Fire and Ash Could Be James Cameron’s Final Avatar Film

By this point, no one in Hollywood would bet against James Cameron. For decades, Cameron has raised eyebrows by racking up enormous budgets for weird ideas like “a gigantic sequel to a grimy movie about a killer robot from the future” or “Fern Gully but in 3D.” And each and every time, Cameron is proven right, turning out movies that thrill critics and make tons of money at the box office. But there is one person who is showing doubt in James Cameron: James Cameron himself.

“I have no doubt in my mind that this movie will make money,” Cameron said of Avatar: Fire and Ash in an interview with The Town (via Inverse). “The question is, does it make enough money to justify doing it again?” And if it does not reach that level of profit, Cameron admitted that he’s “absolutely” prepared to walk away from the franchise.

That’s a shocking admission from a guy known for his force of will. It’s not just that Cameron projects garner huge price tags. It’s also that he does things that Hollywood common sense considers crazy. That’s how he made Terminator 2: Judgment Day and Titanic into such spectacles, and it’s why he put an Avatar sequel into theaters 13 years after the first one.

Even now, before Fire and Ash has even hit theaters, Cameron has two more movies in production, one slated to release in 2029 and the other in 2031. Those are big plans for a 71-year-old.

But Cameron is right to say that Hollywood budgets are massive, and Disney—which acquired the Avatar franchise when they bought 20th Century Fox—certainly has expectations that blockbusters turn a profit. As Cameron so colorfully put it on The Town, Fire and Ash cost “one metric fuck ton of money, which means we have to make two metric fuck tons of money to make a profit.”

As admirable and rare as Cameron’s introspection is, one has to wonder if he really needs to worry. After all, both of the previous Avatar films did indeed make several two metric fuck tons of money. The 2009 film is the highest-grossing movie of all time, and The Way of Water is the third highest grossing movie all time, with Avengers: Endgame tucked between. Given the excitement already building around Fire and Ash, it’s hard to believe that the third entry won’t continue the trend.

For his part, Cameron isn’t waiting to find out. If Fire and Ash proves to be the final outing for Jake Sully and his family of Na’vi, fans won’t be left hanging. In addition to assuring viewers that most major plot points will be revolved, Cameron has a plan for dealing with any remaining questions. “There is one open thread,” not resolved in Fire and Ash,” he explained, “and if [the story] ends there theatrically, I’ll write a book.”

And so, in classic James Cameron fashion, even when he doubts himself, James Cameron still has a plan to bet on himself.

Avatar: Fire and Ash releases December 19, 2025.

Noah Hawley’s Canceled Star Trek Movie Actually Understood Star Trek

Noah Hawley might be the weirdest fan in show business. He makes shows about well-established and beloved properties, tackling the X-Men in Legion, the Coen Brothers’ filmography in Fargo, and xenomorphs in Alien: Earth. And while he fills those shows with the sort of attention to detail that usually marks fan-centric works—see the pseudo-Nostromo in Alien: Earth or the flying saucer from The Man Who Wasn’t There in Fargo‘s second season—Hawley also has wild takes on the source material.

So it’s a little surprising to learn that Hawley’s now-canceled Star Trek movie sounds like, well, Star Trek. Speaking with the Smartless podcast (via TrekMovie) hosted by Jason Bateman, Sean Hayes, and Will Arnett, Hawley explained his approach to property. “I thought, everything [in franchises] is war, right? Star Wars is war, and Marvel is war,” he explained. “But Star Trek isn’t war. Star Trek is exploration, right? It’s people solving problems by being smarter than the other guy.”

Those words are music to the ears to Trekkies everywhere. As much as new Star Trek as we’ve had over the past 16 years, “Trekking” hasn’t always been the focus. We’ve had people running up and down hallways in the J.J. Abrams movies, lots of crying it out on Discovery, and so much insight into Spock’s love life on Strange New Worlds, but despite the last example’s title, not a whole lot of seeking new life and new civilizations.

On one hand, the franchise has to grow and evolve as times change, and we don’t necessarily need TOS‘s over-reliance on meeting god-like beings on another planet that looks like Earth or all of TNG‘s beigeness. There’s nothing inherently wrong with season-long arcs, exploring the emotional stakes of characters, or even references to classic series. But as demonstrated by its need to keep doing prequels or simply remix existing alien races, as Star Trek: Academy seems to be doing, the franchise has forgotten how to boldly go.

And if there’s one thing Hawley loves to do, it’s to go boldly. He made the xenomorph just one of several monsters in Alien: Earth (all hail Eyetopus!) and Legion had more surreal dance numbers than it did mutant on mutant battles.

By all accounts, his Star Trek movie would have done the same. His movie was rumored to involve an all-new crew, investigating a virus that wiped out various planets. “It was an original story that was not Chris Pine-related, nor was it Captain Kirk-related,” Hawley recently told Men’s Journal. The only connection to established stories would have involved “an unboxing of Data, the idea of the android. And that was to become an element in the films.”

On Smartless, Hawley said Paramount loved the idea and gave it the greenlight, but then a regime change stalled things. A new head took over Paramount‘s movie division and “the first thing they did was kill the original Star Trek movie,” Hawley explained. And they killed for one reason: it went too far into new territory, straying from the Kelvin movies that fans already knew. “They said, ‘Well, how do we know people are going to like it? Shouldn’t we do a transition movie from Chris Pine, play it safe?’ And so [the movie] kind of went away.”

First, Hawley’s movie was replaced by a fourth Kelvin film, which would have seen Pine’s Captain Kirk reunite with his father, memorably portrayed by Chris Hemsworth in the 2009 movie. But contract negotiations and schedules prevented that from happening, and now Paramount has announced a different film, this time from Dungeons & Dragons: Honor Among Thieves duo Jonathan Goldstein and John Francis Daley.

At this point, we don’t know what Goldstein and Daley plan to do. And with season two of Alien: Earth now in production, we know that Hawley is busy making the world of xenomorphs weird again. But whatever happens, we can’t help but mourn the loss of a Star Trek story that put trekking first, that cared more about smart people using their training and competence to help others than it does explosions or name drops or whatever the heck Section 31 was.

Until then, we can just hope that Goldstein and Daley remember that Star Trek is about astronauts on some kind of star trek, even if they don’t get quite as weird as Hawley surely would have been.

The Most Highly-Anticipated Marvel Movie Stuck in Limbo “Just Unraveled”

It’s been over six years since Marvel announced a rebooted Blade movie, but it still hasn’t gone into production. The project, which initially snagged Mahershala Ali (Moonlight) to star as the fan favorite Daywalker, has repeatedly stalled since 2016 after getting hit with multiple script and director changes.

Right now, we have no idea what stage Marvel is at with developing the highly-anticipated superhero movie, despite some eagerness to promote the character outside of it. Wesley Snipes briefly returned as Blade in Deadpool & Wolverine last year, and a multiversal version of Blade also appeared in this year’s well-received animated series, Marvel Zombies, but in terms of any solo Blade action, there’s no start date on the horizon.

Someone who does have some insight into how the project fell apart is Pearl star Mia Goth, who was attached to the movie as its villain, Lilith. During a recent episode of the Happy Sad Confused podcast, Goth says things seemed to be going well with Blade behind the scenes. At least, for a while.

“The furthest that it got with me is that I auditioned,” she told host Josh Horowitz. “And I flew to Atlanta, and we did a chemistry test between Mahershala and I, and we did a costume fitting, and a wig fitting, and I was very excited in the direction that it was going. It was very cool, and Mahershala had such an interesting take on it. He was great. And then it just unraveled from there, unfortunately.”

Goth also confirmed that she doesn’t know what’s going on with Blade at the moment. She thinks Marvel still wants to make it, but doesn’t seem to have been given an update, rounding up her comments with “We’ll see if it comes back around.”

It would be great if it did. Fans are excited about a new Blade movie and seem happy enough to see a new take on the character, especially from Oscar-winner Ali. It would also be interesting to see how a darker, vampire-focused story would fit into the MCU’s larger superhero world, but it doesn’t look like we’re getting that story anytime soon.

Pluribus Poses a Hive Mind Dilemma The Expanse Never Got to Explore

This article contains spoilers for both Pluribus and The Expanse.

It didn’t take long for Apple TV’s Pluribus to use a nearly complete takeover of humanity to pose a philosophical question. Is the loss of individuality a price worth paying for the end of all the killing, lying, wastefulness, and greed that our species is responsible for? Wouldn’t the planet and all of its inhabitants be better off if the dominant life form stopped getting in its own way and started working for the common good, free will be damned?

Science fiction television has explored the idea of humans being part of a single mind before, whether it be the well-known Borg story arc in Star Trek or the more obscure Glorious Evolution in Arcane, but there’s one popular series that never got the chance to prove that personhood with all its foibles outweighs any utopia that involves human drones. The six seasons of The Expanse got two-thirds of the way through adapting James S.A. Corey’s space epic, but the final novel, which explored a hive-mind solution to the solar system’s woes, sadly never made it to the small screen.

In Leviathan Falls, the ninth and final book in The Expanse series, Winston Duarte went well beyond the ambition of his television counterpart, who had only begun establishing a totalitarian foothold while the Sol system was distracted by the Free Navy that he secretly funded. Using the protomolecule to grant himself near immortality, Duarte’s initial plan was to unite the gate worlds under his Laconian Empire, and hints of this in the series finale temper the celebration of the treaty being signed between Belters and Inners.

But whereas The Expanse television show leaves the rest to the viewer’s imagination, the books explore Duarte’s innovative solution to defeating the silent alien killers lurking inside the gates. His unique use of the protomolecule gives him the ability to merge the thoughts and experiences of every human inside the Ring space, and, as a single mind under Duarte’s control, humanity could succeed where the Ring makers failed in defeating the “dark gods.” That was the plan, anyway.

“I dreamed too small before,” Duarte says in a climactic Leviathan Falls scene in which the god-emperor has nearly achieved the deity status his title suggests. “I see that now. I thought I could save us by organizing, by keeping us together, and I was right about that… but I didn’t understand how to do it.”

The final solution presented in Leviathan Falls won’t be spoiled here, but the big difference in The Expanse is that the transformation was much more gradual than the viral spread in Pluribus. People in the Ring space had the chance to experience the horror of the loss of privacy and their sense of self while maintaining a tenuous hold on their individuality. All that the infected people in Pluribus could do before “awakening” was convulse a bit.

Zosia (Karolina Wydra) makes a big deal out of Carol (Rhea Seehorn) not knowing what it’s like to be “them,” and that she shouldn’t judge before experiencing the joy of a joined mind. For the Belters, Martians, and Earthers of The Expanse, however, that argument falls flat. While a merging might have brought unity to the warring factions of the solar system, the idea was universally rejected by the characters that experienced it, especially as the bond grew stronger.

