Mortal Kombat: Annihilation’s Goofiness Has Aged Perfectly

If you’ve spent any time at all on the internet, you’ve probably seen the most infamous moment from the 1997 bomb, Mortal Kombat: Annihilation. A woman in purple strides onto the screen to take her place between two ninjas standing in fight positions. When a young lady below says, “Mother… you’re alive,” the camera cuts to a close up on the purple person. “Too bad YOU… will DIE!” she declares with an ostentatious point.

That bit of dialogue occurs just four minutes into the film, and for nearly 30 years, it solidified fans’s opinion that Annihilation represented a serious step-down in quality from its 1995 predecessor, directed by Paul W. S. Anderson. Yet, when revisited three decades later, just as the latest big-budget and very respectful Mortal Kombat II is about to hit theaters, anyone watching the scene has to ask: What, exactly, would be the realistic way for a benevolent queen of a perfect realm, now corrupted by the magic of a pan-universal conqueror, to tell her daughter that she lives and now plans to conquer our realm, with the help of a four-armed lady and some centaur/dragon guy?

Without question, Mortal Kombat: Annihilation is goofy, plotted with indifference, and filled with effects that looked cheap in 1997 (despite having a $30 million budget, higher than the first film’s $20 million). But now that we have two respectful and impressive Hollywood films to look at, Annihilation can remind us that maybe there’s something deeply silly about the franchise that gave the world Noob Saibot.

A Test of Might

Directed by John R. Leonetti, from a script credited to Brent V. Friedman and Bryce Zabel, Mortal Kombat: Annihilation begins right where the previous film ended: the victory of the Earthrealm heroes gathered by the thunder god Raiden—Liu Kang, Sonya Blade, and Johnny Cage—over the sorceror Shang Tsung in the Mortal Kombat tournament meant nothing. Shao Kahn (Brian Thompson), emperor of the Outworld still plans to invade Earthrealm, with the help of his generals: Queen Sindel (Musetta Vander), Sheeva (Marjean Holden), Smoke (Ridley Tsui), Ermac (John Medlen), and Motaro (Deron McBee).

Despite the strict continuity in plot, the end of Mortal Kombat and the start of Annihilation look very different. Robin Shou and Talisa Soto still play Liu Kang and Kitana, but James Remar is Raiden instead of Christopher Lambert, Sandra Hess has replaced Bridget Wilson as Sonya, and Chris Conrad takes Linden Ashby’s place as Johnny Cage, at least for the five minutes he’s on screen, before Shao Khan snaps his neck. Later, Red Williams joins the cast as Sonya’s partner Jax, replacing Gregory Williams, who portrayed the character in a brief cameo in the first movie.

It’s not really the cast changes that mark a difference between the two films. The original has all of the features that people love/hate in Anderson’s later movies, manifested in a goofy performance by Lambert and some shoddy plotting. The second film has all those problems, only more so. Characters such as Sub-Zero and Scorpion pop in and then disappear from the story, Thompson, who has an otherworldly presence in The X-Files and Cobra, feels like a regular dude than a great conqueror, and a giant CGI-monster fight in the climax is both nonsensical and ugly. B-movie king Remar seems half-asleep while delivering his lines, and Williams is asked to do little more than shout slang as Jax.

Not Flawless, Still a Victory

Yet, the corniness of Annihilation matches the corniness that’s always been present in the games, even when it was freaking out parents and legislators in the mid-’90s. The spine-ripping always has more Looney Tunes to it than Faces of Death, and no series that includes babalities and “Toasty!” can have too many pretensions. Nor can a series that built half of its roster out of palette swaps complain about any filmmaker’s frugality.

If Annihilation treated those strange aspects to Mortal Kombat with derision, then it would deserve the fan’s ire. But instead, the movie seems to lean into the silly parts of the games. We see this with the introduction of new characters Nightwolf (Litefoot) and Baraka (Dennis Keiffer). Neither character arrives with the best effects, as Nightwolf transforms from a wolf to a person with all the prestige of an Animorphs cover and Baraka’s giant head and flailing arms make him look more like a confused high school magic than a blade demon. But look at how unabashedly Keiffer throws himself into playing Baraka, or how Litefoot delivers the clunker “Cool, huh? It’s my animality.” with conviction. These guys are clearly having fun.

