Imposters Director and Cast Unpack the Toxic Relationship at the Heart of the Film

Appearances can often be deceiving. This goes double in a movie like Imposters. On the surface, it’s a horror film about a very literal bodyswap. But it’s also an interrogation of the false identities we often wear in real life, and how desperate we can become to believe the lies we tell ourselves about who we are.

Written and directed by Caleb Phillips, Imposters stars Jessica Rothe (Happy Death Day) and Charlie Barnett (Russian Doll) as a married couple forced to contend with any parent’s worst nightmare when their baby mysteriously disappears during his birthday party. And although the child is found relatively quickly — with a little unexpected help from a local town weirdo — tensions between the couple rise as Paul starts to suspect the son Marie brought back may not be the same as the one they lost. 

What follows is a genre-bending film that wrestles with ideas of parenthood and commitment, all while serving up a series of genuinely surprising twists. Though the premise of Imposters revolves around the truth of what happened to Marie and Paul’s son, the heart of its story is the marriage at its center, which appears to have been struggling well before his disappearance.

“I think there’s something horrifying in seeing people faced with the same choice repeatedly,” Phillips says. “As an audience member, the first thing I notice is patterns and cycles, and seeing these people make the same choice when presented with the same path is pretty upsetting to me. I don’t think I have a toxic love story in my life, because this [film] comes mostly from my parents, and trying to figure out why they stay together. That’s what I was processing while I was writing it — trying to make something cool and genre, but also [determining] what it’s about [at its core]? And at that moment, it was about my parents.”

In the film, Marie, like many other women, seems to have subsumed much of her identity into her roles as a wife and mother, whether or not the relationship she’s fighting for is actually good for anyone involved in it. 

“For myself and for Marie, I think that she really is who she is, and who she believes herself to be, is completely wrapped up in her husband and her kid,” Rothe says. “So the moment that either of those things go away, she’s completely lost her sense of self, and I think that that’s something that’s so incredibly relatable. Even though the things that she does and the ways that she goes about getting what she wants sometimes are maybe not the most sane, or [what] we all think that we would do, it comes from such a deep place of need and and desperation.”

According to Phillips, it’s much the same for Marie’s husband Paul, who’s struggling to determine the sort of man (and husband and father) he’s supposed to be.

“When your identity gets challenged – an entity you might not even know that you’ve held for so long — it can get really ugly,” Phillips says. “Sometimes I’m surprised at what I realize I identify as, like filmmaker, brother, son, and when that gets threatened, or I feel like I’m not living up to the identity in my head, I can feel these dark emotions come up.”

In Imposters, Paul is attempting to live up to an ideal he was already struggling to meet before his child went missing. 

“I think there’s a whole sort of martyr complex to that character,” he says. “It’s something I’ve seen in a lot of men, both of a certain generation and at my same age range — there’s this proclivity to suffer. You’re not really sure what they’re suffering for, but the act of suffering somehow makes them noble. But what if it’s not what’s good for you or for other people? It’s fascinating.”

For Rothe, part of the horror genre’s appeal is that it offers a space to get into the ugly, less socially acceptable sides of her character’s psyche.

“I just love the opportunity to get into the muck with a character, whether that’s physically or emotionally,” Rothe says. “Those kinds of really deep, dark, visceral feelings that it’s not acceptable, necessarily, to portray or wear on your sleeve as humans walking around in the world. It’s such as a gift as an actor. Acting is truly my therapy. What I’m trying to say is like, give me all the situations where I can scream and cry and be covered in blood and just go balls to the wall. And I think that that’s something that horror really provides, and especially the kind of scripts that Caleb writes, or the Happy Death Day films, they’re just characters who, because of the situations they’re in, [have] a spectrum of emotion that’s much wider and more visceral.”

Imposters premiered March 15 at the 2026 SXSW Film & TV Festival.

20 ’70s Horror Movies That Still Feel Uncomfortable Today

The 1970s produced some of the most unsettling horror films ever made, and many of them still feel uncomfortable many decades later. Unlike modern horror, which reframes and reuses trends from the past, these movies often relied on realism, bleak themes, and raw presentation.

These low budgets, practical effects, and controversial subjects created a sense that audiences were watching something they maybe weren’t supposed to see. The decade also reflected real-world anxieties, from violence to social collapse, which made the horror feel disturbingly grounded. These movies aren’t classics of horror just due to their legacy, but for how they were initially constructed.

The Exorcist

The film’s intense depiction of possession, combined with grounded performances, makes it feel disturbingly real. Its use of shocking imagery and themes of faith and helplessness continues to unsettle audiences decades later, reinforced by its reputation as one of the scariest films ever made.

The Texas Chain Saw Massacre

Its documentary-like style and grimy visuals create a sense of realism that still feels uncomfortable. The film’s raw violence and use of unsettling imagery contribute to a lingering feeling that what you’re watching is dangerously close to reality.

Last House on the Left

The film’s brutal realism and lack of stylization make its violence particularly hard to watch. Its grounded approach removes any sense of escapism, leaving audiences with a deeply uncomfortable and emotionally draining experience.

The Hills Have Eyes

This film’s depiction of survival against a savage, isolated family feels disturbingly plausible. Its harsh tone and unflinching violence create a sense of dread that lingers long after the film ends.

Don’t Look Now

Blending grief with supernatural horror, the film creates unease through atmosphere rather than overt scares. Its editing and imagery build a constant sense of dread, culminating in a deeply unsettling conclusion.

The Wicker Man

The slow buildup of tension and the normalization of disturbing rituals create a uniquely uncomfortable experience. Its cheerful tone contrasts sharply with its dark themes, making the final act especially unsettling.

Carrie

Carrie’s mix of bullying, isolation, and sudden violence creates an emotional discomfort that goes beyond horror. The film’s climax is shocking not just for its brutality, but for how inevitable it feels.

Suspiria

The film’s surreal visuals and intense use of color create a dreamlike but deeply unsettling atmosphere. Its stylized violence and eerie soundtrack make it feel disorienting in a way that still holds up.

Black Christmas

Its use of unseen threats and disturbing phone calls creates a constant sense of vulnerability. The film’s refusal to fully explain its killer adds to its lasting unease.

The Omen

The idea of evil hiding within a child creates a deeply unsettling premise. Combined with its serious tone and eerie events, the film maintains a constant sense of dread throughout.

Halloween

The film’s quiet, stalking presence creates tension that feels uncomfortably real. Its minimalistic approach makes the violence feel sudden and personal rather than exaggerated.

Dawn of the Dead

Beyond its zombie horror, the film’s bleak view of consumerism adds an unsettling layer. The sense of societal collapse feels grounded, making the horror feel disturbingly plausible.

Donald Sutherland in Invasion of the Body Snatchers

Invasion of the Body Snatchers

The film’s paranoia-driven narrative creates constant unease. Its suggestion that anyone could be replaced at any moment makes it feel deeply unsettling even today.

Phantasm

Its dreamlike logic and unexplained elements create a sense of disorientation. The film’s refusal to follow conventional storytelling makes it feel unpredictable and unsettling.

The Amityville Horror

Based on a supposed true story, the film taps into fears of domestic spaces becoming unsafe. Its gradual escalation builds discomfort through familiarity turned threatening.

The Brood

The film’s body horror elements are tied to psychological trauma, making its disturbing imagery feel deeply personal. Its themes of anger and manifestation add to its lasting discomfort.

Tourist Trap

The use of mannequins and uncanny visuals creates a constant sense of unease. Its eerie tone and unpredictable moments make it particularly unsettling.

Let’s Scare Jessica to Death

The film’s ambiguous reality and psychological tension make it quietly disturbing. Its slow pace and eerie atmosphere create a lingering sense of dread.

Martin

The film blurs the line between reality and delusion, making its protagonist difficult to understand. Its grounded approach to vampirism creates a uniquely uncomfortable tone.

Messiah of Evil

Its eerie atmosphere and strange, dreamlike sequences create a constant sense of unease. The film’s lack of clear answers makes it feel disorienting and unsettling.

20 One-Hit Wonder Songs from the ’80s Everyone Still Knows

The 1980s were a perfect storm for one-hit wonders. With the rise of MTV, radio-friendly pop, and synth-driven production, artists could explode onto the charts with a single unforgettable track. Even if they never matched that success again, the songs themselves stuck around.

In fact, the era produced hundreds of acts remembered primarily for one standout hit, many of which still get regular airplay decades later. These tracks became cultural touchstones, tied to movies, commercials, and nostalgia playlists. Here are some of the most recognizable one-hit wonder songs from the ’80s that people still hum constantly today.

Come On Eileen, Dexys Midnight Runners

A global hit in 1982, this track became the defining song for Dexys Midnight Runners. Despite other releases, nothing matched its success, and it remains a staple of ’80s playlists and one of the decade’s most recognizable sing-alongs.

Take On Me, A-ha

Driven by its groundbreaking music video, this synth-pop hit became iconic worldwide. Although A-ha had more success internationally, in many markets they’re primarily remembered for this single defining track.

Tainted Love, Soft Cell

This cover became a massive chart success and is widely regarded as Soft Cell’s signature song. Its minimalist sound and haunting tone helped it endure long after the band’s brief mainstream presence faded.

The Safety Dance, Men Without Hats

Known for its quirky lyrics and medieval-themed video, this synth-pop track became a major hit. The band never reached similar heights again, leaving this as their defining legacy.

I Ran (So Far Away), A Flock of Seagulls

With its distinctive guitar riff and futuristic aesthetic, the song became synonymous with early ’80s new wave. It remains far more famous than anything else the band released.

Maniac, Michael Sembello

Featured in Flashdance, “Maniac” became a massive hit tied to one of the decade’s most famous film scenes. Sembello never achieved the same level of recognition again.

Electric Avenue, Eddy Grant

Blending reggae and synth-pop, this track became a global hit in 1982. It remains Grant’s most widely recognized song and a frequent inclusion in ’80s retrospectives.

(I Just) Died in Your Arms, Cutting Crew

This dramatic power ballad topped charts and became the band’s signature hit. Despite continued releases, Cutting Crew never matched the song’s massive success.

She Blinded Me with Science, Thomas Dolby

This quirky synth-pop hit stood out for its eccentric lyrics and sound. While Dolby continued working in music and production, this remains his most recognizable song.

Turning Japanese, The Vapors

A defining new wave track, “Turning Japanese” became a hit in 1980 and remains the band’s only widely remembered song, despite their short-lived mainstream presence.

Break My Stride, Matthew Wilder

Its upbeat energy and memorable chorus helped it become a lasting pop hit. Wilder transitioned to behind-the-scenes work afterward, leaving this as his primary claim to fame.

Somebody’s Watching Me, Rockwell

Featuring a chorus by Michael Jackson, the song became a major hit. Rockwell never replicated its success, and the track remains a Halloween-season staple.

Two of Hearts, Stacey Q

A dance-pop classic, this track dominated clubs and radio. Stacey Q released more music, but none reached the same cultural impact.

Obsession, Animotion

Its infectious hook made it a standout hit of the mid-’80s. Animotion never achieved similar mainstream success afterward, cementing the song’s legacy.

Don’t Worry, Be Happy, Bobby McFerrin

Built entirely around vocal sounds, this song became a massive chart success. Despite McFerrin’s respected career, this remains his most widely recognized hit. And no, it’s not a Bob Marley song.

I Melt with You, Modern English

Though not initially a huge chart hit, it became iconic through films and commercials. Over time, it far outshined the band’s other work in cultural memory.

Let the Music Play, Shannon

A pioneering freestyle track, it helped define early dance-pop. Shannon never matched its success, but the song remains influential in club music history.

