The Boys Tricked Everyone With its Big Season 5 Cameos

This article contains spoilers for The Boys season 5 episode 5.

Supernatural fans were intrigued to find out earlier this year that the final season of The Boys would feature a long-awaited reunion. Jared Padalecki and Misha Collins were set to guest star alongside Jensen Ackles’ Soldier Boy in episode 5, playing “douchebags,” The Boys (and Supernatural) showrunner Eric Kripke teased. So when it was released, excited viewers may have been checking their watches as the episode ticked over the 45-minute mark, wondering when the duo might actually show up.

When Padalecki and Collins did finally appear onscreen as ageing supes Mister Marathon and Malchemical—minor antagonists in the comics the show is based on—they weren’t alone. In a rather cunning bit of misdirection, we were so focused on our Supernatural faves that we didn’t expect the rest of the surprising cameos that The Boys had in store during the episode!

Let’s take a look at everyone we met playing cards at Mister Marathon’s mansion. That is, before they died horribly, of course…

Kumail Nanjiani

Like almost everyone on this list, the Eternals actor appears as himself during the final minutes of episode 5. He sits next to The Boys executive producer Seth Rogen during the group’s card game and discusses Vought’s capture of Aziz Ansari, Macaulay Culkin, Joaquin Phoenix, Kiefer Sutherland, Benedicts Wong and Cumberbatch, and even Meryl Streep.

Rogen and Kumail Nanjiani are connected through mutual colleagues in the comedy world, such as director Judd Apatow, who produced Nanjiani’s award-winning movie, The Big Sick.

Seth Rogen

Rogen tells Homelander they already met at the premiere of one of Black Noir’s movies, Silent Vengeance 3: Vengeance Reloaded, but Homelander clearly can’t remember the encounter.

In reality, it would probably be hard for most of The Boys’ cast and crew to forget Rogen, who has been an executive producer on the hit show since 2016, along with his longtime collaborator, Evan Goldberg. The Pineapple Express star has made minor cameos on the mothership show before, and has also produced several spinoffs in the franchise, including Gen V and Diabolical.

Here, Rogen amusingly suggests that getting Lena Dunham to write a piece for The Atlantic will draw more eyes to the plight of people being rounded up into Vought’s “freedom” camps, but he seems to be playing both sides, as he tells Homelander that he’s planning to testify before Congress that Post Malone is a suspected Starlighter.

Christopher Mintz-Plasse

Breaking out in 2007’s Superbad (co-written by and also starring Rogen) where he starred as the iconic Fogell a.k.a. McLovin, Christopher Mintz-Plasse previously made an appearance as another fictional version of himself in Rogen’s 2013 apocalyptic comedy horror, This Is the End, with an ensemble cast that also boasted Jonah Hill, Jay Baruchel, Danny McBride, Craig Robinson, and Michael Cera.

In The Boys, Mintz-Plasse suggests turning in his Superbad co-star to snag a coveted movie role, and tries to smoke a joint with Homelander, which is not well received (to put it mildly.)

Will Forte

SNL alum Will Forte is yet another celebrity playing a skewed version of himself here. He admits he turned in Channing Tatum (who also popped up as Danny McBride’s sex slave in This Is the End) and drops a bombshell by telling everyone that fellow SNL co-star Bill Hader has been executed. For what, we can only imagine, but it must have been some big talk against Homelander and Vought’s deadly dealings.

Forte and Rogen are notably connected through the former’s role in Akiva Schaffer’s 2012 sci-fi comedy The Watch, which was co-written by Rogen and also starred Erin Moriarty in an early role before she went on to her breakout part as Starlight in The Boys.

Craig Robinson

Robinson only gets to register a little surprise at seeing Soldier Boy before he gets moved directly into Mister Marathon’s path and explodes, but it sure is fun to see him, however briefly.

The popular comedian and musician previously appeared in This Is the End, Knocked Up, Pineapple Express, and Sausage Party, the 2016 adult animated movie co-written by Rogen. He is also beloved for his role in Brooklyn Nine-Nine as Doug “the Pontiac Bandit” Judy.

Jared Padalecki

Finally, we get to the actors not playing themselves in this episode 5 cameofest! Supernatural star Jared Padalecki previously revealed his episode 5 character as Mister Marathon before its release, but we still didn’t really know what to expect!

Mister Marathon is a drug-peddling D-list speedster who was in The Seven at one point, but he was replaced with A-Train when he “got slow.” Homelander notes that Mister Marathon stars in movies made by Sony Pictures Television, one of the production companies behind The Boys, where “washed-up supes go to die,” though this seems like more of a dig at Sony’s live-action Spider-Man universe, where they can’t use any other big Marvel characters, so are stuck trying to make stuff like Madame Web a thing.