Carol doesn’t get much cooperation from her fellow immune humans in Pluribus because the hive mind serves them willingly and even gladly plays the role of loved ones, like Lakshmi with her son, so that they can continue in their denial. Carol would find many more like-minded malcontents like herself in the world of The Expanse. It’s a shame we never got to see their rebellion on screen.

Buffy Revival Director Defends One of the Original Show’s Worst Characters

Hamnet director Chloé Zhao, who helmed the first episode of the upcoming Buffy the Vampire Slayer revival, has given her take on one of the show’s eternal questions: Team Spike or Team Angel?

Arguably, neither vampire is a good option for Buffy Summers. When Angel comes along, she’s 16, and he’s around 240. Plus, he can turn evil if he gets even a moment of pure happiness. Then there’s Spike. He’s also old as hell, violent, and abusive. But still, many fans have chosen their team.

While considering the choice, Zhao admitted she was a “massive” Buffy and Spike shipper in her teens and early 20s, but now that she’s older, she’s leaning towards picking neither Spike nor Angel.

“I actually, in my 40s, appreciated Riley more,” she told DC Film Girl. “When I was younger, I thought, ‘kind of boring. I prefer Spike.’ And now I’m older, go like, ‘You know what? Maybe a little less Spike, a little more Riley.'”

Riley Finn, played by Marc Blucas, was Buffy’s boyfriend during parts of seasons 4 and 5 of the original show. He was human, which was a good start for Buffy, but being a covert operative for the U.S. Army, Riley was fairly preoccupied with rules and regulations. He was also paranoid that Buffy didn’t love him and that she never would, which Buffy denied. Riley got so far in his own head about it that he started letting vampires feed off him just to feel needed.

Riley felt that Buffy was neglecting him. Y’know, between dealing with college, her mother’s sudden illness, having a magical sister, getting her ass beat regularly, and all the other things life was throwing at her, she didn’t have time to give him as much attention as he wanted. Will no one think of Riley’s fee-fees?! Ugh, he sucked. In a completely different way than Angel or Spike. But perhaps he could be viewed as the best of a bad bunch.

Riley appreciation aside, it looks like the first episode of the Buffy revival is in good hands. Zhao says when she found out that star Sarah Michelle Gellar hadn’t held on to the Class Protector umbrella prop Buffy was handed at the end of “The Prom” episode in season 3 of the original series, she had one specially made and gave it to Gellar when they wrapped filming, even performing Jonathan Levinson’s “We’re not good friends” speech in front of the gathered crowd. That’s a nice touch.

Looks Like We’re Going to Miss Ready Player One’s Deadline for an Important Event

We’ve finally caught up to a key moment in Ready Player One’s fictional history. Virtual reality platform the OASIS first went live on December 8, 2025, according to an entry in Ogden Morrow’s journal. Unfortunately, we aren’t quite ready for the OASIS just yet, though a few things are getting close to what we might have hoped Gregarious Games had in store for us.

There’s Zuckerberg’s metaverse, which we can access on a Meta Quest device. It’s an impressive piece of kit with some good ideas, but it’s not the OASIS. His VR and AR dreams haven’t fully embraced the concept of legs yet, let alone a truly immersive, realistic world where anything can happen.

Then, there’s Fortnite. Without the VR element, the Epic Games mainstay comes as close as possible to replicating a place where worlds collide; where you can fight Jason Vorhees in a Bob Belcher skin and find treasure playing duos with Sabrina Carpenter, while Christopher Nolan implores you to watch Tenet.

Despite the OASIS lingering out of our reach, December 8, 2025, isn’t quite as important as today, because on December 2, 2025, its co-creator, James Halliday, went on a date with Kira. This failed date is one of the most important moments in Ready Player One, even though it transpires long before the story’s main events. The painfully awkward meeting between the brilliant but socially inept James and the charming Kira sets the stage for everything that comes after.

Dec 2nd 2025 – Six days before OASIS went live, James Halliday told his colleague Ogden Morrow (#SimonPegg), about a date he went on with Karen Underwood aka "Kira".📽️📅 Ready Player One (2018)

Dates in Movies (@datesinmovies.bsky.social) 2024-12-02T14:34:49.050Z

James has done well to even invite Kira on the date, but when she gets there, he freezes up and can’t really even hold a conversation with her. Kira is uncomfortable and leaves early, and James never gets the courage to ask her out again or express his feelings towards her. She then begins a romance with his best friend, Ogden, and James is left wallowing in regret, growing more insular and focusing solely on building the OASIS.

The date’s importance in Ready Player One isn’t really about love or romance. It symbolizes all of Halliday’s struggles to connect with other people. It’s why he designs the OASIS’s intricate egg quest in the first place. It’s a warning to other players that choosing isolation over vulnerability will only end in regret.

Today, of all days, let’s consider taking a moment to think about what James Halliday was trying to tell us. Perhaps log off, get some fresh air, and go tell someone you care about them.

If not, gg and I’ll see you in Fortnite.

TV Premiere Dates: 2025 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 2025 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 announce dates. A lot of these shows we’ll be watching or covering, so be sure to follow along with us! 

Please note that all times are ET. 

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

DATESHOWNETWORK
Monday, December 1CoComelon Lane Season 5Netflix
Monday, December 1Love Is Blind: ItalyNetflix
Monday, December 1My Next Guest with David Letterman and Adam SandlerNetflix
Monday, December 1Playing Gracie DarlingNetflix
Tuesday, December 2Sean Combs: The ReckoningNetflix
Tuesday, December 25-StarParamount+
Tuesday, December 2Hard Knocks: In Season with the NFC East (9:00 p.m.)HBO
Wednesday, December 3RippleNetflix
Wednesday, December 3Stranded with My Mother-in-Law Season 3Netflix
Wednesday, December 3With Love, Meghan: Holiday CelebrationNetflix
Wednesday, December 3The HuntApple TV
Thursday, December 4The AbandonsNetflix
Thursday, December 4The Believers Season 2Netflix
Thursday, December 4Fugue State 1986Netflix
Thursday, December 4The Great Christmas Light Fight (9:00 p.m.)ABC
Thursday, December 4Next Level Baker (9:00 p.m.)Fox
Friday, December 5The Price of ConfessionNetflix
Friday, December 5Owning Manhattan Season 2Netflix
Friday, December 5Surely TomorrowPrime Video
Friday, December 5Spartacus: House of AshurStarz
Monday, December 8Midsomer MurdersAcorn TV
Monday, December 8Here Come the Irish Season 2Peacock
Tuesday, December 9Badly in LoveNetflix
Tuesday, December 9Blood Coast Season 2Netflix
Tuesday, December 9Fixer Upper: Colorado Mountain HouseHGTV
Wednesday, December 10The Accident Season 2Netflix
Wednesday, December 10Record of Ragnarok Season 3Netflix
Wednesday, December 10Percy Jackson and the Olympians Season 2Disney+
Thursday, December 11Had I Not Seen the Sun Part 2Netflix
Thursday, December 11Man Vs. BabyNetflix
Thursday, December 11Tomb Raider: The Legend of Lara Croft Season 2Netflix
Thursday, December 11The TownNetflix
Thursday, December 11The Game Awards (8:00 p.m.)Prime Video
Thursday, December 11Little DisastersParamount+
Friday, December 12City of ShadowsNetflix
Friday, December 12Home for Christmas Season 3Netflix
Friday, December 12Taylor Swift: The End of an EraDisney+
Friday, December 12Tales of the Teenage Mutant Ninja TurtlesParamount+
Monday, December 15The Creature Cases: Chapter 6Netflix
Tuesday, December 16Culinary Class Wars Season 2Netflix
Wednesday, December 17The Manny Season 3Netflix
Wednesday, December 17What’s In the Box?Netflix
Wednesday, December 17Fallout Season 2Prime Video
Thursday, December 18Emily in Paris Season 5Netflix
Thursday, December 18Human SpecimensPrime Video
Friday, December 19Born to Be WildApple TV
Friday, December 19Adult Swim’s The Elephant (11:00 p.m.)Adult Swim
Monday, December 22Sicily ExpressNetflix
Monday, December 22The Wonderfully Weird World of Gumball Season 2Hulu
Tuesday, December 23King of Collectibles: The Goldin Touch Season 3Netflix
Thursday, December 25Stranger Things Season 5 Volume 2Netflix
Thursday, December 25Sanctuary: A Witch’s Tale Season 2AMC+
Saturday, December 27The Copenhagen TestPeacock
Monday, December 29Members Only: Palm BeachNetflix
Wednesday, December 31Stranger Things Season 5 Volume 3Netflix
Thursday, January 1RunAwayNetflix
Thursday, January 1The Cult of the Real HousewifeTLC
Monday, January 5The Wall Season 6 (9:00 p.m.)NBC
Tuesday, January 6Finding Your Roots Season 12 (8:00 p.m.)PBS
Tuesday, January 6Best Medicine (8:00 p.m.) Fox
Tuesday, January 6Will Trent Season 4 (8:00 p.m.)ABC
Tuesday, January 6High Potential Season 2 (9:00 p.m.)ABC
Tuesday, January 6The Rookie Season 8 (10:00 p.m.)ABC
Wednesday, January 7The Masked Singer Season 14 (8:00 p.m.)Fox
Wednesday, January 7Hollywood Squares Season 2 (8:00 p.m.)CBS
Wednesday, January 7The Price Is Right at Night Season 7 (9:00 p.m.)CBS
Wednesday, January 7Harlan Coben’s Final Twist (10:00 p.m.)CBS
Thursday, January 8His & HersNetflix
Thursday, January 8The Traitors Season 4Peacock
Thursday, January 8The Hunting Party (10:00 p.m.)NBC
Friday, January 9A Thousand Blows Season 2Disney+
Sunday, January 11The Night Manager Season 2Prime Video
Sunday, January 11Miss Scarlet Season 6 (8:00 p.m.)PBS
Sunday, January 11All Creatures Great and Small Season 6 (9:00 p.m.)PBS
Sunday, January 11Industry Season 4 (9:00 p.m.)HBO
Sunday, January 11Genndy Tartakovsky’s Primal Season 3 (11:30 p.m.)Adult Swim
Tuesday, January 13Tell Me LiesHulu
Wednesday, January 14Hijack Season 2Apple TV
Thursday, January 15Agatha Christie’s Seven DialsNetflix
Thursday, January 15Star Trek: Starfleet AcademyParamount+
Thursday, January 15PoniesPeacock
Thursday, January 15Animal Control Season 4 (9:00 p.m.)Fox
Thursday, January 15Going Dutch Season 2 (9:30 p.m.)Fox
Sunday, January 18A Knight of the Seven Kingdoms (10:00 p.m.)HBO
Wednesday, January 21Drops of GodApple TV
Wednesday, January 21StealPrime Video
Saturday, January 24KingdomBBC America
Monday, January 26American Idol Season 24 (8:00 p.m.)ABC
Monday, January 26Wild Cards Season 3 (8:00 p.m.)The CW
Monday, January 26Extracted Season 2 (9:00 p.m.)Fox
Monday, January 26Memory of a KillerFox
Tuesday, January 27Wonder Man (9:00 p.m.)Disney+
Wednesday, January 28Shrinking Season 3Apple TV
Thursday, January 29Bridgerton Season 4 Part 1Netflix
Monday, February 2Below Deck Down Under Season 4 (8:00 p.m.)Bravo
Sunday, February 8Super Bowl LX (6 p.m.)NBC
Wednesday, February 11Cross Season 2 Prime Video
Sunday, February 15Like Water for Chocolate Season 2 (8:00 p.m.)HBO Max
Sunday, February 15Dark Winds Season 4 (9:00 p.m.)AMC
Friday, February 20The Last Thing He Told Me Season 2Apple TV
Friday, February 20Strip LawNetflix
Monday, February 23The Fall and Rise of Reggie Dinkins (8:00 p.m.)NBC
Monday, February 23The Voice Season 29 (9:00 p.m.)NBC
Monday, February 23CIA (10:00 p.m.)CBS
Wednesday, February 25Survivor Season 50 (8:00 p.m.)CBS
Wednesday, February 25Scrubs Season 10 (8:00 p.m.)ABC
Wednesday, February 25The Greatest Average American (9:00 p.m.)ABC
Thursday, February 26Bridgerton Season 4 Part 2Netflix
Friday, February 27Monarch: Legacy of Monsters Season 2Apple TV
Friday, February 27Celebrity Jeopardy! All-Stars Season 4 (8:00 p.m.)ABC
Sunday, March 1Actor Awards (8:00 p.m.)Netflix
Sunday, March 1Y: Marshals (8:00 p.m.)CBS
Friday, March 4Daredevil: Born Again Season 2Disney+
Friday, March 4America’s Culinary Cup (9:30 p.m.)CBS
Sunday, March 6Outlander Season 8Starz
Tuesday, March 10One Piece Season 2Netflix
Wednesday, March 11ScarpettaPrime Video
Sunday, March 22The Bachelorette Season 22 (8:00 p.m.)ABC
Sunday, March 22The Faithful (8:00 p.m.)Fox
Sunday, March 22The Forsytes (9:00 p.m.)PBS
Sunday, March 22The Count of Monte Cristo (10:00 p.m.)PBS