Our House, Madness

While Madness had broader success in the UK, this song became their defining hit internationally, especially in the U.S., where they are often remembered primarily for it.

Pass the Dutchie, Musical Youth

A global hit driven by its catchy rhythm and youthful energy, the song became instantly recognizable. Musical Youth never achieved comparable chart success afterward.

Walking on Sunshine, Katrina and the Waves

An enduring feel-good anthem, the song remains widely used in media and advertising. Despite later success in Europe, it stands as their defining hit for many listeners.

The 15 Most Annoying Sitcom Characters of the Last 20 Years

A sitcom has plenty of exaggerated characters, meant to mirror certain aspects of life, but taken to the extreme. That is, understandably, a way to generate conflict through inter-personal issues, but some characters take their ‘flaws’ a bit too far. We don’t want perfect characters, but their presence shouldn’t drag the scene.

This makes them less fun, entering the dangerous area of annoyance. When a character crosses that border, we don’t laugh, but groan at their presence. This can happen to main characters as well as passing ones, but they are all equally memorable for the wrong reasons.

The Big Bang Theory, Sheldon Cooper

Sheldon’s rigid personality, lack of empathy, and constant need to be right make him exhausting for those around him. His behavior is often played for laughs, but his selfishness and social blindness regularly push beyond charming into frustrating territory.

How I Met Your Mother, Ted Mosby

Ted’s romantic idealism often turns into self-centered decision-making. His repeated mistakes and tendency to ignore others’ feelings make him difficult to root for, especially as the series progresses and his behavior becomes increasingly repetitive.

Brooklyn Nine-Nine, Gina Linetti

Gina’s self-absorbed attitude and refusal to take anything seriously make her divisive. While intentionally chaotic, her dismissive behavior toward coworkers and lack of accountability often make her feel more irritating than funny.

Modern Family, Manny Delgado

Manny’s overly mature persona evolves into pretension and self-importance as he grows older. His dramatic tendencies and constant romantic brooding become repetitive, making him increasingly difficult to enjoy in later seasons.

Parks and Recreation, Tom Haverford

Tom’s obsession with trends, status, and personal gain often overrides basic responsibility. His selfish decisions frequently create problems for others, making his charm wear thin despite his comedic energy.

Two and a Half Men, Alan Harper

Alan’s freeloading and constant self-pity define his character. His unwillingness to take responsibility for his situation makes his behavior feel less sympathetic and more aggravating over time.

New Girl, Jess Day

Jess’s quirky optimism is central to the show, but her naivety and emotional overreactions can feel excessive. Her tendency to insert herself into situations sometimes creates more problems than solutions.

Silicon Valley, Jian-Yang

Jian-Yang’s disregard for social norms and tendency to antagonize others make him consistently unpleasant. His actions often escalate conflicts rather than resolve them, reinforcing his reputation as one of the show’s most aggravating presences.

The Middle, Sue Heck

Sue’s relentless optimism and lack of self-awareness are core to her character. While endearing to some, her constant enthusiasm and obliviousness can become overwhelming across multiple seasons.

2 Broke Girls, Max Black

Max’s constant sarcasm and reliance on crude humor can feel one-note. While it defines her personality, the repetition of the same style of jokes makes her character wear thin for some viewers.

The Goldbergs, Beverly Goldberg

Beverly’s overbearing parenting and refusal to respect boundaries drive much of the show’s conflict. Her constant interference, though comedic, often crosses into exhausting territory.

Superstore, Mateo Liwanag

Mateo’s competitiveness and tendency to belittle others often overshadow his more sympathetic traits. His need to appear superior creates frequent tension with coworkers.

Unbreakable Kimmy Schmidt, Titus Andromedon

Titus’s self-centered tendencies and dramatic personality drive many jokes, but his unwillingness to grow or take responsibility can make his behavior frustrating over time.

Black-ish, Dre Johnson

Dre’s stubbornness and tendency to overreact often create avoidable conflicts. His refusal to compromise or listen makes his character feel repetitive in certain storylines.

The Ranch, Colt Bennett

Colt’s immaturity and poor decision-making define much of his arc. His repeated mistakes and lack of accountability can make him more frustrating than relatable.

15 ’80s Movie Stars Living Their Life On Set

While we often like to be fooled by the magic of cinema, you might be shocked to discover that actors are people too. They need to eat, rest and have a day off like the rest of us. This has been true since the 80’s, but with movies so iconic it is hard to keep it in mind.

These are just some of the moments where actors, staff, and everyone involved in the movie-making business took a moment to breathe, take a silly picture, and remember their lives outside the set. It not only makes them relatable, these pictures give us nostalgia even when we never saw them before.

Nightmare on Elm Street Cast

It’s not often that you’d see a killer and his victims chilling togther, but that’s the power of cinema for you. Sadly, Robert Englund, the actor that plays Freddy Krueger, had to keep the makeup at all times.

Halloween Without A Mask

When wearing a mask for too long, you might forget where your mouth is. Here, we have the actor playing the silent assassin, Michael Myers, breathing freely without the mask.

Jason Catching Up With The News

The iconic slasher villain, Jason Voorhees, needs something to do when he isn’t chasing teenagers at summer camps. We think this picture is mostly staged, since reading anything has to be complicated with that mask on.

Gambling Gremlins

You might be fooled into thinking that this is a still from the Gremlins movie, but not quite. Well, it is an image from its production, but here we see one of the creature’s puppeteers adjusting its position.

The Beauty And The Fly

The Fly is quite the grotesque film, filled to the brim with body horror and themes of becoming something else. It’s good to know that the cast had time for levity in between harrowing shots.

Texas Chainsaw Gang

Playing the role of a chainsaw-wielding madman, with a hard-to-breath-in mask to boot, has to take a toll on anyone, particularly on the hot climate of Texas. Fortunately, the cast had the time to sit down and enjoy regular breaks.

The Thing’s Artist

What makes The Thing still be relevant after all these years are its practical effects, created by the master of the craft, Rob Bottin. One can image that, once you get used to the horrific imagery, the props end up being used as toys by the cast.

Han Solo’s Day Out

Harrison Ford was known to be critical of the script in the Star Wars movies, something that likely led to tensions on set. Of course, that can’t have always be the case, since we have plenty of pictures of the cast having fun while filming.

The Cast Of Better Off Dead

The classic dark comedy of the 80’s, Better Off Dead, has characters fight, compete and try to end it all in a constant teenage struggle. As expected, the cast were all friendly with each other, something shown here with them howllering.

Getting That Beetle Juice

Michael Keaton did a stellar job when portraying Beetlejuice, the high-energy entity that haunts the characters of the film. All that energy had to be subdued during the make-up process, since the creature wouldn’t be the same if it looked human.

Bare-chested Bruce Campbell

In the Evil Dead movies, Ash has to face all sorts of horrific nightmares, and takes a lot of damage in the process. Of course, no harm was done to the actor, who we see here having some fun with the make-up department.

Cast Of Tron

The real curiosity of how Tron was filmed, at least for today’s viewers, is that more things were practical than what you might expect. The suits, many props and some background details were actually there, as we see in this picture, albeit with less neon lights.

Marty McBite

Filming Back to the Future was arduous work, and like any healthy person, the cast needs to eat to recover their stregth. Here, we see Michael J. Fox having some well earned rest before returning to the scene.

Cast Of RoboCop

The villains of RoboCop are meant to be ruthless, greedy and evil, so we cheer for the hero when they get what’s coming to them. Of course, they are actually all charming people in real life, as shown in this group photo.

The Set Of Honey, I Shrunk the Kids

Joe Johnston was the mind behind many effects in 80’s movies, from large sets to tiny constructons. Here, we see him in a break, but never too far from his work.

15 Lost Websites from the 2000s People Still Think About Today

The early years of the internet were a time of discovery, where we still thought and wondered what could be done with such a tool. Today, we know that it’s all algorithms and AI bots talking to each other, but in a simpler time, we dared to dream.

By dreaming I mean looking at cat memes, stick figures fighting, or staying up all night doing that time’s equivalent to doom scrolling. Because the internet is and was a silly place, but it’s time to wear those pink tinted glasses, and think about websites that made us happy as kids.

eBaum’s World

eBaum’s World was a defining hub for viral videos and internet humor in the 2000s, curating content before social media dominated discovery. It still exists today, bringing memes curated by people instead of algorithms.

StumbleUpon

StumbleUpon turned browsing into a game, sending users to random sites based on their interests. At its peak, it drove massive traffic across the web, but it shut down in 2018, marking the end of a uniquely chaotic discovery tool.

Pointer Pointer

Pointer Pointer was a simple but oddly addictive novelty site that matched your cursor position to a photo of someone pointing at it. It still exists, but like many gimmick sites, it feels like a relic of a more playful internet.

PopCap Games

PopCap Games defined casual browser gaming with titles like Plants vs. Zombies and Bejeweled. While the company still operates under EA, its dominance in quick, accessible web games faded as mobile gaming took over the space.

ThinkGeek

ThinkGeek was once the go-to store for internet culture merchandise, especially for tech and gaming fans. After being absorbed into GameStop, the standalone site shut down in 2019, ending its run as a niche online institution.

Newgrounds

Newgrounds was a cornerstone of Flash animation and indie games, launching countless creators. The site still exists and remains active, but its cultural peak was tied to the Flash era that defined early 2000s internet creativity.

Something Awful

Something Awful helped shape early internet humor and meme culture through its forums and articles. While still online, its influence has diminished as newer platforms absorbed the kind of community-driven content it once pioneered. It is affectionately called by its users as a retiring home for millennials.

Miniclip

Miniclip was one of the most popular browser gaming hubs, known for simple, addictive Flash games. It still exists today, but its focus has shifted heavily toward mobile, leaving behind the classic web experience many remember.

Albino Blacksheep

Albino Blacksheep thrived on bizarre animations and viral Flash content, becoming a staple of early internet humor. While the site still exists, its relevance faded alongside the decline of Flash-based media.

Neopets

Neopets was a massive virtual world where users raised pets, traded items, and played games daily. It once had tens of millions of users and high engagement, but its popularity declined over time due to competition and technical changes.

Homestar Runner

Homestar Runner was a hugely popular animated web series that thrived in the early 2000s. While it never fully disappeared, updates became infrequent, and its cultural presence faded compared to its peak popularity.

Myspace

Myspace once dominated social networking, allowing deep profile customization and music discovery. Its decline came rapidly after Facebook’s rise, turning it into a much smaller platform that no longer resembles its original cultural impact.

Television Without Pity

Television Without Pity became famous for detailed, sarcastic TV recaps and active forums. It shut down in 2014, leaving behind a style of commentary that influenced modern online TV discussion.

Hamster Dance

Hamster Dance is often considered one of the earliest viral internet phenomena, built around a simple looping animation and song. It still exists in archived forms, but its impact belongs firmly to the early web era.

Stickdeath

Stickdeath gained notoriety for its dark humor and violent stick-figure animations. It became a defining example of edgy early internet content, but like many Flash-based sites, it faded as the web moved away from that format.

Michael Can Inspire a Different Type of Theatrical Experience

Even before it hit theaters, we knew Michael would be a divisive film. Not only is it about someone who was controversial by the end of his own life, but it makes a strong choice to avoid even the suggestion of allegations about its subject. Furthermore, like most musical biopics, it sacrifices basic cinematic standards in favor of delivering maximum enjoyment to fans, in the form of recognizable trivia and pop song bangers. One need look no further than the divide between the 38% critics rating and 97% fan rating on Rotten Tomatoes to see proof.

