Hitman: World of Assassination Keeps the Surprises Coming Five Years Later
It’s been five years since IO Interactive launched Hitman: World of Assassination, the latest installment in its long-running stealth action game series, and the title shows no signs of slowing down. The game has steadily been putting out new content to keep players coming back for more, including having the iconic contract killer Codename 47 hunt or protect elusive targets. With over 85 million players across all platforms worldwide, including around one million players who login regularly years after the game’s debut, this post-launch strategy has certainly paid off and reflects industry-wide changes on standalone experiences and continued live-service models.
Den of Geek was invited to attend an IO Interactive Access event in Los Angeles, speaking to personnel behind the company’s biggest titles, including the state of Hitman: World of Assassination.
“You look at the way that gamers are consuming content these days – back in the day, when we were making games, it was completely different,” IO Interactive chief development officer Véronique Lallier tells us in an exclusive interview, noting that the post-launch support has strengthened IOI’s connection and feedback loop with its playerbase. “I think that it’s very vital these days. You need to have that sense of community because, without our players, we’re nothing. That’s something that’s very important for our company.”
Last year, as a build-up for IOI’s other hit release, 007 First Light, the elusive target was Le Chiffre, with Mads Mikkelsen reprising his Casino Royale Bond villain role. Since then, Hitman: World of Assassination has had Codename 47 defend an elusive target resembling Bruce Lee, get hired by Eminem to eliminate his antagonistic alter ego Slim Shady, and more. Most recently, Codename 47 infiltrated a remote island fighting tournament to take on a target played by Wiz Khalifa. More than just adding a bit of celebrity flash to the live-service experience, these eclectic choices in elusive targets reflects IOI playing with expectations surrounding the Hitman franchise and leaning into player response.
“We listen to what the players want,” Lallier explains. “We also develop targets based on what we love as well, like Jean-Claude Van Damme and Eminem, that resonate with us. We’ve been trying to do different things with targets. We’re exploring all the time, looking at what worked and what didn’t work from previous targets, we can see that our elusive targets get more and more engagement. The players are seeing that we’re listening to what they suggest in their feedback.”
Among the biggest Hitman announcements to come out of the IOI Access event is that the first three games in the series – 2000’s Hitman: Codename 47, 2002’s Hitman 2: Silent Assassin, and 2004’s Hitman: Contracts – are getting remastered and optimized for modern platforms in 2027. Bundled as the Hitman Classic Trilogy Remastered, the collection is being handled by Saber Interactive, who have previously released acclaimed remasters of Tomb Raider and Halo. For IOI, Saber Interactive’s dedicated team, who were already clear fans of the original Hitman games, made their choice as the developers for this remaster a natural one, with Lallier observing that Saber has a visible track record of maintaining the fine balance of preserving past experiences while reintroducing them to newcomers, praising their diligent approach.
“Just having people who share the same love and passion for what was done just felt right for us,” Lallier notes. “When our teams are making our games, we love what we’re doing. That was something that just felt so organic when we talked to them. They really understand what we’re doing, what we’re trying to do, and what we’ve done. It just felt right.”
But as exciting as it is to see the original Hitman games get remastered with upgraded technical presentations and take on celebrities like Wiz Khalifa and Jean-Claude Van Damme in Hitman: World of Assassination elusive target missions, IOI is keeping its cards close to the chest about the future of the franchise beyond this. With over a million players staying active with World of Assassination, Lallier explains that it’s important for the company to keep serving them with fresh and fun experiences, including the previously announced co-op gameplay coming to the title. At the same time, Lallier admits that a new Hitman game is something of an inevitability, it’s just a matter of when.
“Hitman is our legacy, it’s in our DNA,” Lallier declares. “We will definitely do something eventually. But at the moment, our focus has really been on development of 007 First Light and more. Last year, we mentioned co-op and that’s been something we’ve been looking into, something those on the project will continue to work on. Hopefully, we’ll have more to talk about soon!”
Developed and published by IO Interactive, Hitman: World of Assassination is available now in most major platforms, including PlayStation 5, Xbox Series X|S, Nintendo Switch 2, PC, and macOS.
Celebrities You Never Realized Died So Young
When a celebrity leaves a lasting legacy, it’s easy to assume they lived a long life. Their movies, music, and television appearances remain so familiar that the passage of time can blur just how young they actually were when they died. Which ends up being younger than expected.
Looking back at their ages can be genuinely surprising, especially decades later. These stars may feel larger than life, but each one reminds us how quickly remarkable careers can be cut tragically short. We only wished they had a little more time to showcase their greatness.
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James Dean
James Dean became a Hollywood icon with only three major films before dying in a car crash at just 24 years old. His enduring popularity often makes people forget how incredibly brief his career and life actually were.
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Heath Ledger
Heath Ledger delivered his unforgettable performance as the Joker shortly before his death in 2008. He was only 28 years old, an age many fans find shocking considering the enormous impact he left on modern cinema.
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River Phoenix
River Phoenix was considered one of Hollywood’s brightest young talents before collapsing outside the Viper Room in 1993. He died at just 23, leaving behind acclaimed performances that suggested an extraordinary career was only beginning.
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Brittany Murphy
Brittany Murphy starred in memorable films like Clueless and 8 Mile before her unexpected death in 2009. She was just 32 years old, far younger than many people remember when reflecting on her Hollywood career.
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Chris Farley
Known for his explosive energy on Saturday Night Live and in hit comedies, Chris Farley died in 1997 at only 33. His outsized personality often makes it surprising to realize how little time he actually had.
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Brandon Lee
Brandon Lee died at age 28 after a tragic on-set accident during the filming of The Crow. The film became legendary, but many people forget just how young Bruce Lee’s son was when he died.
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John Belushi
Comedy legend John Belushi had already become one of America’s biggest stars through Saturday Night Live and Animal House before his death in 1982. He was only 33 years old when his life ended.
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Marilyn Monroe
Marilyn Monroe’s cultural impact spans generations, making her seem like someone who enjoyed a lengthy Hollywood career. In reality, the screen legend died in 1962 at only 36 years old, leaving behind an enduring cinematic legacy.
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Bruce Lee
Bruce Lee revolutionized martial arts cinema despite dying at just 32 years old. His influence on action films has been so immense that many assume he enjoyed decades of stardom before his untimely passing.
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Selena Quintanilla
Known simply as Selena, the Tejano music superstar was murdered in 1995 at only 23 years old. Her enduring popularity and continued cultural influence often overshadow just how young she was when she died.
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Anton Yelchin
Anton Yelchin had already built an impressive résumé with roles in Star Trek and numerous independent films before a freak accident claimed his life in 2016. He was only 27 years old.
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John Candy
John Candy had become one of the most beloved comedic actors of the 1980s and early 1990s before dying from a heart attack in 1994. He was just 43, younger than many fans tend to remember.
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Cameron Boyce
Former Disney Channel star Cameron Boyce died unexpectedly from complications related to epilepsy in 2019. He was only 20 years old, making his successful acting career all the more impressive in retrospect.
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Chadwick Boseman
Chadwick Boseman kept his battle with colon cancer private while continuing to work on major films. When he died in 2020 at age 43, many fans were stunned to learn both of his illness and his relatively young age.
15 Oscar Winners Who Then Never Won Again
Winning an Academy Award is one of the highest honors in Hollywood, and taking home a second Oscar makes you a prized asset in the media’s eyes. However, many actors deliver a career-defining performance, earn the industry’s biggest prize, and never return to the winner’s circle again.
Some continued to receive nominations, while others never came close to repeating their success. Regardless, their lone Oscar victories remain significant achievements that secured their place in film history. These performers proved that one exceptional role can be enough to leave a lasting legacy, even if Academy voters never called their names again.
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Cuba Gooding Jr.
Cuba Gooding Jr. won Best Supporting Actor for his energetic performance in Jerry Maguire at the 69th Academy Awards. Despite a lengthy career afterward, he has never received another Oscar nomination or won a second Academy Award.
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Marlee Matlin
Marlee Matlin made history by winning Best Actress for Children of a Lesser God in 1987. She remains the youngest winner in the category and, despite a successful career, has not added another Oscar to her collection.
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Timothy Hutton
Timothy Hutton won Best Supporting Actor for Ordinary People at age 20, becoming the youngest winner in the category. Although he continued acting steadily for decades, he never received another Academy Award nomination.
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Mercedes Ruehl
Mercedes Ruehl earned Best Supporting Actress for The Fisher King in 1992. While she remained active in film, television, and theater, that acclaimed performance remains her only Oscar nomination and victory.
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Anna Paquin
Anna Paquin won Best Supporting Actress for The Piano when she was just 11 years old. The Oscar launched a long and successful acting career, but she has yet to earn another Academy Award nomination.
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Mira Sorvino
Mira Sorvino received Best Supporting Actress for Woody Allen’s Mighty Aphrodite in 1996. Though she appeared in numerous projects afterward, she never returned to the Oscar stage as a nominee or winner.
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Louise Fletcher
Louise Fletcher won Best Actress for her unforgettable portrayal of Nurse Ratched in One Flew Over the Cuckoo’s Nest. Despite a respected career that followed, she never earned another Academy Award nomination.
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Harold Russell
Harold Russell achieved a unique Oscar distinction for The Best Years of Our Lives, winning both Best Supporting Actor and an honorary award. He never received another competitive Oscar nomination during his career.
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Shirley Jones
Shirley Jones won Best Supporting Actress for Elmer Gantry in 1961. Although she became a television icon through The Partridge Family, her Academy Award victory remained the sole Oscar recognition of her career.
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Patricia Neal
Patricia Neal won Best Actress for Hud in 1964 after several acclaimed performances. She received another nomination later for The Subject Was Roses, but never captured a second Academy Award.
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Linda Hunt
Linda Hunt made Oscar history by winning Best Supporting Actress for The Year of Living Dangerously while portraying a male character. Despite a distinguished acting career, she never earned another Academy Award nomination.
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Roberto Benigni
Roberto Benigni won Best Actor for Life Is Beautiful, becoming one of the few performers to win for a non-English-language role. His exuberant acceptance remains memorable, but he never won another acting Oscar.
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Adrien Brody
Adrien Brody became the youngest Best Actor winner ever for The Pianist at age 29. Although he continued working in major films and earned acclaim, he did not win another Oscar after that breakthrough role.
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Kim Basinger
Kim Basinger won Best Supporting Actress for L.A. Confidential in 1998. The acclaimed neo-noir performance remains the high point of her Academy Awards history, as she was never nominated again.
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Richard Dreyfuss
Richard Dreyfuss earned Best Actor for The Goodbye Girl in 1978, becoming one of the youngest winners in the category at the time. Despite many notable performances afterward, he never secured a second Oscar victory.
15 Photos Remembering Hollywood’s Princess
Long before royalty became part of celebrity culture, there was one woman who seemed to embody both at once. Grace Kelly was elegance, mystery, and classic Hollywood glamour in its purest form. She rose quickly through the golden age of cinema, starring in unforgettable films and becoming one of the most admired women in the world before leaving it all behind for real royalty. Her beauty felt timeless, but it was her poise, intelligence, and quiet magnetism that made her unforgettable. These photos capture the life, style, and lasting legacy of the woman Hollywood still remembers as its favourite princess.
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Grace Kelly at the Oscars (1955)
Fresh off her win for The Country Girl (1954), this photo captures the exact moment she became Hollywood royalty.
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On the set of Rear Window (1954)
Dressed in one of cinema’s most iconic costumes, she brought elegance and suspense together in perfect balance.
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During the filming of To Catch a Thief (1955)
The French Riviera, Cary Grant, and Grace Kelly at her peak made for pure old Hollywood magic.
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Walking the streets of New York in the early 1950s
Before Monaco, before royalty, just a rising star with the kind of style everyone wanted to copy.
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With Alfred Hitchcock on set
Their collaboration created some of her most unforgettable performances and helped define her cinematic image.
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The Cannes Film Festival appearance (1955)
One of the photos that helped turn her into an international icon beyond Hollywood.
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Her engagement announcement to Prince Rainier III (1956)
The moment her real life story became even more unbelievable than the movies.
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Wedding day in Monaco (1956)
A ceremony watched around the world that cemented her transformation from actress to princess.
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Behind the scenes of Dial M for Murder (1954)
Even in candid moments, her screen presence never seemed to disappear.
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Public appearance with Princess Caroline (1960s)
One of the rare glimpses of Grace balancing royal duty and motherhood.
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Portrait session during her Hollywood years
The kind of image that explains instantly why she became a global symbol of beauty.
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Returning to the public eye at charity events (1970s)
Even years after retiring from acting, her presence still carried the same star power.
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Final public photographs in Monaco (1982)
A reminder of how timeless her image remained until the very end.
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Casual family photo in Monaco during the 1960s
Far from Hollywood, but still carrying the same effortless grace that made her famous.
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The portrait that defined Grace Kelly forever (1950s)
The image most people still picture first, a perfect symbol of old Hollywood glamour and the woman who became a real life princess.
14 Movies That Spend Two Hours Preventing Something That Happens Anyway
Movies often follow characters trying to stop, prevent or improve some form of situation, be it a world-ending threat or any kind of smaller catastrophe. In most cases, we know the heroes will prevail, but that isn’t always the case; there are times where, believe it or not, the heroes lose.
