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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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




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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Apex is playing now on Netflix.

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

This Widow’s Bay review is Spoiler-Free.

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

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

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

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

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

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

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

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

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

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

15 Massive Hits That Never Won a Major Award

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

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

Mr. Brightside, The Killers

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

All the Small Things, Blink-182

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

Call Me Maybe, Carly Rae Jepsen

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

Take Me to Church, Hozier

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

Closer, The Chainsmokers

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

Party Rock Anthem

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

Macarena, Los del Río

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

Harlem Shake, Baauer

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

Low, Flo Rida

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

Too Close, Next

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

Just Want to Be Your Everything, Andy Gibb

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

Physical, Olivia Newton-John

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

The Twist, Chubby Checker

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

Conjuring Kesha

Tik Tok, Kesha

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

Firework, Katy Perry

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

14 Songs You Never Realized Went Number 1

Chart-topping hits often feel obvious in hindsight, particularly when you listen to popular music on the regular. Believe it or not, however, the Billboard Hot 100 is far less predictable. Some songs dominate radio, streaming, and pop culture for years without ever reaching number one, while others quietly hit the top spot and fade from memory.

That disconnect creates a strange category of tracks people assume either did or didn’t reach the summit. In particular, certain number one hits don’t “feel” like chart-toppers in retrospect, whether due to novelty status, timing, or being overshadowed by bigger songs. These are tracks that surprisingly did reach number one, even if many listeners never realized it.

“Ice Ice Baby” Vanilla Ice

Often remembered more for controversy than dominance, this track still made history as the first hip-hop song to reach number one on the Billboard Hot 100, surprising given its novelty reputation and debates around its borrowed bassline.

“Baby Got Back” Sir Mix-A-Lot

With its humorous tone and unconventional subject matter, this song stood out from early 1990s pop trends. Its spoken-word intro and bold style made its rise to number one feel unexpected compared to typical chart-toppers.

“Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini” Brian Hyland

A novelty-style track with a playful premise, it hardly fits the mold of a dominant chart hit. Its catchy, almost comedic tone makes its number one status feel surprising in hindsight.

“The Macarena” Los del Río

More associated with its dance craze than chart success, this global phenomenon still topped the Billboard Hot 100, despite being viewed primarily as a novelty hit tied to a specific cultural moment.

“Harlem Shake” Baauer

Driven almost entirely by a viral meme, this track reached number one largely through user-generated content and streaming, highlighting how unconventional hits can dominate charts without traditional radio buildup.

“We R Who We R” Kesha

Despite strong popularity, this song is often overshadowed by Kesha’s other hits. Its debut at number one makes it a surprising entry among her discography.

“Part of Me” Katy Perry

While Katy Perry is known for multiple chart-toppers, this particular song often flies under the radar compared to her biggest hits, despite debuting at number one.

“This Is the Night” Clay Aiken

Associated more with its reality TV origins than long-term impact, this song reached number one but is rarely remembered alongside other hits from the same era.

“Do I Make You Proud” Taylor Hicks

Another competition-driven hit, its chart success contrasts sharply with its limited cultural longevity, making its number one status easy to overlook.

“Inside Your Heaven” Carrie Underwood

Despite Underwood’s later success, this early single is not among her most iconic songs, even though it debuted at number one following her reality show win.

“God’s Plan” Drake

A massive streaming success, yet often overshadowed by Drake’s broader catalog, making its number one debut less immediately obvious compared to his more culturally dominant tracks.

“You Are Not Alone” Michael Jackson

Not as frequently discussed as Jackson’s biggest hits, yet it made history by debuting at number one on the Billboard Hot 100.

“Exhale (Shoop Shoop)” Whitney Houston

Often overshadowed by Houston’s more iconic songs, this track still debuted at number one, making it a less obvious chart-topper in her catalog.

“I’ll Be Missing You” Puff Daddy

A tribute song with a somber tone, it dominated charts despite being stylistically different from many mainstream hits of its time, making its success feel unusual in retrospect.

15 Performers Who Aren’t in the Country Music Hall of Fame But Probably Should Be

The Country Music Hall of Fame is meant to represent the most important figures in the genre, and it certainly succeeds at that. As expected though, and considering its limited annual inductions, many major names are still left waiting. With only a handful of artists added each year and strict eligibility timelines, even hugely successful performers can go decades without recognition.

As of 2026, dozens of influential singers, hitmakers, and genre-defining acts remain outside the Hall despite strong resumes and industry support. Frequently cited by fans and critics alike, these artists are overdue for induction based on their impact, longevity, and contributions to country music.

Dwight Yoakam

A key figure in the Bakersfield revival, Yoakam blended traditional country with rock influences and achieved both commercial success and critical acclaim. His long career and influence make him one of the most consistently cited omissions from the Hall.

Shania Twain

One of the best-selling country artists ever, Twain helped bring the genre into the global pop mainstream. Despite massive commercial success and crossover appeal, she remains outside the Hall as of 2026.

Faith Hill

A dominant force in late 1990s and early 2000s country, Hill combined chart success with crossover appeal. Her absence is often noted given her consistent hits and role in shaping modern country-pop.

Martina McBride

Known for her powerful vocals and string of hit songs, McBride has maintained relevance across multiple decades. Her continued exclusion is often cited as surprising given her sustained success.

Brad Paisley

Paisley’s mix of technical guitar skill, humor, and chart success has made him one of the most recognizable modern country artists, yet he has not been inducted despite his long-running career.

Blake Shelton

A major figure in both music and television, Shelton has achieved significant chart success and mainstream visibility. His absence from the Hall is often noted given his impact on modern country culture.

Clint Black

Part of the late 1980s country resurgence, Black delivered multiple number-one hits early in his career. His consistent output and influence have made his omission a frequent talking point.

Crystal Gayle

A major crossover star in the 1970s and 1980s, Gayle achieved both commercial success and critical acclaim. Her absence is often highlighted when discussing overlooked female artists.

Lynn Anderson

Best known for “Rose Garden,” Anderson was a defining voice of her era. Despite her success and recognition, she has yet to receive Hall of Fame induction.

Mary Chapin Carpenter

Blending folk and country, Carpenter built a respected career with multiple awards and hits. Her artistic influence and longevity make her a regular mention in Hall of Fame debates.

Jo Dee Messina

A major presence in late 1990s country, Messina scored multiple chart-topping hits. Her impact during that era makes her absence notable compared to her peers.

John Michael Montgomery

Known for numerous hits throughout the 1990s, Montgomery was a consistent chart presence. His omission is often cited when discussing artists from that decade who defined the genre.

LeAnn Rimes

Breaking out at a young age with major success, Rimes became one of the most recognizable voices in country. Despite early impact and crossover appeal, she remains outside the Hall.

Eddie Rabbitt

Rabbitt helped shape the country-pop sound of the late 1970s and 1980s, producing numerous hits. His influence is often cited as deserving of Hall recognition.

Earl Thomas Conley

With a string of number-one hits, Conley was one of the most successful artists of the 1980s. His continued exclusion is often viewed as a major oversight.

20 Unsettling Music Facts You May Not Have Known

The music industry is full of stories that go far beyond what listeners hear streamed or on the radio. Behind many famous songs and artists are real events that are far more unsettling than the music itself suggests. There are stories with disturbing recording circumstances, troubling treatment behind the scenes, and bizarre circumstances that have become part of music history.

These are artist’s life stories, the price they pay for fame, and the horrors that happen around them. And sometimes, they don’t even know those things are even happening.

Britney Spears

For over a decade, Spears lived under a conservatorship that controlled her finances and personal decisions, despite continuing to perform and release music. Court testimony later revealed strict limitations on her autonomy, making it one of the most widely discussed cases in modern pop.

Phil Collins’ “In the Air Tonight”

A long-standing rumor claimed the song was inspired by Collins witnessing a real drowning and inviting the bystander responsible to a concert. Collins has repeatedly denied the story, but its persistence adds an eerie layer to the song’s legacy.

Ozzy Osbourne

During a 1982 concert, Osbourne bit the head off a bat thrown onstage, believing it was rubber. It was real, leading to immediate medical treatment for rabies and cementing one of rock’s most disturbing onstage moments.

Conjuring Kesha

Kesha

Kesha’s legal battle with producer Dr. Luke included allegations of abuse, yet she remained contractually tied to his label for years. The situation raised concerns about artist control and the difficulty of exiting restrictive deals.

Michael Jackson’ “Smooth Criminal”

Jackson’s signature 45-degree lean required specially designed shoes anchored to the stage. While it looked supernatural in performances, the illusion depended on hidden mechanics rather than physical ability alone.

Eric Clapton’ “Tears in Heaven”

The song was written after Clapton’s four-year-old son died in a tragic fall from a high-rise apartment. The deeply personal context makes the track one of the most emotionally heavy hits in popular music.

The Rolling Stones

The Rolling Stones, Altamont Concert

During their 1969 Altamont Free Concert, a fan was killed by security while the band performed. The incident, captured on film, became a defining and disturbing moment for the band.

The Who, Cincinnati Concert

In 1979, a crowd surge outside a concert led to multiple deaths before the show even began. The band was initially unaware and performed as scheduled, making the event one of the most tragic in live music history.