Yet, Michael has found a new way to divide movie fans. Reports have been coming in of fans singing along with the King of Pop’s hits, and even dancing in the aisles. Such loud behavior isn’t usually considered part of the cinematic experience, but with films such as Michael—to say nothing of actual concert films, such as Taylor Swift: The Eras Tour or the James Cameron co-directed Billie Eilish: Hit Me Hard and Soft: The Tour Live in 3D—suggests that maybe it should be.

Outside of an Alamo Drafthouse, proper moviegoing behavior isn’t as cut and dry as we’d like for it to be. Generally, we’re all agreed that attendees should be quiet when a feature is playing, and should avoid distracting fellow audience members. However, almost every screening has at least one person who checks their phone, talks to their seatmate, sits in a seat assigned to someone else, or commits some other violation of the cinematic social contract.

And that doesn’t even address edge cases. Is it acceptable to look at your phone during trailers? What about the soda and truck commercials that continue to play, even 15 minutes after the movie was supposed to begin? Can you turn on your flashlight for a minute to find your seat if you come late? Is it more distracting to climb over people to get to an exit and text your babysitter “Yes” when they ask if your kid can have ice cream, or would it be better to quickly type those three letters from your seat?

As much as we’d like to believe that there are hard and fast rules for these things, cinema has never been a pure sanctuary. It certainly didn’t begin that way, as crowd participation was expected during the first part of the silent era, when filmmakers such as Georges Méliès used movies like a magic trick and Mack Sennett’s Keystone Studios riled up viewers with slapstick chaos and shots of bathing beauties. When Buster Keaton’s projectionist jumped from the audience and onto the screen in 1924’s Sherlock, Jr., he only illustrated a blurred line between spectacle and spectator.

Even when the incredible success of D. W. Griffith’s The Birth of a Nation moved cinematic displays from nickelodeons and roadshows to movie palaces, stringent expectations weren’t in place. Films would play as part of hours-long programs, consisting of not just the “A” feature, but also a “B” feature, serials, cartoons, and newsreels. Audience members would regularly arrive and leave mid-showing, and committing various other disruptions.

That changed with the arrival of Psycho in 1960, when Alfred Hitchcock demanded that ushers not seat anyone after the film began, in order to preserve that movie’s mid-film shift. However, filmmakers have never completely left behind the desire to play to the crowd, whether in the form of William Castle’s carnival barker tricks, interactive films like Mr. Payback, or fourth-wall breaks in Funny Games, I, Tonya, and Deadpool.

If this trip through the history of cinematic presentations makes you squirm, you’re not alone. This writer also prefers theaters to be silent and audiences to be respectful, no matter what. Moreover, most people at least accept that quiet observance should be the norm, even if they violate that norm from time to time.

However, the explosive response to Michael proves that some people want to be part of the movie. And they’re not alone either. Fan participation screenings aren’t new, ranging from showings of The Rocky Horror Picture Show and The Room to sing-along releases of The Greatest Showman and K-Pop Demon Hunters to those weird rowdy screening of Cats. Furthermore, 4DX and 3D upgrades promise more immersion into the film, even if they don’t provide space for the viewers to talk back at the picture.

For cinematic purists (see: this writer, again), these special screenings transform the movies into something other than movies. These showings are more like concerts and amusement park rides than they are proper films. Lest that sound condescending, one need only look at the comments from people singing and dancing at showings of Michael.

While it is easy to find commenters decrying dancers as suffering from “main character syndrome,” it’s just as easy to find those who disagree. A video posted to r/MichaelJackson is filled with comments expressing support, claiming that “critics will hate this” and asserting that dancing captures the spirit of the performer. Likewise, a New York Times article on the response to the film includes a teen reproaching her mother by saying, “Mom, this is not a concert.”

Judging by these comments (and, you know, the quality of the movie), Michael isn’t trying to be a proper film. The same could be said of Rocky Horror, The Room, The Greatest Showman, and so on. As such, these types of not-quite movies deserve their own space, special screenings where people can sing and dance and shout and leave others to watch the movie their way, in peace.

Michael is a divisive movie. It’s time to let it divide.

Michael is now playing in theaters worldwide.

House of the Dragon Season 3 Trailer Breakdown: James Norton As Ormund Hightower Revealed

This article contains spoilers from the novel Fire & Blood that will likely spoil details from House of the Dragon season 3.

House of the Dragon has some work to do in its third and penultimate season.

Following an abbreviated second outing that concluded right before the real battles started, some viewers were left wondering if the HBO series can live up to the massive expectations set forth for the first Game of Thrones spinoff. It certainly doesn’t help HotD‘s case that one viewer in particular is very dissatisfied with the direction of the show. And that’s not even to mention the fact that fellow spinoff A Knight of the Seven Kingdoms reminded us all of how fun Westeros can be.

Based on the action-packed first trailer for season 3, however it appears as though Rhaenyra (Emma D’Arcy), Alicent (Olivia Cooke), and company are ready to wage many battles – including the battle to win back fans’ affection.

Read on for a breakdown of the most striking images from the House of the Dragon season 3 trailer and our book-informed analysis of what it all might mean.

Who Is The Dragon in the Vale?

The House of the Dragon season 3 trailer doesn’t shy away from one of the series’ most controversial adaptation choices tight from the get-go. Around the six-second mark, we catch a glimpse of a dragon soaring over the unmistakable craggy mountains of the Vale of Arryn. In season 2, Rhaenyra’s dragon-less step-daughter/cousin Rhaena Targaryen (Phoebe Campbell) learned of an untamed dragon stalking the Vale from Warden of the East Lady Jeyne Arryn (Amanda Collin). This is undoubtedly that dragon. But who, exactly, is that dragon?

Due to a quirk of adaptation, it’s not entirely clear. George R.R. Martin’s historical tome source material features a lowborn “dragonseed” known only as Nettles claiming a wild dragon called Sheepstealer. After fighting for Daemon Targaryen (Matt Smith) and Team Black in the Dance of the Dragons, Nettles and Sheepstealer would retire to the mountains of the Vale, never to be seen again. Given Rhaena’s lack of a dragon and contrived presence in the Vale, it’s become increasingly clear that she will be assuming Nettles’ book storyline. Does that make this dragon Sheepstealer, Rhaena’s book dragon Morning, or another dragon altogether? That remains to be seen.

The Battle of the Gullet

As previously mentioned, House of the Dragon season 2 concludes just before a handful of major battles get underway. The biggest of those battles, both in terms of scale and consequential character death, is the Battle of the Gullet.

The Gullet is a stretch of water in The Crownlands that separates the islands of Driftmark and Dragonstone with Massey’s Hook (an eastern peninsula of Westeros). Due to its narrow features, the Gullet has been where House Velaryon has instituted a naval embargo of King’s Landing on behalf of Queen Rhaenyra. Ser Tyland Lannister (Jefferson Hall), with the help of the Triarchy’s ships, is en route to lift that embargo.

As for that consequential character death…

Why Is Rhaenyra Crying?

You’d cry too if your eldest son and heir to the Iron Throne was just killed in battle. Yes, Jacaerys Velaryon meets his end in the Battle of the Gullet after a crossbow bolt takes down his low-flying dragon Vermax. In the book, Jace is then lit up with arrows and his body sinks into the sea. Based on the presence of a skull in front of Rhaenyra, we imagine it will play out a little differently in the show.

James Norton as Lord Ormund Hightower

House Hightower is obviously central to House of the Dragon‘s story. Ser Otto Hightower (Rhys Ifans) served as the Hand of the King for Viserys I (Paddy Considine) and his daughter Alicent married the king and helped set events in motion for this continent-spanning civil war by crowning her son King Aegon II. Season 2 even introduced Alicent’s brother Gwayne (Freddie Fox) to keep the Hightower vibes going.

Despite the Hightowers’ importance, we have not yet met the head of the household and the Lord of Oldtown. That changes with the introduction of James Norton as Otto’s nephew Lord Ormund Hightower in season 3. Ormund isn’t seen “onscreen” much in Fire & Blood but as the general of the Reach’s forces, he is present for many key events, including the arrival of Alicent’s youngest son Daergon and his dragon Tessarion into the war.

House of the Dragon has clearly opted to elevate Ormund as a character and to do so it has turned to beloved British actor James Norton, who can be seen in Happy Valley, Grantchester, and most recently, Netflix’s House of Guinness.

Aegon’s Murderous Motivations

Written as a historical text gleaned from unreliable primary and secondary sources, Martin’s Fire & Blood presents a fascinating adaptation challenge. When different sources provide conflicting information, House of the Dragon has had to essentially choose which one is right, which has led to many (but not all) of Martin’s issues with the series. The season 3 trailer provides a glimpse at one such headache.

Fire & Blood never makes explicit that King Aegon II’s brother Aemond (Ewan Mitchell) was responsible for his fiery injuries at Rook’s Rest. Nor does it heavily imply that Aemond seeks to sit the Iron Throne permanently and not merely in his convalescing brother’s stead. House of the Dragon, however, leans into the drama and finds Aemond professing his empirical ambitions. Now Aegon is articulating that he views his brother as an enemy, not an ally.

Lord Cregan Stark’s Winter Wolves

Here we get a thrilling look at some very rowdy old dudes. These drum-banging senior citizens are part of Lord Cregan Stark’s “Winter Wolves” contingent. Recall that Jace convinced Cregan to join the war on the side of Rhaenyra. But with winter coming (is winter ever not coming for these dudes?), Cregan couldn’t send any able-bodied men away from the North. Thankfully, even the elderly are fierce fighters in the North and Cregan and friends will participate in a battle or two this season.

Alicent Prepared to Flee

You know who we don’t see a lot of in this trailer? Our old friend Alicent Hightower. We have to imagine that that’s because she spends the early portion of the season following through on Rhaenyra’s offer to flee with her daughter Helaena before Rhaenyra sacks King’s Landing. And the latter parts of her season arc are likely deemed spoiler-y to even book readers as her story (everyone say it with me now) deviates from the book’s plot line.

Skirmish at Harrenhal

There appear to be two significant moments featuring the desolate, haunted castle Harrenhal in this trailer. Near the end of the clip, we see Daemon Targaryen, fully kitted out in his dragon armor, battling two hapless Green knights. Before that, we view Aemond Targaryen prowling through a mossy hallway with his sword drawn.

Combine those two scenes and we have rough confirmation that Harrenhal will again be changing hands from Daemon to Aemond this season, as it does in Fire & Blood. Does that mean Aemond and Daemon will cross paths? Or will the show save their inevitable showdown for later? We’ll bet on the former, given House of the Dragon’s penchant for getting characters together whenever possible.

Who Is Giving Birth?

As a story about a Targaryen civil war, there are naturally a lot of blond people in House of the Dragon. Somewhat surprisingly, however, there aren’t quite as many blonde women of child-rearing age as one might think. That means that the brief glimpse we get of a character in labor can be only Rhaenyra Targaryen or Helaena Targaryen (Phia Saban). A closer look at a screengrab confirms that it is indeed Helaena giving birth.

While it’s possible that this moment is merely a Harrenhal-induced hallucination for Aemond, it’s equally as likely that Helaena is secretly pregnant throughout season 2 and will be giving birth this season. In Fire & Blood, Helaena and her brother-husband Aegon have three children: Jaehaerys, Jaehara, and Maelor. The lattermost child has not yet been featured on the show, much to George R.R. Martin’s consternation. In fact, the absence of Maelor was the first adaptation change he publicly criticized, which kicked off the souring relationship between him and showrunner Ryan Condal.

