Clayface Brings the Horror Genre to Superhero Movies

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

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

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

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

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

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

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

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

Clayface arrives in theaters on Oct. 23, 2026.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Project Hail Mary Throws Oscars Curveball with Surprise Contender

Pretty much everyone agrees that making Rocky’s voice that of his lead puppeteer, James Ortiz, was absolutely the right decision. Though Project Hail Mary makes a point of trying out different voices for the alien before settling on Ortiz, even Meryl Streep isn’t the right fit for the plucky Eridian, who pulls out all the stops to save the stars alongside Ryan Gosling’s Dr. Ryland Grace in the smash hit sci-fi movie.

But Ortiz’s impact may go much further than his initial performance as everyone’s favorite rock-like alien chum. Variety has revealed that he will be submitted for Best Supporting Actor at next year’s Oscars.

Ortiz still has a potentially bumpy road ahead, despite being eligible for the award. It’s not a sure thing because the Oscars still have to decide to nominate him. If that actually happens, it would be unprecedented territory for the Academy, which has never recognized a puppeteer or voice performer behind a puppet character in its acting categories. Nor has it ever recognized motion capture performers in those categories who voice characters, like Andy Serkis and his iconic Gollum in The Lord of the Rings.

All that might be about to change thanks to Ortiz’s outstanding puppetry and voice performance in Project Hail Mary.

“Typically, we talk about puppetry as a technical achievement, and it is,” Ortiz explained. “It’s a spectacle. For me as a performer, however, that’s never my entry point. I’m interested in the heart of the character — what they’re trying to communicate, what they’re feeling underneath all of it. When we can take a medium like puppetry, which is often seen as decorative, and bring to life a character with a beating heart in a way that genuinely affects people, then we’re doing something truly meaningful.”

If Ortiz is indeed nominated for Best Supporting Actor, fans of this year’s hopeful blockbuster could start to believe that the times, they are a-changin’. The move might also generate early buzz around next year’s Oscars ceremony after ratings for the 98th Academy Awards hit a four-year low in the U.S..

Invincible Season 4: Lee Pace On What Really Motivates Thragg

Through its first three seasons, Prime Video super hero series Invincible put forth an imposing rogues’ gallery for title character Mark Grayson a.k.a. Invincible (Steven Yeun) to contend with. Mark’s antagonists have ranged from weak Z-listers (The Elephant, Doc Seismic), to challenging but manageable apocalyptic threats (the Thraxans, Sequids) to terrifyingly powerful supervillains (Angstrom Levy, Conquest).

What the adaptation of Robert Kirkman, Cory Walker, and Ryan Ottley’s comics has been missing up to this point, however, is a “big bad.” That has all changed in Invincible season 4 with the introduction of Grand Regent Thragg. The new and all-powerful leader of the dying Viltrum Empire, Thragg is the monster at the end of the story. He’s the archnemesis, the final boss, the endgame villain. It’s against him that all other Invincible baddies, minor or major, shall be judged from here on out.

Though the show is already blessed with an impressive roster of voice acting talent, co-showrunners Robert Kirkman and Simon Racioppa knew they had to go above and beyond to find Thragg. Thankfully, they knew just the guy to reach out to.

“I’ve always wanted to work with Lee Pace,” Kirkman told Den of Geek. “I would run into him at events and things and admire him from afar. He just has this quiet power that he exudes with his voice that we thought would be absolutely perfect for that character. So the casting process was basically asking if Lee was available.”

A genre staple since 2007’s Pushing Daisies, the Oklahoma-native Pace has popped off the screen in projects like The Hobbit trilogy the Twilight saga, and Halt and Catch Fire. He’s also become something of a go-to man in the hyper-specific character category of “galactic tyrants,” having played Ronan the Accuser in Guardians of the Galaxy and multiple generations of “Brother Day” Emperor Cleon clones (it’s hard to explain) in Apple TV’s excellent Foundation.

Pace chatted with Den of Geek about why he took the role of Thragg, what drives the zealous leader, and how he differs from his other major sci-fi strongmen.

What was the process of getting this role like? Robert Kirkman mentioned he crossed paths with you during The Walking Dead/Halt and Catch Fire AMC days and thought you’d be great for Thragg.

They called and said “would you do it?” I did some poking around about the show and I saw how cool it was, this thing that they were making. I think Kirkman is not only a really fun person to spend time with but he’s made such an interesting world here and such a cool character with Thragg that I was like yeah let’s do it. This is a fun beast of a character. Let’s jump in.

What do you find most appealing about Thragg? What do you like most about him as a character, if not necessarily a person or alien?

I guess what I found fun about him is not only is he a real badass, he’s insanely durable and violent and that’s a fun thing to play. But he’s desperate. His people that he’s responsible for have been through hell and are almost on the brink of annihilation. And he’s got a lot of fight in him but he’s got a big fight ahead of him.

Obviously with something like this, so much of the story is told visually. We can bring what we can bring to it. I thought what I can bring to it is a sense of character with the voice that can hopefully go on that journey with the audience. They’ve got a relationship to this character. I just wanted to make him fun. Honestly I think the fight in him is a lot of fun. His violent “never say die” attitude. I will kill anyone I need to kill to get the justice I need to see – that’s a fun character to play. That’s got a lot of diesel behind him.

When doing the voice work, did you ever get to see any early animations of Thragg in motion? How does that help inform the performance?

I did a lot of my recording for this season [early] and then we don’t come back until much much later. I see how it came together and do a little bit of cleanup. But I researched the character and came in prepared so I had a sense of what I wanted to play. I also very much put my hands in Kirkman and Simon. I wanted to give them all the options they need to play the character. I’m gonna do it like this, I’m gonna do it like that, I’m gonna try to give you every color you might want to use to work with it.

When you have the other actors you’re playing with, the rhythm, the speed of the scene, the intention of the character – all those things are what you’re working with as an actor. In a situation like this where you’re alone in a booth I thought the best I could do was give them options. But now I’ve seen my voice with the animation and I think, going forward, there is a definite sense that I’ve learned something about it – that I’ve settled into the character.

Having now seen Thragg in action, are you surprised at how still he is? I think maybe that’s why Kirkman thought of you for the role: the ability to express power with little kinetic motion.

One thing we talked about, which I enjoyed seeing expressed in the animation, is that he’s a pretty cool customer. He keeps a lid on it. And he has for a very long time. He’s playing a very long game. When he loses his temper, he really fucking loses it and becomes a sociopathic, rageful beast. Until then he’s very clever, he’s very strong. He understands the power he holds. Because he’s earned it. I think the stillness communicates a lot. The calmness I wanted to bring to these beginning scenes is in line with that. We’ve got a long way to go with the character. I want to pace it. [Editor’s Note: The interview then made a “You want to Lee Pace it?” joke that Mr. Pace politely chuckled at. I am so sorry.]

I don’t always love the “Did X role help inform how you play Y role?” question but I think it’s apt here. Has playing multiple generations and iterations of Cleon on Foundation helped you better understand Thragg or at least give you a toolset to better capture this tyrant?

I can’t say “no” because you never know what’s gone into the machine and become a part of the software. But I guess the way I approach the Cleons is they are very messy humans in a world where you’ve got stuff like incredible intellects, very sophisticated robots, and a fourth dimension; and they’re just these bloody animals who are doing the best they can. They’re holding onto power the best they can and standing in their own way. They’ve got blindspots, they’ve got mistakes that not even they’ve made but their ancestors or previous iterations of themselves have made. I just think about them as increasingly messy.

But Thragg is not a mess. He’s got his shit together and he’s fighting an impossible fight. When we find him there are like 50 Viltrumites left. He still has the ambition to bring them all back. He’s got nothing. He’s playing with no cards in his hand and he still thinks he can win it. That’s who he is. There’s nothing but fight in him. He’s coming to this at the right time. Coming to Mark, coming to Omni-Man at the right time to figure out what his endgame is. And it turns out to be… well, you know, but he comes to it with a lot of fight. He’s ready for this. He’s expecting this.

All eight episodes of Invincible season 4 are available to stream on Prime Video now.

Over Your Dead Body: Jorma Taccone Wants a Remake “With Teeth”

As one-third of the legendary comedy trio The Lonely Island, Jorma Taccone is best known for his originality. Alongside childhood friends and collaborators Andy Samberg (star of Brooklyn Nine-Nine) and Akiva Schaffer (director of The Naked Gun), Taccone has helped introduce the world to novel concepts like SNL Digital Shorts, Grammy-winning comedy rap, and the hot mess that is MacGruber.

Taccone’s career is so wrapped up in originality that, when presented with the opportunity to direct Over Your Dead Body, an adaptation of 2021 Norwegian action comedy The Trip, he hesitated.

’ll be completely honest: I did not want to make a remake,” Taccone tells Den of Geek. “Then I watched the original and I absolutely loved the original. I love [writers Nick Kocher and Brian McElhaney’s] first draft that I read. It was the challenge of it. Can we do all of these tones?”

