X-Men ’97 Revives a Botched MCU Storyline

This article contains spoilers for X-Men ’97 season 2 episode 4.

You might expect the big bad of the X-Men ’97 two-parter “Rise of Apocalypse” to be Apocalypse, the immortal blue-lipped mutant who culls the weak from the strong. The episodes do indeed trace Ancient Egyptian outcast En Sabah Nur’s transformation into Apocalypse, but he isn’t really the villain of the story. Instead, that honor belongs to Rama-Tut, a warlord from the future who came to the past to conquer Egypt.

Ask even the most devoted MCU fan about Rama-Tut, and they’ll probably give you a blank stare. But they have heard of him, just not by that name, something that he acknowledges in the episode. When Xavier demands that Rama-Tut identify himself, he answers (in the deliciously catty voice of John de Lancie of Star Trek: The Next Generation fame), “I  have had so many names, Nathanial, Kang, Victor… Finding one’s self can be so confusing.” And for those who didn’t pick up on it, Rama-Tut exits the episode by pulling on the distinctive purple mask of Kang the Conquerer and returning to the future.

But the moment isn’t just a fun Marvel easter egg. Combined with other nods throughout X-Men ’97, Rama-Tut’s story ties back to a major plot line that the MCU abandoned.

Kang’s Dynasty

Hard as it might be to remember in these days leading up to Avengers: Doomsday, Doctor Doom wasn’t intended to be the primary antagonist of the next Avengers film. Instead, Marvel originally planned to pit Earth’s Mightiest Heroes against Kang the Conqueror, more of an Avengers villain than the Fantastic Four‘s nemesis Victor Von Doom, in a film called Avengers: The Kang Dynasty.

Marvel began laying the groundwork for that movie with the first season of Loki. In that season’s finale, Loki and Sylvie meet the founder of the TVA, He Who Remains, played by up-and-coming actor Jonathan Majors. He Who Remains explains that he formed the TVA to prevent a multiversal war that occurred when variants of himself started traveling across realities. He Who Remains and other variants may be benevolent, but some, he warned, are not.

We met one of those cruel variants in Ant-Man and the Wasp: Quantumania. Kang the Conqueror tries to escape the Quantum Realm and expand his rule to our reality, but he’s thwarted by Ant-Man and his allies. In the movie’s post-credits scene, the Council of Cross-Time Kangs convene to plan a counter-attack, led by variants Immortus, Centurion, and, yes, even Rama-Tut, all played by Majors. Majors played yet another variant in Loki‘s second season, helping Loki and Mobius M. Mobius restore the timeline as the kind and retiring Victor Timely.

And then Kang and his variants disappeared. Why? Not because of the heroics of Ant-Man, Loki, or any Avenger, but because of misbehavior by Majors himself. After being charged with assault, Majors was dropped from his contract with Disney, and Kevin Feige changed directions, casting Robert Downey Jr. as Doctor Doom and replacing The Kang Dynasty with Doomsday, never to mention Kang again… until now.

The Cross-Show Kangs

Of course, it makes sense for Rama-Tut to bring up Kang in X-Men ’97. The series prides itself on its deep-cut comic book references, and Kang has been a variant of Rama-Tut (who was introduced as a separate character in 1963’s Fantastic Four #19) since his first appearance in Avengers #8 from 1964.

But X-Men ’97 doesn’t just gesture toward the comics. Instead, it embraces the MCU version of the character, by integrating some imagery from the live-action universe into the cartoon. The hieroglyphics around Rama-Tut’s throne room recall the figures that He Who Remains used to explain his backstory in Loki, and we see He Who Remain’s symbol, which is also integrated into the TVA’s iconography, on the walls of his fortress.

This isn’t the first time that X-Men ’97 has gestured back to the mainline MCU, nor that the MCU has acknowledged the cartoons. In Doctor Strange in the Multiverse of Madness, Patrick Stewart played less an older version of his character from the X-Men movies, and instead one closer to the Professor Xavier on X-Men: The Animated Series. The same may be true of the version of the Beast who Kelsey Grammer plays in the post-credits scene of The Marvels, and possibly the X-Men slated to show up in Avengers: Doomsday. Storm, as voiced by Alison Sealy-Smith, appeared in a season three episode of What If…, and that series’ overseer the Watcher appears just before the destruction of Genosha in the X-Men ’97 episode “Remember It.”

Taken together, it appears that Kang has returned to the MCU, just in a very different form.

He Who Remains

Even though he seems to serve a relatively minor role in the grand scheme of X-Men ’97‘s second season, Kang the Conquerer deserves a second chance after the Majors debacle. Kang is one of the Avengers’ most compelling foes. Mind-boggling as his backstory (or frontstory, when talking about his futures selves? side story when talking about variants?) might be, Kang presents a unique threat that leads to compelling stories.

Perhaps X-Men ’97 is the first steps on a path to bring Kang the Conqueror back to the MCU, even if it’s in a different form and, yes, with a different name.

X-Men ’97 season 2 streams new episodes every Wednesday on Disney+.

X-Men ’97 Season 2 Episode 4 Review: Fit to Survive

This article contains spoilers for X-Men ’97 season 2 episode 4.

When Magneto first appeared in 1963’s Uncanny X-Men #1, he had one goal, which he declared in Stan Lee’s typically melodramatic dialogue: “To make homo sapiens bow to homo superior!” Throughout the Silver Age, Magneto pursued that goal like any other self-aggrandizing baddie of the era. But when writer Chris Claremont started his transformational 17-year run in 1974, he reimagined Magneto into a more complex person, capable of kindness and empathy as much as he is acts of violence.

That’s a lot harder to do with Apocalypse, the centuries-old first mutant who lives his whole life according to a survival of the fittest ethos. Even when receiving amnesty and joining the leadership of Krakoa in recent years, Apocalypse had the task of beating the ever-loving life out of depowered mutants, so that they could be resurrected with their powers intact. How do you make someone so alien, so single-minded and strange, relatable? That’s the task that X-Men ’97 attempts with its fourth episode, the conclusion of the two-parter, “Rise of Apocalypse Part II,” a task that it achieves with remarkable nuance for a 30-minute cartoon.

On a plot level, “Rise of Apocalypse Part II” continues the previous episode’s plot, focusing on Xavier, Magneto, and the other X-Men in Ancient Egypt. As we recently learned, Mother Askani pulled half the team into the distant past in hopes of preventing En Sabah Nur from ever becoming Apocalypse. Complicating matters is the presence of Rama-Tut, a warlord from the future who has come to conquer the past (before eventually becoming Avengers villain Kang the Conquerer, as seen here). Magneto and Xavier have been trying to En Sabah Nur a better way to use his powers, albeit each through his own conflicting perspective. With the death of his mentor Baal, En Sabah Nur arrives at the breaking point.

It’s no spoiler to say that En Sabah Nur rejects the entreaties of Magneto and Xavier and becomes Apocalypse. Nor is it much of a spoiler to say that he does so by embracing technology brought to him the Celestials, the godlike aliens who the general public knows from MCU entries Guardians of the Galaxy, Eternals, and Captain America: Brave New World. Other episodes from this season have showed us Apocalypse’s reign in the future, and his appearances on the original X-Men: The Animated Series were a highlight.

Yet, “Rise of Apocalypse Part II” works because of the tension it builds between the three central characters, all of whom possess great power and all of whom know that they can shape the world. The debates between them, both verbal and in the form of action set pieces, examine the central question driving every superhero story: who should have power and what should they do with it?

The action set-pieces are, of course, brilliant. X-Men ’97 continues to use its anime influences and Disney budget well, allowing a sequence of Magneto preventing the sentient Ship from destroying a nation feel appropriately epic. They have a fluidity and urgency that couldn’t be achieved on the comic book page, fully justifying the adaptation, even if the plots themselves draw directly from the comics.

Likewise, the series retains all the heightened language of Silver Age comics. Xavier, Magneto, and Apocalypse don’t have conversations like normal humans, nor do they even debate like philosophers at an academic conference. Instead, they shout mottos at one another, declarations that no regular person would ever say, because, of course, they aren’t regular people. Apocalypse’s speech from the original series, “I am the eternal shore; crash against me and be broken!” gets repurposed into both a visual metaphor and a statement of purpose, one that clashes with Xavier’s dream of coexistence and Magneto’s desire for domination. The heightened stakes of superheroes battling for control over history call for heightened language.

A lesser show would crumble under those stakes, which is why most series wouldn’t even attempt it. Part of the joy of X-Men ’97‘s first season came from the way it unabashedly showed the endless hatred that the ruling classes have for minorities, mirroring our real-world in vibrant, four-color fashion. The first episodes of the season seemed to lack that relevancy, but they’re back here in episode 4. Apocalypse’s belief that security comes through the rule of the strongest can be found on certain television news networks and YouTube channels, in language that isn’t so different from the supervillains here.

That relevance might be the most impressive part about “Rise of Apocalypse Part II.” As much as it shows us why Magneto wants to conquer the world, and shows us how a human being might embrace a “Survival of the Fittest” ethic, it also reminds us that only bad guys think that way, that only a villain would choose violence over kindness.

X-Tra Thoughts

  • Although I acknowledged Gates McFadden voicing Mother Askani in the first batch of episodes, I neglected to praise her Star Trek: The Next Generation co-star John de Lancie’s work as Rama-Tut here. Yes, he’s once again playing a capricious trickster with seemingly endless power, but can you name anyone who does it better?
  • I really love how cleanly drawn all the side characters are. Beast hasn’t had much to do in these first few episodes, but he makes his moments count. Shouting “Oh my heavens!” when he figures out that the temple is Ship was enough to tide us over until his next big scene.
  • Conversely, I’d be glad if Rogue sits in the background for this season. She got a lot of screen time in season 1, and with good reason. But giving her space to mourn Gambit would also let the show pay attention to some of the other characters and give us a chance to miss her.
  • Professor Xavier sure is a jerk in those last moments, huh? Yeah, he’s mad because Apocalypse just killed the love of his life, but even then, supporting infanticide? It’s almost like there’s an evil voice in his head… maybe fallout from his decision to strip the evil out of Magneto last season? Maybe something that could lead to an Onslaught?

X-Men ’97 season 2 streams new episodes every Wednesday on Disney+.

Children of Blood and Bone Controversy Reveals the Perils of Adaptation

A major movie adaptation of a buzzy YA book series is set to arrive in theaters on January 15, 2027 but it will do so without the enthusiastic participation of its author. 

Tomi Adeyemi published Children of Blood and Bone, the first book in her “Legacy of Orïsha” series, in March 2018 and it quickly became a canon #BookTok fantasy favorite. The novel follows heroine Zélie Adebola as she lives under a corrupt monarchy that kills her mother and destroys the presence of magic in Orïsha. Zélie works to restore magic back to her kingdom and rebel against the oppressive monarchy.

The novel has all the makings for a fantasy sleeper hit, with its loyal fandom, unique magic system, and celebration of Black culture. The film – directed by Gina Prince-Bythewood and starring Thuso Mbedu (Mufasa), Amandla Stenberg (The Hate You Give) Cynthia Erivo (Wicked), Viola Davis (The Woman King), Damson Idris (Masters Of The Universe), and Regina King (Shirley) – has the potential to expand the fandom and further the Legacy of Orïsha franchise.

But when the cast and crew of the film adaptation showed sneak peeks at CinemaCon back in April, the previously-involved Adeyemi was noticeably absent, according to Deadline. Then, on July 4, Adeyemi took to TikTok to clarify why she no longer promotes the project on her social pages. In the video she provided screenshots of texts from her instagram channel stating, “There is a reason I will not post anything about the adaptation of my book” along with “I have not seen the film, and I will not watch it.” She also shared a text message she sent to Stenberg [set to play Princess Amari], “Do not ever use my name in an interview or a video ever again. Do not text me. Do not call me.” 

The screenshot shows that Adeyemi had blocked Sternberg after sending this message back in February 2025. Around that time Stenberg posted a TikTok video addressing the colorism allegations over her casting in the movie. Stenberg discusses going to dinner with Adeyemi and claims that Adeyemi took inspiration behind the racist backlash Stenberg received for her role as Rue in The Hunger Games for this book series. Stenberg deleted this post from her TikTok page. 