The films we’ve gathered today are about that: characters going through incredible lengths to avoid a fate that happens anyway. This doesn’t always prevent the proverbial happy ending, but it often does. Be warned: we will spoil the biggest events of all these movies
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Terminator 3: Rise of the Machines
For nearly the entire film, John Connor and Kate Brewster race to stop Judgment Day. In the end, they learn the mission was never to prevent the apocalypse but simply to survive it when the nuclear war begins.
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12 Monkeys
James Cole is sent through time to stop the virus that devastates humanity. Despite uncovering important clues, the outbreak still occurs, and the film ultimately reveals that history was never changed at all.
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Final Destination
Alex and his friends spend the movie trying to escape Death’s design after avoiding a plane explosion. Although they temporarily delay their fates, Death continues its pursuit, proving the disaster’s consequences cannot truly be avoided.
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Knowing
Nicolas Cage’s character spends the film attempting to understand and prevent a series of predicted catastrophes. Despite his efforts, the final and most important prediction comes true as a solar flare destroys civilization.
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The Matrix Reloaded
Neo believes he can break the cycle controlling humanity and prevent disaster. Instead, he discovers that the crisis he is trying to stop has happened repeatedly before and that the machines anticipated nearly everything.
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Minority Report
John Anderton goes on the run to prevent a murder that the PreCrime system predicts he will commit. Ironically, many of his actions end up pushing events toward the exact future he is trying to avoid.
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Donnie Darko
Donnie spends much of the film trying to understand bizarre events that seem destined to lead to catastrophe. Ultimately, the disaster still occurs, and he knowingly allows it to happen to restore the timeline.
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The Butterfly Effect
Evan repeatedly travels into the past hoping to improve the future for himself and his friends. Every attempt creates new problems, and he eventually realizes that preventing tragedy may require accepting it instead.
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The Ring
Rachel investigates the cursed videotape in hopes of stopping its deadly effects. She solves the mystery behind Samara’s death, only to discover that understanding the curse does nothing to end it.
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Oedipus Rex
Based on Sophocles’ tragedy, the film follows Oedipus as he unknowingly fulfills the very prophecy everyone has spent years trying to avoid. Every effort to escape fate ends up bringing it closer.
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The Cabin in the Woods
The protagonists fight desperately to survive and prevent the ritual demanded by ancient forces. Their resistance ultimately causes the ritual to fail, resulting in the world-ending catastrophe the organization was trying to stop.
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Drag Me to Hell
Christine spends the entire movie attempting to escape a supernatural curse that promises eternal damnation. After exhausting every possible solution, she discovers too late that the curse remains in effect and claims her anyway.
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Melancholia
The first half of the film revolves around hope that the rogue planet Melancholia will miss Earth. As the evidence mounts, it becomes clear that the collision everyone fears is absolutely unavoidable.
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Avengers: Infinity War
The Avengers are constantly trying to stop Thanos from collecting all six Infinity Stones. Despite numerous sacrifices and victories along the way, Thanos succeeds in completing the Gauntlet and carrying out his plan.
Supergirl Deserves Better Than the Current Media Feeding Frenzy
I did not review Supergirl, because it is Den of Geek policy that if you travel for a project at the studio’s request—say, for example, a set visit—you might not be impartial. I think it’s a smart rule, even though I’ve been on more than one set for films I did not find remotely good in the end.
But I do think Supergirl is pretty good, and a superhero movie that does a few things I’ve found sorely lacking in the genre as of late. They’re worth standing up for, particularly with the dog pile it’s getting in the press via hyperbolic assertions like Variety’s claim that it features “the worst script” Owen Gleiberman can remember in a comic book movie. Supergirl definitely has issues—much of it involving a nonentity of a villain played by Matthias Schoenaerts—yet the film, including its screenplay by Ana Nogueira, also has a quality I find missing in most caped movies in the 2020s: sincere heart and a clarity of purpose.
Setting aside the fact that in the last five years, critics for both trades and genre sites have endured hideous screenplays for movies like Morbius, Kraven the Hunter, Aquaman 2, Black Adam, The Marvels, and Ant-Man and the Wasp: Quantumania (to name a few), it’s still fair to say superhero movies on the whole have gotten into something of a rut. They tend to fixate on interconnectivity with other mini-franchises and IP tributaries in their respective universes, emphasizing worldbuilding easter eggs and fan service nostalgia over story structure or character, and reduce everything into a flippant, self-smirking romp where the whole world/universe is threatened at the end by some CG monstrosity.
For whatever its faults, the Supergirl movie directed by Craig Gillespie and penned by Nogueira brushes that detritus to the side (at least when Lobo isn’t around). Returning to one of the superhero genre’s roots on the page and screen, the film is a not-so-subtle sci-fi riff on Westerns in general and True Grit in particular. It is the story of a young girl who is taken under the wing of a self-loathing roustabout whom she idolizes, and in turn brings out the hero in the drunkard she discovers at the bottom of a bottle.
It’s not original, and much of its grace comes from the far superior Supergirl: Woman of Tomorrow graphic novel by Tom King and Bilquis Evely, but the emotional core is genuine and I’d argue refreshing, in large part because of how fantastic Milly Alcock is in the role of the reluctant battle-hardened hero. At the age of 23, you can feel she’s lived lifetimes of grief. Despite the film often echoing the Mos Eisley Star Wars cantina scene, now writ neon, or the frankly unwise choice by Gillespie to couch the film in too much George Miller-lite grime, Alcock’s Supergirl and her script give the material a haunted, forlorn quality that’s alien to modern caped stuff.
Her survivor’s guilt of being one of the few refugees to make it out of Krypton is credible, which makes the familiar but earnest redemption arc genuine and earned. The greatest effect of Supergirl’s many fight scenes and set pieces isn’t the VFX of Kryptonians flying, or laser beams melting. We saw much the same in Gunn’s Superman last year. What we seldom witness, though, is the effect it’s intended to have on people.
Nearly every time Kara flies or uses her powers, Gillespie frames it from the vantage of little Ruthye Marye Knoll (Eve Ridley), the child who demands Supergirl avenge her family. It is a trick that goes back to at least George Stevens and Shane, and which Spielberg is a master at, but is so rarely observed in modern superhero movies with their corpulent amounts of CG excess. The awe such sights can and should inspire in a human reaction, particularly from that of a child who might be as wounded and grieving as Alcock’s messy hero, is the real stuff of mythmaking.
The plot follows the familiar patterns of many stories, including True Grit, but the ending being about the core dynamic of Kara impressing goodness onto a child who has every reason to choose despair, and for it to be executed without a hint of irony, self-deprecation, or winking asides as a beam of light shoots into the sky, is a credit to the screenplay. To call it the worst of a genre that not two years ago gave us Venom: The Last Dance rings deafeningly false.
To be clear, there’s plenty to criticize in this movie, from the dreary aesthetic being at odds with the cheeky prosthetic alien effects, to the fact the aforementioned villain is so unpleasant to be around that the movie clearly cut his scenes to the bone, leading the thing feeling strangely fleet. It’s not a great superhero film, but I would argue it’s a decent one and better than a surplus of mediocrity that was given passes and top marks in the 2010s and even 2020s with their gridlike, patched-together scripts and visuals.
What’s changed, I suspect, is a few things, not least of which is the patience among fans and critics who no longer have time for flawed or serviceable movies. So those who might have given a pass to Ant-Man and the Wasp flicks once upon a time feel emboldened, liberated even, to cut deep into a movie that’s tracking like a disappointment at the box office. The ugliest side, however, is the seedy impulse, even among professional male critics, to join in on the cruel (and glaringly false) bandwagon of shaming or mocking a young woman’s appearance. One, who I might add, looks literally like Supergirl.
Superhero fatigue is real, and an industry or audience that once indulged three out of the last four Thor movies is ready to see more capes fall to earth. The green sun of schadenfreude is shining bright. Maybe for the future of blockbusters that’s a good thing, but Supergirl has more heart than most of its contemporaries, not to mention what the Kryptonite slings and arrows would suggest.
Supergirl is in theaters now.
15 Movie Mentors Who Are Actually Terrible Teachers
A mentor is someone that uses their experience in a subject to guide us to greatness, and it isn’t something anyone can do. Just because you’re an expert on something, does not mean that you’re good at teaching it; it often involves a completely different skillset.
This is proven by these movie mentors we’ve chosen for today, who are all incredibly talented in their individual crafts. Some are even alleged teachers, but their methods leave a lot to be desired, not to mention the consequences of their actions. If you think you had a hard time in school, be thankful none of these teachers were there.
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Obi-Wan Kenobi (Star Wars)
Obi-Wan spends years training Anakin Skywalker, who ultimately becomes Darth Vader. While Anakin bears responsibility for his choices, Obi-Wan’s tendency to avoid difficult conversations and conceal important truths hardly helped the situation.
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Morpheus (The Matrix)
Morpheus believes in Neo before anyone else, but his training largely consists of throwing Neo into life-threatening situations and expecting him to figure things out. Fortunately for humanity, Neo turns out to be an exceptionally fast learner.
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Gunnery Sergeant Hartman (Full Metal Jacket)
Hartman’s brutal methods create discipline through intimidation and humiliation. While effective in producing soldiers, his constant psychological abuse contributes directly to Private Pyle’s catastrophic breakdown, making him a textbook example of destructive instruction.
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Terence Fletcher (Whiplash)
Fletcher believes greatness can only be achieved through relentless emotional abuse. His students improve musically, but the psychological damage he inflicts raises serious questions about whether his teaching methods produce artists or simply traumatized survivors.
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Pai Mei (Kill Bill Vol. 2)
Pai Mei unquestionably knows martial arts, but he teaches through humiliation, insults, and physical punishment. The Bride becomes a formidable fighter, yet it’s difficult to imagine many students surviving long enough to complete his training.
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Ra’s al Ghul (Batman Begins)
Ra’s al Ghul spends years mentoring Bruce Wayne, only to reveal that the ultimate lesson involves helping destroy Gotham. Training someone to become a vigilante is one thing. Training them for mass destruction is another entirely.
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Mickey Goldmill (Rocky)
Mickey turns Rocky into a contender, but his mentorship begins only after Rocky shows potential. Before that, he largely ignored him, making his sudden transformation into a supportive father figure feel somewhat opportunistic.
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Haymitch Abernathy (The Hunger Games)
Haymitch knows how to survive the Games, but his mentorship often involves being drunk, unavailable, or frustratingly vague. Katniss and Peeta benefit from his experience, though they frequently succeed despite his communication skills.
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Merlin (The Sword in the Stone)
Merlin possesses incredible wisdom, yet much of his teaching consists of transforming Arthur into various animals and hoping he learns something useful. The lessons eventually work, but the curriculum seems remarkably unstructured.
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John Keating (Dead Poets Society)
Keating inspires his students to think independently, but he often encourages rebellion without adequately preparing them for the consequences. His intentions are admirable, though some of his pupils end up facing far more than they anticipated.
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Alonzo Harris (Training Day)
Alonzo presents himself as a mentor to rookie officer Jake Hoyt, but his lessons revolve around corruption, intimidation, and criminal behavior. He teaches plenty about surviving the streets, just not how to be a good cop.
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Mr. Miyagi (The Karate Kid)
Mr. Miyagi ultimately helps Daniel succeed, but his teaching methods often involve assigning mysterious chores without explanation. Painting fences and waxing cars eventually reveal a purpose, though most students would probably quit long before the lesson became clear.
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Henry Jones Sr. (Indiana Jones and the Last Crusade)
Indiana Jones’ father serves as both mentor and role model, but his obsession with the Holy Grail frequently outweighs his concern for his son. Much of his guidance comes in the form of criticism, distraction, or neglect.
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Brom (Eragon)
Brom introduces Eragon to the ways of the Dragon Riders, but he withholds enormous amounts of information about Eragon’s heritage, enemies, and destiny. His secrecy leaves his student dangerously unprepared for many of the challenges ahead.
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M (Skyfall)
As James Bond’s superior and mentor figure, M repeatedly sends agents into extremely dangerous situations while keeping critical information compartmentalized. Her judgment is often effective, but several major crises in the series stem directly from her decisions.
15 Actors Who Only Play One Role, and That’s Ok
There are actors that can portray a wide variety of characters to great effect, making us both laugh and cry with seemingly no effort. We do consider that it’s a skill that shows mastery over the craft, but it isn’t something necessary for an entertainer to do their job properly.
What we’ve gathered here are actors that can only really do one thing well, and that’s completely fine. We don’t need every single performer in existence to have the widest range, and in fact, incredible movies have been made when actors play up their strengths.
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Dwayne Johnson
Dwayne Johnson almost always plays a charismatic, physically imposing hero who combines toughness with humor. Whether in Jumanji, Red Notice, or San Andreas, audiences know exactly what they’re getting, and that’s a major reason for his enduring box-office appeal.
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Ryan Reynolds
Ryan Reynolds frequently plays a fast-talking, self-aware wisecracker with a sarcastic sense of humor. From Deadpool to Free Guy and Red Notice, variations of his public persona have become one of the most recognizable brands in modern Hollywood.