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 2025? We’ve got you covered here.

Quentin Tarantino Should Do a Kill Bill Prequel

After dispatching Vernita Green a.k.a. Copperhead (Vivica A. Fox) early in the first Kill Bill, the Bride Beatrix Kiddo (Uma Thurman) comes face-to-face with her enemy’s young daughter Nikkia (Ambrosia Kelley). “You can take my word for it, your mother had it coming,” Beatrix tells the girl. “When you grow up, if you still feel raw about it, I’ll be waiting.”

For years, that exchange has had people waiting for Kill Bill: Volume III, in which the adult Nikkia comes for her revenge. While Quentin Tarantino did toss around the idea of part three, lately he’s been thinking about looking to the story’s past instead of its future. “I had a whole Kill Bill idea in my mind when we were doing it, and then I was so wiped out from doing the movie,” Tarantino recently said (via EW). “I like the idea of a Bill origin. A story of Bill, about how Bill became Bill and the three godfathers that made Bill: Esteban Vihaio, Pai Mei, and Hattori Hanzō.”

In most cases, it’s a bad sign when a filmmaker goes back to their old work instead of forging ahead, but this is a special circumstance. First of all, Tarantino has always been an allusive filmmaker, who fills his films with references to other works. See, for example, the aforementioned Hattori Hanzō, who takes his name from the mythical figure and the character from martial arts movies that Tarantino loved as a kid. It’s fitting that Tarantino would reference himself, especially if he can do it with the same level of skill and spectacle he brings to pastiches of other works.

Second, Kill Bill is suited toward the type of expansion that an origin story would entail. Bill was an elusive figure in the first two movies, kept off screen until late in the second film, existing only as an unseen man in flashbacks or the subject of conversation. There’s much about Bill that we don’t know and could make for an interesting story. And the episodic nature of the movies invites flashbacks just as much as it invites the aforementioned Kill Bill: Volume 3.

Perhaps the best reason for Tarantino to do a Kill Bill prequel is that it would force him to reconsider his arbitrary 10 movie rule. As every cinephile knows and laments, Tarantino has claimed that he would only make 10 movies before retiring, for fear of continuing past his prime. Once Upon a Time… in Hollywood is movie number nine, which means the next one will be his last.

Several possible 10th films have been pitched including, most infamously, a Star Trek film that riffs on the Original Series gangster episode “A Piece of the Action.” But for a long time, Tarantino has said that his last film would be The Movie Critic. Set in the 1970s, The Movie Critic would have focused on a writer for a pornographic magazine and would have likely involved some of the revisionist history he brought to Inglourious Basterds, Django Unchained, and Once Upon a Time… in Hollywood.

Originally slated for a 2025 release, The Movie Critic failed to materialize. While that means we don’t get to enjoy a new Tarantino movie this year, it also means that the director has to rethink his strategy—and possibly rethink his 10 movie rule at the same time.

Or will he? We know that he’s making a sequel to Once Upon a Time… in Hollywood, with Brad Pitt returning as stunt man Cliff Booth. But while the film, tentatively titled The Adventures of Cliff Booth, will have a Tarantino script, he’s turned directing duties to another top-level talent, David Fincher. Perhaps another filmmaker will be the one to bring the Kill Bill origin film to fruition.

Or maybe it won’t be a movie at all. After all, Tarantino’s comments about the origin film came during a screening of “Yuki’s Revenge,” a short film that he wrote and directed, and which stars Uma Thurman as the Bride, created entirely within Fortnite. One would assume that “Yuki’s Revenge,” developed on a script fragment from the original movie, was just part of the promotional cycle for Kill Bill: The Whole Bloody Affair—the film that combines both parts of Kill Bill and adds a new section—which releases this week. But the event clearly has Tarantino thinking about more stories he can tell.

Stories he can tell… eventually. “I’ve got other things to do right now,” he admitted when talking about the prequel, and he ended his discussion by asking, “Will I live long enough to do that? That remains to be seen.”

But if he decides to do a Kill Bill prequel, or if he decides that Kill Bill: Volume 3 is the way to go, we’ll be waiting, just like Beatrix Kiddo waits for Nikkia Green.

Kill Bill: The Whole Bloody Affair releases in theaters on December 5, 2025.

Stranger Things Star Explains Vecna’s Latest Alternate Identity

This article contains spoilers for Stranger Things season 5.

Who is the big bad of Stranger Things? The answer most would give is “Vecna,” but who is Vecna? Sure, he’s the ruler of the Upside Down who kidnapped Will Byers way back in season 1 and who ends 5’s first volume of episodes with an attack on Hawkins. But over the preceding seasons, and the stage play Stranger Things: The First Shadow, we’ve learned that Vecna was at one time misunderstood teen Henry Creel, who became the first test subject in the program that led to Eleven.

Season 5 introduces yet another identity for Vecna, the seemingly kind Mr. Whatsit. Viewers may think that Mr. Whatsit’s a complete divergence from the skeletal monster we know, but they’re all the same to actor Jamie Campbell Bower. “They’re all varying entities of himself,” Bower explained to The Hollywood Reporter. “Mister Whatsit, I’d say, is obviously a presentation of who he considers, and wishes, himself to be. But it’s a memory for him more than an actual human being. It’s a performance; an amalgamation of all the things he’s known and of what he thinks would make people safe.”

The name Mr. Whatsit helps reinforce this self-assessment. He’s given the name by Holly Wheeler (Nell Fisher), one of many children who Whatsit visits throughout the first four episodes of Stranger Things‘s fifth season. The name comes from Holly’s favorite book A Wrinkle in Time by Madeleine L’Engle, which features the kindly witch Mrs. Whatsit. In the same way that Mrs. Whatsit brings a group of outsider children on a cross-dimensional trip, the Mr. Whatsit of Stranger Things appears to be gathering kids in Hawkins to protect them.

The first four episodes of season 5 end before we get any answers about the full relationship between Vecna and Mr. Whatsit, but for his part, Bower’s just happy to have the opportunity to do such varied acting.

“I felt like I’d bitten off a large amount of something when I was asked if I could join the show for season 4” Bower admitted. “I spent so much time considering [Creel] as a child and considering his childhood, his environment and his upbringing when he was more human.” Thanks to that approach, Bower could find something human inside of even the monstrous Vecna, whom he describes as “pure resentment. No sooner did Bower become comfortable with his take on Vecna than the Mr. Whatsit persona is added, offering yet another challenge.

“That was quite a meaty bite to have because as an actor,” Bower said of this other identity. “There are so many times where what you want to be doing is playing the truth, and the truth in this scenario is clearly that Holly Wheeler is being used in some way, and he’s not telling her. And that is a terrifying thing to sit opposite a child and have to lie; that means it’s really, really scary.”

We’ve already seen bits of that scariness even in Mr. Whatsit, particularly when he takes Holly to the childhood home of his memories. But if Bower is being honest, we’ve only begun to see what Creel and his identities can do, which means we’re in for even scarier stories to come.

Stranger Things season 5 episodes 1–4 are now streaming on Netflix.

Jeri Ryan Defends Seven of Nine’s Star Trek: Voyager Costume

As much as we all love ’90s Star Trek, there is one thing that’s hard to defend. Each of the four series produced in the era features one female cast member who wears a skin-tight cat suit instead of the uniform: Troi on The Next Generation, Major Kira on Deep Space Nine, T’Pol in Enterprise, and Seven of Nine in Voyager. As galling as the look can be for viewer, one of the actors who had to wear it defends the suffocating costume, or at least her decision to wear it.

Speaking at the ST: CHI convention in Chicago (via TrekMovie), Voyager star Jeri Ryan explained her role in creating the character and her look. “I was involved in all the costume fittings, all of the discussions. I knew what this was. And I was okay with the costume,” she revealed. “I knew it was sexy. I knew what they were going for. I was okay with that because the way the character was written.”

As most Trekkies remember, Ryan joined the Voyager cast at the end of the show’s third season, replacing original cast member Kes, played by Jennifer Lien. A human woman who had been part of the Borg collective since childhood, Seven of Nine allowed Voyager to explore one of Trek’s favorite tropes, in which an outsider discovers what it means to be human.

Of course, Seven of Nine was also designed to insert sex appeal into the series, which has always been a part of the show since the days Uhura wearing a miniskirt and Kirk taking off his shirt. And for her part, Ryan accepted that aspect of the character. “The character was added to break Star Trek into the mainstream media. That was the publicity angle of the character,” she said of Seven’s look. “And they made no bones about that. They were very clear about that from the beginning, with me.”