There are indeed a lot of tones to tackle when it comes to Over Your Dead Body. Jason Segel and Samara Weaving star as Dan and Lisa, an unhappily married couple who abscond to Dan’s father’s cottage upstate, each with secret plans to murder the other. While that premise alone could easily sustain 105 minutes of a dark romantic comedy, the film continues to up the ante in increasingly grim and unexpected ways. A pair of escaped convicts (Keith Jardine, Timothy Olyphant) and their collaborator guard (Juliette Lewis) stumble their way into the plot and before you know it everything and everyone is covered in blood.

“It feels like it’s almost three movies in one,” Taccone says. “It’s sort of a suspense drama, then it becomes more of a home invasion movie, then it becomes an action movie.”

According to the movie’s writers, the duo known as BriTANick, that escalation and diversity of tone was a blessing, not a burden.

“I think what’s so fun about adapting it is that the story structure is excellent,” Nick Kocher says. “It basically remained intact. The way that we’ve been describing it is we got an empty house that we got to decorate. We changed stuff up with the characters, the motivations, and the dialogue. And got to inject our humor into it. It was really fun and easier than having to come up with structure all by yourself.”

“Structure’s the hardest thing to write,” Brian McElhaney adds. “This movie just worked and we just got to take it, make it our own thing and add our comedy to it. It was actually a really great writing process, which isn’t always the case.”

The end result is a movie that Taccone says he is happy he bent his “no remakes” rule to make.

“I’m just so proud to have made a remake that I feel like has teeth. I feel like American remakes don’t always have the teeth of the original. It’s dark, it’s fucked up, and it’s more gory than the original, weirdly enough.”

Over Your Dead Body premiered March 14 at the SXSW Film & TV Festival. It releases in theaters on April 24.

The Top 10 Movies and Shows Streaming Right Now, How Many Do You Know?

Streaming platforms continue to rotate fresh hits into the spotlight, with both returning favorites and newer releases pulling strong viewership over the past month. From reality TV and crime docuseries to anime adaptations and major film releases, the current lineup reflects a wide range of audience tastes.

There are certainly some old timers in here, but quite a few entries here are from new and fresh IPs. Based on recent viewing figures, these are the movies and shows audiences have been watching the most right now. Here’s a look at the top performers and what’s driving their popularity across streaming platforms.

Ripple: Season 1, 2,000,000 views

A serialized drama centered on interconnected lives, Ripple has steadily gained traction through word of mouth. Its first season’s performance suggests growing audience curiosity, positioning it as a developing contender among recent original series.

Beauty in Black: Season 2, 2,300,000 views

Returning with its second season, Beauty in Black continues exploring ambition, relationships, and personal struggles. The increase in viewership indicates sustained interest, likely driven by ongoing character arcs and expanding storylines.

Virgin River: Season 7, 2,400,000 views

A romantic drama about a nurse practitioner who relocates to a small town, Virgin River remains a consistent draw. Its seventh season maintains the show’s steady appeal, reflecting a loyal fanbase that continues to follow its ongoing drama.

Homicide New York: Season 2, 2,600,000 views

This true crime docuseries continues to attract viewers with its second season. Its performance highlights the enduring popularity of true crime-inspired storytelling on streaming platforms.

WWE Raw, 3,000,000 views

The long-running wrestling program remains a reliable performer in weekly streaming metrics. Its March 30 episode drew strong numbers, underscoring the brand’s continued relevance and dedicated fanbase.

Love on the Spectrum: Season 4, 3,400,000 views

This reality series continues resonating with audiences in its fourth season. Its growing viewership reflects ongoing interest in its heartfelt and personal storytelling approach.

One Piece. (L to R) Emily Rudd as Nami, Iñaki Godoy as Monkey D. Luffy, Mackenyu Arata as Roronoa Zoro in season 1 of One Piece.

One Piece: Season 2, 3,500,000 views

Following a successful debut, One Piece returns with strong numbers for its second season. Its continued performance shows the adaptation is maintaining momentum among both new viewers and longtime fans.

The Predator of Seville, 4,700,000 views

This crime-focused limited series has emerged as a notable performer, drawing significant attention. Its centered on a dangerous predator, detailing the investigation and impact of their actions on a community.

Something Very Bad Is Going to Happen: Season 1, 6,900,000 views

One of the biggest breakout shows in this list, its debut season has attracted a substantial audience. It’s a thriller series built around an impending crisis, following characters as tension escalates toward a major, unavoidable event.

XO, Kitty: Season 3, 12,900,000 views

Leading the pack, XO, Kitty continues to dominate with its third season. The teen romantic drama’s massive viewership highlights its strong appeal and sustained popularity within the streaming landscape.

Let Him Go , 3,700,000 views

Moving on to movies, we have a drama that has found renewed life on streaming, drawing solid numbers. Its performance shows how older releases can gain fresh audiences through platform availability.

Despicable Me 4, 3,800,000 views

The latest installment in the franchise continues to attract viewers. This animated comedy continues Gru’s story as he balances family life with new threats, alongside the antics of the Minions.

Madagascar, 4,900,000 views

A familiar animated favorite, Madagascar remains a strong performer years after release. Its continued viewership highlights its lasting appeal among family audiences.

KPop Demon Hunters, 5,100,000 views

This title has gained noticeable traction, drawing a sizable audience. It continues to be the most watched movie of all time on the Netflix platform; we are only considering last month’s viewing numbers here.

Jamie Bell as Duke Shelby in Peaky Blinders

Peaky Blinders: The Immortal Man, 5,900,000 views

Expanding on the popular series, this film has attracted significant attention. It follows Tommy Shelby as he faces new power struggles and lingering consequences of his past.

War Machine, 6,100,000 views

This war-themed film continues to pull viewers on streaming. Its consistent performance reflects ongoing interest in military-focused narratives.

40 Acres, 6,200,000 views

A lesser-known entry that has gained traction, 40 Acres has drawn a solid audience. Its streaming numbers suggest growing visibility among viewers.

The Truth and Tragedy of Moriah Wilson, 6,700,000 views

This true crime documentary has resonated strongly with audiences. Its high viewership reflects continued demand for real-life stories and investigative content.

Untold: The Death & Life of Lamar Odom, 8,400,000 views

Part of the Untold series, this installment has achieved major numbers. It goes over Lamar Odom’s career, personal struggles, and recovery after a near-fatal overdose.

Anaconda, 9,900,000 views

Leading the movie side of the list, this modern reimagining is doing surprisingly well on streaming platforms. It already crushed it at the box office, so it continues to see renewed success.

15 Movies Where the Twist Raises More Questions Than Answers

A great twist is supposed to change how you see everything that came before it. Some, instead of providing clarity, do the exact opposite. There are movies that reveal just enough to shift the narrative, only to leave key details unexplained or open to interpretation.

These are the twists that spark endless debates, theories, and rewatches, due to how they refuse to answer all the questions. Whether it’s ambiguous endings, unreliable realities, or unanswered queries, these films embrace uncertainty. In many cases, that lack of resolution is exactly what makes them so memorable long after their prime.

Inception

The spinning top ending leaves one central question unanswered: is Cobb still dreaming? The film provides clues but no resolution, turning its final moment into one of the most debated conclusions in modern cinema.

Mulholland Drive

Its late-film shift reframes everything as a fractured dream or reality, but never confirms which is which. The twist doesn’t clarify events, it complicates them, making interpretation part of the experience.

The Thing

The final scene leaves viewers unsure whether either survivor is infected. The ambiguity reinforces paranoia, offering no clear answer and ensuring the story’s tension continues even after the credits.

Enemy

The sudden final image reframes the entire film in symbolic terms, leaving viewers questioning identity, control, and reality. Rather than explaining anything, the twist deepens the mystery.

Donnie Darko

Its time-loop resolution answers some plot points but leaves the mechanics and meaning unclear. The twist creates a framework, but not a full explanation of what actually happened.

American Psycho

The ending questions whether the murders were real or imagined. Instead of resolving the mystery, it reinforces ambiguity about Patrick Bateman’s actions and mental state.

The Shining

The final photograph suggests Jack has always been part of the hotel, but offers no explanation. The twist raises more questions about time, identity, and the hotel’s influence.

Black Swan

The reveal of Nina’s injury blurs the line between reality and hallucination. It leaves viewers questioning what actually occurred and whether her transformation was literal or psychological.

The Lighthouse

As the story descends into madness, its final moments offer no clear explanation of what’s real. The twist-like ending embraces ambiguity rather than resolution.

Annihilation

The ending suggests duplication or transformation, but never clarifies what the characters have become. The twist expands the mystery instead of resolving it.

Coherence

The twist introduces multiple overlapping realities, but never fully explains how they function, leaving viewers uncertain about which version of events is “real.”

No Country for Old Men

The film’s ending avoids resolution entirely, shifting focus to reflection rather than answers. Its final monologue raises more questions about fate and justice than it resolves.