One gets the same feeling watching the pay off of the animality plot, when Lui Kang becomes a dragon and Shao Kahn becomes a gorgon thing. It looks horrible, and the mechanics of the fight make no sense, especially when Lui Kang’s dragon—a famously flying creature with giant wings—gets scared about falling off a cliff. At the same time, you have to respect the filmmakers for trying to do a big kaiju battle at the climax of their movie, even if it looks janky.

In fact, all the clunky visuals now come off as charming instead of irritating. The shots of Jax punching toward the camera aren’t as cool as a middle-distance shot of him actual grappling with a monster, but they have their charm. The endless shots of ninjas twirling through the sky recall a ’90s screensaver, in a way that feels nostalgic now.

Even the infamous introduction of Sindel ages better because of the silly visuals. Her line delivery is ridiculous, but actor Musetta Vander puts everything into it. And all the actors around her are just as over-the-top, standing there with the dukes up and making mean, growly faces… just like the models in the games’ character selection screens.

Friendship!

To be clear, this isn’t to say that Mortal Kombat: Annihilation is good, nor does it mean that all of the flaws have become charming. For as much as their co-stars pour themselves into their roles, Remar and Reiner Schöne, who plays Elder God Shinnok, don’t quite have the same gusto. Nor can anyone claim that the martial arts action is as clean and propulsive as the first film.

But we still have that first film to provide the cleaner martial arts action. Moreover, we’ll soon have two classy, expensive, and mostly respectful (give or take a Cole Young) Hollywood takes on the franchise.

With those other entries in place, Annihilation can now be praised for retaining the series’ silly, janky, and altogether embarrassing side. When examined from that perspective, Mortal Kombat: Annihilation is not too bad at all.

Mortal Kombat II will get over to theaters on May 8, 2026.

TV Premiere Dates: 2026 Calendar

Wondering when your favorite shows are coming back and what new series you can look forward to? We’ve got you covered with the Den of Geek 2026 TV Premiere Dates Calendar, where we keep track of TV series premiere dates, return dates, and more for the year and beyond. 

We’ll continue to update this page weekly as networks and streamers announce dates. A lot of these shows we’ll be watching or covering, so be sure to follow along with us! 

Please note that all times are ET. 