Yet, as comfortable as she was with Seven’s look, Ryan refused to see her character as just an object to ogle, which explained her own interest in playing the former Borg. “Because the way the character was written, she was the complete antithesis of [being a sex object],” Ryan explained. “She was not that [catsuit]. So because of how she was written, and because it was so opposed to way the physical appearance of the character was, I was all right with it.”

But as much as Ryan understands the character’s role in the 1990s, she does consider that type of character push to be appropriate today. When asked if she would take a similar role today, Ryan had a blunt answer: “No, I wouldn’t. But then, whatever.”

So it makes sense that when she reprised the role of Seven of Nine for Star Trek: Picard, Ryan wore regular clothes, just like everyone else. And when Seven rejoined Starfleet and became first officer aboard the USS Titan, she was indeed in a Starfleet uniform, breaking the ’90s cycle.

James Cameron Explains Difference Between Avatar and AI Actors

In just a few weeks, James Cameron will once again make us all care about weird-looking blue people as Avatar: Fire and Ash hits theaters. Even by Cameron’s standards, a guy who often seems to embark on crazy and expensive projects only to turn out blockbuster hits, the Avatar films seemed like a risk, thanks to their obvious themes and reliance on digital actors. And yet, both Avatar and the 2022 sequel The Way of Water were smash hits in the United States and worldwide.

Obviously, that type of success draws imitators. And with Avatar‘s use of digital performers, one could imagine that those imitators would include entrepreneurs looking to sell AI actor programs. But doing so misses the entire point of Cameron’s process, as the filmmaker recently made clear to Deadline. “That’s horrifying to me,” Cameron declared. “That’s the opposite. That’s exactly what we’re not doing.”

For Cameron, the difference lies in his movies’ treatment of the original actor’s work. “For years, there was this sense that, ‘Oh, they’re doing something strange with computers and they’re replacing actors,’” he pointed out; “when in fact, once you really drill down and you see what we’re doing, it’s a celebration of the actor-director moment, and the actor-to-actor moment. It’s a celebration of, I call it, the sanctity of the actor’s performance moment.”

Of course someone like Cameron would have a nuanced take on special effects as they relate to performances. He got into the film industry after watching Star Wars and particularly was drawn to technological advances in the field, working as a model maker for Roger Corman and eventually moving from special effects to directing for Piranha II: The Spawning (a film he disowns today).

Even as he moved into directing bigger features, Cameron still put technological innovations first. Terminator 2: Judgment Day was the most expensive movie ever made when it debuted in 1991, with much of the cost going toward spectacular set pieces and the innovative CGI used for the T-1000. Six years later, Titanic became the most expensive movie ever made, thanks to its faithful recreation of not just the titular boat but also its infamous sinking.

Amazing as movies are, they aren’t just about the technology. Cameron is an emotional filmmaker, sometimes to a fault. It’s not just Titanic that has soaring romance; similar pathos can be found in the parent/child relationships in Aliens and Avatar: The Way of Water, or the bond between John Connor and the T-800 in Terminator 2.

And that’s what people miss when they look at Avatar as a model of technology-focused movies: Cameron’s connection with his actors. “I don’t want a computer doing what I pride myself on being able to do with actors,” he declared. “I don’t want to replace actors, I love working with actors.”

Cameron goes so far as to call generative AI “the other end of the spectrum” to what he does, “where they can make up a character, they can make up an actor. They can make up a performance from scratch with a text prompt.”

That practice may have the technological innovations that Cameron loves, but it has none of the human element, and it’s that human element that has made the Avatar films such hits and has so many people excited about Fire and Ash.

Avatar: Fire and Ash releases December 19, 2025.

Sadie Sink Hints Max Could Return After Stranger Things Season 5

This article contains spoilers for Stranger Things season 5 episodes 1-4.

Sadie Sink isn’t ready to say goodbye to Max Mayfield.

The actress, who is currently filming an undisclosed role in Sony’s upcoming Marvel fourquel Spider-Man: Brand New Day before reprising it in Avengers: Secret Wars, has been reflecting on the end of Netflix’s hit sci-fi series Stranger Things, which will be streaming its final episodes over the holiday period.

In a new interview with THR, Sink says the cast bonded much more in season 5, and that it seemed like a tribute to the decade they’ve spent together. She also hinted that she could be willing to return to the character of Max in the future.

“By the end, I felt like I could do another season,” she explained, adding, “I’m so happy with the way it ends. I feel like we’ve left it all out on the table, and it’s at a good closing point, but I don’t know. I could do it again. Because I love that set so much, and I love the character. I don’t think I really said goodbye to Max yet. I don’t think I ever really will.”

Sink didn’t have a lot to do until the third episode of Stranger Things 5, when Max finally appeared to little Holly Wheeler after hiding out in a weird part of Henry Creel’s mindscape. Having been called to attend a nerve-wracking table read with the rest of the cast before they started shooting, she says she found herself “knitting a scarf or something” until it came time to say her big episode three line. Even then, she didn’t feel as anchored to the character as she had before.

“This season, there was nothing,” Sink said. “It was clothes that didn’t feel like Max, crazy hair that was grown out and tangled, and dirt all over my face. She’s in a rough, feral state. It was pretty bizarre. It was weird to feel like Max and then look like that and be in that environment, and working with a new actor.”

Whether there’s more in store for Max Mayfield remains to be seen, but it’s clear that Sink hasn’t quite let go of her yet. Netflix is reportedly pushing forward with a Stranger Things spinoff focused on brand-new characters, but there’s always a chance that Max could return in a different project if fans are persuasive enough.

Marty Supreme Review: Timothée Chalamet Scores Big in Spiritual Uncut Gems Prequel

For four millennia, the Pyramids of Giza have captured the imagination of any and all travelers who wandered into their plateau. As someone who’s crossed those sands, I can attest that words fail to convey their ancient allure. It’s a sight filled with solemnity and awe. And in Josh Safdie’s Marty Supreme, one of the best gags occurs when Timothée Chalamet takes a hammer to them with a smile.

Just to be clear, there is nothing malicious about Chalamet’s eponymous Marty Mauser going full Thor on the famed building blocks. As he tells his Jewish mother back in New York—where he’s gift-wrapped her a chunk of limestone—“we built that!” Still, one cannot help but suspect the hard-swaggering and harder-living Marty views the appropriation as a kindness too. Here is a relic from legend which has outlived its original purpose. But now, thanks to Marty, the stone enjoys new meaning by what our hero unquestionably views as the start of another myth that’ll live through the ages. The trick about Safdie’s film is that it’s likewise convinced of that good word and spreads it with the zeal of a proselytizer. On the surface Marty’s story and film has all the markings of a familiar sports yarn, this one about a table-tennis hustler from the Lower East Side; in practice, it’s an epic with the chutzpah of Moses.

This is also one of the tamer examples of how radically arrogant and aggressively ingratiating Chalamet’s best performance to date can be. Whether it’s holding up a co-worker at gunpoint in order to withdraw a paycheck early—he needs the money to finance a trip to the UK for table tennis’ 1952 British Open—or telling the press that he’ll finish what Auschwitz started against his Holocaust-surviving rival in the same tournament, Marty is a big skillset with a bigger mouth; an addict drunk on the ego of youth and the delusion that talent and charm will always be enough. As a piece of cinema, it sure as hell is. For our protagonist… well, that remains the great tension of the movie.

Set entirely during a tumultuous year in Marty’s life beginning in ’52—while also giving the impression that every other would be much the same—Marty Supreme tracks Marty’s travails from that British Open to the World Table Tennis Championships in Tokyo. But while Safdie and Chalamet shoot the eventual ping-pong matches with electricity and flash to match the star’s showmanship, this is not really a sports movie. Rather it’s another Safdie film about a hustler who bites off so much more than he can chew that it is only by the virtue of never finding time to shut his mouth and swallow that he avoids asphyxiation.

A day in the life of Marty’s exploits include—but are not limited to–both wooing and insulting the deep pockets of a prospective patron who would fly him to Tokyo (Kevin O’Leary at his most WASPy), sleeping with the said patron’s older movie star wife (Gwyneth Paltrow), scamming a bunch of hicks in a New Jersey bowling alley with good pal Wally (Tyler, the Creator), pressuring another more gullible buddy (Luke Manley) to invest in Marty’s vision for cornering the market on orange ping-pong balls, generally taking years off the life of his mother (Fran Drescher), and absolutely, positively refusing to settle down with his childhood best friend Rachel (Odessa A’zion). Who, by the by, is eight months pregnant with Marty’s child for much of the story and has been cast out of the home of her abusive husband. And I haven’t even mentioned the mafia yet.

Safdie apparently based much of the fictional Marty Mauser on real-life table-tennis champ Marty Reisman, a figure so infamous in mid-20th century NYC ping-pong halls that he was known as “the Needle” for both his sharp frame and sharper tongue. But truthfully, other than what I just nicked off Reisman’s Wikipedia page, I have no idea how much of the real-man’s biography Safdie drew on for this film. Given the increasingly incredulous scenarios and now-familiar viselike dread that director and co-writer Ronald Bronstein cultivate in their narrative, I would hope not much.

For all intents and purposes, Marty Supreme is a spiritual prequel and heir to Josh Safdie’s last film, Uncut Gems, which he co-directed with his brother Benny. Since that picture, it would seem the Safdie Brothers have gone their separate ways, but whereas Benny chose to make a traditional sports biopic devoid of the bizarre tragicomic tension that underlay Uncut Gems and the even earlier Good Time, Josh and Bronstein (who also co-wrote Uncut Gems) have doubled down like their onscreen gamblers on tracing the mania and terror that comes from living life at constant full-tilt.

What makes Marty Supreme such a worthwhile and unique companion, then, isn’t that it just duplicates Uncut Gems’ peculiar marriage of suspense and gallows humor, but that it comes at it during an entirely different stage of life. In Uncut Gems, Adam Sandler’s Howard Ratner is also boastful, high-handed, and living his life at the constant inflection point between survival and cardiac arrest. The thing is that Sandler’s middle-aged and hunching Howard knows his house of hustled cards will probably collapse soon.

Chalamet’s perpetual youthfulness betrays the naiveté beneath Marty’s egomania. At 23 years old, this kid never seems aware there’s a good chance he won’t make it to 24 when he’s ripping off the mob to scrounge together enough money for a plane ticket to war-torn Tokyo. And when he woos Paltrow’s bored Kay Stone, Marty is just fresh-faced enough to never consider that he’s more her distraction than any kind of transgressive revenge against the blue-blood ruling class on 5th. If this point were not blunt enough, Safdie scores the film’s opening credits sequence to a souped-up rendition of Alphaville’s “Forever Young.” Furthermore, those credits mirror Uncut’s elegiac opener, which turned out to be a microscopic, but galaxy-brained vision of Howard’s colonoscopy (and mortality); Marty’s, by contrast, is of a determined sperm making a triumphant swim toward the endzone.