Marilyn Manson

Manson’s career has been surrounded by controversy, including multiple abuse allegations. While he has denied wrongdoing, the accusations have significantly impacted his public image and legacy.

Milli Vanilli

The duo won a Grammy before it was revealed they did not sing on their own recordings. The award was revoked, making it one of the most infamous scandals in music history.

Kanye West

West’s interruption of Taylor Swift at the 2009 MTV Video Music Awards became one of the most controversial live moments in music, reshaping both artists’ public narratives for years.

Sid Vicious

The Sex Pistols bassist was charged with the murder of his girlfriend Nancy Spungen. He died of a drug overdose before the case went to trial, leaving the incident unresolved and deeply tied to punk history.

Lisa Lopes

Lisa “Left Eye” Lopes burned down her partner’s house during an argument in 1994. She was later sentenced to probation, and the incident remains one of the most shocking personal stories involving a major artist.

John Lennon

Lennon was shot and killed by a fan outside his apartment in 1980. The attacker had earlier asked him for an autograph, making the event one of the most disturbing cases of celebrity fixation turning violent.

Selena Quintanilla

Selena was murdered in 1995 by the president of her fan club. The killing shocked the music world and remains one of the most tragic and unsettling events involving a rising star.

2Pac

Tupac Shakur was shot in Las Vegas in 1996 and died days later. The case remained unsolved for decades, contributing to ongoing speculation and conspiracy theories surrounding his death.

The Notorious B.I.G.

Just months after Tupac’s death, Biggie Smalls was killed in a drive-by shooting. Like Tupac’s case, the murder remained unsolved for years, deepening the mystery around their rivalry.

Dave Grohl, Nirvana

After Kurt Cobain’s death, Grohl considered quitting music entirely. The tragedy ended Nirvana abruptly and left a lasting impact on those involved, but fortunately he kept on doing music.

Amy Winehouse

Winehouse’s struggles with addiction were widely documented before her death at 27. Her song “Rehab” gained an unsettling context in hindsight, given how openly it referenced her situation.

Travis Scott, Astroworld Festival

A crowd crush during Scott’s 2021 Astroworld Festival resulted in multiple deaths and injuries. The incident raised serious concerns about concert safety and artist responsibility during live performances, something that is still being overlooked even to this day.

15 Special Interests That Automatically Make You a Nerd

Having a passing interest in things like video games or movies doesn’t usually mark someone as a nerd, since being one is about the passion that goes into the interest. Turning something into a hobby that you pour hours of your life into is the essence of a nerd, regardless of topic.

Of course, when we say someone is a nerd in a general sense, we usually don’t mean a movie nerd or a sports nerd. We mean the type of nerd that spends time in fantasy worlds, or making the perfect deck for a tournament. As a proud nerd myself, these are the special interests that mark someone as such.

Dungeons & Dragons

The classic tabletop RPG is often the first thing people associate with nerd culture. Its reliance on imagination, rules, character sheets, and long campaigns has made it a defining hobby for deeply invested, detail-oriented players.

Magic: The Gathering eBay Horror

Magic: The Gathering

With intricate mechanics, constant expansions, and competitive play, Magic demands both strategic thinking and ongoing investment. Its mix of collecting and gameplay has made it one of the most recognizable “nerdy” hobbies for decades. Other card games have an equal amount of ‘nerd’ energy, but Magic is the most representative.

Star Wars

Beyond the films, Star Wars includes extensive lore, spin-offs, and fan theories. Following the universe closely often means engaging with a massive amount of content, something strongly associated with dedicated fandom culture.

Pokemon

What starts as a simple game or show often evolves into deep knowledge of generations, stats, and mechanics. Competitive battling and collecting habits reinforce its reputation as a detail-heavy, enthusiast-driven interest.

Warhammer

Known for its dense lore and complex tabletop gameplay, Warhammer blends strategy with painting and collecting miniatures. The level of commitment required makes it one of the most stereotypically “nerdy” hobbies, and an expensive one at that.

The Lord of the Rings

A cornerstone of modern fantasy, it attracts fans who dive into languages, histories, and extended lore. That depth of engagement has long tied it to traditional perceptions of nerd culture.

Cosmere

Following the Cosmere often means tracking interconnected stories, hidden details, and overarching lore. Its complexity and theory-heavy fandom make it a modern example of deeply engaged, knowledge-driven interest.

Harry Potter

While widely popular, dedicated fans often engage deeply with lore, houses, and extended material. That level of continued involvement places it firmly within recognizable fandom and “nerd” culture spaces.

Comic Books

Keeping up with comic continuity often involves decades of storylines, reboots, and alternate universes. That complexity, combined with collecting, has long made comics a core pillar of nerd identity. Following the Spider-Man movies won’t make you a nerd, but following the comics will.

Manga

For western audiences, manga is just as nerdy or even more so than comic books, since they are read “backwards.” Anime is becoming more and more popular, to the point where few are considered nerds just from watching anime, but the same is not true for following manga.

League of Legends

With its steep learning curve, evolving meta, and competitive environment, League of Legends attracts players who invest significant time mastering mechanics and strategies, reinforcing its association with dedicated gaming culture.

2025-02-02 - ALGS Year 4 Championship - Joe Brady

Esports

Following esports involves tracking teams, players, and constantly shifting metas across multiple games. Its analytical and time-intensive nature makes it a clear example of modern “nerd” engagement, showing that you don’t have to play video games to enjoy them.

Board Games

Having a few board games for your monthly wine party is not nerd-worthy, but having a growing collection of board games you barely (if ever) touch certainly is. And we’re not talking about Clue or Monopoly, but board games with rules so intricate it takes longer to explain than to play.

World of Warcraft

As one of the most influential MMOs, it demands long-term commitment, knowledge of systems, and social coordination. Its scale and depth have made it a defining example of immersive gaming culture.

Doctor Who

With decades of continuity and a constantly evolving storyline, Doctor Who rewards long-term viewers. Its mix of sci-fi concepts and deep lore has made it a staple of classic fandom culture, with each fan having their own favourite season, cast and Doctor.

Spider-Noir Gets Tombstone to the Screen Before Brand New Day

Spider-Man has one of the most varied and wonderful rogues galleries in all of comic book history. Peter Parker regularly goes toe-to-toe with heavy-hitters like Green Goblin, Venom, and the Kingpin. But he also has a host of unimpressive weirdos, including the Gibbon and the Kangaroo. For the most part, they all stay in their place. Green Goblin and Doctor Octopus will always be the biggest threats, especially as Venom has become a hero and the Kingpin fights Daredevil, the rest of the Sinister Six, including Electro and Mysterio, can have an arc here and there, and then everyone else fights for the scraps.

But a new promo for the MGM+ series Spider-Noir suggests that the hierarchy of power among Spider-Man villains has changed. It’s not so much that D-lister Silvermane gets to be the show’s big bad, nor the muscle he sends to fight Nicolas Cage‘s hardboiled take on Spider-Man. It’s that Tombstone gets highlighted, just months before he’s slated to be a major problem for Tom Holland‘s Peter Parker in Spider-Man: Brand New Day.

Loosely adapted from the comic book series Spider-Man: Noir by David Hine, Fabrice Sapolsky, Carmine Di Giandomenico, and Marko Djurdjević, and spinning out of Spider-Man: Into the Spider-Verse, Spider-Noir stars Cage as Ben Reilly, a 1930s private investigator who can do whatever a spider can. As this latest promo shows us, Ben will be going up against the gangster Silvermane (Brendan Gleeson), who relies on a trio of toughs to do his dirty work, including Sandman (Jack Huston), Megawatt (Andrew Lewis Caldwell), and Tombstone (Abraham Popoola).

Tombstone, of course, isn’t a new thorn in Spidey’s side. First introduced in Web of Spider-Man #36 (1988), by Gerry Conway and Alex Saviuk, he’s been a regular player in stories about the New York underworld. Born Lonnie Lincoln, he grew up with Daily Bugle editor Robbie Robertson and was constantly teased for being a Black child with albinism. The bullying led Lonnie to a life of crime and to embrace his appearance. Taking the name Tombstone, he filed his teeth to sharp ends and built an imposing physique.

For most of his history, Tombstone’s been a constant C-lister. While the animated series The Spectacular Spider-Man made him that show’s version of Kingpin (and got Keith David to provide the voice!), he hasn’t appeared in any of the live-action movies, nor does he get more than a couple of arcs or side missions in any cartoons or games.

However, that’s starting to change. Lonnie Lincoln was a major supporting character in season one of Your Friendly Neighborhood Spider-Man, where he’s voiced by Eugene Byrd. That series imagines Lonnie as an extraordinarily talented good kid who befriends Peter Parker. The first series ends with him being forced to participate in the local gang, and being exposed to chemicals that will certainly transform him into the imposing Tombstone.

Moreover, Tombstone’s rumored to be the chief antagonist of the next MCU film, Spider-Man: Brand New Day. Played by Marvin Jones III (who also voiced the character in Into the Spider-Verse), Tombstone will be one of the many baddies who tangle with the overworked Spidey, including Boomerang and the Hand. How will that fit into a story that’s also about the Hulk, Punisher, and probably Jean Grey of the X-Men, as well as his regular pals MJ and Ned? We’re not sure.