Mister Marathon tries to convince Soldier Boy to kill Homelander and stop his plan to become the new messiah. He manages to appeal to a surprisingly pro-choice Soldier Boy, but he ultimately pushes back against Mister Marathon’s plan and destroys both his legs before stamping on his head. Before that, Soldier Boy eventually determines that his old pal Bombsight probably has the remaining V1 everyone’s been looking for this season.

Misha Collins

Ackles and Padalecki’s other longtime Supernatural co-star, Misha Collins, also appears in the episode as a minor Supe named Malchemical, who can create deadly gases. He breathes one such gas in Homelander’s face, knocking him out and asking Soldier Boy to team up with them against Homelander.

Soldier Boy breaks his neck after realizing that no matter how messed up his biological son is, he can’t kill him.

The Boys Season 5 Episode 5 Review: Mess Served Hot

This review contains spoilers for The Boys season 5 episode 5.

It’s kinda hard to know where to start with this episode, since it’s nonlinear and tells a day’s worth of stories from different character perspectives. Unfortunately, while some are certainly better than others, together they’re serving a hot, uneven mess. Still, I was surprised to find one of them truly engrossing.

First up is Firecracker, who’s about to completely sell out her faith and the last remaining people who truly care about her. Then we hop back to Black Noir, who loses his mentor (the always-amusing Adam Bourke) to The Deep’s petty violence. There’s also a ludicrous segment with Terror that involves both his carnal desires and taste for chocolate. Meanwhile, Sister Sage is the smartest person in the world, we are continually told, and in this episode, that involves manipulating both Ashleys and starting a world war. Frankly, if that’s the best she’s got, I’m good. Quite happy to stay low IQ.

Finally, we get back to the search for that elusive dose of V1 as we switch to Soldier Boy’s perspective. Threatening Stan Edgar gets him and Homelander a lead: Mr. Marathon (played by Ackles’s Supernatural co-star Jared Padalecki) and the pair ventures over to his mansion for a chat about his Madame Web-level movies and some hints about where they can start looking for the V1 next, because Mr. Marathon doesn’t really have anything to offer that isn’t cocaine, nostalgia, or dreams. Along with gassy pal Malchemical (Misha Collins, completing the Supernatural reunion) Marathon explains that one of these dreams is to kill Homelander and stop his bonkers plan to rule over them as their new god. A suddenly paternal Soldier Boy doesn’t buy into it, and carnage ensues.

I watched all 15 seasons of Supernatural of my own free will (glutton for punishment) and was hyped to see Padalecki and Collins share the screen with Ackles again. Regrettably, I am not entirely immune to key jangling. But while their performances are amusing, they’re somewhat dampened by all the other surprise cameos in the segment, which feels a bit like This Is the End redux. “Celebrities saying stuff that is wildly out of character with their public image” was funny 13 years ago (I also enjoyed This Is the End!) but it’s grown stale, and season 5 has been so filler-y already that it’s just more noise in the mix. Seth Rogen, Kumail Nanjiani, Will Forte, Christopher Mintz-Plasse, Craig Robinson…love all those guys, but this schtick is tiresome.

Maybe if I rewatch this season later on, I’ll feel differently. It’s hard to say. I can only express how I feel week to week at the moment, and seeing The Boys fall into worn millennial comedy tropes when it used to have so much edge has got me grinding my teeth into a paste. Your mileage may vary, though. Perhaps I am being too much of a curmudgeon this week!

I’m also having a hard time buying into Soldier Boy’s conflicting feelings for Homelander. One minute, he’s happy to torture him, the next, he’s feeling a weird kind of love for the tyrant. Soldier Boy once saw his own grandson as little more than collateral damage, but is ultimately just fine getting behind Homelander’s plan, despite clearly finding it insane. Is Soldier Boy working his own angle here? I guess we’ll find out. If he’s not, it comes across as though they’re writing the character around whatever actions the episode calls for. Not great!

At the start, I mentioned that I only found one of episode 5’s “one-shots” truly engrossing, and that would be Firecracker’s. As a people pleaser who’s found the ultimate person to please (and one who has become utterly unenamored by how she pleases) Firecracker cuts such a tragic figure in The Boys. To be clear, she absolutely sucks, and there’s no defending her actions, but watching her go through the turmoil of being Vought’s propaganda mouthpiece has been genuinely painful because it’s painful to watch anyone who might have once had good intentions bury them under a mountain of fascist bullshit. You may even have friends or family members who have done so.