Burning

The disappearance at the center of the story is never explained. The final act suggests possibilities without confirming any, leaving the truth deliberately uncertain.

Under the Skin

The ending raises questions about identity and transformation, offering little explanation about the protagonist’s nature or purpose.

Sorry to Bother You

Its late twist radically shifts the film’s reality, but instead of clarifying the narrative, it expands its themes into something even more surreal and open-ended.

20 Interesting Movie Facts That Are More ‘Unsettling’ Than ‘Fun’

Sadly, not every behind-the-scenes story is a fun bit of trivia. Some reveal just how far productions have gone in the name of realism, ambition, or simply getting the shot. Over the years, certain movies have become tied to stories of unsafe conditions, real injuries, or decisions that feel quite questionable.

These aren’t the kind of facts that make a film more enjoyable. If anything, they can make certain scenes harder to watch once you know what actually happened. From risky stunts to troubling production choices, these are the movie facts that stick with you for reasons that are anything but entertaining.

The Exorcist

Multiple injuries occurred during filming, including actors being physically harmed by rigged effects, while a mysterious fire destroyed much of the set. These incidents fueled long-standing claims that the production was “cursed.”

Poltergeist

Real human skeletons were used in a pool scene because they were cheaper than props, something the actors reportedly didn’t know at the time, adding an extra layer of discomfort to an already intense sequence.

Candyman

Tony Todd agreed to be covered in real bees for key scenes, receiving multiple stings in the process. The realism comes at the cost of genuine physical discomfort.

Scream

Ulrich was accidentally stabbed in a sensitive area during filming due to a prop mishap, and his reaction in the scene was genuine pain rather than acting.

The Wizard of Oz

The Tin Man’s original actor suffered severe breathing issues due to aluminum dust makeup, forcing a recasting, while others dealt with toxic materials used for costumes and effects.

Alien

The famous chestburster scene used real animal organs, and the cast’s shocked reactions were genuine, as they weren’t fully informed about how graphic the effect would be.

Blue Velvet

Dennis Hopper stayed deeply in character during filming, creating an uncomfortable atmosphere for cast members due to his intense and unpredictable behavior.

The Passion of the Christ

Jim Caviezel endured extreme physical strain, including dislocated shoulders and being struck during filming, adding a disturbing level of realism to the already intense scenes.

Rosemary’s Baby

The film became associated with real-life tragedy after director Roman Polanski’s wife, Sharon Tate, was murdered shortly after its release, adding a disturbing context to the film’s legacy.

The Omen

Several eerie incidents occurred during production, including lightning striking planes carrying crew members and a fatal animal attack involving a crew member, contributing to its reputation as a “cursed” film.

Deliverance

The river rapids scene was filmed with minimal safety measures, resulting in real injuries, including actor Burt Reynolds being hurt during a stunt that was left in the film.

Saving Private Ryan

Actors underwent intense military-style training before filming, creating a physically and mentally exhausting experience that mirrored the film’s brutal subject matter.

The Passion of Joan of Arc

Lead actress Maria Falconetti reportedly underwent extreme emotional strain during filming, contributing to the film’s powerful but unsettling realism.

Singing in the Rain

Debbie Reynolds pushed herself to exhaustion during filming, reportedly dancing until her feet bled, highlighting the physical toll behind even seemingly joyful productions.

The Conqueror

Filmed near a nuclear test site in Utah, many cast and crew members later developed cancer, including John Wayne. While not definitively proven, the unusually high illness rate has made the production deeply unsettling in retrospect.

Ben-Hur

The chariot race is often rumored to have caused fatalities. While deaths are debated, numerous injuries occurred, and the scale of the stunt work created genuinely dangerous conditions for performers.

Sorcerer

Filming in remote jungle locations exposed cast and crew to dangerous conditions, including disease, extreme weather, and logistical breakdowns, making the production notoriously grueling and hazardous.

The Evil Dead

Bruce Campbell endured real physical punishment during filming, including being struck by debris and rigged equipment, with the low-budget production forcing actors to perform risky scenes themselves.

The Fly

Jeff Goldblum spent hours in heavy prosthetics that were physically taxing and isolating, contributing to the film’s disturbing realism while highlighting the uncomfortable demands placed on actors in effects-heavy roles.

Nosferatu the Vampyre

Real rats were used extensively during filming, creating unsanitary and chaotic conditions, with thousands of animals handled on set in ways that raised concerns about both safety and ethics.

15 of Gaming’s Most Transformational Mechanics

The purpose of a video game is to entertain, and some go above and beyond that task. There are gameplay mechanics that are so innovative, either still or for their time, that they have changed how we perceive the interactive medium today. They pass far beyond enjoyment and become a new way to tell stories.

These mechanics shape entire genres, influence countless developers, and often become the defining feature of the games that introduced them. From combat systems to navigation and storytelling tools, these are the mechanics that left a lasting impact on how games are made and played.

Portal, Portal Gun

The portal mechanic redefined puzzle design by allowing players to create instant pathways through space. Its physics-based interactions forced players to think in entirely new ways, influencing countless puzzle games and proving that a single mechanic could carry an entire experience.

Middle-earth: Shadow of Mordor, Nemesis System

The Nemesis system created dynamic enemies that remember encounters, evolve, and react to player actions. This emergent storytelling system generates unique rivalries, making each player’s experience feel personal and unpredictable rather than scripted. Sadly, as a trademarked system, only Warner Brothers can use it on their games.

Guild Wars 2, Megaserver Structure

Instead of traditional servers, the game uses dynamic map instances that keep areas populated and eliminate login queues. This approach helped redefine MMO structure, reducing downtime and ensuring players always encounter active worlds .

Ghost of Tsushima, Guiding Wind

Replacing the minimap with environmental cues, the guiding wind directs players naturally through the world. This design reduces UI clutter and increases immersion, influencing how modern open-world games approach navigation.

BPM: Bullets Per Minute, Rhythm Shooting

By tying every action to a musical beat, the game merges rhythm mechanics with first-person shooting. This creates a unique gameplay loop where timing becomes as important as aim, pushing genre boundaries in unexpected ways.

It Takes Two, Mandatory Co-op

The game requires two players at all times, building every mechanic around cooperation. This design reinforces collaboration at a structural level, making co-op not optional, but essential to the entire experience.

Resident Evil 4, Over-the-Shoulder Camera

Its over-the-shoulder aiming system transformed third-person shooters, blending precision shooting with immersive perspective. This camera style became a standard across action games for years, influencing countless titles.

Sekiro: Shadows Die Twice, Posture and Parrying

The combat system revolves around breaking enemy posture through precise parries rather than depleting health. This shifts focus from endurance to mastery, redefining melee combat pacing and rewarding aggressive, skill-based play.

Apex Legends, Ping System

The ping system allows players to communicate complex information without voice chat. Its intuitive design improved accessibility and teamwork, quickly becoming a staple in multiplayer games across genres.

Heaven’s Vault, Translation System

Players gradually decipher an ancient language, turning translation into gameplay. This mechanic blends narrative and puzzle-solving, making understanding the story itself an interactive process rather than passive exposition.

Death Stranding, Asynchronous Multiplayer

Players indirectly assist each other through shared structures and resources without direct interaction. This asynchronous cooperation system creates a sense of community in a single-player experience, influencing later online design philosophies.

The Legend of Zelda: Tears of the Kingdom, Ultrahand Building

The building system allows players to construct vehicles and solutions freely, encouraging creativity over predefined solutions. It represents a shift toward systemic design where player ingenuity drives progression.

Lies of P, Weapon Assembly

Weapons can be split and recombined into new forms, allowing players to customize movesets and stats. This modular system adds flexibility to combat, expanding build variety beyond traditional weapon upgrades.

Before Your Eyes, Blink Detection

Using webcam tracking, the game advances the story when players blink. This simple mechanic creates emotional impact by tying narrative progression to involuntary human behavior, making it one of the most unique storytelling tools in gaming.

Dark Souls, Bonfire System

Bonfires serve as checkpoints, healing stations, and risk-reward reset points. This system reshaped difficulty design, influencing countless games with its balance of tension, punishment, and progression.

17 ‘Fluff’ Movies That Were Anything But

The so-called ‘fluff’ movies are easy to dismiss at first glance. Bright posters, familiar genres, and simple premises might make them seem like light entertainment with little else going on. Every so often, though, a film marketed as light or disposable reveals something deeper underneath.

It may be their sharp social commentary, emotional weight, or surprisingly thoughtful themes; the point is that these movies end up sticking with audiences long after they have ended. What looks like fluff often hides meaning in plain sight, rewarding viewers who take a closer look. These are the films that prove you shouldn’t judge a movie solely by its tone, genre, or marketing.

Legally Blonde

Often dismissed as a shallow comedy, the film actually explores sexism and assumptions about intelligence. Elle Woods’ journey highlights how perception shapes opportunity, turning what looks like fluff into a story about self-worth and breaking stereotypes.