But it’s clear that Tombstone is having a moment, and the next part will be in Spider-Noir. This Tombstone “links the comic book character to a very grounded backstory,” says Popoola, promising something unique from even the versions in Your Friendly Neighborhood Spider-Man and Brand New Day. In fact, he sounds unique from any other C-list hero, which can only help Tombstone move further to the top spot of evil among the sinister foes of Spider-Man.

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

Looks Like The Rings of Power Season 3 Is Arriving Earlier Than We Thought

Most news about the Lord of the Rings franchise of late has centered on the forthcoming big screen adventure The Lord of the Rings: The Hunt for Gollum and Stephen Colbert’s in-the-works Shadows of the Past project. But if current rumors are to be believed, we’ll be headed back to Middle-earth well before then, thanks to Prime Video’s blockbuster fantasy saga The Lord of the Rings: The Rings of Power. 

The series, which still ranks as the most expensive ever made, has drawn its share of criticism for the liberties it’s taken with J.R.R. Tolkien’s source material and the changes it’s made to the backstories of some of its characters. But it’s still seen as a priority for the streamer, which is allegedly still on track to finish out its five-season vision despite the high costs associated with its production. 

Per The Hollywood Reporter, The Rings of Power season 3 will hit our screens later this year — months earlier than anyone expected. (The conventional wisdom up until this point was that a 2027 release was likely, given its extensive post-production needs.) While Prime Video hasn’t officially confirmed this report one way or the other, it makes a certain amount of sense. Season 2 concluded back in the Fall of 2024, and a late 2026 release would put the gap between seasons at two years, which is roughly the same amount of time that passed between the show’s first and second outings. 

When season 3 does arrive, though, things will look a bit different. Though season 2 concluded with the siege of Eregion and the death of Celebrimbor, its third outing will be set after a rather lengthy time jump. Honestly, this isn’t that big of a deal, since most of the story’s main characters are some variety of long-lived being that means the aging process doesn’t really apply to them. Plus, Tolkien’s history spans such a long period of time — a century passes between the forging of the 19 rings we saw made in season 2 and the One Ring to Rule them All in Mordor — that fast forwarding through some of the lesser bits is probably a smart choice. 

The Rings of Power will pick back up again at the height of the War of the Elves and Sauron, as the Dark Lord works to create his master ring. (Technically, these events also take place over a hundred years apart, but let’s go with it for the sake of brevity.) Beyond that, we don’t know much about what aspects of Tolkien’s history the third season will tackle, but it’s done some pretty detailed set-up for several major events, including the selection of the Nazgul, the closing of the Doors of Durin, and, probably most importantly, the Fall of Numenor. (And that’s not counting whatever they’re planning to do with Gandalf and that still-unidentified Dark Wizard next.)

Announced returning cast members include the major players: Charlie Vickers as Sauron, Morfydd Clark as Galadriel, and Robert Aramayo as Elrond, though those are far from the only familiar faces we’ll see in season 3. (An early preview clip features Lloyd Owen’s Elendil with his iconic blade Narsil.) The show is also adding some new faces in as-yet undisclosed roles, including Stranger Things star Jamie Campbell Bower and King & Conqueror’s Eddie Marsan, as well as Andrew Richardson, Zubin Varla, and Adam Young. Who are they all playing? Your guess is as good as ours.

The Lord of the Rings: The Rings of Power is streaming now on Prime Video.

Stranger Things: Tales From ’85 Restores the Spirit of Adventure to the Franchise

This article contains minor spoilers for Stranger Things: Tales From ’85

When we last left the kids of Hawkins, they weren’t kids at all. Mike, Will, Lucas, Dustin, Eleven, and Sam had all grown up and moved on from their adventures in the Upside Down, and with good reason. As punctuated by Joyce’s flashback before dismembering big bad Vecna in the series finale, these kids have lost a lot in their battle against a primordial evil—most importantly their childhood innocence.

So we cannot help but smile when, after a foreboding cold open, the first episode of Stranger Things: Tales From ’85 begins with the main kids running out of their houses to gather together and ride their bikes to school through the snow. Returned to youth through vibrant cell-shaded animation, the kids have all the innocence and energy that made us love them in the first place.

Created by Eric Robles, Tales From ’85 resets the clock, taking place between seasons two and three of the series. By this point, Will has already been trapped in the Upside Down and El exerted herself more than ever before to close it, but the kids begin the series more or less feeling like the worst is behind them.

Using animation solves one of the most notable problems facing Stranger Things. It took nine years to produce the forty-two episodes the show released over five seasons, and the kids had well advanced into adults. Twenty-somethings regularly played teenagers in the ’80s properties that inspired Stranger Things, but we first met these actors in pre-adolescence, making the disbelief harder to suspend. In animation, Dustin may have all of his teeth, but he’s not far removed from the adorable tyke of season one and El certainly doesn’t look like a wife and mother.

This isn’t to say that Tales From ’85 requires no buy-in from the audience. None of the original cast returns to lend their voices to the show, not even the adults. As a result, it does take some time to get used to slightly different voices coming from faces and characters we know well. For the most part, the transitions work with the kids, outside of minor details: Luca Diaz is a little less shrill than Finn Wolfhard was as season two Mike, Jolie Hoang-Rappaport shows a bit more emotional range than Sadie Sink as Max, and Braxton Quinney sometimes gives Dustin a southern accent missing in Gaten Matarazzo’s take. However, Brett Gipson feels like he’s playing a generic cartoon big guy instead of the lovable oaf who David Harbour portrayed.

Rather than harm the series, the adjustments help cement Tales From ’85‘s status as an animated spin-off, not unlike cartoon versions of live-action movies from the old days, such as The Real Ghostbusters or Godzilla: The Series. Tales From ’85 tones down the language and violence from the mainline series and puts the kids on a new adventure.

As seen in the first episode’s cold open, some manner of contaminated spore has been unleashed onto the town, infecting the plant life to create shark-like vines that glide through snow and pumpkins that threaten to devour humans. To deal with the problem, the kids form the Hawkins Investigators Club (HIC), offering their paranormal expertise as a service to citizens in need.

That premise seems to set up a classic Saturday morning-type series, in which each episode pits the HIC against some new Upside Down-related beastie. However, Tales From ’85 cant’ fully commit to such antiquated formatting, and instead plays like a modern season of television. There’s one overall story, and each episode is just a chapter, rather than a discrete narrative unto itself. This structural decision isn’t bad, per se, but it does feel like a missed opportunity, especially given how well everything else works in the show.

Those positives include the addition of new kid Nikki Baxter, a confident punk rocker voiced by Odessa A’zion (who cannot help but sound a little like alternate reality Bobby Hill, given the performer’s lineage). Nikki adds some of the same energy that Max first brought to the group, as a girl disinterested in nerd stuff and with more than enough energy to share with the timid boys. Moreover, she plays more realistically as a punk in a small town than those whom Eleven teamed up with in season two.

Moreover, Nikki bonds with Will, the most ignored of the main characters. Will’s arc in season five remains the most mishandled of the bunch, so teaming him with Nikki feels a bit like making up for later mistakes. Nikki brings out the best in Will, without the need to turn their friendship into a romantic relationship, as happened to Mike and Lucas with El and Max.

In short, Stranger Things: Tales From ’85 is the rare animated spin-off done right. It conveniently gives viewers an excuse to ignore the parent show’s bland later seasons and lets viewers jump right back into the fun. Even better, it offers its own exciting take on the world, giving the first real indication that Stranger Things can be more than a fad.

Stranger Things: Tales From ’85 is now streaming on Netflix.

The Vampire Lestat Trailer Could Not Have Picked a More Perfect Soundtrack

Lestat’s rock star era is officially here. Two years and a title change later, the third season of Interview with the Vampire, now rebranded as The Vampire Lestat in honor of the second novel in Anne Rice’s Vampire Chronicles series, is almost upon us, and if the trailer is anything to go by, it’s going to be a suitably wild ride. 

Featuring star Sam Reid in all his David Bowie-esque glory, the vibes, unsurprisingly, are immaculate. Where the Louis-focused Interview with the Vampire reflected that character’s more somber, melancholy, and frequently guilt-ridden approach to telling his own story, Lestat’s take on things is all bold colors, stylized graphics, and a booming soundtrack, featuring Reid himself performing a banging cover of Billy Idol’s “Dancing with Myself”. A genuinely perfect choice given how so much of this season will inevitably be about Lestat on his own, attempting to correct the record presented in Daniel Molloy’s infamous book and offering differing perspectives on some of the events from the show’s previous seasons. 

Much like the titular vampire himself, The Vampire Lestat’s trailer covers up a multitude of sins and traumas with flashing lights, arresting costumes, and screaming fangirls. But this tour isn’t going to be for the faint of heart. The novel not only recounts his life as a mortal and his early years as a vampire, but it also introduces a half dozen major characters from his past, including Gabrielle, Magnus, Marius, Nicolas, and Those Who Must Be Kept, whose shadows loom large over Lestat’s past and present. 

