One of the most viral theories to emerge goes well beyond the typical Easter egg hunt, with fans now suggesting a familial connection between GTA 6 and Red Dead Redemption 2.
At the center of the discussion is Jason Duval, one of GTA 6’s dual protagonists. Following the release of the new screenshots, fans began comparing Jason’s facial structure, expressions, and overall design to Arthur Morgan, the iconic outlaw from Red Dead Redemption 2. Side-by-side comparisons have since spread, with many arguing that the resemblance between the characters is too strong to dismiss as coincidence.
Players have pointed to specific shared traits; similar eye shapes, nose structure, rugged facial features, freckles, and even the same broody frown as evidence that Rockstar could be hinting that Jason is a descendant of Arthur Morgan, despite the games taking place more than a century apart.
The theory has also been reinforced by minor in-game details, including a weapon referred to as the “Morgan revolver,” which is a clear reference to Arthur but one fans have taken and run with now thanks to the visual comparisons between the protagonists.
However, there’s no official confirmation from Rockstar Games that any narrative link exists between the two universes to even allow this familial tie to be possible. Most theorists and fans alike acknowledge that Rockstar has a long history of inserting Easter eggs across franchises without implying shared canon, like GTA 5’s book titled ‘Red Dead’ written by a ‘J. Marston,’ which is most likely a reference to John Marston’s son, Jack.
But still, the theory has persisted and has even expanded beyond Jason alone. Some fans have argued that GTA 6’s dual-protagonist structure, featuring Lucia Caminos alongside Jason, mirrors the emotional and relational storytelling seen in Red Dead Redemption 2. That comparison has led to broader speculation that Rockstar may be reining in a shared story philosophy across both franchises, even if they are not explicitly connected.
That seems more plausible than Jason being the product of surprise Morgan lineage, given that Arthur’s only known son, Isaac, died well before the events of Red Dead Redemption 2. One could argue that this alone already weakens any direct familial link between the two characters.
More broadly, one could also point out that Rockstar frequently reuses familiar archetypes, such as outlaw couples, betrayal-driven narratives, and morally complex protagonists, without implying any literal connection between its universes. From that perspective, Jason’s resemblance to Arthur Morgan may simply reflect Rockstar’s consistent design language for rugged, grounded male leads rather than anything canonically significant.
Real or not, the theory highlights something consistent about Rockstar’s fanbase: players love searching for meaning, and as GTA 6 inches closer to release and more is revealed, these theories are likely to grow bigger and bolder. Especially if Rockstar continues its tradition of subtle references between games that fuels such responses.
For now, any confirmation that Jason Duval is related to Arthur Morgan remains purely fan speculation. Whether Rockstar has intentionally planted clues or the similarities are simply coincidental yet placed in the hands of a content-starved fan in desperate need of something to gnaw on won’t be known until GTA 6 launches on November 19, when players can finally see if the persisting theory holds any weight.
Hideki Kamiya Pitches Every Resident Evil Fan’s Dream Spinoff
Watering neat rows of crops, collecting fresh eggs from the coop, heading into town to greet neighbors before spending the afternoon fishing —these are only some of the quiet, predictable tasks that define the average Stardew Valley playthrough.
Now imagine the farmer behind that peaceful existence isn’t just a newcomer looking for a fresh start but instead a retired Leon S. Kennedy, who sees himself swapping bioweapon outbreaks and life-threatening missions for a well-earned life of peace on a humble farm, forging vegetables and inviting friends over for some BBQ.
As ridiculous as it sounds, that’s exactly the kind of game Resident Evil 2director Hideki Kamiya (perhaps jokingly) pitched and has since become a concept fans are falling in love with.
Replying to a post Kamiya made congratulating the series on its 30th anniversary, a fan expressed their hopes for the director to return to the franchise saying, “I know you’re not good with scary things, but someday, I hope you’ll weave the story of Leon and Claire again…”
In a response translated from Japanese, Kamiya shared a detailed vision for what that kind of sequel could look like. While Claire isn’t mentioned in the pitch, Kamiya imagined a cozy, slice-of-life adventure starring Leon, describing the DSO agent’s daily routine as one where he “goes fishing in the countryside, forages for wild veggies, bakes bread, walks the dog, tends a home garden, drives 50 km to the general store for supplies, invites old buddies over for a barbecue, fixes the neighbor grandma’s oven at her request, sells homemade lemonade at the local festival.”
The idea of stripping the horror out of a Resident Evilgame sounds absurd at first, considering it’s one of—if not the—most iconic horror franchises in gaming. However, it becomes less surprising when one remembers Kamiya’s well-documented dislike of the genre.
In a clip shared by CLOVERS Inc. on X, he even suggested Capcom add a “non-scary mode” to Resident Evil Requiem, saying, “I’ve been saying for forever they should make a ‘non-scary’ mode.” When told it would “completely defeat the concept of the game,” he doubled down: “Look, I just want to enjoy the puzzles. The puzzles and the combat. I don’t need the scary stuff.
What would be surprising, and arguably more amusing than Kamiya’s ironic horror-phobia, would be seeing fan-favorite character Leon Kennedy in such a calm, peaceful environment.
Since his debut in 1998’s Resident Evil 2, Leon has endured enough to make one wonder how he isn’t completely bald from stress (though his perfectly blond balayage side part is pretty suspicious).
By the franchise’s latest installment, Requiem, the former Raccoon City cop-turned-bioweapon slayer is roughly 51 years old and has somehow survived decades of gunfire, stabbings, infections, explosions, car crashes, and more than a few moments of being tossed around like a rag doll.
With that kind of resume, it’s no surprise that the idea of Leon finally living an easy, quiet life feels both completely implausible and oddly compelling. Fans seem to agree with the latter thought, expressing their enthusiasm for the concept in replies to Kamiya’s pitch post.
Alongside a tearfully happy emoji, one user wrote, “I’m crying. This looks so peaceful for Leon, it’s the perfect life. The one he’s dreamed of for the rest of his life.” Another even imagined a potential gameplay moment, saying they “really want to see Uncle Leon grumbling ‘it’s so heartbreaking’ while staring at his charred meat after failing the BBQ QTE [Quick Time Event] and not grilling it right.”
Kamiya even teased Capcom about the idea directly, suggesting that the level of fan interest might be a sign the studio should seriously consider bringing it to life, saying, Capcom, there are a lot of voices out there saying they want something like a Biohazard that’s not scary, so if you have some free time, please consider making it… I want to play it too…”
Whether or not the spinoff ever moves beyond wishful thinking is highly unlikely, considering Capcom’s current plans, but it’s hard to deny the appeal of the concept. After so much chaos, grief, and near-death experiences, the idea of Leon Kennedy finally getting to enjoy an untroubled countryside life feels almost as satisfying as any boss fight victory, if not more so.
It’s the kind of simple, lighthearted take on Resident Evil that would find an audience not only among long-time Leon fans but also among those who are interested in seeing series with a little less horror, potentially giving Capcom an even broader audience if truly considered.
Jesse Eisenberg Explains Decision to Skip The Social Network Sequel
Succession star Jeremy Strong will be taking over the role of Mark Zuckerberg from Jesse Eisenberg in this year’s highly anticipated sequel to 2010’s The Social Network, but although Eisenberg passed on the opportunity to reprise his memorable turn as the Facebook co-founder in Aaron Sorkin’s upcoming movie, he’s still fielding questions about exactly why he made the decision in the run-up to its release.
Speaking to Variety at the premiere of Minions & Monsters, the latest installment of Illumination’s animated franchise where Eisenberg voices an alien robot, the actor suggested that turning down Sorkin’s offer to appear in The Social Reckoning was almost akin to “letting down America.”
“It’s an honor to speak to Aaron in any capacity, because he’s so articulate and charming and so bright,” Eisenberg said. “We talked about doing the movie for several days, as he said. The way Aaron speaks, he speaks so wonderfully — as he writes — that in a way, if you’re not going to do something with him, it feels almost like you’re letting down America.”
Eisenberg also summarized his decision to reject the offer, adding, “I just told [Sorkin] I’m moving in different directions in my life, and you know, what he said sums it up nicely: I don’t want to be associated with that character. But all of my reasons for not wanting to do the movie have nothing to do with how wonderful the movie is, and will be, and I’m sure is already.”
Jesse Eisenberg recalls telling Aaron Sorkin he didn’t want to reprise his role as Mark Zuckerberg in “The Social Reckoning,” saying he was “moving in different directions” and no longer wanted to be “associated with the character”:
Eisenberg was praised for his portrayal of Zuckerberg in David Fincher’s The Social Network, which came long before the Meta CEO faced questions over the 2021 Facebook whistleblower scandal, but he has previously spoken of his concerns regarding Meta’s policy changes “just as a person who reads a newspaper.”
“I haven’t been following [Zuckerberg’s] life trajectory, partly because I don’t… when I think of myself as associated with somebody like that, it’s not like I played a great golfer and now people think I’m a great golfer. It’s this guy that’s doing things that are problematic,” Eisenberg told BBC Radio 4’s Today in 2025. “Taking away fact-checking and safety concerns, making people who are already threatened in this world more threatened.”
The Social Reckoning is set for release on October 9.
Supergirl Opening Raises Question: What Superheroes Can Still Rule the Box Office?
The opening weekend numbers for the second feature film in the revamped DC Universe were… not good. To put it gently. Supergirl, the Craig Gillespie-directed and James Gunn-produced spinoff about the Woman of Tomorrow, suffered a grim debut when it opened over the weekend to an estimated $38 million in the U.S. across three days (plus Thursday night previews), and $68 million worldwide.
To put that in perspective, this is not even a third of the domestic opening enjoyed by Gunn’s Supermanreboot last summer ($125 million), and even below the lowest of projections, which prognosticators initially pegged as opening potentially north of $60 million a few weeks ago. Yet those forecasts kept dropping as days passed, especially following the divisive film reviews last week. The final tally ultimately ended up though even beneath recent superhero movie washouts that killed their prospective franchises: Black Adam($67 million), The Marvels($46 million), Morbius($39 million), and The Flash($55 million), albeit that last one, along with the DCEU, was dead on arrival.
Putting aside whatever you think of Milly Alcock’s Supergirl—personally I think the movie got a raw deal in the media feeding frenzy and am in the camp with Hideo Kojima—these are ghastly numbers for the all-new DC Studios, which set Supergirl up with a (seemingly) audience-winning cameo in last year’s Superman relaunch, and has in turn positioned the movie to lead right into next year’s Superman: Man of Tomorrow. There might be home media life after box office death for a movie like this, but in there and now, the only real question quickly becomes why… as well as what does it mean for the future of DC Studios and superhero movies writ large?
Unfortunately, there is inevitably going to be a loud and noxious social media contingent gloating about how audiences allegedly will not show up for women-led superhero movies. There will also be a narrative that would seek to blame Gunn’s shepherding of the new DC Studios since the producer greenlit and championed the screenplay by Ana Nogueira. While we imagine WB’s imminent new owners in the Ellison family will be very curious about what comes next for DC Studios, it would be wildly presumptuous to write off an entire studio due to one film. (Though the pressure just visibly doubled on next summer’s Superman sequel.)
If we had to try to read the tea leaves about the schadenfreude Supergirl has been met with, however, then the mere fact there’s so much anecdotal online pleasure in Supergirl’s disastrous launch suggests the climate in general for superhero movies has drastically changed… to the point where we very well could be heading back to a pre-Avengers, turn of the 21st century era where the only capes and cowls that succeed are the multigenerational brands most children, parents, and even grandparents recognize and have a shared fondness for: Superman, Batman, Spider-Man, and let me also underline Wonder Woman.
Indeed, despite all the troglodytes with blood in their mouth, baying at another woman-led superhero movie failing at the box office, there was a time not so long ago when the Gal Gadot-fronted Wonder Woman of 2017 opened beyond expectations with $103 million (about $141 million today). That movie went on to more than quadruple its debut in its domestic run—an extreme rarity in the modern world, especially in the superhero genre.