Mean Girls

Presented as a teen comedy, it delivers sharp commentary on social hierarchies and peer pressure. Its humor masks a surprisingly accurate portrayal of identity, conformity, and the way people shape themselves to fit in.

Clueless

A glossy teen comedy on the surface, but beneath it lies a coming-of-age story about growth, empathy, and self-awareness. Its light tone hides a character arc that feels more grounded than expected.

The Devil Wears Prada

Marketed as a stylish workplace comedy, it digs into ambition, personal compromise, and the cost of success. The film raises questions about identity and priorities beneath its fashion-driven exterior.

13 Going on 30

What seems like a simple body-swap fantasy becomes a reflection on regret and growing up. Its premise allows it to explore how small choices shape a person’s life over time.

Click

Advertised as a broad comedy, it takes a darker turn by examining missed opportunities and life passing too quickly. The film’s second half shifts into a surprisingly emotional meditation on time and priorities.

Groundhog Day

Built on a comedic time-loop premise, it evolves into a story about self-improvement and meaning. The repetition becomes a tool to explore personal growth and the search for purpose.

The LEGO Movie

A toy-based comedy that evolves into a story about creativity and conformity. Its meta-narrative challenges rigid thinking and celebrates imagination in ways few expected from its premise.

Toy Story 3

Marketed as a family adventure, it deals with aging, abandonment, and letting go. Its emotional core resonates with audiences far beyond its target demographic.

Easy A

A high school comedy that tackles reputation and double standards. Its modern take on classic literature adds depth to what initially appears to be a straightforward teen film.

Crazy, Stupid, Love

What starts as a romantic comedy expands into a layered look at relationships, identity, and personal reinvention. Its interconnected stories give it more emotional weight than expected.

Notting Hill

A classic romantic comedy that also examines fame and privacy. It explores the imbalance between ordinary life and celebrity in a way that adds depth to its central relationship.

Guardians of the Galaxy Vol. 3

Despite its comedic tone, the film deals with trauma, loss, and found family. Its emotional focus gives weight to a franchise often seen as purely entertaining.

Starship Troopers

Initially viewed as a straightforward sci-fi action film, it is actually a satire of militarism and propaganda, critiquing authoritarian ideology beneath its explosive surface.

School of Rock

A light comedy that becomes a story about mentorship and self-expression. Its message about creativity and confidence resonates beyond its simple premise.

Enchanted

A fairy tale parody that explores the clash between fantasy and reality. It reflects on expectations shaped by stories and how they translate to real life.

A Goofy Movie

A simple animated adventure that becomes a story about parent-child relationships. Its emotional core has resonated strongly with audiences over time.

The 15 ‘Coolest’ Movie Stars Since the 1950s

“Cool” is one of those qualities that’s hard to define, but we recognize it instantly. It’s about presence, and the ability to command a scene. Since the 1950s, certain movie stars have embodied that effortless charisma, shaping how audiences think about aura.

Some did it through quiet intensity, others through charm or unpredictability, but all of them made it look natural. Across decades and genres, these actors became the reason people watched, paid their tickets, and became franchise fans. While there are quite a few more actors that could be added, these are our personal picks.

Marlon Brando

One of the earliest modern movie icons, Brando redefined on-screen cool with a mix of rebellion and naturalistic acting. His performances, especially early in his career, introduced a raw, effortless charisma that influenced generations of actors.

Bette Davis

Davis brought a sharp, commanding presence to every role, often portraying complex, uncompromising characters. Her performances showed confidence and intensity, proving that charisma didn’t need to be understated to be effective.

Sidney Poitier

Poitier’s calm authority and elegance made him one of the most respected figures in Hollywood. His performances carried a quiet confidence that stood out, helping redefine what a leading-man looked like.

Janet Leigh

Leigh balanced classic Hollywood charm with moments of vulnerability, most famously in Psycho. Her ability to shift between warmth and tension gave her a distinctive presence.

Jack Nicholson

Nicholson’s unpredictable energy and unmistakable presence made him one of Hollywood’s most magnetic stars. Whether playing charm or menace, he brought a sense of control that defined his version of cool.

Kurt Russell

Russell built a reputation on rugged, laid-back roles that felt effortless. From action heroes to antiheroes, his relaxed delivery and confidence made him a consistent presence across multiple decades.

Faye Dunaway

Dunaway’s performances combined glamour with intensity, particularly in the 1970s. Her ability to dominate the screen with both style and emotional weight made her one of the era’s defining personalities.

Sigourney Weaver

Weaver brought a different kind of cool to Hollywood, grounded in strength and intelligence. Her role as Ripley helped redefine action heroes, proving that composure under pressure could be just as compelling as bravado.

Harrison Ford

Ford’s appeal lies in his grounded, no-nonsense approach to characters. Whether as Han Solo or Indiana Jones, his dry humor and quiet confidence made him one of cinema’s most enduring stars.

Diane Keaton

Keaton’s charm comes from her individuality and unconventional style. Her performances often feel natural and unscripted, giving her a kind allure that stands apart from more traditional Hollywood personas.

Tom Hanks

Hanks is rarely thought of as cool, yet he has a reputation built on reliability and authenticity. His ability to move between genres while remaining relatable has made him one of the most consistently admired actors in Hollywood.

Meryl Streep

Streep’s charisma comes from her mastery of the craft. Her versatility and control allow her to disappear into roles while maintaining a strong presence, making her one of the most respected actors of her generation.

Brad Pitt

Pitt combines classic movie star looks with a self-aware approach to his roles. His effortless screen presence and adaptability have made him one of the defining “cool” actors of the modern era.

Robert Pattinson

Pattinson has reshaped his image through unconventional roles, trading blockbuster fame for indie credibility. His willingness to take risks has given him a modern, understated kind of cool.

Jennifer Lawrence

Lawrence’s appeal comes from her mix of charisma and relatability. Her natural delivery and off-screen personality translate into performances that feel grounded, giving her a contemporary, approachable version of a movie star.

The Boys Season 5 Episode 4 Review: As The Worm Turns

This review contains spoilers for The Boys season 5 episode 4.

I understand what the writers behind The Boys are trying to tell us. It’s tough to create a satisfying final season of a popular show. Using TV writer The Worm as an occasionally amusing self-insert, we’re told it’s not easy to wrap up years of storytelling or to service multiple character arcs while weaving in crossovers. But I gotta be real about this episode: it’s kind of a soapy drag and, not for nothing, as a Lost finale enjoyer, they’re preaching to a much more easily pleased reviewer than their fictional AV Club guy here.

As Homelander takes further steps toward becoming America’s new god, he provokes shaky smiles from the bootlickers around him. The way Firecracker’s face falls when she discovers his new mission is incredible. Choosing her to spread his word, she sells out the last remaining vestige of her soul. If she’s ever heard a warning from history, she forgot it.

Hughie then tells us what’s happening in the show, in case we’re also prone to forgetting or looking at our phones. “Homelander has Stan Edgar,” he reminds us. “If we get the V1 first, we save Annie, we save Kimiko, we save Butcher. If Homelander gets it, he’s immortal, the virus is useless, and we’re fucked sideways, so who wants to go to [place] where [plot device] is?” Thanks for the update, Hughie. Everyone in this room is now dumber for having listened to it. I award you no points, and may God have mercy on your soul.

For what it’s worth, Soldier Boy seems a little rattled about anyone trying to hunt potential doses of V1 at Fort Harmony, and we get to find out why when he confronts his difficult past during this episode. Jensen Ackles has been an entirely worthy addition to this season, despite being yet another spinoff for the writers to entwine, adding his reliably charming presence but also his ability to show cogs turning without talking, which is good because a big chunk of Soldier Boy’s standard “I haven’t done X since Y!” dialogue would usually lead straight into a Peter Griffin flashback on Family Guy.

Fort Harmony, and a familiar mind-altering trope, is indeed where most of the gang head this episode. Whether it’s the darkness inside being amplified by a location like the Overlook Hotel in The Shining or a vengeful spirit turning brothers Sam and Dean Winchester against each other at an abandoned hospital in Eric Kripke’s other iconic TV show, Supernatural, we’ve seen this kinda thing before and know what will happen: our crew will grow meaner and more out of character until someone points it out and a solution is found, and that will happen just in the nick of time before they beat each other to death.

Speaking of being beaten to death, Ryan’s fine, by the way. If you’re a fan of his exciting adventures of hiding, trying to bond with people, or running away, congratulations. If you’re more inclined to think the show hasn’t really known what to do with the OP kid since he accidentally took out Becca, this news might be less well received. There’s a bit of the usual back and forth between him and Butcher before he fucks off again, sure to reemerge at some point in the future lest Butcher have no ties to Becca left to lose.

There’s a lot more tension and peril in Annie’s visit to her estranged father and his new family. These are compelling conversations for her to have with people in the field who are being told she’s the enemy, especially as she wrestles with whether it’s worth keeping her heart open. “People we love aren’t our weakness,” her father says. “They’re the reason we fight.” It hits harder than anything Hughie has said to her this season, and it worked on me as well.