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Michelle Rodriguez
Michelle Rodriguez is almost always cast as the fearless woman who can outfight nearly everyone around her. Across the Fast & Furious films, Avatar, and Resident Evil, she has built a career around tough, capable characters.
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Adam Sandler
Even when the setting changes, Adam Sandler often plays an immature but ultimately good-hearted man who stumbles through life before proving everyone wrong. That familiar persona has remained central to many of his biggest hits.
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Kevin Hart
Kevin Hart’s screen character is frequently the same anxious, energetic underdog reacting to increasingly ridiculous situations. Whether paired with Dwayne Johnson or leading his own projects, his comedic rhythm remains remarkably consistent.
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Michael Cera
Michael Cera became famous playing awkward, socially uncomfortable young men. From Superbad to Scott Pilgrim vs. the World, his understated delivery and nervous energy have remained defining traits throughout much of his career.
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Danny Trejo
Danny Trejo has spent decades portraying intimidating criminals, enforcers, and hardened survivors. While he occasionally subverts expectations, his rugged appearance and screen presence have made him Hollywood’s go-to tough guy for generations.
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Vince Vaughn
Vince Vaughn often plays the same fast-talking, sarcastic personality that made him famous. Whether in Wedding Crashers, The Break-Up, or Four Christmases, his characters tend to rely on the same confident verbal style.
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Will Ferrell
Will Ferrell’s greatest successes frequently revolve around loud, overconfident men who are far less competent than they believe. Anchorman, Talladega Nights, and Semi-Pro all lean heavily into variations of that comedic formula.
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Liam Neeson
Since Taken reinvented his career, Liam Neeson has repeatedly portrayed aging but extremely dangerous men with specialized skills. Audiences don’t watch these films for surprises; they watch to see Neeson do what he does best.
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Hugh Grant
For much of his career, Hugh Grant specialized in charming, somewhat awkward British romantics. Four Weddings and a Funeral, Notting Hill, and many others turned that persona into one of the most successful formulas in romantic comedy history.
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Joe Pesci
Joe Pesci has repeatedly excelled at portraying volatile, foul-mouthed men with short tempers. Goodfellas, Casino, and My Cousin Vinny showcase different shades of a persona that became one of cinema’s most memorable archetypes.
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Vin Diesel
Vin Diesel has built much of his career around stoic, physically dominant protectors. Whether he’s playing Dominic Toretto, Riddick, or Xander Cage, his characters tend to share the same intimidating confidence and loyalty.
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Samuel L. Jackson
Samuel L. Jackson frequently plays authoritative, sharp-tongued figures who instantly command attention. Whether he’s a cop, government agent, criminal, or mentor, his unmistakable delivery has become a character type all its own.
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Owen Wilson
Owen Wilson has spent much of his career playing laid-back, easygoing charmers who react to chaos with bemused disbelief. From Wedding Crashers to Marley & Me and Hall Pass, audiences have always responded to that familiar persona
15 Photos of the Original Hollywood Leading Man You’ve Never Heard Of
Long before Hollywood embraced international stardom, Sessue Hayakawa became one of the world’s biggest screen idols. A Japanese actor working during the silent era, he achieved a level of fame almost unheard of for an Asian performer in early American cinema.
At his peak, he was one of Hollywood’s highest-paid stars, attracting audiences with his charisma, dramatic talent, and undeniable screen presence. Although his name is less familiar today than many of his contemporaries, his influence on film history remains immense. These photos showcase the remarkable career of Hollywood’s forgotten leading man.
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The Cheat (1915)
The Cheat transformed Sessue Hayakawa into an international star. Playing the wealthy ivory dealer Hishuru Tori, he delivered a magnetic performance that captivated audiences and helped make him one of the first Asian actors to achieve major Hollywood celebrity.
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The Typhoon (1914)
One of Hayakawa’s earliest screen successes, The Typhoon was adapted from a stage production in which he had also appeared. The film helped launch his movie career and quickly established him as a rising talent in Hollywood.
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The Wrath of the Gods (1914)
Released during the silent era’s formative years, The Wrath of the Gods paired Hayakawa with his future wife Tsuru Aoki. The film became one of the earliest Hollywood productions to prominently feature Japanese performers.
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The Dragon Painter (1919)
Hayakawa stars as Tatsu, an artist convinced his beloved has been transformed into a dragon. Produced through his own company, the film remains one of his most celebrated works and was later added to the National Film Registry.
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The Tong Man (1919)
In The Tong Man, Hayakawa plays Luk Chen in a crime drama centered on San Francisco’s Chinatown. The film survives as one of the few remaining examples of his prolific work during the silent era.
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The Honor of His House (1918)
Hayakawa plays Count Ito Onato in this drama about honor, family obligations, and financial ruin. The film exemplifies the serious dramatic roles that helped distinguish him from many of Hollywood’s more stereotypical portrayals of Asian characters.
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The Secret Game (1917)
Set against international intrigue during World War I, The Secret Game casts Hayakawa as Nara-Nara. The film reflects his growing popularity as studios increasingly built major productions around his star power.
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Daughter of the Dragon (1931)
Hayakawa appeared alongside Anna May Wong in Daughter of the Dragon, one of his earliest sound films. The movie marked his return to Hollywood and paired two of the most important Asian stars of the era.
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Yoshiwara (1937)
Directed by Max Ophüls, Yoshiwara was produced during Hayakawa’s years in Europe. His role as Ysamo demonstrated how his career extended far beyond Hollywood, making him a truly international film star.
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Tokyo Joe (1949)
After World War II, Hayakawa returned to American films with Tokyo Joe. Starring opposite Humphrey Bogart, he played Baron Kimura and helped reestablish his presence in Hollywood after years abroad.
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House of Bamboo (1955)
Directed by Samuel Fuller, House of Bamboo is a crime thriller set in postwar Japan. Hayakawa appears as Inspector Kito, contributing to one of the first major Hollywood productions filmed extensively in Japan.
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The Bridge on the River Kwai (1957)
Hayakawa received an Academy Award nomination for Best Supporting Actor as Colonel Saito. His performance in the acclaimed war epic introduced him to a new generation and became one of the defining achievements of his later career.
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The Geisha Boy (1958)
In this comedy starring Jerry Lewis, Hayakawa played Mr. Sikita. Although far removed from his silent-era dramas, the film demonstrated his continued ability to work across genres well into the later stages of his career.
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Swiss Family Robinson (1960)
Hayakawa portrayed the pirate chief Kuala in Disney’s Swiss Family Robinson. The family adventure became a major box office success and remains one of the most widely seen films from the final phase of his career.
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Hell to Eternity (1960)
One of Hayakawa’s last major film appearances, Hell to Eternity cast him as General Matsui. The World War II drama allowed the veteran actor to cap off a remarkable screen career that had begun nearly half a century earlier.
House of the Dragon Season 3 Episode 2 Review: Slouching Towards King’s Landing
This review contains spoilers for House of the Dragon season 3 episode 2.
Like many “A Song of Ice and Fire” die-hards watching House of the Dragon season 3, I’ve been trying to figure out what has made me grow colder on the Game of Thrones spinoff since its thrilling first season, especially in the wake of its more creatively successful sibling A Knight of the Seven Kingdoms.
The most obvious explanation (at least fora Thrones sicko like me) is the lack of George R.R. Martin’s enthusiastic consent in the show’s adaptation choices. While that’s as good a theory as any, it doesn’t do much to actually diagnose how the creator’s waning influence manifests onscreen. George, GOATed as he may be, isn’t the only writer capable of crafting a satisfying fantasy yarn. Indeed every Game of Thrones property has added elements that have even improved upon their source material. Thrones season 1’s intimate conversation between Robert and Cersei, AKOTSK‘s Lyonel Baratheon glow up, and countless new scenes in House of the Dragon itself – all are welcome, well-written additions to the Westerosi canon.
It wasn’t until House of the Dragon season 3 episode 2 that I realized what was really bothering me. It’s not the loss of George R.R. Martin’s canon-keeping authority, it’s the loss of his dialogue. For evidence of this claim, here is a sampling of some sentences uttered in this season’s second episode:
“Well, well, well.” – Daemon Targaryen “I was mistaken, I am surprised!” – Larys Strong “He was stern but gentle.” – Baela Targaryen “I confess I underestimated your slipperiness.” – Daemon Targaryen “I have business with him.” – Rhaenyra Targaryen
None of these lines from Sara Hess’ script are outright disasters. But they also aren’t particularly novel or clever. And they’re a hell of a long ways away from something like “A lion does not concern himself with the opinions of sheep.” The language is overly simple (“stern but gentle”), touches on cliche (“I have business with him”), or is just outright silly (“I underestimated your slipperiness”). Add in Larys Strong’s Whedon-era Avengers “Well, that just happened” energy and you have a whole bunch of characters speaking more like writers than Westerosi.
In most cases, some uninspired dialogue wouldn’t be enough to sink a TV show – especially one as visually ambitious as this one. But House of the Dragon isn’t just any show. Not only is this saga part of a larger IP in which characters have proven themselves to be demonstrably more articulate, it also belongs to a fictional historical universe that relies on verisimilitude. As has been noted time and time again,Martin’s Fire & Blood is a history book, first and foremost. While the show obviously can’t present that history as a black-and-white Ken Burns documentary, it can at least deploy language that reads as more authentic.
Simply put: when the dialogue breaks, other stuff begins to break as well. And we see that play out in season 3 episode 2. This is one of the most consequential hours of House of the Dragon yet. Jace (Harry Collett) gets a proper goodbye, Aemond (Ewan Mitchell) conquers Harrenhal, and Ser Otto Hightower (Rhys Ifans) is beheaded. And oh yeah: Rhaenyra conquers King’s Landing and sits the Iron Throne. Roll credits.
All of this feels like it should have the import of a season, if not series finale (again lending credence to the theory that the first two episodes of this season were intended to be the final two of last season). But more often than not weak dialogue or generally poor execution (not just referring to Otto) lets a scene down.
Rhaena’s (Phoebe Campbell) pursuit of political asylum in the Vale should feel desperate. Her involvement, albeit accidental, in Jace’s death is undoubtedly the most terrifying thing to ever happen in her life and her unwelcome presence outside the Eyrie is equally horrifying for Lady Jeyne Arryn (Amanda Collin). And yet the scene, while tense, hardly reads as pressing. The pair stand a football field’s length apart and shout negotiation terms. It all culminates in a line that I’m shocked didn’t make it into my “bad dialogue catalog” above: “Do you want a dragon or not?” That’s supposed to be implied, Rhaena! First you kill Jace and now you kill subtext?
Over on the shores of Driftmark, things are similarly bleak for Corlys’ clan. Baela (Bethany Antonia) and Alyn of Hull (Abubakar Salim) wander around, not finding their Lord-father/grandfather… until suddenly they do. Corlys (Steve Toussaint) is fine. He was always going to be fine. The show’s only purpose in even bothering to muster up a search for him was so Baela and Alyn could bleat about their family ties, suggesting there’s something in the Velaryon bloodline that makes them inherently expository.
But when it comes to questionable adaptation choices, poor Alicent (Olivia Cooke) still can’t be beat. The Hightower queen once again bears the narrative brunt of synthesizing Fire & Blood‘s historical context into actual text and spends much of the episode running from contrivance to contrivance because of it. With Aemond now safely out of the way and en route to the Riverlands, Alicent’s plan for getting the rest of King’s Landing ready for Rhaenyra’s pending arrival seems to be… telling everyone in King’s Landing about Rhaenyra’s pending arrival.
This manifests as a trip to the City Watch locker room a.k.a. the flaccid penis factory so Commander Largent (Tom Cullen) can be made aware that King’s Landing will soon have new guests. When that goes well enough, Alicent doubles down and becomes even blunter with the Hightower troops manning the scorpions on the battlements. Through it all, the only person at court who seems skeptical of Alicent’s machinations is Lord Jasper “Ironrod” Wylde (Paul Kennedy). Even that shrewdness, however, is undercut by Ironrod responding to the treason with attempted sexual violence, seemingly the only language that Westerosi nobles are able to speak.
The fact that Alicent’s efforts culminate with her and Helaena (Phia Saban) trapped in an occupied King’s Landing and bearing witness to Ser Otto’s beheading is certainly logically satisfying. It’s just not emotionally satisfying.
Rhaenyra (Emma D’Arcy) and Daemon’s (Matt Smith) half of the King’s Landing invasion is similarly lacking in emotional heft. While the whole operation was designed to be easy by Alicent, it still reads are a bit too easy. The guilty party this time isn’t so much dialogue as it is the choreography. Seasoned Hightower soldiers are reduced to “one-at-a-time” henchmen archetypes as Daemon and Rhaenyra make their way to the throne room. When they finally encounter meaningful opposition in the form of the Kingsguard, there’s little tension. Like Jeyne and Rhaena before them, the two parties stand rooted on their marks and have a chat, the outcome of which is never in doubt thanks to Daemon’s influence over the City Watch.
The religious awe that D’Arcy imbues upon Rhaenyra’s first ascendance onto the throne is affecting enough to retroactively make the whole journey worth it. But it shouldn’t have to have been rescued in the first place.