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

DATESHOWNETWORK
Monday, May 4Lord of the FliesNetflix
Wednesday, May 6Love Is Blind PolandNetflix
Wednesday, May 6Worst Ex Ever Season 2Netflix
Wednesday, May 6Citadel Season 2 Prime Video
Thursday, May 7The Chestnut Man: Hide and SeekNetflix
Thursday, May 7LegendsNetflix
Thursday, May 7M.I.A.Peacock
Thursday, May 7The Terror: Devil in SilverAMC+
Friday, May 8My Royal NemesisNetflix
Friday, May 8Thank You, Next Season 3Netflix
Friday, May 8UnconditionalApple TV
Saturday, May 9Song of the SamuraiHBO Max
Monday, May 11Pop Culture Jeopardy!Netflix
Monday, May 11Regular Show: The Lost TapesAdult Swim
Tuesday, May 12Devil May Cry Season 2Netflix
Tuesday, May 12U.S. Against the World: Four Years With the Men’s National Soccer Team (9:00 p.m.)HBO
Tuesday, May 12The Punisher: One Last KillDisney+
Wednesday, May 13Between Father and SonNetflix
Wednesday, May 13Perfect Match Season 4Netflix
Wednesday, May 13Roosters Season 2Netflix
Wednesday, May 13Good Omens Season 3Prime Video
Wednesday, May 13Off CampusPrime Video
Thursday, May 14NemesisNetflix
Thursday, May 14SoulmateNetflix
Thursday, May 14Welcome to Wrexham Season 5FX
Thursday, May 14On the RoamHBO Max
Friday, May 15Berlín and the Lady with an ErmineNetflix
Friday, May 15The WONDERfoolsNetflix
Friday, May 15It’s Not Like ThatPrime Video
Friday, May 15Rivals Season 2Hulu
Friday, May 15Dutton RanchParamount+
Friday, May 15Couples TherapyParamount+
Tuesday, May 19The Secret of Skinwalker Ranch Season 7 (9:00 p.m.)History Channel
Wednesday, May 20CarizzmaNetflix
Wednesday, May 20Maximum Pleasure GuaranteedApple TV
Thursday, May 21The BoroughsNetflix
Thursday, May 21SkyMed Season 4Paramount+
Friday, May 22Mating SeasonNetflix
Friday, May 22The Chi Season 8Paramount+
Sunday, May 24Rick and Morty Season 9 (11:00 p.m.)Adult Swim
Wednesday, May 27A Good Girl’s Guide to Murder Season 2Netflix
Wednesday, May 27My 2 CentsNetflix
Wednesday, May 27Spider-NoirPrime Video | MGM+
Thursday, May 28The Four Seasons Season 2Netflix
Thursday, May 28Murder Mindfully Season 2Netflix
Thursday, May 28Deli Boys Season 2Hulu
Thursday, May 28Criminal Minds: Evolution Season 19Paramount+
Friday, May 29Brazil ’70: The Third StarNetflix
Friday, May 29Calabassas ConfidentialNetflix
Friday, May 29Star CityApple TV
Monday, June 1Lethally Blonde Season 2 (10:00 p.m.)ID
Tuesday, June 2Love Island Season 8 (9:00 p.m.)Peacock
Wednesday, June 3The Legend of Vox Machina Season 4Prime Video
Friday, June 5Everything on the Menu with Braun Strowman Season 2 (11:00 p.m.)USA Network
Friday, June 5Cape FearApple TV
Sunday, June 7The Vampire LestatAMC
Monday, June 8Alice and SteveHulu
Thursday, June 11Surviving EarthNBC
Thursday, June 11Sweet Magnolias Season 5Netflix
Saturday, June 13My Adventures with Superman (12:00 a.m.)Adult Swim
Friday, June 19Sugar Season 2Apple TV
Sunday, June 21House of the Dragon Season 3 (9:00 p.m.)HBO
Thursday, June 25Avatar: The Last Airbender Season 2Netflix
Friday, June 26Life, Larry, and the Pursuit of Happiness (9:00 p.m.)HBO
Wednesday, July 1Elle Season 1Prime Video
Friday, July 3Silo Season 3Apple TV
Thursday, July 9Little House on the Prairie Season 1Netflix
Thursday, July 9The Five Star WeekendPeacock
Wednesday, August 5Ted Lasso Season 4Apple TV
Sunday, August 16LanternsHBO Max
Friday, December 25Harry Potter and the Philosopher’s StoneHBO Max

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

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

New Star Wars Viewing Data Shows a Deep Generational Divide

Nielsen has released new viewership data to mark Star Wars Day, aka May 4th, and the numbers are pretty fascinating for anyone curious about how well the franchise is doing in the streaming landscape.

Largely based on 2025 data, it reveals that in the U.S. alone, viewers watched a staggering 33 billion minutes of Star Wars content last year. A New Hope, The Phantom Menace and Rogue One were the most popular movies, while Andor, Skeleton Crew and The Mandalorian filled out the top three spots on the TV side.

Yet, it’s the data from the first quarter of 2026 that proves rather more compelling. Many months after the Andor series finale, it remains the most popular Star Wars show among Millennials and Gen X viewers. Gen Alpha and Baby Boomers seem to both prefer The Mandalorian, even as Gen Z becomes the outlier generation by claiming The Clone Wars.

It doesn’t feel totally surprising that Gen Alpha and Boomers both enjoy The Mandalorian. Younger viewers have Baby Grogu to latch onto. Yellowstone-loving Boomers might gravitate to its space Western vibes, action, or clear “good vs evil” storytelling. But Andor’s continuing popularity among viewers aged 30-61 seems like a different story. We’re talking about two generations of viewers who grew up with not just the original trilogy and the prequels, but also with prestige TV. In that respect, Andor felt like a breath of fresh air; a show that understood storytelling for adults. Jedi tales and “chosen one” narratives had worn thin. Suddenly, there was a show that took Star Wars TV worldbuilding very seriously—perhaps too seriously for anyone scrolling for light entertainment.