Based on this trailer, it seems as though George might have finally gotten his way.

House of the Dragon season 3 premieres Sunday, June 21 at 9 p.m. ET on HBO and HBO Max.

James Gunn Confirms The Authority Isn’t Coming to the DCU, Yet

In 1998, Warren Ellis and Bryan Hitch introduced the Authority, a new supehero team with one goal: to build a better world. And with members like Apollo, the Doctor, and Jenny Sparks, the Authority had the ability to do it. Moreover, because they existed in the WildStorm Universe and not the DC Universe, no one could really stop them.

Well, almost no one. After initially announcing The Authority as one of the projects in development for Chapter One of his and Peter Safran’s new DCU, James Gunn has confirmed on Threads that the project is no longer in development… for the moment. Though clarifying that he was never planning to be the one who writes and develops The Authority, Gunn went on to say that the “script wasn’t quite there but more importantly, it didn’t work in terms of the larger DCU both in terms of the story and practical concerns.” He ended by saying that the possibility of an Authority movie remains, but “not soon.”

Given his interest in the relationship between superheroes and government agencies and in the more unsavory side of the capes and tights life, Gunn’s plans for an Authority movie make sense. What doesn’t make sense is putting the Authority into the mainline DCU, even if it has happened already in the comics.

When The Authority #1 debuted in 1998, WildStorm was Jim Lee‘s studio, part of the independent publisher Image Comics. However, just months after the issue hit comic stands, Lee sold WildStorm to DC Comics, which initially allowed it to be a separate subsidiary. By 2010, however, DC had shuttered WildStorm and, with the New 52 reboot in 2011, WildStorm characters were fully integrated into the DC Universe.

It’s never been a great fit. The series began as a satire of mainstream superhero comics, giving the Justice League something like a neoconservative global policy (even if their social policies were more liberal, as demonstrated by the genuinely sweet romance between Midnighter and Apollo). Like the Ultimates series that Hitch and Mark Millar (writer of the second Authority run) would do at Marvel, the Authority played like a thought exercise riffing on established characters.

Need proof? Look no further than “What’s So Funny About Truth, Justice, and the American Way,” the Joe Kelly story that pits Superman against the Elite, a DC Universe version of the Authority. Or the sequel miniseries Superman and the Authority, in which Grant Morrison (who has their own rocky history with the characters) turns Apollo and Midnighter into superfans of the Man of Steel.

That latter comic best illustrates the problem with putting the Authority into the DCU. Because the team began as a satire of established heroes, the Authority must always play second tier to the actual Justice League. They can’t show what would happen if the Justice League decided to improve the world by taking proactive action against baddies, because the actual Justice League is there to stop them.

So, for now, it’s not a bad thing that Gunn isn’t bringing the Authority into the main DCU. But the groundwork is definitely there. Not only does he have in place organizations such as ARGUS and Lex Luthor’s PlanetWatch, the latter a riff on the WildStorm team StormWatch, but Superman includes in its cast charter Authority member the Engineer.

As these building blocks and Gunn’s comments show, The Authority isn’t dead—it’s just stalled. They will arrive when the time is right, when the DCU needs to become a better world… or else.

Spider-Noir Trailer Confirms Big Change From Classic Spider-Man

“Every mystery forms a complex web,” monologues Nicolas Cage in the newest Spider-Noir trailer. He’s not kidding. Even with the several teasers and images already released for the Prime Video and MGM+ spinoff of Spider-Man: Into the Spider-Verse, questions surround Spider-Noir. We know that Cage plays private investigator Ben Reilly instead of Peter Parker, breaking from both the usual Spidey story and from the 2009 Marvel comic Spider-Man: Noir.

However, Cage’s monologue continues to say, “Pull the right strand, and it’s a straight line to the answer.” The latest trailer for Spider-Noir provides one of the answers. Among the images of this Spidey’s origin, we see him shoot a web from his wrist, no mechanical bracelet needed.

Spider-Man’s web-shooting abilities have existed since the character debuted in 1962’s Amazing Fantasy #15, but not as one of the powers given to Peter Parker after being bitten by a radioactive spider. Rather, teen Peter Parker just keeps materials in his bedroom that allow him to create extremely strong webbing, as well as a contraption to shoot them. That’s always been one of the odder parts of Spider-Man’s origins, but most people just accept it in the same way they accept that a radioactive spider-bite gives people powers instead of cancer.

However, after Sam Raimi and his screenwriters famously streamlined story by giving Peter organic web-shooters in the 2002 movie, the mechanical versions have been strictly optional. They most memorably became part of the mainline Peter Parker’s power set in the 2005 storyline The Other. However, that story was so poorly received for other elements—elements that were adapted in the movie Madame Web and appear to be part of Spider-Man: Brand New Day—that the organic shooters have been dropped.

Before the Raimi film, however, another Spider-Man had organic shooters. Miguel O’Hara, the Spider-Man of the year 2099, counts organic web-shooters among his abilities, alongside his stronger precognition and strangely vampiric qualities. Such has been the case with several other alternate Spideys, including the monstrous clone Kaine Parker, Cindy Moon—who goes by the moniker “Silk” ever since she was bitten by the same spider that transformed Peter—and Spider-Man Noir.

That last point shouldn’t come as a surprise. The original Spider-Man: Noir comics by David Hine, Fabrice Sapolsky, Carmine Di Giandomenico, and Marko Djurdjević take place during the Great Depression and feature a poor Peter Parker, someone who wouldn’t have the materials to make mechanical web-shooters, even if he had the know-how.

Spider-Noir takes place in the same era, but has a much older Spidey. That’s not the only change from the comics, as demonstrated in the trailer. We see images of a mutant Man-Spider, who bites Ben Reilly and gives him powers. That’s a significant change from the comics, where Peter gets his powers from a spider-idol.

Who is that Man-Spider, and how did he come to be? Well, turns out Spider-Noir still has some mysteries yet to solve.

Spider-Noir streams on Prime Video and MGM+ on May 27, 2026.

Why Aren’t More People Watching Daredevil: Born Again?

A picture is emerging of Daredevil: Born Again’s ratings, and it isn’t a particularly good one. The first season had a solid but comparatively low-key launch in Marvel terms, snagging 7.5 million views in its first five days. Previous MCU series Agatha All Along hit 9.3 million views in its first week on Disney+, so it was surprising to see Daredevil: Born Again fail to reach that level. Nielsen numbers then showed that the season had failed to chart in its Top 10s, and now it’s clear that season 2 hasn’t yet cracked these lists either, something that even She-Hulk and Ms. Marvel managed to accomplish.

Interestingly, Born Again season 2 has fared a bit better critically, scoring 91% on Rotten Tomatoes, compared to 87% for season 1. And we know that fans had waited years to see Daredevil back on their screens after its cancellation on Netflix, so why aren’t more people watching the revival? The answer is potentially complex; it’s likely not just that Marvel TV fatigue is real.

Daredevil Reborn, Kinda

Marvel originally had different ideas for Born Again season 1 before realizing that they weren’t working and the series needed to go back to the drawing board, halting filming and restarting after a retool and overhaul. The result was a delayed and uneven batch of episodes that swung between the gritty, street-level grudge match between Matt Murdock and Wilson Fisk and a rushed Muse storyline interrupted by a quasi Ms. Marvel crossover episode. Anything less than a slam dunk was going to be underwhelming after waiting that long for more Daredevil. Some higher expectations just weren’t met.

It also wasn’t clear to most people if Born Again was a reboot or a continuation of the Netflix era. It eventually settled on being the latter, with mixed results. Casual viewers may have already known they’d have to sit through the three previous seasons to fully appreciate Born Again and therefore probably didn’t bother to find out whether it was worth their time. As a result, the show became “I’ll probably get to it eventually” rather than “must-watch” stuff, since it was also clear that its smaller stakes were less pivotal than something like Loki, which had a much greater impact on the MCU’s overarching story.

Rebuilding the Defenders

The second season of Born Again has been cleaner, with a smoother overall arc for Daredevil and Kingpin. Season 2 has also teased a Defenders reunion after the first attempt at that team-up flopped, but the show hasn’t made much use of its major guest star so far. Jon Bernthal’s Punisher and Krysten Ritter’s Jessica Jones have both shown up briefly in Born Again, yet not enough to add any real juice to the ongoing story. These callbacks might please fans of the original run, but they do little to attract new viewers who may feel overwhelmed by its history. Now, they might not only be questioning if they have to go back and watch Daredevil, but also Jessica Jones, The Defenders, and The Punisher.

Born Again’s fate, at least in the near future, is set. There will indeed be a season 3 that promises to bring in the Defenders as a whole, including Luke Cage and Iron Fist. But the show’s viewership also appears to be set: its audience isn’t growing. Disney+ will have to decide if it’s happy with the streaming numbers it’s getting, or whether Daredevil should once again be shelved as the MCU heads toward a reset with Avengers: Secret Wars next year.

The Boys Franchise Is at a Crossroads After Gen V’s Cancellation

The world of The Boys seemed to be expanding rapidly for a while. The mothership series kept getting early renewals, and two spinoff shows soon arrived on Prime Video. There was The Boys Presents: Diabolical, an animated anthology show, and Gen V, a live-action project focusing on the lives of college-aged Supes at Godolkin University. Two further spinoffs were also in development: The Boys: Mexico and the Soldier Boy prequel, Vought Rising.

But in June 2024, it was announced that The Boys would end with season 5. A year later, showrunner Eric Kripke revealed that a second season of Diabolical did not appear to be forthcoming, and last week, he announced the cancellation of Gen V after two seasons. “While we wish we could keep the party going another season at Godolkin, we’re committed to continuing the Gen V characters’ stories in The Boys season 5 and other VCU projects on the horizon. You’ll see them again,” he and fellow executive producer Evan Goldberg assured fans in a statement.

Gen V would only be renewed for a third season if the ratings for the second season were good enough, Kripke had warned last October. Its surprising cancellation suggests they were not. That leaves two spinoff projects in the works. Yet, The Boys: Mexico hasn’t progressed much since it was first announced in 2023, with Kripke saying this month that it’s only at the pilot script stage. That just leaves Vought Rising, which has actually wrapped filming and is now eyeing a 2027 launch date.

The world of The Boys is suddenly shrinking, and it appears to be at a crossroads. Is the satirical franchise that Amazon once couldn’t get enough of suffering from its own dose of superhero fatigue? Quite possibly. Fan reaction to the final season of The Boys has certainly been mixed so far, with some complaining about filler episodes, while Reddit threads fill up with disgruntled viewers moaning about side quests and Vought Rising setups.

Obviously, we’re not privy to behind-the-scenes conversations at Amazon Prime Video, but from the outside, it does feel like there’s been a shift in strategy. Though it may seem like The Boys franchise could be falling apart, it’s at an absolutely critical juncture right now. With its main audience draw about to end, the franchise now has to prove it can stand on its own without the central storyline that’s been holding it together. Diabolical and Gen V have sadly proved it’s far from a sure thing, so Soldier Boy and his prequel series might need to connect with audiences before any further moves are made.

There’s also the other elephant in the room: The Boys’ satire has arguably lost its edge over the years. Initially, the show was fresh and shocking, but fans have now become accustomed to what it offers, and it just isn’t hitting the same. We’ve seen almost five seasons of Homelander being maniacal, Butcher betraying people, Hughie being optimistic and earnest, and Starlight becoming the face of rebellion against Vought. It doesn’t feel like there’s much more juice to squeeze from the main story.