What do they really get out of it in the end? They are simply more wheel meat for the tank, regardless of whether they appear to have any perceived weaknesses. The assholes they worship will never save them because they only care about themselves. Though Ashley may yet find some redemption in this season, Firecracker is too far gone. She died as she lived, desperately trying to hitch her star to a black hole. Getting sucked into oblivion is a fitting end for her. But I don’t think I’ll ever forget that final image of her dead body slumping off the wing of an eagle.

The Boys has certainly never been subtle.

New episodes of The Boys season 5 premiere Wednesdays on Prime Video.

Daredevil: Born Again Season 2 Episode 7 Review – The Hateful Darkness

This article contains spoilers for Daredevil: Born Again season two, episode seven.

No one should ever get close to Matt Murdock. This is the ultimate moral of every Daredevil story. Yes, he’s incredibly charming and incredibly handsome. Yes, he has an unshakable sense of ethics. But Matt Murdock follows those ethics so tightly, he lets his Catholic guilt so stridently drive his motivations that he ends up hurting himself, and brings everyone else down with him.

The penultimate episode of Born Again‘s second season, “The Hateful Darkness,” directed by Iain B. MacDonald and written by Heather Bellson, traces the fallout of being Matt’s friend. Karen Page is in prison, Kirsten McDuffie’s in the legal battle of her life, and Jessica Jones is pulled back into the superhero scene of New York City. “The Hateful Darkness” is mostly set-up for next week’s finale, but as each piece moves into place—or, in the case of poor, departed Daniel Blake—removed from the board entirely, it’s Matt’s crusade that drives them.

To the degree that “The Hateful Darkness” has a discrete arc, it’s Karen dealing with her prison sentence. She’s talked a big game throughout this season, insisting that the resistance needs to take more extreme measures and berating Matt for wanting to spare Bullseye, the man who killed their friend Foggy Nelson. Now, she gets to walk the walk, having been caught at the end of last week’s episode.

Although more three-dimensional than her comic book counterpart, Deborah Ann Woll’s Karen Page has suffered just as much as her four-color predecessor. That steeliness allows her to stand up to the pressure of her sentence, whether it’s staring down Fisk or, in a compelling twist on the classic Daredevil moral, taunting Matt’s ex Heather Glenn with stories of their undying love. Karen has inner strength, to be sure; but she also believes that she and the protesters have finally struck a killing blow against the Fisk administration, and she just needs to wait it out while his entire legal system crumbles.

She’s not the only one who sees things this way. The episode checks in with Mr. Charles, easily the most disappointing element of Born Again’s second season. We here at Den of Geek dearly love Matthew Lillard and would never side with any loudmouth filmmaker who bad mouths him. But there’s no question that he’s been mishandled this season, forced to play a bland and imprecise government operative. With no sense of identity or direction for Mr. Charles, Lillard has to play his standard party guy character, which clashes with the series’ tone.

In addition to some more oblique discussion with Jessica Jones about the actions of her husband Luke Cage, Mr. Charles reveals that the U.S. government no longer considers Wilson Fisk a useful ally. That leads the way for Governor McCaffrey (the also-great Lili Taylor, just as squandered as Lillard) to remove Fisk as mayor. She’s briefly interrupted by a masked man who tries to kill her, who in turn is interrupted by a masked man killing him. It’s Bullseye, having been set free by Matt (remember what we said about him making bad decisions?) and still playing the hero in his own violent way.

Those within the Fisk administration also feel the impending doom, which leads Buck Cashman to finally deal with Daniel Blake. Daniel Blake has been one of the more successful parts of Born Again’s two seasons, showing how a genuinely good kid gets seduced by the promise of power offered by Fisk’s persona. His friendship with BB has been his one remaining tether to decency, but by the time he recovers that good side in this episode, it’s too late. He lets BB go and pays the price, first with a beating and then with a bullet in the head from Buck.

Daniel’s not the only person to take a bullet in “The Hateful Darkness.” Matt also gets tagged, but not in costume. In his latest big, terrible decision, Matt emerges from hiding to stand alongside Kirsten as co-councilor for Karen Page. The reveal of Matt entering the courtroom indulges in legal drama tropes, but it doesn’t do much more than baffle the judges (including one played by Deirdre Lovejoy of The Wire). However, it does lead to an action scene in which Cherry and Angie Kim, who join Brett Mahoney as the good cops apparently unspoiled by the many bad apples, do battle in a parking garage against AVTF vigilantes.

The shot of Matt limping away from the fight leads into the closing scene, in which he enters a church to beg Saint Jude, patron of difficult cases, to pray for “consolation for his tribulations.” As always, Charlie Cox does a great job playing Matt at his most desperate, and the red lighting of the scene, juxtaposed against Daniel’s final moments, adds drama to the closing, especially when Jessica sidles up next to him ready for the fight.