Truthfully, there are several examples of sheer acting talent making up for questionable script decisions through this episode. One comes from an earlier D’Arcy scene in which a heartbroken Rhaenyra chastises Jace’s body as though he were still alive. The queen balling her fists and waving them over her dead son as if he wants to strike him but can’t bring herself to make the connection, is truly brilliant.
Meanwhile Aemond’s arrival in Harrenhal is just spectacular all around. From terrifying guardsmen screaming “Dragon!!!” as their final words before a fiery death to Aemond challenging the elderly Lord Strong to a duel, just about every element works in perfect concert.
Moments like that go a long way towards bringing Martin’s vision of a continent at war to vibrant life. It’s just a shame they have to go through so many “well, well, wells” on the way.
New episodes of House of the Dragon season 3 premiere Sundays at 9 p.m. ET on HBO and HBO Max, culminating with a finale on August 9.
Robert Eggers Teases Unlikely Connections Between The Northman and Werwulf
With four features in his filmography, we now have certain expectations for a Robert Eggers film. We want moody visuals, we want excellent performances (especially from Willem Dafoe), and we want people using words that no one has used in 1000 years. What we don’t expect, however, is a sequel. Despite their stylistic similarities, each of Eggers’s four movies take place in different places and time periods, minimizing the potential for connections between them.
One would expect the same to be true of Eggers’s latest film, Werwulf, which stars Aaron Taylor-Johnson as a farmer in 13th century England. But in a recent conversation with Esquire, Eggers revealed that he toyed with the origins of the werewolf myth in a previous film, The Northman. When discussing the origins of legends about humans turning into wolfs, Eggers observed, “If we really want to get into it, we can talk about the Berserkirs [an ancient Norse term for especially ferocious warriors who wore bearskins] and the Úlfhéðnar [another Old Norse word, for “wolf-coats”] that you see in The Northman that come from Viking culture.”
Released in 2022, The Northman starred Alexander Skarsgård as Amleth, a 9th century Viking who sought revenge against his uncle for the murder of his father. A retelling of one of the myths that influenced Shakespeare‘s Hamlet, The Northman featured Eggers’s usual eye for historical detail, especially in his depiction of Viking culture.
An early scene finds young Amleth (Oscar Novak) and his father King Aurvandill (Ethan Hawke) acting like dogs as part of a ceremony held by Heimir the Fool (Dafoe, in a great performance, as expected). After a seven-year time jump, we see Amleth among the ulfhéðinn, performing another ritual to (metaphorically) transform from humans to beast before going into battle.
To be clear, the connections here are thematic and not literal. It would be shocking if Eggers is setting up a time-travel plot, in which Amleth emerges from the volcano where he had his final battle, preserved for hundreds of years, to hang out with Taylor-Johnson’s farmer in Werwulf. Furthermore, it sounds like Eggers plans to do with Werwulf the same thing he did in The Witch, taking literally the records left by the people he’s describing instead of imposing realism upon them.
In other words, there will be werewolfs in Werwulf, not because it is realistic, but because the people of 13th century England believed that some people turned into wolves. Yet, as Eggers points out, even that belief harkens back to the warriors from The Northman, albeit from a different perspective in the Christianized period shown in Werwulf. “In a Christian setting, people who turn into werewolves become evil, and the early associations in the Christian mythology become satanic,” explains Eggers.
While the title tells us that Werwulf will indeed have the antiquated language we love in an Eggers film, it’s still not clear how moody the visuals will be, nor how great Willem Dafoe will be, cast here as a hunter. But if the connections to The Northman are any connection, Eggers will deliver another piece of uniquely weird horror with Werwulf.
Werwulf comes to theaters on December 25, 2026.
Supergirl’s Shocking Ending Changes the Book, the Character, and Works
This article contains full OF Supergirl spoilers.
At the climax of Supergirl, Ruthye Marye Knoll (Eve Ridley) has finally found her prey. The young adolescent and Supergirl (Milly Alcock) have spent the film chasing down of the Yellow Hills (Matthias Schoenaerts), who murdered the Ruthye’s family while poisoning the hero’s dog. Throughout their journey, Ruthye insisted that she must kill Krem in revenge, a plan that Supergirl categorically rejects. Yet that’s exactly what Supergirl does at the end of the movie, administering a fatal stab to Krem, one for each of the wrongs he’s committed against Kara and her young charge.
Supergirl’s decision to execute Krem doesn’t just contradict the morals she professed in the film, it contradicts the behavior of most DC Comics superheroes, especially Kryptonians who wear an “S” on their chest. More specifically still, it contradicts the comic miniseries Supergirl: Woman of Tomorrow, in which writer Tom King and artist Bilquis Evely imagine a different resolution to the threat of Krem. Yet Supergirl manages to justify this decision with how it makes both Supergirl and her wholesome cousin Superman far more interesting characters.
The Woman of Tomorrow, Yesterday
Even though it trades Evely’s sumptuous artwork for Guardians of the Galaxy earthtones, and King’s True Grit-inspired prose for standard blockbuster dialogue, Supergirl retains Woman of Tomorrow‘s plot. In both stories, Ruthye Marye convinces a hard-drinking Supergirl to help her find the murderer Krem of the Yellow Hills. When Krem injures Krypto, Supergirl gets all the motivation she needs, and she and Ruthye Marye chase Krem across the galaxy. Along the way, our hero muses about living in the shadow of Superman and ponders her moral code.
As in the movie, Ruthye attempts to execute her enemy at the end of the Woman of Tomorrow comic. But on the page, Ruthye cannot do it, no matter how many times she tries to deliver the final blow. Supergirl arrives and confesses that she could not teach Ruthye to give up her thirst for vengeance, because she still burns with anger still about the destruction of Krypton. To spare Ruthye from the cost of vengeance, Supergirl decides to kill Krem herself, but Ruthye stops her.
Instead Supergirl ultimately takes Krem to the Phantom Zone, that ethereal dimension where Kryptonians send their worst criminals. The comic then jumps ahead centuries into the future where an eternally young Supergirl visits an elderly Ruthye. She brings Krem with her, who has has spent enough lifetimes in self-reflection to sincerely repent his crimes. With tears in his eyes, the old man begs for forgiveness.
Even though the older Ruthye ultimately whacks the defeated, emaciated Krem upside the head with her staff instead of offering her forgiveness, the comic’s ending is very different from the one in the movie. Clearly the film approaches the concept of goodness and revenge from another angle, complete with Kara slitting the villain’s throat with Ruthye’s sword. But it works because of the changes that director Craig Gillespie and screenwriter Ana Nogueira made to the source material.
Krem of the Darkest Nightmares
It takes no more than a glance to see that Schoenaerts plays a Krem of the Yellow Hills differently from his comic book counterpart. In the King and Evely story, Krem was a closer analogue to Tom Chaney from True Grit, a sniveling coward and opportunist. The comic book Krem killed Ruthye’s father because he was sucking up to the king. He bribes his way into the Brigands, here little more than space pirates, by offering to help attack a nearby town, hoping they’ll spare him in their genocidal plans and help fend off the pursuing Supergirl.
Conversely, Supergirl makes Krem into a superhuman marauder and sex trafficker. Krem of the comics shoots Krypto while hiding in the grass, a sneak attack. Krem of the movie shoots Krypto because he can, barely looking up from his cereal bowl when committing this act of cruelty. Throughout the movie, we see Krem kill others, even children, with equal disregard. He and his Brigands capture young girls and force them to appease the desires of his men, calling them “brides.” Furthermore, he possesses incredible strength, able to catch a falling tank with one arm.
In other words, Supergirl makes Krem more dangerous and more evil than the character from the comics. If Supergirl were to walk away from him at the end of the movie, he would surely just get a whole new band of Brigands and continue terrorizing women. Even if we accept that the DCU has Green Lanterns, Thanagarian Hawkpeople, and other intergalactic peacekeepers from the comics, Krem represents a threat that cannot be stopped through normal means, and one delights in his immunity to morality or rehabiliation.
At this point, one might point out that Supergirl and Krem are fictional characters, and aren’t bound by rules other than those made up by the storytellers. So if Gillespie and Nogueira wanted to spare Supergirl from executing Krem, they could have made up a different way to stop him, as strong and evil as he was. Which means that Supergirl’s decision to kill Krem is part of the movie’s worldview, a worldview that the movie works to build before the climax.
Did Supergirl Lose?
Supergirl has two thematic arcs in this film. The more obvious involves her feeling homeless since the destruction of Argo City and the death of her parents. She begins the movie wandering across the cosmos, and flashbacks to her youth and arrival on Earth emphasize that sense of dislocation. The film’s actual ending, with her telling Clark that she and Krypto plan to stay on Earth, completes that arc.
The second relates to the first, but it may feel less coherent because of the contradiction between Kara’s words and actions. As in the comics, Supergirl constantly warns Ruthye against taking vengeance, which makes her decision to kill Krem on its face seem disingenuous. But the movie also shows us how Kara wrestles with the idea of goodness throughout the story. Unlike Bradley Cooper’s Jor-El, Kara parents tell her that she must be good when she arrives on Earth, especially since she’ll possess greater powers than humans. David Corenswet’s Clark repeats that charge when she lands on Earth, giving her a costume like his because it represents goodness.
Yet Kara realizes that she can’t share Clark’s morality. Superman “sees the good in everyone,” she explains, while she “sees the truth.” Supergirl explicitly ties that more complicated viewpoint to Kara’s upbringing. She feels the loss of her parents more keenly than Clark, not just because she actually knew life among her parents and the Kryptonians, but because she arrived on a hostile, aggressive planet, seemingly absent the loving guidance of Ma and Pa Kent.
The first two acts of Supergirl treat that inability to see goodness as a shortcoming on Kara’s part. But by the time we hit the climax, she’s come to realize that her morality isn’t flawed—it’s just different. She can look at the complexities of the world, see hurting that’s sharper and more subtle than Clark would notice, simply because she understands hurting on a deeper level. Kara agrees that execution, even a just execution, rots the soul, which is why she prevents Ruthye from doing the deed. But she believes that her suffering has already robbed her of that innocence, of that unvarnished soul, so she does the most heroic thing she can do. She protects Ruthye’s innonce by stopping Krem herself and taking on that rot.
It’s not the goodness of Superman. It’s a messy, complicated, imperfect goodness. But it’s a goodness nonetheless.
Maid of Might and Man of Steel
No one watching Supergirl can avoid thinking about the ending of Zack Snyder‘s Man of Steel. That movie put Superman against a similarly unstoppable threat, the Kryptonian conqueror Zod, who promised that he would never end his attacks on Earth. With no other choice was available, Superman chooses to execute Zod by snapping his neck.
For many longtime Superman fans, even those who know that Superman also executes Zod in 1988’s Superman #22, the moment felt like a betrayal. It not only demonstrated a lack of imagination on the part of Snyder and his writers, who had a powerful fantasy character in Superman but couldn’t imagine what saving the day looked like, but also a misunderstanding of Superman’s fundamental morality. Superman helps and inspires people; he doesn’t destroy.
Those who defend Man of Steel point to the scream of anguish that Superman unleashes after killing Zod. While that moment does indicate that Superman feels bad about his decision, it’s too brief, too easily ignored, and too immediately glossed over to be taken seriously. Contrast it to the many ruminations on goodness and vengeance in Supergirl. By the time Kara decides to kill Krem, we know that she’s already considered the cost. She accepts the weight of her actions intentionally, fully cognizant of what she’s doing, because she wants to save Ruthye.
In contrast to Man of Steel, Supergirl’s decision also saves Superman. The DCU Superman is special not just because of David Corenswet’s charming and guileless performance, but also because he insists that his power be used purely for good. He will avoid at all costs anything that makes people feel afraid, and he believes that even Lex Luthor can be redeemed because he thinks the good that Lex could bring to the world outweighs the harm he intends.
It’s a beautiful fantasy, and it’s a fantasy that the world needs. And it’s a fantasy that Superman can continue to have because his cousin is willing to do what he cannot. Supergirl helps Superman be the wholesome paragon that the DCU needs, by embracing her own complicated and messy goodness.
Supergirl is now playing in theaters.
2006’s Silent Hill Contains Surprisingly Relevant Environmental and Political Themes
The first Silent Hill movie adaptation is far from perfect; shoddy acting and a bloated storyline keep it from achieving its ambitions. But its gruesome practical effects, tense atmosphere, and grim aesthetic, alongside the cultural relevance of its source material, have kept people rewatching the film since its 2006 premiere.
However, there are more layers of critique beneath the surface level themes of the film that also play a role in preserving its status as a movie worth seeing over and over. Under the crust of cult psychology and revenge lies an intersection of environmental, political, and feminist values present in few mainstream horror movies.
Silent Hill follows Rose (Radha Mitchell), a mother who is trying to uncover the reasons for Sharon (Jodelle Ferland), her adopted daughter, having nightmares about the town Silent Hill. After doing intense research, Rose discovers the titular town where the majority of the film takes place was abandoned due to a reported coal-seam fire — a real world phenomenon of extremely long-lasting blazes that are often caused by mining activity. She decides to take her daughter there, where things inevitably go wrong; she wakes up in a foggy alternate reality of the town she was looking for, and Sharon is missing. It’s up to Rose and police officer Cybil (Laurie Holden) to find Sharon in the twisted Silent Hill dimension.
