some of those problems with her creative approach to OnlyFans modeling, others don’t have easy solutions. That is to say: Margo’s got family troubles.

As the only daughter to a histrionic former Hooter’s waitress mother Shyanne (Michelle Pfeiffer) and a drug-addicted ex-pro wrestler father Jinx (Nick Offerman), Margo is used to a complicated family dynamic. Once her son Bodhi is born, however, she needs everyone on their A-game. And that’s where two mismatched figures come in to establish the beginnings of an unlikely, yet unbreakable, family unit: Margo’s aforementioned father Jinx and her sole remaining roommate Susie (Thaddea Graham).

“I really love their journey together in support of Margo and Bodhi; in support of the household,” Offerman tells Den of Geek. “I come from a big family and Susie reminds me of my family where she sees the work that needs doing in the apartment and she just does it. She doesn’t ask questions. She’s like ‘I’m here for you.’ We end up forming this wonderful family bond. I think that’s a nice thing to show an audience in a time when isolation is being sold to us so powerfully.”

Jinx and Susie are the two most stalwart figures on Team Margo, helping the single mother with all sorts of child-rearing tasks. They also make up an unusual partnership, with one being an adolescent wrestling megafan and the other being her washed up idol. Though Susie is beyond star struck when Jinx knocks on her front door (Margo didn’t let her in on what her largely absent father does for a living), the pair slowly develops a co-equal relationship of mutual respect.

According to Graham, a young actor previously seen in Sex Education and Bad Sisters, the structure created by Margo’s Got Money Troubles director Dearbhla Walsh allowed her to swiftly acclimate to working with a veteran actor like Offerman.

“One of the incredible things about Dearbhla is she page-turns your scenes so you can see your arc in its entirety,” she says. “I think that’s so important. You get time to throw out ideas and ask questions. A lot of our scenes were together and I got to do them with Nick before we got to set. Especially as someone who feels very, very green and very new to this whole world, to step into a cast of this caliber, that time beforehand was so generous. It meant I wasn’t stepping in for the first time on set with the cameras rolling and going ‘Oh my God, that’s Nick Offerman!”

“I didn’t care for her,” Offerman deadpans in response. “It’s actually funny to hear you [say that.] I know you’re young but you don’t seem green. I was such a big fan of Bad Sisters and I saw season 2 that Thaddea was in. It was like when I got offered my job on The Last of Us, I had just seen Murray Bartlett in The White Lotus. It’s like seeing Raiders of the Lost Ark and they say ‘the guy in the hat and the whip – that’s gonna be your friend in the show.'”

While connecting with each other and forming the backbone of an unconventional family unit came naturally to Offerman and Graham, getting attuned to the cultural phenomenon that is professional wrestling was a bigger challenge. Thankfully, Offerman had resources to learn from, including Margo’s Got Money Troubles novelist and wrestling stan Rufi Thorpe.

“I knew about the Von Erichs because of [my friend Corn Mo’s] gorgeous ballad ‘Shine On, Golden Warrior.’ But I really came in pretty ignorant to the contemporary world. Rufi is a crazy wrestling fanatic. She really turned me on to Bret Hart’s memoir and Mick Foley’s memoir. She was a great resource. I was able to do a lot of homework. Then being trained by Chavo Guerrero – in actual wrestling by an actual member of the Guerrero family – were all huge parts of my recipe to put together Jinx.”

The Von Erichs, Bret Hart, Mick Foley, Chavo Guerrero, and Rufi Thorpe may have been the recipe to put together Jinx, but the bond between Jinx and Susie is the recipe to put together the Millet family…money troubles be damned.

The first three episodes of Margo’s Got Money Troubles are available to stream on Apple TV now. New episodes premiere Wednesdays on Apple TV, culminating with the finale on May 20.

Godzilla Minus Zero Teaser Promises a Reckoning for the US

The King of the Monsters is too great to be held to just one country. 2023’s Godzilla Minus One kept Big G at home, for an honest and humane look at Japan’s actions during World War II. However, the first teaser for the sequel Godzilla Minus Zero makes clear that there’s plenty of blame to go around.

The trailer establishes that Minus Zero takes place in 1949, two years after the first film. We check in with protagonist Kōichi Shikishima (Ryunosuke Kamiki), seen briefly inside the cockpit of a fighting plane, as well as Noriko Ōishi (Minami Hamabe), wearing an eye patch from her injuries sustained in Godzilla‘s first attack and caring for orphan child Akiko (Sae Nagatani). However, the most powerful moment occurs at the end of the teaser, when the camera adopts a worm’s-eye view to stare up at Godzilla striding past and towering above the Statue of Liberty.

Godzilla’s arrival in the United States promises to continue the themes that director Takashi Yamazaki established in the first film. Godzilla Minus One focused on the practice of kamikaze attacks, in which pilots sacrificed themselves by crashing their planes into enemy vehicles. When Kōichi hesitates during Godzilla’s first attack in the opening of the movie, he’s haunted with guilt, the feeling that he should have died trying to stop the creature and should have died fighting in World War II. However, when he gets the opportunity to smash his plane into Godzilla in the film’s climax, Kōichi is persuaded to choose life instead.

The climax highlights the way Minus One critiqued Japan’s actions during World War II, suggesting that the country embraced a death drive that only compounded their losses. However, the film in no way ignores America’s role in dropping the bombs, even tying Godzilla’s mutation directly to the tests at Bikini Atoll.

Thus, it follows that Minus Zero would turn its attention to the States, unleashing Godzilla as an avenging force for their actions. Indeed, the voice-over playing at the start of the teaser features Americans talking about a third test, suggesting that the U.S.’s interventions in the country will go even further than we realize, causing Godzilla to rise again.

However, there is a historical note worth considering that might expand Minus Zero‘s scope even further. In 1949, the Soviet Union exploded its first atomic bomb, setting the stage for the Cold War that would hold the rest of the world hostage for the next fifty years. As Godzilla holds the U.S. accountable for its actions, will he also be looking to the U.S.S.R. and their escalation?

Whatever happens, we hope that Yamazaki can continue to balance political commentary, effective human drama, and kaiju spectacle as well as he did in the first movie. Godzilla is big enough to take on the entire world, and Godzilla Minus Zero might be the movie to deliver them.

Godzilla Minus Zero arrives in the United States on November 3, 2026.

15 Sequels That Totally Ignored What Made the Original Work

When we hear that a beloved movie of ours is getting a sequel, what we expect is for it to build on what audiences loved the first time around. Sadly, that doesn’t always happen, even if you’d think it is the natural course of action.

It can be a drastic tone shift, overcomplicating the story, or sidelining key characters; what matters is that these follow-ups end up feeling disconnected from what fans expected. While they don’t always become a failure, they most often do, showing that whoever is making the continuation lost what made the original work function.

Indiana Jones and the Kingdom of the Crystal Skull

The original trilogy leaned into grounded pulp adventure, but this sequel introduced sci-fi elements and heavy CGI, which many felt clashed with the series’ tone and stripped away the practical charm fans loved.

The Matrix Reloaded

While the first film balanced philosophy and action, the sequel leaned heavily into exposition and complex lore, losing the clarity and tight storytelling that made the original so impactful.

Pirates of the Caribbean: On Stranger Tides

The original succeeded through character chemistry and adventure, but this entry reduced that balance, focusing more on spectacle while losing the dynamic interactions that defined the series.

Fantastic Beasts: The Crimes of Grindelwald

The first film centered on magical creatures and adventure, but the sequel shifted heavily into complex franchise lore, losing the charm and accessibility that made the original engaging.

Son of the Mask

The original relied heavily on Jim Carrey’s performance and humor, but the sequel replaced that energy with exaggerated effects and a different lead, losing its comedic identity.

Speed 2: Cruise Control

The high-stakes, fast-paced tension of the original was replaced with a slower, less urgent setting, removing the core concept that made the first film so effective.

Alien 3

After the action-driven energy of the previous film, this sequel shifted tone drastically and dismissed key character arcs, frustrating audiences who expected continuity and payoff.

Terminator: Dark Fate

By ignoring previous sequels and altering established character arcs, the film attempted a reset but lost the emotional continuity that made earlier entries resonate.

Batman & Robin

Following a darker tone in earlier entries, this sequel leaned heavily into camp and spectacle, losing the grounded atmosphere that audiences had responded to.

Jaws: The Revenge

The suspense and realism of the original were replaced with an implausible premise, removing the grounded tension that made the first film so effective.

Highlander II: The Quickening

The sequel drastically altered the mythology introduced in the original, confusing audiences and undermining what made the first film compelling.

The Blair Witch 2: Book of Shadows

Instead of sticking with the found-footage realism of the original, the sequel abandoned the format entirely, losing the immersive style that defined its predecessor.

Grease 2

Without the original cast and chemistry, the sequel failed to replicate the charm and cultural impact that made the first film a success.

The Lost World: Jurassic Park

While still successful, the sequel leaned more into action than suspense, moving away from the careful buildup and wonder that defined the original.