The specific details that influenced Adeyemi’s full departure from the project are unknown but is possibly a dispute over her involvement in the film’s script. The Hollywood Reporter previously reported on her win in the fight to write the screenplay amid the film’s shift from Lucasfilm to Paramount back in 2022, a shift Adeyemi heavily advocated for after Lucasfilm continually denied her request to write the script. When signing with Paramount, her writing the screenplay was reportedly a nonnegotiable term. Adeyemi posted multiple TikToks in March and April of 2025 sharing sneak peeks into her “life as a writer whose books are being turned into movies” seeming to be heavily involved and excited for the film. This makes her departure from the film unexpected for fans. Decisions must have been made between 2025 and now that made Adeyemi unhappy with the outcome of this film. 

Today, Adeyemi posted another TikTok following stating that “Everything that has been occurring has been occurring behind the scenes since I was 24 years old. Young gifted child + Hollywood + massive capital interests = tragedy always. Add dark skin + natural hair and you have even more people who will do whatever they can to destroy you.” 

The struggles of book to movie adaptations are not unique to Adeyemi, and many authors have historically been left unhappy or excluded from the production of their book’s take on film. When asked in 2004 if the 2003 adaptation of A Wrinkle in Time met her expectations, author Madeleine L’Engle  replied, “Oh, yes. I expected it to be bad, and it is.” 

Stephen King, an author who is no stranger to book adaptations, famously disowns The Shining despite it being a fan favorite. King had written a screenplay of The Shining but told The Paris Review  “I doubt [Stanley] Kubrick ever read it before making his film.”

The processes of writing a book and producing a film are vastly different, sometimes making it hard for film producers and authors to completely mesh in these projects. The editing of a screenplay is also often more collaborative than a novel. The original script is edited heavily by multiple different aspects of the filming process like improv scene cuts, and the stakeholders involved are motivated by the film’s financial success, making the decisions making processes more of a group task rather than individual. Perhaps Adeyemi’s original screenplay was edited to an extent that she no longer recognized it as her own work, leading to her decision to remove herself from the promotion of the film and the people involved in the project. 

Adeyemi clarified in her TikTok comments, “I do not mind anyone going to watch the film. I wrote this for us. I fought for us. I’m just laying down my sword and officially separating my name because I can’t keep being hurt and attacked behind the scenes.” 

Gail Daughtry and the Celebrity Sex Pass Review: Good Wholesome Hollywood Filth

Los Angeles lives at a weird intersection in the American psyche. Located somewhere near the second star to the right and straight on till Gomorrah, it’s a fantasy land that’s birthed more than a century of our greatest dreams, as well as most shameless thirst traps. It’s R-rated Oz full of sunshiny citadels, friendly folks of good cheer, and idols of relentless sex appeal. It is, in other words, ridiculous nonsense.

So leave it to writers David Wain and Ken Marino, the maximalist absurdists who between them gave the world Childrens Hospital, They Came Together, and Wet Hot American Summer, the latter two of which Wain directed, to pinpoint the epicenter of this contradiction in Gail Daughtry and the Celebrity Sex Pass. Like the title suggests, the movie is going to have its way with the quirk of fame-worship that causes some couples to create “sex passes” where cheating is theoretically condoned, provided it’s consummated with your greatest celebrity crush.

Take Zoey Deutch’s wholesome and chipper Gail Daughtry (emphasis on writing both names together, always). She has one such pass based on her adolescent crush on Jon Hamm. Presumably it came from binging Mad Men a few too many times in adolescence. But the teenage dream must become a reality when she discovers her doofus fiancé, Tom Soursap McNoodleman (Michael Cassidy), actually was able to sleep with his last-minute celebrity crush when she comes to their small, podunk Kansas town on a book tour (no spoilers as to who that celebrity is).

In the aftermath of this betrayal, plucky Gail Daughtry™ tags along with her sassy BFF Otto (Miles Gutierrez-Riley) to the City of Angels. They’re technically here because Otto is supposed to attend a hairdresser convention, but the only strands getting cut are the obstacles in Gail Daughtry’s way to save her impending marriage by getting hot and heavy with Mr. Don Draper… who yes, does appear in the film while playing an aloof and silver-foxed variation of himself.

The pretext of Gail Daughtry is the obvious silliness of the “celebrity sex pass” concept, but the actual joy of the movie comes from unadulterated silliness, full-stop. Like Wet Hot American Summer mocking teenage sex comedies of yore by casting a lot of late 20s and thirtysomethings as camp counselors in 2001—making their encore prequel series shot more than a decade later even more delicious—Gail Daughtry is flush with self-awareness and mirthful absurdity. It’s a movie that begins with Gail Daughtry’s mailman (and stalker?) staring directly into the camera to explain why she is his favorite person in their two-horse town. And like another Kansan who found herself in a magical land, Gail Daughtry’s adventure eagerly becomes about a young woman and her sidekick meeting a collection of enthusiastic helpers and tag-alongs who can think of nothing better to do than aiding in Gail Daughtry’s need to do the deed with the Wizard of Sterling Cooper.

There’s Caleb (Ben Wang), the young and hungry administrative assistant at real-life talent agency CAA. He is only too happy to risk his career and open the company’s files to find Hamm’s local abode; there is also Vincent (Marino), a former paparazzo photographer whose career faded to ashes when he failed to land a photo of AMC’s biggest star 15 years ago; and then of course remains none other than Mad Men co-star John Slattery, brilliantly playing a version of himself as a craven hanger-on who has lost all sense of confidence and identity after Hamm ghosted him by refusing to answer Slattery’s roughly 5,000 texts in the last decade.

If it wasn’t obvious from Gail Daughtry and Otto’s names being virtual anagrams for Dorothy Gale and Toto, this is a literal Tinseltown reworking of The Wizard of Oz, complete with Slattery as the Cowardly Lion. It’s also a love letter to, if not the real-life LA, then that shallow, merrily lascivious version daydreamed by so many tourists fresh off the bus. In fact, Gail and Otto’s own veritable fairy godmother is a concierge at a Hollywood Hills hotel who is thrilled to recommend these yokels to some of the finest local cuisine in the neighborhood (McDonald’s), an authentic artisanal coffee shop (Starbucks), and a back alley where happy endings and dreams really do come true (a crackhead who will do anything for $5 a pop). Ms. Daughtry and Otto cheerfully partake in each of these recommendations during a sprightly montage sequence.

It’s all balanced precariously on the edge between indulgent farce and twee camp, but it never really falls too far in either direction thanks in large part to winsome cast, most especially Deutch. As an actress with oodles of charisma and a game fearlessness when it comes to risking the appearance of inanity, Deutch pours just enough rainbow optimism into the center of the movie to blind out the occasional jokes that don’t work. As with any other mile-a-minute comedy, there are more than a few gags that come and go with nary a chortle, but there are about two bits to every one that hit right in the belly.

Gail Daughtry and Celebrity Sex Pass is slight, frivolous, and more often than not wickedly funny with its navel-gazing mockery of the entertainment industry, inside baseball winks and nods that will play like gangbusters in New York and LA, and its endless parade of actual celebrity cameos and friends whom Wain has cracked open the rolodex of favors for. Look out for his Wanderlust muse Jennifer Aniston in one scene, and Wet Hot American Summer alums Paul Rudd and Elizabeth Banks in others. There is finally that appropriately enigmatic Jon Hamm as the inevitable straight man rock upon whose shores Gail Daughtry and her tidal wave of insanity and sidekicks must eventually crash. 

That’s Hollywood hokum at its finest, and fairy dust that will give you a case of the giggles.

Gail Daughtry and the Celebrity Sex Pass premiered at Tribeca on June 10 and opens nationwide on July 10.

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
Tuesday, July 7Better Late Than SingleNetflix
Wednesday, July 8I’m Not AfraidNetflix
Wednesday, July 8Thunder 3Netflix
Wednesday, July 8Salcedo, Leather, and BoogalooNetflix
Wednesday, July 8Trying Season 5Apple TV
Thursday, July 9Little House on the Prairie Season 1Netflix
Thursday, July 9The Man Will Burn (9:00 p.m.)HBO
Thursday, July 9The Five Star WeekendPeacock
Saturday, July 11The Apartment JobNetflix
Sunday, July 12Live Is Blind UK: After the AltarNetflix
Sunday, July 12The Westies (9:00 p.m.)MGM+
Monday, July 13Hot Ones: Extra HeatNetflix
Monday, July 13Rabbit HoleHulu | Disney+
Tuesday, July 14Quarterback Season 3Netflix
Wednesday, July 15The Ultimatum: Marry or Move On Season 4Netflix
Wednesday, July 15Ride or DiePrime Video
Wednesday, July 15LuckyApple TV
Thursday, July 16The HawkNetflix
Friday, July 17The East PalaceNetflix
Friday, July 17The Map of LongingNetflix
Saturday, July 18Spooky in LoveNetflix
Monday, July 20King of the Hill Season 15Hulu
Wednesday, July 22Elite ForceNetflix
Thursday, July 23Kaulitz & Kaulitz Season Season 3Netflix
Thursday, July 23Ransom Canyon Season 2Netflix
Thursday, July 23Stuart Fails to Save the Universe (9:00 p.m.)HBO Max
Sunday, July 26President Curtis (11:30 p.m.)Adult Swim
Sunday, July 26The Walking Dead: Dead City Season 3 AMC
Monday, July 27FuriousHulu
Wednesday, July 29Final ProjectNetflix
Wednesday, July 29WrathNetflix
Wednesday, July 29Diarra from DetroitParamount+
Thursday, July 30The Bombing of Pan Am 103: Limited SeriesNetflix
Sunday, August 2Lioness Season 3Paramount+
Monday, August 3Futurama Season 14Hulu
Wednesday, August 5Ted Lasso Season 4Apple TV
Wednesday, August 5The Shards (9:00 p.m.)FX | Hulu
Friday, August 7Alley CatsNetflix
Sunday, August 9The Chosen in the Wild with Bear GryllsPrime Video
Wednesday, August 12Reacher Season 4Prime Video
Thursday, August 13Tires Season 3Netflix
Sunday, August 16LanternsHBO Max
Thursday, August 20Outer Banks Season 5Netflix
Wednesday, August 26One Hundred Years of Solitude: Part TwoNetflix
Tuesday, September 8The Drop: A Snowfall Saga (9:00 p.m.)FX
Wednesday, September 9Last SeenApple TV
Wednesday, September 9The Paper Season 2Peacock
Wednesday, September 16NeagleyPrime Video
Wednesday, September 16Slow Horses Season 6Apple TV
Wednesday, September 16South Park Season 29 (10:00 p.m.)Comedy Central
Thursday, September 24A Different WorldNetflix
Thursday, October 15Crystal LakePeacock
Wednesday, October 21The Terminal List Season 2Prime Video
Friday, October 23Lupin Part 4Netflix
Wednesday, November 11The Lord of the Rings: The Rings of PowerPrime Video
Thursday, November 12The Good DaughterPeacock
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.

Avatar Aang Trailer Only Makes Paramount’s Theatrical Dodge Even More Frustrating

The Last Airbender has returned… just not in the way you wanted. For those who did not watch the full movie that recently leaked online, the trailer for Avatar Aang: The Last Airbender was fan’s first chance to catch up on Aang, Katara, Sokka, and Zuko, several years after the end of the hit series Avatar: The Last Airbender (but before the sequel series, The Legend of Korra).

The trailer looks gorgeous, filled with character moments and dazzling action. It sees the core characters, now young adults, finding Tagah, a frozen Airbender voiced by Dave Bautista. Tagah offers Aangs the possibility of reviving his lost culture—provided they can recover a hidden relic before a group known as the Denied can locate it. It’s a perfect plot for a feature adaptation of a beloved television series. But it will have to stay on television, because Paramount once again prioritizes its flagging streaming service over the theatrical experience.

At first glance, Paramount has been a consistent presence in movie theaters. Just last year alone, the studio put everything from small genre films such as Heart Eyes and Friendship in theaters, alongside bigger plays, such as Mission: Impossible—The Final Reckoning and The Running Man. But the studio continues to push Paramount+, trying to grow the streaming platform beyond its myriad Yellowstone and Star Trek offerings. Movies such as Pet Sematary: Bloodlines, Dear Santa, Apartment 7A, and Vicious skipped theaters altogether.

One might understand why those movies would get the streaming treatment. A holiday kid’s movie and a couple of mid-tier horror flicks seem like the sort of thing that Netflix and HBO Max use to fill out their libraries. But as the runaway success of Backrooms and Obsession has demonstrated, there’s a hunger to watch small-scale horror movies in theaters, especially when made by filmmakers as talented as Apartment 7A‘s Natalie Erika James and Vicious‘s Bryan Bertino.