Silent Hill instead highlights a real life problem faced by West Virginia and many other parts of Appalachia without relying on stereotypical representations of Appalachian people. Where stereotypes have depicted uncivilized godless violence (Deliverance is a prime example), the local residents of Silent Hill are middle class fundamentalists, each of them devoted members of a cult called the Brethren.
This subversive depiction is further expounded on in flashbacks to before the disaster that made the town uninhabitable and created the alternate hellish reality. The residents of Silent Hill are economically comfortable, with lofty ideals of social compliance and snuffing out perceived abnormal behavior in cruel ways more in line with a critique of suburbia than Appalachia. This representation is a major departure from the traditional reliance on the imagery of scattered, violent hillbillies that has dominated depictions of Appalachian antagonists across mediums.
Although there is still a depiction of a violent populace, it’s a violence not rooted in the degradation of Appalachians as ignorant and uncultured but rather a more translatable depiction of conformity that could happen anywhere. The use of West Virginia as the setting highlights the real contemporary issues of environmental destruction caused by the extractive industries that have plagued the region for centuries.
The disaster that ultimately caused the supernatural creation of the Silent Hill dimension deepens the thematic strata of Silent Hill. Alessa (also played by Jodelle Ferland), a young girl from the days before the dimension opened, was ridiculed and villainized by the pious residents of Silent Hill for being born out of wedlock. Dahlia (Deborah Kara Unger), Alessa’s mother, allows Christabella (Alice Krige), the high priestess of the Brethren, to try a “purifying” ritual on Alessa after she is raped by her school’s janitor. Christabella and her followers then attempt to burn Alessa alive in an immolation ritual which is stopped by Dahlia and police officer Thomas Gucci (Kim Coates), but only after Alessa is horribly disfigured by the fire (this fire is ultimately what causes the coal-seam disaster that forced residents to abandon the town).
Torn apart by her hatred, Alessa creates the constantly-shifting nightmarish dark Silent Hill dimension, trapping a guilt-ridden Dahlia and members of the Brethren in her ashen, monster-laden hellscape. Alessa is thus split between Dark Alessa, a demonic entity feeding off her hatred, and Sharon, her innocence incarnate.
It is not a stretch to describe Silent Hill as an ecofeminist piece of media. Ecofeminism is defined as “both political activism and intellectual critique” by ScienceDirect. It is a framework that argues the harm done to women and the harm done to the environment mirror each other and manifest in a number of parallel ways societally and politically.
The coal-seam fire ignites after the residents of Silent Hill torture a girl who was the victim of an unspeakable crime. The primarily female cast showcases women fighting who, knowingly or not, are fighting environmental catastrophe alongside attempting to save a girl from an awful fate at the hands of conservative zealots. Alessa’s scarring by the fiery violence of the Brethren mirrors the scarring of West Virginia, her home state, done by mining and extraction. Violence against women and violence against the land, as well as women-led political action, are inseparable in Silent Hill.
At a time when human-driven climate change and rising fascism are joining hands and taking humanity into the sunset of doomsday, Silent Hill presents a surprising, yet poignant vessel for environmental and social critique that can only age better as time goes on.
15 Photos Remembering Hollywood’s Most Desirable Name
Few actors have changed Hollywood as profoundly as Marlon Brando. With his naturalistic performances and magnetic screen presence, he redefined movie acting and became one of the most influential stars of the twentieth century. By playing rebellious outsiders, powerful crime bosses, and complex historical figures, Brando brought an intensity that inspired generations of performers.
His career included award-winning classics, ambitious dramas, and unforgettable blockbusters that remain essential viewing decades later. These photos highlight the remarkable range of an actor whose name became synonymous with cinematic greatness and enduring star power.
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A Streetcar Named Desire
Brando’s performance as Stanley Kowalski in A Streetcar Named Desire turned him into a Hollywood sensation. Reprising the role from Broadway, he earned his first Academy Award nomination and introduced audiences to a revolutionary style of screen acting.
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On the Waterfront
Brando won his first Academy Award for Best Actor as former boxer Terry Malloy in On the Waterfront. His emotionally layered performance, including the famous taxi cab scene, remains one of the defining achievements in film history.
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The Godfather
As Don Vito Corleone, Brando created one of cinema’s most iconic characters. He won a second Academy Award for Best Actor but famously declined the honor, sending activist Sacheen Littlefeather to the ceremony in his place.
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Apocalypse Now
Brando portrays the mysterious Colonel Walter E. Kurtz in Apocalypse Now. Despite appearing late in the film, his haunting performance became central to Francis Ford Coppola’s epic exploration of war, power, and psychological collapse.
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The Wild One
The Wild One established Brando as the ultimate cinematic rebel. His leather-jacketed biker Johnny Strabler became a cultural icon, influencing fashion and helping define the image of youthful rebellion throughout the 1950s.
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Julius Caesar
Brando surprised critics by delivering a polished Shakespearean performance as Mark Antony in Julius Caesar. His famous “Friends, Romans, countrymen” speech demonstrated his versatility and earned another Academy Award nomination.
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Guys and Dolls
Brando stepped into musical comedy as gambler Sky Masterson in Guys and Dolls. Although not known as a singer, he held his own alongside Frank Sinatra in one of Hollywood’s most beloved musical adaptations.
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Last Tango in Paris
Last Tango in Paris featured one of Brando’s most controversial performances. His emotionally raw portrayal earned an Academy Award nomination, while the film itself sparked decades of debate over its explicit content and production methods.
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Mutiny on the Bounty
Brando starred as Fletcher Christian in Mutiny on the Bounty, one of the era’s most expensive productions. Although the film became notorious for production problems, his performance remains one of its most discussed elements.
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The Young Lions
In The Young Lions, Brando played German officer Christian Diestl, portraying a complex soldier whose ideals eroded during World War II. The ambitious war drama showcased his ability to humanize morally conflicted characters.
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Reflections in a Golden Eye
Brando starred opposite Elizabeth Taylor in Reflections in a Golden Eye, portraying an emotionally troubled Army officer. The psychological drama was unconventional for its time and demonstrated his willingness to tackle difficult, deeply flawed characters.
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The Chase
Brando leads an ensemble cast in The Chase as a small-town sheriff confronting corruption and mob violence. The tense Southern drama paired him with Jane Fonda, Robert Redford, and Robert Duvall in memorable early performances.
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Burn!
Released internationally as Burn!, Brando plays British agent Sir William Walker, manipulating a colonial revolution for political gain. The historical drama has since earned recognition as one of his most underrated performances.
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The Missouri Breaks
Brando plays eccentric hired killer Robert E. Lee Clayton opposite Jack Nicholson in The Missouri Breaks. His unpredictable performance divided critics upon release but has since become one of the film’s defining features.
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Superman
Brando appeared as Jor-El in Superman, accepting one of Hollywood’s highest salaries for a relatively brief role. Despite limited screen time, his portrayal of Superman’s father added prestige to the landmark superhero film.
13 Horror Movies Inspired By Real Life Killers
True crime documentaries are all the rage these days, telling us of the gruesome murders committed by the now infamous serial killers of old. They have also inspired several film adaptations retelling their lives and major events, yet they’ve inspired more than just biographical works.
Many hallmarks of horror were inspired by their terrifying acts, some more directly than others. The styles differ between one movie to the next, but the intent is the same: showcase the horror of real life in a safe, fictional environment. Nothing inspires more than the atrocities committed by our fellow men.
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Psycho
Alfred Hitchcock’s Psycho wasn’t a retelling of Ed Gein’s crimes, but Norman Bates was heavily influenced by the Wisconsin killer’s disturbing relationship with his mother and isolated lifestyle. The result became one of horror’s most iconic fictional murderers.
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The Texas Chain Saw Massacre
Leatherface was created as a fictional character, yet director Tobe Hooper drew inspiration from Ed Gein’s gruesome crimes. The masks made from human skin and macabre home décor echo Gein, even though the film’s story is entirely fictional.
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Maniac
William Lustig’s Maniac features the fictional killer Frank Zito, with the character partially inspired by David Berkowitz, the infamous Son of Sam. Rather than recreating the crimes, the film channels Berkowitz’s paranoia and indiscriminate violence into an original slasher
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Black Christmas
Although never officially confirmed, many critics and true crime fans have long linked Black Christmas to the unsolved murders committed by the so-called Babysitter Killer. The film blends those similarities into an entirely fictional holiday slasher.
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Eaten Alive
Tobe Hooper’s Eaten Alive takes loose inspiration from Joe Ball, the Texas tavern owner nicknamed the Butcher of Elmendorf. The film transforms the legend into a bizarre horror story featuring a hotel owner and his pet crocodile.
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Deranged
Rather than portraying Ed Gein directly, Deranged fictionalizes his crimes through Ezra Cobb, a lonely farmer whose descent into grave robbing and murder closely mirrors Gein’s infamous case while changing names and specific events.
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Scream
Ghostface is a fictional killer with a constantly changing identity, yet screenwriter Kevin Williamson has acknowledged drawing inspiration from Danny Rolling, the Gainesville Ripper. The film transforms those real crimes into a self-aware slasher mystery instead of a direct adaptation.
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Natural Born Killers
Oliver Stone’s violent satire follows fictional lovers Mickey and Mallory Knox, with their cross-country murder spree being partly inspired by the real-life crimes of Charles Starkweather and Caril Ann Fugate, filtered through a heavily stylized and exaggerated narrative.
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Angst
The Austrian horror film Angst follows a fictional psychopath inspired by the crimes of Austrian serial killer Werner Kniesek. Rather than recreating the case, it focuses on the killer’s mindset through a uniquely unsettling psychological approach.
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Badlands
Though often classified as a crime drama with strong horror elements, Badlands fictionalizes the murder spree of Charles Starkweather and Caril Ann Fugate. Terrence Malick changed the names and story while preserving the unsettling violence that inspired the film.
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The Town That Dreaded Sundown
This slasher reimagines the Texarkana Moonlight Murders committed by the unidentified Phantom Killer. Instead of naming a real suspect, it builds a fictional horror narrative around the infamous unsolved serial killings that terrorized the town.
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The Girl Next Door
While primarily a psychological horror drama, The Girl Next Door fictionalizes the horrific torture and murder of Sylvia Likens. The names and circumstances were changed, creating a devastating fictional story rooted in an infamous real-life crime.
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The Hills Have Eyes
Wes Craven’s The Hills Have Eyes centers on a fictional family of desert cannibals. The premise was inspired by the legend of Sawney Bean, the alleged Scottish clan leader whose family supposedly murdered and consumed travelers for years.
15 Fictional Companies That Could Never Stay in Business in the Real World
Movies, television, and video games are filled with memorable fictional companies that somehow keep the lights on despite endless lawsuits, catastrophic accidents, or spectacularly incompetent management. In the real world, many of these businesses would be bankrupt after their first major incident, buried under regulatory fines, insurance claims, or public outrage.
Others survive only because stories need them to. These companies have become iconic precisely because they operate by fictional rules instead of real-world business realities. Here are a few we’ve chosen that probably wouldn’t last a year outside fiction.
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Acme Corporation (Looney Tunes)
Acme sells gadgets that almost always explode, malfunction, or catastrophically fail. Between endless product liability lawsuits, recalls, and customer injuries, the company would almost certainly collapse under legal judgments long before Wile E. Coyote could order another rocket-powered contraption.
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Dunder Mifflin (The Office)
Dunder Mifflin struggles to compete in a shrinking paper industry while enduring constant HR violations, management disasters, and questionable business decisions. In reality, the company’s legal expenses and declining market would likely force bankruptcy much sooner.
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InGen (Jurassic Park)
After multiple dinosaur-related fatalities across several parks and facilities, InGen would face overwhelming lawsuits, criminal investigations, and regulatory intervention. No modern corporation could survive repeated disasters involving genetically engineered predators escaping into public spaces.
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Umbrella Corporation (Resident Evil)
Umbrella repeatedly causes viral outbreaks that devastate entire cities while attempting to conceal its involvement. Even before global catastrophe struck, the company’s criminal negligence, illegal experimentation, and countless wrongful death claims would permanently destroy its business.
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Aperture Science (Portal)
Aperture Science burns through enormous resources conducting wildly unethical experiments on unwilling test subjects. Between workplace fatalities, unsafe laboratories, and reckless executive decisions, government regulators would almost certainly shut the company down before portal technology reached consumers.
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Oceanic Airlines (Lost)
After suffering multiple mysterious disasters across its history, Oceanic Airlines would face a public relations nightmare. Passenger confidence would collapse, insurance premiums would skyrocket, and regulators would likely ground the airline pending exhaustive safety investigations.
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Buy More (Chuck)
Buy More somehow survives despite chronic employee misconduct, property damage, theft, and spectacular customer service failures. Any real electronics retailer experiencing that level of operational chaos would struggle to retain customers, staff, or corporate investors.
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Duff Beer (The Simpsons)
Duff enjoys enormous popularity despite frequently encouraging reckless marketing practices and questionable corporate ethics. Numerous scandals involving its leadership and promotional campaigns would likely invite regulatory scrutiny and expensive legal challenges in the real beverage industry.
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Prestige Worldwide (Step Brothers)
Prestige Worldwide never develops a coherent business model beyond vague branding and absurd promotional events. Investors would quickly lose patience with a company producing no meaningful products or sustainable revenue despite its founders’ boundless confidence.