The good news is that The Boys is now a recognizable IP with a very distinct tone that no other show currently matches. This is a pivotal transition moment. Scaling back until the creators have a solid idea of where they want to take it from here seems like a solid strategy, especially with Kripke so anxious about how the series finale will be received.

Fans of The Boys will just have to wait and see what the future holds beyond Vought Rising next year.

15 Movies That Were Pulled from Theaters Right After Release

Movies tend to try and remain in theatres for as long as possible, or at least, as long as it remains profitable. But of course, for every success story there are ones filled with backlash, controversy and the need to reduce (or outright remove) time spent in cinemas.

These are the films that, due to their content, were removed from theaters shortly after release. Not all stories are worldwide, since censorship does not work the same way everywhere. But they all present the same tale: sometimes, there are tales too controversial to be told.

The Interview

Sony initially canceled the film’s wide theatrical release after cyberattacks and threats tied to its depiction of North Korea’s leader. Major theater chains refused to screen it, effectively pulling it before a limited release strategy was later arranged.

The Hunt

Originally delayed due to political backlash over its premise, the film was briefly released before the COVID-19 shutdown halted theaters nationwide. Its rollout became entangled in controversy, cutting its theatrical run far shorter than planned.

A Clockwork Orange

After reports of copycat violence and public backlash, Stanley Kubrick requested the film be withdrawn from UK theaters. It remained unavailable there for decades, making its removal one of the most famous director-driven withdrawals.

The Last Temptation of Christ

Protests and threats over its depiction of Jesus led to theaters pulling the film in multiple regions. Some venues canceled screenings outright due to safety concerns, significantly limiting its theatrical presence.

Dogma

Religious groups protested the film’s themes, leading some theaters to refuse to show it. While not universally banned, the backlash resulted in selective removals and a more limited run than expected.

The Death of Stalin

The film was pulled entirely from release in Russia just before its scheduled opening due to political objections. The ban prevented any theatrical run in the country despite prior approval.

Blue Is the Warmest Color

While critically acclaimed, the film faced bans and removals in several countries due to explicit content. In some regions, theaters were forced to pull it shortly after release because of censorship laws.

Noah

Religious objections led to the film being banned or pulled in multiple countries across the Middle East. Its portrayal of biblical events sparked enough controversy to prevent theatrical screenings in those markets.

Tom Hanks and Audrey Tautou in The Da Vinci Code

The Da Vinci Code

Backlash from religious groups led to bans and canceled screenings in several countries. Some theaters removed it after release due to protests and pressure from local authorities.

The Kashmir Files

While successful overall, the film faced bans and removals in certain regions due to political sensitivities. Some theaters halted screenings amid concerns over public reaction and unrest.

The Lady of Heaven

Following protests in the UK, major cinema chains pulled the film from theaters shortly after release. Concerns over public safety and backlash led to its rapid removal despite initial screenings.

The Brown Bunny

After its controversial Cannes premiere, the film was heavily criticized and re-edited. Its explicit content led to limited distribution and some theaters refusing to screen it altogether.

Crash

David Cronenberg’s film faced bans and removals due to its subject matter. Several theaters declined to show it, and it was pulled or restricted in multiple regions.

The Texas Chain Saw Massacre

Upon release, the film was banned or pulled in several countries due to its graphic nature. Some theaters stopped screenings early in response to public backlash and censorship pressure.

Persepolis

The animated film was pulled from theaters in certain countries due to political objections. Its portrayal of Iranian history led to bans and canceled screenings shortly after release.

The 15 Most “Punchable” Movie Characters of All Time

What qualifies as a “punchable” character? Well, as you may all know, it is a character in a film whose role is to infuriate the audience. Through a combination of script, direction and performance, these characters are brought to life so efficiently, that we wished they were real so we could smack them.

It goes without saying, but we mean no harm to the actors. They just did their job a little bit too well, and they didn’t do it alone. It is what they fictionally represent that rubs audiences in a certain way, and makes them memorable in the most violent of ways.

The Drama, Rachel

Rachel kicks in motion the entire plot of the movie, all by making others feel bad while not taking accountability for her actions. It is often argued online that what she did is worse than what the rest confessed to doing.

One Battle After Another, Colonel Steven J. Lockjaw

Lockjaw is driven by ego, obsession, and a need for control, using his authority to manipulate and harm others. His hypocrisy and abuse of power make him both unsettling and deeply frustrating throughout the film.

Whiplash, Terence Fletcher

Fletcher’s relentless psychological abuse disguised as teaching crosses every line. His explosive temper and calculated humiliation tactics make him deeply uncomfortable to watch, even as his methods are framed as pushing for greatness.

The Mist, Mrs. Carmody

Mrs. Carmody’s descent into fanaticism quickly turns her into a dangerous presence. Her ability to manipulate fear and gain followers makes her more threatening than the creatures outside, turning paranoia into something far more human and unsettling.

The Green Mile, Percy Wetmore

Percy abuses his authority with cruelty and immaturity, taking pleasure in the suffering of others. His cowardice combined with unchecked power makes him one of the most despised characters in the film.

Emma Stone and Mark Ruffalo in Poor Things Review

Poor Things, Duncan Wedderburn

Duncan presents himself as charming but quickly reveals controlling and self-serving tendencies. His treatment of Bella exposes his immaturity and entitlement, making his behavior increasingly irritating as the story progresses.

Eternal Sunshine of the Spotless Mind, Patrick

Patrick exploits stolen memories to manipulate someone into affection, creating one of the film’s most uncomfortable dynamics. His insecurity and dishonesty make his actions feel invasive, even within the story’s surreal premise.

Fargo, Jerry Lundegaard

Jerry’s constant lying and cowardice drive the entire conflict. His inability to take responsibility, combined with his desperate scheming, makes him frustrating to watch as everything spirals out of control.

Titanic, Cal Hockley

Cal represents entitlement at its worst, treating people as possessions and reacting with hostility when challenged. His controlling behavior toward Rose and his arrogance make him one of the film’s most easily disliked figures.

Back to the Future, Biff Tannen

Biff’s bullying defines his character, whether in the past or future timelines. His aggression and lack of consequences early on make him particularly frustrating until the story finally turns things around.

The Polar Express, Know-It-All

The Know-It-All’s constant interruptions and smug attitude make him stand out in the worst way. His insistence on correcting others creates a grating presence that contrasts sharply with the film’s otherwise warm tone.

Groundhog Day, Ned Ryerson

Ned’s overenthusiastic personality and inability to read social cues make every interaction exhausting. His repeated encounters with Phil amplify the annoyance, turning a simple joke into a running source of frustration.

Aliens, Carter Burke

Burke’s corporate greed leads him to make decisions that endanger everyone. His willingness to sacrifice others for profit makes him one of the most morally repulsive characters in the franchise.

The Matrix, Cypher

Cypher’s betrayal is driven by selfish desire rather than necessity. His willingness to undo everything the others are fighting for, simply for personal comfort, makes his actions particularly frustrating.

The Menu, Tyler Ledford

Tyler’s obsessive admiration blinds him to reality, even when things become dangerous. His inability to question the situation, combined with his pretentious attitude, makes him increasingly difficult to tolerate.

15 Unsettling Movie Facts You May Not Have Noticed Before

When movies are crafted with expertise, certain details can fly by our heads and we don’t even notice. Of course, part of us does notice, which leads to feelings of dread or discomfort that are hard to describe. Well, the reason was the movie itself all along, hiding horrible details for our brain to register.

Some eagle-eyed viewers spot these moments on a first watch, but most of the time, they are moments that are meant to be reframed once something is revealed. The best way to enjoy these scenes, once you know what’s going on, is to rewatch the film and enjoy it with different eyes.

The Shining, A Mysterious Studio Fire

A real fire destroyed parts of the studio during production, eerily mirroring the film’s destructive themes. Combined with the intense filming conditions, it contributed to the movie’s reputation as an unusually unsettling production.

The Craft, Strange On-Set Occurrences

Cast members reported unusual events during filming, including unexplained animal behavior and environmental changes during ritual scenes. While never confirmed as supernatural, the stories contributed to the film’s eerie reputation.

The Cast of Final Destination 5

Final Destination, Inspired by a Real Premonition

The film’s premise was based on a real story involving someone who avoided a fatal flight after a warning from a family member. The unsettling real-life origin makes the concept feel less fictional than it appears.

Get Out, The Silent Party Guests

During the garden party, several Black characters behave oddly, speaking in stilted, unnatural ways. On rewatch, it becomes clear they’re effectively trapped observers, aware but unable to control their bodies, which makes the entire sequence far more disturbing.

Hereditary, Figures in the Shadows

Throughout the film, background figures can be seen standing silently in dark corners, often unnoticed on first viewing. These hidden presences reinforce the idea that the family is constantly being watched long before the climax reveals the full extent.

The Truman Show, Everyone Is Watching Him Constantly

Every person Truman interacts with is an actor performing a role, including his closest relationships. The unsettling implication is that his entire emotional life is manufactured for entertainment, with no genuine human connection anywhere in his world.

Zodiac, The Basement Scene Ambiguity

A tense scene suggests the main character may be alone with the killer, but the film never confirms it. The lack of resolution leaves a lingering sense of unease, emphasizing how little certainty exists in real-life investigations.

Parasite, The Hidden Bunker Reality

The revelation of the bunker reframes earlier scenes, especially moments where lights flicker seemingly at random. It becomes clear someone has been living beneath the house the entire time, observing everything unnoticed.

Midsommar, Faces in the Environment

Certain shots subtly embed faces within trees, flowers, and backgrounds. These visual tricks are easy to miss but suggest the characters are fully absorbed into the cult’s world.

Fight Club, Tyler’s Absence from Reality

Before the reveal, Tyler Durden is never shown interacting independently with other characters. Background details and reactions subtly indicate something is off, but it’s easy to miss until the twist reframes everything.

Children of Men, Normalized Collapse

Background details constantly show a society in decay, from caged immigrants to public propaganda. None of it is emphasized directly, which makes the world feel disturbingly believable rather than exaggerated.

No Country for Old Men, The Missing Climax

The expected final confrontation never happens on screen. Key events occur off-camera, denying closure and reinforcing the film’s theme that violence is random and often unresolved.

Ex Machina, Manipulation From the Start

Rewatching reveals that the protagonist was never in control of the situation. Every interaction is carefully orchestrated, making his apparent agency feel like an illusion from the very beginning.

The Lobster, Emotional Conditioning

The film presents extreme rules for relationships, but what’s unsettling is how quickly characters accept them. The lack of resistance suggests a world where emotional control has become normalized.

The Witch, Subtle Supernatural Confirmation

Early scenes leave room for doubt about what’s real, but background details quietly confirm the supernatural elements are genuine long before the ending removes all ambiguity.

15 Big Plot Holes Nobody Actually Cares About

Plot holes tend to be the reason movies are ruined for a lot of viewers, reducing a masterpiece to dust in their eyes. However, certain films are so good, so groundbreaking in their premise, that we allow them to make some ‘mistakes’ in the name of filmmaking. After all, to err is human.

Pointing plot holes remains, as we know, incredibly entertaining, but this selection isn’t meant to criticize. We point at these movies with the utmost affection, signaling that not everything needs to be raised to the ultimate standards; it’s ok to make mistakes, as long as there is passion at work.

Jurassic Park, The Sneaky T-Rex

The T-Rex is established as thunderously loud, yet somehow appears silently inside the visitor center during the climax. It contradicts earlier scenes, but the moment is so iconic that most viewers never question how it got there.

Star Wars: A New Hope, The Death Star Weakness

A galaxy-destroying superweapon has a tiny, exploitable flaw that can destroy it entirely. It’s often cited as too convenient, yet the tension of the trench run makes audiences accept it without much resistance.