Andor was more like a slow-burning political thriller than the snappy franchise fare of The Mandalorian, garnering critical acclaim from the first episode to its last. It presented an adult Star Wars universe where character-driven drama was more important than a pricey CGI chase sequence or the pew-pew of laser blasters. It wasn’t interested in selling toys as much as creating a story with a real, timely message: resistance to authoritarian power is built brick by brick, with ordinary people choosing sacrifice and action over comfort and fear.

It’s a message that has truly resonated with Millennial and Gen X viewers, who have arguably spent more time thinking about and coping with real-world institutions and systems. But now that those generations have seen live-action Star Wars reach a level they hadn’t thought possible pre-Andor, Lucasfilm may find itself in a curious spot. Will it continue to try to hit all the bases by creating movies and shows for various ages, or will a new direction emerge from the top down?

There won’t be another show like Andor, but viewers are clearly still hungry for deeper Star Wars storytelling. The war between money, acclaim, and that elusive mix of both likely continues in a galaxy far, far away.

Shattered Might Have the Most Underrated Ending Twist of the ’90s

The late Wolfgang Petersen made some memorable films in his career. The German director, who first gained international acclaim with the war film Das Boot, went on to traumatize children everywhere with The Never Ending Story and then captivate audiences with movies like In the Line of Fire, Outbreak, Air Force One, and Troy. You’ll also occasionally hear people discuss his box-office flop, Enemy Mine, which later became a cult sci-fi movie. But a Petersen movie that no one talks about has one of the most underrated ending twists of the 1990s, and it’s time to give Shattered its due.

If you didn’t already sense it, there’s a 35-year-old spoiler coming, so if you’re interested in seeing Shattered, now’s the time to watch it and return here later. Give yourself the gift of seeing the movie’s twist without reading about it first! However, if you’ve already seen it or we can’t persuade you to, strap in for a wild ride.

Still here? Alright, then. Like Enemy Mine, 1991’s Shattered was a box-office dud that didn’t wow critics. It wasn’t exactly a star-studded affair either, relying on solid performances from Tom Berenger, Bob Hoskins, and Greta Scacchi, who seemed to understand exactly what each of them should bring to the table in Petersen’s sexy thriller.

Berenger stars as a wealthy businessman called Dan Merrick, who survives a car crash that throws his wife Judith (Scacchi) clear of the wreckage. Unfortunately, he’s left with severe facial injuries and amnesia, but after reconstructive surgery, he returns to his luxurious life. Merrick should probably count himself lucky after going through all that, but he can’t quite seem to settle. Everything feels off. He doesn’t recognize his home, his friends, or even his reflection.

As Judith helps him recover, Dan starts noticing odd things about her behavior and inconsistencies in the story she’s told him. He also begins to understand that he used to be quite the asshole after trying to pal around with his slimy business partner, Jeb Scott (Corbin Bernsen) so he decides to dig deeper into the events that led to his fateful accident with the help of a private investigator called Gus (Hoskins, doing a hilariously over-the-top New York accent).

It’s not long before Dan uncovers a web of lies. He learns that, prior to the crash, his wife had been having an affair with a guy called Jack Stanton, and she eventually reveals to Dan that he’d found out about the affair and killed Stanton in a jealous rage. The two had apparently gotten rid of Stanton’s body together at an old, abandoned shipwreck and had crashed the car after leaving the scene.

That seems like an acceptable twist in the tale, but Shattered isn’t done. Though Judith’s story sounds viable, Dan still isn’t convinced, so he and Gus finally decide to get to the bottom of what the hell actually happened the night of the crash. Exploring the shipwreck, they open a tank of formaldehyde and discover the preserved body of the real Dan Merrick. That’s right, we’ve actually been following poor Jack Stanton with the surgically reconstructed face of Dan Merrick this entire time!