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Cyberdyne Systems (The Terminator)
Cyberdyne repeatedly develops increasingly dangerous artificial intelligence with catastrophic consequences. Even ignoring Skynet’s ultimate fate, the company’s negligence surrounding autonomous military technology would trigger devastating lawsuits and intense government oversight.
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MomCorp (Futurama)
MomCorp effectively controls countless consumer products while repeatedly placing profits above public safety. The company’s history of dangerous inventions and monopolistic behavior would attract relentless antitrust investigations, recalls, and consumer protection lawsuits.
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Wayne Enterprises Applied Sciences (The Dark Knight Trilogy)
Wayne Enterprises’ Applied Sciences division develops advanced military hardware that repeatedly falls into criminal hands. Shareholders and regulators would demand sweeping accountability after so many prototype weapons were stolen and used to endanger civilians.
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Rich Industries (Tommy Boy)
Rich Industries knowingly sells defective brake pads that put countless drivers at risk. Once the defects became public, the company would face massive recalls, product liability lawsuits, government penalties, and likely complete financial collapse.
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Vandelay Industries (Seinfeld)
George Costanza repeatedly invents Vandelay Industries as a fake employer, importer, or exporter depending on the situation. With no actual products, staff, or operations, the company would never survive even the most basic business verification.
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Wonka Industries (Charlie and the Chocolate Factory)
Wonka’s factory routinely allows children into hazardous production areas filled with experimental candy and dangerous machinery. Modern workplace safety standards, health inspectors, and liability laws would almost certainly close the factory after a single tour.
15 Characters With Unrealistically Luxurious Apartments
Television and movies have always loved giving characters dream apartments that make audiences wonder how they could possibly afford them. Granted, sometimes the apartments need to be the size of a filming set for logistical reasons, but they don’t stop being jarring.
Sometimes there’s an in-universe explanation, but even then, the math rarely adds up. After all, there’s only so much money an average salary can bring in. These iconic apartments became almost as memorable as the characters themselves, even if their square footage and locations belong firmly in the realm of fantasy rather than reality.
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Monica Geller (Friends)
Monica’s spacious West Village apartment is television’s most famous unrealistic residence. Although the show explains it as a rent-controlled apartment inherited from her grandmother, its size and location remain wildly implausible for a chef sharing expenses with a waitress.
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Carrie Bradshaw (Sex and the City)
Carrie supports herself primarily by writing a single newspaper column, yet lives in a charming Upper East Side apartment with remarkable stability. The show’s rent-control explanation helps, but the lifestyle still stretches credibility for her income.
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Jessica Day (New Girl)
Jess and her roommates occupy an enormous Los Angeles loft with soaring ceilings, huge windows, and four bedrooms. While several tenants split the rent, finding a space like it at an affordable price is virtually impossible in reality.
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Ted Mosby (How I Met Your Mother)
Ted and Marshall’s Upper West Side apartment features generous living space in one of New York City’s most expensive neighborhoods. Even with roommates, their stylish apartment seems far beyond what an architect and law student could realistically afford early on.
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Penny (The Big Bang Theory)
Penny spends much of the series working as a waitress while pursuing acting, yet maintains a decent Pasadena apartment directly across from two highly paid scientists. Her financial situation rarely seems capable of supporting the lifestyle depicted.
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Frasier Crane (Frasier)
Frasier’s luxury Seattle apartment overlooks the skyline and features museum-quality furnishings, designer décor, and expansive rooms. Even accounting for his previous career as a psychiatrist, fans have long questioned whether his radio salary could realistically support it.
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Holly Golightly (Breakfast at Tiffany’s)
Holly Golightly lives in a stylish Manhattan apartment despite having no conventional full-time job. While the film hints at wealthy admirers supporting her lifestyle, her desirable New York residence has long been viewed as more glamorous than financially realistic.
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Mindy Lahiri (The Mindy Project)
Mindy is a successful doctor, but her colorful Manhattan apartment goes well beyond practicality. Even the show’s production designer acknowledged that the oversized layout was intentionally unrealistic to accommodate filming and create an aspirational setting.
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Kimmy Schmidt (Unbreakable Kimmy Schmidt)
Freshly arriving in New York with little money, Kimmy quickly lands an apartment in Brooklyn. Sharing the space helps, but her housing situation remains surprisingly generous considering her limited income and lack of established employment.
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Max Black and Caroline Channing (2 Broke Girls)
The title promises two women struggling to make ends meet, yet Max and Caroline somehow afford a two-bedroom Williamsburg apartment while working low-paying diner jobs. Even with roommates, the Brooklyn rent has always stretched credibility.
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Joe Goldberg (You)
Joe Goldberg works as a bookstore employee during the first season, yet occupies a surprisingly spacious apartment in New York City. Considering the city’s rental market and his modest income, his living situation is far more comfortable than reality would typically allow.
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Marnie Michaels (Girls)
Marnie and Hannah’s Brooklyn apartment looks far more polished and spacious than their unstable careers suggest. As both struggle financially through much of the series, their living arrangements often seem considerably nicer than their budgets would allow.
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Peter Parker (Spider-Man 2)
Peter Parker’s apartment is intentionally shabby, but finding even a modest Manhattan apartment while juggling college, freelance photography, and unpaid superhero work would be nearly impossible without constant financial strain.
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Emily Cooper (Emily in Paris)
Emily relocates to Paris on a marketing salary but quickly settles into an enviable apartment in a picturesque neighborhood. While smaller than many TV homes, its location and charm have sparked frequent debates about how she could realistically afford it.
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Matt Murdock (Daredevil)
Matt Murdock operates a struggling law practice, yet lives in a spacious Hell’s Kitchen loft with soaring ceilings and massive windows. The series offers no financial explanation, making it one of television’s most implausible apartments.
15 Candid Photos of Hollywood’s Original Heartthrob
Few entertainers have ever matched Frank Sinatra’s combination of charisma, talent, and screen presence. Long before celebrities were called heartthrobs, “Ol’ Blue Eyes” captivated audiences in both concert halls and movie theaters, building a film career that stretched from lavish musicals to gripping crime dramas and wartime thrillers.
He even earned an Academy Award for his acting, proving he was far more than just a legendary singer. We’ve gathered some photos of him throughout his career to remember what a legend he was. These showcase why Hollywood couldn’t get enough of its original heartthrob.
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From Here to Eternity
Frank Sinatra revived his acting career with From Here to Eternity, playing Private Angelo Maggio. His acclaimed performance earned him the Academy Award for Best Supporting Actor and helped establish him as a serious dramatic actor, not just a recording superstar.
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The Man with the Golden Arm
In The Man with the Golden Arm, Sinatra took on the challenging role of Frankie Machine, a recovering heroin addict. The daring performance earned him an Academy Award nomination for Best Actor and remains one of his most respected dramatic achievements.
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The Manchurian Candidate
Sinatra considered The Manchurian Candidate the high point of his film career. Playing Major Bennett Marco, he anchors the political thriller with a restrained yet powerful performance that continues to receive praise decades after its release.
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Guys and Dolls
Sinatra starred as gambler Nathan Detroit in the lavish musical Guys and Dolls alongside Marlon Brando. Though he had originally wanted Brando’s role, his performance and unmistakable singing voice remain highlights of the classic adaptation.
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Ocean’s 11
The original Ocean’s 11 united Sinatra with fellow Rat Pack members Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop. Their effortless chemistry helped turn the stylish Las Vegas heist film into an enduring pop culture favorite.
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High Society
High Society paired Sinatra with Bing Crosby, Grace Kelly, and Louis Armstrong in a glamorous musical remake of The Philadelphia Story. Sinatra’s charm and musical performances fit perfectly within one of MGM’s most star-studded productions.
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Pal Joey
Pal Joey gave Sinatra one of his signature musical roles as a smooth nightclub entertainer chasing success. Co-starring Rita Hayworth and Kim Novak, the film showcased both his acting ability and his effortless command of sophisticated song performances.
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Anchors Aweigh
One of Sinatra’s earliest major successes, Anchors Aweigh teamed him with Gene Kelly in a lively musical comedy. Their contrasting personalities and memorable musical numbers helped make the film one of the decade’s biggest hits.
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On the Town
Sinatra reunited with Gene Kelly in On the Town, playing one of three sailors enjoying a day of leave in New York City. The energetic musical remains one of the defining examples of postwar Hollywood entertainment.
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Some Came Running
In Some Came Running, Sinatra delivered another acclaimed dramatic performance as a troubled war veteran returning home. Acting alongside Dean Martin and Shirley MacLaine, he helped elevate the film into one of his strongest non-musical projects.
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Von Ryan’s Express
Von Ryan’s Express cast Sinatra as an American colonel leading Allied prisoners on a daring escape through wartime Italy. The suspenseful World War II adventure became one of his biggest box office successes during the 1960s.
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Tony Rome
Sinatra reinvented himself as private detective Tony Rome in this stylish crime thriller. The character proved popular enough to earn a sequel, allowing Sinatra to embrace the detective genre during the latter part of his film career.
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Robin and the 7 Hoods
Robin and the 7 Hoods transplanted the Robin Hood legend into Prohibition-era Chicago. Sinatra leads an impressive cast that includes Dean Martin, Sammy Davis Jr., and Bing Crosby in one of the Rat Pack’s most entertaining musical comedies.
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Suddenly
In Suddenly, Sinatra surprised audiences by playing a cold-blooded assassin plotting to kill the President of the United States. The tense thriller demonstrated his willingness to take darker, more unconventional roles early in his acting career.
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The Detective
The Detective featured Sinatra as New York police detective Joe Leland in a mature crime drama tackling corruption, prejudice, and violence. Its source novel later produced the sequel that eventually became the basis for Die Hard.
Supergirl: How the Canceled Flash Spinoff Brought the Maid of Might to Screen
Since her debut in 1959’s Action Comics #252, Supergirl has been reinvented time and again. Originally a teen girl riff on Superboy, Supergirl has been everything from a modern woman making her way through 1970s Chicago to a shapeshifting blob of goo to a scantily-clad minion of Darkseid. Even outside of comics, we’ve seen varying interpretations of the character, with Milly Alcock’s hard-scrabble hero playing very differently from the wholesome do-gooders played by Helen Slater and Melissa Benoist.
The most significant difference between Supergirls might involve one we’ll never see. While promoting the new movie, directed by Craig Gillespie, screenwriter Ana Nogueira has credited the film’s success to a script she wrote about the Supergirl that Sasha Calle played in The Flash. “It was useful to me,” Noguiera told Entertainment Weekly of the script. “There is a real thing when you’re doing this, you have to really onboard yourself on things like power set, what these characters are capable of, what a fight would look like, how strong you want them to be … So that was really useful, that I knew that power set for [Supergirl] in and out.”
While the two Supergirls do have similar power sets, they have very little else in common. Where the current movie draws inspiration from the Tom King and Bilquis Evely miniseries Supergirl: Woman of Tomorrow, the previous iteration would have borrowed from the New 52 Supergirl and the Flashpoint depiction of Superman.
The Flashpoint connection makes sense, as 2023’s The Flash adapted that comic book storyline, which itself led to a line-wide reboot of DC Comics. Set in the DCEU that began with Zack Snyder‘s Man of Steel, The Flash sees Barry Allen (Ezra Miller) going back in time to prevent the murder of his mother. When he tries to return to his own time, Barry gets knocked off course and arrives in an alternate 2013, one in which there’s no Superman to prevent General Zod’s attack on Earth.
The two Flashes get help first from a retired Bruce Wayne, played once again by Michael Keaton. Together, the trio learns about a Kryptonian ship that crashed in Siberia. They track down the ship, thinking it belongs to Superman, but instead find Supergirl, who has been kept hidden in a research facility and tested upon since her arrival.
The idea of Supergirl being used as a test subject comes from 2011’s Project Superman #1, which told the story of Kal-El in the darker world that the comic book Barry Allen created when he went back in time in Flashpoint. At the end of the Flashpoint storyline, Barry puts things right when he goes back to the present. But he gets some things wrong, leading to the DC Universe reboot known as the New 52. With the reboot, the Project Superman story was more or less transformed to Supergirl, making Kara a darker and more angry character, who did not trust humanity.
The Supergirl of The Flash contained aspects of those stories. At first, Kara resented humanity for the way she treated her, and saw no reason to save them. But upon Barry’s urging, Kara found her more heroic side and joined the fight against Zod. Originally, the film would have ended with scenes setting up future movies with Calle’s Supergirl and Keaton’s aged Batman, with the former getting her own solo film written by Nogueira.
To this day, Nogueira says very little about that movie, telling Entertainment Weekly, “I don’t think I can even say what it was about, but it could not have been more different.” Presumably, however, we can guess that it would have followed the trajectory of the New 52 Superman comics. Those stories tracked Kara’s slow and circuitous route toward heroism, as she rejects the way of her cousin and finds her own path. The comic book version of this Supergirl sometimes did things her cousin would never consider, such as joining the rage-filled Red Lantern Corps. But she did the right thing more often than not.
Certainly, we can see some echoes of that Supergirl in the version played by Milly Alcock. While she’s never as antagonistic toward humanity as the New 52 character, this Supergirl has to find out how to be good in her own way, and ultimately finds a code that’s very different from the one held by Superman.