The Dark Knight Rises Bruce Wayne

The Dark Knight Rises, Bruce Wayne’s Return

After being stranded far from Gotham with no resources, Bruce somehow returns to the city unnoticed. The logistics are never explained, but the film’s momentum makes it easy to overlook.

Back to the Future, The Parents Problem

Marty’s parents don’t recognize their son as the exact same person they met in 1955. It’s a logical inconsistency, but the emotional payoff of the story outweighs the need for a strict explanation.

Indiana Jones and the Raiders of the Lost Ark, Indy’s Impact

A common argument suggests the outcome would be the same without Indiana Jones. While debatable, the film’s focus on his character arc makes the supposed plot hole largely irrelevant to viewers.

The Lord of the Rings: The Return of the King, Why Not Use the Eagles?

If the eagles could fly to Mordor at the end, why not use them from the start? The question persists, but fans generally accept the narrative necessity of the long journey.

Harry Potter and the Prisoner of Azkaban, Time-Turner Logic

The Time-Turner raises major questions about why it isn’t used more often to solve problems. The film never fully addresses this, but the emotional story keeps audiences invested regardless.

The Matrix, Human Batteries

Using humans as an energy source doesn’t make much scientific sense, yet it’s the core premise of the story. The concept is so compelling visually and thematically that viewers accept it anyway.

Frozen, Elsa’s Powers

Elsa’s abilities are powerful enough to solve many problems instantly, yet she often doesn’t use them that way. The inconsistency is noticeable, but the emotional narrative takes priority.

Inception, Dream Rules Flexibility

The mechanics of dreams shift depending on the needs of the scene, leading to inconsistencies in how the world works. Despite this, the film’s engagement and spectacle overshadow the gaps.

Doctor Strange (Benedict Cumberbatch) holds up one finger in Avengers: Endgame

Avengers: Endgame, Time Travel Rules

The film establishes specific rules for time travel, then bends them for dramatic moments. It’s internally inconsistent at times, but audiences accept it for the payoff and character moments.

The Lion King, Scar’s Plan

Scar’s takeover relies on a very specific chain of events going perfectly. The coincidence-heavy plan works because the story is emotionally driven rather than logically airtight.

Grease, The Flying Car

The film ends with a car literally flying into the sky with no explanation. It breaks the grounded reality of the story, but the musical tone makes it feel acceptable.

A Quiet Place, Sound Rules

The creatures react to sound, yet certain noises go unnoticed while others trigger attacks. The inconsistency exists, but the tension-driven storytelling makes it easy to forgive.

Emma Watson in Beauty and the Beast

Beauty and the Beast, Timeline Confusion

Dialogue suggests the curse lasted ten years, conflicting with the prince’s age in other scenes. The inconsistency is noticeable but minor enough that it doesn’t affect the story.

15 Actors Who Later Regretted How Much They Gave to a Role

Acting requires a lot of sacrifice, particularly for actors that want to give their all to a role. But what does ‘all’ mean? Well, in some cases, it quite literally means all they have to give, leaving actors and performers with nothing to go home with.

These are the celebrities that left blood, sweat and tears on the line, later regretting it, wondering if it was all worth it. Mental and physical health was sacrificed in the name of a role, something that, for many, might just be too much to give.

Zac Efron, Baywatch

Efron achieved an extremely low body fat percentage for the film, later revealing it caused insomnia and depression. He admitted the process was unsustainable and said he never wanted to put his body through that kind of strain again.

Matt Damon, Courage Under Fire

Damon lost around 40 pounds without medical supervision for a small role, which led to lasting health issues. He later said he had to take medication for years, calling the experience a serious mistake.

Dustin Hoffman, Marathon Man

Hoffman stayed awake for days to appear exhausted, pushing himself physically for realism. He later acknowledged the method was unnecessary and damaging, becoming a classic example of extreme acting taken too far.

Viola Davis, The Help

Davis later expressed regret over the film, saying it didn’t properly represent the voices it aimed to portray. While the experience itself was positive, she felt the final product didn’t align with her intentions.

Robert Pattinson, Twilight

Pattinson has openly criticized aspects of his performance and the franchise, expressing frustration with the material and the intense fan response. He later distanced himself from the role despite its massive impact on his career.

George Clooney, Syriana

Clooney suffered a severe spinal injury during filming that caused chronic pain and multiple surgeries. He later described the experience as so debilitating that it pushed him to a very dark place during recovery.

Timothée Chalamet, A Rainy Day in New York

Chalamet later distanced himself from the project due to controversy surrounding its director, donating his salary and stating he regretted participating in the film.

Sean Connery as James Bond

Sean Connery, James Bond series

Connery grew increasingly frustrated with the role that made him famous, citing exhaustion and dissatisfaction. He later expressed resentment toward the franchise despite its importance to his career.

Brendan Fraser, The Mummy trilogy

Years of performing stunts left Fraser with serious injuries requiring multiple surgeries. He later said his body was essentially “held together with tape and ice,” and the long-term damage significantly impacted his career.

Adrien Brody in The Pianist

Adrien Brody, The Pianist

Brody gave up his apartment and drastically lost weight to immerse himself in the role. He later revealed the experience caused a prolonged depression that lasted well beyond filming, making the personal cost far greater than expected.

Leonardo DiCaprio, The Revenant

DiCaprio endured freezing conditions, ate raw meat, and filmed in harsh environments. He later called it one of the most difficult experiences of his career, saying the physical discomfort was constant throughout production.

Michael B. Jordan, Black Panther

Jordan pushed himself physically and emotionally to portray Killmonger, later admitting he struggled to disconnect from the character. He sought therapy after filming due to the psychological toll of staying in that mindset.

Anne Hathaway, Les Misérables

Hathaway lost significant weight and cut her hair for the role, later saying the process left her physically and emotionally drained. She admitted she wasn’t in a healthy state during filming despite the performance earning major acclaim.

Charlize Theron, Monster

Theron underwent a drastic physical transformation and immersed herself in a dark mindset to portray Aileen Wuornos. She later said it took a toll on her mental health, requiring time to recover after filming ended.

Hugh Jackman, Les Misérables

Jackman dehydrated himself for certain scenes and maintained a strict regimen throughout production. He later acknowledged the physical strain and said the process was far more taxing than he had anticipated going in.

15 People Share the Unexpected Explicit Movie Scene That Most Took Them By Surprise

Movies are filled with surprising twists and turns that, while they can leave our heads spinning, are certainly expected in certain media. But when watching a comedy, action or otherwise something not ‘explicitly explicit,’ it can be quite a shock when a scene depicts more than we expected.

Needless to say, these scenes, as discussed by Reddit users recently, showed more than just a bit of skin. They didn’t shy away and hid their moments behind a fade to black, but in more than one instance, we almost wished they did.

Team America: World Police, Puppet On Puppet Action

What starts as a crude comedy suddenly escalates into an extended puppet passion scene that keeps going far longer than expected. Its absurd explicitness becomes the joke itself, catching many viewers completely off guard.

28 Days Later, Johnson Center Stage

Early in the film, the protagonist wanders a deserted London without any clothes. The scene isn’t played for humor or shock, but its blunt presentation still surprises viewers expecting a more conventional horror opening.

Jennifer Lawrence in No Hard Feelings

No Hard Feelings, Beach Fight

A seemingly light comedy abruptly delivers a no-clothes fight scene that escalates into chaotic physical comedy. The sudden shift from playful tone to unexpected exposure is what makes it stand out.

Super Troopers 2 Cast copy

Super Troopers, Farva’s Sugar Bath

The film is already absurd, but one moment involving Farva in a compromising situation pushes things further than expected. It’s brief, but awkward enough to stick with viewers long after.

Bradley Cooper and cast of The Hangover

The Hangover, Mr Chow’s Trunk Exit

After a series of increasingly strange events, the reveal of Mr. Chow jumping out of a trunk becomes one of the film’s most shocking comedic payoffs, blindsiding audiences mid-scene. Not even the actors were told that Mr Chow was lacking in the clothing department.

Sacha Baron Cohen As Borat

Borat, Hotel Wrestling

The infamous hotel fight between Borat and Azamat escalates into extended physical comedy and a complete disregard for clothing. Its sheer length and commitment to the bit make it far more extreme than most viewers anticipate.

The Cast Of Forgetting Sarah Marshall

Forgetting Sarah Marshall, The Breakup

A breakup scene unexpectedly features Jason Segel with absolutely nothing on, played completely straight. Many viewers cite this as one of the most surprising moments, especially given the film’s otherwise typical rom-com setup.

Romeo and Juliet, English Class Surprise

Many Reddit users remember seeing this film in schools, which includes a brief but noticeable bare moment early on. For many students, it becomes an unexpectedly awkward viewing experience in what’s assumed to be a safe classroom pick.

Robert Downey Jr and Cillian Murphy in Oppenheimer

The Oppenheimer, Unexpected Relations

A historical drama not primarily marketed around romance includes a surprisingly direct and explicit scene. Its placement within an otherwise serious narrative makes it particularly unexpected for general audiences.

Swordfish, Explicit Hackers

A tense hacking thriller pauses for a sudden risky scene that became one of the film’s most talked-about moments. Its inclusion feels disconnected from the plot, which is why it catches viewers off guard.

Airplane at 40

Airplane, Risky Jokes

In the middle of rapid-fire jokes, the film briefly cuts to a completely unrelated ‘chest’ gag. The randomness and speed of the joke make it easy to miss, yet memorable once noticed.

Trading Places, Exposing Jamie Lee Curtis

A relatively grounded comedy includes a scene where Jamie Lee Curtis’ character casually exposes herself. The moment is brief but stands out due to how unexpectedly direct it is.

Total Recall

Total Recall, Triple Trouble

Amid its sci-fi action, the film includes a bizarre and unexpected visual gag involving an unusual anatomical detail. It’s quick, but memorable enough to become one of the movie’s defining surprises.

Wild Things, Kevin’s Bacon

Late in the film, a brief shower scene featuring Kevin Bacon caught many people off guard. Its timing and lack of buildup make it one of the more unexpectedly explicit moments in a twist-heavy story.

The Crying Game, Identity Reveal

Midway through the film, a romantic encounter takes an abrupt turn with a reveal that completely reframes the relationship. The moment is presented without buildup, making it one of the most famously shocking and unexpected scenes in cinema.

Star Trek: Strange New Worlds Season 4 Boldly Goes Back… to The Tone of The Original Series

It’s official: Star Trek: Strange New Worlds will return for season 4 this July, and all signs point to an outing that will probably be a bit less…well, strange than last time around. The premiere date was announced as part of Paramount+’s presentation at this year’s CCXP Mexico, which also featured a first look at the teaser trailer for the new episodes. The clip features over a minute of footage from Strange New Worlds’ penultimate outing, and if it’s anything to go by, this is a Star Trek that’s going back to basics.

This news will likely come as a relief to those fans who weren’t all that enthusiastic about some of the series’ more out-there season 3 episodes, which saw the Enterprise crew turn into Vulcans, solve a 1920s-set Holodeck mystery, make a (very bad) documentary, and battle a uniquely ancient and dangerous evil at various points. (And that’s before we even get to the extended focus on Spock’s dating life.) 

Thankfully, this teaser has a much more traditional Trek feel: There’s a voice-over about the power of exploration, some shots of several interesting-looking alien plants, and a reminder that space is both beautiful and terrifying in its awesomeness. Of course, not everything about it is old-school — there’s a shot of a literal dinosaur at one point — but it certainly seems to be aiming for a more “seek out new life and new civilizations” vibe.