Pacific Rim: Uprising

The sequel shifted tone toward a lighter, more generic blockbuster style, losing the distinct visual identity and weight that made the original stand out.

14 Movies That Lied About the ‘True Story’ Part

Hollywood loves the phrase “based on a true story,” even though that label often stretches the truth to its limits. In many cases, real events serve only as a loose foundation, with filmmakers reshaping timelines, inventing characters, or exaggerating details to heighten drama.

Some films blur facts beyond recognition, while others build entire narratives on disputed or unreliable sources. The result is a long list of movies that feel authentic on the surface but drift far from reality upon closer inspection. It’s always good to treat the label of “true story” with some skepticism, but with these films, finding the truth is what’s hard.

Saturday Night Fever

Marketed as a gritty snapshot of real disco-era life, it was inspired by a magazine article that its own author later admitted was largely fabricated.

Bloodsport

Claims to tell the story of Frank Dux and his participation in a secret underground martial arts tournament. Most of Dux’s story has been widely discredited, with no verifiable evidence of the ‘Kumite’ ever existing.

Catch Me If You Can

Promoted as the unbelievable real-life exploits of Frank Abagnale Jr., the movie exaggerates or invents many of its most memorable events. Investigations into Abagnale’s past suggest that key claims, including major impersonations, lack evidence, making the film far more fictionalized than its framing implies.

The Conjuring

Presents itself as a faithful retelling of one of Ed and Lorraine Warren’s most famous cases. While many of the film’s most dramatic elements were invented or heightened to create a more intense cinematic experience, the reality of the couple is that they were con artists, not paranormal heroes.

The Greatest Showman

Though inspired by the life of P. T. Barnum, the film significantly rewrites history. It portrays Barnum as a compassionate visionary while downplaying or omitting his more controversial practices.

Flamin’ Hot

Tells the story of Richard Montañez and his claim to have invented Flamin’ Hot Cheetos. However, that origin story has been disputed by the company behind the product, which credits a different development process. The film leans heavily into a narrative that remains controversial rather than confirmed.

Fargo

The movie famously opens by claiming it is based on a true story, but that statement is entirely false. The Coen brothers later confirmed the film is fictional, aside from vague inspirations. The “true story” label was a deliberate stylistic choice, making it one of the most playful yet misleading examples.

Pain & Gain

While the movie is based on a real criminal case, it takes significant liberties with tone and detail. The film exaggerates events and alters facts to fit its dark comedic style, often downplaying the brutality of the crimes.

Cocaine Bear climbs a tree

Cocaine Bear

Inspired by a real incident involving a bear that ingested cocaine, Cocaine Bear transforms a brief and tragic event into a chaotic action spectacle. The real bear died quickly, with no rampage or encounters.

Bohemian Rhapsody

The film dramatizes the life of Freddie Mercury and the rise of Queen but rearranges major events for narrative impact. The timeline of Mercury’s diagnosis and the band’s history is altered, particularly around Live Aid.

Green Book

Based on the relationship between Don Shirley and Tony Lip, Green Book has been criticized for inaccuracies and omissions. Shirley’s family disputed key aspects of the portrayal, including the nature of their relationship.

Argo

The movie recounts a real CIA operation during the Iran hostage crisis but reshapes events to heighten tension. The film minimizes the crucial role played by Canadian officials and adds dramatic sequences that did not occur.

The Strangers

Marketed as inspired by real events, The Strangers does not directly depict a specific true story. Instead, it draws loosely from various sources, including vague criminal cases and general fears.

The Heart Is Deceitful Above All Things

Presented as an adaptation of autobiographical stories by JT LeRoy, this film’s “true story” roots collapsed when the author’s identity was exposed as a fabrication. The persona behind the work was fictional, casting serious doubt on the authenticity of the events depicted in the film.

The 15 Movies That Make Us Cry the Most

All movies are meant to move something inside us, yet some hit us so deeply that we end up ugly-crying on the couch. These are the movies people return to when they need a good cry, the ones known for their ability to break even the toughest viewers.

From sweeping dramas to animated classics, they all share one thing in common: an emotional impact that’s hard to shake. Even when you know what happens, who dies or what is lost, you’re driven to tears because of how the themes covered in these films aren’t often seen elsewhere.

Grave of the Fireflies

This devastating story of two siblings struggling to survive during World War II is widely regarded as one of the most heartbreaking films ever made, exploring loss, innocence, and the human cost of war.

Schindler’s List

Following a man saving Jewish lives during the Holocaust, the film’s emotional weight comes from its stark portrayal of suffering, sacrifice, and humanity in unimaginable conditions, making it one of the most powerful and widely cited tearjerkers.

The Green Mile

A supernatural prison drama that builds toward an emotionally overwhelming conclusion, combining themes of injustice, compassion, and loss in a way that consistently leaves audiences in tears.

The Notebook

A lifelong romance marked by separation and memory loss, the film’s emotional core lies in enduring love and the passage of time, resonating strongly with audiences seeking catharsis.

Up

Famous for its opening sequence, the film quickly establishes an emotional connection through love and loss, demonstrating how even animated films can evoke powerful emotional responses.

Toy Story 3

The film’s climax taps into themes of growing up and letting go, turning a beloved franchise into an unexpectedly emotional experience for audiences of all ages.

Manchester by the Sea

A quiet, devastating exploration of grief and guilt, the film’s restrained storytelling makes its emotional impact even stronger, leaving audiences reflecting on loss and healing.

Bridge to Terabithia

What begins as a whimsical story about friendship turns into a deeply emotional exploration of loss, catching many viewers off guard and leaving a lasting impression.

Brokeback Mountain

A restrained love story marked by repression and missed opportunities, the film’s emotional power builds through its quiet depiction of longing and regret.

Life Is Beautiful

Balancing humor and tragedy, the film uses a father’s love to shield his son from the horrors of a concentration camp, leading to a deeply emotional payoff.

My Girl

A coming-of-age story that takes a sudden emotional turn, leaving audiences heartbroken through its portrayal of childhood and loss.

Atonement

A tragic story shaped by misunderstanding and time, its emotional impact builds toward a devastating conclusion that reframes everything that came before.

Dead Poets Society

The film’s themes of individuality, loss, and inspiration culminate in an emotional finale that continues to resonate with audiences.

Marley & Me

A story about life with a beloved pet evolves into an emotional reflection on companionship and loss, striking a chord with many viewers.

Requiem for a Dream

Rather than traditional sadness, the film’s emotional impact comes from its intense portrayal of addiction and despair, leaving viewers deeply affected.

15 Times a Movie Just Tried to Copy a Trend and Still Failed

When a certain type of movie becomes a hit, it’s only a matter of time before studios try to replicate the formula. Big franchises, shared universes, gritty reboots, and young adult adaptations have all sparked waves of imitators hoping to capture the same success.

But following a trend doesn’t always work, especially when audiences can tell something feels derivative or arrives too late. In many cases, these films had the budget and the blueprint, but not the originality or timing to stand out. These are the movies that tried to ride the wave of a popular trend and still ended up falling short.

Green Lantern

Released during the early superhero boom, it attempted to capitalize on the growing comic book trend but failed to stand out, underperforming financially and critically despite a large budget and franchise ambitions.

John Carter

Despite adapting a story that inspired many sci-fi trends, the film ended up feeling like a copy of later space epics. Audiences saw it as derivative, contributing to one of Disney’s biggest box office failures.

Battleship

Clearly riding the wave of blockbuster spectacle films like Transformers, it leaned heavily on visual effects and large-scale destruction but failed to resonate with audiences or critics.

The Mummy

An attempt to launch a shared cinematic universe similar to Marvel’s, the film struggled with tone and identity, ultimately collapsing Universal’s planned “Dark Universe” before it could properly begin.

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

Fantastic Four

Trying to replicate the darker tone popularized by The Dark Knight, the film clashed between gritty realism and superhero expectations, resulting in a poorly received and commercially disappointing reboot.

Eragon

Released during the fantasy boom sparked by The Lord of the Rings, it attempted to capture the same appeal but was criticized for its execution and failed to launch a franchise.

The Golden Compass

Positioned to capitalize on the success of fantasy franchises, it struggled with tone and adaptation choices, underperforming domestically and halting plans for sequels.

King Arthur: Legend of the Sword

Attempted to blend classic mythology with modern blockbuster style, following trends of stylized reboots, but audiences didn’t connect with its approach, leading to a major box office disappointment.

The Lone Ranger

Trying to replicate the success of Pirates of the Caribbean with a similar creative team, it failed to capture the same magic, becoming one of Disney’s most notable flops.

Jupiter Ascending

Aiming to create a new space opera franchise in the mold of Star Wars, it leaned into large-scale world-building but was criticized for its storytelling and underperformed commercially.

Pan

Part of the trend of reimagining classic stories with darker or more epic tones, it failed to attract audiences and became a notable box office disappointment.

Mortal Engines

Attempted to replicate the YA fantasy and dystopian boom, but audiences had moved on from the trend, resulting in a major box office loss.