Would that Supergirl movie be better than the one now playing in theaters? There’s no way of knowing, but we can say with confidence that whether she’s a party girl trying to find her home or an alien making peace with a planet that mistreated her, she’ll always be Supergirl.
Supergirl is now playing in theaters worldwide.
Netflix’s Unhinged Is an Immersive Home Invasion Nightmare
“I see you in there.”
“Claire, I’m not in my room.”
Another addition to Netflix’s venture into gaming, Unhinged takes on the survival horror genre as a dark and stormy night takes on more than just power outages and shadows. Players must survive against a maniacal killer hell-bent on making you his victim. Created by Netflix’s Night School Studios, the creators of Oxenfree, gamers use their cellphones as both a controller and an in-game lifeline to navigate and escape from the masked killer in this home-invasion nightmare.
Unhinged follows Ava (Zoë Kravitz) as a storm ravages her apartment building, and she agrees to meet her best friend Claire (Sadie Sink) in the lobby to find a hotel to bunker down against the storm, as their power has gone out. Ava, while on the phone with Claire, is quickly notified by her that it looked like someone was in her bedroom window — Ava dismisses this claim, already being creeped out by the stormy darkness, only to discover how right Claire is when a mysterious man quickly appears behind her with a weapon.
Ava must escape through her bathroom window to get out of her apartment. Next, the trailer shows flashes of Ava crawling through vents, walking into a room with computer monitors showing a live feed from security cameras of the building, and a confrontation between Ava and the killer. Ava must rely on Claire and the building superintendent, Ben (Troy Baker), to navigate the danger and get to the apartment lobby safely.
While the story itself isn’t a new trope in the horror industry, the immersive aspect of the game makes it 10 times more interesting. After selecting Unhinged, players will scan a QR code that connects their smartphone as a controller to the game. Ava’s hand movements in the game sync with the controller, allowing players to guide her flashlight in the game.
Players’ phones also act as an audio immersion device outside their TV speakers. When Ava’s phone rings in the game, so does the player’s phone. The phone will also vibrate and play audio that coincides with Ava’s phone in the game. The game will also feature a Story Mode and a Standard Mode.
Story Mode is for those who want to play a strictly narrative-driven experience. There is no timer, preventing players from dying, and allowing them to experience the full expanse of the story. It removes the many high-stakes tensions of in-game death, but it gives players the time to enjoy a good horror mystery.
On the flip side, success in Standard Mode depends on how hard players train their gamer reflexes. In high-stakes moments, players will be presented with a rapidly shrinking timer bar that forces players to scan the room for an interactive object, leading to a quite unfortunate death if the object is not found when time runs out. Fortunately, there are checkpoints, so players don’t have to start from the beginning.
Due to its unique platforming, the game itself has a much shorter runtime than traditional horror-mystery games. With a runtime of 30-60 minutes, it’s the same length as a standard episode of a TV show, which game developers told Page Six was the point. They further explained that the low runtime makes it approachable for inexperienced gamers.
With a small, yet star-studded cast, Unhinged looks like an interesting and quick playthrough for all horror lovers — PC gaming experts or passive mobile game players alike.
Unhinged will be available to play starting June 30 on Netflix.
Stranger Things: Millie Bobby Brown Knows What Happened to Eleven, and We Never Will
Let’s face it, none of the buzz lingering six months after the Stranger Thingsfinale is very good. If anyone brings it up at all, they’re going to criticize the terrible acting, the languid plotting, or that absurd final battle. To make matters worse, the one positive thing that people still talk about will never be resolved, because no one who knows the answer will spill the beans.
Appearing on the Happy Sad Confused podcast, Millie Bobby Brown dashed the hopes of anyone hoping to know the definitive facts about the fate of her character, Eleven. Brown revealed that Stranger Things creators Matt and Ross Duffer told her what happened to El, but also swore her to secrecy. “They were like, ‘Do not tell anyone. Because we made it a secret kind of pledge,'” Brown said (via Variety). “No one else knows. It’s just us three. And what we do with that information, it’ll be up to them.”
For those who care but don’t remember, El seemed to sacrifice herself after the final standoff with Vecna. Knowing that governments will continue to explore the Upside-Down, and could potentially release another threat, El stayed behind to permanently close the fissure between worlds. She appears to be buried under ruble, but the final moments of the episode hold open hope for El’s return. The show ends like it began, with Mike and his friends playing a game of Dungeons & Dragons. As Dungeon Master, Mike weaves another story for El, one in which she survived the gateway’s collapse and continues to have adventures in the Upside Down, at least until she can finally return home to Hawkins.
Was Mike’s story a prediction of things to come? Was it just a way for him to cope with the loss of his friend? Fans have shared theories time and again, as have the stars, but no concrete answer has come down.
Brown’s comments reveal why we don’t know for sure what happened: because the Duffers only told her the truth, and she can’t tell anyone else.
Frustrating as that may be, a lack of clarity may be best for all involved. Before the last season, fans came up with all sorts of predictions about how dangling plot points would resolve and how the series would wrap up. And, in most cases, the fans liked their ideas better than the story that appeared on screen.
Anyone who needs proof can just look at the “Conformity Gate” theory, in which fans convinced themselves that Netflix had a secret, “real” final episode to release after the finale, one that would be far more satisfying. So fervent was the speculation that Netflix actually had to reiterate that the series had definitively ended, that what fans mistook for a bonus episode was, in fact, a behind-the-scenes feature.
With that in mind, it’s probably better if we let Brown and the Duffers keep their secrets. The rest of us can follow Mike’s lead and just make up our own stories, one in which El gets the arc that we want to see.
Every episode of Stranger Things is now streaming on Netflix.
New Batman Animated Series Will Bring the Most Extreme Dark Knight to TV
Absolute Batmanis the biggest thing in comics right now… literally. It’s not just that the series is set in an alternate universe where evil is the moral center. It’s that the series imagines Bruce Wayne as a 400-pound hulk, who grew up in Gotham’s slums after the murder of his father, a modest school teacher instead of a doctor with generational wealth. The increasingly gonzo reinterpretations that creators Scott Snyder and Nick Dragotta present each month has made Absolute Batman a sensation, with every issue soaring straight to the sales chart and burning up the internet with memes and discussion.
Something that big cannot be held to just one medium. And so, DC Studios and Warner Bros. Animation‘s latest announcement included not just a show about the super-dog Krypto and an anime show titled Joker: Laugh Riot, but also an animated Absolute Batman series. The decision makes perfect sense, but DC Animation’s track record with adaptations makes us wary of potential for success.
Launched in 2024, the Absolute Universe is a dark mirror of the DC Universe, in which villains have unprecedented power and the heroes we know all lack some key element. In this world, Wonder Woman is a witch who was raised in Hell by Circe, isolated from Paradise Island and the Amazons. Superman grew up on Krypton as the son of laborers, and came to Earth as an angry, alienated young adult who only had a few short years to learn about human kindness from the Kents. Absolute Martian Manhunter and Absolute Green Lantern radically reinvent their core concepts to tell mind-bending stories about the nature of fear and evil, while Absolute Flash, Absolute Catwoman, and Absolute Green Arrow use more traditional story forms to address corruption in economics and government.
All the Absolute comics have been excellent thus far, and all have captured the public’s imagination, none more so than Absolute Batman. Part of the popularity stems from the line’s central appeal. By reimagining the Joker and Ra’s al Ghul as untouchable billionaires who trample people in pursuit of economic power, the series speaks to our current political moment, turning our feelings of powerlessness and anger into power fantasies with immediacy—just check out last year’s Absolute Batman Annual #1, in which the Dark Knight laid waste to a group of white supremacists.
Absolute Batman also stands out because of Snyder and Dragotta’s fearless approach to the material. It’s not just beefy Batman who gets bigger; Joker is a dapper, sullen man who can transform into a cackling dragon, Poison Ivy is a plant creature who envelops the city, Bane grows to the size of a building and literally beats Harvey Dent and Oswald Cobblepot into becoming Two-Face and the Penguin. It feels like Snyder and Dragotta challenge themselves to push the concept to increasingly absurd lengths with every issue.
That very audacity gives us reason to doubt the animated adaptation. DC has been making animated adaptations of landmark comic stories and, with few exceptions (2010’s Batman: Under the Red Hood, for example), the cartoons have fallen far short of the source material. All-Star Superman hits the story beats, but lacks the wonder of the Grant Morrison and Frank Quitely series, 2011’s Batman: Year One shined off the grit and immediacy of the Frank Miller and David Mazzucchelli original, and Batman: The Killing Joke inserted an unsavory romance between Bruce Wayne and Barbara Gordon into Alan Moore and Brian Bolland’s already unpleasant story.
Whether making changes that don’t serve the story or rendering the artwork bland and smooth, these adaptations play as bland, unnecessary remakes. And if DC Animation diminished even straightforward superhero stories, how much more damage will they do to a series defined by its over-the-top visuals and plotting?
If there’s one bit of hope for Absolute Batman, it’s that Snyder and Dragotta are both on board as producers, and Snyder will serve showrunner. But how much time can they devote to the show when they’re busy making some of the best and most popular superhero comics of all time? That’s a big ask, even for people who made the biggest Batman.
Absolute Batman is now on comic book shelves.
From Possession to Obsession: The Horror Movies People Just Couldn’t Stop Thinking About
If you’re heavily into horror movies, you’ll give most of them a chance, no matter how low-budget they are or how poorly they went down with critics. Occasionally, you’ll also hear online or from friends that there’s one you’ve just gotta check out because it’ll mess you up a bit. It’s natural to be wary, as many of those kinds of horror movies embrace the more psychological side of the genre and the last thing you want is a sleepless night. Still, those films can be spectacular and irresistible—they make you think!
In the spirit of celebrating those very movies, we’ve put together a list of the ones people just couldn’t stop thinking about after watching them. These films have clawed their way into audiences’ brains, either by presenting scenarios so grisly and realistic that people weren’t quite convinced they were fictional, or by playing deft psychological games that left viewers reeling.
Major spoilers ahead as we take a look back at the horror movies that had our psyches in a chokehold.
Possession
A movie that didn’t do any business when it was first released, Possession has gained appreciation as a truly great cult horror film every year since. The plot of Andrzej Żuławski’s film is, uh, let’s just say tricky. So tricky that 40+ years later, no one’s even agreed on exactly what sub-genre the film is. Supernatural? Psychological? Political? Lovecraftian? You can make a case for all of them.
Luckily, we don’t really need to go into the movie’s actual plot here, because that’s one of the reasons it’s held its ground in discussions of the best horror films of all time. A group of people can sit down for a screening of Possession and come away with completely different interpretations of it. There’s no straightforward explanation for what happens. Yet, thanks in part to a killer performance by Isabelle Adjani, no one forgets this surreal masterpiece in a hurry.
Perfect Blue
When JPop idol Mima Kirigoe decides to leave the music world behind and become an actress, things go from bad to worse as she tries to establish herself. An obsessive fan begins stalking her, and she sees small, day-to-day moments from her life written up on a website called “Mima’s Room.” What’s weirder is that they’re written from Mima’s perspective, and she soon starts to question whether she’s somehow subconsciously involved. She’s also landed a role in a TV detective drama where she’s required to film sexual scenes that make her uncomfortable, and people in her circle keep getting murdered. A paranoid Mima struggles with psychosis, unsure of where the line is between fact and fiction.
Satoshi Kon’s psychological horror eventually became one of the most respected anime movies of all time, heavily influencing the visually dynamic output of directors like Darren Aronofsky, and the film itself has certainly lost none of its boundary-blurring effectiveness since its release in the late 1990s.
Cannibal Holocaust
1980’s Cannibal Holocaust absolutely broke new ground in the genre, and not always in the best ways. Often considered the first-ever found-footage movie, the Italian exploitation flick tracks the efforts of an anthropologist leading a team into the Amazon rainforest to find a crew of missing documentary filmmakers. What follows is a stomach-churning series of events featuring largely unpracticed actors in scenarios with indigenous peoples. As a result, the film’s mix of graphic bloodshed, sexual assault, and actual cruelty toward animals had many people convinced it was snuff for a while.
Even today, critics can’t decide if Cannibal Holocaust displays genuine merit with its social and ethical commentaries or if it’s just really bloody unpleasant. Either way, this one will stick with ya and no mistake.
Hereditary and Midsommar
Ari Aster’s cinematic double-punch of Hereditary and Midsommar ensured they became instant classics for a new generation of genre fans. Although the plots of these two are fairly straightforward compared to some others on this list, both contain unnerving and shocking moments that burrow deep into the brain and refuse to leave, including an elderly couple flinging themselves off a cliff and a teenage boy sitting in shock after his sister becomes decapitated in the backseat of the family car.
As both films feature Aster’s disturbing visual touches and linger in the memory, we’ve paired them here. People may always wonder what happens beyond Paimon’s arrival or Dani’s choice at the culmination of the midsummer ceremony, but neither film offers any answers, leaving you to forever mull whether Christian deserved his fate or whether the cult that gathered at Charlie’s treehouse found the riches they pursued.