 There’s a surprisingly small amount of footage we haven’t seen before in this clip, which is primarily focused on Lestat’s rock star persona. But there are some fun hints of things to come: a quick glimpse of Lestat (probably as a human) in eighteenth-century France, what appears to be his abduction by Magnus before being turned, and the appearance of Queen of the Damned’s Baby Jenks in the present day. There is also, of course, an appearance by Lestat’s mother, Gabriella (Gabrielle in the book, but let’s go with it), who has a very… let’s just call it complicated relationship with her son. 

In Rice’s novel, Gabriella always had a particular affection for Lestat, her youngest child, whom she considered to be the most like her, rather than her cruel husband. She helps Lestat flee to Paris as a young man, he eventually turns her when she’s dying of consumption, and things take a turn for the blatantly incestuous between them. The trailer shows the pair about to kiss, which is scandalous enough (though book-accurate) in and of itself. But because the TV universe has established that — unlike in the books — vampires can and do have sex, there’s every possibility that The Vampire Lestat will take things even further with this particular relationship. 

Undoubtedly, there will be a lot to unpack when the series hits our screens this June.

The Vampire Lestat will premiere June 7 on AMC and AMC+. 

10 Comic Book Villains Who Deserve Their Own Movie

The age of heroes has ended. Now it’s time to bring on the bad guys. The upcoming Clayface movie is just the latest example of supervillains getting the spotlight. Not only did Clayface’s fellow Arkham inmate the Joker get two feature films, but Lex Luthor will be the co-lead of the Superman sequel Man of Tomorrow, and Doctor Doom will drive Avengers: Doomsday. On the small screen, Loki and Penguin carried their own shows, and Kingpin is the co-lead of Daredevil: Born Again.

Impressive as this list certainly is, studios have only begun to scratch the surface of interesting supervillains. Let’s look at some of the most compelling evildoers in comic book history, some bad guys who deserve to do good on the silver screen!

Baron Zemo

Last year’s Thunderbolts* remains one of the best recent Marvel offerings. But for all that movie got right, we can’t help but lament the loss of a proper Thunderbolts movie, one that adapted the team’s original incarnation from the mid-1990s. The first Thunderbolts were the Masters of Evil disguised as superheroes, and led by the wonderfully hammy Baron Zemo.

Although we’ve seen Baron Zemo in Captain America: Civil War and The Falcon and the Winter Soldier, played by the able Daniel Brühl, that soulful sad sack has little to do with the blustery baddie of the comics. A proper Baron Zemo movie would have to lean into his pure awfulness, even if it told a Thunderbolts-style story, in which he begins to see the value of heroism when masquerading as the dashing Citizen V. Also, the film would have to be very, very clear that Zemo is 100% a villain if he harbors any fascist sympathies.

Bizarro

Bizarro

Even though he’s really only appeared in the most recent Superman movie, and even then in a slightly skewed form, Bizarro is a perfect bad guy concept. Since his first appearance in 1958’s Superboy #68, written by Otto Binder and penciled by George Papp, Bizarro has been everything from a defective clone to a denizen of a counter-Earth to a Kryptonian gone wrong. No matter how he’s explained, Bizarro is fundamentally Superman’s perfect opposite, down to his tendency to say “No” when he means “Yes” and “Bad” when he means “Good.”

A great Bizarro movie would take place on Htrae (Earth, backwards), the Bizarro World introduced in the Silver Age. For the most part, the movie would play it straight, with Bizarro as the Superman of a backwards reality, taking advantage of all the absurd comedy the premise invites. Would that make for a good movie? In Bizarro-speak, “No!” In regular-speak, “Absolutely!”

Darkseid

Even the biggest Zack Snyder hater has to admit that the director’s take on Justice League villain Darkseid isn’t uniquely bad. It’s bad, to be sure, as is every other story that reduces the New Gods antagonist to just a generic villain bent on conquering the universe, but even greats like John Byrne and Jim Starlin have mishandled the Jack Kirby creation.

A film would be an opportunity to show Darkseid in his full, soul-crushing glory. The movie would certainly deal with Darkseid’s origin, showing how he went from Prince Uxas to become the absolute ruler of the planet Apokolips. And it might even show Darkseid’s ultimate end, destroyed by his own son, Orion. But the film must primarily illustrate Darkseid’s worldview, his commitment to destroying all vivaciousness and individuality, his desire to control the Anti-Life Equation.

Green Goblin

The Green Goblin is one of the most recognizable comic book villains, and not just because Willem Dafoe put in such an incredible performance in the Spider-Man movies. He matches the Joker’s hideous smile with a lizard-like green pallor, topping it all off with a cool glider jet and distinctive pumpkin bombs. Gobbie will forever be in the supervillain hall of fame, if only for throwing Gwen Stacy off the George Washington bridge, resulting in Peter Parker accidentally killing the love of his life.

Yet, Norman isn’t all evil. When not corrupted by the formula that gave him his incredible abilities, Norman Osborn is just your run-of-the-mill industrialist, who seeks power and success to avoid dealing with the death of his wife. In his most interesting stories, Norman is also a victim of the Goblin. An interesting movie could be made about Norman trying to build his company and convincing himself that he’s fundamentally good, while wrestling with the Green Goblin deep within him.

Junkman

Unless you’re a fan of indie comics from the 1990s, you’ve probably never heard of the Junkman. And that’s the tragedy of the character. Born Hiram Potterstone, Junkman troubles the heroes of Astro City, the titular setting of the great series from writer Kurt Busiek. Like all of the Astro City characters, the Junkman riffs on established superhero tropes, recalling classic evil geniuses such as Paste Pot Pete or Gizmo.

A Junkman film would adapt the character’s sole appearance, in 1997’s Kurt Busiek’s Astro City #10, written by Busiek and penciled by Brent Anderson. The story “Show ‘Em All” finds Hiram spending his old age on a sunny beach in South America, enjoying his millions after pulling off the perfect crime. There’s just one problem: his heist was so perfect that no one knows he did it. In fact, no one believes he can pull it off at all. Junkman’s story is a classic “careful what you wish for” tale, told through the cape and cowl perspective.

Magneto in Uncanny X-Men #200, penciled by John Romita Jr., inked by Dan Green, colored by Glynis Oliver

Magneto

In his first appearance in 1963’s X-Men #1, Magneto captures an American military base and threatens to use its explosives against ordinary humans. Such was the standard supervillain stuff that the Master of Magnetism did throughout the Silver Age, at least until writer Chris Claremont took over the X-Men. Under Claremont’s guidance, Magneto not only received pardon for his crimes from the UN (in part because he was turned into a baby and then into an adult, because comics) but even his evil deeds were re-examined in light of his history as a Jewish survivor of the Holocaust.

A good Magneto movie could expand the bits we saw in X-Men: First Class, when Erik Lehnsherr (Michael Fassbender) used his powers to hunt and execute former Nazis. A great Magneto movie would examine that history in light of his own supervillainy, exploring the way the oppressed can become an oppressor. That moral complexity has always often been present in the comics, but a full feature could give the concept the attention it deserves.

Monsieur Mallah and the Brain

Most of the bad guys on this list are fighters. But Monsieur Mallah and the Brain are lovers. The couple’s first appearance in 1964’s Doom Patrol #86, by Arnold Drake and Bruno Premiani, followed the standard model for an adventure featuring the world’s strangest heroes, with the Brain guiding Mallah and other members of the Brotherhood of Evil in a Silver Age caper with a Doom Patrol twist. But when Grant Morrison began writing Doom Patrol in the ’80s, they reimagined the two as devoted lovers seeking against the team’s leader, Niles Caulder, aka the Chief.

A movie focused on Monsieur Mallah and the Brain would take a cue from the Morrison run. The two would still belong to the Brotherhood of Evil, but, apropos of Morrison’s perspective-twisting approach, they would fight for liberation against restrictive normality. And at the center of it all would be a love story, which must be played as seriously as possible, despite all the absurdity going on around them.

Mystique

In a way, Mystique has already led a movie or two, if we count the First Class era of X-Men movies, in which Jennifer Lawrence‘s star-power pushed her shapeshifter to the forefront. But any X-Men fan can tell you that neither she nor the blue femme fatale played by Rebecca Romijn had much to do with the character from the comics.

A proper Mystique movie would draw more closely from the comics. The film could feature Mystique leading the Freedom Force, a group of evil mutants doing work for the U.S. government, and forever trying to outwit her handler Val Cooper. Or it could adapt the Brian K. Vaughn series from the 2000s, an espionage tale that made the most of her covert abilities. Perhaps it could draw from the recent Krakoa arc, in which Mystique was willing to burn down the mutant paradise to reunite with her lost wife, Destiny. And those are just three options out of the multitude offered by the multifarious mutant.

Star Sapphire

Ask most Green Lantern fans, and they’ll say that arch-enemy Sinestro deserves more attention. But the more compelling member of Hal Jordan’s Rogues Gallery is the one who is closest to him, the space-faring Star Sapphire. When introduced in 1962’s Green Lantern #16, by John Broome and Gil Kane, Star Sapphire was the alter-ego of Jordan’s girlfriend Carol Ferris, who gets turned into a murderous man-hater by an alien gem.