The Dark Tower

Attempted to blend fantasy and blockbuster action trends, but failed to satisfy fans or newcomers, leading to poor reception and canceled franchise plans.

Robin Hood

Another attempt to modernize a classic story with a gritty, stylized approach, following contemporary trends, but it failed to gain traction.

Gods of Egypt

Tried to replicate the success of mythological action films like Clash of the Titans, but was criticized heavily and performed poorly at the box office.

18 People Share the Movie That Puts Their Brain in a Pretzel

Some movies are hard to wrap your head around, while others just leave your brain in shambles. Users of Reddit shared the movies that destroyed their psyche, and their names alone can give you a headache. These are films that demand attention and, if you brave through them on multiple viewings, can offer deeper insights about their real plots.

If you’re looking for something a bit deeper to watch, or if you just love to have complicated films in the background, then this list is for you. Be warned, after watching all of them, you might end up questioning your sanity and what is even real anymore.

Pi

A mathematician becomes obsessed with finding patterns in numbers, spiraling into paranoia and madness. The film blends mathematics, philosophy, and psychological breakdown, creating a dense, unsettling experience that feels increasingly disorienting the deeper it goes.

Paprika

This animated film blurs dreams and reality as characters enter each other’s subconscious. Its constantly shifting visuals and logic make it difficult to separate what’s real, turning the entire experience into a surreal puzzle that refuses to settle into clear answers.

Coherence

A dinner party turns chaotic when a cosmic event fractures reality into multiple overlapping versions. The film’s low-budget, improvisational style enhances the confusion, as characters and viewers alike struggle to track which version of reality they’re even in.

Primer

A deeply complex time travel story that avoids exposition, forcing viewers to piece together overlapping timelines themselves. Its technical dialogue and nonlinear structure make it one of the most famously difficult films to fully understand on a first viewing.

Videodrome

A man becomes entangled in a mysterious broadcast that begins to alter his perception of reality. The film mixes body horror with media paranoia, creating a surreal descent where hallucination and reality become indistinguishable.

The Lighthouse

Two lighthouse keepers descend into madness in isolation, with shifting power dynamics and strange imagery. The film intentionally obscures what is real versus imagined, leaving viewers to interpret events through fragmented, unreliable perspectives.

Oldboy

A man imprisoned for years is suddenly released and seeks answers, only to uncover a deeply disturbing truth. The film’s shocking revelations reframe everything that came before, turning a revenge story into something far more unsettling.

12 Monkeys

A time travel mission to stop a virus becomes a looping paradox where past and future blur together. The film’s structure forces viewers to question whether events can be changed or are already predetermined.

Memento

Told in reverse order, the film places viewers inside the mind of a man with short-term memory loss. The fragmented narrative forces constant reevaluation of what’s true, creating a uniquely disorienting storytelling experience.

The Game

A wealthy man becomes trapped in an elaborate “game” that begins to take over his life. The film constantly shifts reality, making it unclear what is staged and what is real until the very end.

Being John Malkovich

A portal into an actor’s mind leads to a bizarre exploration of identity and control. Its surreal premise escalates into increasingly strange territory, challenging the idea of individuality and consciousness.

Enter the Void

Told from a drifting, out-of-body perspective, the film follows a consciousness moving through time and memory. Its structure and visuals create a hypnotic, often overwhelming experience that blurs life, death, and perception.

Synecdoche, New York

A theater director creates a life-sized replica of New York inside a warehouse, blurring art and reality. As the project expands, time and identity collapse into something increasingly abstract and difficult to grasp.

Frailty

A man recounts a childhood shaped by his father’s belief that he was chosen to destroy demons. The narrative gradually reveals layers that force viewers to reconsider what’s real, moral, or imagined.

Blue Velvet

A seemingly normal town hides a disturbing underworld beneath its surface. The film’s dreamlike tone and unsettling shifts in reality create a constant sense of unease and ambiguity.

Predestination

A time travel agent pursues a criminal across multiple timelines, only to uncover a paradox that folds in on itself. The film’s structure creates a loop that challenges identity, causality, and linear storytelling.

The Prestige

Two magicians engage in a rivalry filled with deception and obsession. The film layers its narrative like a magic trick, revealing truths in ways that force viewers to reconsider everything they’ve seen.

The scariest scene in Event Horizon.

Event Horizon

A rescue crew investigates a spaceship that has returned from a mysterious dimension. As reality begins to break down, the film blends sci-fi and horror into a disorienting descent into madness.

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

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

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

Ripple: Season 1, 2,000,000 views

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

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

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

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

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

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

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

WWE Raw, 3,000,000 views

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

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

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

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

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

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

The Predator of Seville, 4,700,000 views

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

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

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

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

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

Let Him Go , 3,700,000 views

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

Gru in Despicable Me 4

Despicable Me 4, 3,800,000 views

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

Madagascar (2005)

Madagascar, 4,900,000 views

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

Rumi in KPop Demon Hunters

KPop Demon Hunters, 5,100,000 views

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

Jamie Bell as Duke Shelby in Peaky Blinders

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

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

War Machine, 6,100,000 views

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

40 Acres, 6,200,000 views

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

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

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

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

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

Anaconda, 9,900,000 views

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

21 Fun Movie Facts That Make Watching Them Better

Sometimes, knowing a little extra about a movie can completely change the way you watch it. Small behind-the-scenes details, clever hidden choices, or unexpected decisions can add a whole new layer to scenes you thought you already knew. These kinds of facts actually make the experience richer, helping you notice things you might have missed the first time around. From subtle details to surprising production stories, here are some fun movie facts that make watching them even better.

The Blair Witch Project (1999)

The directors gave the actors GPS coordinates and minimal instructions, leaving them alone in the woods to create genuine fear and tension.

The Florida Project (2017)

Some scenes were filmed without official permits, including the ending, to capture a more authentic and spontaneous feeling.

The Invitation (2015)

The dinner party atmosphere was carefully built so actors wouldn’t always know what was coming next, increasing tension naturally.

The Lobster (2015)

Actors were instructed to deliver lines in a flat, emotionless way to create the film’s strange and unsettling tone.

The Witch (2015)

The film used historically accurate dialogue taken from real 17th-century documents, which is why it feels so unique and immersive.

Under the Skin (2013)

Many scenes with Scarlett Johansson were filmed with hidden cameras, using real people who didn’t know they were part of a movie.

Whiplash (2014)

Miles Teller actually learned to play drums for the role, and many of the intense moments were physically real.

A Ghost Story (2017)

The famous pie-eating scene was filmed in a single, uninterrupted take, making it feel unusually raw and intimate.

Blue Valentine (2010)

The actors lived together for a period before filming to build real chemistry, which adds to the authenticity of their relationship onscreen.

Coherence (2013)

The actors weren’t given a full script. Instead, they received notes before each scene, which is why the conversations feel so natural and unpredictable.

Drive (2011)

The film’s quiet tone and minimal dialogue were intentional, with long pauses designed to let the atmosphere carry the story.

Enemy (2013)

The giant spider imagery was never meant to be fully explained, encouraging viewers to interpret its meaning in their own way.

Ex Machina (2014)

The visual effects for Ava were added so seamlessly that the performance feels completely grounded in reality, enhancing the film’s unsettling atmosphere.

Good Time (2017)

Robert Pattinson stayed in character on set and even interacted with people who didn’t realize he was filming a movie.

Her (2013)

Scarlett Johansson wasn’t the original voice of the AI and recorded her lines later, which changed the entire tone of the character.

It Follows (2014)

The “entity” can take any form, and the film deliberately avoids rules, which keeps viewers constantly on edge.

Locke (2013)

The entire movie takes place inside a car, and Tom Hardy filmed it while actually driving, adding to the realism.

Moon (2009)

Sam Rockwell often acted opposite a stand-in or even himself, which makes his dual performance even more impressive.

Primer (2004)

Made on an extremely low budget, many props were built by the director himself, adding to the film’s raw and realistic feel.

Room (2015)

The small space was built to feel even more confined on camera, helping amplify the emotional intensity of the performances.

Snowpiercer (2013)

Each train car was designed to feel like a completely different world, reinforcing the class divide visually without needing constant explanation.

The Boys Season 5 Episode 3 Review: No Cap, On God Bro

This review contains spoilers for The Boys season 5 episode 3.

After Ryan kills a military team in Russia who uncover his whereabouts, Vought’s latest propaganda video introduces Soldier Boy as America’s friend in Russia, rooting out “sneaky traitors” in Ukraine. “Turns out Russia isn’t our enemy,” The Deep says. “They’re a strong, family-first nation, who don’t put up with trans bathrooms.” The Boys never misses. If we saw a video like this one posted today, we wouldn’t even be surprised.

We then find out why Soldier Boy survived the virus. He was originally shot up with V1, Vought’s first version of Compound V. The boys have a new mission, and they choose to accept it: obtain any remaining supply of V1, or destroy it before Homelander gets his hands on it and becomes immortal. He’s already felt pretty damn immortal to date, so it doesn’t feel as threatening as it should, even with this new V1 wrinkle. There are still a bunch of episodes left in this final season. Does anyone think the plan to give Homelander the virus will go swiftly and smoothly?