It is easy to imagine Chalamet’s Marty one day becoming another Howard Ratner, should he live so long, yet by grace of bloom, not to mention Chalamet’s own indefatigable charisma, such a destiny seems eons away. In the meantime, viewers are asked to bask in the type of performance Chalamet has been waiting for. A little older and more seasoned now that he’s near 30, or just doing a decent job of hiding beneath a will-o’-the-wisp’s worth of facial hair, Chalamet indulges Marty’s rough edges and vanities with the glee DiCaprio similarly displayed when he finally shook off coming-of-age parts to play one of Hollywood’s most storied bastards in The Aviator.

Chalamet likewise revels in this protagonist’s seediness while employing the same bouncy joie de vivre that turned him into a star in the first place during Call Me By Your Name. You cannot help but like this guy, no matter how much of a prick Marty consistently proves to be with his friends, enemies, and even lovers. That spark could dim one day, but for this narrative it never drops beneath a defiant roar.

It is Chalamet’s show, with the actor in nearly every scene during the two and a half hour movie, and the narrative is never anything less than addictive, even when it purposefully twists the anxiety knife. Chalamet gets a lot of help, however, from a supporting cast that includes a couple of great supporting turns. A lot will be made out of Paltrow conjuring some Old Hollywood glamour (and weariness), but it is A’zion who lingers in the memory as a woman who is as tenacious as Marty, but whose sometimes sad, and other-times calculating, eyes deserve so much better.

All parties, plus many NYC locals and non-actors, are harnessed by Safdie to create a period drama that feels of a piece with its post-World War II setting but vitally alive in the here and now for its audience. The anachronistic soundtrack filled with 1980s synthesizers and pop ballads probably doesn’t hurt in that regard. In fact, it heightens the Tears for Fear-like mania for world domination in Marty’s compulsions. Somehow, these disparate elements complement and converge, serving Sadie’s larger impulse to match and exceed Uncut Gems’ magic trick by keeping folks on the edge of their seats for now 149 minutes. If Uncut was a feature-length heart attack, Marty Supreme is a just as expansive dopamine-hit of euphoria; and it’s so strong one doesn’t notice the knife being slipped in between bouts of nervous laughter.

Marty Supreme premiered at the New York Film Festival on Oct. 6 and opens in the U.S. and UK on Dec. 25.

The Fart That Almost Ruined Weird Science

There’s a lot of madcap stuff going down in the climactic party scene of John Hughes’ classic sci-fi comedy Weird Science, as nerdy teen Frankensteins Gary (Anthony Michael Hall) and Wyatt (Ilan Mitchell-Smith) finally pay the price of their hubris after creating a beautiful, wish-granting woman (Kelly LeBrock) using their computer.

Wyatt’s grandparents arrive and get frozen in time, a gang of mutant bikers crashes the festivities, and their would-be girlfriends get taken hostage, but the party truly takes a wild turn when Gary and Wyatt attempt to produce another woman to impress their bullies, Max and Ian.

Unfortunately, after once again strapping bras to their heads (hey, it worked the first time), they miss one key step in their experiment: they forget to hook a doll up to their electrodes. Now resting on a magazine featuring a Pershing II medium-range ballistic missile, the electrodes conjure up a real-life nuclear missile, which smashes through their house from the bottom floor all the way to the roof.

The Weird Science house set was built over a couple of floors at Universal, and could separate into two parts. It had taken a lot of time and effort to create. There was no coming back from destroying it when they finally filmed the expensive missile sequence. So, you can imagine the panic behind the scenes when the whole thing was almost ruined by a fart.

Robert Rusler, who played one half of bully duo Max and Ian alongside Robert Downey Jr. in the film, has revealed the chaos that ensued when someone decided to squeeze cheese during such a pivotal moment, ruining everyone’s concentration and performance.

“This actual shell of a rocket was built under Stage 26 at Universal to come up hydraulically and pierce the actual floor of the set of the house, and it was a one-time shot,” he said during an interview for the CreatorVC documentary, In Search of Tomorrow. “Big deal, this scene! Right when John calls ‘Action!’, Anthony Michael Hall farts a silent-but-deadly. It had to be a several hundred thousand dollar moment that got ruined by a fart.”

With no money or time to redo the shot, director Hughes and the rest of the team had to work fast and smart to come up with a solution, and finally figured out a way to mitigate Hall’s devastating air biscuit by doing everything in reverse. “If you watch the movie real closely, we did the scene again, and they lowered the rocket, and we had to do all of our action backwards, and then they ran it backwards for the final cut.”

Having saved the day, it was almost time to move on from the whirlwind production. Hughes had to finish The Breakfast Club, and on the last day of filming, Rusler also had to try out for the role of Ron Grady in A Nightmare on Elm Street Part 2: Freddy’s Revenge. Luckily, Downey Jr. agreed to drive him to the audition and he got the part.

The pair created their own brand of chaos of during production on Weird Science, regularly joking that they were shitting in other people’s trailers. Downey Jr. admitted to Howard Stern in 2014 that he did in fact shit on a chair in an actress’ trailer in an effort to prove how outrageous he was. Weird Science producer Joel Silver had lined everyone up on set and demanded to know who did it. Downey Jr. denied it at the time, with the truth only emerging after he’d mended his ways.

Eric Stoltz Wasn’t the Only One Who Got Fired from Back to the Future

For the actors who snagged parts in Back to the Future during the mid-1980s, the future looked bright. But six weeks into filming the classic sci-fi movie, things had to change. Eric Stoltz, who had been cast as the lead character Marty McFly, wasn’t putting in the performance that director Robert Zemeckis was looking for. He was just too serious, and after some behind-the-scenes meetings, Stoltz was fired and replaced by Family Ties actor Michael J. Fox.

The rest, as they say, is history. Back to the Future was a smash hit and went on to spawn two blockbuster sequels, but Stoltz wasn’t the only one fired from the film when Fox replaced him as Marty. The legendary casting move also affected the actress playing Marty’s girlfriend.

The Office star Melora Hardin had been shooting alongside the “perfectly tall” Stoltz as Jennifer Parker for a while. When the 5’4″ Fox came aboard, she was suddenly deemed too tall for the role and let go. Fox writes about the unfortunate firing in his new book, Future Boy, describing the decision as straightforward prejudice against the world’s short kings.

“Initially, Bob Zemeckis thought perhaps the audience could look past our height difference, but when he quickly surveyed the female members of the crew, they assured him that the tall pretty girl in high school rarely picks the cute short guy,” Fox writes (via EW). “No one asked for my opinion, but I would have risen to Melora’s defense.”

Hardin has previously discussed her reaction to being replaced as Jennifer, saying, “At the time, at 17 years old, that was crushing for me, and very, very upsetting. Whatever! If I had done it, I’m sure it would have all gone in a different way. I wouldn’t have done The Office.”

5’3½” actress Claudia Wells then stepped in as Jennifer, but didn’t return to the part, as she left acting to focus on her mother’s health. Adventures in Babysitting star Elisabeth Shue would play Jennifer in the sequel, only for the character to be sidelined because Zemeckis and co. had never planned to continue the story.

“I wasn’t designing a movie for a sequel because if I was, I never would have put the girlfriend in the car,” Zemeckis explained in the film’s Making The Trilogy documentary. “That became a gigantic problem in writing a sequel.”

The Matrix Co-Director Responds to the Right-Wing Spin on the Film

Lilly Wachowski has been chatting about how she deals with right-wing mouthpieces who misinterpret and misrepresent The Matrix, the groundbreaking sci-fi movie she co-directed with her sister Lana in 1999.

Over the last decade, Neo’s choice to take the red pill over the blue pill in the film and abandon his simulated world for the harsh realities of the real one has been co-opted by the right, particularly online, and being “red pilled” can now also refer to being radicalized by far-right and anti-feminist beliefs. Back in 2020, when Ivanka Trump and Elon Musk used a “red pill” reference from the film during the pandemic, Wachowski responded over on X with “Fuck both of you”, but says that ultimately she’s had to let go of her work and let people interpret it however they want.

“I look at all of the crazy, mutant theories around The Matrix films and the crazy ideologies that those films helped create, and I just go, ‘What are you doing? No! That’s wrong!’” Wachowski said on the So True with Caleb Hearon podcast. “But I have to let it go to some extent… You’re never gonna be able to make absolutely every person believe what you initially intended.”

But, she went on to explain, “That is what fascism does. It takes these things, these ideas that are generally acknowledged as questions or investigations or truisms about humanity and life, and they turn them to something else so that they remove the weight of what those things represent.”

Wachowski, who is a trans woman along with her Matrix co-director sister Lana, has previously explained that the film is not about any right-wing or anti-feminist ideologies, but about the transgender experience. Before studio Warner Bros. stepped in, the character of Switch in the first film was even supposed to change gender when she entered the simulated world.

Wachowski has said the world wasn’t ready to fully accept the film’s transformative themes at the time.

Will Byers’ Hero Moment Was Worth the Five Season Wait

The following article contains spoilers for Stranger Things season 5.

They say that good things come to those who wait. And, at least in the case of Stranger Things’ final season, it turns out they were right. Sure, the first batch of episodes was probably too long, more than a little bit repetitive, and often straight-up self-indulgent, but that’s probably to be expected when any show of its size (and cultural prominence) is trying to figure out the best way to wrap things up for good. But despite its flaws, season 5 volume 1 absolutely nails the most important moment in its four-episode run, putting Will Byers (Noah Schnapp) firmly back at the center of the story the show is telling and giving him the sort of Big Damn Hero moment that rewrites almost everything we can expect from the series’ conclusion. Yes, we had to wait an awful long time (maybe too long)  to see Will take center stage in this way, but, wow, was it ever satisfying to watch. 

Despite his initial disappearance serving as the inciting incident for pretty much every bizarre, weirdo event that has taken place in Hawkins since the show started, Will hasn’t been a particularly central character in Stranger Things’ recent seasons. Sure, he’s hovered around the show’s edges, clearly affected by his time in the Upside Down and trying to figure out a way to move past what happened to him. But his coming-of-age journey has largely been overshadowed by Eleven’s (Millie Bobby Brown), his screentime reduced to serve popular (and, at the time, often more interesting) newcomers like Max Mayfield (Sadie Sink) or Eddie Munson (Joseph Quinn). At least, until now. 

Stranger Things season 5 not only remembers that Will exists as a character in his own right, but it gives him a pivotal role at the very center of everything in these final episodes. His visions and strange behavior become evidence of his ongoing connection to Vecna and the hive mind within the Upside Down; his longstanding struggle with his own misery is suddenly the key to not just his understanding and self-acceptance but to unlocking the power that has seemingly lain dormant in him for so long. (Or, his ability to manipulate the power that Vecna has unwittingly given him access to. We’re not entirely sure on this point.) 

No matter where said power is coming from, there’s really no more triumphant moment in this season — possibly in the entire series, if we’re honest — than Will standing amidst the flaming wreckage of the Hawkins military base, holding back horrific monsters from those he loves with little more than the power of his own mind. That nosebleed? Iconic. And so earned. Will Byers has officially leveled up. And for what may well be the first time in Stranger Things history, we’re all eager to see what’s next for him. (Don’t believe me? There are already a metric ton of fan edits on TikTok and X, racking up millions of views. Will’s time to shine is here.)