Despite that fact, Paramount clearly sees streaming as a place for films that don’t have an audience, given that it still puts low-prestige flicks with strong fan support into theaters, such as the recent Scary Movie reboot, Jackass: Best and Last, and the upcoming Paw Patrol: The Dino Movie. By sending Avatar Aang straight to streaming, Paramount signals to its longtime fans that they aren’t as important, that the beauty and artistry of the story doesn’t matter if the film can’t guarantee a certain box office return.

The decision is annoying for Avatar fans. It’s downright horrifying for lovers of cinema. Paramount, of course, has purchased Warner Bros., combining two of the oldest and most respected studios in all of Hollywood, two of the studios that helped make movie theaters into a cornerstone of our culture. Amidst fears of monopolies and another media hub being owned by openly-right-wing billionaires, our one silver lining was the fact that Paramount at least understood theaters, unlike its competition in the Warner Bros. bidding war, Netflix. Yet, if Paramount treats a franchise as beloved as Avatar like streaming fodder, then it clearly doesn’t think theaters are all that important.

Judging by the trailer, Avatar Aang will be an incredible visual experience. But maybe its story will also offer hope that, even after those in power make horrible decisions that destroy the culture, something can be eventually recovered.

Avatar Aang: The Last Airbender streams on Paramount+ on October 9, 2026.

The Walking Dead’s Most Essential Negan Episodes

As The Walking Dead: Dead City continues its story with a third season on AMC, we’re bringing you a comprehensive guide to the most essential Negan Smith episodes.

Looking back on Negan’s Walking Dead journey to date, the reformed villain has been the focus of some incredible franchise installments, from his introduction as the baseball bat-wielding leader of the Saviors to his current position at Maggie Greene’s side, as the pair navigate their ongoing survival in an apocalyptic New York and beyond.

Over the years, Negan has earned his place as one of The Walking Dead’s most enduring and compelling characters. Let’s rewind and remember how he became one of the main protagonists in a new era of the beloved franchise.

“The Day Will Come When You Won’t Be” 

Season 7 Episode 1

Although Negan (Jeffrey Dean Morgan) already made his first appearance in The Walking Dead’s season 6 finale, he finishes his deadly game of “Eeny… meeny… miny… moe” in the season 7 premiere, “The Day Will Come When You Won’t Be.” This is where we see how far Negan is willing to go to make a point, and how much violence he is ready to dish out. Having already killed Glenn and Abraham, Negan isn’t satisfied that Rick is scared enough of him and seeks to utterly break Rick so he will succumb to him completely.

“You answer to me, you provide for me, you belong to me, right?” he asks Rick after almost forcing him to cut off his own son’s arm. When Rick agrees, most of the group are finally allowed to depart, but Glenn’s wife Maggie will never be the same again. The act of killing Glenn will kick-start one of the show’s longest beefs between Negan and Maggie and also one of its longest redemption arcs, as character after character has to ask themselves whether Negan can ever possibly be forgiven for his reign of terror.

“The Big Scary U”

Season 8 Episode 5

“The Big Scary U” is the first episode to try to humanize Negan rather than portray him as a more one-dimensional villain. The installment starts with Negan dismissing a plan from his Savior subordinates that would see many of Hilltop’s denizens attacked and killed, telling them that “people are a resource” and that he intends to be more selective and strike at people whose deaths would have the most impact on the group’s morale.

However, when Rick’s group attacks the Sanctuary, Negan’s plans go awry and he gets trapped in a trailer with Gabriel, whom he ends up connecting with. He also reveals a key part of his background: he cheated on his wife when she was sick and couldn’t directly kill her after she got bitten. The show will later unveil the finer details of this era in Negan’s past, but in “The Big Scary U,” we begin to understand that Negan has a genuine philosophy (albeit a twisted one): fear creates order. He isn’t just getting off on the pleasure of eliminating anyone who gets in his way; in his mind, he is trying to prevent further bloodshed by using pointed executions that put people in line.

“Wrath” 

Season 8 Episode 16

The season 8 finale of The Walking Dead sees Rick’s army head into what they hope will be a final battle with Negan’s Saviors. Rick and Negan end up going toe-to-toe, with Negan seemingly gaining the upper hand and taunting Rick about his parenting. Even as Negan seems to delight in the opportunity to finally take out his enemy, Rick asks Negan to imagine Carl’s vision for a future where the cycle of revenge finally ends, exploiting his fatherly feelings for Carl and slashing Negan’s neck while he pauses, unsure and gripped by grief for a brief moment.

The slash isn’t enough to kill Negan, and he is saved. Rick suggests that mercy should triumph over wrath, but he demands that everyone stop following Negan’s lead, and he imprisons Negan as a reminder that change is possible. Negan and Maggie definitely aren’t fans of Rick’s decision, but this episode starts Negan on a real path to redemption. It does not quell Maggie’s desire to kill him herself, however.

“Adaptation”

Season 9 Episode 9

In this season 9 episode, Negan quickly takes advantage of the trust that Rick’s young daughter, Judith, has begun to place in him by escaping from Alexandria and heading back to the Sanctuary, where little remains of his dominance. Sensing that his time as a leader and his relevance in general have dissipated, he eventually returns, telling Judith there’s nothing out there for him anymore.

It’s an important step for the character. He no longer feels trapped by circumstance and realizes that he is heading toward an unknown future. The world has simply moved on without him, and the old Negan is firmly in the past. By the end of the episode, he has confronted the truth of his current position and returns to Alexandria, willing to work for any trust the people he’s hurt place in him, rather than exploit it for his own gain.

“Here’s Negan”

Season 10 Episode 22

The Walking Dead’s season 10 finale offers us a long glimpse at the man Negan was before he became a villain. It’s largely considered the best episode about the complex character, and for good reason: by exploring how the tragedy of his wife’s death affected and hardened him, we can see that he is capable of change and that there was once a man inside him who would do anything for love.

After Negan is banished from Alexandria, he is told, point-blank, that Maggie will never forgive him for Glenn’s death. He reflects on his life before the fall as an unemployed, entitled man, and also on his marriage to his faithful wife, Lucille. He betrayed her trust by cheating on her with her best friend at a time when she was being diagnosed with cancer. Though Negan swears he will redeem himself with Lucille, risking everything to keep her chemotherapy going, he ultimately fails.

The circumstances of his marriage and his wife’s tragic suicide plague him in the present, and he returns to Alexandria despite being warned away, understanding that Maggie may kill him and that might be what he deserves. In a way, Negan has given Maggie an open opportunity to be an avatar of his destruction, leaving his fate in her hands just as his wife’s fate was in his. Negan has truly surrendered.

“Walk With Us” 

Season 10 Episode 12

“Walk With Us” marks the start of Negan’s real transition to a potential hero from just a struggling former villain. As Hilltop is overwhelmed by hoards of walkers that the villainous Whisperers have guided to them, Negan uses his influence and connection with their leader, Alpha, to turn the tide in favor of his old foes, slitting Alpha’s throat and bringing her decapitated head to Carol.

The episode uses the audience’s uncertainty about where Negan’s loyalties will ultimately lie after he captures Alpha’s daughter and uses her as a pawn. Negan’s Achilles’ heel has always been his care for children. He was a teacher before the apocalypse and has continued to look out for the likes of Carl and Judith, even when they’ve technically been his enemies. Alpha’s determination to kill her own daughter is simply the last straw in his mind.

A key episode in Negan’s journey, “Walk With Us” is where many of our heroes start to realize that having Negan on their side is a lot better than fighting him, and that there are some lines that he won’t cross.

“Rest in Peace” 

Season 11 Episode 24

The mainline series closes out with Negan leaving our ragtag band of heroes as they celebrate their final victory of the show. Here, he earnestly apologizes to Maggie for killing Glenn, but although Maggie acknowledges Negan’s positive and heroic actions in the years since his crimes against her family, she can’t look at him without reliving the horrors of that day.

After hearing this, Negan accepts that he must leave the group so Maggie can find peace. He departs as Daryl gives him a nod of respect. Negan has earned their trust, and while he will never be forgiven or excused for his past actions, he has fought at their side and become a changed man, much more selfless and willing to adapt for the greater good.

“People Are a Resource” 

Dead City Season 1 Episode 3

“Talk is cheap anyway, kid. Believe me, I oughta know. It doesn’t matter what people say. It only matters what they do,” Negan tells his young companion Ginny during one of the many flashbacks in “People Are a Resource,” though he might as well be talking to himself as he recommits to being one of the good guys.

Maggie and Negan try to navigate their complex history and work together in this third episode of The Walking Dead spinoff series Dead City, and she also learns that Negan had a new family and sent them away in the hope that they’d be safer without him.

He was potentially quite right to do so, as his reputation as a violent leader continues to haunt him. Negan may have evolved past viewing people as having worth beyond what they can provide as “a resource,” but his old ways still seek to drag him back into the darkness, and it becomes clear that the battle to redeem himself is far from over, especially in Maggie’s eyes.

“Doma Smo” 

Dead City Season 1 Episode 6

Ginny doesn’t want to leave Negan in the season 1 finale of Dead City, so Negan tells her some harsh truths to rebuff her, admitting he killed her father. As Ginny finally departs, Negan is devastated about hurting her so badly, which Maggie notices as the two go to rescue Hershel, Maggie’s son. Once again, it’s obvious that Negan’s instinctive care for children and his desire to protect them make him much more vulnerable than Maggie had imagined, and she feels confident ushering him into a deadly trap in which she trades his life for Hershel’s.

Negan suggests that he expected her betrayal. “The fact is, Maggie, it doesn’t matter what excuses I give you, or how many apologies I offer, you can’t get over it. And you shouldn’t,” he says. But after an argument with Hershel, Maggie realizes that her obsession with Negan has damaged her relationship with her son, and she starts a new chapter in her life.

While this is an important part of Maggie’s journey in The Walking Dead franchise, her trade with the violent Burazi group also forces Negan to confront the reputation he once created for himself as a violent leader, as the group looks to get him back on that diabolical track.

New Netflix Data Suggests the Streamer Has a Season 2 Problem

Many of us have been disappointed when Netflix decided not to renew one of our favorite new TV shows for a second season. 1899, Archive 81, Kaos, and I Am Not Okay with This were all “one and done” for the streamer despite plenty of story left to tell, and just last month, popular sci-fi series The Boroughs was added to the list. But even some of the shows that have been lucky enough to be granted second seasons seem to be an issue for Netflix at the moment.

A new Bloomberg report digs into a persistent Netflix trend that probably won’t give the streaming service any reason to celebrate: while it might have hoped viewership would grow with fresh seasons of its hit shows, that hasn’t been the case recently. Data from the streamer reveals that One Piece season 2 dropped more than 30% of its season 1 audience. A second serving of Beef lost 70%, and The Night Agent hasn’t fared well either. Season 2 of that thriller series lost 50% of its viewers, and season 3 took another 35% hit, while Avatar: The Last Airbender reportedly lost 60% of season 1 viewers in the first week of season 2’s release. Running Point and The Four Seasons also halved their audiences with season 2.

With only a general look at how some second seasons have fared in the first four weeks of release and without more detailed viewing figures from Netflix (which it typically doesn’t share), we can only speculate about why it’s experiencing a season 2 slump. Was the popularity of a first season down to audiences “trying out” a new show, only to fall off after a few episodes and never return? Was the gap between seasons too long? Did they find something better to watch, and perhaps just add season 2 to their list for the future? Was the ending of season 1 exciting enough to keep viewers interested until season 2? Had the second season been well received or decently marketed? All questions that the people behind the scenes at Netflix will probably ask themselves and each other at some point.

It’s possible that if the season 2 trend continues, Netflix might invest in more limited series. Bloomberg’s report notes that the Jon Bernthal-starring thriller His & Hers was a breakout hit for the streamer, as was Harlan Coben’s latest limited-series mystery, I Will Find You. In the past, Mike Flanagan provided the streamer with a string of intriguing limited series in the horror genre, such as Midnight Mass and The Haunting of Hill House, before hopping into a shiny new deal with Amazon MGM Studios. The Duffer Brothers also delivered a quick, limited-series hit for Netflix with Something Very Bad Is Going to Happen before they drifted into Paramount’s arms. And we all know how big Adolescence was.

So let’s turn it over to you as a viewer. What was the last Netflix series that you were hyped for a second season of? And what was the last series you decided to quit after season 1? Tell us in the comments!

14 Actors Who Somehow Ended Up in Every Franchise

A franchise often follows a strict timeline, meaning that actors can come back and play the same character even if said character isn’t a main one. It’s a way to give continuity to a world, so if you’ve seen every movie in the series, you’ll get more out of it.