Judith reveals that she was the one who actually killed Dan after he attacked her in a jealous rage, and she and Stanton disposed of the body. Stanton wasn’t comfortable getting away with it. He had second thoughts and decided to go to the police, which sent Judith into a panic at the wheel that led to the late-night crash. In the end, Judith dies in yet another insane car wreck. Luckily, Stanton escapes this one, and the police close in to wipe up all the mess as the credits roll.

It’s a fantastic twist that you don’t see coming, despite a fair amount of signposting. That’s down to some great direction by Petersen and canny editing by Hannes Nikel (Das Boot) and Glenn Farr (The Right Stuff) who collectively manage to keep the truth from the audience until the tail end of the final act.

As a result, Petersen really does his adaptation of Richard Neely’s pulp noir novel The Plastic Nightmare justice. Not only does he pull off the 1969 book’s twists and turns in a more modern setting, but he also deftly uses his middling budget to swing between car chase action, soapy drama, and the spooky chills of the abandoned shipwreck, where his previous experience on Das Boot must have come in handy.

The 1990s were a great time for fans of twisty movies. This was the decade that gave us Fight Club, The Sixth Sense, The Usual Suspects, Primal Fear, and Dark City, to name but a few. Still, Petersen’s thriller has largely been forgotten in that incredible decade of cinema, and we reckon it’s high time that Shattered joined the conversation.

Marvel’s Oddest Show Is Staying That Way in Season 2

After garnering positive reviews and having cracked the Nielsen Streaming Originals chart using a binge release model, something that Daredevil: Born Again hasn’t managed in either of its much-hyped weekly rollout seasons, Wonder Man will be coming back to Disney+ for a second batch of episodes in the future.

Marvel doesn’t renew its live-action Disney+ shows very often. Only Loki and Born Again managed to secure renewals before Wonder Man’s debut. Yet unexpectedly, audiences warmed to the unusual series, which introduces a complex superpowered human and struggling actor named Simon Williams, who keeps his powers hidden so he can audition for parts in a Hollywood that’s playing it safe by only casting normies.

Aquaman star Yahya Abdul-Mateen II was keen to hop over to the Marvel Cinematic Universe when Wonder Man came along, having been impressed by the “fun, funny and smart” world Marvel Studios was building, but he was wary of taking the part of Simon Williams until he had spoken to Marvel maestro Kevin Feige personally, he revealed to THR.

“I asked [Feige], ‘I only get one Marvel buck to spend. Is this worth my dollar, because I can wait.’ And he said, ‘No, trust me, it will be worth it.’ And I’m so glad this is the role I got to spend my dollar on because I’m getting all of the super stuff and I’m getting all of the human stuff at the same time.”

Abdul-Mateen II plays Williams as an odd kind of hero; someone who cares much more about breaking into Hollywood than about his powers. During the first season of Wonder Man, Williams also joins forces with washed-up actor Trevor Slattery (Sir Ben Kingsley) and together they make for compelling viewing as they form a genuinely sweet friendship. The show wisely avoids the superhero spectacle usually associated with Marvel projects, and showrunner Andrew Guest has confirmed that season 2 will maintain the same tone.

“The people who like this show and like it because it feels different are going to be rewarded,” Guest said. “And the people who think that this show is going to suddenly turn into something else, I’m sorry to say, it’s not. Simon still has superpowers. It is still about this relationship, about two artists, and our industry. That is essentially what we want to maintain.”

He noted that, “One of the things that has been really rewarding is people who don’t think they like Marvel shows, or who have nothing to do with Marvel, find themselves watching it and binging it. My mother’s therapist, the last person who would watch a Marvel show, texted her, ‘I stayed up all night, I’ve never binged a show, I watched the whole thing.’”

Wonder Man season 2 is still in development and doesn’t yet have a release date. We’ll update you as soon as we know more.

15 Senior Movie Stars That Acted at 90+

As the wise Deadpool once said, “you’ll be doing this till you’re 90.” Well, something that sounds like a grim fate is the reality of many actors and performers, who not only act until they’re 90, but well past it. But when you see them on screen, you don’t see them in pain.