For much of Stranger Things’ run, we’ve only really gotten to see Will be reactive to the many bonkers and unexplained things that have happened to him. In season 5, that’s not what’s happening. He’s making his own choices — the second most satisfying moment of the season might have been his decision to finally get out from under Joyce’s (Winona Ryder) particularly smothering brand of parenting — and deciding for himself not just who he is, but who he wants to become. Whether that means acknowledging his clearly less-than-platonic feelings for his BFF Mike Wheeler (Finn Wolfhard) or rejecting the idea that the things that have happened to him somehow mean he’s weak, Will’s big moment isn’t just about kicking some serious demogorgon ass, Will is finally figuring out how to accept himself and let go of the fear that he’s been carrying pretty much since the show started.

Where the character goes from here is anyone’s guess, and given everything we’ve seen so far, it could certainly involve everything from a fight to the death with Vecna himself to a face-off with one of his own friends after his connection to the hive mind gets too strong. But season 5 has already proven Will’s hero’s journey is one that’s worth following, even if we might have all forgotten that fact for far too long. 

The first four episodes of Stranger Things season 5 are available to stream on Netflix now.

Stranger Things: Is That Returning Character Really Eleven’s Kryptonite?

The following article contains spoilers for Stranger Things season 5.

A lot happens in the first four episodes of Stranger Thingsfinal season. Vecna’s back to his old, overly complicated tricks, rounding up a gang of (now even younger!) kids in the service of some nefarious plan to remake the world. Max is still in a coma, but her mind is hiding in a cave in the midst of Henry Creel’s memories. Will finally gets his big hero moment, tapping into the Upside Down’s hive mind, literally crushing his enemies with his newfound powers, and wiping blood off his nose, Eleven-style. And of course, there’s a surprise return — though it’s probably not one that anyone was really hoping for. 

Season 5 reveals that Dr. Kay (Linda Hamilton) and her fellow military scientists have developed some sort of weapon that seems to weaken Eleven and neutralize her powers. Hopper refers to it as her “kryptonite,” because this show is nothing if not obsessed with pop culture references, but no one’s really sure what it is or how it works. As the dad-daughter duo infiltrate Kay’s military base in the Upside Down, El steals a glimpse from a soldier’s mind that something — someone — powerful is being kept behind a locked door. She assume’s it’s Vecna, and that he must have something to do with the supposed kryptonite that renders her helpless almost as son as she enters the mysterious lab.

But it’s not Vecna waiting for her behind that super secret door. Instead, she discovers Kali Prasad (Linnea Berthelsen), otherwise known as “Eight,” one of her fellow experiments from the Hawkins lab that El had always viewed as her sister. Sporting a shaved head and hooked up to a bunch of ominous-looking medical equipment, the girl definitely doesn’t look like she’s been living her best life since the last time we saw her back in season 2. 

For those who don’t remember — which I have to assume is probably most viewers at this point, thank god for the quick flashback that reminded us all who this kid even is – Kali was introduced back in season 2 episode “The Lost Sister.” Like Eleven, she was one of the many psychic children taken by Dr. Brenner (Matthew Modine), with the unique ability to project illusions and cause people to see what’s not there. She eventually broke out of the Hawkins lab, ending up as the leader of a gang of teen misfits and eager to take revenge on those who wronged her. Though she helped her adopted sister learn to use her own rage and trauma to tap into her powers — and her introduction foreshadowed many aspects of Vecna’s origins — Kali wasn’t interested in helping Eleven save her friends back in Hawkins, and the two parted ways. We haven’t heard from (or about) her since. 

How she fits into the series’ endgame is… well, let’s just call it an open question. On some level, Eight’s return makes sense. The Duffer brothers have been insistent that this final installment of the series is all about going back to the beginning — closing loops, answering lingering questions, filling in all the gaps they’ve left for viewers to speculate over along the way. But while almost everyone is certainly eager to find out the answers to things like “why Will Byers was taken in the first place,” or “is Max ever going to wake up,” it’s hard to imagine that anyone was all that eager to see Kali again, given that the episode in which she originally appeared is almost universally considered to be one of the series’ worst

It also doesn’t help that the whole “kryptonite” angle really doesn’t make any sense. Sure, Kay and her goons appear to have some sort of… something that can neutralize Eleven’s powers, but it’s not entirely clear what it actually is. Is it Kali herself? Is Kay using the girl’s abilities to somehow suppress Eleven’s? Or was Eight simply experimented on so much that the military finally hit on some kind of universal psychic suppressant? And why does any of this require Kali to be strung up in a sealed room in a position that so deliberately mirrors Vecna’s pose in the Upside Down last season? 

It seems likely that Eight is going to have a fairly key role to play in the series’ final episodes — whether we want her to or not. Is she the kryptonite that can stop Vecna? Who will somehow neutralize Will’s newfound, vaguely dark abilities when they go too far? We’ll have to wait for Christmas to find out

The first four episodes of Stranger Things season 5 are available to stream on Netflix now.

How Stranger Things: The First Shadow Fleshes Out That Season 5 Flashback

This article contains spoilers for Stranger Things season 5 and Stranger Things: The First Shadow.

Early in “Sorcerer,” the fourth episode of Stranger Things‘ fifth season, viewers get a familiar sight: Max Mayfield (Sadie Sink), digitally de-aged to look like she did when she nearly died fighting Vecna at the end of season four. As part of a flashback explaining how her mind lives trapped in Vecna’s memories while her body remains comatose in a Hawkins hospital, Max takes us to another location, at once familiar and slightly off. Max walks out of a darkened high school gym into a busy hallway, where people she knows as adults are now high school students, including future Mrs. Byers, Joyce Maldonado (Birdy).

The scene lasts only a couple of seconds, and exists just to establish that Max is in the mind of Henry Creel, who will later become Vecna. But for those who saw the play Stranger Things: The First Shadow, the flashback is a chilling reminder of how Vecna came to be, and the tragedy of the boy called Henry.

Written by Kate Trefry and directed by Tony winner Stephen Daldry (based on a story by Stranger Things creators Matt and Ross Duffer and Jack Thorne), The First Shadow takes place in 1959, back when Joyce was just a high schooler hoping to get out of Hawkins, Jim Hopper’s only sleuthing involved animal killings (alongside Joyce’s future boyfriend Bob Newby), and Henry Creel was the new kid in school.

Even more than the occasional flashbacks in the series, The First Shadow shows how Henry was a normal kid who began to change after finding abandoned technology in a Nevada cave. Left there by Russian spies, who were stealing from the Nevada Project established by Dr. Brenner (portrayed by Matthew Modine on the show), the technology sends the young Henry to what the U.S. government called Dimension X, but what we know as the Upside Down.

Gifted with psychic powers, but disturbed by his interactions with the Mind Flayer in the Upside Down, Henry tries to live a normal life when he moves with his family to Hawkins. There, he manages to befriend Bob’s sister Patty, and even gets a part in the production of The Dark Side of the Moon that Joyce stages. But he’s constantly under attack by the Mind Flayer and pursued by Brenner, whose own father was changed after a visit to Dimension X in World War II.

By the end of the play, Henry has killed his mother and sister—murders blamed on his father Victor—and is taken to Brenner’s lab. From there, Brenner transfers Henry’s blood into young test subjects, most notably the girl known as Eleven.

But the real focus of The First Shadow is on the way Henry is treated. Despite the monster that he’ll become, Henry is not pure evil. He was a troubled kid who had some bad things happen to him, things made worse by the way people feared and judged him. Max’s trip through these memories only touches on the events that shaped Henry, but they may be enough to help her, an oft-misunderstood kid herself, escape his fate.

The same may not be true of Max’s friend Will, the boy at the center of the entire show. “Sorcerer” ends with Will standing up to Vecna and taking control of the demogorgons attacking Hawkins. Voiceover replaying Robin’s monologue about coming out frames Will’s control as a good thing, as if he’s finally becoming the person he’s supposed to be. But the actual imagery—Will’s eyes glazing over with white and the strange contortions he makes with his body—suggest something more sinister.

Is Will like Henry, a boy who went to the Upside Down at a young age and was changed for the worse? Or will Will’s friends be able to save him from becoming the next Vecna? We’ll have to wait for the last four episodes of Stranger Things to know for sure, but The First Shadow sure doesn’t fill us with hope.

Episodes one through four of Stranger Things season 5 are now streaming on Netflix.

Stranger Things Season 5’s A Wrinkle in Time Connections Explained

This article contains spoilers for Stranger Things season 5.

At the end of Madeleine L’Engle’s 1962 sci-fi fantasy novel A Wrinkle in Time, the witch/interdimensional being called Mrs. Whatsit compares human life to a sonnet, the poetic form defined by its strict 14-line structure. The correlation annoys Calvin, a teen from a troubled family who finds meaning in an adventure across time and space with neighbor Meg Murry and her family. When Calvin takes exception to having such restrictions on his life, Mrs. Whatsit offers an explanation. “You’re given the form, but you have to write the sonnet yourself,” she points out. “What you say is completely up to you.”

In its fifth and final season, what Stranger Things wants to say comes from A Wrinkle in Time, at least in part. In the season premiere, we see the novel in the hands of Holly Wheeler, younger sister to Nancy and Mike. As the Wheeler family comes under the attack of Vecna’s forces, Holly uses references to A Wrinkle in Time to make sense of what’s happening to her. To fans of the novel, Holly’s A Wrinkle in Time talk might point to some of the plot points and themes that Stranger Things plans to explore as it says goodbye.

Who Is Mr. Whatsit?

The most obvious A Wrinkle in Time nod comes in the name that Holly gives her imaginary friend. In the first few episodes, Holly talks about Mr. Whatsit, a person that others dismiss as just her way of dealing with familial tensions, but we viewers understand as real. Although we cannot initially see his face, we see Mr. Whatsit, nattily-dressed in a tan suit, visiting Holly and treating her kindly. Later episodes reveal that Mr. Whatsit has visited several children in Hawkins, offering to take them to someplace kind and loving.

Given his odd but reassuring demeanor, it’s easy to see why Holly dubbed this man Mr. Whatsit. The Mrs. Whatsit of the novel can sometimes frighten Meg, her brother Charles Wallace, and Calvin—the novel literally begins with the lines “It was a dark and stormy night” to describe the storm in which Mrs. Whatsit arrives—but she radiates kindness. Moreover, Mrs. Whatsit is the conduit through which Meg finds her missing father, a scientist who learned to travel across time and space via a process called tessering, and also helps she and her friends see their worth.