The prayer and montage elevate “The Hateful Darkness” above the standard place-setting chapter. Not by much—there are still too many uninteresting threads (see: Heather Glenn’s visions of Muse, again). But enough that the episode serves as a critique of Matt’s particularly self-defeating brand of heroism, and the many people who get hurt in his pursuit of good works. How many more need to suffer? I guess we’ll find out in the finale next week.

Daredevil: Born Again streams new episodes on Tuesdays at 9pm EST on Disney+.

How Daredevil: Born Again Sneakily Introduced a New Captain America

This article contains spoilers for Daredevil: Born Again season 2 episode 6.

Early in episode six of Daredevil: Born Again‘s second season, we’re confronted with what could have been the most upsetting moment in a brutal season of television. A vehicle full of armed thugs rolls up on a suburban house, and throws a grenade through the window… which gets picked up by an adorable little girl in a fairy princess costume.

What follows is delightful and unexpected. The camera stays on the little girl playing with the object of destruction while the soldiers get pummeled by some unseen force outside. When the carnage ends, we see the source of the pummeling, the little girl’s mother, Jessica Jones (Krysten Ritter). Had we known this was Jessica’s house, we wouldn’t have worried about the little girl—not so much because she’s the daughter of Jessica Jones, but because she is Captain America. Or, well, she will be.

One of the last pages of 2006’s The Pulse #13, written by Brian Michael Bendis and penciled by Michael Gaydos shows the font page of the Daily Globe, with a headline that declares, “Avengers Baby Born.” Much to the chagrin of J. Jonah Jameson, whose own Daily Bugle has a headline about Spider-Man being a menace, it’s a great headline, and not just because the baby’s father is Luke Cage, then leader of Earth’s Mightiest Heroes. It’s because the baby comes into the world surrounded by Avengers, including Iron Man, Captain Marvel (then using the moniker Warbird), and Captain America.

It’s also fitting because that child, Dani Cage, lives a life immersed in superheroes. She gets kidnapped in the Skrulls’ Secret Invasion, she’s threatened by Jessica’s arch-enemy the Purple Man, and she has the unbeatable Squirrel Girl as a nanny. More importantly, Danielle Cage grows up to be Captain America.

In the 2015 event Ultron Forever by Al Ewing and Alan Davis, a team of Avengers from across time are assembled by Doctor Doom to do battle with Ultron, who has supplanted Odin as the new All-Father. In addition to the current-day Black Widow and Vision, the team includes the future Captain America, Danielle Cage. In a later story, Danielle pursues her arch-enemy, the Golden Skull, to the present, where she fights alongside the U.S.Avengers, the weird off-shoot team led by Bobby da Costa a.k.a. Sunspot of the New Mutants.

While Luke Cage was indeed a one-time leader of the Avengers, he’s not often counted among Earth’s Mightiest Heroes, nor is Jessica. And yet, their daughter more than makes up for lost time. Danielle is a true believer in heroic principles, given to declarations such as, “I am the shield!”

Dani’s exuberant embrace of the Captain America legacy represents a break from most futuristic stories. In stories such as Earth X, The Last Avengers Story, or even the recent Avengers: Twilight, Captain America is broken and disillusioned, no longer able to hold onto the dream, overwhelmed by the awful state of the world around him. But when Dani took on the mantle, she did so believing that the world could be a better place… and that she had the power to make it happen.

That perspective makes her debut in Daredevil: Born Again so notable. Viewers first meet Dani at a dark moment in the heroes’ lives, with Wilson Fisk using his position as Mayor of New York City to send his Anti-Vigilante Task Force on the city. So violent are these people that they’re willing to attack a mother at home and throw grenades at little girls.

This world needs something to believe in. As we saw in Born Again, Daredevil and Jessica are trying to rekindle hope. But the greatest hope might be in the future, in a little girl who carries a princess wand today but might tomorrow carry the shield.

Daredevil: Born Again releases new episodes every Tuesday at 9 p.m. ET on Disney+.

Zorro/Django: We Need to Make Antonio Banderas and Jamie Foxx Happen

In one of the most powerful moments of Quentin Tarantino‘s Django Unchained, the title character strides across a plantation to face down Big John Brittle, one of the notorious Brittle Brothers. In a shot-reverse-shot, we watch as Django pulls out his pistol and fires at the disbelieving Big John, killing him. In the type of pulpy action movie kiss off that Tarantino adores, Django sends his adversary off to the afterlife by declaring, “I like the way you die, boy.”