The Babadook
The Babadook became an unwitting precursor to a string of “the monster is grief/trauma” horror movies, which is a shame because it does terrify a lot of people and doesn’t deserve retrospective eye rolls from those who have grown tired of that particular theme.
Boasting an effective storybook monster and a disturbing family dynamic that really gets under your skin, The Babadook is probably the best to ever do “the monster is grief” while maintaining a proper sense of the genre, following a widowed single mother struggling to recover from a car accident that suddenly took her husband out of the picture just as their son was about to be born. For anyone going through their own grief, this one leaves a lasting impression.
Psycho
Defying audience expectations and introducing a new level of psychological horror to mainstream movies, Alfred Hitchcock and Joseph Stefano adapted Robert Bloch’s 1959 novel of the same name with Psycho, a groundbreaking film about a boy who loves his late domineering mother so much that he starts dressing up as her and slaying the women staying at his secluded motel who make “Mother” angry.
Bernard Herrmann’s incredible score and the film’s iconic shower scene (where audiences thought they saw much more than they actually did) both contributed to Psycho’s endurance in the minds of those who kept on revisiting it, as more of them began to not just fear the supernatural or alien monsters of cinema, but also the ones who could realistically live next door. Off the back of Psycho, serial killers became big business.
Get Out
Using the genre’s framework to explore themes of racism and power in contemporary society, Jordan Peele’s breakout hit once again proved that some of the funniest people alive can thrive in horror.
When Chris (Daniel Kaluuya), a Black photographer, visits the family of his white girlfriend and discovers a horrifying conspiracy hidden beneath their seemingly progressive attitudes, a sharp cultural critique emerges that encourages viewers to mull the movie’s complex themes long after the film’s final gag. A surprise hit, Get Out also inspired worthy conversations about race and privilege in a way that few horror films have managed before or since.
Lake Mungo
Lake Mungo starts off as one story about a family’s grief, then derails into an entirely different one before coming full circle, and that narrative disorientation serves the movie spectacularly.
After 16-year-old Alice (Talia Zucker) drowns in a dam in Ararat, Australia, her brother deals with his grief by fooling people into believing that her ghost is haunting their house. Mathew’s grainy footage is spooky and compelling, but you’re not really sure where the film is going once it’s been debunked. As more of Alice’s secret life is exposed, we realize that she knew she was going to die after an encounter with her own bloated corpse on a school trip to Lake Mungo. We cannot warn you enough about the psychic damage you’ll take from the cell phone footage of the incident, unless you’ve already seen it. In that case, well, you already know. You will never be able to unsee it, and that’s just one reason you’ll still see people discussing Lake Mungo almost 20 years later.
Director Joel Anderson hasn’t helmed another movie since, which adds to the mystique of this compelling mockumentary, but he has recently got back into the industry, working as a script editor on Netflix’s Clickbait and Shudder’s Late Night with the Devil, which is a creepy movie, but not up there with Lake Mungo.
Men
Here’s a random peek behind the curtain at Den of Geek that supports adding Men to this list: our Ending Explained article is still going strong years after its release. Why? Because Alex Garland’s follow-up to Annihilation was somehow even weirder and more confounding than that movie, and it’s worth remembering that Annihilation had a kind of mutant bear creature that could do a human voice. Nevertheless, Men is certainly more challenging than Annihilation, which is probably why reviews were decidedly mixed. It’s also rather unforgettable.
We follow Harper Marlowe (Jessie Buckley) as she pops off on a lovely holiday to a Herefordshire village to try and decompress from a tragic incident where her husband suddenly hit her, then plummeted to his death from a balcony at their block of flats. Does she get a much-needed break from the psychological impact of this incident? No. No, she does not. Instead, she’s hounded by a string of unsettling men, all played by Rory Kinnear, who eventually give birth to her dead husband. “What?” you may ask. Exactly, yes.
Mulholland Drive
One of the scariest entries on this list is not technically considered a horror movie. Instead, Mulholland Drive is a hugely unnerving story that refuses to be straightforward or linear. Many have tried to interpret David Lynch’s film over the years, but the director always refused to fully elaborate on it (RIP to a real one), so sometimes you’ll see a few theories about what exactly happens in Mulholland Drive doing the rounds, yet never anything definitive.
One of many options is to look at Mulholland Drive like this: a failed actress called Diane Selwyn (Naomi Watts) goes to sleep one night in the knowledge that she’s paid for her estranged lover, Camilla Rhodes, to be killed by a hitman. She dreams that she and Camilla are back together, solving a mystery, and that those who have wronged her are getting their comeuppance, but when Diane wakes up she realises that the real Camilla is dead and that she’s responsible. Unable to live with her crime, she takes her own life.
That is just one way to look at it. Still, Mulholland Drive is ultimately open to interpretation, and fans of the film have kept coming back to it over and over again because it’s a puzzle box of identity-questioning and weirdness that can never really be solved, even with a shiny blue key.
The Blair Witch Project
The Blair Witch Project wasn’t the first found-footage horror movie ever made, but it was the first to achieve such massive success, grabbing almost $250 million at the box office from a budget of less than $1 million.
For a while, many people were convinced that the movie was actually a true story, and that what they were witnessing were real events from the Appalachian Mountains where three students had apparently gone missing. Thanks to a convincing promotional mockumentary and a fascinating website about the “missing” actors, The Blair Witch Project picked up hype before its release and went viral before anyone really knew what that meant, haunting those who watched it for years to come.
Martyrs
Martyrs is one of the most discussed (but divisive) horror movies of this century. Kicking off as a brutal revenge tale, it becomes so much more than that as it goes along, transforming into a distressing exploration of whether suffering can unearth hidden truths about the nature of existence and forcing us to think about how much we’re willing to sacrifice to be truly certain about what happens after we die (Flatliners ain’t got nothin’ on this bad boy!). Shocking, existential, and absolutely traumatizing, this movie has messed with a lot of heads since it emerged. And as more people discover it, more heads will be messed with.
Funny Games
Some people might have been fooled by the title of this movie when they sat down to watch it, but there’s not much to laugh at when two young guys arrive at a vacation home to hold a family hostage and torture them with games like “how good y’all movin’ with a broken leg?” and “guess how alive your dog is right now?”
While those games are upsetting enough, the pair’s knowing winks, glances, and questions to the camera break the fourth wall, making viewers partly complicit in watching the horrors play out. Director Michael Haneke doesn’t consider Funny Games a horror film; rather, it’s supposed to be a pointed message about violence in media. Still, people usually do feel like they’ve watched one, and for a long time after.
The Exorcist
There have been about a trillion possession movies since The Exorcist, but back in the early 1970s, depicting the demonic possession of a child was shocking. Controversy raged on for years after its debut, with the movie’s content said to have caused nausea, fainting, and even spiritual crises in those who had lapsed in their faith.
But all publicity is good publicity, as they say, and wild reactions to The Exorcist continued. In fact, video copies of the movie were withdrawn from circulation in the U.K. as late as 1988. It wasn’t until 1999 that it was once again granted a home video release, such was the furore over its “lenient” rating and its controversial story of an exorcism performed on a young girl by two priests. Don’t even get us started on whether the film itself is cursed!
Faces of Death
This mondo horror from 1978 pretends to be a documentary, but although some of the footage in Faces of Death shows actual humans dying from a distance, much of the movie is fake, with other queasy real-life footage purchased from the likes of random news stations and medical researchers and reappropriated in a mockumentary context. Despite many having this knowledge, the film sparked a moral debate over exploitative movies and their worthiness.
If you were a kid at the time, you often heard whispers in the playground about Faces of Death. Apparently, it showed real, grisly crimes, and it had scarred the kid who watched it for life. If you happened to hear those whispers in the U.K., you may have also been aware that it was a banned “video nasty,” which may have conjured gory imaginings far beyond the movie’s actual content.
These days, many countries have removed their bans on Faces of Death, but some still called for substantial cuts. However, the fact that there’s been a Hollywood reboot of the film tells you all you need to know about how shocking it is compared to what people regularly see online these days.
Pulse
Depending on who you talk to, Kiyoshi Kurosawa’s Pulse, a.k.a. Kairo, is either one of the scariest movies ever made or wildly underwhelming, and we would argue that both reactions are understandable. Pulse is just so…intentionally empty. Yet, we’d also suggest that Pulse was pretty damn prophetic, given it came out back in 2001.
Exploring loneliness and disconnection in the digital age, and the fear that technology may be opening a door to something beyond human understanding, the characters in Pulse slowly become detached from the living world as society collapses into isolation. As such, it’s lingered somewhere in the back of our minds ever since, as real-world technology becomes more invasive and AI is thrust upon us.
Jacob’s Ladder
Massively influential on a whole bunch of horror movies and games that came after it (the Silent Hill universe wouldn’t truly look or feel as cool without this one paving the way), Jacob’s Ladder follows a Vietnam vet now living in New York called Jacob Singer (Tim Robbins), who struggles to cope in a fragmented reality. After a string of disturbing visions, it’s revealed that much of the film has taken place in his mind and that he actually died in Vietnam. Surreal and essential, Jacob’s Ladder is often namechecked as a triumphant, modern spin on Carnival of Souls that invites multiple interpretations.
Obsession
This year’s movie that people just can’t stop thinking about is a real peach. Inspired by the “be careful what you wish for” theme of The Simpsons’ “Treehouse of Horror II,” we follow “nice guy” Bear (Michael Johnston) as he makes a wish on a novelty toy for his crush Nikki (Inde Navarrette) to love him more than anyone else in the world. The wish comes true, but in such a horrifying way that you’d assume Bear would just wish he had never made it. Bear being Bear, though (insecure, selfish, irredeemable), he just kinda wants to make alterations, even knowing that Nikki’s newfound devotion is entirely beyond her control. Her bodily autonomy ripped away, Nikki no longer has free will and Bear doesn’t have consent, forcing Nikki to act strangely even when it’s harmful toward others or herself.
Curry Barker’s second feature film seemed to get the whole internet talking as social media filled up with people either misunderstanding the film’s themes or arguing over the nuances of the characters and story. With some key moments in the movie remaining open to interpretation, Obsession became an instant conversation starter in an age when social dynamics and relationships appear more complex, even when they very much aren’t.
Thought of a different movie you couldn’t stop thinking about? Let us know in the comments!
Exploring Supergirl’s History as an Unlikely Queer Icon
Supergirl star Milly Alcock has not been one to shy away from embracing a queer interpretation of the upcoming film’s eponymous Kryptonian. Alcock recently said the character would “swing both ways” at a fan event ahead of Supergirl’s release, and before that she said Supergirl “doesn’t live in the binary” of typical gender expectations.
Supergirl has never been depicted as being anything other than a heterosexual cisgender woman in the comics and was similarly straight in her CW show. However, Alcock’s comments are a microcosm of fan’s views on Supergirl as a character. Despite not being a confirmed LGBTQ+ figure in any mainstream or canonical release, Supergirl has maintained a status as someone queer fans flock to.
None of this enthusiasm or new storytelling has translated to mainstream LGBTQ+ storylines for Supergirl, but her comics often take a more coming-of-age route with their narratives than her DC contemporaries. Supergirl: Being Super, Joëlle Jones and Mariko Tamaki’s acclaimed four-issue graphic novel, focuses on Kara Danvers’ story on Earth, a narrowing in on her teenage angst and status as an outsider in her high school (while also providing Kara with a lesbian best friend, Dolly Granger). Tom King’s Supergirl: Woman of Tomorrow, the Eisner Award-nominated eight-issue miniseries and basis for the upcoming Supergirl film, follows a Supergirl who is still coming to terms with her identity as a superhero and her place in the galaxy.
A focus on themes of coming of age and being an outsider, all while centering a person who is still figuring out their own identity, invariably aligns with the lived experiences many LGBTQ+ fans have gone through in their own lives. Going through very awkward teenage years, coming to terms with who you are as a person, and the isolation that comes with growing up different are all hallmarks of both Supergirl comics and being queer.
Supergirl goes through this relatable, deeply human drama, all while engaging in cosmic battles and helping those in need. For LGBTQ+ readers, Supergirl points to a bright future where they can beat the obstacles they face while going through incredibly isolating and turbulent times.
Characters such as Superman and Batman do indeed get to show a recognizably human side in their stories. The Death of Superman crossover comic event revealed that Superman could die just like any regular citizen in the streets of Metropolis. In Frank Miller’s The Dark Knight Returns, readers are exposed to a much darker story that takes on the corrupting influence of power while also showing an older, grittier Batman.
These are just two famous examples of stories in which superheroes step off the pedestal of unstoppable forces of good and become relatable, even if just slightly. There’s a long-running archive of these stories with many other big name characters — but none stand out quite as much as the stories about Supergirl.
Rarely do comic readers get a real coming of age story for any other character like they do for Supergirl, and few other DC characters have such a frequent emphasis on thematic elements and storylines with a close relation to queer lives. Even when she’s joining the Red Lanterns or battling galactic warlords, fans are still exposed to the parts of her that are undeniably flawed, unsure of herself, and human.
So yes, Supergirl might just swing both ways, as Alcock put it. But Supergirl also functions as a narrative capsule for stories many queer comic fans can take from the page and into their own lives. Although she’s not a perfect LGBTQ+ icon, Supergirl’s status is undoubtedly endearing with queer readers.