Mr. Whatsit, it seems, is something very different. Eventually, we learn that he is in fact Henry Creel, the man who will become Vecna, and may be Vecna presenting himself to Holly in a kinder, more welcoming form. During a demogorgon attack on the Wheeler home, Holly is kidnapped and taken into the Upside Down, where she exists in a reality based on Creel’s past, an apparently warm and welcoming house where she can do anything she wants, except go into the woods.

On the surface, Holly’s comparison of Creel and Mrs. Whatsit seems like a fatal mistake on the little girl’s part. Her insistance on seeing a kind magical creature based on a character she loves, instead of seeing a monster, may have horrific consequences.

However, previous seasons of Stranger Things have suggested that Creel and Vecna may be different personalities within the same person, and that some goodness may still reside in the Creel identity. Could it be that Holly recognizes that goodness within the Creel who comes to visit her? Could she be calling forth that goodness by naming Creel after another powerful, odd, but ultimately good figure, dubbing him Mr. Whatsit?

The fact other children who have seen Creel also call him Mr. Whatsit could undermine that theory, especially given Vecna’s claim that he hunts children because they’re easy to manipulate. But if Mrs. Whatsit taught Meg anything, it’s that children can stand up to the forces of darkness. That’s a lesson Holly will need to keep in mind.

What Is Camazotz?

Eventually, Holly does go into the woods that Mr. Whatsit prohibited, and reunites there with Max Mayfield. Max explains to Holly about how Vecna controls the Upside Down and this reality, forcing everything in his own image. Max’s explanation makes perfect sense to Holly, because it reminds her of a location in A Wrinkle in Time: Camazotz.

Meg, Calvin, and Charles Wallace find Camazotz in the novel’s climax. At first, Camazotz appears as a sedate, if dull, suburb. Apropos of the 1960s milieu in which L’Engle wrote, the suburb was the height of conformity, all identical houses and indistinct lawns. But the children soon notice something darker lurking within the perfect houses, signaled by the fact that every house has a child in front, each bouncing a red rubber ball in exact perfect rhythm.

As the children investigate further, they realize that the rhythm matches that of IT, the novel’s primary antagonist. IT exists only as a pulsating brain at the center of a bland office building in the middle of Camazotz. It communicates either via possession, taking over Charles Wallace at one point, or through his servant, known only as the Man With Red Eyes. Everything within Camazotz conforms to IT, moving at the same rhythm that IT pulsates.

A Christian mystic writing in the period of America’s post-World War II ascendency, L’Engle associated IT with everything saw as wrong and evil in the world. In particular, IT represented oppressive conformity, which choked out the beauty and individuality of creation. Meg, Charles Wallace, and Calvin make such good warriors against IT precisely because they’re outcasts who cannot conform to the world.

By identifying Vecna’s worlds as Camazotz, Holly acknowledges the monster’s desire to corrupt the world until it’s like him. But the connection also has deeper thematic ties, as Stranger Things‘s final season is deeply concerned with teens learning to accept themselves. The first episodes most obviously outline that theme in Robin’s monologue about coming out to herself and falling for Vickie. She describes the realization as something akin to flying, a metaphor that stands out to A Wrinkle in Time readers, given a memorable passage in which Mrs. Whatsit transforms into a winged creature to carry the children across the sky.

Like Meg, Charles Wallace, and Calvin, the kids of Hawkins resist Vecna best when they’re simply allowed to be themselves.

Speaking Within the Form

Then again, the Wrinkle in Time references may be just that: references to culture popular in the 1980s. Stranger Things certainly has no problem winking to movies and television shows that creators the Duffer Brothers like. Certainly, those references sometimes have significant plot and theme relevance, as with the Dungeons & Dragons language that has been a mainstay of the series since season one. Other times, it’s a Kate Bush needle drop or an Evil Dead poster on the wall, little more than set dressing.

And that’s okay. Anyone who tried to slavishly recreate A Wrinkle in Time would have missed the point of the novel, following the logic of IT more than Mrs. Whatsit or her sisters.

After all, Madeleine L’Engle simply provided a form for fantasy science fiction. What anyone says with it is completely up to them.

Stranger Things season 5 episodes one through four are now streaming on Netflix.

A Divisive Cult Horror Movie May Hold the Key to the Stranger Things Finale

This article contains spoilers for the first four episodes of Stranger Things season 5.

After a three-year gap, Stranger Things has finally returned for its fifth and final season on Netflix.

The first four episodes of season 5 see the town of Hawkins under heavy military lockdown while our intrepid gang investigates eerie phenomena tied to the villainous Vecna, who seems to be lying low after the events of season 4. As Will Byers’ original connection to Vecna and the hive mind is explored, little Holly Wheeler is abducted from her home by the human face of Vecna, Henry Creel, and transported to his surreal mindscape, where Max has been hiding out for a long time, unable to escape the deadly psychic prison.

Trapped in this place between life and death, Max is able to observe Vecna’s twisted memories, but not influence them. Nevertheless, she has gained important insight into how Vecna’s brain works and has even found a place inside it that he fears to tread. This feels inexplicable to us because on the surface, it’s a peaceful cave with a lovely vista. It’s a sanctuary for Max, but it’s also a place that Henry has built an impenetrable wall around for reasons we aren’t yet privy to.

The “getting inside the mind of a killer” trope has been used many times in TV and film, but Stranger Things creators Matt and Ross Duffer have confirmed that one movie specifically has loomed large when crafting this part of season 5’s story.

“I can’t tell you how many hours are spent in the writers’ room discussing the movie The Cell, the Jennifer Lopez/Tarsem movie.” Matt Duffer told Variety. “It’s such a great concept, because they enter the mind of a serial killer. It was the closest thing we could think of that parallels what we were doing. Our serial killer mindscape ends up being pretty different, but it’s probably why we ended up having a desert in there. A lot of desert sequences in The Cell.”

The Cell, which was a commercial success but divided critics, has since become a cult classic. It follows Lopez’s child psychotherapist, Catherine Deane, who uses an experimental technology to enter the minds of comatose patients. After serial killer Carl Stargher (Vincent D’Onofrio) falls into a coma just after kidnapping his latest victim, Catherine agrees to try and find out where he’s stashed them before they meet a grisly end.

When Catherine is inside Carl’s mind, she encounters a nightmarish landscape littered with his trauma and violence that shifts between beauty and horror, much like the inside of Vecna’s mind. If the rest of season 5 continues to pay homage to the movie, we might see the comatose Max become a key player in taking down Vecna from the inside.

This may also prove fatal for Max. The deeper Catherine went in Carl’s mind, the more dangerous his projections became. Catherine nearly loses her own grip on reality while trapped there, and the climax of the movie sees her not only struggle to extract vital clues to the latest victim’s location but also discover the sympathetic, abused child inside Carl’s mind. Catherine is compassionate to Carl’s inner child, but must choose between saving that innocent part of him or stopping the monster. In the end, he convinces her to kill him out of mercy.

Stranger Things season 5 has laid out the puzzle pieces of Vecna’s plan to use the town’s children to reshape the world into a nightmare of his creation. But with The Cell being the closest parallel to The Duffer Brothers’ vision for their series and the stage play The First Shadow exploring Henry’s innocent childhood before he was irrevocably altered by a trip to an alternate dimension, we might find that the only way to stop him is for someone to make a sincere connection with a younger version of him.

Whether it’s Max who makes that connection remains to be seen, as Will is also revealed to have a deep link to the hive mind by the end of episode four. Eleven has also discovered her sister, Eight, captured by the military. Both were shaped by Henry’s abilities and could potentially get through to him. Meanwhile, Dustin, often described as the heart of the series, might be the linchpin of the whole campaign.

There are lots of players on the board going into the final four episodes of Season 5. Taking Vecna down from the inside might require a group effort.

The Rest of Stranger Things 5 Is Coming Out at the Best and Worst Possible Time

If you’ve just finished watching the first four episodes of Stranger Things season 5, you might be sitting there thinking, “ok, where’s the rest?” and the answer is that you don’t have to wait a long time for the final chapters to drop on Netflix. At least, not comparatively, when you consider that the gap between season 4 and 5 was more than three years.

There are four more episodes arriving in December, with three on December 25 at 8 p.m. ET and the very final one streaming on December 31 at 8 p.m. ET. Yes, those dates are indeed Christmas Day and New Year’s Eve, so depending on how busy you are over the holiday period, this might be wonderful or terrible news.

There may be trouble ahead, as Irving Berlin once wrote, because cramming three episodes of Stranger Things in on December 25 might be awkward, considering how long they usually are. Three of the first four in Season 5 were over an hour long, with episode four clocking in at 1 hour 23 minutes. So, to be safe, you’ll want to allow yourself between four and six hours to watch the next three.

If you’re a die-hard fan of the show, you probably know exactly why you’d want to watch the episodes as soon as they’re released. You’ve waited a long time to see the end of all this, and there are spoilers everywhere. However, if you can’t make time on December 25 because of other commitments, that’s perfectly understandable. You might be working or be with family members who aren’t interested in Stranger Things, and catching up a blissfully unaware grampa on why you’re a Stancy shipper on Christmas afternoon before you hit play is going to be quite the gauntlet, so give it some thought.

But if you do want to jump on new episodes right away and have plenty of room to fit in three on December 25, this release plan is much better news. Things tend to slow down on that day, so setting aside a big block of time to find out what happens next could be feasible.

The New Year’s Day finale might also be tricky, because we could expect that episode to be longer than the rest of Season 5’s installments. The show’s finales have only grown longer since season 1’s 55 minutes, with Season 4’s finale clocking in at two hours and 22 minutes. The concluding episode of Stranger Things may end up being at least the length of a typical feature film (and it will indeed be screened in theaters). Plan accordingly!

David Harbour’s Best Roles Before and After Stranger Things

Finn Wolfhard. Maya Hawke. Sadie Sink. Joe Keery.

Stranger Things has provided a treasure trove of new young talent, introducing the world to the next generation of stars. But the most interesting breakout may not be one of the kids we first met in Hawkins, Indiana. Rather, it’s a guy who was in his 40s when the first season aired, who had more than two decades of experience before getting the part.

I’m referring to David Harbour, whose performance as Jim Hopper transformed him from a reliable that guy to a beloved character actor. Harbour brings a gruff likability and a blue collar charm to his roles before and after Hopper, so let’s take a look at some of his best work beyond Stranger Things.

Randall Malone, Brokeback Mountain (2005)

One of Harbour’s first film roles came in the powerful romantic Western Brokeback Mountain, directed by Ang Lee and written by Larry McMurtry and Diana Ossana, based on the short story by Annie Proulx. Harbour plays Randall Malone, a closeted gay man who seems to have everything that Jack Twist (Jake Gyllenhaal) wants: a wife, respectability, and a way to meet other like-minded men in Mexico.

Harbour has limited screen time as Malone, but the way he shifts from gregariousness in public to sublime sadness when alone with Jack underscores the central tragedy of the film. Randall may seem like he’s got it all figured out, but even he isn’t happy in the limited life society allows him.