To be fair, that’s pretty much something that showrunners Akiva Goldsman and Henry Alonso Myers have been promising almost since season 3 concluded. The two are well aware of how divisive some elements of the previous season were among many of the franchise’s most vocal fans, and seem motivated to rein things in a bit as they pivot the series toward its endgame.

In that vein, this teaser also features plenty of moments that nod toward where this particular adventure is ultimately heading. There are probably as many shots of Paul Wesley’s James Kirk in this teaser as there are of Anson Mount’s Captain Pike, and most of the characters who will go on to appear on Star Trek: The Original Series pop up at various points. If this is a show in the beginning stages of a major transition to the world of the one that comes after it, well. Those choices make a certain amount of sense. 

That said, it’s also clear that even if it does manage to tone things down a bit, Strange New Worlds will still march to the beat of its own drummer in its fourth season. Besides whatever’s going on with the aforementioned dinosaur, we already know that this run of episodes will feature the Enterprise crew getting turned into puppets, after all. That’s certainly not what anyone would call traditional.

Star Trek: Strange New Worlds season 4 will premiere July 23 on Paramount+.

TV Premiere Dates: 2026 Calendar

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

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

Please note that all times are ET. 

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

DATESHOWNETWORK
Monday, April 27Straight to HellNetflix
Tuesday, April 28My Killer Father: The Green Hollow MurdersParamount+
Wednesday, April 29The House of the SpiritsPrime Video
Wednesday, April 29Widow’s BayApple TV
Thursday, April 30Man on FireNetflix
Friday, May 1GloryNetflix
Friday, May 1Doin’ ItParamount+
Monday, May 4Lord of the FliesNetflix
Wednesday, May 6Love Is Blind PolandNetflix
Wednesday, May 6Worst Ex Ever Season 2Netflix
Wednesday, May 6Citadel Season 2 Prime Video
Thursday, May 7The Chestnut Man: Hide and SeekNetflix
Thursday, May 7LegendsNetflix
Thursday, May 7M.I.A.Peacock
Thursday, May 7The Terror: Devil in SilverAMC+
Friday, May 8My Royal NemesisNetflix
Friday, May 8Thank You, Next Season 3Netflix
Friday, May 8UnconditionalApple TV
Saturday, May 9Song of the SamuraiHBO Max
Monday, May 11Pop Culture Jeopardy!Netflix
Monday, May 11Regular Show: The Lost TapesAdult Swim
Tuesday, May 12Devil May Cry Season 2Netflix
Tuesday, May 12U.S. Against the World: Four Years With the Men’s National Soccer Team (9:00 p.m.)HBO
Tuesday, May 12The Punisher: One Last KillDisney+
Wednesday, May 13Between Father and SonNetflix
Wednesday, May 13Perfect Match Season 4Netflix
Wednesday, May 13Roosters Season 2Netflix
Wednesday, May 13Good Omens Season 3Prime Video
Wednesday, May 13Off CampusPrime Video
Thursday, May 14NemesisNetflix
Thursday, May 14SoulmateNetflix
Thursday, May 14Welcome to Wrexham Season 5FX
Thursday, May 14On the RoamHBO Max
Friday, May 15Berlín and the Lady with an ErmineNetflix
Friday, May 15The WONDERfoolsNetflix
Friday, May 15Rivals Season 2Hulu
Friday, May 15Dutton RanchParamount+
Friday, May 15Couples TherapyParamount+
Wednesday, May 20CarizzmaNetflix
Wednesday, May 20Maximum Pleasure GuaranteedApple TV
Thursday, May 21The BoroughsNetflix
Thursday, May 21SkyMed Season 4Paramount+
Friday, May 22Mating SeasonNetflix
Friday, May 22The Chi Season 8Paramount+
Sunday, May 24Rick and Morty Season 9 (11:00 p.m.)Adult Swim
Wednesday, May 27A Good Girl’s Guide to Murder Season 2Netflix
Wednesday, May 27My 2 CentsNetflix
Wednesday, May 27Spider-NoirPrime Video | MGM+
Thursday, May 28The Four Seasons Season 2Netflix
Thursday, May 28Murder Mindfully Season 2Netflix
Thursday, May 28Deli Boys Season 2Hulu
Thursday, May 28Criminal Minds: Evolution Season 19
Friday, May 29Brazil ’70: The Third StarNetflix
Friday, May 29Calabassas ConfidentialNetflix
Friday, May 29Star CityApple TV
Tuesday, June 2Love Island Season 8 (9:00 p.m.)Peacock
Wednesday, June 3The Legend of Vox Machina Season 4Prime Video
Friday, June 5Cape FearApple TV
Sunday, June 7The Vampire LestatAMC
Monday, June 8Alice and SteveHulu
Thursday, June 11Sweet Magnolias Season 5Netflix
Friday, June 19Sugar Season 2Apple TV
Sunday, June 21House of the Dragon Season 3 (9:00 p.m.)HBO
Thursday, June 25Avatar: The Last Airbender Season 2Netflix
Friday, June 26Life, Larry, and the Pursuit of Happiness (9:00 p.m.)HBO
Wednesday, July 1Elle Season 1Prime Video
Friday, July 3Silo Season 3Apple TV
Thursday, July 9Little House on the Prairie Season 1Netflix
Friday, December 25Harry Potter and the Philosopher’s StoneHBO Max

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

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

Amazing Live Sea Monkeys Documentarians Discuss a Big Battle Over Tiny Creatures

In the 1960s and ’70s, kids couldn’t open a comic book or go to a toy store without seeing sea-monkeys. Sort of. While advertisements and displays promised an underwater kingdom of smiling pink creatures living lives of ease, the actual creatures were microscopic specks that were barely visible to the naked eye. Most would just forget about sea-monkeys as an odd update of the old flea circus phenomenon.

But to documentarians Mark Becker and Aaron Schock, the legal battle over the creatures is the stuff of epic drama, precisely because of the woman at the center, Yolanda Signorelli, wife of sea-monkey marketeer Harold von Braunhut. “Yolanda, she’s a complicated person,” Schock tells Den of Geek after the SXSW premiere of Amazing Live Sea Monkeys. “As we understood the parameters of Yolanda’s life, we gained insight into who she was.”

Since Von Braunhut’s death in 2003, Signorelli has been caught in a legal battle over ownership over the sea-monkeys and the secret formula that allows the creatures (actually, brine shrimp) to come to life when removed from packaging and placed into the water. Between the ongoing legal battle, the complexities of her relationship with her much-older husband, and Von Braunhut’s hateful political views, Signorelli made for a reluctant subject.

“It was a process of talking to her for a few months at a time until we built up a certain level of trust with her, and we eventually got that invitation to come visit her,” explains Becker. “We showed up at her home at the Sea-Monkey Estate, with those gates in the shape of sea-monkeys. They opened and we entered into this entire world.

“When we met Yolanda in that first weekend, we had this feeling that she was a great subject. As a person, she’s very ethical. She’s fighting this battle she believes in, and we knew that we had the heart and core of our story, whatever the ugliness surrounding it.”

“Sometimes, when you do a documentary, you start with this almost schematic understanding of what the story is,” adds Schock. “Yolanda seemed like somebody who’d lived through a whole world. We were very interested in this Mad Men-era, with her working behind the scenes at [Sea-Monkeys distributor] Transcience and working with novelty toys. But then we were struck by her struggle.”

That realization came the moment they visited Signorelli at the estate and found her living in ruins, with no running water or electricity.

“It was like a portal,” Schock says. “It was compelling, and we were a little bit ecstatic about it, to be honest, in that dorky documentary way that we had the privilege to be there. But then the human side came through, because we left the schematic notion we had and met Yolanda herself. She was so relatable, and we became comfortable talking to each other fast that we wondered when we would actually start filming. We were spending so much time just chatting and hanging out.”

During that period of conversation, the filmmakers witnessed Yolanda interacting with animals. Her care for real small creatures, not just sea-monkeys, struck the documentarians. But they were even more impressed that she stuck to her principles when it came to the dispute instead of cashing out.

“We figured pretty quickly that Yolanda had other options for her condition,” Schock points out. “She could have sold the sea monkeys for a few million dollars and retired, and that would be totally understandable. When we met her, she was in the process of putting hundreds of acres of valuable land into a trust so it could be a preserve forever. She could have sold it and retired to Florida. As we began to understand the parameters of her life and the choices she was making, it gave us insight into her ethical backbone.”

With such an ethical figure in the center, the filmmakers had a way into their story, which often went to dark and upsetting areas. The filmmakers may be quick to credit Von Braunhut for his audacity with the Sea-Monkeys (“He’s a mad genius,” acknowledges Becker), but they also have to wrestle with his political beliefs. Von Braunhut was an overt White Supremacist who supported the Ku Klux Klan.

Because of her late husband’s legacy, Signorelli has been reluctant to draw attention to her situation. “When we would broach situations that came up in the press, Yolanda was wary of always being lumped into the worst of what Harold had done in his life. She felt rather separate from that in her own way.

“Our conversations with her were a slow walk towards full transparency,” admits Schock. “We’d be talking to her about B-movies and dealing with oppressive men in the ’60s, but also broaching darker subjects that have to do with the secrets that Harold held.”

Through those difficult conversations, Becker and Schock have been able to make something rich and human with Amazing Live Sea Monkeys, proving once again that, when it comes to these odd creatures, there’s so much more than meets the eye.




Why Netflix’s New Charlize Theron Movie Is Going to Make You Yearn for an Australian Holiday

Icelandic filmmaker Baltasar Kormákur does not set out to make tourism destination films any more than he seeks to specifically tell stories of man, or woman, versus nature.

It just seems to work out that way for him and the audience who watches along with a serious fear of missing out.

As the filmmaker sheepishly confides to us, after his harrowing dramatization of the 1996 Mount Everest climbing disaster, Everest, came to theaters in 2015, interest in the Sagarmatha mountain spiked: “Even with all those people dying there, I actually infused the interest in Everest in the world,” the director says with a hint of mystification. “There was more traveling there the year after.”

So it seems likely to go again with Kormákur’s latest wanderlust adventure with elements of life-or-death stakes debuting on Netflix this weekend, the Charlize Theron-led Apex. Both a story of survival as as a cat-and-mouse game between killer and prey, Apex has a lot going for it, not least of all is the breathtaking vistas that it’s largely set in along some of Australia’s most remote and picturesque waterways.

The film is the story of Sasha (Theron), a woman overcoming grief and perhaps a sense of guilt after losing her partner Tommy (Erica Bana) in a freak climbing accident at the beginning of the movie. And on paper, it’s that story of sorrow crossed with the psychological thriller. After all, she meets in those Aussie wilds a fellow outdoors proponent, Ben (Taron Egerton). Alas, he’s also a chap who has read The Most Dangerous Game one too many times, and he has the crossbow to prove it. It’s theoretically lurid adventure story stuff, but in Kormákur’s eye, it’s also an unlikely travelogue guide to the extreme sport scene around the globe.

“I felt Yosemite is maybe a little bit overused, so I wasn’t as interested in that,” Kormákur says of the film’s original setting when the screenplay by Jeremy Robbins first came his way. Initially set entirely in the U.S., beginning with a climbing accident in Yosemite National Park and then transferred to a fictional American river, Apex at one time could’ve looked quite different. However, as a former climber himself, and a director with a firm timetable he could squeeze the film into Theron’s schedule, Kormákur found himself pulled instinctually to the Land Down Under.