Soldier Boy seems utterly nonplussed by the situation, aside from being annoyed that he was used as a pawn in a game he barely understands. I love that he’s the only one who can truly stand up to Homelander. He looks utterly crestfallen when his biological father mocks him, and there are so few moments where we see someone get under his skin. Still, it’s hard to root for Soldier Boy. He seems like a douchebag in most respects, but when the names of his OG supe team are dropped, we understand we’ll be meeting them all soon, thanks to his upcoming ’50s-set spinoff series. Perhaps they’re even worse.

We look to the past for the future, even as this episode looks to the past for the present. It pulls on familial events from past seasons: the killing of Victoria Newman affects the behavior of her daughter, Zoe. The killing of Translucent in season 1 affects the behavior of his son, Maverick. Ryan’s father figures’ betrayals affect him, too. He’s reckless and has no stability left.

As the younger generations continue to be manipulated by the older ones in their insidious chess games, Stan Edgar (Giancarlo Esposito) returns to bask in the glorious boomer capitalism of it all. He dances around it smugly, like Gary Oldman’s Jean-Baptiste Emanuel Zorg in The Fifth Element, knowing the money will roll in when the dust has settled and needs to be swept up.

As always, Hughie is the only one who wants to end the cycle of violence. And what does he accomplish? More blood. More death. More despair. This show may be heading toward its endgame, but it’s a grim path that we walk with these characters, and it’s hard to see how any of them can really get a happy ending after all this. In the land of The Boys, hurt people keep hurting people. It’s a worthwhile theme, but we’ve been here before because the cycle of violence and bad parenting never ends.

Meanwhile, the lack of any genuine parental love has turned Homelander into the absolute psychopath we love to hate. In his unraveling, he experiences a vision of the nearest person he had to a mother: Madelyn Stillwell (Elizabeth Shue.) Seeing Antony Starr on his knees grizzling like a toddler in front of her would be hilarious if it didn’t have a “become God and skin parents in front of their children” chaser. The inevitable progression of Homelander’s god complex might seem even more ludicrous if the current president hadn’t just posted an AI-generated image of himself as a Jesus-like figure, then tried to walk it back. There will be no walking it back in this show, I fear.

This season is shaping up to be the darkest. There’s hardly any air left in the room for the jokes to properly land. Ryan’s climactic battle with a chipper Homelander, bolstered by the idea that he’s going to become a deity, is still tense. It’s great to see Homelander take a few hits, but we know in our hearts Ryan will lose, and the beating he gets is savage and distressing. Any jokes in the preceding scenes fade quickly.

Though we revisited some daddy and mommy issues in this episode, and they’re as grim as they’ve ever been, the boys were looking for a new plot device here in the V1, and they didn’t find it. We didn’t really get anywhere, and the episode feels a bit worn thematically; there’s a hint of ‘filler’ here. That feels a touch annoying in the show’s final season. Honestly, I’d probably skip this one if I were rewatching it.

Lingering Thoughts

The pillow talk between Firecracker and Soldier Boy is so funny. I’ll admit I laughed out loud when he compared Homelander’s weirdness to a threesome with Gary Busey. Jensen Ackles tries to take on the bulk of this episode’s levity, and he’s damn good at it, though we understand it’s a touch on the manipulative side since he’ll soon be the main face of this franchise.

Of course The Deep drives a Cybertruck. Of course. His out-of-touch “no cap, on God bro” after revealing who really killed Translucent is fantastic. Chace Crawford has smashed every scene he’s ever been in, and I really hope when The Boys is done, he picks up another spectacular role like this.

I want Kimiko and Frenchie to have lots of kids. They would be so beautiful and dangerous. But I sense it is not to be. They’re already realizing they want different futures, and they’ve only been a couple for about five minutes.

Hughie’s “love and kindness” approach still seems woefully misjudged. Yet, perhaps beating the bad guys by rising above it all and being good to each other only seems misjudged because it doesn’t seem to be working in the real world. Kindness isn’t a weakness, but if the person working against you only cares about ‘winning,’ they’ll always see it that way.

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

Daredevil: Born Again Season 2 Episode 5 Review – The Grand Design

This article contains spoilers for Daredevil: Born Again season 2 episode 5.

Daredevil has a Kingpin problem. The superhero Daredevil, of course, has a Kingpin problem because Wilson Fisk’s wife Vanessa has died. In the final moments of the previous episode Bullseye fought his way toward the mayor’s high-profile boxing match, and though Daredevil tried to stop the killer from finding his target, Vanessa couldn’t be saved. Surely, the proximity of the Man Without Fear to his beloved wife’s death will only push Fisk to go full supervillain.

However, the show Daredevil: Born Again also has a Kingpin problem, as did its predecessor on Netflix. Thanks to Vincent D’Onofrio‘s incredible performance, neither the Netflix series nor the Disney+ reboot has been able to move past him to other members of Matt Murdock’s (admittedly thin) rogues gallery. By devoting most of episode five “The Grand Design” to flashback, Born Again is able to rework history and reframe both this series and its predecessor as the Wilson Fisk story, for better or worse.

The occasion of Vanessa’s death gives the series permission to follow Fisk’s memories back to happier times, back to events that took place around the time of the Netflix series. For longtime fans, the most exciting of these brings back Elden Henson as Foggy Nelson, Matt Murdock’s best friend and law partner. Henson’s affable take on Foggy made him a favorite among viewers, so much so that many hope against hope (or hope in comic book logic) that he would be back from the dead.

He is not, but at least “The Grand Design,” written by Jesse Wigutow and directed by Angela Barnes, has a reason to bring the two together again. Try as hairstylists might, Henson and Charlie Cox don’t at all look like a pair of fresh-faced 20-somethings, but they effectively play the jittery excitement of two young lawyers on the brink of something big. As the two agree to defend Foggy’s childhood bully, they get their first whisperings about a shadowy figure known as the Kingpin.

For those who don’t remember, the Kingpin of Daredevil‘s first season was hardly the public figure we know today. Rather, he operated like an underworld urban legend, someone who only appeared via his right-hand-man Wesley (who also shows up here, thanks to a welcome cameo by Toby Leonard Moore) and whose name was not spoken aloud. The mere suggestion of his displeasure was enough to make the hoods who wronged him kill themselves in spectacular fashion.

We get glimpses of those days throughout “The Grand Design,” which almost intentionally invites us viewers to compare Born Again to its pre-MCU predecessor. That’s not always a flattering comparison for the new show, even if we remind the Netflix series’ biggest fans of that era’s tendency to spin its wheels in the middle episodes. The Mayor Fisk storyline used by Born Again might come directly from recent comics, but it feels particularly ill-suited to D’Onofrio’s strengths. He plays Fisk like a wounded baby in the body of a giant, which never made him believable as a successful politician, not even in the shadow of the current administration.

However, the comparision between the two shows allows the episode to pull off its greatest trick, completely reframing the way we think of Vanessa. The flashbacks bring us back to moments before Vanessa and Fisk made their first appearance, in the season 1 episode “Rabbit in a Snowstorm.” Throughout most of the Netflix series, Ayelet Zurer played Vanessa as a normal person who saw the vulnerability of the giant man and tragically pursued it, even as Wilson embraced his Kingpin persona. Conversely, Born Again has made her into a Lady Macbeth type, someone willing to use her husband’s brutal predilections to her own social ends.

“The Grand Design” reconciles the two versions of the character by showing us an early conversation between Vanessa and her boss at the art gallery where she works. The boss does not want to show the all-white avant-garde painting Rabbit in a Snowstorm. But Vanessa displays it anyway, revealing that she intentionally sought out a man who exuded power, but was also something of a blank space himself, someone she could interpret as she sees fit.

Through much of Born Again, we’ve been seeing Vanessa’s interpretation of Fisk: frightening, undeniably powerful and willing to go to extremes, but also able to fit within polite society. Both Daredevil series have featured an incredible scenes of Fisk, fully solidifying Kingpin as one of Marvel’s best villains. The revisionist history of “The Grand Design” and D’Onofrio’s performance do not solve Daredevil’s Kingpin problem. But they do prove that it’s a great problem to have.

Daredevil: Born Again releases new episodes every Tuesday at 9 p.m. ET on Disney+.

Superman 2 Reportedly Adding a Complicated Secondary Antagonist

Look, it’s hard to keep anything about superhero movies a secret, especially casting news. As much as we’d all like to be surprised by the sight of the original Fox X-Men in Avengers: Doomsday or Andrew Garfield and Tobey Maguire in Spider-Man: No Way Home, the current pop culture media complex punishes those who wait.

Den of Geek is as susceptible to this reality as anyone, so when the trades started reporting last week that James Gunn was auditioning actresses to play antihero Maxima in the Superman sequel Man of Tomorrow, we started to write on it… at least until Gunn himself took to Threads to deny the report. After some hemming and hawing in our company Slack, we decided to wait and see. But now that Variety and others are stating that Adria Arjona has been cast as Maxima, it seems clear that it’s time to address the news and talk about this weird character—a character so complicated that the messy casting announcement is kind of fitting.