Django, of course, does not die. But he hasn’t exactly lived on either, except on the comic book page. In 2013, DC Comics released an adaptation of the film, followed by a 2015 series from Dynamite Comics that saw Django team up with his pulp hero predecessor Zorro. Now, in a delicious reversal, that comic is leading the way to a new movie, one that might see both Jamie Foxx and, more surprisingly, Antonio Banderas reprise two of their most important roles.

Thus far, Foxx has only played Django once, in the 2012 Tarantino movie, after taking up a role originally offered to Will Smith. Like Inglourious Basterds before it and Once Upon a Time… In Hollywood afterwards, Django Unchained rewrites history via cinematic tropes, using Spaghetti Westerns to imagine Django’s quest for revenge against his enslaver. The film is pure Tarantino, from the good (poetic cinematography applied to grindhouse plots), the bad (Tarantino’s acting as a particularly dumb Aussie), and the deeply uncomfortable (excessive use of racial slurs). Even amid some incredible performances from Samuel L. Jackson, Leonardo DiCaprio, and Christoph Waltz (who took home his second Best Supporting Actor Oscar), Foxx holds the screen as the raging, but undeniably cool, Django.

Banderas has worn the costume of Zorro twice, first in the excellent 1998 actioner The Mask of Zorro and again in its substandard 2005 sequel The Legend of Zorro, both of which were directed by Martin Campbell. The two Zorro films play as legacy films, with Anthony Hopkins portraying Don Diego de la Vega, the original Zorro, and Banderas as Alejandro Murrieta. After spending 20 years in prison, Don Diego escapes upon learning that his daughter Elena (Catherine Zeta-Jones) still lives, and begins training Alejandro as his successor. As Zorro, Alejandro woos Elena and defeats his enemies, delivering justice before Don Diego dies.

Even if The Legend of Zorro disappoints, affection for The Mask of Zorro remains strong, especially the chemistry between Banderas and Zeta-Jones. And perhaps inspired by the impending return of Brendan Fraser and Rachel Weisz, stars of another late ’90s genre fave, The Mummy, many are hoping they’ll be back on screen again.

One would think that Django/Zorro provides the perfect excuse for a reunion. Co-written by Tarantino and Matt Wagner, who wrote the Zorro comic for Dynamite, and illustrated by Esteve Polls, Django/Zorro takes place shortly after the events of Django Unchained, and finds the bounty hunter working alongside Zorro after the Mexican hero hires Django as a bodyguard for his famous alter-ego. The series perfectly blends the two characters and their mythos, resulting in an adventure that’s sometimes dashing and sometimes brutal, all pure pulp pleasure.

There’s only one problem: the Zorro in this story is not Alejandro Murrieta, but rather Don Diego de la Vega, the character played by Hopkins. No, it’s not a big problem, and certainly a writer like Brian Helgeland, who also penned awards-winners LA Confidential and Mystic River, can figure out a way to happen.

Moreover, we’re willing to suspend disbelief a bit if that’s how we get Foxx back with his six-shooters and Banderas back with his whip. After all, these stories are pulp fantasy through and through, the types of stories where the hero gets to say something like, “I like the way you die.”

Welcome to Derry Season 2 Will Explore an It Tale Inspired by a True Story

Derry’s long history of violence and bloodshed will be explored further in the second season of Welcome to Derry, with a particular focus on the Bradley Gang. The gang were referenced in It’s historical interludes, linked to a particularly terrible massacre in the 1930s, but Steven King never really expanded upon the incident in the book.

All that’s about to change, as Welcome to Derry creator Andy Muschietti has told Deadline that season 2 will jump back in time to Pennywise’s Great Depression era exploits.

“We’re now working on it, and it’s so much fun,” Muschietti said. “For the ones of you who read the books, probably the Bradley Gang sounds familiar. The Bradley Gang was a gang of bank robbers that — not accidentally, but they were on their way somewhere and they stopped in Derry to buy some ammo and something horrible happens.”

King based the Bradley Gang on the real-life Brady Gang, a short-lived group of Depression era criminals who were gunned down brutally and publicly by law enforcement in Bangor, Maine, close to the fictional town of Derry. One of the few reasons the Brady Gang are remembered is that their robberies quickly fed fears of lawlessness during the Great Depression. However, King’s spin on the gang has them ambushed and gunned down by Derry’s townsfolk, sparking a new Pennywise feeding cycle.

Though the Bradley Gang will be central to the plot of Welcome to Derry season 2, it will also seek to explore a much bleaker time in Derry’s history that would naturally have been a veritable buffet for everyone’s favorite dancing clown because fear, chaos, and trauma were likely to be in abundance.