Shep Campbell, Revolutionary Road (2008)

Based on the novel by Richard Yates, Sam MendesRevolutionary Road was promoted as a reunion for Titanic lovers Leonardo DiCaprio and Kate Winslet. However, writer Justin Haythe contrast the tragic, timeless love of that film with suburban ennui, casting the stars as perpetual unhappy postwar couple Frank and April Wheeler.

As the Wheelers seek satisfaction beyond their green lawns, they are joined by neighbors Shep and Milly Campbell, played by Harbour and Kathryn Hahn. The Campbells represent both a possibility and escape and a reminder of the Wheeler’s stultifying existence, which gives Harbour and Hahn some room to play dark comedy, despite the bleak tone that Mendes emphasizes.

Gregg Beam, Quantum of Solace (2008)

Quantum of Solace has the unenviable task of following up the excellent James Bond reboot Casino Royale, a task made harder by studios driving writers to go on strike. The result is a mess of a film, terribly directed by Marc Forster, which squanders the energy of Daniel Craig‘s first outing as 007.

One thing that does work is Harbour’s small role as Gregg Beam, a colleague of Bond’s CIA counterpart Felix Leiter. Where much of Craig’s James Bond run put pathos over humor, Harbour brought levity to Beam. His sarcastic line deliveries make Quantum of Solace briefly fun, a rare oasis of pleasure in a pretty dire flick.

Roger Anderson, Pan Am (2011-2012)

Harbour must have taken notes during Quantum of Solace, because a few years later, he got to play a British spy in the swingin’ sixties. ABC’s Temu Mad Men show Pan Am focused on the pilots and stewardesses of a plane operated by the titular airline. Amongst the many unlikely plot lines in the series’ first and only season were those involving special agent Roger Anderson, played by Harbour.

Let’s be completely honest here. Harbour does not play a convincing English superspy, and is only marginally more believable when Anderson is revealed to be a KGB agent. But Harbour wears the miscasting well, somehow still having fun with the goofy plot, even if some of the laughs come at his character’s expense.

Elliot Hirsch, The Newsroom (2012-2014)

After The West Wing, the excellent show about smug centrist liberals doing the most important job ever, and Studio 60 on the Sunset Strip, a terrible show about smug centrist liberals doing the most important job ever, Aaron Sorkin created The Newsroom, a series about smug centrist liberals working on a nightly network news show, the most important job ever. Where most of the show follows principled maverick Will McAvoy (Jeff Daniels) and his staff, Harbour has a reoccuring guest role as McAvoy’s former co-anchor Elliott Hirsch.

With McAvoy speaking for/at the people, Hirsch often feels like a simple foil, the guy who chooses the status quo instead of the truth. And the series does put Hirsch through the wringer, including a storyline in which he gets beat up outside his hotel room. But Harbour knows how to keep the audience on the side of his stuffed shirt of a character, even when the show wishes we weren’t.

Hellboy, Hellboy (2019)

Okay, let’s get this out of the way up top: the 2019 Hellboy is very bad. Worse, it casts Harbour in the title role instead of bringing back a pitch-perfect Ron Perlman for a third outing. But here’s the thing: Harbour’s just as good as Hellboy, bringing a different take to Mike Mignolia’s Right Hand of the Apocalypse/working stiff.

Where Perlman played Anung un Rama as perpetually tired of anything that wasn’t a cat or a pancake or Liz Sherman, Harbour’s Hellboy has a bit more youth and spark. That doesn’t mean he’s thrilled to deal with a pig fairy or the Baba Yaga. But he’s quicker with a biting remark and more ready for action, allowing Harbour’s version to stand alongside the fan favorite portrayed by Perlman, despite being in a much weaker movie.

Santa Claus, Violent Night (2022)

Like Hellboy, Violent Night doesn’t work as a movie, but gets a lot of help by casting Harbour in the lead. Here, Harbour plays Viking warrior Nicomund the Red, forced to atone for his cruelty by spending eternity giving gifts and spreading joy as Santa Claus. Santa does his job well, but when a group of burglars (lead by John Leguizamo as “Scrooge”) break into a house and threaten a young girl named Trudy (Leah Brady), he recovers his brutal tendencies to save the day.

Violent Night is a fun romp whenever it lets Harbour smack around baddies by using Yultide magic. However, director Tommy Wirkola and writers Pat Casey and Josh Miller devote way too much screentime to cute little moppet Trudy and Scrooge’s crew, dragging down the film. But none of that takes away from Harbour’s infectuous performance at the center.

Eric Frankenstein, Creature Commandos (2024)

As this list demonstrates, Harbour excels at getting the audience to sympathize with unlikable characters. By that measure, his greatest accomplishment might be winning the viewers over to one of fiction’s greatest monsters, reimagined as Eric Frankenstein in James Gunn‘s animated DCU series Creature Commandos.

Like Mary Shelley’s creation, Eric just wants his maker Victor Frankenstein (Peter Serafinowicz) to give him a mate. But when the Bride (Indira Varma) rejects him, Eric doesn’t destroy the lab like in Bride of Frankenstein, nor does he take the hint and go away. Instead, he endlessly pursues the Bride over generations, and eventually to the world of superheroes when his beloved becomes a member of Task Force M. Harbour doesn’t paper over the fact that Eric is essentially an unkillable incel, neither does he downplay any of the character’s hilariously pathetic lines, making him one of the more complicated parts on this list.

Red Guardian, Thunderbolts* (2025)

Delightful as he is as Eric Frankenstein, Harbour’s best superhero role remains the one he plays for the Marvelous competition, Alexei Shostakov better known as the Soviet super soldier Red Guardian. First introduced in Black Widow, Alexei is an utter buffoon, a gregarious man too in love with his own legend to fully accept that his government betrayed him and put him in a gulag, let alone the harm he’s done to his pseudo-family.

Unsurprisingly, Harbour plays Alexei’s lovable goofball side with ease. But in Thunderbolts*, he discovers the sadness that dwells under the character’s lovable exterior. Paired with an excellent Florence Pugh as his daughter Yelena, Harbour makes Alexei more than a big dumb idiot, turning the Red Guardian into a full-realized person.

Steve Harrington Should Be Stranger Things’ Final Girl

There are lots of questions that the final season of Stranger Things needs to answer. What, exactly, is the Upside Down? Why was Will Byers (Noah Schnapp) taken in the first place? Will Max (Sadie Sink) ever wake up from her coma? How does Eleven’s (Millie Bobbie Brown) mysterious sister Eight (Linnea Berthelsen) fit into all this — if she even still does? But the thing most viewers are most immediately concerned with is likely to be the question of who will manage to survive until the end.

Stranger Things hasn’t shied away from dark storytelling, and its world full of monsters, Mind Flayers, and shadowy government agents has already come with a body count. (R.I.P. forever faves Barb Holland and Eddie Munson.) But while its core cast of charismatic young teens has managed to dodge some serious bullets over the series’ four seasons to date, it seems more than likely that they won’t all be able to do so forever, if only to raise the stakes for the gang’s final encounter with the monstrous Vecna (Jamie Campbell Bower). But maybe the better question is who should be left — not alive necessarily (although also that), but who’s truly earned the chance to make a final stand against the darkness at the heart of Hawkins. 

From the very beginning, it’s Eleven who’s been the linchpin around which much of the series’s larger narrative turns. From the secrets surrounding her origins and the depth of the trauma she’s endured to her steadily growing, occasionally near-magical psychokinetic abilities, she’s always been the designated superhero of this story, the Chosen One who must eventually face off against the encroaching forces of evil. But in the world of the show, she’s treated as a puzzle to solve as often as she is a real person, and while the mystery surrounding her origins can certainly be thrilling to watch, hers is not actually Stranger Things’ most satisfying narrative journey. That honor belongs to one Steve Harrington (Joe Keery), who deserves to only to survive whatever horrors are waiting at the end of this story, but to conquer them. 

Steve’s admittedly something of a strange choice for Stranger Things’ ultimate Final Girl. He’s a guy, for starters, which isn’t exactly what you might call traditional. He also begins the series as a complete d-bag, slut shaming his own girlfriend and bullying those he considers beneath him. He’s essentially the sort of selfish, self-centered jerk that often exists solely to be cannon fodder in stories like this, a cautionary tale for other characters meant to inspire them to do better, be smarter, or change in some way. This initially tracks, given that the the Duffer Brothers have been fairly forthright about the fact that they originally intended to kill the character back in season 1, but that’s mercifully not what happens. 

Instead, Steve survives. Not just monster attacks (of which there are many!) but the person he used to be, recognizing and confronting his own flaws in a way that allows him to both learn and grow from them. Where many of the core Stranger Things characters are forged into heroes by virtue of being forced to face actual demonic threats, Steve does so by first being asked to confront the monsters within himself. 

In a world full of pointless Russian sidequests, government psychobabble, and extended power training montages, Steve’s journey is Stranger Things at its most deeply human. His redemptive transformation is so enjoyable to watch precisely because it is the show’s most realistic, the one thing that could actually maybe happen in the world we all live in. Of course, someone like Eleven turns out to be a hero. She’s got superpowers. It’s precisely what we expect her character to do. Steve… not so much. It’s one thing to face off against monsters when you can fly or break their bones or throw a car at them with the power of your mind. All Steve has, essentially, is a baseball bat and a dream. And yet he still steps up, in a way that none of us would have ever initially expected. 

Most importantly, Steve’s rehabilitation isn’t sudden or immediate. It’s earned, through countless moments of selflessness and self-awareness across seasons’ worth of story, as he becomes Dustin’s (Gaten Matarazzo) babysitter (and protector), Robin’s (Maya Hawke) best friend, and the group’s most reluctant of leaders. He becomes a genuine ally and friend to those he’d have previously dismissed as not worth his time, learns to listen and learn from those he’s harmed, and thoughtfully considers what it means to want a future of his own choosing. That, as the kids say, is growth. 

Season four went a long way to establishing Steve’s Final Girl bona fides. The de facto leader of the Hawkins contingent that’s left to try and thwart Vecna’s small-town murder spree, he’s at the center of the season’s most intense story arc, and fully comes into his own as a result. Eager to stretch himself beyond the role of designated babysitter, he’s grappling his feelings for Nancy and yearning for a genuine connection in a way we’ve not really gotten the chance to see before. No matter how you feel about the potential rightness of the two for one another, romantically speaking  — and I will go to my grave insisting that Jonathan Byers (Charlie Heaton) is genuinely terrible boyfriend material — it adds a sweet and complicated new layer to their relationship. (And one that’s completely down to the fact that Steve has remade himself into excellent boyfriend material.)

While it may seem crazy on the surface, Steve’s evolution from toxic jerk to reluctantly fierce mother hen and surprisingly lovable hero puts him in a unique position to triumph. Or, admittedly, also to sacrifice himself in the name of saving the kids who’ve come to mean so much to him. But he’s earned a better ending than that — and he more than deserves the chance to shine.