Instead, you see the expertise and experience of a life well lived, a journey that might be reaching its end, but isn’t slowing down. These are the senior movie stars that gave it their all for their craft, becoming shining icons of the industry.

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Clint Eastwood

Eastwood continued acting and directing into his 90s, appearing in films like Cry Macho at age 91. His late-career work reflects a shift toward introspective storytelling while maintaining the screen presence that defined his earlier roles.

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Dick Van D

Van D remained active well into his 90s, including appearances in Mary Poppins Returns at age 93. His continued performances highlight his enduring physicality and timing, rare traits for a performer at that stage of life.

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James Earl Jones

Even in his 90s, Jones continued contributing through voice acting, reprising iconic roles like Darth Vader. His unmistakable voice remained in demand, demonstrating how certain talents translate across decades of work.

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Michael Caine

Caine reached 90 while still acting, appearing in films like The Great Escaper. His later roles leaned into reflective characters, often drawing on his long career and distinctive presence.

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William Shatner

Shatner remained active in television and film well into his 90s. His continued appearances reflect both his enduring popularity and his willingness to embrace projects across genres even late in life.

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Robert Duvall

Duvall continued acting into his 90s, with late-career roles maintaining his understated, character-driven style. His longevity reflects a steady career built on consistency rather than constant reinvention.

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June Squibb

Squibb has remained actively working well into her 90s, with roles in projects like Palmer and later appearances. Her continued presence in both film and television makes her a clear example of sustained acting work past 90.

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Bob Newhart

Newhart continued appearing in television roles into his 90s, often playing elder authority figures. His dry comedic style remained intact, showing how his signature delivery translated across generations.

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David McCallum

Best known for long-running television work, McCallum continued acting into his 90s. His role on NCIS extended for years, making him one of the most visible examples of sustained late-career activity.

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Robert Wagner

Wagner continued appearing in film and television projects into his 90s. His long career allowed him to transition into supporting roles that capitalized on his established screen persona.

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Harry Belafonte

Belafonte remained active into his 90s, appearing in projects and documentaries. His later work often reflected his legacy as both a performer and activist, adding historical weight to his appearances.

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John Astin

Astin continued acting and making appearances into his 90s, often revisiting his legacy roles. His longevity highlights a career that successfully transitioned from leading roles to respected veteran status.

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Lois Smith

Smith continued appearing in films like The French Dispatch after turning 90. Her steady presence in independent and mainstream projects shows a career defined by longevity and adaptability.

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Marla Gibbs

Gibbs remained active in television into her 90s, taking on guest roles and appearances. Her continued work reflects a long-standing career that adapted to evolving formats and audiences.

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Tom Skerritt

Skerritt continued acting into his 90s, including roles in independent films. His later work demonstrates how character actors can sustain careers through smaller but meaningful performances.

The 15 Most Bizarre ’70s and ’80s TV Spin-Offs

Television in the 1970s and 1980s was full of experimentation, especially when it came to spin-offs. Networks were eager to extend popular shows, sometimes in ways that felt natural, but often in ways that were surprisingly strange.

Characters were transplanted into entirely new settings, tones shifted dramatically, and familiar concepts were stretched to their limits. The result was a wave of spin-offs that ranged from slightly inspired to outright baffling. Yes, some found modest success, but most others quickly faded. These entries highlight some of the most unusual examples, where the connection to the original show seems anecdotal at best.

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Joanie Loves Chachi

Spun off from Happy Days, this show relocated supporting characters into a music-focused storyline. The shift in tone and premise felt disconnected from the original, making it one of the era’s more unusual extensions.

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The Brady Bunch Hour

Rather than continuing the sitcom format of The Brady Bunch, this spin-off turned the family into variety show performers. The drastic tonal shift made it one of the strangest reinterpretations of an existing property.

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AfterMASH

Following MAS*H, this spin-off moved characters into a civilian hospital setting. While logical on paper, the change stripped away much of what made the original series compelling.

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The Ropers

Derived from Three’s Company, this spin-off focuses on the landlords after they leave the original show. Expanding minor characters into leads resulted in a noticeably different dynamic.