“It’s fascinating because the thing that is so much fun in this stage of development is that we’re facing an era which is the Depression era that changes dramatically the setup of things,” Muschietti explained. “There’s no suburban comfort — the trope of the kids that live in suburbia and they ride their bikes and suddenly one of them disappears is nothing like this. This is in 1935. It’s a very dire situation. People are very poor. They’re struggling to survive, so the setup will be very different.”

Spider-Man: How Gwen Stacy’s Death Changed Comics Forever

“Someone close to me is about to die!” shouts Spidey on the cover of 1973’s Amazing Spider-Man #121. Even those who have never cracked open that issue know that the death in question doesn’t come for J. Jonah Jameson, Mary Jane Watson, Aunt May, or any of the other faces adorning that cover. It comes for Gwen Stacy, Peter Parker’s longtime girlfriend.

Someone just as close to Spidey has also died. Writer Gerry Conway has passed away at the age of 73, leaving behind a legacy that includes co-creating the Punisher, Robin Jason Todd, Carol Danvers, and many others, as well as tons of great comics. But Conway’s greatest, and most complicated, contribution to pop culture might be writing “The Night Gwen Stacy Died.”

Spider-Man’s Last Stand

Conway broke into the comics industry in 1968 at the age of 16, initially working on horror and Western comics for DC before moving over to Marvel a few years later. He took over Amazing Spider-Man in 1972, writing the series from issue #111 through #149 in 1972, picking up from Stan Lee. It was there that he would make his greatest contribution to the character, writing the two-part story that saw the death of Peter Parker’s innocent girlfriend.

Revisiting Amazing Spider-Man #121 and 122 today, it’s amazing how modern they feel. The first issue opens with Harry Osborn suffering from LSD poisoning, while Peter suffers from a virus (thanks to an adventure in Canada in previous issues) that leaves him disoriented. Likewise, Norman Osborn had completely forgotten his activities as the Green Goblin… that is, until the sight of his son begging for help causes him to crack, and the Goblin identity comes to the fore, thirsting for vengeance against Peter Parker.

That revenge occurs at the end of issue #121. Goblin, his knowledge of Spidey’s secret identity restored with the rest of his memory, throws Gwen Stacy off the George Washington Bridge (well, penciler Gil Kane drew the Brooklyn Bridge, but the dialogue identifies it as George Washington). In desperation, Spidey shoots a web to catch her, and manages to grab her ankle. But the inertia from the fall is too much, and Gwen’s neck breaks. Issue #122, “The Goblin’s Last Stand” traces the fall-out, in which Spider-Man seeks his own revenge, eventually battling Green Goblin to the death—a death that comes when our hero leaps out of the way of the Goblin Glider and lets it slam into his foe.

These scenes have been recreated time and again, in homages and films and television shows, so much that we might lose sight of the brilliance of the storytelling. From his conception, Spider-Man has been the hero overburdened by great responsibility. Even if some of co-creator Steve Ditko‘s objectivist philosophy turned Peter into an ungenerous possessor of great power, Spider-Man has always felt like his abilities complicated his life instead of turning him into a conquering hero.

From Silver to Bronze to Today

Such inner-conflicts are the calling card of the Marvel Heroes. When Stan Lee combined the melodramatic dialogue he developed while writing teen romance comics with the mythic monsters that Jack Kirby created throughout the 1950s, something special happened. Against the paragons of DC Comics, the Thing, Hulk, and Iron Man were heroes with feet of clay, people for whom having power was not all fantasy.

“The Night Gwen Stacy Died” and “The Goblin’s Last Stand” took it one step further. The story does indeed show how having superpowers has complicated Peter’s personal life, estranging him from best pal Harry even before Gwen’s death. However, the story goes on to suggest that Peter is misusing his power. After all, it’s ultimately him, not the Green Goblin, who kills Gwen. And it is not him who kills the Goblin, who died by his own hand. Moreover, Peter very nearly beats Goblin to death, coming so close to crossing a line that he cannot help but pause and check himself.

By the end of these two issues, Conway and his co-creators have pushed Spider-Man to the brink and stripped away part of his life. It would not be the last time. Throughout the 1990s, Spider-Man, like all of his fellow superheroes, would get grim and gritty. Spidey would be buried alive in “Kraven’s Last Hunt,” turned into an animal-like being in “Torment,” and lose his identity in the Clone Saga, all while dealing with nasty mirror images such as Venom and Carnage. Instead of the bright-colored explorers in the Fantastic Four or the shining Avengers, Spider-Man would rub shoulders with the likes of the Punisher, Wolverine, and Ghost Rider, angry anti-heroes who represented the darker side of superheroism.

To be sure, the deconstructions of the 1980s supercharged this change in tone. There would be no Authority, Ultimates, or Identity Crisis without Watchmen or The Dark Knight Returns. But there would be no Watchmen or The Dark Knight Returns without “The Night Gwen Stacy Died.”