Lady Maxima first appeared in 1990’s Action Comics #645, by Roger Stern and George Pérez, as a member of the ruling family of the planet Almerac, a world populated by warriors. To keep control of her violent people, Maxima acts as a despot, destroying those who stand against her and besting any challenger in combat. Because she found even the mightiest man on her home planet wanting, Maxima comes to Earth to claim Superman as her mate. And, in a true feat of strength, Superman says to the muscled redhead in a teeny-tiny costume who promises nights of passion, “No, thank you.”

You can see why Maxima might be a difficult character to handle, especially in light of the two previous live-action adaptations of the character. Smallville leaned right into the sexy, scary alien angle, putting performer Charlotte Sullivan in a skimpy outfit and had her chase Tom Welling‘s Clark around town. Supergirl went the other direction, referencing her pursuit of Superman in the dialogue, but only asking Eve Torres Gracie to play her as a powerhouse to match the Maid of Might’s strength. Who’s to say which one is better, but the former take would certainly raise some eyebrows today.

That said, James Gunn has always taken a risqué approach to superheroes, and even his version of Superman will let slip an s-word or a-word (only when quoting someone else, though, of course). Thus, it’s very likely that this version of Maxima will retain the sexual energy of the comic book character. But Gunn, co-creator of PG Porn, knows how to walk right up to the line before crossing over it.

And when you consider Maxima’s backstory, it’s certainly worth the risk, especially in light of Man of Tomorrow‘s plot. In the comics, Superman first caught Maxima’s attention during the Warworld storyline, in which Superman—who exiled himself in space as punishment for executing General Zod—is forced to participate in gladiator matches held by the conqueror Mongul. Superman acquits himself well, defeating all comers while maintaining his commitment to dignity. And the fact that he was reduced to basically underwear and a cool beard likely also appealed to Maxima (as it did to Lois, who made Clark keep his outfit from the recent Warworld sequel).

In Man of Tomorrow, Superman and Lex Luthor will be forced to team up to deal with Brainiac. Given that the movie involves Salvation, the off-site prison planet introduced in the second season of Peacemaker, we may very well see a similar type of glaadiator set-up, meaning that Superman’s victory will draw Maxima’s attention. And if Maxima chooses Superman as the superior man in earshot of Lex, he’s certain to get even more insecure and maniacal, leading to more bickering between the two.

Given the rivalry between the two, Maxima makes a perfect addition to Man of Tomorrow. Moreover, Maxima is an inherently silly character, the exact type of blustering oddball that Gunn loves to write, especially if it gets the heroes to trade swipes at each other. Which is why the Arjona casting makes so much sense, and not just because she appeared in the Gunn-penned horror movie The Belko Experiment. While genre fans may know her best for more serious parts in Andor or (shudder) Morbius, Arjona knows how to play funny and charming. Just see her excellent turn opposite Glen Powell in Richard Linklater‘s Hit Man.

It may have taken us a long time to get here, but Maxima never made anything easy on anyone. And if we get a few good jokes out of the process, all the better.

Man of Tomorrow arrives in theaters July 9, 2027.

New Spider-Man: Beyond the Spider-Verse Images Are Sweet But Foreboding

We’re still more than a year away from being able to see Spider-Man: Beyond the Spider-Verse, but attendees of Sony’s panel at CinemaCon got a sneak peek last night. The rest of us have to make do with a few images from the movie, and that’s enough to fill us with warmth and a bit of dread. In addition to shots of Miles battling Miguel O’Hara, the Spider-Man of 2099, and a picture of his father Jeff and uncle Aaron in their younger days, we got an image of father and son, sharing a tender moment during the golden hour.

As wonderful as it is to see Miles getting to connect with his father, we can’t help but feel a little nervous about the picture. After all, the other Spider-People have told Miles directly that suffering was part of being a Webhead, and one gets the sense that Uncle Aaron isn’t the only important person he’s going to lose. When you consider that the other picture features Spider-Punk Hobie Brown and the words “Gonna save your dad,” then one gets the feeling that Jefferson isn’t long for this world.

Miles’s father made his first appearance alongside wife Rio in 2011’s Ultimate Comics Spider-Man #1 by Brian Michael Bendis and Sara Pichelli. For reasons that still make absolutely no sense, the character was originally called Jefferson Davis, a name he kept until relatively recently taking his wife’s name and becoming Jefferson Morales.

Outside of that, the character mostly resembles the person we see in the Spider-Verse movies, where he’s voiced by Brian Tyree Henry. Jefferson’s a police officer who has mixed feelings about Spider-Man. Because comics are comics, Jefferson has a crazier story, as he served under Nick Fury as an Agent of SHIELD in the original Ultimate Universe and, when that world was destroyed and the Morales family was integrated into the mainline Marvel U, he remembered his son’s superhero identity.

In the pages of Marvel Comics, Jeff Morales still lives, but that’s not the case in other realities. Most famously, Jeff dies in the PlayStation video games, motivating Miles to take up the Spider-Man mantle.

Moreover, the Spider-Verse movies are drawing a connection between Jeff and Gwen Stacy’s father, George, which doesn’t bode well for the latter man. Police captain George Stacy is introduced in the comics a few years after his daughter Gwen, and figured out Peter’s super-identity, resulting in tension between the two. Years before his daughter famously dies, Captain Stacy sacrifices himself to save an innocent from falling debris, giving his blessing to Peter with his dying words.

The Spider-Verse movies may feature a younger, stronger George Stacy (voiced by Shea Whigham) than the elderly man from the comics or even Denis Leary’s take in the Amazing Spider-Man movies. However, Across the Spider-Verse also told us that Stacy’s death is a “canon event,” something that must happen to maintain the universe’s sanctity.

According to Across the Spider-Verse, the entire existence of Miles and his powers throws off the state of canon events. And with the canon events disrupted, the universe may be trying to set itself right, especially as the Spot continues his quest for revenge against Miles.

Will things go badly for the Morales family? We won’t know until Beyond the Spider-Verse actually comes to theaters. But until then, we’ll enjoy the peaceful moment between Jeff and Miles… while we still can.

Spider-Man: Beyond the Spider-Verse swings into theaters on June 18, 2027.

Why Spider-Man Is Fighting Ninjas in Brand New Day

This article contains potential spoilers for Spider-Man: Brand New Day.

While only the lucky attendees of CinemaCon 2026 got to see new footage of Spider-Man: Brand New Day that Sony showed at their presentation on Monday night, the general public does get to see a new poster for the film. It does, of course, feature Spidey in his homemade, comics-accurate duds, just like fans expect. Less expected, however, are the legions of ninjas crowding the bottom of the image.

Those are Hand ninjas, a constant scourge of the Marvel Universe. The Hand have appeared previously in live action, as antagonists in the Netflix series Daredevil and The Defenders. But pitting them against Spider-Man puts a new wrinkle in their motivations, making both the Hand and Ol’ Webhead that much weirder.

The Hand first appeared as part of Frank Miller‘s reinvention of Daredevil, introducing them in 1981’s Daredevil #174. More than just ninja assassins, the Hand are religious fanatics who worship the Beast, a demon who doesn’t do much for them but encourage their members to sacrifice themselves. Bleak as that sounds, the Beast does grant the Hand resurrection capabilities, which allows them to come back to life and sacrifice themselves all over again. Which is, now that you think about it, even bleaker.

Even by fictional ninja standards, the Hand are silly (or, to use the Tick’s term, “wacky“). Yet, they’ve been used in some fantastic stories. In Miller’s work, the arrival of the Hand signals an on-coming apocalypse, and turns even “good” works (i.e., the killing of Bullseye) into something horrifying.

Outside of his stories about Daredevil and Elektra, Miller and Chris Claremont also worked the Hand into Wolverine‘s first solo adventures, forever tying the hairy Canadian mutant to them. Not only did Wolverine learn martial arts from the Hand early in his life, but they are also responsible for the death of his wife Mariko. And in the memorable “Enemy of the State” storyline, the Hand resurrected a dead Wolverine and turned him into their weapon of destruction.

What does this have to do with Spider-Man? Not much, actually. While Spidey has crossed paths with the Hand from time to time, he usually encounters them when helping out his pal Daredevil or serving in the Avengers. The mystical nature of the Hand makes them an odd fit for Spider-Man who, as he likes to remind us, tends to stay in his friendly neighborhood.

Which makes their appearance in Brand New Day somewhat puzzling. Online rumors have speculated that the Hand are hired by the movie’s true big bad Tombstone (Marvin Jones III), effectively serving as hired muscle. You’d think that super-religious death cult ninjas would be above thug work, but the Hand is weird, and if they see how working for Tombstone could bring about the Beast, then they’ll do it.

However, the Hand may be in Brand New Day because of the presence of another character: Frank Castle a.k.a. the Punisher. For a street-level character mostly concerned with murdering baddies, Frank has run into the Hand more than you’d expect. In fact, in a recent Marvel Comics story, he was resurrected by the Hand and turned into their leader, getting a nifty new skull logo in the process.