The juice of Annie reconnecting with her dad is worth the squeeze, since the Homelander plot is spinning its wheels in the background. Annie has been feeling so hopeless and unsure this season, but she fights on with love in her heart. It’s at least vaguely meaningful, and the writers refrain from adding too many dismissive lines to undermine it, which is a nice change of pace.

Still, no one got hold of that pesky V1 in this episode. Maybe they’ll find it in the next. It would be cool if they got somewhere instead of fighting among themselves, but what else can they do when there are still a handful of episodes left until the final showdown? Just ask The Worm.

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

Daredevil: Born Again Season 2 Episode 6 Review – Requiem

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

Every Daredevil story has the same fundamental moral. It doesn’t matter if we’re talking Charlie Cox or Ben Affleck, a goofy Silver Age story or a gritty Frank Miller tale. The lesson of every Daredevil tale is just that no one should ever, ever get involved with Matt Murdock. Yes, Matt’s charming and passionate and committed to doing the right thing. But he will always make the worst decision at the most inopportune time, and though he me be wracked with guilt as he does it, he’ll do it all the way.

Although the title “Requiem” suggests that we’re still in a period of mourning for Vanessa Fisk, much of the latest Daredevil: Born Again episode deals with people making destructive decisions. Mr. Charles makes his move, Daniel confronts BB, Powell kills a subordinate, and Heather tries to strangle Buck. And yet, none of these actions are as explosive as Matt’s attempt to forge a truce with Wilson.

Written by Devon Kliger & Jesse Wigutow and directed by Angela Barnes, “Requiem” picks up right after the previous episode “The Grand Design” with Vanessa’s doctor delivering news of her demise and then picking the worst possible time to hug it out with Wilson (you may have read about this scene earlier… sorry about that).

With Fisk overcome by grief, everyone else springs into action. Realizing that his deal with the Mayor has gone sour, Mr. Charles reaches out to the Governor, to make some new shady and indistinct deal, while the Governor, in turn, sets up Sheila Rivera to replace Fisk. Buck Cashman goes on the offensive, first forcing Daniel to confront BB over her City Without Fear reports, and then playing a choking game with Heather that sparks new visions of Muse. Soledad Ayala, Angela del Toro, and other insurgents launch a massive anti-Fisk stunt, which gives Powell the excuse he’s needed to openly strike back—after killing off Saunders, the resistance’s man inside the AVTF.

As has been the case all season long, the quality of these plot points vary. It’s nice to see Cashman be a little more openly malevolent, and the English charm does set him apart from his predecessor Wesley, but the script asks him to be subtle while also explaining in painful detail the mole test he wants Daniel to perform. His interplay with Heather is interesting, despite the painfully slow and obvious way she’s descending into madness. Worst of all is Mr. Charles, who did a whole lot of nothing with Fisk and now seems to be setting up some quasi-Thunderbolts that apparently ensnared Luke Cage. We love Matthew Lillard, but he seems to be involved in that old Marvel sin of promising something exciting next time, but delivering nothing exciting now.

Irritating as these elements are, “Requiem” does deliver some exciting stuff in the here and now. Obviously, we finally get Jessica Jones, back for the first time in the MCU proper. Marvel’s been teasing her arrival for months now, and letting her beat up AVTF cops while caring for her daughter is a fitting introduction. And Krysten Ritter hasn’t lost a step, playing Jessica with that spot-on blend of snark and vulnerability. Yet, it still feels a bit rote when she strolls up to Matt on a rooftop so they can do an action sequence together. The fight choreography remains effective, and we love watching superheroes beat up militarized police, but Fisk’s arms deal with Mr. Charles has never been compelling, so the stakes feel non-existent.

The better fight sequence comes at the end, the long-awaited throw-down between Daredevil and Fisk. As the series reminded us again and again, Fisk poses a formidable physical threat, even more so now that all of the mayoral pretense has fallen away, freeing him to be the Kingpin once again. We believe that he truly wants to batter Daredevil, in a way that hasn’t been completely true in the Disney series or the Netflix predecessor.

All of which makes Matt’s gambit all the more interesting. When Daredevil arrives in Fisk’s office, he comes not to fight, but to sue for peace. Further, he makes his appeal by trying to level with Fisk, trying to get his old enemy to see how much they’ve lost. Matt’s right, of course. The clashes between the two men have cost them both dearly, and have spread the madness to those around them. But this is the worst possible time for Matt to make that appeal, after Fisk has hurt so many people and has the ability to harm even more.

Matt’s attempt to redeem Fisk only proves the point that Karen has tried to make throughout season two. Disappointing as it is to see Karen reduced to the woman who complains about the male main character is doing, at least we understand her frustration. Bullseye has proven that he’s an unrepentant murder machine, who has tried to kill Karen, did kill Foggy, and exacerbated problems by killing Vanessa. So what does Matt do? Not only does he not turn him over to the authorities, he brings him to the secret hideout, he cares for him, and he chides Karen for wanting him dead.

Karen has every right to be furious with Matt. And though the episode ends with Powell capturing Karen (turns out, a wig wasn’t the full proof disguise that she hoped it would be), that’s Matt’s fault too, since he’s inside the Mayor’s office trying to appeal to Fisk’s better angels instead of protecting the protestors outside. Once again, Matt’s making the worst possible decision.

In that way, “Requiem” is classic Daredevil, even if it’s an uneven episode of TV.

Daredevil: Born Again releases new episodes every Tuesday at 9pm on Disney+.

Evil Dead Burn Takes the Franchise Back to its Roots

One day in 1979, childhood friends Bruce Campbell and Sam Raimi went to a cabin in rustic Northern Michigan to shoot a horror short. That 32-minute movie, Within the Woods, became the duo’s calling card, earning them enough funding from local business people to shoot a full length film called The Evil Dead, launching a franchise that continues to this day. Most recently, 2023’s Evil Dead Rise moved the Book of the Dead to a big city high rise, far from the franchise’s rustic home.

However, the first trailer for Evil Dead Burn makes it abundantly clear that this time, the chaos will happen in a small, secluded space. Outside of a couple of establishing shots of a large, empty house, the rest of the trailer is an unbroken shot of a woman named Alice (Souheila Yacoub) crawling away from the chaos around her. In addition to people growling and bodies thrown all about, we even get some environmental scares, as when a clock comes crashing to the floor.

According to an official synopsis released with the trailer, Evil Dead Burn follows Alice as she visits the home of her in-laws, only to find that they’ve been transformed into Deadites. Neither the synopsis nor the trailer gives us any indication of who was dumb enough to read from the Necronomicon Ex-Mortis to unleash the unholy forces, but given the recent popularity of toxic relationship films like The Drama, we’re guessing its Alice’s husband.

Evil Dead Burn comes from Sébastien Vaniček, the French filmmaker whose 2023 debut Infested managed to combine social commentary with skin-crawling visuals. The latter is a prerequisite for an Evil Dead movie, especially since the 2013 Fede Álvarez reboot Evil Dead stripped all the humor out of the franchise and replaced it with grueling gore. However, the former could be a welcome addition to a movie about Hellish monsters trying to swallow souls, depending on what Vaniček and co-writer Florent Bernard have in mind.

Whatever their intentions, the trailer for Evil Dead Burn feels like a return to first principles. The Evil Dead franchise was built on the promise of chaos within a confined space, usually a cabin where Ash has to battle the Deadites alone. Álvarez and Lee Cronin, who made Evil Dead Rise before taking on the Mummy, have put different spins on that premise, but they don’t always make use of the space in the same way that Raimi did. When Ash starts to lose his mind in Evil Dead II, it’s not just because he’s being attacked by demons; it’s also because the cabin itself is going mad.

So when we see parts of the house fall apart in the Evil Dead Burn trailer, we can’t help but hope that Vaniček is going to make the house itself part of the terror, just like the original movies did. But, even if that’s not the plan, the trailer makes it clear that Evil Dead Burn will continue the work that Raimi and Campbell started all those years ago by filming bad things happening in a spooky house.

Evil Dead Burn arrives in theaters on July 24, 2026.

Michael Review: A Sainted and Sanitized Michael Jackson

The modern musical biopic is less biography and more hagiography, usually with a great soundtrack. Bohemian Rhapsody, Elvis, and Walk the Line have no interest in telling the real story of the people who made the songs we love. Instead they exist to let the audience sing along with pop hits, to reward those who know little bits of trivia, and to ensure fans that everyone involved are very good people indeed.

On those terms, Michael is very much a by-the-numbers modern musical biopic. It whisks the viewer from year to year, pausing to recreate iconic moments (e.g., debuting the moonwalk at the Motown Records 25th Anniversary concert), and playing wall-to-wall hit songs. But in an effort to completely avoid the sexual abuse allegations and general oddness that marked the artist’s later life, Michael doesn’t just soften the edges of the subject; it completely transfigures Michael Jackson, framing him as a cosmic force for good, loved by everyone except his diabolical father, Joseph.