Over the years, the icky qualities of that original concept have been revised, to the point now that Carol has gained control over the gem and, in addition to no longer trying to force Green Lantern to marry her, has become a member of the Justice League. A great Star Sapphire movie would take place at the point of that change, with Carol still tempted by the obsessive feelings invoked by the gem, but fighting for a healthier understand of the power of love.

The Tick

As much as we would absolutely adore a film about the big blue bug of justice, that’s not the Tick we’re talking about. No, we want to see a movie about Barry Hubris, the guy who claims he was the Tick before the Tick. Barry first appears in 1986’s The Tick #11, written and drawn by creator Ben Edlund, demanding that the nigh-invincible blue guy give up the moniker and restore it to him. Of course, the Tick and Arthur win the right to keep the name, which drives Barry to remove his costume… and everything else, and spend the rest of his days running around in the nude.

A movie about Barry would build on the character’s later appearances, where we learn that he too was an inmate at Evanston Asylum, where the Tick we know and love got his gimmick, and that he makes a habit of stealing the identities of other super-people. A comedic film following Barry as he battles with the voices in his head and trying to find a superhero name that fits him would make for a delightful comic book parody, worthy of the name “the Tick.”

Chili Finger’s Cast and Creators Turn Real-Life News Into Black Comedy

In March 2005, no one could stop talking about Wendy’s. Specifically, everyone talked about the fast-food chain’s chili, after a woman claimed to have found a severed finger in her meal. When the claim turned out to be fraudulent, most people forgot about the instance, but not writer Stephen Helstad and his co-director Edd Benda. The duo fictionalized the event for the black comedy Chili Finger, starring Judy Greer, Bryan Cranston, and John Goodman, putting them at risk for the thing that makes Wendy’s famous today: their savage social media presence.

“We know you should never mess around with Wendy’s Twitter profile,” Helstad admits to Den of Geek at SXSW, where Chili Finger held its premiere. “We do all this in love.”

Greer stars in Chili Finger as Jessica Lipki who sues fast food join Blake Junior’s for $100,000 after claiming that she found a finger in her side dish. The suit draws the attention of fixer Dave (Cranston), who investigates the instance on behalf of CEO Blake (Goodman) and his daughter and successor Blake Jr. II (Madeline Wise), drawing attention to Lipki’s home life, including the empty-nest status she’s recently entered with her husband Ron (Sean Astin).

As that description suggests, Chili Finger is less concerned with relitigated a tabloid-ready piece of news from two decades ago and is more interested in exploring the humanity of those involved.

“A lot of films show the stages of parenthood as just new parents, or when the kids are adolescents and it’s hard with teenagers, or later in life, when the kids are getting married,” observes Helstad. “We wanted to explore those immediate days and hours when the nest is first emptied. What does it feel like when a family of three or four is all of a sudden a family of two. Normal day-to-day things are starkly different.”

“We took Lady Bird as an influence,” adds Benda. “As we were developing Chili Finger, it was fun for us to imagine: what the movie would have been like if we stayed with Tracy Letts and Laurie Metcalf?

“Tonally, Greta Gerwig did her job so well that we didn’t want to emulate her,” Benda continues with a self-aware laugh. “But we really loved the way she treated that relationship at the moment of the kids’ departure. It was so beautiful that it left us asking about what happens to them. What if, in that moment, you found a finger in your bowl of chili?

That question helped draw Greer’s involvement, especially since the script so accurately reflected her own experiences as a parent watching her children leave.

“It’s so funny to me that these two young men in their thirties made a movie about a woman who’s an empty-nester, entering midlife and having an existential crisis,” Greer says with a laugh. “I’m always saying, ‘We need to champion women’s voices!” and then I ask them, ‘Why did you guys write such a great character?’

“I remember vividly when I was an empty-nester, and I was a weird one because I had step-kids and came into their lives a bit later. First, it was all about them, and then, all of a sudden, they were gone, and they don’t need you anymore. It’s very strange. You need a moment to get your bearings.”

“Jess has a lot of feelings in the movie,” Greer continues. “I tried to do all of my acting faces and have all the feelings that I’ve ever felt in this role. She loses her cool quite a bit, but I like her because she gets it back. She starts out as a real grown-up, and she just makes a series of terrible decisions. It’s like gambling: you get in, and then you think you have to stay in it.

“It’s interesting because I’m so cautious, and I get to be someone who decides to abandon all caution. I loved being her.”

For Helstad, Jess’s complexity was part of their design. “It was important to us that she has a plan and she gets away with it,” he explains. “But then all these wants and needs and egos of other people, which she did not calculate for get in the way. We wanted her plan to be so innocuous that we accept that it’s well-thought-out, but then it gets away from her.”

Jess isn’t the only woman dealing with complex family relationships in Chili Finger, as the film also explores the tensions between CEO Blake Junior and his daughter Blake Jr. II, who’s ready to take over the business.

“Family drew me to the picture,” says Goodman. “It just seemed like a no-brainer,” he adds, much to the joy of Helstad and Benda.

Relieved as they are to have a big name like Goodman, they’re also thrilled with the work of the performer sharing scenes with him, Madeline Wise as Blake Junior II.

“Madeline Wise is incredible,” Benda declares. “To watch her stand toe-to-toe with John Goodman and Bryan Cranston and Judy Greer and Sean Astin—she had to deliver against a Mount Rushmore of talent, and she did it.”

Between Goodman’s Blake Junior and Wise’s Blake Jr. II, Greer faces off against some formidable competition in Chili Finger. It’s a good thing that she’s already dealt with heavies in Halloween, the Ant-Man films, the Jurassic World trilogy, and the Planet of the Apes movies. Even then, Greer’s not done.

“I’d love to be in the Bourne franchise,” she reveals. “Can someone just throw me a helicopter, but I live, and I have a gun and kill some bad guys?”

“We give a quick zoom and a camera shake, and we’re halfway there,” offers Benda.

Maybe Benda’s joking, or maybe he’s actually offering to help her. Or, most likely, he truly wants Greer to be an action star because he and Helstad will need all the help they can get when the Wendy’s Twitter account hears about Chili Finger.

Chili Finger premiered March 14 at the SXSW Film & TV Festival.

The 15 Video Games a Parent Would Least Want Their Child to Play

A good way to avoid your child playing something they shouldn’t is by checking age ratings; if the game isn’t for children, it’ll be labeled as such. But we all know parenting isn’t that simple, and kids will often ask for games that, while targeted at mature audiences, might not really be that bad.

Well, these next few games are that bad, and no child should really play them. Some of their covers give the problems away, but not all of them. If you need to know the most controversial games your child shouldn’t play, or if you’re looking for something with true adult themes, these are the games to watch out for.

Dead Island 2 Builds

Dead Island 2

Known for its hyper-detailed gore system, the game emphasizes dismemberment and realistic damage to enemies. Its focus on graphic violence makes it one of the most viscerally disturbing mainstream releases in recent years.

Doom the Dark Ages review

DOOM The Dark Ages

Fast-paced combat revolves around tearing apart demons in brutal, close-range executions. The game’s emphasis on aggressive violence and graphic finishing moves makes it unsuitable for younger audiences.

Mortal Kombat 1 Reboot

Mortal Kombat 1 (2023)

Famous for its “Fatalities,” the game features highly detailed finishing moves involving dismemberment and gore, pushing boundaries of violence in fighting games and making it particularly unsettling for children.

The Last of Us Part II

Beyond its violence, the game is emotionally heavy, depicting revenge, trauma, and morally complex decisions. Its realistic brutality and bleak tone make it especially intense for younger players.

Grace in Resident Evil Requiem

Resident Evil Requiem

Combines survival horror with graphic violence, including disturbing enemy designs and intense combat scenarios, creating an experience that can be frightening and overwhelming for younger audiences.

Dead Space Remake

Dead Space

Players must strategically dismember grotesque enemies, with the game leaning heavily into body horror and unsettling imagery, reinforcing its reputation as one of the most disturbing sci-fi horror experiences.

Outlast Trials

Set in a disturbing experimentation program, the game features torture, psychological horror, and disturbing scenarios, making it one of the more unsettling modern horror experiences.

Scorn

Its biomechanical world is filled with grotesque imagery and disturbing design, focusing more on discomfort and atmosphere than traditional gameplay, creating an experience that can be deeply unsettling.

Cyberpunk 2077

Cyberpunk 2077

Features mature themes including violence, drug use, and explicit content. Its open-world freedom allows players to engage in morally questionable activities that parents may find inappropriate.

Grand Theft Auto 5

Grand Theft Auto V

Still widely played, the game includes crime, drug use, and explicit content, allowing players to engage in violent and illegal activities freely, making it the most common concern for parents.

Dying Light 2

Dying Light 2: Stay Human

Combines parkour with brutal zombie combat, featuring graphic dismemberment and intense horror elements that make it unsuitable for younger audiences.

Alan Wake 2

A psychological horror experience with disturbing imagery and themes, relying on tension and fear rather than constant action, making it deeply unsettling in a different way.