While early leaks suggest that Frank will spend his time in the movie protecting Sadie Sink’s Jean Grey of the X-Men, the Hand could be how Marvel shifts him from the R-rated character we know from the Netflix shows into someone who can hang around Spider-Man and the Avengers. Might Frank die in next month’s Marvel Special Presentation The Punisher: One Last Kill and get resurrected by the Hand for Brand New Day, becoming a more heroic figure in the process?

That seems like a lot of set-up for a film that’s already overstuffed, but who knows? Maybe the Hand are in Brand New Day just to show off Peter’s new powers, as the trailer suggests that he’ll be going through some type of mutation. Then again, if there’s one thing the Inverse Ninja Law has taught us, it’s that more ninjas are easier to beat than fewer ninjas. And the Brand New Day poster makes it very clear that Pete will be fighting a whole bunch of Hand ninjas.

Spider-Man: Brand New Day fills theaters with ninjas on July 31, 2026.

My Adventures with Superman Season 3 Gets a Welcome Update

It’s been a couple of years since the last season of My Adventures with Superman wrapped, but fear not! A third season of the animated DC series is almost here, according to the voice of Superman himself, Jack Quaid.

“First of all, I can tease that it is coming out,” Quaid told Collider. “I know fans have been really patiently waiting, but it is coming out. I’ve been recording ADR recently. It’s happening. I’ve seen it.”

Quaid went on to describe the third season of the show as his favorite, adding, “We do some episodes that are kind of standalone, their own thing, and that are really, really exciting. I don’t want to spoil it too much, but it’s also maybe the funniest season we have. It’s always been a funny, lighthearted show, but some of the writing is truly, truly wonderful.”

The Companion actor is everywhere at the moment, from appearances on Red Letter Media episodes to the final season of The Boys on Amazon Prime Video, where he is reprising his role as Hughie Campbell. Still, My Adventures with Superman still seems very close to his heart.

“I’m very appreciative to be in two superhero shows that are very much two sides of the superhero coin,” he said. “Obviously, The Boys is the gritty, dark underbelly of it all, and then Superman, he’s all about saving cats and trees and being a dork, and I love him. So, yes, I don’t know the exact date, but I think fans have something to look forward to soon.”

Though he stopped short of giving fans a timeframe for season 3’s release, seasons 1 and 2 both debuted in the summer. If Quaid has been recording ADR for the show recently, the third season might be eyeing a release date in the next few months.

The Dark Wizard Explores the Vulnerable Side of Climbing’s Legendary Alpha

When Dean Potter died while attempting a proximity wingsuit flight from Taft Point in 2015, he left behind a complex legacy. Potter was a pioneer and enormously influential in the worlds of climbing, highlining, and BASE jumping, but he was also a controversial figure who battled personal demons that weren’t fully understood until after his death.

HBO‘s new four-part documentary series The Dark Wizard knits together archival footage and interviews with those who knew Potter best to create a portrait of the man behind the legend. Directors Peter Mortimer and Nick Rosen, who knew Potter for many years, have been climbing together since college.

“I grew up in Boulder, Colorado, which is like the mecca of climbing in America,” Mortimer tells Den of Geek. “I started climbing young, and then got into filmmaking. I started melding the two, going out with friends and filming them. It just evolved from there.”

Rosen was working as a journalist in New York when he saw one of Mortimer’s early films and realized he was onto something. “His idea was to tell these stories about the culture, kind of for the first time. And I was like, ‘Man, this is going to be a thing.'”

Meanwhile, Potter climbed The Reticent Wall route on El Capitan, completed the first FreeBASE ascent of Deep Blue Sea on the north face of the Eiger, and free-soloed Delicate Arch in Arches National Park, drawing criticism from park rangers and government officials who were concerned about damage to the arch’s soft rock. Potter blended disciplines in ways that influenced a generation of climbers and aerial athletes, but following his tragic death, his sister, Elizabeth, gave Mortimer and Rosen access to his personal journals, and the true nature of his inner world became clear.

“The journals show that although Dean was such a self-confident person in life, such an alpha, there was a vulnerable side to him that we didn’t even know about,” Mortimer explains. “He wouldn’t let that out. I mean, anyone’s journals are pretty intimate and vulnerable, but they really shine a new light on his journey.”

Potter found relief from his struggles only by pushing the envelope and attempting death-defying feats, like the highline crossings he completed without a safety lanyard, backup line, or even a parachute, but the filmmakers admit that much has changed in how athletes approach their mental health.

“We’re in our early 50s. Back in the ’90s, we didn’t have therapists, there was no medication, and there were no diagnoses,” says Mortimer. “We just went out and did crazy shit to work out our issues. It’s unbelievable seeing all these Olympic athletes talk about their mental health and their struggles. That was not happening back then.”

In The Dark Wizard, Dean’s own brand of therapy is explored; a kind of “death consequence” that leaves him untethered, but it’s clearly not a healthy mindset. “A lot of the people who were close to Dean now heavily therapize themselves,” Rosen says. “They’ve had a kind of psychiatric and emotional awakening. They can now look back at what was going on back then with a more sophisticated and tender emotional lens.”

The Dark Wizard premiered March 15 at the SXSW Film & TV Festival. It will be available to stream on Tuesday, April 14 on HBO Max.

14 Movies That Spoiled Their Own Ending in the Trailer

Trailers are a key part of the marketing for movies, otherwise no one would know a given film exists. However, in an effort to showcase what a movie is about, certain trailers end up spoiling key moments, or sometimes, the very ending.

For some viewers, it doesn’t ruin the experience, but for others, it takes away the suspense that the movie worked hard to build. These are the films where the trailer didn’t just tease what’s to come, it practically laid it all out, leaving audiences with fewer surprises once they finally sat down to watch.

Terminator 2: Judgment Day

The trailer revealed that Arnold Schwarzenegger’s Terminator is the protector, spoiling what was meant to be a major mid-film twist.

Cast Away

Marketing showed Tom Hanks returning home, removing any suspense about whether his character survives the island ordeal.

Batman v Superman: Dawn of Justice

The trailer revealed Doomsday, effectively spoiling the film’s final act and surprise escalation. It was known the heroes would stop fighting, but not who they would fight against.

Quarantine

The final scare shot was included in the trailer, removing the impact of the film’s ending. Not to mention that every single death can be seen on teasers.

The Island

Trailers revealed the clone twist and much of the third act, undercutting the mystery and making the initial moments more of a drag.

The Grey

The marketing suggested a final wolf fight, but also gave away the film’s core confrontation and tone shift.

Oblivion

The trailer revealed the existence of clones, a central twist meant to unfold gradually in the story and certainly not something you know from the start.

FreeWilly

Not that the ending was hard to guess with such a title, but the iconic whale jump over the barrier was the emotional climax, completely spoiled in marketing.

What Lies Beneath

The trailer gave away the identity of the threat, something only revealed far past the mid-point of the movie, undermining the film’s suspense.

The Mummy Returns

Major reveals about the Scorpion King and final battle were prominently featured in trailers, something meant to be a surprise in the film.

The Wolverine

Marketing revealed the Silver Samurai, a key final act reveal. Unlike other comic book adaptations, Wolverine in Japan didn’t immediatly translate to the Silver Samurai appearing.

The Lone Ranger

Climactic train sequences and final set pieces were showcased extensively in marketing, removing any surprise or suspense during the film.

Sweeney Todd: The Demon Barber of Fleet Street

Trailers hinted strongly at character fates and plot direction, spoiling key dramatic turns and plenty of setpieces and deaths.

Pet Sematary

The trailer for the 2019 remake revealed the major twist involving which child dies, removing the film’s biggest surprise.

18 Movies That Were Totally Failed By Their Marketing

A great movie still needs the right audience, and that usually starts with how it’s sold. When marketing misses the mark, even strong films can struggle to find their footing. Misleading trailers, unclear messaging, or campaigns that fail to highlight what makes a movie special can all work against it before it even hits theaters.

In some cases, audiences walk in expecting a completely different experience, while in others, they don’t show up at all. These are the films where the problem wasn’t necessarily what was on screen, but how it was presented, proving that marketing can make or break a release.

Babylon

Despite strong talent and ambition, marketing struggled to clearly define the film’s tone and appeal. Trailers emphasized chaos and excess without a clear narrative hook, leaving audiences unsure what kind of movie it actually was.

Edge of Tomorrow

Confusing marketing, including multiple titles like “Live Die Repeat,” made the premise hard to grasp. Many viewers didn’t understand the time-loop concept, contributing to a weak box office despite strong reviews.

Jennifer’s Body

Marketed as a straightforward horror film focused on Megan Fox, the campaign ignored its satirical tone, attracting the wrong audience and leading to poor initial reception.

John Carter

Marketing failed to explain the story or source material, and the generic title didn’t help. Audiences had little idea what the film was about, hurting interest despite its scale and budget.

The Nice Guys

The film’s sharp humor and tone weren’t clearly conveyed in trailers, which undersold its appeal. It struggled to find an audience despite strong reviews and performances.