Admittedly, this was a different time, as perhaps demonstrated by the fact that two years later the Brie Larson-led Captain Marvel did even better when it opened to $153 million and grossed $1 billion worldwide. An argument could be made that Supergirl is a structurally and emotionally sounder movie than the heavily reedited and reshot Captain Marvel, but in the glow of Marvel Studios at the height of its popularity, and between Avengers endgame epics, that film largely got a pass much like how Ant-Man movies or Thor: The Dark World ended up with “fresh” Rotten Tomatoes scores and healthy box office runs. But that is my point. The audience perception of the genre has changed a lot in the past nine years, which is demonstrable when comparing the high interest in Captain Marvel versus its sequel The Marvels. That 2023 movie opened with an eye-watering 70 percent drop compared to Captain Marvel‘s domestic debut. In other words: before word of mouth could come predominantly into play, many audiences that turned up in 2019 decided to give the sequel a skip four years later.
I’m sure the incel community would blame it on cooties, but that hardly washes when one also considers the underperformances of Black Adam, Shazam! Fury of the Gods, Kraven the Hunter, and Captain America: Brave New World over the last five years. The first Momoa Aquaman also crossed $1 billion in 2018 and got (almost preposterously) an “A-” CinemaScore. The sequel of the bro-rific movie still opened to $28 million five years later. Meanwhile even some of the recent “successes” are relatively muted, with Marvel’s last attempt at a quirky team-up film following C-level heroes you mostly never heard of (unless you watch all the Disney+ shows), Thunderbolts*, grossing just $382 million just last summer, less than half of what the first Guardians of the Galaxy did more than a decade earlier.
The idea that superhero movies are still the safest bet in Hollywood, and that capes and cowls are king, is increasingly becoming an antiquated relic of the 2010s when Marvel’s First Family in the Fantastic Four: First Steps wasn’t able to crack $600 million worldwide last summer despite being a solid film, and even the widely well-received Superman just barely cracking that ceiling.
There is a small but vocal segment of fandom that seems eager to see the DC Universe be rebooted again after only two entries in the Gunn era. What I’m not sure is clear to those fans yet, but might be vivid this Monday in Hollywood, is that the days of shared interconnected universes where every character is a lucrative franchise are probably over. If this DCU goes down, there probably won’t be anything similar for a long, long time. If ever. Whether the culprit is oversaturation due to an excess of streaming shows and movies in the 2020s, said quality of many of those movies and most of those shows, generational turnover where Gen Z doesn’t want to like the same things their parents and grandparents do, or some combination of all of the above is almost moot.
What seems likely, however, is that next month Spider-Man: Brand New Day will still make a killing at the box office—and Superman: Man of Tomorrow next year will probably still do solidly next summer. The mere fact the next Avengers movie also is getting Iron Man back (even as a different character) probably also puts that in the sure-thing camp. But I’d be more worried about the prospects of Booster Gold or the next MCU franchise-starter that can’t afford to bring back an actor 15-20 years after their first MCU dance. If that proves prudent, it isn’t so much who’s wearing the cape, but what the cape is. And very soon, we could be back to the days of Batman, Spider-Man, Superman, Black Panther, and maybe Wolverine movies. And of course Wonder Woman.
The Bear Season 5 Ending Leaves a Compelling Spinoff on the Table
This article contains spoilers for The Bear season 5
FX’s buzzy, awards-grabbing comedy-drama series The Bear hit a rough patch with its third and fourth seasons, but went out on a high note in its fifth and final one this month.
Season 5 saw Carmy explore new opportunities as he interviewed for an internship at an architectural firm, while line cook Ebraheim seemingly saved the restaurant from ruin by proposing an expansion of the original sandwich shop model. As Chef Sydney took over from Carmy in the kitchen, the chaotic Richie (Ebon Moss-Bachrach) was invited to a prestigious international hospitality seminar in Japan. The series concluded with Richie nervously aboard a plane, accompanied by back-of-house expediter Jessica (Sarah Ramos) as their romance finally flourished.
The Bear has arguably been just as interested (if not more so) in telling “cousin” Richie’s story as Carmy’s since the pivotal season 2 episode “Forks.” The installment threw Richie into a Michelin-star restaurant, where he absorbed a new philosophy and mindset after painstakingly cleaning forks for hours every day. Richie came out of the trip a fundamentally changed and mature man, with much more respect for himself and for the customers of The Bear. Of course, he was still just as easily drawn into a screaming match in the kitchen, but it seemed like Richie’s irresponsible and selfish days were fading into his rear view.
The Bear also dropped a surprise standalone prequel episode that focused on Richie, setting the stage for a final season that ended just as a new chapter in his life began. “Gary” was a character study of Richie and Mikey (Jon Bernthal), exploring their complex bond as they drove to Indiana with a mysterious package. Along the way, a cocktail of drugs, drink, and simmering resentment took hold of Mikey, and he ended up projecting his flaws and fears onto Richie. By the end of the special episode, the two had come to blows and were no longer talking. Later, Richie referred to the incident in a private conversation with Carmy, clearly still holding onto a huge amount of guilt and grief following Mikey’s suicide.
Carmy’s toxic influence over The Bear then dissipated after he stepped down as head chef at the end of season 4, and the remaining restaurant crew moved forward to fill his anticipated absence during the final season. But Richie understood that he had perhaps already perfected his role and become a respected leader. When he found out that he was also well regarded in his field, he suffered a panic attack, using his fear of traveling by plane as a loose cover for his anxiety at taking a big leap in his career. Yet Richie found comfort in those who believed in him during this more mature era in his life. Once a pain in the ass who antagonized those around him, Richie had evolved to become an essential team player.
The Bear choosing to shift its focus onto Richie in “Gary” and season 5 makes sense and also leaves a compelling potential spinoff featuring the character on the table. While Carmy’s journey revolved around perfectionism and trauma, he was finally starting to heal, and the show chose not to rehash his issues by having him spiral yet again in season 5 so that the character’s arc could feel complete. In contrast, Richie’s journey focused on the enduring importance of human connection and hospitality. It’s a different element of restaurant culture that could take The Bear’s universe in a new direction. His new romance with Jessica could also be a fascinating twist for Richie’s conflicts, which often play out through his relationships, unlike Carmy’s, which tend to play out internally.
Richie has slowly come to symbolize family and community in The Bear. Though FX and Hulu haven’t announced a continuation of the show yet, whether a spinoff, a special episode, or otherwise, we can imagine that a subsequent project about Richie’s ongoing growth would add something unique to the story that The Bear’s creator, Christopher Storer, set out to tell.
“Gary,” co-written by Moss-Bachrach, also proved that the actor has come to know and understand his character well enough to play around in The Bear’s sandbox without muddying its legacy. Hopefully, he’ll get a chance to portray Richie again if he’s interested.
All episodes of The Bear are available to stream on Hulu now.
Werwulf Trailer Takes the Wolfman Back to His Pre-Enlightenment Roots
By this point, we all know the story of the wolfman. A modern guy, living in the modern world, unlocks the inner beast, revealing the monster that was always inside of him. That theme drives not just 1941’s The Wolf Man, the most popular early werewolf movie, but also 1935’s Werewolf of London, as well as most modern movies about the monster, up through the recent (and underrated!) reimagining, Wolf Man.
But director Robert Eggers has no interest in the modern world, as demonstrated by his films The Witch and Nosferatu. So it’s no surprise that the first trailer for Werwulf features no doctors or scientists offering rational explanations for the strange behavior of a heretofore average person. Instead, the trailer is all foggy marshes and overgrown forests, through which Aaron Taylor-Johnson‘s dirt-caked (but still properly ripped) farmer walks. The visuals match the film’s setting in 13th century England, allowing Eggers to find horror in the era’s tensions between paganism and Christianity.
Fittingly, the trailer begins with a shot of a full moon, before showing Taylor-Johnson’s character as a young man, beckoned into a cave by an older monk of some sort. From there, we get largely sharp cuts of scenes from the present, matched by menacing dialogue from a hunter, played with relish by Willem Dafoe. We also see images of the farmer’s wife, played by Lily-Rose Depp, praying for the salvation of her cursed husband. In the final moments, the trailer gestures toward a transformation, as a wild-eyed Taylor-Johnson starts foaming at the mouth.
“Don’t dread the darkness,” intones Dafoe’s hunter. “Embrace it.” One could imagine a similar line being spoken to Larry Talbot, the modern man who original nepo baby Lon Chaney Jr. played in the classic Universal films. In those cases, the line would have tempted Talbot to ignore his pretenses towards modernity and to indulge his id, the untamable quality that civilization cannot control. Owing to the success of 1931’s Frankenstein and Dracula, those films imported the themes of the source novels, which reflected 19th century concerns that humans could not be ruled by reason.
But the Werwulf trailer combines Dafoe’s admonition with shots of a ritual, with a throng pulsating around a bonfire. Combined with Depp’s prayer and the religious imagery throughout the trailer, the line and the ritual highlight a deeper, older tension at work in Werwulf.
The film takes place in the 13th century, when Christianity was snuffing out the last remains of Paganism in Europe. As Christianity took hold, anything associated with the Pagans was reimagined as evil and frightening. Judging by the trailer, Werwulf won’t just show the way people at the time responded to such thinking. Like The Witch, Werwulf will take those fears literally, and show us how evil has overtaken the farmer and transformed him into a wolf.
Some may be annoyed that Eggers doesn’t want to follow the established wolfman tropes, especially since Wolf Man failed to be the modern retelling so many wanted. However, Eggers’s desire to go deeper into the wolf man myth reminds us that these stories to old, rich, and frightening to be held to one version from the 1940s.
Werwulf arrives in theaters on December 25, 2026.
Doctor Who and HotD Fans “Screaming” as New Audio Erotica Collab Teased
Subscription-based audio erotica app Quinn started the week off with a bang, teasing a new collab for July 1. Dropping a short video across its social media feeds of a cuddly green dragon on a leather chair listening to branded pink headphones, Quinn announced that “the Rogue Prince is coming.”
“I would rather feed my sons to the dragons than have them carry shields and cups for your drunken usurper cunt of a king,” narrates an unrevealed voice for the upcoming story, which many fans instantly identified as that of Eleventh Doctor Matt Smith, who plays Prince Daemon Targaryen in HBO’s popular House of the Dragon series.
Comment sections were soon filling up with excited replies, like “OMG,” “screaming,” “THERE IS NO WAY QUINN GOT THE DOCTOR?! MY DOCTOR?! THE DOCTOR I GREW UP WITH?!,” “MATT SMITH ON QUINN THIS IS NOT A DRILL. I REPEAT THIS IS NOT A DRILL!!!,” and “You’re wild for this,” while others were a little more on the greedy side, demanding “David Tennant next.” You can check out the tease for yourself below.
The Quinn app, created by Caroline Spiegel, has made quite a name for itself since its launch in 2021, generating tons of buzz with audio stories narrated by celebrities, which it calls “Quinn Originals.”
High-profile collabs for its audio erotica are often also paired with timely launches for the celeb in question. The Pitt’s Shawn Hatosy recently starred in Quinn’s “Yes, Chef” following the rollout of season 2, and Heated Rivarly actors Connor Storrie and Hudson Williams were booked for the tale “Ember & Ice” after Spiegel saw a trailer for what would end up becoming one of the biggest shows of 2025. The Good Place’s Manny Jacinto, scream queen Victoria Pedretti, and Vecna himself, Jamie Campbell Bower, have also narrated Quinn Originals in the past.
Quinn has suggested that it’s key to make the famous actors it collaborates with feel comfortable, and that realism is very important when creating its audio stories.
“I’m super specific about what we need from the actors in order to tell these stories authentically,” Quinn’s intimacy coordinator and script consultant Jamie Monahan told Variety, later adding, “We like to keep the magic alive. There’s breath work; there’s vocal range. When you find someone really attractive, the voice sits in a different place in your body. I always want the actors to separate [from themselves.] I’m not asking to hear how you orgasm. I’m asking how this character orgasms in this scene.”
New episodes of House of the Dragon season 3 premiere Sundays at 9 p.m. ET on HBO and HBO Max, culminating with a finale on August 9.
Hitman: World of Assassination Keeps the Surprises Coming Five Years Later
It’s been five years since IO Interactive launched Hitman: World of Assassination, the latest installment in its long-running stealth action game series, and the title shows no signs of slowing down. The game has steadily been putting out new content to keep players coming back for more, including having the iconic contract killer Codename 47 hunt or protect elusive targets. With over 85 million players across all platforms worldwide, including around one million players who login regularly years after the game’s debut, this post-launch strategy has certainly paid off and reflects industry-wide changes on standalone experiences and continued live-service models.