Some faces in a franchise are iconic, like Robert Downey Jr. and his portrayal of Iron Man. Other famed actors tend to pop up more than you’d expect, ending up in so many things they seem to want to be part of everything. These are the performers that keep popping up in cinema.

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Samuel L. Jackson

Samuel L. Jackson has appeared in the Marvel Cinematic Universe, Star Wars, Jurassic Park, Shaft, Kingsman, The Incredibles, and the Unbreakable trilogy. Few actors can match his blockbuster franchise résumé.

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Harrison Ford

Harrison Ford became an icon through Star Wars and Indiana Jones, later joining Blade Runner, The Expendables, and the Marvel Cinematic Universe. He’s been a fixture of blockbuster franchises for nearly five decades.

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Zoe Saldaña

Zoe Saldaña has played major roles in Avatar, Star Trek, the Marvel Cinematic Universe, and Pirates of the Caribbean. She’s helped launch or expand several of the highest-grossing franchises in cinema history.

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Andy Serkis

Andy Serkis became legendary through The Lord of the Rings, Planet of the Apes, Star Wars, and the Marvel Cinematic Universe. His motion-capture performances helped redefine blockbuster filmmaking.

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Idris Elba

Idris Elba has appeared in the Marvel Cinematic Universe, Star Trek, Fast & Furious, and even Sonic the Hedgehog. Whether live action or voice acting, he seems to appear everywhere.

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Christopher Lee

Christopher Lee’s remarkable career included Star Wars, The Lord of the Rings, and James Bond. Few actors successfully bridged so many beloved franchises across multiple generations.

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Hugo Weaving

Hugo Weaving has left his mark on The Matrix, The Lord of the Rings, Transformers, and Marvel through Red Skull. His commanding voice and presence make him a natural franchise favorite.

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Karen Gillan

Karen Gillan has become a familiar face through the Marvel Cinematic Universe, Jumanji, and Doctor Who. She has quietly assembled one of Hollywood’s strongest modern franchise careers.

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Oscar Isaac

Oscar Isaac has appeared in Star Wars, Dune, Marvel’s Moon Knight, Spider-Man: Across the Spider-Verse, and X-Men. He regularly moves between some of the industry’s biggest genre properties.

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Ming-Na Wen

Ming-Na Wen has earned the nickname “Queen of Franchises” thanks to roles in Star Wars, Marvel, Mulan, and The Karate Kid. Her career spans animation, superheroes, and science fiction alike.

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Benedict Cumberbatch

Benedict Cumberbatch has starred in the Marvel Cinematic Universe, Star Trek, The Hobbit, and voiced characters in major animated franchises. He has become one of modern Hollywood’s most dependable blockbuster actors.

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Michelle Yeoh

Michelle Yeoh has appeared in Star Trek, James Bond, Kung Fu Panda, Transformers, and Avatar. Her versatility has allowed her to move effortlessly between action, science fiction, animation, and fantasy franchises.

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Keanu Reeves

Keanu Reeves has anchored The Matrix, John Wick, and Bill & Ted, while also appearing in Toy Story and the wider Sonic the Hedgehog film universe through Shadow the Hedgehog. Few stars have led so many enduring franchises.

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Cate Blanchett

Cate Blanchett has appeared in The Lord of the Rings, Marvel, and Indiana Jones. Her ability to move between prestige dramas and massive franchises has kept her in constant demand.

15 Celebrities Who Became Unexpected Nerd Icons

Just appearing in nerd media doesn’t make a celebrity a nerd icon. Their performances are appreciated and celebrated, sure, but an icon represents a community and shares their interests earnestly. We nerds tend to be more on the introverted side, so seeing extroverts like actors be into what we like is always a nice surprise.

However, these icons don’t just enjoy our hobbies, they make them part of their everyday lives. As much as they stay visually and physically fit for their roles, they also enjoy spending afternoons gaming and having their own D&D groups, becoming unexpected icons of the fandom.

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Henry Cavill

Henry Cavill became a nerd icon through his genuine love of PC gaming, Warhammer 40,000, and The Witcher. He famously nearly missed the call offering him Superman because he was playing World of Warcraft.

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Vin Diesel

Long before geek culture became mainstream, Vin Diesel openly embraced Dungeons & Dragons. He has played for decades, wrote the foreword to a D&D anniversary book, and even based aspects of The Last Witch Hunter on one of his campaigns.

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Robin Williams

Robin Williams was an enthusiastic gamer who loved video games, tabletop gaming, and fantasy. His admiration for The Legend of Zelda was so great that he named his daughter Zelda, cementing his status among gaming fans.

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Joe Manganiello

Joe Manganiello became one of Hollywood’s biggest ambassadors for Dungeons & Dragons. He has hosted celebrity campaigns for years, collected rare memorabilia, and frequently speaks about the game’s influence on his life.

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Stephen Colbert

Long before hosting late-night television, Stephen Colbert developed an encyclopedic knowledge of Tolkien’s works. His passion for Middle-earth has repeatedly impressed authors, filmmakers, and even lifelong fans of The Lord of the Rings.

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Megan Fox

Despite her glamorous public image, Megan Fox has openly discussed her love of comic books, anime, fantasy, and video games. Her enthusiasm for geek culture surprised many fans and helped reshape perceptions of celebrity fandom.

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Felicia Day

Felicia Day built an entire career around celebrating geek culture. Through The Guild, gaming communities, streaming, and tabletop role-playing, she became one of the most recognizable faces associated with modern nerd entertainment.

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Terry Crews

Terry Crews surprised fans by openly discussing his lifelong passion for video games. His energetic enthusiasm for franchises like World of Warcraft and his willingness to embrace gaming culture earned widespread admiration among players.

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Brie Larson

Brie Larson’s genuine enthusiasm for Nintendo games, Animal Crossing, and streaming gameplay helped her connect with gaming communities. Rather than treating gaming as a publicity stunt, she has consistently shared it as a personal hobby.

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Deborah Ann Woll

Known for True Blood and Daredevil, Deborah Ann Woll has become a favorite among tabletop gamers. She regularly participates in streamed Dungeons & Dragons campaigns and is respected for both her storytelling and rules knowledge.

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Mila Kunis

Mila Kunis unexpectedly became a gaming icon after revealing she spent years playing World of Warcraft. Although she eventually quit, her candid stories about raiding and online friendships resonated with longtime MMO players.

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Wil Wheaton

Already beloved by Star Trek fans, Wil Wheaton expanded his influence through tabletop gaming. Hosting TableTop introduced countless viewers to modern board games and made him one of geek culture’s most recognizable personalities.

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Rahul Kohli

Rahul Kohli has embraced nerd culture through his outspoken love of Warhammer 40,000, Star Wars, comic books, and gaming. His humorous online interactions have made him especially popular among genre fans.

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Jack Black

Jack Black’s infectious enthusiasm for gaming, fantasy, and pop culture has made him a natural favorite among nerd audiences. He has created YouTube content and streamed the Minecraft game before his work on the movie, showing that his excitement has always felt completely genuine.

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Dolph Lundgren

Best known as an action star, Dolph Lundgren surprised many fans with his impressive academic background in chemical engineering. Combined with his interest in science and technology, he became an unlikely icon among intellectually minded movie fans.

15 Times Movies & Shows Pretended The Confederacy Was Ok

For decades, Hollywood and television often treated the Confederacy as little more than colorful historical scenery or a symbol of rebellious charm. Confederate uniforms, battle flags, and even former Confederate soldiers appeared as sympathetic or heroic figures with little acknowledgment of the institution of slavery that defined the Confederacy itself.

While many of these productions reflected the attitudes of their own eras, modern audiences often view them very differently. These movies and television shows largely present Confederate imagery or characters without meaningfully questioning what those symbols represented.

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Gone with the Wind

The 1939 classic romanticizes the antebellum South through Scarlett O’Hara’s perspective, portraying Confederate characters sympathetically while largely embracing the Lost Cause interpretation of the Civil War and minimizing slavery’s central role.

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The Dukes of Hazzard

The General Lee’s Confederate battle flag was presented as harmless Southern flavor rather than a controversial symbol. The series rarely addressed race or the historical meaning behind the imagery prominently displayed every week.

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The General

Buster Keaton’s silent comedy follows a devoted Confederate railroad engineer as its unquestioned hero. The Civil War serves mainly as an adventurous backdrop, with little interest in examining what the Confederacy was actually fighting to preserve.

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Song of the South

Disney’s controversial film presents an idyllic Reconstruction-era Southern setting while avoiding the realities of slavery and racial oppression. Its nostalgic portrayal has long been criticized for sanitizing the historical context surrounding the Confederacy.

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The Birth of a Nation (1915)

D.W. Griffith’s landmark film depicts the Confederacy sympathetically while portraying Reconstruction as disastrous. Its celebration of concepts that shouldn’t see the light of day has made it one of cinema’s most controversial works.

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The Outlaw Josey Wales

Clint Eastwood’s Confederate guerrilla is portrayed as a sympathetic antihero seeking peace after the war. Although the story condemns violence, it largely avoids confronting the Confederacy’s underlying cause.

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Shenandoah

James Stewart plays a Virginia farmer attempting to remain neutral during the Civil War. While emphasizing the tragedy of war, the film presents Confederate communities sympathetically and spends little time addressing slavery itself.

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The Gray Ghost

This 1957 television series follows Confederate cavalry officer John Singleton Mosby as a heroic protagonist. Produced during the height of the Lost Cause’s cultural influence, it presents him almost entirely as a noble patriot.

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The Littlest Rebel

Shirley Temple stars as the daughter of a Confederate officer during the Civil War. The film affectionately depicts the Confederate family while largely sidestepping the conflict’s deeper moral and political issues.

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The Undefeated

John Wayne and Rock Hudson play former Confederate and Union officers who eventually unite against common enemies. The film emphasizes mutual respect while largely treating the Confederacy as simply another side in the conflict.

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The Blue and the Gray

This 1982 television miniseries attempts to show both sides of the Civil War, but many Confederate characters are portrayed primarily as honorable soldiers, with relatively little emphasis on slavery’s role in the conflict.

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Gods and Generals

Focusing heavily on Confederate commanders such as Robert E. Lee and Thomas “Stonewall” Jackson, the film has been criticized for presenting an overwhelmingly sympathetic view of Confederate leadership and Lost Cause themes.

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The Sun Shines Bright

John Ford’s drama celebrates a small Kentucky community still deeply shaped by Confederate memory. Former Confederate veterans are portrayed warmly, with their wartime service treated more as noble heritage than political rebellion.

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Smokey and the Bandit

The film isn’t about the Civil War, yet Confederate imagery appears as a symbol of carefree Southern rebellion rather than its historical association with slavery. That treatment helped normalize the flag in popular culture.

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The Rebel

Nick Adams stars as a young Confederate soldier in this 1959 television western. The series presents his military service as an honorable backdrop for frontier adventures, rarely questioning the cause he originally fought for.

15 Historical Figures Who Sound Completely Fictional

History is filled with people whose lives seem too strange, dramatic, or unbelievable to have actually happened. We’re talking about feats that sound like they belong in an adventure novel, or careers so unusual that they’d be dismissed as unrealistic in a movie script.

Yet every one of these individuals was real, leaving behind stories that continue to fascinate historians centuries later. Their accomplishments, eccentricities, and unbelievable experiences prove that truth really can be stranger than fiction. These historical figures lived lives so extraordinary that they almost sound like characters someone invented.

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Julie d’Aubigny

French opera singer Julie d’Aubigny, also known as La Maupin, famously fought duels, wore men’s clothing, and reportedly rescued a lover from a convent by setting part of it on fire before escaping with her.

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Jack Churchill

British Army officer Jack Churchill entered combat during World War II carrying a longbow, bagpipes, and a Scottish broadsword. Nicknamed “Mad Jack,” he believed an officer was improperly dressed without his sword.

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Diogenes of Sinope

The ancient Greek philosopher Diogenes rejected wealth and convention, reportedly lived in a large storage jar, and famously told Alexander the Great to stop blocking his sunlight when offered any favor.

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Jeanne de Clisson

After her husband’s execution, French noblewoman Jeanne de Clisson reportedly sold her estates, outfitted ships painted black, and spent years attacking French vessels in pursuit of revenge during the 14th century.

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Adrian Carton de Wiart

Despite losing an eye and a hand while suffering numerous wounds, British officer Adrian Carton de Wiart repeatedly returned to military service. He later summarized his extraordinary career by writing that he had “enjoyed the war.”

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Grigori Rasputin

The Russian mystic Rasputin became a trusted adviser to the imperial family despite humble origins. His influence, controversial reputation, and the dramatic accounts surrounding his death have made him one of history’s most mythologized figures.