Sniper Elite 5

Features detailed “kill cam” sequences that show bullets impacting bodies in slow motion, including graphic internal damage, which can be unsettling despite its tactical gameplay.

God of War: Ragnarok

God of War Ragnarök

Combines intense combat with mature themes about violence, fate, and loss, making it more emotionally and visually intense than its fantasy setting might suggest.

Baldur’s Gate 3

Includes mature themes such as violence, explicit romance options, and morally complex choices, giving players freedom that may not be appropriate for younger audiences.

Hitman 3

Centers on assassination gameplay, encouraging players to creatively eliminate targets, often in morally questionable or darkly humorous ways.

Far Cry 6

Depicts a violent revolution with torture, executions, and intense combat scenarios, making its themes and imagery unsuitable for children.

Dead by Daylight

A multiplayer horror game built around chasing and killing survivors, featuring iconic killers and disturbing imagery that can be frightening for younger players.

Horses

A controversial indie title exploring themes like abuse, slavery, and psychological trauma, so disturbing it was removed from major storefronts, highlighting just how uncomfortable its subject matter is.

15 Artists Who Never Won a Grammy But Probably Should Have

The Grammy Awards are considered the highest form of recognition in the music industry, even if their history is filled with notable omissions. Across its history, some of the most influential, commercially successful, and critically respected artists still have never taken home a competitive Grammy.

We’re talking about musicians who have racked up multiple nominations, chart-topping hits, and lasting cultural impact, yet remain overlooked when awards are handed out. This list highlights artists frequently cited in that conversation, focusing on names whose absence from the winners’ circle feels increasingly difficult to justify given their legacy.

Katy Perry

Despite numerous chart-topping hits and over a dozen Grammy nominations, Katy Perry has never won a Grammy. Her dominance of late 2000s pop, including multiple number-one singles, is often cited as a major gap in Grammy recognition.

Nicki Minaj

Nicki Minaj has earned multiple Grammy nominations across rap and pop categories but remains without a win. Her influence on modern hip-hop and mainstream crossover success is frequently highlighted in discussions about major Grammy snubs.

Snoop Dogg

With more than a dozen nominations, Snoop Dogg holds one of the longest Grammy droughts among major artists. His decades-long career and cultural impact make his lack of a win one of the most commonly cited oversights.

Brian McKnight

Brian McKnight has amassed a high number of Grammy nominations without winning, often cited as one of the most extreme examples. His consistent presence in R&B over decades contrasts sharply with his lack of awards.

Björk

Known for her experimental sound and critical acclaim, Björk has received multiple nominations but never won. Her influence on alternative and electronic music is frequently contrasted with her lack of Grammy recognition.

ABBA

Despite global success and enduring popularity, ABBA never won a competitive Grammy. Their continued cultural relevance highlights how major commercial impact does not always translate into awards recognition.

Jennifer Lopez

Jennifer Lopez has maintained decades of success across music and film, yet has never won a Grammy. Her commercial achievements often come up in conversations about mainstream artists overlooked by the Recording Academy.

Busta Rhymes

With numerous nominations and a long career, Busta Rhymes remains Grammy-less. His influence on rap performance and style is often cited as deserving stronger recognition.

Sia

Sia has received multiple Grammy nominations for both her own work and songwriting contributions. Despite critical acclaim and commercial success, she has yet to win, making her a recurring name in snub discussions.

Blake Shelton

A major figure in country music with numerous nominations, Blake Shelton has never won a Grammy. His long-standing popularity contrasts with his absence from the winners’ circle.

Lana Del Rey

Critically acclaimed and highly influential in alternative pop, Lana Del Rey has been nominated multiple times but remains without a win. Her artistic impact is often highlighted in debates about Grammy recognition.

Arctic Monkeys

Despite critical and commercial success, Arctic Monkeys have never won a Grammy. Their consistent output and influence on indie rock make their absence notable.

Depeche Mode

Pioneers of electronic and synth-pop music, Depeche Mode have received nominations but no wins. Their long-term influence is frequently cited as deserving greater recognition.

Journey

Journey’s enduring popularity and iconic songs have not translated into Grammy wins. Their omission is often mentioned when discussing classic rock acts overlooked by the awards.

Guns N’ Roses

Guns N’ Roses achieved massive success and influence but never secured a Grammy win. Their continued relevance makes their absence from the winners list stand out.

17 Movies Remembered Entirely for One Scene

All filmmakers want their movies to be remembered as a whole experience, marking lives with their message. Yet, many films survive in pop culture almost entirely because of a single unforgettable moment. Usually, it’s a shocking twist, a quotable line, or a visually striking sequence, making these scenes take on a life of their own, often eclipsing the rest of the movie.

In some cases, they even become more famous than the film itself, referenced and parodied far beyond their original context. This phenomenon highlights how one perfectly executed idea can define an entire production. These are movies that, for better or worse, are largely remembered for just one standout scene.

Glengarry Glen Ross

Alec Baldwin’s aggressive “Always Be Closing” speech dominates the film’s legacy, despite appearing in only one scene. The performance became endlessly quoted, often overshadowing the rest of the drama, which has faded compared to that singular, explosive moment.

Basic Instinct

Sharon Stone’s interrogation scene, particularly the leg-crossing moment, became one of the most infamous sequences in cinema. Its shock value and cultural impact far outlasted the film’s plot, which is often considered secondary in discussions.

Risky Business

Tom Cruise’s dance in a shirt and socks became a defining pop culture image. The scene’s simplicity and energy turned it into a lasting icon, often remembered more vividly than the film’s broader narrative.

Deep Blue Sea

Samuel L. Jackson’s sudden death mid-speech stands out as the film’s defining moment. The shock and timing made it memorable, while the rest of the movie is often regarded as a fairly standard creature feature.

Mac and Me

The infamous wheelchair cliff scene became widely known through repeated parody, particularly in talk show gags. That single moment largely defines the film’s reputation, overshadowing its broader narrative and quality.

Taken

Liam Neeson’s “particular set of skills” phone call is endlessly quoted and parodied. While the film itself is a straightforward action thriller, that single speech became its lasting cultural footprint.

A Few Good Men

“You can’t handle the truth!” remains one of the most famous courtroom moments ever. The intensity of that confrontation often overshadows the rest of the film, which is less frequently referenced in pop culture.

Thelma & Louise

The final scene of the car driving off the cliff became iconic and widely referenced. That ending defines the film’s legacy so strongly that it often eclipses the journey leading up to it.

Free Willy

The whale jumping over the boy is the image most people associate with the film. Its emotional payoff became so iconic that it effectively represents the entire movie in public memory.

Up

The opening montage depicting Carl and Ellie’s life is widely regarded as one of Pixar’s most emotional sequences. It is frequently discussed independently, often overshadowing the film’s more whimsical main adventure.

Say Anything…

The boombox scene, with John Cusack holding it overhead, became a defining romantic image. Many recognize the visual instantly, even if they struggle to recall the rest of the film’s details.

Al Pacino as Tony Montana Dies in Scarface

Scarface

“Say hello to my little friend” is one of the most quoted lines in film history. That climactic shootout scene has become shorthand for the movie, often eclipsing its longer narrative arc.

Demi Moore and Patrick Swayze on the set of Ghost

Ghost

The pottery wheel scene became a defining romantic moment in cinema. Its cultural impact, aided by music and chemistry between leads, often overshadows the rest of the supernatural storyline.

American Psycho

The business card comparison scene is widely shared and parodied. Its tension and absurdity made it one of the most memorable moments, often standing apart from the film’s broader narrative.

The Sixth Sense

“I see dead people” became one of the most quoted lines in modern cinema. The line’s delivery and context made it synonymous with the film, often recalled even by those who haven’t seen it.

Dirty Dancing

The final lift during the closing dance became the film’s defining image. That moment is frequently referenced in pop culture, often standing in for the entire movie.

Psycho

The shower scene remains one of the most famous sequences in film history. Its editing, music, and shock value made it iconic, often eclipsing the rest of the movie in public memory.

15 Movies Clearly Designed for a Sequel That Never Came

Hollywood has increasingly leaned on franchise-building, with many films designed less as standalone stories and more as the first chapter in a larger saga. This approach often leads to endings filled with cliffhangers, unresolved arcs, or explicit sequel teases meant to hook audiences for future installments.

However, not every gamble pays off. Call it weak box office returns, mixed reception, or behind-the-scenes complications; many of these planned follow-ups never happen. The result is a collection of films that feel incomplete in hindsight, frozen mid-story. These are movies that clearly aimed for more but ultimately remained one-offs.

Rosa Salazar - Alita Battle Angel

Alita: Battle Angel

Ending on a direct setup for a larger conflict, the film introduces a major antagonist in its final moments while leaving its central revenge arc unresolved. Despite its ambition, a sequel has yet to materialize following its mixed reception.

Eragon

The fantasy adaptation concludes with a clear continuation in mind, leaving its central war and character arcs unfinished. Its poor critical reception and box office performance effectively halted any plans to continue the intended franchise.