Den of Geek was invited to attend an IO Interactive Access event in Los Angeles, speaking to personnel behind the company’s biggest titles, including the state of Hitman: World of Assassination.
“You look at the way that gamers are consuming content these days – back in the day, when we were making games, it was completely different,” IO Interactive chief development officer Véronique Lallier tells us in an exclusive interview, noting that the post-launch support has strengthened IOI’s connection and feedback loop with its playerbase. “I think that it’s very vital these days. You need to have that sense of community because, without our players, we’re nothing. That’s something that’s very important for our company.”
Last year, as a build-up for IOI’s other hit release, 007 First Light, the elusive target was Le Chiffre, with Mads Mikkelsen reprising his Casino Royale Bond villain role. Since then, Hitman: World of Assassination has had Codename 47 defend an elusive target resembling Bruce Lee, get hired by Eminem to eliminate his antagonistic alter ego Slim Shady, and more. Most recently, Codename 47 infiltrated a remote island fighting tournament to take on a target played by Wiz Khalifa. More than just adding a bit of celebrity flash to the live-service experience, these eclectic choices in elusive targets reflects IOI playing with expectations surrounding the Hitman franchise and leaning into player response.
“We listen to what the players want,” Lallier explains. “We also develop targets based on what we love as well, like Jean-Claude Van Damme and Eminem, that resonate with us. We’ve been trying to do different things with targets. We’re exploring all the time, looking at what worked and what didn’t work from previous targets, we can see that our elusive targets get more and more engagement. The players are seeing that we’re listening to what they suggest in their feedback.”
Among the biggest Hitman announcements to come out of the IOI Access event is that the first three games in the series – 2000’s Hitman: Codename 47, 2002’s Hitman 2: Silent Assassin, and 2004’s Hitman: Contracts – are getting remastered and optimized for modern platforms in 2027. Bundled as the Hitman Classic Trilogy Remastered, the collection is being handled by Saber Interactive, who have previously released acclaimed remasters of Tomb Raider and Halo. For IOI, Saber Interactive’s dedicated team, who were already clear fans of the original Hitman games, made their choice as the developers for this remaster a natural one, with Lallier observing that Saber has a visible track record of maintaining the fine balance of preserving past experiences while reintroducing them to newcomers, praising their diligent approach.
“Just having people who share the same love and passion for what was done just felt right for us,” Lallier notes. “When our teams are making our games, we love what we’re doing. That was something that just felt so organic when we talked to them. They really understand what we’re doing, what we’re trying to do, and what we’ve done. It just felt right.”
But as exciting as it is to see the original Hitman games get remastered with upgraded technical presentations and take on celebrities like Wiz Khalifa and Jean-Claude Van Damme in Hitman: World of Assassination elusive target missions, IOI is keeping its cards close to the chest about the future of the franchise beyond this. With over a million players staying active with World of Assassination, Lallier explains that it’s important for the company to keep serving them with fresh and fun experiences, including the previously announced co-op gameplay coming to the title. At the same time, Lallier admits that a new Hitman game is something of an inevitability, it’s just a matter of when.
“Hitman is our legacy, it’s in our DNA,” Lallier declares. “We will definitely do something eventually. But at the moment, our focus has really been on development of 007 First Light and more. Last year, we mentioned co-op and that’s been something we’ve been looking into, something those on the project will continue to work on. Hopefully, we’ll have more to talk about soon!”
Developed and published by IO Interactive, Hitman: World of Assassination is available now in most major platforms, including PlayStation 5, Xbox Series X|S, Nintendo Switch 2, PC, and macOS.
Celebrities You Never Realized Died So Young
When a celebrity leaves a lasting legacy, it’s easy to assume they lived a long life. Their movies, music, and television appearances remain so familiar that the passage of time can blur just how young they actually were when they died. Which ends up being younger than expected.
Looking back at their ages can be genuinely surprising, especially decades later. These stars may feel larger than life, but each one reminds us how quickly remarkable careers can be cut tragically short. We only wished they had a little more time to showcase their greatness.
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James Dean
James Dean became a Hollywood icon with only three major films before dying in a car crash at just 24 years old. His enduring popularity often makes people forget how incredibly brief his career and life actually were.
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Heath Ledger
Heath Ledger delivered his unforgettable performance as the Joker shortly before his death in 2008. He was only 28 years old, an age many fans find shocking considering the enormous impact he left on modern cinema.
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River Phoenix
River Phoenix was considered one of Hollywood’s brightest young talents before collapsing outside the Viper Room in 1993. He died at just 23, leaving behind acclaimed performances that suggested an extraordinary career was only beginning.
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Brittany Murphy
Brittany Murphy starred in memorable films like Clueless and 8 Mile before her unexpected death in 2009. She was just 32 years old, far younger than many people remember when reflecting on her Hollywood career.
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Chris Farley
Known for his explosive energy on Saturday Night Live and in hit comedies, Chris Farley died in 1997 at only 33. His outsized personality often makes it surprising to realize how little time he actually had.
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Brandon Lee
Brandon Lee died at age 28 after a tragic on-set accident during the filming of The Crow. The film became legendary, but many people forget just how young Bruce Lee’s son was when he died.
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John Belushi
Comedy legend John Belushi had already become one of America’s biggest stars through Saturday Night Live and Animal House before his death in 1982. He was only 33 years old when his life ended.
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Marilyn Monroe
Marilyn Monroe’s cultural impact spans generations, making her seem like someone who enjoyed a lengthy Hollywood career. In reality, the screen legend died in 1962 at only 36 years old, leaving behind an enduring cinematic legacy.
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Bruce Lee
Bruce Lee revolutionized martial arts cinema despite dying at just 32 years old. His influence on action films has been so immense that many assume he enjoyed decades of stardom before his untimely passing.
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Selena Quintanilla
Known simply as Selena, the Tejano music superstar was murdered in 1995 at only 23 years old. Her enduring popularity and continued cultural influence often overshadow just how young she was when she died.
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Anton Yelchin
Anton Yelchin had already built an impressive résumé with roles in Star Trek and numerous independent films before a freak accident claimed his life in 2016. He was only 27 years old.
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John Candy
John Candy had become one of the most beloved comedic actors of the 1980s and early 1990s before dying from a heart attack in 1994. He was just 43, younger than many fans tend to remember.
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Cameron Boyce
Former Disney Channel star Cameron Boyce died unexpectedly from complications related to epilepsy in 2019. He was only 20 years old, making his successful acting career all the more impressive in retrospect.
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Chadwick Boseman
Chadwick Boseman kept his battle with colon cancer private while continuing to work on major films. When he died in 2020 at age 43, many fans were stunned to learn both of his illness and his relatively young age.
15 Oscar Winners Who Then Never Won Again
Winning an Academy Award is one of the highest honors in Hollywood, and taking home a second Oscar makes you a prized asset in the media’s eyes. However, many actors deliver a career-defining performance, earn the industry’s biggest prize, and never return to the winner’s circle again.
Some continued to receive nominations, while others never came close to repeating their success. Regardless, their lone Oscar victories remain significant achievements that secured their place in film history. These performers proved that one exceptional role can be enough to leave a lasting legacy, even if Academy voters never called their names again.
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Cuba Gooding Jr.
Cuba Gooding Jr. won Best Supporting Actor for his energetic performance in Jerry Maguire at the 69th Academy Awards. Despite a lengthy career afterward, he has never received another Oscar nomination or won a second Academy Award.
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Marlee Matlin
Marlee Matlin made history by winning Best Actress for Children of a Lesser God in 1987. She remains the youngest winner in the category and, despite a successful career, has not added another Oscar to her collection.
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Timothy Hutton
Timothy Hutton won Best Supporting Actor for Ordinary People at age 20, becoming the youngest winner in the category. Although he continued acting steadily for decades, he never received another Academy Award nomination.
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Mercedes Ruehl
Mercedes Ruehl earned Best Supporting Actress for The Fisher King in 1992. While she remained active in film, television, and theater, that acclaimed performance remains her only Oscar nomination and victory.
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Anna Paquin
Anna Paquin won Best Supporting Actress for The Piano when she was just 11 years old. The Oscar launched a long and successful acting career, but she has yet to earn another Academy Award nomination.
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Mira Sorvino
Mira Sorvino received Best Supporting Actress for Woody Allen’s Mighty Aphrodite in 1996. Though she appeared in numerous projects afterward, she never returned to the Oscar stage as a nominee or winner.
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Louise Fletcher
Louise Fletcher won Best Actress for her unforgettable portrayal of Nurse Ratched in One Flew Over the Cuckoo’s Nest. Despite a respected career that followed, she never earned another Academy Award nomination.
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Harold Russell
Harold Russell achieved a unique Oscar distinction for The Best Years of Our Lives, winning both Best Supporting Actor and an honorary award. He never received another competitive Oscar nomination during his career.
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Shirley Jones
Shirley Jones won Best Supporting Actress for Elmer Gantry in 1961. Although she became a television icon through The Partridge Family, her Academy Award victory remained the sole Oscar recognition of her career.
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Patricia Neal
Patricia Neal won Best Actress for Hud in 1964 after several acclaimed performances. She received another nomination later for The Subject Was Roses, but never captured a second Academy Award.
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Linda Hunt
Linda Hunt made Oscar history by winning Best Supporting Actress for The Year of Living Dangerously while portraying a male character. Despite a distinguished acting career, she never earned another Academy Award nomination.
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Roberto Benigni
Roberto Benigni won Best Actor for Life Is Beautiful, becoming one of the few performers to win for a non-English-language role. His exuberant acceptance remains memorable, but he never won another acting Oscar.
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Adrien Brody
Adrien Brody became the youngest Best Actor winner ever for The Pianist at age 29. Although he continued working in major films and earned acclaim, he did not win another Oscar after that breakthrough role.
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Kim Basinger
Kim Basinger won Best Supporting Actress for L.A. Confidential in 1998. The acclaimed neo-noir performance remains the high point of her Academy Awards history, as she was never nominated again.
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Richard Dreyfuss
Richard Dreyfuss earned Best Actor for The Goodbye Girl in 1978, becoming one of the youngest winners in the category at the time. Despite many notable performances afterward, he never secured a second Oscar victory.
14 Movies That Spend Two Hours Preventing Something That Happens Anyway
Movies often follow characters trying to stop, prevent or improve some form of situation, be it a world-ending threat or any kind of smaller catastrophe. In most cases, we know the heroes will prevail, but that isn’t always the case; there are times where, believe it or not, the heroes lose.
The films we’ve gathered today are about that: characters going through incredible lengths to avoid a fate that happens anyway. This doesn’t always prevent the proverbial happy ending, but it often does. Be warned: we will spoil the biggest events of all these movies
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Terminator 3: Rise of the Machines
For nearly the entire film, John Connor and Kate Brewster race to stop Judgment Day. In the end, they learn the mission was never to prevent the apocalypse but simply to survive it when the nuclear war begins.
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12 Monkeys
James Cole is sent through time to stop the virus that devastates humanity. Despite uncovering important clues, the outbreak still occurs, and the film ultimately reveals that history was never changed at all.
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Final Destination
Alex and his friends spend the movie trying to escape Death’s design after avoiding a plane explosion. Although they temporarily delay their fates, Death continues its pursuit, proving the disaster’s consequences cannot truly be avoided.
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Knowing
Nicolas Cage’s character spends the film attempting to understand and prevent a series of predicted catastrophes. Despite his efforts, the final and most important prediction comes true as a solar flare destroys civilization.
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The Matrix Reloaded
Neo believes he can break the cycle controlling humanity and prevent disaster. Instead, he discovers that the crisis he is trying to stop has happened repeatedly before and that the machines anticipated nearly everything.
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Minority Report
John Anderton goes on the run to prevent a murder that the PreCrime system predicts he will commit. Ironically, many of his actions end up pushing events toward the exact future he is trying to avoid.
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Donnie Darko
Donnie spends much of the film trying to understand bizarre events that seem destined to lead to catastrophe. Ultimately, the disaster still occurs, and he knowingly allows it to happen to restore the timeline.