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Nellie Bly

Journalist Nellie Bly revolutionized investigative reporting by feigning insanity to expose conditions inside a mental institution. She later traveled around the world in just 72 days, inspired by Jules Verne’s famous novel.

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Khutulun

Mongol princess Khutulun was renowned for her wrestling ability and reportedly declared she would only marry a man who could defeat her. According to tradition, none succeeded, leaving her with thousands of horses.

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Timothy Dexter

American businessman Timothy Dexter became wealthy despite making a series of seemingly absurd business decisions. Many of his improbable ventures unexpectedly proved profitable, helping cement his reputation as history’s luckiest eccentric merchant.

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John “Liver-Eating” Johnson

Frontiersman John Johnson became the subject of legendary tales after reportedly seeking revenge against the Crow following his wife’s murder. His life inspired the 1972 film Jeremiah Johnson, though many stories remain heavily embellished.

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Josephine Baker

Long before becoming a French Resistance agent during World War II, Josephine Baker was an internationally celebrated performer. She later used her celebrity status to transport intelligence hidden in her sheet music.

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Aimo Koivunen

Finnish soldier Aimo Koivunen accidentally consumed an entire supply of stimulant tablets while fleeing Soviet forces during World War II. He survived an astonishing ordeal involving hallucinations, extreme exhaustion, and days alone in the wilderness.

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Stede Bonnet

Known as the “Gentleman Pirate,” Stede Bonnet was a wealthy Barbadian plantation owner and former army major who abruptly abandoned his comfortable life, bought a ship despite having almost no sailing experience, and decided to become a pirate.

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Mikhail Kalashnikov

Mikhail Kalashnikov began life as a tank mechanic before designing the AK-47, one of history’s most influential firearms. The unlikely journey from wounded soldier to legendary weapons designer feels more like the origin story of a fictional action hero than a real person.

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Tarrare

French showman and soldier Tarrare became famous for his extraordinary appetite, reportedly consuming enormous quantities of food that astonished doctors and military officials. His unusual condition remains one of history’s most bizarre documented medical mysteries.

15 Horror Survivors Who Were Only Lucky, Not Smart

Surviving a horror movie is an achievement in and of itself, no matter how you do it; if it were me, I would be the first red shirt out of the gate. However, the situations the characters go through aren’t reality, they’re fiction, so when enjoying our movies most of us prefer to see brains beat brawn.

Here, we’ve gathered some horror survivors that didn’t use quick thinking to solve their problems, but their quick feet. Their stories still make for compelling horror, but if fate hadn’t intervened at exactly the right moment, they almost certainly wouldn’t have lived to see the credits.

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Sally Hardesty (The Texas Chain Saw Massacre)

Sally spends much of the climax fleeing in blind panic rather than outsmarting Leatherface. She ultimately survives because passing motorists intervene and a pickup truck gives her the chance to escape.

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Ash Williams (Ash vs Evil Dead)

Ash survives countless Deadite encounters, but many victories come from outrageous luck as much as skill. He frequently stumbles into success while enemies underestimate him or are distracted long enough for him to land the finishing blow.

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Sidney Prescott (Scream)

Sidney is resourceful, but she repeatedly survives because Ghostface’s elaborate games give her opportunities to fight back. The killers’ overconfidence and tendency to toy with victims prove just as important as her determination.

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Andy Barclay (Child’s Play)

Andy spends most of the film trying to convince adults that Chucky is alive. He survives largely because other people finally witness the doll’s attacks, forcing them to intervene before Chucky can finish him off.

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Erin Harson (You’re Next)

Erin is unusually capable compared to most horror protagonists, but several traps and confrontations succeed because the attackers underestimate her. Their poor coordination contributes as much to her survival as her preparedness.

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Tree Gelbman (Happy Death Day)

Tree improves with each repeated day, but her time loop gives her unlimited chances to correct fatal mistakes. Without constantly resetting after every death, she never would have solved the mystery.

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Shaun Riley (Shaun of the Dead)

Shaun survives less because of brilliant planning than because events continually break in his favor. His improvised decisions frequently go wrong, yet he repeatedly escapes through fortunate timing and outside help.

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Alex Browning (Final Destination)

Alex correctly senses disaster before Flight 180 departs, but afterward he spends much of the film reacting to Death’s design rather than mastering it. His continued survival depends largely on unpredictable circumstances.

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Mia Allen (Evil Dead)

Mia survives unimaginable supernatural horrors, but only after enduring possession, burial, and extraordinary intervention from her brother. Her eventual victory owes as much to persistence and luck as tactical decision-making.

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Paxton (Hostel)

Paxton escapes only after a series of fortunate opportunities inside the factory. Several captors make costly mistakes, allowing him to flee situations where he otherwise would have had little realistic chance of survival.

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Adelaide Wilson (Us)

Adelaide survives the Tethered uprising through determination, but several key encounters depend on fortunate timing and assistance from family members. The film ultimately reveals that chance has shaped her life from the very beginning.

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Jess Bradford (Black Christmas)

Jess spends much of the film responding to increasingly frightening events, yet the killer remains unidentified and active. Her survival depends more on circumstance than successfully stopping the threat stalking the sorority house.

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Deena Johnson (Fear Street Part One: 1994)

Deena eventually discovers a way to confront the supernatural curse, but numerous close calls depend on allies arriving in time and the killers becoming temporarily distracted. Luck repeatedly buys her precious extra seconds.

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Thomasin (The Witch)

Thomasin endures isolation, suspicion, and tragedy without ever truly controlling the forces surrounding her. By the conclusion, survival comes not through defeating evil but through circumstances that leave her with no meaningful alternative.

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Mike, Dustin, Lucas, and Eleven (Stranger Things)

The kids are brave, but many of their biggest victories rely on incredible timing, Eleven’s powers arriving at exactly the right moment, or the Demogorgons acting less aggressive than against the military. Without repeated last-second rescues, several of them would have died early in the series.

Captain America’s Mankini Reignites Gaming’s Fan Service Debate

Many of us find the idea of a summer beach trip exciting. Crystal blue waves to cool you off, soft sand between your toes, getting some sun on your skin—it’s all pretty standard holiday bliss. 

Captain America, on the other hand, seems to have gotten a little too carried away with the summer spirit, arriving at the shoreline with a level of enthusiasm that has had Marvel Rivals players looking further below the shield. 

To kick off the summer, NetEase Games released a batch of swimsuit skins, bringing beach-ready looks to Loki, White Fox, and Captain America. While the lineup mostly fits the game’s usual seasonal tone, it didn’t take long for attention to drift firmly towards Steve’s outfit in particular. 

Cap’s skin, dubbed the “Seaside Sentinel,” features the super soldier in a skin-tight mankini that leaves very little to the imagination, putting all of his signature rippling muscles, chest hair, and other…notably emphasized assets…on full display.

Players immediately took it upon themselves to react in typical internet fashion, with responses to the skin ranging from thirst tweets to hilarious side-by-side comparisons to Rob Liefeld’s infamously thick Captain America drawing, which the comic book creator responded enthusiastically to

The skin is a deliberately over-the-top summer look, leaning into Marvel Rivals’ increasingly “gooner-bait” approach to cosmetics (which the developers have denied, but…c’mon). It has since become the focal point of a player discussion that goes well beyond simple memes, particularly after a recent adjustment to the model. 

On July 4, players noticed that Captain America’s skin appeared to have been altered, with his previously more prominent silhouette seemingly dialed back thanks to a cold shower patch. The discussion quickly spread across social media, with fans scrutinizing the before-and-after versions of the skin and, of course, taking the change far more seriously than one might expect for a summer cosmetic tweak.

Under a Reddit post breaking down the differences, user L9-45 commented that they “extracted and pulled the model” and found “no changes directly to the model or rigging,” suggesting that NetEase may have adjusted how the model’s parts are attached to fix stretching issues (or maybe dangling issues in this case?). Not everyone was impressed with the analysis, with another user dismissing the thread as “unemployed behavior.”   

From there, the conversation broadened into a much louder debate over double standards in Marvel Rivals’ cosmetic design. Players have pointed out that, while Captain America’s skin has been toned down, female characters in the roster still feature revealing outfits, which has reignited arguments about consistency in how fan service has been handled across the game. 

As a fan, it’s easy to see where the argument is coming from, but the idea that Marvel Rivals applies fan service unevenly doesn’t fully hold up when you look at past skins. Characters like Magneto with his Savage Land skin and Bast’s Chosen skin for Black Panther show the game isn’t shy about revealing designs across the board, with Venom’s infamous MVP animation being an even better example thanks to its aggressively enthusiastic use of jiggle physics. 

Regardless of whether Captain America’s new look was toned down in response to player feedback or simply the result of a technical rigging fix, the community’s response was inevitable. Only Marvel Rivals could turn a pair of digital swim trunks into a week-long debate about fan service, double standards, and superhero anatomy.

YouTube Horror Just Scored One of its Biggest Movie Adaptations Yet

Horror fans have been eating good recently. From breakout indie films to blockbuster revivals and a new wave of video games, the genre has been firing on all cylinders. Now, one of YouTube’s most influential horror series is making the leap to Hollywood, marking yet another mainstream milestone for horror. 

According to Deadline, Steven Spielberg is producing a feature film adaptation of The Mandela Catalogue, with Amblin Entertainment, United Artists, and Amazon MGM Studios set to produce it “following a highly competitive 11-studio bidding war.” The series creator, Alex Kister, is set to direct the film based on a screenplay he adapted with Tyler Clifton. 

The involvement of multiple major studios points to a clear and rapidly growing appetite for adapting internet-native horror properties. What was once a niche corner of YouTube storytelling is now being treated as viable big-screen IP, as seen with the success of Curry Barker’s Obsession and Kane Parson’s Backrooms, which have brought in $374 and $331 million, respectively, at the box office so far. 

Launched in 2021, The Mandela Catalogue is set in the fictional county of Mandela, Wisconsin, where reality is disrupted by beings known as “alternates.” Through instructional warning videos and found footage encounters, the alternates are shown to take the form of loved ones and friends with the goal of driving their victims to suicide. 

The series has since amassed well over 100 million views across its 19 episodes, the first installment of the series having 11 million views alone, cementing itself as one of the defining titles of the genre alongside Local 58, The Walten Files, Gemini Home Entertainment, and more. 

But despite its success, its selection for a Hollywood adaptation has sparked debate among YouTube analog horror fans, with some arguing that other analog series—like the ones listed above—should take priority given the controversy surrounding Kister.  

In March 2024, Kister became the subject of online controversy after allegations circulated on social media accusing him of inappropriate behavior involving fans, including claims of grooming and boundary violations. Kister denied the allegations, calling them false and defamatory, and said he would address them in further detail, which he later did, denying both the grooming claims and that the series was fetish content. 

The situation sparked widespread discussion across the analog horror community, with fans divided over the claims and fellow creators unsure about their ties with Kister, resulting in the crew of The Mandela Catalogue to quit and a terminated deal for a VHS release of the series with Retro Release. Later, in April, one of the accusers retracted the allegations, which led to Kister promising that the series would continue.

Still, the project underscores the turning point for horror as a whole, as another successful adaptation could open the door wider for more analog horror and internet-native storytelling to be adapted for film. 

At the same time, it raises questions about how these stories will translate beyond their original format going forward, with analog horror relying on fragmented storytelling, low-fidelity presentation, and audience interpretation that do not always map neatly into traditional cinematic structure. 

While Backrooms is now the prime example of how this kind of material can be adapted successfully, it remains to be seen how The Mandela Catalogue will handle the transition, as details about how faithful the film will be have not yet been revealed. 

Despite mixed feelings toward the series, The Mandela Catalogue represents one of the clearest signs that the horror genre is officially taking a turn towards niche, original, Gen Z-forward storytelling. Whether Hollywood fully understands what makes that kind of internet horror resonate, however, is a question that only the next wave of adaptations will be able to answer.

Supergirl Proves That the DCU Needs to Be Bigger than James Gunn

This article contains spoilers for Supergirl.

Even those of us who liked Supergirl can’t call the movie a coherent vision. In the same way that Supergirl herself was constantly depowered, Milly Alcock’s vulnerable and ferocious take on the Maid of Might was undercut time and again by clunky story choices, a bland aesthetic, and distracting needle drops, culminating with a rendition of Jimmy Eat World’s “The Middle” by indie artists Kelty Greye and KidMotel. Those last two points highlight the feeling that director Craig Gillespie was doing his own cover, emulating the work of DCU co-head James Gunn.