Green Lantern

The film’s post-credits scene explicitly teases a villain transformation meant to carry into a sequel. Negative reception and underwhelming box office results led to the franchise being scrapped instead.

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

Fantastic Four

Despite a troubled production, the reboot ends with the team newly formed and positioned for future adventures. Poor reception led to immediate cancellation of any planned sequel.

The Mummy

Intended as the launch of Universal’s “Dark Universe,” the film ends by setting up a shared monster franchise. Its failure at the box office caused the entire cinematic universe plan to collapse.

King Arthur: Legend of the Sword

Planned as the first in a six-film series, the movie lays groundwork for a larger mythology. Its commercial failure ensured the broader saga never moved forward.

The Last Airbender

Ending with its villain’s rise to power, the film clearly sets up the next chapter of the story. Critical backlash prevented any continuation of the planned trilogy.

Dredd

While more subtle, the film establishes a larger world and future cases for its protagonist. Despite strong fan support, financial performance stalled any sequel plans.

Rooney Mara as Lisbeth Salander in The Girl With the Dragon Tattoo

The Girl with the Dragon Tattoo

Designed as the first installment in a trilogy, the film leaves room for continuation. Plans for sequels were ultimately abandoned despite the source material offering a clear path forward.

Russell Crowe and Paul Bettany in Master and Commander

Master and Commander: The Far Side of the World

Concludes with its characters setting off on another mission, mirroring the episodic nature of its source material. Despite critical acclaim, no sequel followed.

Chronicles of Narnia - Voyage of the Dawn Treader

The Chronicles of Narnia: The Voyage of the Dawn Treader

Finishes with a clear path toward adapting the next book, but declining box office returns halted further entries in the series.

Ender’s Game

Leaves its protagonist embarking on a new mission, clearly setting up a continuation of the story. Underperformance prevented adaptation of the remaining books.

I Am Number Four

Introduces a larger mythology and multiple surviving characters meant for future installments. Despite franchise intentions, the sequel was never produced.

The Sorcerer’s Apprentice

Ends with unresolved threats and a clear continuation setup, positioning its protagonist for future adventures. Lackluster box office performance halted any sequel plans.

Van Helsing

Builds a broader monster-hunting world and leaves its protagonist’s journey open-ended. Intended as a franchise starter, it never received a direct sequel despite its scope.

15 Things That Really Didn’t Need Their Own Movie

Studios have spent decades turning recognizable IP into feature films, often stretching thin concepts into full-length productions. From books padded far beyond their scope to video games and toys with little narrative foundation, many adaptations have faced criticism for existing more as brand extensions than creative necessities.

While some projects find success, others become shorthand for excess, misjudgment, or missed potential. Here, we highlight films frequently cited in that conversation, focusing on releases that struggled to justify their own existence despite built-in recognition. Each example reflects a broader trend of prioritizing familiarity over storytelling in modern Hollywood production cycles.

Battleship

A loose adaptation of a board game with minimal narrative basis, widely criticized for generic blockbuster storytelling and poor reception, ultimately losing significant money despite its massive budget.

The Care Bears Movie

Frequently described as a feature-length commercial for a toy line, emblematic of early merchandising-driven filmmaking despite moderate box office success.

Bratz

A doll-based adaptation heavily criticized for shallow storytelling and poor execution, often cited among failed attempts to turn toy brands into viable film franchises.

UglyDolls

Based on plush toys, the film drew criticism for predictable storytelling and reliance on brand recognition rather than compelling narrative.

Playmobil: The Movie

Compared unfavorably to more successful toy adaptations, often criticized for lacking originality and failing to justify its existence beyond brand promotion.

Max Steel

A box office failure based on an action figure line, criticized for weak plotting and generic superhero tropes.

The Emoji Movie

Widely mocked as an example of adapting non-narrative concepts, criticized for being overly commercial and creatively thin.

Monster Hunter

A video game adaptation frequently cited for straying from its source material and delivering a generic action narrative.

Borderlands

Borderlands

Critically panned upon release, with reviewers calling it generic and poorly executed, often listed among the worst films of its year.

Doom

Based on a minimal-story shooter, often cited as an example of stretching a thin premise into a full-length feature.

Ouija

Based on a spirit board, frequently cited as a concept stretched into a horror film primarily due to brand recognition.

Prince of Persia: The Sands of Time

A big-budget adaptation of the video game series that drew criticism for its generic adventure tone and deviations from the source material, often cited as an unnecessary attempt to launch a franchise that never materialized.

Jem and the Holograms

A poorly received adaptation of a toy-linked franchise, criticized for failing to capture the appeal of its source material.

Papa Smurf in 2025 Movie

The Smurfs

A heavily commercialized adaptation often criticized for blending live-action and animation without strong narrative justification.

Assassin’s Creed

Despite the popularity of the games, the film received mixed-to-negative reviews for its convoluted narrative and heavy exposition, frequently referenced as a case where a strong IP didn’t translate into a compelling or necessary film adaptation.

Clayface Brings the Horror Genre to Superhero Movies

Almost by definition, superhero movies are about hope and goodness. Even when things get dark for guys like Batman or the Punisher, their respective films end on notes of redemption. The Hulk may roar and Wolverine may growl, but eventually, the real baddies are defeated and the innocents are saved.

Not so with Clayface, the latest entry in the DCU. The first trailer for the adaptation of the classic Batman villain doesn’t reveal much about the film’s plot but it does make sure we understand the tone. Clayface will be a horror movie, complete with sharp music stings, plenty of gore, and some disturbing images of melting faces.

Clayface stars Tom Rhys Harries as Matt Hagen, a rising film star whose career falls apart after he experiences a horrible accident, resulting in the bandaged imagery seen in the trailer. Through scientist Dr. Caitlin Bates (Naomi Ackie), Hagen participates in an experimental procedure that transforms his body into moldable clay… at first. Where the comic book Clayface uses his new condition to commit crime, the trailer suggests that Hagen’s melting body creates a sense of visceral terror.

The trailer’s tone shouldn’t be too much of a surprise, given the pedigree of the creators. Clayface comes from co-writer Mike Flanagan, the man behind the Netflix series The Haunting of Hill House and Midnight Mass. To hear DCU co-head James Gunn tell it, Flanagan came to him with a pitch for Clayface that was so compelling, he had to put it into production. To helm the project, Gunn chose James Watkins, recently of the Speak No Evil remake.

Moreover, the trailer seems to be bringing Clayface back to horror roots. When the character debuted in 1940’s Detective Comics #40 by Bill Finger and Bob Kane, he was Basil Karlo, a B-movie actor who lost the ability to distinguish between the real world and the movies, becoming the killer he played on screen. Another Clayface, Matt Hagen, first appeared in Detective Comics #298 (1961), courtesy of Bill Finger and Sheldon Moldoff. This Clayface transformed into a hulking slime beast after exposure to a strange plasm.

Clayface is hardly the only superhero character who borrows from horror fiction. Batman and villains like the Joker have clear connections to the scarier side of pulp fiction. The Hulk began as a riff on Dr. Jeckyll & Mr. Hyde, with some Frankenstein thrown in for the design. The Fantastic Four and Ant-Man stemmed from the Twilight Zone-style stories that Jack Kirby and Stan Lee were telling throughout the ’50s.

And yet, few movies have been willing to fully embrace the horror side of superheroes. While indies such as Spawn and Faust: Love of the Damned mix capes with creatures of the night, only the Blade franchise and The New Mutants really went into horror—and even then, they return to superheroics by story’s end.

If this trailer is to be believed, Clayface will do something very different. It will remold the comic book superhero movie into something new, shocking, and completely unexpected.

Clayface arrives in theaters on Oct. 23, 2026.

Coyote vs. Acme Trailer Mocks Warner Bros. Tax Write-Offs

You’d think that Warner Bros. would know more about things exploding in your face. For more than 75 years, the studio has been producing cartoons about Wile E. Coyote, the genius scavenger whose plots to catch the Roadrunner are thwarted by faulty contraptions from the Acme Corporation. And yet, Warner Bros. CEO David Zaslav decided to shelve the completed movie Coyote vs. Acme because he thought a tax write-off would be more profitable than any box office revenue it could generate.

Yet, thanks to fan outcry and the efforts of distributor Ketchup Entertainment, Coyote vs. Acme will finally see the light of day. And the first trailer for the picture has no intention of letting bygones be bygones with its old studio. The teaser includes plenty of gags at Warners’ expense, conflating the Hollywood stalwart with the inconsistent and unethical Acme.

The trailer lays out the basic premise of Coyote vs. Acme, directed by Dave Green and based on a screenplay by Samy Burch (who created the story with James Gunn and Jeremy Slater). After years of dealing with Acme’s substandard products, Wile E. Coyote employs a crusading lawyer played by Will Forte to bring the company to justice. Complicating things is not only Acme’s lawyer, played by John Cena, but also the owner, the apparent toon-traitor Foghorn Leghorn.

The blustering rooster threatens Cena to keep Acme’s secrets hidden, and says in the closing voice-over, “The Acme Corporation is releasing this film for accounting purposes only!”