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The Butterfly Effect
Evan repeatedly travels into the past hoping to improve the future for himself and his friends. Every attempt creates new problems, and he eventually realizes that preventing tragedy may require accepting it instead.
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The Ring
Rachel investigates the cursed videotape in hopes of stopping its deadly effects. She solves the mystery behind Samara’s death, only to discover that understanding the curse does nothing to end it.
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Oedipus Rex
Based on Sophocles’ tragedy, the film follows Oedipus as he unknowingly fulfills the very prophecy everyone has spent years trying to avoid. Every effort to escape fate ends up bringing it closer.
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The Cabin in the Woods
The protagonists fight desperately to survive and prevent the ritual demanded by ancient forces. Their resistance ultimately causes the ritual to fail, resulting in the world-ending catastrophe the organization was trying to stop.
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Drag Me to Hell
Christine spends the entire movie attempting to escape a supernatural curse that promises eternal damnation. After exhausting every possible solution, she discovers too late that the curse remains in effect and claims her anyway.
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Melancholia
The first half of the film revolves around hope that the rogue planet Melancholia will miss Earth. As the evidence mounts, it becomes clear that the collision everyone fears is absolutely unavoidable.
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Avengers: Infinity War
The Avengers are constantly trying to stop Thanos from collecting all six Infinity Stones. Despite numerous sacrifices and victories along the way, Thanos succeeds in completing the Gauntlet and carrying out his plan.
Supergirl Deserves Better Than the Current Media Feeding Frenzy
I did not review Supergirl, because it is Den of Geek policy that if you travel for a project at the studio’s request—say, for example, a set visit—you might not be impartial. I think it’s a smart rule, even though I’ve been on more than one set for films I did not find remotely good in the end.
But I do think Supergirl is pretty good, and a superhero movie that does a few things I’ve found sorely lacking in the genre as of late. They’re worth standing up for, particularly with the dog pile it’s getting in the press via hyperbolic assertions like Variety’s claim that it features “the worst script” Owen Gleiberman can remember in a comic book movie. Supergirl definitely has issues—much of it involving a nonentity of a villain played by Matthias Schoenaerts—yet the film, including its screenplay by Ana Nogueira, also has a quality I find missing in most caped movies in the 2020s: sincere heart and a clarity of purpose.
Setting aside the fact that in the last five years, critics for both trades and genre sites have endured hideous screenplays for movies like Morbius, Kraven the Hunter, Aquaman 2, Black Adam, The Marvels, and Ant-Man and the Wasp: Quantumania (to name a few), it’s still fair to say superhero movies on the whole have gotten into something of a rut. They tend to fixate on interconnectivity with other mini-franchises and IP tributaries in their respective universes, emphasizing worldbuilding easter eggs and fan service nostalgia over story structure or character, and reduce everything into a flippant, self-smirking romp where the whole world/universe is threatened at the end by some CG monstrosity.
For whatever its faults, the Supergirl movie directed by Craig Gillespie and penned by Nogueira brushes that detritus to the side (at least when Lobo isn’t around). Returning to one of the superhero genre’s roots on the page and screen, the film is a not-so-subtle sci-fi riff on Westerns in general and True Grit in particular. It is the story of a young girl who is taken under the wing of a self-loathing roustabout whom she idolizes, and in turn brings out the hero in the drunkard she discovers at the bottom of a bottle.
It’s not original, and much of its grace comes from the far superior Supergirl: Woman of Tomorrow graphic novel by Tom King and Bilquis Evely, but the emotional core is genuine and I’d argue refreshing, in large part because of how fantastic Milly Alcock is in the role of the reluctant battle-hardened hero. At the age of 23, you can feel she’s lived lifetimes of grief. Despite the film often echoing the Mos Eisley Star Wars cantina scene, now writ neon, or the frankly unwise choice by Gillespie to couch the film in too much George Miller-lite grime, Alcock’s Supergirl and her script give the material a haunted, forlorn quality that’s alien to modern caped stuff.
Her survivor’s guilt of being one of the few refugees to make it out of Krypton is credible, which makes the familiar but earnest redemption arc genuine and earned. The greatest effect of Supergirl’s many fight scenes and set pieces isn’t the VFX of Kryptonians flying, or laser beams melting. We saw much the same in Gunn’s Superman last year. What we seldom witness, though, is the effect it’s intended to have on people.
Nearly every time Kara flies or uses her powers, Gillespie frames it from the vantage of little Ruthye Marye Knoll (Eve Ridley), the child who demands Supergirl avenge her family. It is a trick that goes back to at least George Stevens and Shane, and which Spielberg is a master at, but is so rarely observed in modern superhero movies with their corpulent amounts of CG excess. The awe such sights can and should inspire in a human reaction, particularly from that of a child who might be as wounded and grieving as Alcock’s messy hero, is the real stuff of mythmaking.
The plot follows the familiar patterns of many stories, including True Grit, but the ending being about the core dynamic of Kara impressing goodness onto a child who has every reason to choose despair, and for it to be executed without a hint of irony, self-deprecation, or winking asides as a beam of light shoots into the sky, is a credit to the screenplay. To call it the worst of a genre that not two years ago gave us Venom: The Last Dance rings deafeningly false.
To be clear, there’s plenty to criticize in this movie, from the dreary aesthetic being at odds with the cheeky prosthetic alien effects, to the fact the aforementioned villain is so unpleasant to be around that the movie clearly cut his scenes to the bone, leading the thing feeling strangely fleet. It’s not a great superhero film, but I would argue it’s a decent one and better than a surplus of mediocrity that was given passes and top marks in the 2010s and even 2020s with their gridlike, patched-together scripts and visuals.
What’s changed, I suspect, is a few things, not least of which is the patience among fans and critics who no longer have time for flawed or serviceable movies. So those who might have given a pass to Ant-Man and the Wasp flicks once upon a time feel emboldened, liberated even, to cut deep into a movie that’s tracking like a disappointment at the box office. The ugliest side, however, is the seedy impulse, even among professional male critics, to join in on the cruel (and glaringly false) bandwagon of shaming or mocking a young woman’s appearance. One, who I might add, looks literally like Supergirl.
Superhero fatigue is real, and an industry or audience that once indulged three out of the last four Thor movies is ready to see more capes fall to earth. The green sun of schadenfreude is shining bright. Maybe for the future of blockbusters that’s a good thing, but Supergirl has more heart than most of its contemporaries, not to mention what the Kryptonite slings and arrows would suggest.
Supergirl is in theaters now.
15 Movie Mentors Who Are Actually Terrible Teachers
A mentor is someone that uses their experience in a subject to guide us to greatness, and it isn’t something anyone can do. Just because you’re an expert on something, does not mean that you’re good at teaching it; it often involves a completely different skillset.
This is proven by these movie mentors we’ve chosen for today, who are all incredibly talented in their individual crafts. Some are even alleged teachers, but their methods leave a lot to be desired, not to mention the consequences of their actions. If you think you had a hard time in school, be thankful none of these teachers were there.
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Obi-Wan Kenobi (Star Wars)
Obi-Wan spends years training Anakin Skywalker, who ultimately becomes Darth Vader. While Anakin bears responsibility for his choices, Obi-Wan’s tendency to avoid difficult conversations and conceal important truths hardly helped the situation.
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Morpheus (The Matrix)
Morpheus believes in Neo before anyone else, but his training largely consists of throwing Neo into life-threatening situations and expecting him to figure things out. Fortunately for humanity, Neo turns out to be an exceptionally fast learner.
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Gunnery Sergeant Hartman (Full Metal Jacket)
Hartman’s brutal methods create discipline through intimidation and humiliation. While effective in producing soldiers, his constant psychological abuse contributes directly to Private Pyle’s catastrophic breakdown, making him a textbook example of destructive instruction.
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Terence Fletcher (Whiplash)
Fletcher believes greatness can only be achieved through relentless emotional abuse. His students improve musically, but the psychological damage he inflicts raises serious questions about whether his teaching methods produce artists or simply traumatized survivors.
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Pai Mei (Kill Bill Vol. 2)
Pai Mei unquestionably knows martial arts, but he teaches through humiliation, insults, and physical punishment. The Bride becomes a formidable fighter, yet it’s difficult to imagine many students surviving long enough to complete his training.
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Ra’s al Ghul (Batman Begins)
Ra’s al Ghul spends years mentoring Bruce Wayne, only to reveal that the ultimate lesson involves helping destroy Gotham. Training someone to become a vigilante is one thing. Training them for mass destruction is another entirely.
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Mickey Goldmill (Rocky)
Mickey turns Rocky into a contender, but his mentorship begins only after Rocky shows potential. Before that, he largely ignored him, making his sudden transformation into a supportive father figure feel somewhat opportunistic.
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Haymitch Abernathy (The Hunger Games)
Haymitch knows how to survive the Games, but his mentorship often involves being drunk, unavailable, or frustratingly vague. Katniss and Peeta benefit from his experience, though they frequently succeed despite his communication skills.
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Merlin (The Sword in the Stone)
Merlin possesses incredible wisdom, yet much of his teaching consists of transforming Arthur into various animals and hoping he learns something useful. The lessons eventually work, but the curriculum seems remarkably unstructured.
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John Keating (Dead Poets Society)
Keating inspires his students to think independently, but he often encourages rebellion without adequately preparing them for the consequences. His intentions are admirable, though some of his pupils end up facing far more than they anticipated.
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Alonzo Harris (Training Day)
Alonzo presents himself as a mentor to rookie officer Jake Hoyt, but his lessons revolve around corruption, intimidation, and criminal behavior. He teaches plenty about surviving the streets, just not how to be a good cop.
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Mr. Miyagi (The Karate Kid)
Mr. Miyagi ultimately helps Daniel succeed, but his teaching methods often involve assigning mysterious chores without explanation. Painting fences and waxing cars eventually reveal a purpose, though most students would probably quit long before the lesson became clear.
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Henry Jones Sr. (Indiana Jones and the Last Crusade)
Indiana Jones’ father serves as both mentor and role model, but his obsession with the Holy Grail frequently outweighs his concern for his son. Much of his guidance comes in the form of criticism, distraction, or neglect.
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Brom (Eragon)
Brom introduces Eragon to the ways of the Dragon Riders, but he withholds enormous amounts of information about Eragon’s heritage, enemies, and destiny. His secrecy leaves his student dangerously unprepared for many of the challenges ahead.
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M (Skyfall)
As James Bond’s superior and mentor figure, M repeatedly sends agents into extremely dangerous situations while keeping critical information compartmentalized. Her judgment is often effective, but several major crises in the series stem directly from her decisions.
15 Actors Who Only Play One Role, and That’s Ok
There are actors that can portray a wide variety of characters to great effect, making us both laugh and cry with seemingly no effort. We do consider that it’s a skill that shows mastery over the craft, but it isn’t something necessary for an entertainer to do their job properly.
What we’ve gathered here are actors that can only really do one thing well, and that’s completely fine. We don’t need every single performer in existence to have the widest range, and in fact, incredible movies have been made when actors play up their strengths.
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Dwayne Johnson
Dwayne Johnson almost always plays a charismatic, physically imposing hero who combines toughness with humor. Whether in Jumanji, Red Notice, or San Andreas, audiences know exactly what they’re getting, and that’s a major reason for his enduring box-office appeal.
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Ryan Reynolds
Ryan Reynolds frequently plays a fast-talking, self-aware wisecracker with a sarcastic sense of humor. From Deadpool to Free Guy and Red Notice, variations of his public persona have become one of the most recognizable brands in modern Hollywood.
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Michelle Rodriguez
Michelle Rodriguez is almost always cast as the fearless woman who can outfight nearly everyone around her. Across the Fast & Furious films, Avatar, and Resident Evil, she has built a career around tough, capable characters.
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Adam Sandler
Even when the setting changes, Adam Sandler often plays an immature but ultimately good-hearted man who stumbles through life before proving everyone wrong. That familiar persona has remained central to many of his biggest hits.
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Kevin Hart
Kevin Hart’s screen character is frequently the same anxious, energetic underdog reacting to increasingly ridiculous situations. Whether paired with Dwayne Johnson or leading his own projects, his comedic rhythm remains remarkably consistent.