Turns out, Gunn did in fact influence the movie, but not necessarily by Gillespie’s choice. A postmortem published by The Hollywood Reporter revealed that DC Studios responded to unfavorable test screenings last winter by creating two cuts, one by Gillespie and one by the studio. Test audiences were shown both cuts, and while “the scores surprisingly dropped significantly” from when there was just one cut, the “studio’s inched out ahead of Gillespie’s.” The studio cut made it to theaters, and while the article only specifically identifies the inclusion of “The Middle” as his decision, it’s hard to imagine that Gunn didn’t drive that version. In light of this revelation, the problems in Supergirl only underscore the fact that the DCU needs to evolve past James Gunn if it wants to succeed.

Gunning for Success

It’s easy to see why Warner Bros. wants to lean so heavily on Gunn. Kevin Feige and Marvel have defined the modern superhero movie landscape, with Feige serving as the ultimate auteur. As demonstrated by his Guardians of the Galaxy movies, Gunn was one of the few who figured out how to maintain his voice within Feige’s system. Moreover, Gunn has both the knowledge and the passion for the deep cuts of DC Comics, bringing weirdos like Peacemaker and the Creature Commandos to the wider public. When Gunn proved that he could do a respectful, interesting take on Superman, a character far outside his wheelhouse, he seemed to cement his position as the right filmmaker to guide the DCU.

That reputation only grew as Gunn touted a creator-first approach that contradicted the Marvel factory. Gunn insisted that no project goes into production without a finished script and foregrounded his screenwriters, putting Supergirl screenwriter Ana Nogueira on the press tour alongside Alcock and Jason Momoa.

At first glance, the behind-the-scenes debacle of Supergirl seems to undercut Gunn’s ethos. Studio cuts, reshoots, and excessive marketing are nothing new to the world of big-budget, IP-driven filmmaking. But Gunn seemed above that, and if there’s truth to the claims of the unnamed sources quoted in Hollywood Reporter saying Gunn and Gillespie “were not creatively aligned,” then it appears that Gunn’s principles couldn’t resist standard studio operating procedure.

But the signs of problems were clear even before Supergirl started shooting. Gillespie has certainly had his hits, including the Oscar-winner I, Tonya and the Disney origin story Cruella, but it’s hard to say he has a distinctive voice. Or, if he does, it’s one similar to and lesser than Gunn’s: messy lead characters, a self-awareness, lots of needle drops. For the much-anticipated Batman flick The Brave and the Bold, Gunn chose director Andy Muschietti, a guy whose greatest successes might be getting It and The Flash to the screen after messy productions. The next DCU movie is Clayface, which boasts a script from the incredible Mike Flanagan, but is directed by James Watkins, a filmmaker whose best decision was to just let James McAvoy go nuts in Speak No Evil.

Crisis in the Gunn Universe

Looking at this list of filmmakers, it sure seems like Gunn hasn’t strayed from the Mighty Marvel Movie Method: get a bunch of journeymen to direct movies conceived by the studio head. Except it’s even worse, because Feige is very much a studio head and Gunn is very much a director.

Gunn has a take on DC Comics characters, and he knows how to bring out the best in them. Gunn never shies away from the inherent silliness of those who put on bright tights to fight crime, but he also treats them as three-dimensional figures, real people in an absurd world. Moreover, Gunn knows how to tackle heavy themes without ever becoming pedantic or sacrificing the fun of a superhero spectacle, as demonstrated by making Starro the Conqueror a weapon of mass destruction in The Suicide Squad or making black site prisons a key part of Superman.

Yet as wonderful as Gunn is at telling these stories, he’s not the only one who can do it. Even within the MCU, Taika Waititi and Ryan Coogler both managed to make superhero movies that felt personal. Certainly, nearly two decades after the launch of the MCU, other filmmakers have had their own wild ideas on superheroes. It’s time for Gunn to find them and give them the same freedom he affords himself. In particular, Gunn needs to find filmmakers who do not approach superheroes in the same way.

For all Gunn does right, he does have his limitations, and his raunchy sensibilities do clash with the fact that superheroes are fundamentally for kids. Surely, someone out there knows how to make an excellent kid-friendly DC movie that Gunn would have never imagined.

Elseworlds and Other Voices

Despite the disappointments of Supergirl and the concerns about the next few DCU movies, there is reason to hope that the universe will expand beyond its studio head’s perspective.

Of course, there’s The Batman Part II, a film that reflects the vision of director Matt Reeves and has no connections to the rest of the universe. This August sees the release of Lanterns, a show that does not at all feel like a James Gunn project. While TV vet Chris Mundy serves as showrunner, Lanterns also boasts as co-creators Tom King and Damon Lindelof, two guys know for their ideosyncratic (and sometimes infuriating, as anyone who read Heroes in Crisis will tell you) takes on established characters.

Even more exciting is Dynamic Duo, a movie about Robins Dick Grayson and Jason Todd. The film comes from animation studio Swaybox, who specializes in combining traditional animation with puppetry. Not only does it promise to be completely different from the usual superhero offerings, it will certainly appeal to kids in a way other DCU movies haven’t.

In light of these projects, it’s clear that the problems with Supergirl raise concerns for the DCU, but don’t yet signal the demise of Gunn’s tenure. You might even say we’re in the middle of the ride.

Supergirl is now playing in theaters.

Hands on With Onimusha: Way of the Sword – What’s New in Capcom’s Next Big Swing

From Resident Evil Requiem to Pragmata, Capcom has been having a banner year of delivering top-tier games that have been well-received by fans and critics alike. Now Capcom is looking to extend this trend with its next major title of the year, Onimusha: Way of the Sword, out this September for all major modern gaming platforms and the first brand-new title in the franchise in 20 years. While attending Summer Game Fest 2026, we got to play a new build of Way of the Sword three months ahead of the game’s launch and speak to director Satoru Nihei and producer Akihito Kadowaki.

This hands-on experience came shortly after Capcom released the public demo for Onimusha: Way of the Sword, which mirrored versions of the build that we saw and played at Summer Game Fest and Tokyo Game Show last year. The SGF 2026 build provided a much more extensive look at how the final game is shaping up, with a wide linear stage that let us explore this haunted vision of Kyoto as samurai Musashi Miyamoto, defeating enemies and discovering relics that helped him continue his quest. Last year’s build was one of the best-looking games at SGF 2025 and this year’s SGF build maintains that detailed visual fidelity and fast-paced swordplay.

This hands-on build culminated in a fierce boss battle against a hulking monster Rasho-gan, where we got to use combat mechanics, like the Break Issen technique allowing us to cleave through our opponents guard and inflict massive damage. Parrying and dodging incoming attacks required attention to timing but the difficulty wasn’t nearly as unforgivable as a soulslike title like Elden Ring or Sekiro: Shadows Die Twice, by design to make the experience fun and challenging, but still accessible. For the developers, it was important to reflect and recognize how action games have evolved since 2006’s Onimusha: Dawn of Dreams, while retaining the core elements, both aesthetically and in terms of gameplay, from the series.

“It’s been a long time since the last Onimusha game and the action genre has changed,” observes Nihei. “We really wanted to focus on something that would appeal to fans, with that classic feel, but that would also appeal to a new audience as well. We wanted to make this not just a new game in the Onimusha series but for the action game genre overall. To help it stand out and keep the core elements of the series, the Issen mechanic and soul absorption give it that Onimusha feel. But we’re also introducing things like clashing blades, a parry mechanic, and the new blade system.”

With players worldwide trying out Way of the Sword for themselves in the first public demo since the game was announced in December 2024 at The Game Awards. In reviewing player feedback, Capcom has noticed fans are enjoying the game’s combat system well, particularly its parrying and deflecting mechanics. Capcom has also taken note that some players feel the demo is much easier than fans were anticipating, especially compared to more difficult action titles, with Capcom noting that this early build was to make the demo more accessible to casual players than the final game itself.

“The demo is taken from a very early portion of the game and the demo has been custom-made,” explains Kadowaki. “We wanted to introduce all of Musashi’s abilities within the demo. There are actually abilities in the demo that you don’t get until much later in the game. When the real game comes out, those elements will be introduced gradually once you play through the game with more progressive care and provide more of a challenge to people who are core action game players.”

Reportedly in development since early 2020, Onimusha: Way of the Sword is finally poised to revive the long-dormant Capcom franchise for a new generation while providing fresh thrills to returning players. Kadowaki notes that much of the development time has been spent revamping and refining the game’s combat system and that’s what he’s most excited for players to experience for themselves when the final version of the game finally comes out. Having seen and played multiple early builds of the game for the better part of the past 12 months, I can confirm that, on top of the cinematic presentation, the precise combat is a clear highlight for Way of the Sword, something that Capcom put a lot of time and energy into.

“There was a lot of trial and error that went into making the system for this. Players can experience that in the demo and a lot of people have been enjoying that. I’m also excited for people to get their hands on the real game,” adds Nihei with one last tease. “There are a lot of really exciting bosses because that’s when the combat really feels like it’s coming alive.”

Developed and published by Capcom, Onimusha: Way of the Sword launches September 4 for PlayStation 5, Xbox Series X|S, Nintendo Switch 2, and PC.

Ranking Every Season of The Bear

Some have suggested that The Bear’s five seasons represent the five stages of grief.

The show begins with Carmen “Carmy” Berzatto (Jeremy Allen White) returning to his hometown of Chicago following the suicide of his brother Mikey (Jon Bernthal) and finding Mikey’s restaurant in disarray. Season 1 would be denial, as Carmy avoids the true reality of his loss by throwing himself into modernizing the restaurant. Season 2 would be anger, as Carmy argues with everyone and takes his pent-up rage out on the people trying to help him. Season 3? Bargaining, as Carmy tries to regain control of his life by setting impossible standards for the restaurant, while season 4 is where the depression, hopelessness and withdrawal set in as Carmy begins to realize that change must start from within. Season 5, then, would be acceptance, in which Carmy comes to terms with his situation and moves on.

Whether you believe any of that or not, The Bear touched a nerve when it first arrived, and many people became invested in Carmy, his journey, his family, and all the other complex characters that revolved around them. The show certainly had its ups and downs, but the actors’ performances were consistently wonderful, and it was a genuinely immersive TV experience that went way beyond its much-memed shouts of “corner!” or “hands!”

Now that it’s finished its run, we’re taking a look back at The Bear and ranking its five tumultuous seasons…

5. Season 3

The creatives behind The Bear began experimenting in season 3, as the series slowed down to explore its characters more deeply rather than relying on the kinetic energy of the first two seasons. The momentum that had built toward the restaurant’s chaotic opening at the end of season 2 suddenly juddered to a halt, even though the story picked up immediately after that diabolical night, with Carmy setting a list of “non-negotiables” for The Bear and deciding that the menu should change every night, setting up both a financially grim future for the eatery and himself for failure.

Still, season 3 had some great character-focused episodes. The Tina-centric “Napkins” revealed more of her shaky employment background and her first teary encounter with Mikey. Meanwhile, “Ice Chips” finally saw Sugar (Abby Elliott) work through her traumatic history with Donna (Jamie Lee Curtis) as she went into labor. But the slow storytelling of season 3 was definitely an issue for many returning viewers. The plot seemed stretched out and offered very little in the way of resolution. Carmy’s futile quest for perfection was compelling, yet threads were left dangling all season long, like Sydney (Ayo Edibiri) trying to decide her future, the restaurant review, and Carmy’s guilt over the end of his relationship with Claire (Molly Gordon).

It was all set up and no payoff, and it felt like half a season of TV dragged out over a whole one. The glacial pace was definitely less infuriating if you watched seasons 3 and 4 back-to-back, but if you were watching in real time, it was more than a little bit maddening. Some fans even started to question if The Bear had lost its edge.

4. Season 4

Pacing and storytelling issues lingered in season 4, but the show regained some of its lost momentum in the first episode when Uncle Jimmy (Oliver Platt) and Computer (Brian Koppelman) gave Carmy and the gang two months to turn the restaurant’s fate around, placing a countdown clock in the kitchen and demanding they get it together or they’d be forced to shut up shop. Though it suddenly had a clear, time-sensitive goal, season 4 was still caught somewhere between the fast-moving energy of season 2 and the introspection of season 3, drawing out conversations among the characters and creating plenty of long scenes where nothing really happened.