That last bit may be a clear shot at Warner Bros. choosing tax breaks over Looney Tunes, but the entire trailer has a whole anti-corporate feel. Forte, costumed like he’s the most embarrassing member of the Spotlight team, rages, “These companies think they can do whatever they want. We’re sick of it!” Conversely, Acme’s lawyer trots out the time-tested tactic of blaming the individual for any of the products’ shortcomings.

Also, the trailer is full of classic Looney Tunes bits, including Bugs Bunny in drag, Daffy Duck going bonkers, and, uh, Tweety Bird with a shotgun. Not sure what that last one is about.

In total, Coyote vs. Acme looks like a delightful combination of Looney Tunes bits and courtroom comedy. That last part may be particularly important, because as wonderful as the original Looney Tunes certainly are—especially the Coyote and Roadrunner shorts made by Chuck Jones—the characters don’t always work in movie form, no matter what deluded millennials say about Space Jam. In fact, Ketchup Entertainment also rescued The Day the Earth Blew Up from Zaslav’s cuts last year, but the movie barely made back its budget.

If Coyote vs. Acme can capitalize on the goodwill we feel toward the characters and combine Looney Tunes wackiness with a successful legal comedy, then maybe Ketchup Entertainment will have a hit on their hands. And everyone else will have one more reason to laugh at WB’s lousy tax strategy.

Coyote vs. Acme arrives in theaters on August 28, 2026.

Stranger Things: Freddy Krueger Actor Returns to Hawkins, But as a New Character

Stranger Things owes a lot to ’80s horror. There’s the Stephen King font used by the titles, the heavy use of synths on the score, and a scary monster who represents the sins of generations past. Creators Matt and Ross Duffer have paid that debt in several ways, including by casting Robert Englund, Freddy Krueger himself, as Victor Creel, father of the boy who would become Vecna.

With the animated series Stranger Things: Tales From ’85, the Duffers are paying back that debt twice by bringing Englund back as a new character. According to a release in EW, Englund will play “Cosmo Russo … editor-in-chief of The Weekly Watcher, a Hawkins tabloid magazine that’s notorious for its sensationalized, often exaggerated, and false accounts of local scandals, mysteries, and supernatural occurrences.”

In a way, England’s recasting falls in line with the way that Tales From ’85 is approaching all of its characters. Although the show features recognizable names like Mike Wheeler, Chief Hopper, and Eleven, the faces have changed. Instead of Finn Wolfhard, David Harbour, and Millie Bobby Brown, it’s Luca Diaz, Jeremy Jordan, and Brooklyn Davey Norstedt providing voices. Rounding out the cast is Marty Supreme standout Odessa A’zion as cool kid Nikki Baxter, comedian Janeane Garofalo as her mother Anna, and The First Power star Lou Diamond Phillips as new character Daniel Fischer.

However, bringing back an actor from the main series but putting him in a new role seems to be part of Tales From ’85‘s plan to separate itself from the mainline Stranger Things mythology. Set between seasons 2 and 3 of the main series, Tales From ’85 certainly has stuff about the Upside Down and features recognizable monsters like the Demo-Dog. But the show’s trailers have emphasized a light-hearted, carefree tone, bringing the series back to the kid adventures that made it such a massive hit.

That reset feels even more important now, after the much-hyped final episode of the main series. While the feature-length fifth season did certainly generate much discussion, enough to justify Netflix‘s decision to put the last episode in theaters, the reception has been mixed, to say the least. While some thrilled to the epic stakes the series developed, others felt like Stranger Things lost the things that made it special.

Tales From ’85 is primed to give those fans what they want, as demonstrated by Englund’s shifty new character. Per Netflix: “Cosmo is fully aware of his reputation as an opportunist, but he simply doesn’t care. His focus is on the people who eagerly line up at the supermarket, drawn in by his bombastic headlines, compelling them to pick up a copy. Despite his public sensationalism, he privately believes that Hawkins is genuinely steeped in strange happenings.”

Strange happenings and supermarket tabloids? A goofy opportunist played by a horror legend? That sounds like pure, nostalgic fun, and an ’80s horror icon is the perfect person to make it happen.

Stranger Things: Tales From ’85 streams on Netflix on April 23, 2026.

“If You’re a Dreamer, You Better Be a Doer”: Inside Netflix’s New Lainey Wilson Documentary

Even if you aren’t a country, it’s decent odds you’ve heard of Lainey Wilson: a Grammy-winning country artist who has also racked up 16 Academy of Country Music Awards and nine Country Music Association Awards, including Entertainer of the Year in 2023 and 2025. Taylor Sheridan even created a role specifically for her on the final season of Yellowstone, casting her as a love interest for Ryan (Ian Bohen), who mirrored Wilson’s own signature style and even performed several of her own songs. 

But now, thanks to the forthcoming Netflix documentary, Lainey Wilson: Keepin’ Country Cool, everyone’s about to find out why she’s become such a big star. Directed by Amy Scott, the filmmaker behind such documentaries as Sheryl, Melissa Etheridge: I’m Not Broken, and Counting Crows: Have You Seen Me Lately, Keepin’ Country Cool aims to chronicle Wilson’s transition from living in a camper trailer to one of the most recognizable names in country music. 

“Musicians and artists are really fascinating to me,” Scott tells Den of Geek at SXSW 2026. “I like to understand how they work, how they make the things that they make, and they usually lead really unique lives.” 

Scott wasn’t overly familiar with her subject before making the film. But she was won over fairly quickly by Wilson’s work ethic and charisma. 

“I didn’t know a lot of her work [before I made the film],” Scott says. “But country is one word that means a lot of different things historically. So, I was a big fan of country, but maybe more so of older stuff. I wasn’t as familiar with her. But now we’ve spent a lot of time with her, and I love her music. I think she’s an incredible entertainer. She’s got it.” 

Wilson released her first album in 2014, but didn’t land a major label deal until five years later. Her first number one single, “Things a Man Oughta Know,” was released in 2020. And now seemed the right time to tell her story. 

“There were some producers that had the idea, and they all make really cool films, and they got together with Lainey’s team and thought this might be a really interesting year to capture because she’s on this rapid ascent,” Scott says. “And those moments are fleeting that an artist will let you come into their world and be vulnerable as they take off. So [the film] had been conceived, and they had seen some of my previous films about musicians. It was a good fit.”

While Wilson herself wasn’t involved with determining the documentary’s direction or its day-to-day filming choices, Scott says both she and her team were very collaborative. 

“She wasn’t involved in any creative decision in terms of the film,” Scott says. “You don’t want someone sort of dictating what you’re going to film or not. She’s extremely down to earth and very open, let us come into her world with a very small crew, who are all incredible documentarians, and we’re all filming. And then a cool thing that happened with her team — and this had not happened to me before — but she had a photographer too, and they’ve [been] friends and known each other for years. He filmed a lot of video and worked with us to share footage, and we sort of became one team. I thought that really [added an] additional layer of intimacy and accessibility that would have taken us a lot more time to build that trust.”

As with any documentary, Keepin’ Country Cool is about showing off many different sides of its subject, from Wilson’s abilities as a performer to her more unexpected personal traits.

“Vulnerability can come in many different flavors. It can be a vulnerability about struggles. But vulnerability is also when you can be funny and have a really unguarded, self-deprecating nature,” Scott says. And what we realized very early on is she’s really, really funny. That was kind of like, ‘Oh, I didn’t know that about her, so I think we definitely have to showcase this woman’s sense of humor.”

One of the film’s repeated themes involves the often-unseen hard work — not to mention the considerable time — it takes to become a success, a win that many often (incorrectly) perceive as an “overnight sensation.”

“You know, it’s a story about dreaming,” Scott says. “She says this line at the beginning, it’s in one of her speeches, but I thought it was so profound:’ If you’re going to be a dreamer, you better be a doer.’ That’s just the point of the whole thing. Nothing is given to you, but if you can dream it, then you should go and do it. So I think it’s really inspirational for anyone else [who’s] chasing their dreams.”

For Wilson, this means constantly working — both when it comes to her present-day activities like touring and other professional commitments, and thinking about what’s coming next. 

“One thing, and I don’t know if this is the case for all musicians, but it was a new thing for me, is to see that she’s on tour constantly. She never stops. She doesn’t sit still. But when she does, she goes, and she starts songwriting the next record,” Scott says. “So she’s banking all these songs, and she’s constantly looking to make the next record. So we did capture a handful of the moments in the process of her looking forward, not just touring past records, but building toward [the next one].” 

According to Scott, no documentary is ever crafted in a straight line, and Keepin’ Country Cool doesn’t tell Wilson’s story that way, either. Instead, she, like those of us watching at home, is really just along for the ride. 

In an ideal world, you map it all out, and you get all your checkpoints along the way and everything like that. But that’s just not realistic. Documentaries are not narratives that way,” Scott laughs. “They take twists and turns, and after a while, it became apparent that we’re not chasing the tour. We’re chasing Lainey. And her life is all over the place. Her life is not a straight line. So we just tried to hold on to that mechanical bull ride.”

Lainey Wilson: Keepin’ Country Cool premiered March 17 at the SXSW Film & TV Festival. It is now available to stream on Netflix.