Completely inured to Walk Hard‘s critiques, Michael indeed begins with MJ thinking about his entire life before he plays, waiting to go onstage to promote the release of 1987’s Bad and thinking back to his childhood in Gary, Indiana. There we’re treated to the family dynamics that will play out again and again in the film. Young Michael (played as a child by Juliano Valdi) loves to perform with his brothers, but they can never please their domineering father Joseph (Colman Domingo). Long-suffering mother Katherine (Nia Long) tries to balance dad, but Joseph demands nothing short of perfection while stifling any of Michael’s criticisms by beating him with a belt.

Twenty minutes in, Michael has grown to adulthood (now played by Jaafar Jackson, real-life son of Jermaine and nephew to Michael), but longs for his lost childhood. He continuously acquires new animals for his menagerie, collects Disney memorabilia, and enjoys late-night ice creams with his mother. Most of all, Michael wants to express himself, to make the music that matters to him, a desire threatened by his controlling father.

In the broadest of strokes, director Antoine Fuqua and screenwriter John Logan show no interest in breaking the standard musical biopic tropes, even when they stretch believability. So when Michael turns on the television immediately after saying that he wishes his music could make a difference in the world, you know that he’s going to see something about street gang violence. Fuqua cuts from grainy news footage of Crips and Bloods swearing undying hatred back to Michael, looking on with endless compassion. In the very next scene, he’s assembled actual gang members to watch him practice “Beat It.”

In contrast to the barbarity shown on the news, the Crips and Bloods barely seem annoyed with one another in Michael’s soundstage. Nor do they poke any fun at the professional dancers cosplaying as street toughs who come to do choreography with MJ. Instead reaction shots reveal them looking on with awe and delight. Such is the power of Michael.

Or so we assume, as the gang members never appear again in the film, having done their duty in proving the star’s incredible goodness. Such is the case with all of the normal people not fit to touch the hem of Michael’s glove. Throughout the movie, Michael will stop to give autographs to children or visit victims in the hospital. But outside of one or two minute-long conversations, the adoring public exists to do nothing more than that: adore.

Astonishingly, Michael almost pulls it off. Not because of anything Fuqua does with the camera. While he does sometimes interject notes of style, such as giving the arrival of Bubbles the Monkey a full superhero-style reveal, or cutting from Joseph Jackson signing a promotional deal with Pepsi to Michael watching Charlie Chaplin struggle with a conveyor belt in Modern Times. Mostly though, he plays things straight.

Still, the film almost works because of the central performances. Jaafar Jackson has an incredible smile and he knows how to use it on camera. He embodies both the gentle warmth of this movie’s Michael and can do the jaw-dropping dance moves of the real-life performer. The film doesn’t give him much interiority—even the brief acknowledgment of Michael’s predilection for plastic surgery is immediately externalized to be an extension of his father’s demands, with papa repeatedly calling his son “big nose.” But Jaafar delivers as a singing and dancing saint.

Even better is Domingo, in an utterly over-the-top performance as Joseph. Bringing even less subtlety than he does playing a literal cartoon supervillain in Your Friendly Neighborhood Spider-Man, Domingo seems to channel Al Pacino as Big Boy Caprice in Dick Tracy, and not just because of his wig and prosthetics. Domingo is all feral energy as Joseph, prowling around the Jackson home, staring down his family and letting his mouth dangle open, ready to devour his sons. Even before he meets in a lacquered office with promotor Don King (Deon Cole) to share cigars and cackle over their big business plans, Joseph is evil incarnate, and Domingo embraces the role without embarrassment.

With stakes so over-the-top and morality so (forgive me) black or white, Michael almost works as a sweet children’s story. But because it’s a musical biopic, Michael has to ask the audience to remember certain things. We don’t get to hear all of “I Want You Back,” so we have to remember how neat it was to watch young Michael belt out those notes. We don’t get to see all of the “Thriller” music video, so we have to recall how the short film plays out.

And yet, it unequivocally and desperately wants the audience to avoid remembering other things. We cannot remember MJ’s actual suffering, we cannot remember the inherent sadness and creepiness of his public persona past the early ’90s, and we absolutely must not remember the allegations that he also abused children.

Instead Michael insists that we remember only the beautiful art that MJ was good enough to extend to us and to believe that, if anything at all was bad in the world of Michael Jackson, it was all the fault of Joseph. Such sins are hardly unique among musical biopics and, even more than the average biopic, the music here is incredible. But Michael‘s deification of its subject makes it hard to enjoy the film as anything other than a work of devotional art or camp of the highest level.

Michael opens in theaters on April 24, 2026.

Oscar Isaac Sheds New Light on Star Wars’ Most Controversial Line

As Resistance fighter Poe Dameron, Oscar Isaac had the unenviable job of delivering the line “Somehow, Palpatine returned” in Star Wars: The Rise of Skywalker—a desperate handwave so J.J. Abrams’ sequel trilogy-capper could have a familiar villain quickly added to the story. In the years since the movie’s release, it’s become shorthand for lazy plot contrivances, memed and mocked into oblivion. The fact that it followed an opening crawl that referenced a Fortnite event made it even worse.

In a recent episode of the Happy Sad Confused podcast, Isaac reflected on delivering the line and revealed that it was written later, during the film’s reshoots.

“We had to do reshoots… those were like those surgical strikes where you come in and [everyone] is scrambling trying to get going… I think that had been a new addition at the end,” he said. “There was a lot of movement and flux throughout that whole thing.”

Isaac said he had no idea that “Somehow, Palpatine returned” would have the cultural impact it did, adding, “Had you asked me if at that moment I thought that was going to be the line, I wouldn’t have known. But hey man, I committed to the exasperation, that’s for sure.”

He’s clearly a good sport about it, but it can’t be much fun to know that you’ve become the face of not just modern Star Wars nonsense, but every cultural moment where the public reacts with groans upon seeing a public figure or talking point come back from obscurity.

Over on X, the responses to the news that the infamous line was added in reshoots were swift.

“The fact that they added the most memed line in modern Star Wars DURING RESHOOTS means someone at Disney looked at the script and said, ‘You know what this needs? A line that will haunt Oscar Isaac for the rest of his press tours,'” posted one person, while another chimed in with, “You could literally see the soul leaving his body while he said it. He knew the script was cooked.”

Luckily, Isaac’s career hasn’t seemed to be affected since portraying Poe Dameron. He’s gone on to star in Dune: Part One, Scenes from a Marriage, Frankenstein, and the second season of Beef on Netflix, among other things.

Dario Russo’s The Fox Turns Talking Animals Into a Dark Relationship Fable

Dario Russo takes talking animals very seriously. That’s why in The Fox, Russo’s first feature film, the woodland creatures’ ability to speak is treated as the most ordinary part of the movie. Russo’s particular vision for the magical realism comedy that had its world premiere at South by Southwest 2026 was to present a cautionary tale about what happens when you think you can change someone instead of working on yourself.

Russo previously worked in television, directing the popular internet series Italian Spiderman as well as an action series for SBS One Danger 5. He describes The Fox as autobiographical and personal in a sense, taking on nearly every role in its creation, writing, directing, editing, and scoring the film himself. He jokes that the story is one Australians are all too familiar with.

“I’ve encountered talking foxes in my life, and unfortunately, I’ve listened to them,” Russo says. “My life has gone off the rails as a result. So, it’s a cautionary tale for people in Australia who get into this sort of predicament quite a bit, and I think it’s about time we talk about it publicly.”

The Fox follows Nick (Jai Courtney) as he proposes to his girlfriend, Kori (Emily Browning), later finding out she’s having an affair with her boss, Derek (Damon Herriman). While hunting, Nick meets a talking fox (Olivia Colman), who promises to transform his cheating fiancée into the perfect woman; one that is ready for marriage. That same fox manipulates Derek’s wife, Diana (Claudia Doumit), promising to make her cheating husband in love with her once again.

At SXSW, Russo, Browning, and Doumit stopped by the Den of Geek studio to talk about the behind-the-scenes of the film, their animal instincts, and the Olivia-Colman-of-it-all.

Russo shares that the fox animatronics used in the film were modeled after a real native British Red Fox named Flo at the British Wildlife Centre. For each animatronic, two puppeteers controlled the fox’s eyes, one moved its head, and one governed the movement of the animal’s body with a “rod up the bum,” as the Australian director says.

“I wanted them to feel like taxidermy come to life in the sense that they’re just based as closely on the real animals as possible,” Russo says.

The puppeteers’ movements were modeled after Colman’s distinct voiceover. Russo didn’t want to include a stand-in-voice for the purpose of production and knew the importance of having the actors and puppeteers play off of Colman’s authentic performance.

“I had that early recording, and I would listen to it on my walks like a podcast,” Browning says. “Listening to Olivia Colman, and it was like she wasn’t even trying. It was perfect.”