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Michael Cera
Michael Cera became famous playing awkward, socially uncomfortable young men. From Superbad to Scott Pilgrim vs. the World, his understated delivery and nervous energy have remained defining traits throughout much of his career.
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Danny Trejo
Danny Trejo has spent decades portraying intimidating criminals, enforcers, and hardened survivors. While he occasionally subverts expectations, his rugged appearance and screen presence have made him Hollywood’s go-to tough guy for generations.
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Vince Vaughn
Vince Vaughn often plays the same fast-talking, sarcastic personality that made him famous. Whether in Wedding Crashers, The Break-Up, or Four Christmases, his characters tend to rely on the same confident verbal style.
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Will Ferrell
Will Ferrell’s greatest successes frequently revolve around loud, overconfident men who are far less competent than they believe. Anchorman, Talladega Nights, and Semi-Pro all lean heavily into variations of that comedic formula.
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Liam Neeson
Since Taken reinvented his career, Liam Neeson has repeatedly portrayed aging but extremely dangerous men with specialized skills. Audiences don’t watch these films for surprises; they watch to see Neeson do what he does best.
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Hugh Grant
For much of his career, Hugh Grant specialized in charming, somewhat awkward British romantics. Four Weddings and a Funeral, Notting Hill, and many others turned that persona into one of the most successful formulas in romantic comedy history.
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Joe Pesci
Joe Pesci has repeatedly excelled at portraying volatile, foul-mouthed men with short tempers. Goodfellas, Casino, and My Cousin Vinny showcase different shades of a persona that became one of cinema’s most memorable archetypes.
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Vin Diesel
Vin Diesel has built much of his career around stoic, physically dominant protectors. Whether he’s playing Dominic Toretto, Riddick, or Xander Cage, his characters tend to share the same intimidating confidence and loyalty.
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Samuel L. Jackson
Samuel L. Jackson frequently plays authoritative, sharp-tongued figures who instantly command attention. Whether he’s a cop, government agent, criminal, or mentor, his unmistakable delivery has become a character type all its own.
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Owen Wilson
Owen Wilson has spent much of his career playing laid-back, easygoing charmers who react to chaos with bemused disbelief. From Wedding Crashers to Marley & Me and Hall Pass, audiences have always responded to that familiar persona
15 Photos of the Original Hollywood Leading Man You’ve Never Heard Of
Long before Hollywood embraced international stardom, Sessue Hayakawa became one of the world’s biggest screen idols. A Japanese actor working during the silent era, he achieved a level of fame almost unheard of for an Asian performer in early American cinema.
At his peak, he was one of Hollywood’s highest-paid stars, attracting audiences with his charisma, dramatic talent, and undeniable screen presence. Although his name is less familiar today than many of his contemporaries, his influence on film history remains immense. These photos showcase the remarkable career of Hollywood’s forgotten leading man.
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The Cheat (1915)
The Cheat transformed Sessue Hayakawa into an international star. Playing the wealthy ivory dealer Hishuru Tori, he delivered a magnetic performance that captivated audiences and helped make him one of the first Asian actors to achieve major Hollywood celebrity.
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The Typhoon (1914)
One of Hayakawa’s earliest screen successes, The Typhoon was adapted from a stage production in which he had also appeared. The film helped launch his movie career and quickly established him as a rising talent in Hollywood.
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The Wrath of the Gods (1914)
Released during the silent era’s formative years, The Wrath of the Gods paired Hayakawa with his future wife Tsuru Aoki. The film became one of the earliest Hollywood productions to prominently feature Japanese performers.
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The Dragon Painter (1919)
Hayakawa stars as Tatsu, an artist convinced his beloved has been transformed into a dragon. Produced through his own company, the film remains one of his most celebrated works and was later added to the National Film Registry.
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The Tong Man (1919)
In The Tong Man, Hayakawa plays Luk Chen in a crime drama centered on San Francisco’s Chinatown. The film survives as one of the few remaining examples of his prolific work during the silent era.
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The Honor of His House (1918)
Hayakawa plays Count Ito Onato in this drama about honor, family obligations, and financial ruin. The film exemplifies the serious dramatic roles that helped distinguish him from many of Hollywood’s more stereotypical portrayals of Asian characters.
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The Secret Game (1917)
Set against international intrigue during World War I, The Secret Game casts Hayakawa as Nara-Nara. The film reflects his growing popularity as studios increasingly built major productions around his star power.
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Daughter of the Dragon (1931)
Hayakawa appeared alongside Anna May Wong in Daughter of the Dragon, one of his earliest sound films. The movie marked his return to Hollywood and paired two of the most important Asian stars of the era.
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Yoshiwara (1937)
Directed by Max Ophüls, Yoshiwara was produced during Hayakawa’s years in Europe. His role as Ysamo demonstrated how his career extended far beyond Hollywood, making him a truly international film star.
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Tokyo Joe (1949)
After World War II, Hayakawa returned to American films with Tokyo Joe. Starring opposite Humphrey Bogart, he played Baron Kimura and helped reestablish his presence in Hollywood after years abroad.
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House of Bamboo (1955)
Directed by Samuel Fuller, House of Bamboo is a crime thriller set in postwar Japan. Hayakawa appears as Inspector Kito, contributing to one of the first major Hollywood productions filmed extensively in Japan.
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The Bridge on the River Kwai (1957)
Hayakawa received an Academy Award nomination for Best Supporting Actor as Colonel Saito. His performance in the acclaimed war epic introduced him to a new generation and became one of the defining achievements of his later career.
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The Geisha Boy (1958)
In this comedy starring Jerry Lewis, Hayakawa played Mr. Sikita. Although far removed from his silent-era dramas, the film demonstrated his continued ability to work across genres well into the later stages of his career.
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Swiss Family Robinson (1960)
Hayakawa portrayed the pirate chief Kuala in Disney’s Swiss Family Robinson. The family adventure became a major box office success and remains one of the most widely seen films from the final phase of his career.
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Hell to Eternity (1960)
One of Hayakawa’s last major film appearances, Hell to Eternity cast him as General Matsui. The World War II drama allowed the veteran actor to cap off a remarkable screen career that had begun nearly half a century earlier.
House of the Dragon Season 3 Episode 2 Review: Slouching Towards King’s Landing
This review contains spoilers for House of the Dragon season 3 episode 2.
Like many “A Song of Ice and Fire” die-hards watching House of the Dragon season 3, I’ve been trying to figure out what has made me grow colder on the Game of Thrones spinoff since its thrilling first season, especially in the wake of its more creatively successful sibling A Knight of the Seven Kingdoms.
The most obvious explanation (at least fora Thrones sicko like me) is the lack of George R.R. Martin’s enthusiastic consent in the show’s adaptation choices. While that’s as good a theory as any, it doesn’t do much to actually diagnose how the creator’s waning influence manifests onscreen. George, GOATed as he may be, isn’t the only writer capable of crafting a satisfying fantasy yarn. Indeed every Game of Thrones property has added elements that have even improved upon their source material. Thrones season 1’s intimate conversation between Robert and Cersei, AKOTSK‘s Lyonel Baratheon glow up, and countless new scenes in House of the Dragon itself – all are welcome, well-written additions to the Westerosi canon.
It wasn’t until House of the Dragon season 3 episode 2 that I realized what was really bothering me. It’s not the loss of George R.R. Martin’s canon-keeping authority, it’s the loss of his dialogue. For evidence of this claim, here is a sampling of some sentences uttered in this season’s second episode:
“Well, well, well.” – Daemon Targaryen “I was mistaken, I am surprised!” – Larys Strong “He was stern but gentle.” – Baela Targaryen “I confess I underestimated your slipperiness.” – Daemon Targaryen “I have business with him.” – Rhaenyra Targaryen
None of these lines from Sara Hess’ script are outright disasters. But they also aren’t particularly novel or clever. And they’re a hell of a long ways away from something like “A lion does not concern himself with the opinions of sheep.” The language is overly simple (“stern but gentle”), touches on cliche (“I have business with him”), or is just outright silly (“I underestimated your slipperiness”). Add in Larys Strong’s Whedon-era Avengers “Well, that just happened” energy and you have a whole bunch of characters speaking more like writers than Westerosi.
In most cases, some uninspired dialogue wouldn’t be enough to sink a TV show – especially one as visually ambitious as this one. But House of the Dragon isn’t just any show. Not only is this saga part of a larger IP in which characters have proven themselves to be demonstrably more articulate, it also belongs to a fictional historical universe that relies on verisimilitude. As has been noted time and time again,Martin’s Fire & Blood is a history book, first and foremost. While the show obviously can’t present that history as a black-and-white Ken Burns documentary, it can at least deploy language that reads as more authentic.
Simply put: when the dialogue breaks, other stuff begins to break as well. And we see that play out in season 3 episode 2. This is one of the most consequential hours of House of the Dragon yet. Jace (Harry Collett) gets a proper goodbye, Aemond (Ewan Mitchell) conquers Harrenhal, and Ser Otto Hightower (Rhys Ifans) is beheaded. And oh yeah: Rhaenyra conquers King’s Landing and sits the Iron Throne. Roll credits.
All of this feels like it should have the import of a season, if not series finale (again lending credence to the theory that the first two episodes of this season were intended to be the final two of last season). But more often than not weak dialogue or generally poor execution (not just referring to Otto) lets a scene down.
Rhaena’s (Phoebe Campbell) pursuit of political asylum in the Vale should feel desperate. Her involvement, albeit accidental, in Jace’s death is undoubtedly the most terrifying thing to ever happen in her life and her unwelcome presence outside the Eyrie is equally horrifying for Lady Jeyne Arryn (Amanda Collin). And yet the scene, while tense, hardly reads as pressing. The pair stand a football field’s length apart and shout negotiation terms. It all culminates in a line that I’m shocked didn’t make it into my “bad dialogue catalog” above: “Do you want a dragon or not?” That’s supposed to be implied, Rhaena! First you kill Jace and now you kill subtext?
Over on the shores of Driftmark, things are similarly bleak for Corlys’ clan. Baela (Bethany Antonia) and Alyn of Hull (Abubakar Salim) wander around, not finding their Lord-father/grandfather… until suddenly they do. Corlys (Steve Toussaint) is fine. He was always going to be fine. The show’s only purpose in even bothering to muster up a search for him was so Baela and Alyn could bleat about their family ties, suggesting there’s something in the Velaryon bloodline that makes them inherently expository.
But when it comes to questionable adaptation choices, poor Alicent (Olivia Cooke) still can’t be beat. The Hightower queen once again bears the narrative brunt of synthesizing Fire & Blood‘s historical context into actual text and spends much of the episode running from contrivance to contrivance because of it. With Aemond now safely out of the way and en route to the Riverlands, Alicent’s plan for getting the rest of King’s Landing ready for Rhaenyra’s pending arrival seems to be… telling everyone in King’s Landing about Rhaenyra’s pending arrival.
This manifests as a trip to the City Watch locker room a.k.a. the flaccid penis factory so Commander Largent (Tom Cullen) can be made aware that King’s Landing will soon have new guests. When that goes well enough, Alicent doubles down and becomes even blunter with the Hightower troops manning the scorpions on the battlements. Through it all, the only person at court who seems skeptical of Alicent’s machinations is Lord Jasper “Ironrod” Wylde (Paul Kennedy). Even that shrewdness, however, is undercut by Ironrod responding to the treason with attempted sexual violence, seemingly the only language that Westerosi nobles are able to speak.
The fact that Alicent’s efforts culminate with her and Helaena (Phia Saban) trapped in an occupied King’s Landing and bearing witness to Ser Otto’s beheading is certainly logically satisfying. It’s just not emotionally satisfying.
Rhaenyra (Emma D’Arcy) and Daemon’s (Matt Smith) half of the King’s Landing invasion is similarly lacking in emotional heft. While the whole operation was designed to be easy by Alicent, it still reads are a bit too easy. The guilty party this time isn’t so much dialogue as it is the choreography. Seasoned Hightower soldiers are reduced to “one-at-a-time” henchmen archetypes as Daemon and Rhaenyra make their way to the throne room. When they finally encounter meaningful opposition in the form of the Kingsguard, there’s little tension. Like Jeyne and Rhaena before them, the two parties stand rooted on their marks and have a chat, the outcome of which is never in doubt thanks to Daemon’s influence over the City Watch.