In terms of standout episodes, season 4 was also lacking. “Bears” was a fun jaunt to Tiff’s wedding, but it still felt fluffy and unnecessary. Elsewhere, there was healing between Carmy and Donna in “Tonnato” and between Carmy and Claire in “Scallop,” yet as the focus realigned with Carmy’s emotional journey, supporting characters were sidelined and their propulsive screen time sacrificed to guest stars like Brie Larson and Josh Hartnett, who didn’t really add anything to the show. As Carmy grew, characters like Richie (Ebon Moss-Bachrach), Sugar and Sydney were simply stuck in a holding pattern while the show dealt with the head chef’s issues.

3. Season 5

The Bear had a strong return to form in season 5, making for a satisfying conclusion to the series as everyone processed Carmy’s decision to leave the culinary industry. His realization that his gift didn’t actually have to be his fate felt like a good place to leave the character, with the ex- head chef still helping out at the restaurant and having more fun than he’s ever had, but still making room for Sydney to step up as The Bear’s new leader.

Focusing on a single high-pressure service as the restaurant ran low on staff, ingredients, and certainty, season 5 allowed the characters of The Bear to evolve rather than sink back into their old patterns within that pressurized environment, which made for frenetic and compelling viewing and recaptured some of the show’s early essence.

Sydney understood that she could be just as good as Carmy without making everyone else’s life hell, Richie found respect outside the restaurant and became an “international businessman,” finally ready for a relationship with Jessica (Sarah Ramos), and there was simply no interest in pursuing a romantic entanglement between Carmy and Sydney, something that fans of the show had mixed feelings about but was arguably the right choice, though the chemistry between chefs Marcus (Lionel Boyce) and Luca (Will Poulter) was off the charts and some felt it could have been an interesting development for the show to explore.

2. Season 1

The Bear was a breath of fresh air when it first landed in 2022, boasting an ensemble cast to die for and a unique energy that captured the pressure of the food service industry from the perspective of the workers behind the scenes, capitalizing on the critical acclaim and interest generated by Philip Barantini’s 2021 film, Boiling Point (which also went on to spawn a TV show).

While the amount of yelling took some getting used to, The Bear genuinely sought to offer viewers a host of complex characters who weren’t just “good” or “bad” but had experienced traumatic and life-changing events that needed to be processed and dealt with but weren’t, boiling over into their lives and relationships even as they tried to work together in chaotic circumstances.

Jeremy Allen White, Ayo Edibiri and Ebon Moss-Bachrach were quickly vaulted into stardom after playing their characters perfectly and would go on to scoop plenty of awards for their troubles. Carmy, Sydney, and Richie felt authentic and realistically flawed as the ghost of Jon Bernthal’s Mikey haunted them every step of the way. Every episode was a banger, and everyone, both in front and behind the camera, was firing on all cylinders as the show’s story of a renowned chef returning to manage his dead brother’s sandwich shop blossomed into a series where every character mattered and every second counted.

1. Season 2

We don’t think it’s too controversial to give season 2 of The Bear the top spot in this ranking. It gave us not only two exceptional episodes of the series but of television in general in “Forks” and “Fishes,” where the former gave Richie confidence and purpose at upscale restaurant Ever, while the latter showed us what Christmas used to be like in the Berzatto household and featured truly unforgettable performances from Jamie Lee Curtis as the family’s matriarch and a returning Jon Bernthal as Carmy and Sugar’s emotionally deteriorating big brother, Mikey. Marcus’ trip to Copenhagen amid his mother’s illness in “Honeydew” is also touching and inspired, as is Tina’s (Liza Colón-Zayas) journey through culinary school.

Though Carmy’s burgeoning romance with childhood friend Claire during this season proved divisive, it only added to the pressure he was putting on himself to make the restaurant soar and move past his trauma from Mikey’s death without properly dealing with it, all while trying to be a decent boyfriend when he didn’t really even have the capacity to function in a relationship.

Ultimately, season 2 built on the solid foundations of the first season to find greater depth in the show’s characters and careered into an agonizingly upsetting finale that saw Carmy’s self-destructive tendencies reach a crescendo while his pals in the restaurant continued to flourish. The acting, writing, and direction across the board here were simply peak TV.

15 Non-Horror Productions That Gave Us Some Terrifying Moments

Horror is the genre that we most expect to be unsettled by, so when it happens in a completely different genre, it lands in a deeper way. A single scene, creature, or sequence can suddenly shift the tone into genuine nightmare territory before the story moves on.

Those unexpected detours often stick with viewers far longer than traditional jump scares because they catch us completely off guard. These movies and shows weren’t marketed as horror, but each contains at least one unforgettable moment that could easily belong in the genre.

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Star Trek: The Next Generation, The Borg

The introduction of the Borg in “Q Who” permanently changed Star Trek. Their emotionless assimilation of entire civilizations and the body horror of turning people into cybernetic drones made them one of television’s most unsettling science fiction creations.

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Who Framed Roger Rabbit, Judge Doom’s Reveal

For most of the film, Judge Doom is simply an intimidating villain. His horrifying transformation into a shrieking, red-eyed Toon before being flattened and resurrected remains one of the most traumatizing moments in a family movie.

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Willy Wonka & the Chocolate Factory, The Tunnel Ride

The cheerful factory tour abruptly descends into chaos during Wonka’s boat ride through a dark tunnel. Disturbing imagery, frantic editing, and unsettling poetry create a sequence that feels more psychological horror than children’s fantasy.

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Pee-wee’s Big Adventure, Large Marge

Large Marge’s ghost story seems harmless until her face suddenly transforms into a grotesque claymation nightmare. The unexpected visual gag has startled generations of children watching what is otherwise an offbeat comedy.

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The NeverEnding Story, The Nothing

The Nothing isn’t a monster you can fight. It’s an unstoppable force that erases the world itself, culminating in Artax’s heartbreaking death in the Swamp of Sadness, one of fantasy cinema’s most haunting sequences.

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The Brave Little Toaster, The Air Conditioner

Early in the film, an angry air conditioner spirals into a terrifying emotional breakdown before exploding. The combination of screaming, distorted animation, and sudden violence catches viewers completely off guard.

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The Lord of the Rings: The Fellowship of the Ring, Bilbo’s Lunge

Bilbo’s brief attempt to grab the Ring from Frodo lasts only seconds, yet his monstrous face and animalistic snarl remain one of the trilogy’s biggest jump scares despite the films primarily being epic fantasy.

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Superman III, The Robot Transformation

When Vera is pulled into a supercomputer and transformed into a cybernetic servant, the film briefly abandons superhero adventure for unsettling body horror. The scene remains surprisingly disturbing for an otherwise lighthearted comic book movie.

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Pinocchio, Pleasure Island

The boys’ carefree vacation becomes terrifying as they slowly transform into donkeys. Their panic and inability to stop the change create one of Disney’s darkest and most unsettling animated sequences.

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Return to Oz, Princess Mombi’s Heads

Disney’s Return to Oz introduces Princess Mombi, who keeps a collection of living interchangeable heads. The eerie hall of sleeping faces creates a surreal nightmare unlike anything in most family fantasy films.

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The Secret of NIMH, The Great Owl

Mrs. Brisby’s encounter with the Great Owl unfolds like a gothic horror scene. The eerie setting, glowing eyes, ominous sound design, and the predator’s imposing presence make the sequence deeply unsettling.

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Harry Potter and the Chamber of Secrets, The Basilisk

The hidden basilisk stalking Hogwarts transforms parts of the film into a creature feature. Students are mysteriously attacked while an enormous serpent hunts unseen through the castle’s walls and pipes.

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Raiders of the Lost Ark, Opening the Ark

The climax shifts dramatically from adventure to supernatural horror as ghostly spirits transform into deadly apparitions. The melting faces and explosive deaths remain among the most shocking practical effects in a mainstream blockbuster.

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The Adventures of Mark Twain, The Mysterious Stranger

This claymation adaptation takes an unexpectedly dark turn when the Mysterious Stranger calmly creates and destroys tiny living people. His philosophical monologue and eerie appearance create an unforgettable nightmare sequence.

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The Dark Crystal, The Garthim Attack

Jim Henson’s fantasy suddenly becomes terrifying whenever the crab-like Garthim appear. Their relentless pursuit, mechanical movements, and ability to overwhelm entire villages give several scenes the feel of a full-fledged monster movie.

13 Images Taking You Behind the Scenes of Iconic ’80s Flicks

Movies have always been wonderful, from the golden age of cinema to even today, they keep pushing the envelope of what’s possible within the medium. Of course, when it comes to big budgeted films, nowadays it’s all mostly CGI, but that wasn’t the case back in the 80s.

This is why images from behind the scenes of that era are so interesting, since their practical effects and costumes took a long time to create. This allows us to have a glimpse of movie magic being developed before our eyes. Here are just a few pictures that show just how much work went into the films we know and love.

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The Thing

While the film aimed to be grotesque, there is a beauty in the hand crafted work that went into showing the shape-shifting alien. This makes it timeless, maintaining the same gruesome effect it had back in the day.

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E.T. the Extra-Terrestrial

Humor exists even behind the scenes, since the people making movies need levity too. Here, we have director Steven Spielberg ‘washing’ his alien creation, E.T., in the set with the tub.

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Ghostbusters

Movies don’t have unlimited money, so when it came time to showcase a marshmallow man the size of a building, they couldn’t just make one. Instead, the filmmakers made a miniature of the creature and shot the scenes with a scaled down skyscraper.

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Back to the Future III

There isn’t much for an actor to do between one take and the next, so they might as well catch up on the daily news. This photo is of particular note since Michael Fox is dressed on his cowboy get-up, making the paper particularly anachronistic.

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The Goonies

Prosthetics take a good while to implement, so seeing the make-up process in action for this Goonies character is quite a sight. Of particular note is the animatronic eye, something today would definitely be solved with CGI.

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Labyrinth

The movie’s main story has Jennifer Connelly going through all kinds of exhaustive trials, so it is nice to see the actress had some levity between shots.

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Aliens

The Alien creature is part suit, part animatronic, something that needed constant adjustments between takes. Here, we have the people behind the scenes getting the creature ready for the next time they need it.

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Predator

Just like with the Alien, the Predator is also portrayed by a person in a suit. A particularly tall person, but a real human nonetheless, and fortunately for him the face can come off so he can breathe with ease.

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Who Framed Roger Rabbit

In the film, real life actors interact constantly with cartoons, but they need something tangible to interact with for the performances to work. Here we see how the cartoon vehicles were handled by the production.

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Beetlejuice

Makeup work requires not only expertise from the makeup artist, but utmost patience from the actor, since they need to spend hours upon hours just sitting down. Michael Keaton at least had a comparatively easy time when thinking about the other movies covered here.

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Neverending Story

The two main characters of the Neverending Story go through a lot of challenges, and don’t really meet much during the movie. It’s nice then to see them as the kids they are in a heartfelt photo.

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Robocop

Actors aren’t really wounded during films, that much we know. But they also have a say in how they look with their scars on, participating openly in the process of making their character look as weak, dangerous or whatever the film needs them to be.

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Honey, I Shrunk the Kids

The movie’s title requires the children of the movie to be smaller than bugs, but of course, that’s difficult to showcase. Therefore, the film made animatronics that were bigger than most people, creating an impressive effect on camera.

15 Big Actors Who Starred in Roles Where You Can’t Tell It’s Them

Actors are public figures, and their faces tend to sell movies as much as the premise or spectacle can. Audiences latch on to a performance, so when they like a given person enough, they’ll go watch anything with them on it. That is, when you can tell the actor is in the movie or show.

There are times where films hide their biggest stars behind make-up, voice work, or something as simple as never removing a mask. It’s not that they’re completely hidden, but unless you go out of your way to know who’s who, you could go the whole film without realizing the biggest names attached to them.

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Vin Diesel as Groot (Guardians of the Galaxy)

Vin Diesel provides the voice of Groot, speaking variations of only three words throughout the Marvel films. Between the motion-captured tree design and limited dialogue, many casual viewers never realize it’s him.

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Pedro Pascal as Din Djarin (The Mandalorian)

Pedro Pascal stars as the Mandalorian, yet his face is hidden beneath a helmet for nearly the entire series. Stunt performers also portray the armored bounty hunter in many action scenes, further masking his presence.

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Colin Farrell as Oz Cobb (The Penguin)

Colin Farrell is virtually unrecognizable beneath extensive prosthetic makeup as Oz Cobb in The Batman and The Penguin. His dramatic physical transformation is so convincing that many viewers don’t recognize him until the credits.

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Doug Jones as the Amphibian Man (The Shape of Water)

Doug Jones has built an entire career playing heavily made-up creatures. As the Amphibian Man in The Shape of Water, elaborate prosthetics completely conceal his appearance while allowing his expressive physical performance to shine.