“There’s a uniqueness of its nature,” Kormákur muses, “I love that. Also I felt  that [you gain a lot] when you cast Eric Bana as the lover, and that she was going through her grief by going to a country that she is not at home in.” Finally, though, it just made sense with the time of the year. “It was informed by the fact that we had to shoot this during the winter months and we couldn’t do that in a cold place. So we needed to find something in the Southern Hemisphere.”

Initially, there was talk of trying to pass Australia off as parts of the North American landscape, but ultimately the production leaned into the loneliness of Sasha being a stranger in a strange land, especially when she realizes she’s alone with a killer.

It adds to the story but also the extremity of the shoot. Theron did many of her own stunts in the film, including jumping off a waterfall in vivid wide-shot, as well as plenty of the rafting. The director also insists almost all of the climbing seen in the film is Theron. But by Kormákur’s own admission, he’s a bit past the days where he does everything he asks his lead actors to do; “I used to be that guy, let’s put it that way, and I would do that, but she wasn’t asking me.” Nonetheless, the movie itself became an extreme sport in its own right for the people making it.

“When I was scouting, I did some of the swimming because we’re going to places we couldn’t get to anywhere else,” the director explains. “And at the end of the day, we had the whole crew swimming with us to locations, because there is no other way to get there.”

Indeed, there was a particularly isolated cavern in which Ben corners Sasha at one point, and the only way in or out was through. And under. This was achieved by dropping some supplies by helicopter and limiting the rest of the crew to only 40 people. Still those 40, plus Theron and Egerton, had just one way to get to work.

“When you have the crew and the actors doing that, then the hardest part is done, because everyone is now like, ‘Oh let’s get this done,’ because they’re already in it so deep. They’re getting raw and real.”

Kormákur suggests he doesn’t go out looking for dire adventure stories like Everest or Apex. He’s in fact offered many scripts in this milieu that he turns down. But every once in a while, one especially triggers the imagination when it goes beneath the surface, and into those deep, cavernous places of the mind.

“I could see the metaphor for what it could be,” he says of Apex, “a punishing journey of going through purgatory after doing something that you feel you can’t get over, and you blame yourself for in a way. And I think we go to the deepest places.”

The metaphor and meaning of the film changed organically once Theron, Egerton, and the director were all onboard. The desire wasn’t just to move from the U.S. to Australia, but to strip the characters to a nigh primordial place.

“I felt the [lonely grief] was enough to keep us interested in who she is,” Kormákur says. “Whether she’s a lawyer or a doctor did not necessarily inform how she’s going to react to this situation. So there was a choice of not indulging too much in that. That was also what Charlize was adamant about, she didn’t want to start getting deeply into backstory. She wanted to keep it forward, moving.”

That momentum led to a vision that is both more intimate and global. Which again belies the digital tourism of it all.

“That’s what brought us to the Troll Wall [mountain] in Norway,” Kormákur posits about the film’s dramatic opening. “I wanted to get the contrast of the two different places, because these people who live this kind of life and do this kind of thing, they’re all over the world. There are no borders in their experiences. They’re in Germany, they’re in Pakistan, and you know, they’re in the most crazy places doing this. So I wanted to give you a little bit of a feeling of that.”

Even in stories of life or death, you need to give audiences an idea for their own next (hopefully) safer adventure.

Apex is playing now on Netflix.

Widow’s Bay Review: A Sweet and Scary Horror Story That Feels Completely Original

This Widow’s Bay review is Spoiler-Free.

Widow’s Bay is a series that defies easy description. (That’s a compliment, by the way.) Part workplace comedy, part trope-filled horror story, and part love letter to the power of community and found family, it’s a show that’s honestly quite unlike anything else that’s on TV right now. It’s ten-episode first season mixes surprisingly frightening scares with sharp, biting humor and follows a cast of colorful, quirky weirdos who are as complicated and compelling as any on Apple TV’s roster of hard-to-pin-down comedies and genre-bending dramas. (Widow’s Bay is such an Apple series, and that’s also a compliment.)

Set on a picturesque island off the coast of New England, the town of Widow’s Bay looks like something out of a magazine ad, and its remote, vaguely timeless off-the-grid feel is a big part of its appeal for those who live there. (Its residents don’t have Wi-Fi or cell service, truly the dream!) Its well-meaning, if slightly oblivious, mayor, Tom Loftis (Matthew Rhys), is determined to turn his struggling community into the Northeast’s next big tourist hot spot, thanks to a little help from a visiting New York Times reporter.

There’s just one problem: Widow’s Bay is also a town where bad things happen. Its history is spotted with not only storms, dangerous fog, and various maritime disappearances and disasters, but also persistent rumors of strange creatures and dark activities, such as witchcraft and cannibalism. (Not to mention, the occasional priest getting eaten by a whale, according to the framed newspapers at the local historical society.) And, unfortunately for Tom’s larger cultural ambitions, it seems the island is now somehow waking up in all sorts of unexpected supernatural ways.

With some help from the local superstitious town crank, Wyck (Stephen Root), Tom is forced to confront some of Widow’s Bay’s darkest corners, where folklore and ghost stories carry far more weight than logic and history. Director Hiro Murai crafts a fully lived-in vision of the series’ titular town (and, at several points, its dark historic past) that’s packed with visual references to many longstanding horror tropes and franchises, from a Jaws-like beach escape to a creepy masked killer sloooowly stalking a victim through an empty alley, Halloween-style. Creator Katie Dippold’s dialogue is frequently laugh-out-loud funny, but her story smartly forces the show’s characters to reckon with their own internal demons as often as they face off against external frights.

The series is also an endeavour that’s clearly made with both love and respect for the genre it’s part of. The show takes its horror surprisingly seriously. There are plenty of genuine jumps and scares as well as a fair bit of gore, but the show’s scary elements are never played for the kind of laughs that occur so naturally elsewhere. And while Widow’s Bay may poke fun at its idiosyncratic characters and the increasingly outlandish situations they find themselves in, it also never punches down. Instead, it leans hard into the thing that makes all horror stories worth surviving: The people at its story’s center. 

Rhys’s Tom contains surprising multitudes, and his performance strikes a careful balance between earnestness and skepticism, with a bit of unexpected bravery on top. He’s the mayor of a town that he doesn’t always seem to like all that much, but to which he is strikingly and singularly loyal. He’s a devoted single dad to a teenage son (Kingston Rumi Southwick) who seems to be steadily growing apart from him despite his best efforts. He’s afraid of many things, but capable of finding immense courage. And he’s a great boss, if his refusal to fire his objectively terrible employees means anything. As Tom’s forced to face the fact that there’s more to the world of Widow’s Bay than he has ever been willing to fully admit, he must wrestle with the question of how far he’s willing to go to save it. 

Although Apple TV has largely centered Rhys in the show’s marketing efforts, Widow’s Bay is an ensemble piece that gleefully subverts many of the stereotypes associated with the kinds of characters at the center of its story. Caustic assistant Rosemary (Dale Dickey) spends most of her time chain-smoking and sharing tidbits of unwanted gossip about townsfolk’s personal lives. Forgetful secretary Ruth (K Callan) struggles to deliver her boss’s phone messages, let alone recall specifics about who might have stopped by the office and when. Mousy Patricia (Kate O’Flynn) desperately wants to be seen and appreciated by those around her after a lifetime of being told the most traumatic event in her past never happened. And Wyck, in addition to being the designated town weirdo, is also a drunk struggling to manage his addiction. On almost any other show, these are the sorts of characters who would most likely end up as cannon fodder, doomed to die in an early episode to prove the supernatural powers of the island mean business. Here, they form the bedrock of the town’s community. 

While Dickey gets some of this show’s best lines, it’s O’Flynn who emerges as the quiet MVP of Widow’s Bay. Patricia is at the center of not one but two of the season’s best episodes, and her arc is both surprising and deeply satisfying to watch unfold. Similarly, Root finds the humanity in the show’s most objectively (on-paper, at least) ridiculous figure, and the bonds that ultimately form between their characters and Rhys’s Tom is one of the show’s most unexpected delights.

Widow’s Bay isn’t a series that fits neatly into a box. It’s difficult to quantify and/or explain. Some of the twists toward the end of the season strain credulity. (Even for a show that openly features sea hags and boogeymen.) It might be just a smidge too long. But there’s something to be said for a series that’s willing to be as charmingly and openly bizarre as this comedy-horror hybrid that’s determined to march to the beat of its own drum. That’s got to count for something. 

Widow’s Bay premieres Wednesday, April 29, on Apple TV.

15 Massive Hits That Never Won a Major Award

Oftentimes, you hear a song that is just so good it must have won some kind of award. After all, you’re hearing it everywhere, and everyone loves it, so it’s a clear deal. But you’d be surprised how many tracks, even the catchiest ones that won’t leave our head, remain unrewarded.

These are the songs that, at least to our standards, deserve more recognition. No matter if you discovered them on the radio, on an online platform or via recommendation, they are part of our lives and many others. Songs that defined their eras, but aren’t recognized as such.

Mr. Brightside, The Killers

One of the most enduring songs of the 2000s, “Mr. Brightside” has spent years on charts globally and remains a cultural staple. Despite its longevity and massive popularity, it never won a major industry award.

All the Small Things, Blink-182

A defining pop-punk anthem that helped bring the genre into the mainstream, the song achieved major commercial success and radio dominance. Even so, it never translated that impact into a major award win.

Call Me Maybe, Carly Rae Jepsen

A global smash that dominated 2012, “Call Me Maybe” became one of the most recognizable pop songs of its era. Despite multiple nominations and huge sales, it failed to secure an award victory.

Take Me to Church, Hozier

Blending soulful vocals with socially charged themes, the song became an international hit and critical favorite. Despite its reach and acclaim, it did not win a major award at prominent ceremonies.

Closer, The Chainsmokers

Spending 12 weeks at number one, “Closer” was one of the biggest songs of the 2010s. Its dominance across radio and streaming platforms did not result in a significant win.

Party Rock Anthem

A global party hit that defined an era of dance-pop, the song topped charts and became a cultural phenomenon. Despite its reach and staying power, it never won a major award.

Macarena, Los del Río

Known worldwide for its dance craze, “Macarena” dominated charts and pop culture in the 1990s. Its novelty appeal likely contributed to it being overlooked by major awards bodies.

Harlem Shake, Baauer

A viral sensation that reshaped how songs could reach number one, it exploded through internet culture. Despite its historic chart impact, it failed to earn a real win.

Low, Flo Rida

A defining late-2000s club hit, “Low” spent weeks atop the charts and became one of the decade’s biggest songs. Its commercial success did not translate into prestige recognition.

Too Close, Next

A massive R&B hit in the late 1990s, the song dominated charts and radio. Despite its success and influence, it never secured a major industry award.

Just Want to Be Your Everything, Andy Gibb

A chart-topping hit that helped define late-1970s pop, the song achieved widespread success. Even so, it failed to earn a major award despite its popularity.

Physical, Olivia Newton-John

One of the biggest hits of the early 1980s, “Physical” spent 10 weeks at number one. While certainly dominant, it did not secure a major award win.

The Twist, Chubby Checker

A cultural phenomenon that topped the charts in two separate years, “The Twist” remains one of the most influential songs ever. Its impact far outweighs its lack of awards.

Conjuring Kesha

Tik Tok, Kesha

A defining pop hit of the early 2010s, it spent weeks at number one and shaped the sound of its era. Even with its success, it did not win any awards.

Firework, Katy Perry

An era-defining anthem with massive chart success, “Firework” became one of Perry’s signature hits. Even with multiple nominations and strong cultural impact, it did not secure a major award like a Grammy.