The religious awe that D’Arcy imbues upon Rhaenyra’s first ascendance onto the throne is affecting enough to retroactively make the whole journey worth it. But it shouldn’t have to have been rescued in the first place.
Truthfully, there are several examples of sheer acting talent making up for questionable script decisions through this episode. One comes from an earlier D’Arcy scene in which a heartbroken Rhaenyra chastises Jace’s body as though he were still alive. The queen balling her fists and waving them over her dead son as if he wants to strike him but can’t bring herself to make the connection, is truly brilliant.
Meanwhile Aemond’s arrival in Harrenhal is just spectacular all around. From terrifying guardsmen screaming “Dragon!!!” as their final words before a fiery death to Aemond challenging the elderly Lord Strong to a duel, just about every element works in perfect concert.
Moments like that go a long way towards bringing Martin’s vision of a continent at war to vibrant life. It’s just a shame they have to go through so many “well, well, wells” on the way.
New episodes of House of the Dragon season 3 premiere Sundays at 9 p.m. ET on HBO and HBO Max, culminating with a finale on August 9.
Robert Eggers Teases Unlikely Connections Between The Northman and Werwulf
With four features in his filmography, we now have certain expectations for a Robert Eggers film. We want moody visuals, we want excellent performances (especially from Willem Dafoe), and we want people using words that no one has used in 1000 years. What we don’t expect, however, is a sequel. Despite their stylistic similarities, each of Eggers’s four movies take place in different places and time periods, minimizing the potential for connections between them.
One would expect the same to be true of Eggers’s latest film, Werwulf, which stars Aaron Taylor-Johnson as a farmer in 13th century England. But in a recent conversation with Esquire, Eggers revealed that he toyed with the origins of the werewolf myth in a previous film, The Northman. When discussing the origins of legends about humans turning into wolfs, Eggers observed, “If we really want to get into it, we can talk about the Berserkirs [an ancient Norse term for especially ferocious warriors who wore bearskins] and the Úlfhéðnar [another Old Norse word, for “wolf-coats”] that you see in The Northman that come from Viking culture.”
Released in 2022, The Northman starred Alexander Skarsgård as Amleth, a 9th century Viking who sought revenge against his uncle for the murder of his father. A retelling of one of the myths that influenced Shakespeare‘s Hamlet, The Northman featured Eggers’s usual eye for historical detail, especially in his depiction of Viking culture.
An early scene finds young Amleth (Oscar Novak) and his father King Aurvandill (Ethan Hawke) acting like dogs as part of a ceremony held by Heimir the Fool (Dafoe, in a great performance, as expected). After a seven-year time jump, we see Amleth among the ulfhéðinn, performing another ritual to (metaphorically) transform from humans to beast before going into battle.
To be clear, the connections here are thematic and not literal. It would be shocking if Eggers is setting up a time-travel plot, in which Amleth emerges from the volcano where he had his final battle, preserved for hundreds of years, to hang out with Taylor-Johnson’s farmer in Werwulf. Furthermore, it sounds like Eggers plans to do with Werwulf the same thing he did in The Witch, taking literally the records left by the people he’s describing instead of imposing realism upon them.
In other words, there will be werewolfs in Werwulf, not because it is realistic, but because the people of 13th century England believed that some people turned into wolves. Yet, as Eggers points out, even that belief harkens back to the warriors from The Northman, albeit from a different perspective in the Christianized period shown in Werwulf. “In a Christian setting, people who turn into werewolves become evil, and the early associations in the Christian mythology become satanic,” explains Eggers.
While the title tells us that Werwulf will indeed have the antiquated language we love in an Eggers film, it’s still not clear how moody the visuals will be, nor how great Willem Dafoe will be, cast here as a hunter. But if the connections to The Northman are any connection, Eggers will deliver another piece of uniquely weird horror with Werwulf.
Werwulf comes to theaters on December 25, 2026.
Supergirl’s Shocking Ending Changes the Book, the Character, and Works
This article contains full OF Supergirl spoilers.
At the climax of Supergirl, Ruthye Marye Knoll (Eve Ridley) has finally found her prey. The young adolescent and Supergirl (Milly Alcock) have spent the film chasing down of the Yellow Hills (Matthias Schoenaerts), who murdered the Ruthye’s family while poisoning the hero’s dog. Throughout their journey, Ruthye insisted that she must kill Krem in revenge, a plan that Supergirl categorically rejects. Yet that’s exactly what Supergirl does at the end of the movie, administering a fatal stab to Krem, one for each of the wrongs he’s committed against Kara and her young charge.
Supergirl’s decision to execute Krem doesn’t just contradict the morals she professed in the film, it contradicts the behavior of most DC Comics superheroes, especially Kryptonians who wear an “S” on their chest. More specifically still, it contradicts the comic miniseries Supergirl: Woman of Tomorrow, in which writer Tom King and artist Bilquis Evely imagine a different resolution to the threat of Krem. Yet Supergirl manages to justify this decision with how it makes both Supergirl and her wholesome cousin Superman far more interesting characters.
The Woman of Tomorrow, Yesterday
Even though it trades Evely’s sumptuous artwork for Guardians of the Galaxy earthtones, and King’s True Grit-inspired prose for standard blockbuster dialogue, Supergirl retains Woman of Tomorrow‘s plot. In both stories, Ruthye Marye convinces a hard-drinking Supergirl to help her find the murderer Krem of the Yellow Hills. When Krem injures Krypto, Supergirl gets all the motivation she needs, and she and Ruthye Marye chase Krem across the galaxy. Along the way, our hero muses about living in the shadow of Superman and ponders her moral code.
As in the movie, Ruthye attempts to execute her enemy at the end of the Woman of Tomorrow comic. But on the page, Ruthye cannot do it, no matter how many times she tries to deliver the final blow. Supergirl arrives and confesses that she could not teach Ruthye to give up her thirst for vengeance, because she still burns with anger still about the destruction of Krypton. To spare Ruthye from the cost of vengeance, Supergirl decides to kill Krem herself, but Ruthye stops her.
Instead Supergirl ultimately takes Krem to the Phantom Zone, that ethereal dimension where Kryptonians send their worst criminals. The comic then jumps ahead centuries into the future where an eternally young Supergirl visits an elderly Ruthye. She brings Krem with her, who has has spent enough lifetimes in self-reflection to sincerely repent his crimes. With tears in his eyes, the old man begs for forgiveness.
Even though the older Ruthye ultimately whacks the defeated, emaciated Krem upside the head with her staff instead of offering her forgiveness, the comic’s ending is very different from the one in the movie. Clearly the film approaches the concept of goodness and revenge from another angle, complete with Kara slitting the villain’s throat with Ruthye’s sword. But it works because of the changes that director Craig Gillespie and screenwriter Ana Nogueira made to the source material.
Krem of the Darkest Nightmares
It takes no more than a glance to see that Schoenaerts plays a Krem of the Yellow Hills differently from his comic book counterpart. In the King and Evely story, Krem was a closer analogue to Tom Chaney from True Grit, a sniveling coward and opportunist. The comic book Krem killed Ruthye’s father because he was sucking up to the king. He bribes his way into the Brigands, here little more than space pirates, by offering to help attack a nearby town, hoping they’ll spare him in their genocidal plans and help fend off the pursuing Supergirl.
Conversely, Supergirl makes Krem into a superhuman marauder and sex trafficker. Krem of the comics shoots Krypto while hiding in the grass, a sneak attack. Krem of the movie shoots Krypto because he can, barely looking up from his cereal bowl when committing this act of cruelty. Throughout the movie, we see Krem kill others, even children, with equal disregard. He and his Brigands capture young girls and force them to appease the desires of his men, calling them “brides.” Furthermore, he possesses incredible strength, able to catch a falling tank with one arm.
In other words, Supergirl makes Krem more dangerous and more evil than the character from the comics. If Supergirl were to walk away from him at the end of the movie, he would surely just get a whole new band of Brigands and continue terrorizing women. Even if we accept that the DCU has Green Lanterns, Thanagarian Hawkpeople, and other intergalactic peacekeepers from the comics, Krem represents a threat that cannot be stopped through normal means, and one delights in his immunity to morality or rehabiliation.
At this point, one might point out that Supergirl and Krem are fictional characters, and aren’t bound by rules other than those made up by the storytellers. So if Gillespie and Nogueira wanted to spare Supergirl from executing Krem, they could have made up a different way to stop him, as strong and evil as he was. Which means that Supergirl’s decision to kill Krem is part of the movie’s worldview, a worldview that the movie works to build before the climax.
Did Supergirl Lose?
Supergirl has two thematic arcs in this film. The more obvious involves her feeling homeless since the destruction of Argo City and the death of her parents. She begins the movie wandering across the cosmos, and flashbacks to her youth and arrival on Earth emphasize that sense of dislocation. The film’s actual ending, with her telling Clark that she and Krypto plan to stay on Earth, completes that arc.
The second relates to the first, but it may feel less coherent because of the contradiction between Kara’s words and actions. As in the comics, Supergirl constantly warns Ruthye against taking vengeance, which makes her decision to kill Krem on its face seem disingenuous. But the movie also shows us how Kara wrestles with the idea of goodness throughout the story. Unlike Bradley Cooper’s Jor-El, Kara parents tell her that she must be good when she arrives on Earth, especially since she’ll possess greater powers than humans. David Corenswet’s Clark repeats that charge when she lands on Earth, giving her a costume like his because it represents goodness.
Yet Kara realizes that she can’t share Clark’s morality. Superman “sees the good in everyone,” she explains, while she “sees the truth.” Supergirl explicitly ties that more complicated viewpoint to Kara’s upbringing. She feels the loss of her parents more keenly than Clark, not just because she actually knew life among her parents and the Kryptonians, but because she arrived on a hostile, aggressive planet, seemingly absent the loving guidance of Ma and Pa Kent.
The first two acts of Supergirl treat that inability to see goodness as a shortcoming on Kara’s part. But by the time we hit the climax, she’s come to realize that her morality isn’t flawed—it’s just different. She can look at the complexities of the world, see hurting that’s sharper and more subtle than Clark would notice, simply because she understands hurting on a deeper level. Kara agrees that execution, even a just execution, rots the soul, which is why she prevents Ruthye from doing the deed. But she believes that her suffering has already robbed her of that innocence, of that unvarnished soul, so she does the most heroic thing she can do. She protects Ruthye’s innonce by stopping Krem herself and taking on that rot.
It’s not the goodness of Superman. It’s a messy, complicated, imperfect goodness. But it’s a goodness nonetheless.
Maid of Might and Man of Steel
No one watching Supergirl can avoid thinking about the ending of Zack Snyder‘s Man of Steel. That movie put Superman against a similarly unstoppable threat, the Kryptonian conqueror Zod, who promised that he would never end his attacks on Earth. With no other choice was available, Superman chooses to execute Zod by snapping his neck.
For many longtime Superman fans, even those who know that Superman also executes Zod in 1988’s Superman #22, the moment felt like a betrayal. It not only demonstrated a lack of imagination on the part of Snyder and his writers, who had a powerful fantasy character in Superman but couldn’t imagine what saving the day looked like, but also a misunderstanding of Superman’s fundamental morality. Superman helps and inspires people; he doesn’t destroy.
Those who defend Man of Steel point to the scream of anguish that Superman unleashes after killing Zod. While that moment does indicate that Superman feels bad about his decision, it’s too brief, too easily ignored, and too immediately glossed over to be taken seriously. Contrast it to the many ruminations on goodness and vengeance in Supergirl. By the time Kara decides to kill Krem, we know that she’s already considered the cost. She accepts the weight of her actions intentionally, fully cognizant of what she’s doing, because she wants to save Ruthye.
In contrast to Man of Steel, Supergirl’s decision also saves Superman. The DCU Superman is special not just because of David Corenswet’s charming and guileless performance, but also because he insists that his power be used purely for good. He will avoid at all costs anything that makes people feel afraid, and he believes that even Lex Luthor can be redeemed because he thinks the good that Lex could bring to the world outweighs the harm he intends.