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Bill Nighy as Davy Jones (Pirates of the Caribbean: Dead Man’s Chest)

Bill Nighy never physically wore the octopus-faced makeup audiences see. Instead, his motion-capture performance was transformed into the unforgettable CGI pirate captain, making his recognizable features disappear almost entirely.

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John Leguizamo as The Clown (Spawn)

John Leguizamo is almost impossible to recognize as the grotesque clown known as The Clown. Buried beneath heavy prosthetics, exaggerated makeup, and a completely transformed voice, he disappears into one of the film’s most memorable villains.

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Emma Thompson as Nanny McPhee (Nanny McPhee)

Emma Thompson wrote and starred in Nanny McPhee, but extensive prosthetics, facial warts, a bulbous nose, and crooked teeth make her nearly unrecognizable. The magical nanny’s appearance gradually changes as the story progresses.

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Hugo Weaving as Megatron (Transformers)

Hugo Weaving voices Megatron throughout the live-action Transformers films. With the villain appearing entirely as CGI and speaking through a heavily processed robotic voice, few viewers immediately recognize the acclaimed actor behind him.

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Nicole Kidman as Virginia Woolf (The Hours)

Nicole Kidman underwent an extraordinary physical transformation to portray author Virginia Woolf. A prosthetic nose, subtle aging makeup, and completely altered mannerisms made her nearly unrecognizable, earning her the Academy Award for Best Actress.

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Benedict Cumberbatch as Smaug (The Hobbit: The Desolation of Smaug)

Benedict Cumberbatch performed Smaug using motion capture and voice acting. Once transformed into the enormous dragon, almost none of his physical appearance remains visible despite his unmistakably commanding performance.

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Alan Tudyk as Hei Hei (Moana)

Alan Tudyk voices Hei Hei, the dimwitted rooster in Disney’s Moana. Rather than speaking dialogue, he contributes little more than comedic squawks and clucks, making his participation almost impossible to recognize.

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Frank Oz as Yoda (The Empire Strikes Back)

Frank Oz doesn’t appear on screen at all, instead bringing Yoda to life through puppeteering and voice performance. The seamless illusion helped audiences believe they were watching a living Jedi Master rather than a puppet.

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Tim Curry as Darkness (Legend)

Tim Curry disappears beneath one of cinema’s most elaborate prosthetic makeup creations as Darkness. The massive horns, crimson skin, and towering costume make it nearly impossible to recognize the actor beneath the transformation.

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John Rhys-Davies as Gimli (The Lord of the Rings)

John Rhys-Davies spent hours in elaborate dwarf makeup and prosthetics to play Gimli. The transformation was so extensive that many viewers fail to recognize the actor, who also voiced Treebeard in the trilogy.

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Charlize Theron as Aileen Wuornos (Monster)

Charlize Theron underwent a remarkable physical transformation to portray serial killer Aileen Wuornos. Prosthetic makeup, weight gain, altered teeth, and completely different body language made the Oscar-winning performance almost impossible to recognize as the glamorous star.

15 Actors Who Refuse to Take Part in the Media Circus

Celebrity drama sells, hence why there are so many media outlets and online magazines dedicated solely to that. The only way to fuel drama, however, is to engage with it, and several actors have taken the wise decision to not engage with any of that. Some barely appear on the public eye beyond press tours.

This means that we can only judge them for their work, and it makes their career all the better for it. These actors have built successful careers while largely steering clear of the media circus that surrounds so much of modern Hollywood.

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Daniel Day-Lewis

Daniel Day-Lewis has long avoided the spotlight outside his films. He rarely gives interviews, has no public social media presence, and is known for disappearing from public life between projects, allowing his performances to remain the primary focus.

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Michelle Pfeiffer

Michelle Pfeiffer has long maintained one of Hollywood’s most private careers. Although she occasionally promotes new projects, she has largely avoided celebrity feuds, tabloid drama, and the constant media exposure that accompanies many stars of her stature.

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Cillian Murphy

Despite becoming one of Hollywood’s biggest stars, Cillian Murphy avoids social media and rarely discusses his personal life. He has repeatedly said he prefers audiences to focus on his work rather than his off-screen persona.

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Mia Wasikowska

After rising to prominence with films like Alice in Wonderland, Mia Wasikowska deliberately stepped away from Hollywood’s promotional culture. She has spoken about valuing privacy and limiting the amount of attention devoted to her personal life.

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Joaquin Phoenix

Joaquin Phoenix has never embraced celebrity culture. Although he participates in promotional interviews when necessary, he generally avoids discussing his private life and rarely engages in the kind of publicity that dominates entertainment headlines.

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Frances McDormand

Frances McDormand has built an acclaimed career while remaining largely uninterested in celebrity culture. She gives relatively few interviews, avoids unnecessary publicity, and consistently shifts attention back to filmmaking rather than herself.

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Viggo Mortensen

Viggo Mortensen keeps an unusually low public profile for an actor of his stature. Outside of promoting films or discussing his artistic interests, he rarely participates in celebrity gossip or high-profile media appearances.

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Ryan Gosling

Ryan Gosling has built one of Hollywood’s most successful careers while staying largely out of the celebrity spotlight. He has no public social media accounts, rarely comments on industry drama, and keeps interviews focused on his work rather than his private life.

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Christopher Walken

Christopher Walken has famously avoided modern celebrity culture. He does not use social media, has said he doesn’t own a cellphone, and generally limits his public appearances to projects he’s actively promoting.

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Denzel Washington

Denzel Washington has consistently avoided public feuds and celebrity gossip throughout his career. While he regularly promotes his films, he rarely comments on Hollywood drama and keeps his family life largely out of the spotlight.

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Emily Blunt

Emily Blunt maintains a careful separation between her public career and private life. She has no public social media accounts and generally avoids discussing her family, preferring interviews to remain centered on her work.

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Christian Bale

Christian Bale is known for immersing himself in his roles rather than cultivating a celebrity image. Outside of film promotions, he gives relatively few interviews and has consistently kept his personal life out of public view.

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Keanu Reeves

Despite worldwide fame, Keanu Reeves remains remarkably private. He avoids social media, seldom comments on celebrity controversies, and has earned a reputation for quietly going about his work without seeking constant public attention.

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Glenn Close

Across a career spanning decades, Glenn Close has largely avoided the tabloid spotlight. Her public appearances are typically tied to professional work or advocacy, rather than the kind of personal drama that fuels celebrity news.

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Michael Caine

Throughout his long career, Michael Caine largely avoided Hollywood feuds and tabloid controversies. Known for his professionalism, he focused on acting rather than cultivating a larger-than-life public persona, even after becoming an international star.

The 15 Horror Flicks That Keep Us Up at Night the Most

There are plenty of movies that are meant to be scary, with gore to impact us and jump scares to startle us. Yet not all of them stay with us after the credit’s roll, making us second guess every shadow in our house late at night. That level of horror is deeper, more personal.

If you don’t mind not sleeping for about a week, we have a selection of movies that touch on that level of horror. Some, of course, are classics that you’ve probably seen dozens of times. But you’re likely to find at least one film that will keep you up at night, something that shooks you to your core.

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The Exorcist

William Friedkin’s classic remains terrifying because it grounds its supernatural horror in an ordinary family. The unsettling transformation of Regan and the film’s deeply serious tone continue to disturb audiences decades after its release.

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Hereditary

Grief, family trauma, and occult horror combine to create an overwhelming sense of dread. Ari Aster slowly builds toward a devastating finale that leaves viewers questioning whether the characters ever had any chance of escaping their fate.

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The Babadook

On the surface, it’s a monster movie. Beneath that, it’s an exploration of grief, depression, and parenthood. The Babadook becomes frightening because it represents emotions that can’t simply be defeated or locked away forever.

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The Witch

Set in 1630s New England, Robert Eggers’ film creates terror through isolation, religious paranoia, and mounting distrust. Every unsettling moment feels historically grounded, making the family’s slow unraveling especially believable and unnerving.

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The Ring

The cursed videotape and Samara’s unforgettable emergence from the television became horror landmarks. More importantly, the film creates a persistent feeling that ordinary technology can become a conduit for something impossibly malevolent.

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It Follows

A relentless supernatural entity walks toward its victims at a steady pace, never stopping and never tiring. That simple premise creates constant anxiety, turning every distant figure in the background into a potential threat.

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The Others

Alejandro Amenábar’s gothic ghost story relies on silence, shadows, and uncertainty rather than loud scares. Its carefully constructed mystery culminates in a revelation that encourages viewers to immediately reconsider everything they previously witnessed.

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The Sixth Sense

M. Night Shyamalan’s supernatural drama balances emotional storytelling with lingering unease. Its famous twist doesn’t diminish the horror. Instead, it makes earlier scenes even more unsettling upon a second viewing.

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The Descent

A caving expedition becomes increasingly terrifying long before the creatures appear. The suffocating tunnels, darkness, and claustrophobic atmosphere are enough to make many viewers uncomfortable even without the film’s monstrous inhabitants.

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Jacob’s Ladder

Blending psychological horror with surreal imagery, Jacob’s Ladder constantly blurs reality and hallucination. Its disturbing visuals and emotionally devastating ending continue to inspire discussion about trauma, death, and the nature of perception.

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The Wicker Man (1973)

This folk horror classic builds tension through cheerful normalcy instead of obvious menace. The contrast between the island’s welcoming atmosphere and its increasingly disturbing customs leads to one of horror’s most unforgettable endings.

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Pulse

Kiyoshi Kurosawa’s Japanese horror masterpiece links loneliness with supernatural intrusion through the internet. Its quiet pacing and haunting imagery create a profound sense of existential dread that lingers far beyond the final scene.

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Lake Mungo

Presented as a documentary, Lake Mungo unsettles viewers by mixing grief with subtle supernatural elements. Rather than relying on constant scares, it gradually reveals disturbing details that become more haunting in retrospect.

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Session 9

An abandoned asylum provides the perfect setting for creeping psychological horror. As the workers uncover disturbing recordings, the line between external evil and internal breakdown becomes increasingly difficult to distinguish.

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Skinamarink

Using static shots, darkness, and sparse dialogue, Skinamarink recreates the childhood fear of being alone in a house at night. Its unconventional approach has divided audiences, but many find its atmosphere uniquely unsettling.

15 Big Celebs from the 1970s We Rarely Hear About Anymore

The 1970s produced a huge wave of celebrities who dominated film, television, and music during their peak years, yet many of them have gradually faded from mainstream conversation. While they were once constant figures in pop culture, appearing on magazine covers and leading major productions, time and changing trends shifted attention toward newer generations of stars. Some continued working quietly, others stepped away entirely, and many simply became less visible to younger audiences. Despite this, their influence during the decade helped shape entertainment history in meaningful ways, even if their names are not mentioned as often today.

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William Holden

A major star transitioning from earlier decades into 70s cinema. His later career is less remembered compared to his peak years.

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Tuesday Weld

A frequent presence in 70s film and television with strong critical attention. Her visibility has declined despite a solid body of work.

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Susan Dey

Rose to fame through television success in the early 70s. Her popularity was closely tied to that era’s TV landscape.

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Stacy Keach

A respected actor with strong roles in crime and drama films. His 70s work helped establish a long career in television and film.

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Sally Field

Became a household name in the 70s through television and early film success. Her career continued strongly, but her early era is often overlooked today.

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Ryan O’Neal

Rose to fame through romantic dramas that defined early 70s Hollywood. His peak popularity was closely tied to that specific era.

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Peter Fonda

A counterculture icon whose work helped define late 60s and 70s cinema. His cultural relevance peaked during a very specific period.

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Karen Carpenter

One half of The Carpenters, whose voice defined soft pop of the era. Her legacy remains strong but her name is less frequently mentioned today.

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Karen Black

A standout character actress in 70s genre films and dramas. Her versatility made her a recognizable face during the decade.

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John Saxon

Known for supporting roles across multiple genres throughout the 70s. He was a consistent screen presence during the decade.

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John Ritter

Began gaining recognition in the late 70s before becoming a major TV figure. His early career is often overshadowed by later sitcom success.

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James Caan

A major 70s film presence known for powerful roles in crime dramas and character driven stories. His work helped define a tough, emotional acting style in that decade.

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Jacqueline Bisset

A major international film star with strong visibility in 70s cinema. Her global fame was significant but has faded from mainstream memory.

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Charles Bronson

A dominant action star of the 70s known for intense and stoic roles. His films were hugely popular during the decade but are less discussed now.

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Bo Derek

Became a cultural phenomenon late in the 70s with an instantly recognizable image. Her fame was intense but relatively short lived.