The Second Life of Gwen Stacy

Is that a good thing? In addition to being one of the few superhero characters who actually manages to stay dead—a title she now only shares with Uncle Ben, since Jason Todd, Bucky Barnes, and the Flash Barry Allen have left the grave—Gwen is one of the more famous examples of “fridging.” Based on the murder of Kyle Rayner’s girlfriend in Green Lantern #54 (1994), writer Gail Simone coined the term to describe the trope of killing a female character in order to motivate a male.

Had Gwen’s story ended with Amazing Spider-Man #121, then she would be little more than a famous dead woman. But in recent years, Gwen has been rediscovered and rehabilitated, known to most superhero fans as Spider-Gwen, a plucky hero in her own right (who also carries guilt for failing to save her partner, Peter Parker).

Among the many good things that Spider-Gwen has given us, it also allows us to revisit Amazing Spider-Man #121 and 122 with less of the nasty cultural baggage, and allow us to see it for the incredible piece of writing that it is.

Gerry Conway had an impossible task when assigned to write the worst moment in a superheroes life. He succeeded by telling a story that’s dramatic, tragic, and—despite all the masks and powers involved—is ultimately human.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

20 ’70s Horror Movies That Still Feel Uncomfortable Today

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

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

The Exorcist

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

The Texas Chain Saw Massacre

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

Last House on the Left

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

The Hills Have Eyes

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

Don’t Look Now

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

The Wicker Man

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

Carrie

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

Suspiria

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

Black Christmas

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

The Omen

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

Halloween

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

Dawn of the Dead

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

Donald Sutherland in Invasion of the Body Snatchers

Invasion of the Body Snatchers

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

Phantasm

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

The Amityville Horror

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

The Brood

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

Tourist Trap

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

Let’s Scare Jessica to Death

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

Martin

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

Messiah of Evil

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

The 15 Most Annoying Sitcom Characters of the Last 20 Years

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

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

The Big Bang Theory, Sheldon Cooper

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

How I Met Your Mother, Ted Mosby

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

Brooklyn Nine-Nine, Gina Linetti

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

Modern Family, Manny Delgado

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

Parks and Recreation, Tom Haverford

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

Two and a Half Men, Alan Harper

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

New Girl, Jess Day

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

Silicon Valley, Jian-Yang

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

The Middle, Sue Heck

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

2 Broke Girls, Max Black

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

The Goldbergs, Beverly Goldberg

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

Superstore, Mateo Liwanag

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

Unbreakable Kimmy Schmidt, Titus Andromedon

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

Black-ish, Dre Johnson

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

The Ranch, Colt Bennett

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

15 ’80s Movie Stars Living Their Life On Set

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

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

Nightmare on Elm Street Cast

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

Halloween Without A Mask

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

Jason Catching Up With The News

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

Gambling Gremlins

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

The Beauty And The Fly

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

Texas Chainsaw Gang

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

The Thing’s Artist

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

Han Solo’s Day Out

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

The Cast Of Better Off Dead

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

Getting That Beetle Juice

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

Bare-chested Bruce Campbell

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

Cast Of Tron

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

Marty McBite

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

Cast Of RoboCop

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

The Set Of Honey, I Shrunk the Kids

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

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

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

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

eBaum’s World

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

StumbleUpon

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

Pointer Pointer

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

PopCap Games

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

ThinkGeek

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

Newgrounds

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

Something Awful

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

Miniclip

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

Albino Blacksheep

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

Neopets

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

Homestar Runner

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

Myspace

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

Television Without Pity

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

Hamster Dance

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

Stickdeath

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

Michael Can Inspire a Different Type of Theatrical Experience

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

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

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

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

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

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

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

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

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

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

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

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

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

Michael is now playing in theaters worldwide.

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

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

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

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

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

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

Who Is The Dragon in the Vale?

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

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

The Battle of the Gullet

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

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

As for that consequential character death…

Why Is Rhaenyra Crying?

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

James Norton as Lord Ormund Hightower

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

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

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

Aegon’s Murderous Motivations

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

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

Lord Cregan Stark’s Winter Wolves

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

Alicent Prepared to Flee

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

Skirmish at Harrenhal

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

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

Who Is Giving Birth?