Scott Pilgrim vs. the World

The marketing didn’t clearly communicate the film’s unique blend of gaming, romance, and comedy, leaving mainstream audiences unsure what to expect.

The Iron Giant

Warner Bros. gave the film minimal promotion, resulting in low awareness at release. It later became beloved through home video, but its theatrical run suffered heavily.

Mia Wasikowska in Crimson Peak

Crimson Peak

Marketed as a horror film, it was actually a gothic romance. The mismatch led to disappointed audiences and poor word of mouth.

Drive

Trailers suggested a high-octane action film, but the movie was slower and more atmospheric. This disconnect led to audience frustration and even complaints.

Mother!

The marketing didn’t prepare audiences for its surreal and symbolic nature, leading to confusion and strong negative reactions upon release.

Children of Men

Despite critical acclaim, the marketing struggled to communicate its premise and urgency, resulting in a disappointing box office performance.

Hugo

Trailers focused on adventure elements, while the film was more about film history and nostalgia, creating a mismatch with audience expectations.

The Village

Marketed as a horror film, it leaned more into drama and suspense, leading to backlash from audiences expecting a different experience.

Ad Astra

Promoted as a space action film, it was actually a slow, introspective drama, which disappointed viewers expecting something more conventional.

Treasure Planet

Disney struggled to market its sci-fi take on a classic story, leading to low audience interest despite strong creative elements.

Cloud Atlas

Its complex, multi-narrative structure was difficult to explain in marketing, leaving audiences confused about the film’s concept.

Fight Club

Marketing emphasized violence and masculinity, missing the film’s satirical core, which contributed to its underperformance at release.

The Thing

Released with unclear positioning and competing against E.T., its marketing failed to properly sell its tone and appeal.

18 Weird Rules Movies Expect You To Accept Without Question

Movies often operate on their own rules, and most of the time, audiences are happy to go along with it. Over the years, certain patterns and shortcuts have become so common that we barely notice how unrealistic they really are.

From action scenes that ignore basic physics to everyday situations that conveniently work out perfectly, these “rules” exist to keep stories moving and moments exciting. They may not make much sense under scrutiny, but they’ve become part of the language of filmmaking. These are the strange, familiar conventions movies rely on, the ones we accept without thinking twice.

Walking away from explosions unharmed

Characters casually stroll away from massive explosions without ear damage, burns, or shockwaves affecting them, as if physics simply stops working for dramatic effect.

Unlimited ammunition (until it matters)

Guns fire endlessly during action scenes, but suddenly run out of bullets at the most inconvenient or dramatic moment.

Silencers make guns whisper-quiet

Firearms with suppressors are portrayed as nearly silent, ignoring the reality that they still produce loud, noticeable noise.

Hacking anything in seconds

Characters break into complex systems in moments, often with flashy visuals, bypassing layers of security that would realistically take far longer.

Knockouts are harmless

Characters are frequently knocked unconscious and wake up fine later, despite real-life concussions being dangerous and potentially fatal.

Speaking perfect English anywhere

No matter the country, strangers conveniently speak fluent English, removing language barriers entirely.

Instant expertise

Characters master complex skills, languages, or technologies almost immediately, skipping the years of practice usually required.

CPR always works

Cardiopulmonary resuscitation is portrayed as a near-guaranteed revival method, rather than a last-resort emergency measure with uncertain outcomes.

Disguises are foolproof

A simple outfit change or pair of glasses is enough to completely trick people who know the character well.

Driving while not looking at the road

Characters hold long conversations while barely watching the road, yet never crash or drift.

Falling into water guarantees survival

Characters survive massive falls by landing in water, ignoring the real danger of impact at high speeds.

Computers make dramatic noises for everything

Every action on a computer is accompanied by beeps and sound effects, even simple tasks.

Injuries disappear when convenient

Characters recover from serious wounds quickly, often showing no lasting effects in later scenes.

Police arrive instantly or not at all

Law enforcement response times vary wildly depending on what the plot needs at the moment.

Everyone hangs up without saying goodbye

Phone conversations end abruptly, skipping normal social conventions entirely.

Lights always flicker in scary places

Dark environments, especially in horror films, rely on flickering lights that conveniently fail at the worst possible time.

Maps and plans are instantly understood

Characters glance at complex layouts or strategies and immediately know exactly what to do.

Emotional speeches solve everything

Conflicts are often resolved through a single heartfelt speech that instantly changes minds or outcomes.

16 Movies That Accidentally Created New Tropes

All movies want to leave their mark on the world, although some do more than just make a memorable film. Some techniques, choices or narrative devices end up forever marked in the styles of filmmaking, which leaves us with trope-setting films that elevate the medium.

Over time, the ideas presented by these films become familiar patterns, repeated so often that they feel like established rules of the craft. What started as a one-off choice can evolve into a defining trope for an entire genre. These are the movies that quietly reshaped how stories are told, often without realizing the impact they would have.

Jaws

By hiding the shark due to technical issues, the film helped popularize the “less is more” approach in horror, where unseen threats create more tension than constant visibility.

Halloween

Its use of a silent, masked killer stalking victims helped define the modern slasher formula, influencing countless horror films that followed.

Star Wars

Helped cement the “used future” aesthetic, where sci-fi worlds feel lived-in and worn rather than clean and futuristic, shaping the genre’s visual language.

The Matrix

Popularized “bullet time” and stylized slow-motion action, influencing countless action films and video games in the years that followed.

The Blair Witch Project

Brought found-footage horror into the mainstream, establishing a format that many later films would adopt.

Psycho

Killing off its apparent main character early shocked audiences and popularized the idea that no character is truly safe.

The Terminator

Helped define the unstoppable, emotionless pursuer trope, later seen across multiple genres and franchises.

Die Hard

Created the “everyman action hero” archetype, moving away from invincible protagonists to more vulnerable, relatable leads.

The Godfather

Redefined gangster films by humanizing criminals and focusing on family dynamics, influencing decades of crime storytelling.

Scream

Brought meta-commentary into horror, with characters aware of genre rules, influencing a wave of self-aware films.

The Sixth Sense

Helped popularize twist endings as a defining feature, encouraging audiences to revisit films for hidden clues.

The Lord of the Rings

Set the modern standard for epic fantasy adaptations, including large-scale battles and interconnected storytelling.

Titanic

Reinforced the disaster romance formula, combining large-scale tragedy with intimate character relationships.

The Dark Knight

Helped push superhero films toward darker, more grounded storytelling with complex villains.

Toy Story

Pioneered fully CGI animated storytelling in mainstream cinema, influencing the animation industry’s direction.

Fast & Furious

Evolved street racing films into globe-trotting heist action, setting a template for escalating franchise stakes.

Actors Who Just Missed Out On Iconic Roles

Certain roles just feel tailor made for the actors that played them, but that’s mostly due to how we met the characters. In the planning stages of a film, many actors are considered and even offered the roles, but the final product is not always what the filmmakers envisioned from the start.

As such, we have plenty of examples of actors that could have been iconic characters, but had that chance pass by them either willingly or, as often is the case, due to a twist of fate. These are the famous stars that were almost even more famous characters.

The Matrix, Will Smith

Will Smith famously turned down Neo, later admitting he didn’t fully understand the pitch. The role went to Keanu Reeves, becoming one of the most defining performances of his career.

Titanic, Matthew McConaughey

McConaughey has said he believed he had secured the role of Jack Dawson, but Leonardo DiCaprio was ultimately cast, turning the part into a career-defining breakout.

Iron Man, Tom Cruise

Tom Cruise was attached to Iron Man for years during development. The project stalled, and Robert Downey Jr. eventually took over, launching the Marvel Cinematic Universe.

The Lord of the Rings, Nicolas Cage

Cage was offered the role of Aragorn but declined due to personal reasons. The part went to Viggo Mortensen, who became closely associated with the character.

Forrest Gump, John Travolta

Travolta passed on the role, which then went to Tom Hanks. Hanks’ performance became one of the most celebrated in modern film history.

Pretty Woman, Molly Ringwald

Ringwald turned down the lead role, which went to Julia Roberts, helping establish her as a major star.

The Dark Knight, Adrien Brody

Brody actively pursued the Joker role, but it went to Heath Ledger, whose performance became iconic and the last before his passing.

Pulp Fiction, Michael Madsen

Madsen was offered the role of Vincent Vega but declined due to scheduling, leading to John Travolta’s career-reviving performance.

The Avengers, Emily Blunt

Blunt was originally cast as Black Widow but had to drop out due to scheduling conflicts. Scarlett Johansson ended up taking the role.

Gladiator, Mel Gibson

Gibson was offered the lead role but declined, and Russell Crowe went on to win an Oscar for the performance.

La La Land, Miles Teller

Teller was initially attached to the lead role, but negotiations fell through, and Ryan Gosling was cast instead alongside Emma Stone.

American Psycho, Leonardo DiCaprio

DiCaprio was heavily linked to Patrick Bateman, but the role ultimately went to Christian Bale, whose performance became a tipping point in his career.