It’s a beautiful fantasy, and it’s a fantasy that the world needs. And it’s a fantasy that Superman can continue to have because his cousin is willing to do what he cannot. Supergirl helps Superman be the wholesome paragon that the DCU needs, by embracing her own complicated and messy goodness.
Supergirl is now playing in theaters.
2006’s Silent Hill Contains Surprisingly Relevant Environmental and Political Themes
The first Silent Hill movie adaptation is far from perfect; shoddy acting and a bloated storyline keep it from achieving its ambitions. But its gruesome practical effects, tense atmosphere, and grim aesthetic, alongside the cultural relevance of its source material, have kept people rewatching the film since its 2006 premiere.
However, there are more layers of critique beneath the surface level themes of the film that also play a role in preserving its status as a movie worth seeing over and over. Under the crust of cult psychology and revenge lies an intersection of environmental, political, and feminist values present in few mainstream horror movies.
Silent Hill follows Rose (Radha Mitchell), a mother who is trying to uncover the reasons for Sharon (Jodelle Ferland), her adopted daughter, having nightmares about the town Silent Hill. After doing intense research, Rose discovers the titular town where the majority of the film takes place was abandoned due to a reported coal-seam fire — a real world phenomenon of extremely long-lasting blazes that are often caused by mining activity. She decides to take her daughter there, where things inevitably go wrong; she wakes up in a foggy alternate reality of the town she was looking for, and Sharon is missing. It’s up to Rose and police officer Cybil (Laurie Holden) to find Sharon in the twisted Silent Hill dimension.
Silent Hill instead highlights a real life problem faced by West Virginia and many other parts of Appalachia without relying on stereotypical representations of Appalachian people. Where stereotypes have depicted uncivilized godless violence (Deliverance is a prime example), the local residents of Silent Hill are middle class fundamentalists, each of them devoted members of a cult called the Brethren.
This subversive depiction is further expounded on in flashbacks to before the disaster that made the town uninhabitable and created the alternate hellish reality. The residents of Silent Hill are economically comfortable, with lofty ideals of social compliance and snuffing out perceived abnormal behavior in cruel ways more in line with a critique of suburbia than Appalachia. This representation is a major departure from the traditional reliance on the imagery of scattered, violent hillbillies that has dominated depictions of Appalachian antagonists across mediums.
Although there is still a depiction of a violent populace, it’s a violence not rooted in the degradation of Appalachians as ignorant and uncultured but rather a more translatable depiction of conformity that could happen anywhere. The use of West Virginia as the setting highlights the real contemporary issues of environmental destruction caused by the extractive industries that have plagued the region for centuries.
The disaster that ultimately caused the supernatural creation of the Silent Hill dimension deepens the thematic strata of Silent Hill. Alessa (also played by Jodelle Ferland), a young girl from the days before the dimension opened, was ridiculed and villainized by the pious residents of Silent Hill for being born out of wedlock. Dahlia (Deborah Kara Unger), Alessa’s mother, allows Christabella (Alice Krige), the high priestess of the Brethren, to try a “purifying” ritual on Alessa after she is raped by her school’s janitor. Christabella and her followers then attempt to burn Alessa alive in an immolation ritual which is stopped by Dahlia and police officer Thomas Gucci (Kim Coates), but only after Alessa is horribly disfigured by the fire (this fire is ultimately what causes the coal-seam disaster that forced residents to abandon the town).
Torn apart by her hatred, Alessa creates the constantly-shifting nightmarish dark Silent Hill dimension, trapping a guilt-ridden Dahlia and members of the Brethren in her ashen, monster-laden hellscape. Alessa is thus split between Dark Alessa, a demonic entity feeding off her hatred, and Sharon, her innocence incarnate.
It is not a stretch to describe Silent Hill as an ecofeminist piece of media. Ecofeminism is defined as “both political activism and intellectual critique” by ScienceDirect. It is a framework that argues the harm done to women and the harm done to the environment mirror each other and manifest in a number of parallel ways societally and politically.
The coal-seam fire ignites after the residents of Silent Hill torture a girl who was the victim of an unspeakable crime. The primarily female cast showcases women fighting who, knowingly or not, are fighting environmental catastrophe alongside attempting to save a girl from an awful fate at the hands of conservative zealots. Alessa’s scarring by the fiery violence of the Brethren mirrors the scarring of West Virginia, her home state, done by mining and extraction. Violence against women and violence against the land, as well as women-led political action, are inseparable in Silent Hill.
At a time when human-driven climate change and rising fascism are joining hands and taking humanity into the sunset of doomsday, Silent Hill presents a surprising, yet poignant vessel for environmental and social critique that can only age better as time goes on.
15 Photos Remembering Hollywood’s Most Desirable Name
Few actors have changed Hollywood as profoundly as Marlon Brando. With his naturalistic performances and magnetic screen presence, he redefined movie acting and became one of the most influential stars of the twentieth century. By playing rebellious outsiders, powerful crime bosses, and complex historical figures, Brando brought an intensity that inspired generations of performers.
His career included award-winning classics, ambitious dramas, and unforgettable blockbusters that remain essential viewing decades later. These photos highlight the remarkable range of an actor whose name became synonymous with cinematic greatness and enduring star power.
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A Streetcar Named Desire
Brando’s performance as Stanley Kowalski in A Streetcar Named Desire turned him into a Hollywood sensation. Reprising the role from Broadway, he earned his first Academy Award nomination and introduced audiences to a revolutionary style of screen acting.
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On the Waterfront
Brando won his first Academy Award for Best Actor as former boxer Terry Malloy in On the Waterfront. His emotionally layered performance, including the famous taxi cab scene, remains one of the defining achievements in film history.
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The Godfather
As Don Vito Corleone, Brando created one of cinema’s most iconic characters. He won a second Academy Award for Best Actor but famously declined the honor, sending activist Sacheen Littlefeather to the ceremony in his place.
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Apocalypse Now
Brando portrays the mysterious Colonel Walter E. Kurtz in Apocalypse Now. Despite appearing late in the film, his haunting performance became central to Francis Ford Coppola’s epic exploration of war, power, and psychological collapse.
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The Wild One
The Wild One established Brando as the ultimate cinematic rebel. His leather-jacketed biker Johnny Strabler became a cultural icon, influencing fashion and helping define the image of youthful rebellion throughout the 1950s.
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Julius Caesar
Brando surprised critics by delivering a polished Shakespearean performance as Mark Antony in Julius Caesar. His famous “Friends, Romans, countrymen” speech demonstrated his versatility and earned another Academy Award nomination.
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Guys and Dolls
Brando stepped into musical comedy as gambler Sky Masterson in Guys and Dolls. Although not known as a singer, he held his own alongside Frank Sinatra in one of Hollywood’s most beloved musical adaptations.
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Last Tango in Paris
Last Tango in Paris featured one of Brando’s most controversial performances. His emotionally raw portrayal earned an Academy Award nomination, while the film itself sparked decades of debate over its explicit content and production methods.
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Mutiny on the Bounty
Brando starred as Fletcher Christian in Mutiny on the Bounty, one of the era’s most expensive productions. Although the film became notorious for production problems, his performance remains one of its most discussed elements.
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The Young Lions
In The Young Lions, Brando played German officer Christian Diestl, portraying a complex soldier whose ideals eroded during World War II. The ambitious war drama showcased his ability to humanize morally conflicted characters.
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Reflections in a Golden Eye
Brando starred opposite Elizabeth Taylor in Reflections in a Golden Eye, portraying an emotionally troubled Army officer. The psychological drama was unconventional for its time and demonstrated his willingness to tackle difficult, deeply flawed characters.
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The Chase
Brando leads an ensemble cast in The Chase as a small-town sheriff confronting corruption and mob violence. The tense Southern drama paired him with Jane Fonda, Robert Redford, and Robert Duvall in memorable early performances.
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Burn!
Released internationally as Burn!, Brando plays British agent Sir William Walker, manipulating a colonial revolution for political gain. The historical drama has since earned recognition as one of his most underrated performances.
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The Missouri Breaks
Brando plays eccentric hired killer Robert E. Lee Clayton opposite Jack Nicholson in The Missouri Breaks. His unpredictable performance divided critics upon release but has since become one of the film’s defining features.
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Superman
Brando appeared as Jor-El in Superman, accepting one of Hollywood’s highest salaries for a relatively brief role. Despite limited screen time, his portrayal of Superman’s father added prestige to the landmark superhero film.
13 Horror Movies Inspired By Real Life Killers
True crime documentaries are all the rage these days, telling us of the gruesome murders committed by the now infamous serial killers of old. They have also inspired several film adaptations retelling their lives and major events, yet they’ve inspired more than just biographical works.
Many hallmarks of horror were inspired by their terrifying acts, some more directly than others. The styles differ between one movie to the next, but the intent is the same: showcase the horror of real life in a safe, fictional environment. Nothing inspires more than the atrocities committed by our fellow men.
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Psycho
Alfred Hitchcock’s Psycho wasn’t a retelling of Ed Gein’s crimes, but Norman Bates was heavily influenced by the Wisconsin killer’s disturbing relationship with his mother and isolated lifestyle. The result became one of horror’s most iconic fictional murderers.
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The Texas Chain Saw Massacre
Leatherface was created as a fictional character, yet director Tobe Hooper drew inspiration from Ed Gein’s gruesome crimes. The masks made from human skin and macabre home décor echo Gein, even though the film’s story is entirely fictional.
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Maniac
William Lustig’s Maniac features the fictional killer Frank Zito, with the character partially inspired by David Berkowitz, the infamous Son of Sam. Rather than recreating the crimes, the film channels Berkowitz’s paranoia and indiscriminate violence into an original slasher
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Black Christmas
Although never officially confirmed, many critics and true crime fans have long linked Black Christmas to the unsolved murders committed by the so-called Babysitter Killer. The film blends those similarities into an entirely fictional holiday slasher.
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Eaten Alive
Tobe Hooper’s Eaten Alive takes loose inspiration from Joe Ball, the Texas tavern owner nicknamed the Butcher of Elmendorf. The film transforms the legend into a bizarre horror story featuring a hotel owner and his pet crocodile.
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Deranged
Rather than portraying Ed Gein directly, Deranged fictionalizes his crimes through Ezra Cobb, a lonely farmer whose descent into grave robbing and murder closely mirrors Gein’s infamous case while changing names and specific events.
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Scream
Ghostface is a fictional killer with a constantly changing identity, yet screenwriter Kevin Williamson has acknowledged drawing inspiration from Danny Rolling, the Gainesville Ripper. The film transforms those real crimes into a self-aware slasher mystery instead of a direct adaptation.
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Natural Born Killers
Oliver Stone’s violent satire follows fictional lovers Mickey and Mallory Knox, with their cross-country murder spree being partly inspired by the real-life crimes of Charles Starkweather and Caril Ann Fugate, filtered through a heavily stylized and exaggerated narrative.
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Angst
The Austrian horror film Angst follows a fictional psychopath inspired by the crimes of Austrian serial killer Werner Kniesek. Rather than recreating the case, it focuses on the killer’s mindset through a uniquely unsettling psychological approach.
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Badlands
Though often classified as a crime drama with strong horror elements, Badlands fictionalizes the murder spree of Charles Starkweather and Caril Ann Fugate. Terrence Malick changed the names and story while preserving the unsettling violence that inspired the film.
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The Town That Dreaded Sundown
This slasher reimagines the Texarkana Moonlight Murders committed by the unidentified Phantom Killer. Instead of naming a real suspect, it builds a fictional horror narrative around the infamous unsolved serial killings that terrorized the town.
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The Girl Next Door
While primarily a psychological horror drama, The Girl Next Door fictionalizes the horrific torture and murder of Sylvia Likens. The names and circumstances were changed, creating a devastating fictional story rooted in an infamous real-life crime.
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The Hills Have Eyes
Wes Craven’s The Hills Have Eyes centers on a fictional family of desert cannibals. The premise was inspired by the legend of Sawney Bean, the alleged Scottish clan leader whose family supposedly murdered and consumed travelers for years.
15 Fictional Companies That Could Never Stay in Business in the Real World
Movies, television, and video games are filled with memorable fictional companies that somehow keep the lights on despite endless lawsuits, catastrophic accidents, or spectacularly incompetent management. In the real world, many of these businesses would be bankrupt after their first major incident, buried under regulatory fines, insurance claims, or public outrage.