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

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

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

House of the Dragon season 3 premieres Sunday, June 22 at 9 p.m. ET on HBO Max.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Daredevil Reborn, Kinda

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

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

Rebuilding the Defenders

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

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

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

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

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

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

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

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

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

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

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

15 Movies That Were Pulled from Theaters Right After Release

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

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

The Interview

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

The Hunt

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

A Clockwork Orange

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

The Last Temptation of Christ

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

Dogma

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

The Death of Stalin

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

Blue Is the Warmest Color

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

Noah

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

Tom Hanks and Audrey Tautou in The Da Vinci Code

The Da Vinci Code

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

The Kashmir Files

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

The Lady of Heaven

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

The Brown Bunny

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

Crash

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

The Texas Chain Saw Massacre

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

Persepolis

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

The 15 Most “Punchable” Movie Characters of All Time

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

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

The Drama, Rachel

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

One Battle After Another, Colonel Steven J. Lockjaw

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

Whiplash, Terence Fletcher

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

The Mist, Mrs. Carmody

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

The Green Mile, Percy Wetmore

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

Emma Stone and Mark Ruffalo in Poor Things Review

Poor Things, Duncan Wedderburn

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

Eternal Sunshine of the Spotless Mind, Patrick

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

Fargo, Jerry Lundegaard

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

Titanic, Cal Hockley

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

Back to the Future, Biff Tannen

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

The Polar Express, Know-It-All

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

Groundhog Day, Ned Ryerson

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

Aliens, Carter Burke

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

The Matrix, Cypher

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

The Menu, Tyler Ledford

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

15 Unsettling Movie Facts You May Not Have Noticed Before

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

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

The Shining, A Mysterious Studio Fire

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

The Craft, Strange On-Set Occurrences

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

The Cast of Final Destination 5

Final Destination, Inspired by a Real Premonition

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

Get Out, The Silent Party Guests

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

Hereditary, Figures in the Shadows

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

The Truman Show, Everyone Is Watching Him Constantly

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

Zodiac, The Basement Scene Ambiguity

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

Parasite, The Hidden Bunker Reality

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

Midsommar, Faces in the Environment

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

Fight Club, Tyler’s Absence from Reality

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

Children of Men, Normalized Collapse

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

No Country for Old Men, The Missing Climax

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

Ex Machina, Manipulation From the Start

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

The Lobster, Emotional Conditioning

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

The Witch, Subtle Supernatural Confirmation

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

15 Big Plot Holes Nobody Actually Cares About

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

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

Jurassic Park, The Sneaky T-Rex

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

Star Wars: A New Hope, The Death Star Weakness

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

The Dark Knight Rises Bruce Wayne

The Dark Knight Rises, Bruce Wayne’s Return

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

Back to the Future, The Parents Problem

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

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

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

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

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

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

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

The Matrix, Human Batteries

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

Frozen, Elsa’s Powers

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

Inception, Dream Rules Flexibility

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

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

Avengers: Endgame, Time Travel Rules

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

The Lion King, Scar’s Plan

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

Grease, The Flying Car

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

A Quiet Place, Sound Rules

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

Emma Watson in Beauty and the Beast

Beauty and the Beast, Timeline Confusion

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

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

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

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

Zac Efron, Baywatch

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

Matt Damon, Courage Under Fire

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

Dustin Hoffman, Marathon Man

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

Viola Davis, The Help

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

Robert Pattinson, Twilight

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

George Clooney, Syriana

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

Timothée Chalamet, A Rainy Day in New York

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

Sean Connery as James Bond

Sean Connery, James Bond series

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

Brendan Fraser, The Mummy trilogy

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

Adrien Brody in The Pianist

Adrien Brody, The Pianist

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

Leonardo DiCaprio, The Revenant

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

Michael B. Jordan, Black Panther

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

Anne Hathaway, Les Misérables

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

Charlize Theron, Monster

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

Hugh Jackman, Les Misérables

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

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

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

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

Team America: World Police, Puppet On Puppet Action

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

28 Days Later, Johnson Center Stage

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

Jennifer Lawrence in No Hard Feelings

No Hard Feelings, Beach Fight

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

Super Troopers 2 Cast copy

Super Troopers, Farva’s Sugar Bath

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

Bradley Cooper and cast of The Hangover

The Hangover, Mr Chow’s Trunk Exit

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

Sacha Baron Cohen As Borat

Borat, Hotel Wrestling

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

The Cast Of Forgetting Sarah Marshall

Forgetting Sarah Marshall, The Breakup

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

Romeo and Juliet, English Class Surprise

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

Robert Downey Jr and Cillian Murphy in Oppenheimer

The Oppenheimer, Unexpected Relations

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

Swordfish, Explicit Hackers

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

Airplane at 40

Airplane, Risky Jokes

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

Trading Places, Exposing Jamie Lee Curtis

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

Total Recall

Total Recall, Triple Trouble

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

Wild Things, Kevin’s Bacon

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

The Crying Game, Identity Reveal

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