Doumit’s character, Diana, who she says “needs therapy, but will never listen,” uses extreme measures to fix her marriage. Doumit likes to model her character’s erratic behavior after a distinct animal.

“I tried to work in animal attributes,” Claudia says. “I like to think of my character, Diana, as a magpie… She’s in your business, she’s very gossipy, and territorial. Don’t mess with her things.”

Similarly, Russo says he likes to direct under the guise of a ferret. “Scuttling around, looking for snacks, constantly being found in places you don’t expect on set,” he says.

Having previously worked on surrealist comedy projects, Russo was mindful of how he wanted humor to be used in the film. In his view, allowing characters to react ridiculously to problems with the utmost sincerity is what makes a good dark comedy.

“The comedy should be coming from the character’s actual behavior because this character is doing absolutely ridiculous things that you find amusing,” Russo says. “It’s the fact that Diana believes so firmly in these ridiculous solutions that she’s come up with throughout the story that makes her funny.”

The cast members and director also agree that filming in Adelaide, Australia, with a mostly Australian cast made the dry humor shine through even more.

“We are ridiculous people,” Russo says. “I think in general, when the Australian accent tries to be serious, it can get really bad.”

Browning adds, “I feel like I’m able to be funnier when I can be Australian.”

Humor aside, the film’s heavier themes of infidelity, denial, and fear are still presented with the same darkness and weight they carry in real life. The central conflict emerges when Colman’s ill-intentioned fox influences characters into pushing others down a mystical hole in the woods. It’s a symbol Russo himself admits he doesn’t fully understand, even now.

“I haven’t had enough therapy to truly understand what it means for myself, to be honest,” Russo says. “But there’s something about this sort of chasm, the point of no return, and pushing somebody into the unknown of the earth and having something else come out that’s kind of terrifying.”

The Fox premiered October 19, 2025 at the Adelaide Film Festival and screened again at the 2026 SXSW Film & TV Festival. It does not yet have a wide theatrical release date.

15 Video Game Endings That Made Players Regret the Journey

Good games are shaped by both their beginnings and their endings, but a good premise doesn’t always end at the same height. Be it due to rushed development, cut corners, or just a vision that does not align to that of the general audiences, some game endings make it feel like the entire journey was pointless.

Of course, that isn’t the case for everyone, but these titles in particular left a sour taste in the minds of plenty of players. While the most frequent offenders are the games that claim ‘player choice matters,’ a badly done bossfight or final section can be just as regretful.

Life is Strange

A choice-driven narrative that ultimately boils down to two endings that ignore most prior decisions, making players feel like their choices never mattered and leaving both outcomes emotionally punishing.

Mass Effect 3

After three games of decision-making, the original ending reduced everything to a few similar choices, sparking massive backlash and forcing developers to release an extended cut to address complaints.

Fable II

The game builds up player choices and wealth as meaningful, only to end with a brief, underwhelming resolution that feels disconnected from everything the player spent hours building.

The Last of Us Part II

A deeply divisive ending that leaves players emotionally drained, with many feeling the journey’s violence and sacrifice ultimately lead to a bleak and unsatisfying resolution.

Far Cry 5

After hours of fighting to stop a cult, the ending either results in nuclear devastation or reinforces the villain’s ideology, making the entire struggle feel futile.

Heavy Rain

Despite being built on player decisions, plot holes and inconsistent character motivations in the ending left many players feeling their choices didn’t fully align with the outcome.

Halo 2

The abrupt cliffhanger ending cuts off just as the story reaches its peak, leaving players frustrated after investing heavily in the narrative.

Metal Gear Solid V: The Phantom Pain

An unfinished narrative and missing final chapter make the ending feel incomplete, leaving major storylines unresolved due to the game’s troubled development.

Assassin’s Creed III

The modern-day storyline concludes abruptly, while the historical narrative feels rushed, leaving many players dissatisfied with how both arcs wrap up.

Borderlands

The Vault’s reveal and final payoff feel minimal compared to the buildup, leaving players disappointed after a long journey toward what seemed like a major reward.

Silent Hill: Homecoming

The endings vary, but many feel disconnected from player actions, with some outcomes seeming arbitrary rather than earned.

Dead Space 3

A controversial ending that leans heavily into action and sequel setup, leaving players frustrated with the lack of resolution.

Deus Ex: Human Revolution

Despite offering multiple endings, they are presented in a similar format that minimizes the impact of player choices, making the conclusion feel less meaningful.

Rage

The game ends abruptly after the final mission, offering almost no narrative resolution and leaving players confused about whether they missed something.

Firewatch

A deliberately grounded ending that subverts expectations, leaving some players disappointed by the lack of a dramatic payoff after building tension throughout the game.

20 Times People Were Injured, or Worse, On Movie Sets

Movies might look effortless on screen, even if we know that filmmaking can be physically demanding, and sometimes dangerously unpredictable. Stunts, special effects, and challenging environments all carry real risks, even with safety measures in place.

Over the years, there have been numerous incidents where actors, stunt performers, and crew members were seriously injured, and in some cases, tragically lost their lives. These moments serve as stark reminders of how much can go wrong during production. From high-profile accidents to lesser-known tragedies, these are the times when the illusion of movie-making gave way to very real consequences.

The Crow (1994)

Brandon Lee was fatally wounded when a prop gun fired a projectile left lodged in the barrel. The tragedy became one of the most infamous on-set accidents in film history.

Rust

Cinematographer Halyna Hutchins was killed and director Joel Souza injured when a prop gun discharged during filming, sparking major industry-wide discussions about firearm safety on sets.

Twilight Zone: The Movie

Actor Vic Morrow and two child actors were killed when a helicopter crashed during a stunt sequence, leading to legal battles and lasting changes in safety regulations for film productions.

Deadpool 2

Stunt performer Joi “SJ” Harris died during a motorcycle stunt that went wrong, marking a rare fatal accident on a modern superhero film set.

Resident Evil: The Final Chapter

Stuntwoman Olivia Jackson suffered severe injuries, including the loss of an arm, after a motorcycle stunt malfunctioned during filming.

The Expendables 2

A stuntman was killed and another seriously injured during a boat explosion sequence that went wrong on set.

Daniel Radcliffe and Emma Watson in Harry Potter and the Deathly Hallows Part 2

Harry Potter and the Deathly Hallows: Part 1

Stunt double David Holmes was paralyzed during a rehearsal involving an explosion stunt, ending his career and raising concerns about stunt safety.

Maze Runner: The Death Cure

Dylan O’Brien suffered serious injuries, including fractures and a concussion, after being struck by a vehicle during a stunt gone wrong.

The Passion of the Christ

Jim Caviezel was struck by lightning during filming and also suffered multiple injuries during production, adding to the already physically demanding shoot.

Triple X (2002)

Stuntman Harry O’Connor died after colliding with a bridge while performing a high-speed parasailing stunt.

Top Gun (1986)

Stunt pilot Art Scholl was killed when his plane crashed into the ocean while filming aerial footage for the movie.

Titanic

Kate Winslet suffered hypothermia and other minor injuries during long water shoots, reflecting the harsh filming conditions used to achieve realism.

The Abyss

Ed Harris nearly drowned during an underwater sequence due to equipment issues, later describing the experience as one of the most stressful of his career.

Roar (1981)

Dozens of cast and crew members were injured while filming with real lions, including Tippi Hedren and Melanie Griffith, making it one of the most dangerous productions ever.

Kill Bill: Volume 2

Uma Thurman was injured in a car crash while performing a stunt she was reportedly pressured to do, leading to long-term physical issues.

Back to the Future Part III

Michael J. Fox nearly suffocated during a hanging scene when a stunt went wrong and he briefly lost consciousness.

The Princess Bride

Cary Elwes was accidentally struck in the head during a sword fight and required stitches, with the injury partially visible in the film.

Gladiator

Oliver Reed died of a heart attack during filming, forcing the production to use early CGI and rewrites to complete his remaining scenes.

Brendan Fraser and Rachel Weisz in The Mummy Returns

The Mummy (1999)

Brendan Fraser nearly died during a hanging scene when the stunt went wrong, leaving him briefly unconscious.

Noah’s Ark (1928)

An early large-scale flood sequence resulted in multiple injuries and reportedly several deaths among extras, making it one of the earliest examples of dangerous large-scale filmmaking.

15 Video Games So Good That the Story Doesn’t Matter

A good story always enriches the experience with any game, but as an interactive medium, it isn’t a necessity. When a given gameplay loop is good enough, players will keep coming back no matter what, even when the narrative makes little to no sense.

Mind you, this isn’t to say that the games shown here have bad stories; in many cases, their lore is fascinating and worth knowing. What’s important to note is that delving in that story isn’t important, required, or expected, since you’ll get everything you need from simply playing the game.

Dragon’s Dogma 2

Praised for its emergent gameplay and dynamic world, the game shines through combat and exploration, while its narrative takes a backseat. Even fans admit the story presentation feels thin compared to how strong the gameplay loop is.