Others survive only because stories need them to. These companies have become iconic precisely because they operate by fictional rules instead of real-world business realities. Here are a few we’ve chosen that probably wouldn’t last a year outside fiction.
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Acme Corporation (Looney Tunes)
Acme sells gadgets that almost always explode, malfunction, or catastrophically fail. Between endless product liability lawsuits, recalls, and customer injuries, the company would almost certainly collapse under legal judgments long before Wile E. Coyote could order another rocket-powered contraption.
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Dunder Mifflin (The Office)
Dunder Mifflin struggles to compete in a shrinking paper industry while enduring constant HR violations, management disasters, and questionable business decisions. In reality, the company’s legal expenses and declining market would likely force bankruptcy much sooner.
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InGen (Jurassic Park)
After multiple dinosaur-related fatalities across several parks and facilities, InGen would face overwhelming lawsuits, criminal investigations, and regulatory intervention. No modern corporation could survive repeated disasters involving genetically engineered predators escaping into public spaces.
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Umbrella Corporation (Resident Evil)
Umbrella repeatedly causes viral outbreaks that devastate entire cities while attempting to conceal its involvement. Even before global catastrophe struck, the company’s criminal negligence, illegal experimentation, and countless wrongful death claims would permanently destroy its business.
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Aperture Science (Portal)
Aperture Science burns through enormous resources conducting wildly unethical experiments on unwilling test subjects. Between workplace fatalities, unsafe laboratories, and reckless executive decisions, government regulators would almost certainly shut the company down before portal technology reached consumers.
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Oceanic Airlines (Lost)
After suffering multiple mysterious disasters across its history, Oceanic Airlines would face a public relations nightmare. Passenger confidence would collapse, insurance premiums would skyrocket, and regulators would likely ground the airline pending exhaustive safety investigations.
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Buy More (Chuck)
Buy More somehow survives despite chronic employee misconduct, property damage, theft, and spectacular customer service failures. Any real electronics retailer experiencing that level of operational chaos would struggle to retain customers, staff, or corporate investors.
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Duff Beer (The Simpsons)
Duff enjoys enormous popularity despite frequently encouraging reckless marketing practices and questionable corporate ethics. Numerous scandals involving its leadership and promotional campaigns would likely invite regulatory scrutiny and expensive legal challenges in the real beverage industry.
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Prestige Worldwide (Step Brothers)
Prestige Worldwide never develops a coherent business model beyond vague branding and absurd promotional events. Investors would quickly lose patience with a company producing no meaningful products or sustainable revenue despite its founders’ boundless confidence.
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Cyberdyne Systems (The Terminator)
Cyberdyne repeatedly develops increasingly dangerous artificial intelligence with catastrophic consequences. Even ignoring Skynet’s ultimate fate, the company’s negligence surrounding autonomous military technology would trigger devastating lawsuits and intense government oversight.
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MomCorp (Futurama)
MomCorp effectively controls countless consumer products while repeatedly placing profits above public safety. The company’s history of dangerous inventions and monopolistic behavior would attract relentless antitrust investigations, recalls, and consumer protection lawsuits.
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Wayne Enterprises Applied Sciences (The Dark Knight Trilogy)
Wayne Enterprises’ Applied Sciences division develops advanced military hardware that repeatedly falls into criminal hands. Shareholders and regulators would demand sweeping accountability after so many prototype weapons were stolen and used to endanger civilians.
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Rich Industries (Tommy Boy)
Rich Industries knowingly sells defective brake pads that put countless drivers at risk. Once the defects became public, the company would face massive recalls, product liability lawsuits, government penalties, and likely complete financial collapse.
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Vandelay Industries (Seinfeld)
George Costanza repeatedly invents Vandelay Industries as a fake employer, importer, or exporter depending on the situation. With no actual products, staff, or operations, the company would never survive even the most basic business verification.
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Wonka Industries (Charlie and the Chocolate Factory)
Wonka’s factory routinely allows children into hazardous production areas filled with experimental candy and dangerous machinery. Modern workplace safety standards, health inspectors, and liability laws would almost certainly close the factory after a single tour.
15 Characters With Unrealistically Luxurious Apartments
Television and movies have always loved giving characters dream apartments that make audiences wonder how they could possibly afford them. Granted, sometimes the apartments need to be the size of a filming set for logistical reasons, but they don’t stop being jarring.
Sometimes there’s an in-universe explanation, but even then, the math rarely adds up. After all, there’s only so much money an average salary can bring in. These iconic apartments became almost as memorable as the characters themselves, even if their square footage and locations belong firmly in the realm of fantasy rather than reality.
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Monica Geller (Friends)
Monica’s spacious West Village apartment is television’s most famous unrealistic residence. Although the show explains it as a rent-controlled apartment inherited from her grandmother, its size and location remain wildly implausible for a chef sharing expenses with a waitress.
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Carrie Bradshaw (Sex and the City)
Carrie supports herself primarily by writing a single newspaper column, yet lives in a charming Upper East Side apartment with remarkable stability. The show’s rent-control explanation helps, but the lifestyle still stretches credibility for her income.
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Jessica Day (New Girl)
Jess and her roommates occupy an enormous Los Angeles loft with soaring ceilings, huge windows, and four bedrooms. While several tenants split the rent, finding a space like it at an affordable price is virtually impossible in reality.
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Ted Mosby (How I Met Your Mother)
Ted and Marshall’s Upper West Side apartment features generous living space in one of New York City’s most expensive neighborhoods. Even with roommates, their stylish apartment seems far beyond what an architect and law student could realistically afford early on.
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Penny (The Big Bang Theory)
Penny spends much of the series working as a waitress while pursuing acting, yet maintains a decent Pasadena apartment directly across from two highly paid scientists. Her financial situation rarely seems capable of supporting the lifestyle depicted.
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Frasier Crane (Frasier)
Frasier’s luxury Seattle apartment overlooks the skyline and features museum-quality furnishings, designer décor, and expansive rooms. Even accounting for his previous career as a psychiatrist, fans have long questioned whether his radio salary could realistically support it.
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Holly Golightly (Breakfast at Tiffany’s)
Holly Golightly lives in a stylish Manhattan apartment despite having no conventional full-time job. While the film hints at wealthy admirers supporting her lifestyle, her desirable New York residence has long been viewed as more glamorous than financially realistic.
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Mindy Lahiri (The Mindy Project)
Mindy is a successful doctor, but her colorful Manhattan apartment goes well beyond practicality. Even the show’s production designer acknowledged that the oversized layout was intentionally unrealistic to accommodate filming and create an aspirational setting.
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Kimmy Schmidt (Unbreakable Kimmy Schmidt)
Freshly arriving in New York with little money, Kimmy quickly lands an apartment in Brooklyn. Sharing the space helps, but her housing situation remains surprisingly generous considering her limited income and lack of established employment.
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Max Black and Caroline Channing (2 Broke Girls)
The title promises two women struggling to make ends meet, yet Max and Caroline somehow afford a two-bedroom Williamsburg apartment while working low-paying diner jobs. Even with roommates, the Brooklyn rent has always stretched credibility.
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Joe Goldberg (You)
Joe Goldberg works as a bookstore employee during the first season, yet occupies a surprisingly spacious apartment in New York City. Considering the city’s rental market and his modest income, his living situation is far more comfortable than reality would typically allow.
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Marnie Michaels (Girls)
Marnie and Hannah’s Brooklyn apartment looks far more polished and spacious than their unstable careers suggest. As both struggle financially through much of the series, their living arrangements often seem considerably nicer than their budgets would allow.
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Peter Parker (Spider-Man 2)
Peter Parker’s apartment is intentionally shabby, but finding even a modest Manhattan apartment while juggling college, freelance photography, and unpaid superhero work would be nearly impossible without constant financial strain.
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Emily Cooper (Emily in Paris)
Emily relocates to Paris on a marketing salary but quickly settles into an enviable apartment in a picturesque neighborhood. While smaller than many TV homes, its location and charm have sparked frequent debates about how she could realistically afford it.
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Matt Murdock (Daredevil)
Matt Murdock operates a struggling law practice, yet lives in a spacious Hell’s Kitchen loft with soaring ceilings and massive windows. The series offers no financial explanation, making it one of television’s most implausible apartments.
15 Candid Photos of Hollywood’s Original Heartthrob
Few entertainers have ever matched Frank Sinatra’s combination of charisma, talent, and screen presence. Long before celebrities were called heartthrobs, “Ol’ Blue Eyes” captivated audiences in both concert halls and movie theaters, building a film career that stretched from lavish musicals to gripping crime dramas and wartime thrillers.
He even earned an Academy Award for his acting, proving he was far more than just a legendary singer. We’ve gathered some photos of him throughout his career to remember what a legend he was. These showcase why Hollywood couldn’t get enough of its original heartthrob.
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From Here to Eternity
Frank Sinatra revived his acting career with From Here to Eternity, playing Private Angelo Maggio. His acclaimed performance earned him the Academy Award for Best Supporting Actor and helped establish him as a serious dramatic actor, not just a recording superstar.
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The Man with the Golden Arm
In The Man with the Golden Arm, Sinatra took on the challenging role of Frankie Machine, a recovering heroin addict. The daring performance earned him an Academy Award nomination for Best Actor and remains one of his most respected dramatic achievements.
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The Manchurian Candidate
Sinatra considered The Manchurian Candidate the high point of his film career. Playing Major Bennett Marco, he anchors the political thriller with a restrained yet powerful performance that continues to receive praise decades after its release.
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Guys and Dolls
Sinatra starred as gambler Nathan Detroit in the lavish musical Guys and Dolls alongside Marlon Brando. Though he had originally wanted Brando’s role, his performance and unmistakable singing voice remain highlights of the classic adaptation.
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Ocean’s 11
The original Ocean’s 11 united Sinatra with fellow Rat Pack members Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop. Their effortless chemistry helped turn the stylish Las Vegas heist film into an enduring pop culture favorite.
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High Society
High Society paired Sinatra with Bing Crosby, Grace Kelly, and Louis Armstrong in a glamorous musical remake of The Philadelphia Story. Sinatra’s charm and musical performances fit perfectly within one of MGM’s most star-studded productions.
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Pal Joey
Pal Joey gave Sinatra one of his signature musical roles as a smooth nightclub entertainer chasing success. Co-starring Rita Hayworth and Kim Novak, the film showcased both his acting ability and his effortless command of sophisticated song performances.
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Anchors Aweigh
One of Sinatra’s earliest major successes, Anchors Aweigh teamed him with Gene Kelly in a lively musical comedy. Their contrasting personalities and memorable musical numbers helped make the film one of the decade’s biggest hits.
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On the Town
Sinatra reunited with Gene Kelly in On the Town, playing one of three sailors enjoying a day of leave in New York City. The energetic musical remains one of the defining examples of postwar Hollywood entertainment.
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Some Came Running
In Some Came Running, Sinatra delivered another acclaimed dramatic performance as a troubled war veteran returning home. Acting alongside Dean Martin and Shirley MacLaine, he helped elevate the film into one of his strongest non-musical projects.
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Von Ryan’s Express
Von Ryan’s Express cast Sinatra as an American colonel leading Allied prisoners on a daring escape through wartime Italy. The suspenseful World War II adventure became one of his biggest box office successes during the 1960s.
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Tony Rome
Sinatra reinvented himself as private detective Tony Rome in this stylish crime thriller. The character proved popular enough to earn a sequel, allowing Sinatra to embrace the detective genre during the latter part of his film career.
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Robin and the 7 Hoods
Robin and the 7 Hoods transplanted the Robin Hood legend into Prohibition-era Chicago. Sinatra leads an impressive cast that includes Dean Martin, Sammy Davis Jr., and Bing Crosby in one of the Rat Pack’s most entertaining musical comedies.
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Suddenly
In Suddenly, Sinatra surprised audiences by playing a cold-blooded assassin plotting to kill the President of the United States. The tense thriller demonstrated his willingness to take darker, more unconventional roles early in his acting career.
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The Detective
The Detective featured Sinatra as New York police detective Joe Leland in a mature crime drama tackling corruption, prejudice, and violence. Its source novel later produced the sequel that eventually became the basis for Die Hard.