Pirates of the Caribbean, Hugh Jackman

Jackman was considered early for Jack Sparrow, but Johnny Depp’s take on the character ended up becoming the film’s defying feature.

Christian Bale in Batman Begins

Batman Begins, Jake Gyllenhaal

Gyllenhaal was considered for the lead role, but it ended up going to Christian Bale. Fans hope that the actor can have a second chanse in the now reset DCU.

The Hunger Games, Hailee Steinfeld

Steinfeld auditioned for Katniss Everdeen, but lost the role to Jennifer Lawrence due to, allegedly, being “too young.” Steinfeld was at the time the closest to the character’s real age.

Guardians of the Galaxy, Glenn Howerton

Howerton was a finalist for Star-Lord, but Chris Pratt landed the role. The impact this has had on Pratt’s career is undeniable.

Star Wars, Al Pacino

Pacino was offered Han Solo but declined due to not understanding the script, and Harrison Ford made the role legendary. Pacino has joked that he made Ford’s career thanks to this choice.

15 Times Nobody Bought That The Actor Could Play Their Sport

Actors aren’t athletes, that much is for sure. They also aren’t spies, super heroes or long-deceased historical figures, but we suspend our disbelief for long enough to enjoy a given film. But when it comes to sports, something we are so used to seeing on our screens, it gets harder and harder to meet the movie half way.

As such, there are many films that fail to convince us that an actor is the sports athlete they claim to be. It may be to no fault of their own, since it takes a village to create a character, but these few performances failed to convince us that they could actually play their given sport.

Escape to Victory

Despite featuring real football legends, Sylvester Stallone’s portrayal of a goalkeeper drew criticism. His movements and technique didn’t resemble professional play, making his big match moments feel staged rather than convincing.

The Blind Side

While the film was successful, some viewers questioned how convincingly Quinton Aaron portrayed elite-level football ability, particularly in action sequences that relied heavily on editing rather than authentic on-field skill.

The Fan

Wesley Snipes’s baseball scenes were often criticized for lacking the fluidity and technique expected of a professional player, especially by viewers familiar with the sport.

Trouble with the Curve

Some audiences noted that the hitting and pitching mechanics didn’t always feel authentic, with performances leaning more on drama than convincing baseball realism.

Summer Catch

Freddie Prinze Jr.’s portrayal of a top-tier pitcher was widely seen as unconvincing, with his mechanics and delivery lacking the realism expected at that level of play.

She’s the Man

Amanda Bynes’s soccer performance drew some skepticism, with viewers noting that the gameplay rarely matched the level expected of competitive athletes.

She’s All That

The brief soccer elements involving (once again!) Freddie Prinze Jr. were often cited as lacking realism, particularly in how casually the sport was portrayed.

The Room

Tommy Wiseau’s football scenes became unintentionally comedic, with awkward throwing and staging that didn’t resemble any real version of the sport.

High School Musical

Zac Efron’s basketball scenes were frequently pointed out as lacking the skill level expected of a star player, with choreography taking precedence over realism.

Angels in the Outfield

Some viewers noted that the baseball performances, especially from younger cast members, didn’t always convincingly reflect real gameplay despite the film’s fantasy elements.

Fever Pitch

Jimmy Fallon’s on-field baseball moments were brief but still drew attention for lacking the natural movement of someone experienced in the sport.

The Longest Yard

Despite a large cast, some performances in football scenes were criticized for lacking authenticity, especially compared to real professional gameplay.

Stick It

Gymnastics sequences sometimes relied on doubles and editing, leading some viewers to feel the performances lacked authenticity in key moments.

Bring It On

Though focused on cheerleading, some routines were criticized for not fully reflecting competitive-level precision despite the film’s popularity.

Hillary Swank and Clint Eastwood in Million Dollar Baby

Million Dollar Baby

Despite acclaim, some viewers pointed out that boxing mechanics and progression timelines didn’t always align with real-world expectations.

Remembering Little House on the Prairie’s Utterly Bonkers Series Finale

With a new Netflix adaptation of the Laura Ingalls Wilder Little House novels on the way, television fans are bound to recall the beloved series that aired 200 episodes and five movie specials between 1974 and 1983. The series starred Michael Landon and Karen Grassle as Charles and Caroline Ingalls, homesteaders in the late 1800s who raise their three daughters—Mary (Melissa Sue Anderson), Laura (Melissa Gilbert), and Carrie (Lindsay and Sidney Greenbush)—on a farm in Walnut Grove, Minnesota.

From the French horn strains in the opening theme to the life lessons Pa lovingly imparted on his daughters, Little House on the Prairie was a gentle, optimistic look at the American experiment. That is, until the final movie, in which all the characters gathered together and blew the entire town to smithereens.

An Off-Beat Reunion

The explosion happens in the 1984 TV movie Little House: The Last Farewell, which was shot to be the series finale but ended up airing a few months before the Christmas-focused penultimate film, Little House: Bless All the Dear Children.

Written and directed by Landon, who also directed the original 1974 TV movie and several episodes, The Last Farewell plays much like one would expect from a final episode. By the last season, Landon and Grassle had become guest stars in the series and Gilbert took the lead, with the show now focusing on Laura and her husband Almanzo Wilder (Dean Butler). The Last Farewell finds Charles and Caroline returning to Walnut Grove, only to learn that robber baron Nathan Lassiter (James Karen) has bought the line and plans to run a railroad through the town.

Most of the movie follows expected reunion episode tropes and plays to the show’s sentimentality. We get lots of scenes of Charles and Caroline catching up with old friends, familiar characters such as shopkeeper Nels Oleson (Richard Bull), jovial mountain man Mr. Edwards (Victor French), as well as Dr. Baker (Kevin Hagen) and Rev. Alden (Dabbs Greer). The couple spends time praising their daughter and son-in-law for their good work, and playing with the grandkids (one of whom is played by a young Shannen Doherty). And, of course, two generations of men share some wise words for their families.

Yet, even within the wholesome sheen of the movie, something feels off. Most obviously, there are the missing regulars from the show. Oldest daughter Mary had, by this point, moved on to become a teacher for the blind, but the movie only makes passing reference to Carrie and Albert (Matthew Labyorteaux), the troubled orphan adopted by the Ingalls. Nels explains that his wife Harriet (Katherine MacGregor) is ill and in the hospital, while daughter Nellie’s (Alison Arngrim) absence hardly gets that much explanation.

Little House, Big Boom

Even more strange is the mean-spirited tone of the entire thing. By this point, most viewers knew that Landon was far more unpleasant than the character he played on TV, but he gave Charles more bitterness than he ever had before. The entire story begins when Charles learns that Caroline’s Aunt Tess is coming to visit, news that makes him so angry that he gets into a fist fight. Later, he bullies himself back into his old house when he learns that the current owners, John and Sarah Carter (Stan Ivar and Pamela Roylance) are going out of town.

To be clear, the movie plays each bit of bad behavior as a joke, and the movie knows that Charles is out of line. But it also positions him as a lovable guy, someone whose manners haven’t quite caught up with society, but who still means well in the end.

That mixed messaging comes to a fore in the movie’s final moments. The townspeople have tried and failed to prevent Lassiter from holding to his claim on Walnut Grove. He had gone so far as to get help from the U.S. Cavalry (who were, of course, big fans of removing people from their land). So the citizens take the one option left to them: they blow Walnut Grove sky high.

The actual final sequence is not at all as glib as that sentence makes it sound. As a director, Landon takes his time showing the citizens wiring the buildings with dynamite and saying solemn goodbyes to one another. Before the first explosion, Rev. Robert Alden gathers them together to say a prayer. “Dear Lord, we bury a friend today,” he says through tears. “This town has been our friend.” And, of course, when all is done, the townspeople walk out together, singing “Onward Christian Soldiers.”

But until then, we have to watch as each character explodes their respective home. A weeping Mr. Edwards, not expressing a single concern for Old Man Tucker, destroys the mill. Nels grimaces as he makes the General Store explode. Dr. Baker stares stoically before blasting his house to pieces.

The Absolute Farewell

Adding to the shock of the final scene is the fact that the production did indeed blow up the actual buildings used to shoot the series. According to some reports, Landon wanted to put a definitive end on the series and prevent others from using the sets. According to others, he had struck a deal with the owners of the actual land and this allowed them to clear the space when they finished shooting.

Whatever the reason, the movie made us watch as actual settings were reduced to rubble, with only the chapel and the little house still standing.

In the days before the internet and pop culture news outlets like Den of Geek, The Last Farewell felt like a half-remembered dream or something a cruel boy made up to tease the girls who loved the show. Other shows had shockingly bleak endings: Sam never gets home in Quantum Leap, ALF ends with Gordon Shumway getting captured by the government, and the Ice Age kills everyone in Dinosaurs. But Little House on the Prairie presented itself as so pure, so wholesome, that the explosive ending couldn’t be real.

Yet, it absolutely was. And, like the rest of The Last Farewell, the explosion reminds us that nothing is as simple and pure as we remember, not even Little House on the Prairie.