Crimson Desert

Delivers a large-scale open-world experience centered on combat, exploration, and player-driven encounters across the continent of Pywel. While it does have a central narrative about rebuilding the Greymane faction, player engagement largely comes from its systems and freedom rather than story depth.

Metal Gear Solid V: The Phantom Pain

Widely praised for its “near-impeccable” gameplay and open-ended mission design, the story was criticized as “aimless” and incomplete, especially in its second half, leaving gameplay as the clear standout.

Monster Hunter Wilds

The story exists mainly to push players toward hunts, but the real appeal is mastering weapons, fighting monsters, and refining builds, making narrative largely irrelevant to the overall experience. This is true for nearly all the Monster Hunter games.

DOOM (2016)

The game intentionally downplays its story, even having the protagonist dismiss exposition. Its fast, aggressive combat loop is the real focus, making narrative details almost optional.

Dark Souls

Its lore is deep but deliberately obscure, leaving most players confused about the story while still fully engaged thanks to its challenging combat and interconnected world design.

Elden Ring

Similar to Dark Souls, the narrative is fragmented and difficult to follow, but exploration, combat, and build variety drive the experience, making story comprehension optional rather than essential.

Borderlands 3

While previous entries had memorable writing, this installment’s story received criticism, but the chaotic gunplay and loot system remained strong enough to carry the game.

Diablo III

The story was widely seen as weaker than its predecessor, but the addictive gameplay loop of combat and loot progression kept players hooked for hundreds of hours.

Super Mario Bros.

The story is extremely basic, but the platforming design and gameplay innovation made it one of the most influential games ever created.

Street Fighter V

The story mode received criticism, but the tight fighting mechanics and competitive depth ensured the game remained popular.

Tekken 8

Despite a convoluted and often confusing storyline, the game thrives on its deep combat system and competitive appeal.

Just Cause 3

The story is largely forgettable, but the open-world destruction, traversal mechanics, and chaos-driven gameplay are the real focus.

Far Cry 4

While it has a narrative, many players engage more with the open-world gameplay and emergent encounters than the actual story progression.

Dead Cells

The game offers only fragments of story, but its fast-paced roguelike gameplay loop is what keeps players coming back.

15 Times Nobody Bought That The Actor Could Play Their Instrument

Whenever an actor portraits a musician, there is at least some level of effort to convince the audience that the character can play an instrument. Of course, we don’t expect actors to learn new skills every day, but we at least expect them to convince us that they do.

Some performances, however, fall flat in that front, either because the lack of experience wasn’t hidden properly, or because some audience members have more experience with the instrument than the actors themselves. While these movies aren’t bad by any means, their acting around instruments (particularly pianos) left some room for improvement.

Crossroads (1986)

Ralph Macchio’s guitar playing was widely noted as unconvincing, with mismatched hand movements and editing tricks making it clear a professional musician handled the actual performance behind the scenes.

Elvis

Kurt Russell’s portrayal relied heavily on miming to pre-recorded tracks, and while the performance worked dramatically, the instrument handling itself often doesn’t match the music being heard.

Amadeus

Tom Hulce’s portrayal of Mozart is powerful, but his piano playing was largely simulated, with editing and hand doubles used to match the complexity of the compositions.

Ray

Although Jamie Foxx is musically skilled, some piano scenes relied on careful editing and doubles, and attentive viewers can spot moments where hand movements don’t fully align with the music.

Bohemian Rhapsody

Rami Malek delivers a strong performance as Freddie Mercury, but the piano playing in certain scenes doesn’t always match the complexity of the soundtrack, revealing the use of stand-ins and playback.

Walk the Line

Joaquin Phoenix learned guitar basics, but some performances simplify or obscure the playing, making certain moments feel less convincing to experienced musicians.

The Pianist

Adrien Brody trained for the role, but many complex piano sequences were performed by professionals, with editing used to blend his performance, occasionally resulting in noticeable mismatches.

Shine

Geoffrey Rush’s intense piano scenes rely on doubles for the most technically demanding passages, and while the acting sells the moment, the playing itself doesn’t always fully convince.

Immortal Beloved

Gary Oldman’s Beethoven performances are largely mimed, with professional recordings layered over, leading to moments where the physical performance doesn’t fully align with the music.

La Bamba

Lou Diamond Phillips captures the spirit of Ritchie Valens, but guitar scenes rely heavily on miming, with noticeable discrepancies between hand movements and the music.

The Dirt

Actors portraying Mötley Crüe members focus more on attitude than technical accuracy, resulting in instrument performances that often feel loosely synced rather than convincingly played.

Rock Star

Mark Wahlberg’s portrayal of a singer is energetic, but the band performances around him often feature exaggerated or mismatched playing that doesn’t fully align with the soundtrack.

Almost Famous

While emotionally authentic, some band performance scenes feature simplified or inaccurate instrument handling, especially in wider shots where synchronization slips.

The Runaways

Despite strong performances, some guitar and bass scenes feel loosely matched to the music, with noticeable inconsistencies in finger movement and timing.

Yesterday

Himesh Patel performs convincingly overall, but certain scenes simplify guitar playing, and some viewers noted minor inconsistencies between what’s played and what’s heard.

20 Movies That Make No Sense, And We Don’t Care

Not every movie needs to make perfect sense to leave an impact. Some films abandon clear logic in favor of mood, symbolism, or sheer ambition, creating stories that are confusing, contradictory, or downright impossible to fully explain. And yet, they still work.

Unforgettable visuals, strong performances, or a unique atmosphere make these movies resonate even when the details don’t quite add up. In many cases, the confusion is part of the appeal, giving audiences something to think about long after the credits roll. These are the films that prove clarity isn’t always the most important thing.

Mulholland Drive

Often cited as one of the most confusing films ever made, its dreamlike structure and shifting identities leave viewers struggling to piece together meaning, yet its atmosphere and emotional undercurrent make it endlessly rewatchable.

Donnie Darko

A mix of time travel, alternate realities, and existential themes creates a story that rarely feels fully coherent, but its tone and performances turned it into a cult classic despite the confusion.

2001: A Space Odyssey

Stanley Kubrick’s sci-fi landmark abandons traditional storytelling for abstract imagery and symbolism, especially in its final act, leaving audiences debating its meaning decades later.

Inception

Despite carefully explained rules, its layered dream structure and ambiguous ending leave many viewers questioning what was real, proving that complexity doesn’t stop a film from becoming massively popular.

The Big Lebowski

The plot quickly becomes secondary to bizarre characters and absurd situations, creating a story that feels aimless yet remains beloved for its humor and endlessly quotable dialogue.

The Lighthouse

Its descent into madness, unreliable narration, and surreal imagery make it difficult to interpret literally, but its performances and atmosphere keep it compelling even when it stops making sense.

Southland Tales

Packed with overlapping storylines, sci-fi elements, and political satire, the film is notoriously incoherent, yet its ambition and unique tone have earned it a cult following.

Mother!

A heavy-handed allegory that escalates into chaos, the film abandons logic in favor of symbolism, leaving many confused but others fascinated by its bold, unsettling approach.

Eraserhead

David Lynch’s debut is filled with abstract imagery and unexplained events, making it nearly impossible to interpret literally, yet its nightmarish tone makes it unforgettable.

Synecdoche, New York

A deeply layered narrative about identity and art that folds in on itself repeatedly, making it difficult to follow but emotionally resonant for those willing to engage with it.

The Neon Demon

More focused on mood and symbolism than plot, the film unfolds in a way that feels disconnected at times, but its visual style and themes keep it compelling.

Mandy

A surreal revenge story that drifts into psychedelic horror, prioritizing tone and imagery over clear storytelling, making it confusing but unforgettable.

Under the Skin

Minimal dialogue and an intentionally opaque narrative leave much unexplained, but its haunting imagery and performance-driven storytelling make it captivating.

Enemy

A mysterious double, recurring symbols, and an infamous final image create a film that resists clear interpretation, leaving viewers debating its meaning long after it ends.

The Green Knight

A loose, symbolic adaptation that prioritizes mood and themes over clear storytelling, resulting in a narrative that feels deliberately ambiguous yet visually striking.

Brazil

A chaotic blend of satire, dystopia, and fantasy results in a story that feels disjointed at times, but its creativity and world-building have made it a classic.

Holy Motors

Following a man through a series of disconnected roles, the film offers little explanation for its structure, yet its unpredictability is part of its appeal.

Suspiria

While the plot is relatively simple, the dreamlike logic and emphasis on visuals over narrative clarity make it feel disorienting, contributing to its lasting impact.

Stalker

A slow, philosophical journey where the meaning of events is often unclear, yet its atmosphere and themes have made it one of the most respected films of its kind.

Interstellar

Complex science concepts and emotional storytelling collide in ways that can feel confusing, especially in its final act, but its ambition and emotional core resonate strongly with audiences.