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Three’s a Crowd

Another continuation of Three’s Company, this show shifts focus to Jack’s life after the original series. The premise alters the core setup significantly, making it feel disconnected from its roots.

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The Tortellis

Spun off from Cheers, this show follows Carla’s ex-husband and his new life. Centering a series on less popular characters made it a curious and short-lived experiment.

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Blansky’s Beauties

Connected to Happy Days, this spin-off focuses on a modeling agency. The premise feels far removed from the original’s nostalgic setting, contributing to its odd reputation.

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The New Odd Couple

A reimagining of The Odd Couple, this version changes the cast and tone. While technically a revival, it functions as a spin-off with a noticeably different feel.

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Fish

Spun off from Barney Miller, this show follows a single character into a new domestic setting. The shift from police comedy to family life makes the concept feel unusually disconnected.

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The Facts of Life

Originating from Diff’rent Strokes, this spin-off moves into a boarding school setting. While successful, its premise significantly departs from the original show’s structure.

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Benson

Also spun off from Soap, Benson transitions from a chaotic family sitcom into a political setting. The tonal and thematic shift makes it a notable departure.

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Flo

Derived from Alice Doesn’t Live Here Anymore and its TV adaptation, this spin-off focuses on a side character running a diner. Expanding that character into a lead made for an unusual premise.

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Enos

Spun off from The Dukes of Hazzard, this show centers on a secondary character becoming a police officer. The premise shifts away from the original’s core appeal.

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The Golden Palace

Though slightly outside the ’80s, it continues The Golden Girls without one of its key characters. The absence significantly alters the dynamic, making the continuation feel unusual.

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Grady

A spin-off of Sanford and Son, this show follows a side character into a new setting. Expanding a minor role into a full series created a noticeably different tone.

15 Games People Only Like Because of Streamers

The point of video games, if you ask anyone, is to play them. Or it was, before the advent of streaming content and personalities, who make a living out of playing games in front of an audience. Often, they’ll play games so their audiences can buy a copy for themselves, but that isn’t always the case.

Certain games, built with horror or stressful themes, derive their enjoyment from watching someone going through it, rather than you doing it yourself. Other games utilize a multiplayer aspect where personality is everything. These are the games that, while enjoyable, people only engage with thanks to streamers.

YouTube/Hornster

Among Us

Although released in 2018, Among Us only became widely popular after major streamers picked it up in 2020. Its social deduction gameplay thrives in group settings, making it especially entertaining to watch and helping drive its explosive visibility.

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Only Up!

Only Up! gained attention almost entirely through streaming clips of players failing and retrying difficult climbs. Its appeal lies in frustration and spectacle, making it more engaging as a viewing experience than for long-term play.

YouTube/Bennett Foddy

Getting Over It with Bennett Foddy

This game became a streaming staple due to its punishing difficulty and emotional reactions from players. Watching streamers struggle through its mechanics became a major part of its appeal and visibility.

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Goat Simulator

Goat Simulator’s chaotic and glitch-heavy design made it perfect for viral clips. Its popularity surged through online content creators who highlighted its unpredictable and comedic moments.

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Phasmophobia

Phasmophobia quickly became a streaming favorite thanks to its cooperative horror gameplay. Player reactions and voice interaction mechanics made it particularly effective for live content and audience engagement.

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Lethal Company

This co-op horror game spread rapidly through streaming communities. Its mix of tension and humor, combined with unpredictable encounters, made it highly shareable and entertaining to watch.

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Fall Guys: Ultimate Knockout

Fall Guys gained momentum through its colorful chaos and competitive mini-games. Its short matches and unpredictable outcomes made it ideal for streaming, contributing heavily to its early success.

YouTube/Mob Entertainment

Poppy Playtime

This episodic horror game gained traction largely through reaction-based content. Streamers amplified its visibility by highlighting its scares and mysterious story elements.

YouTube/Scott Cawthon

Five Nights at Freddy’s

Five Nights at Freddy’s became a phenomenon through YouTube and streaming reactions. Its jump scares and theory-driven lore encouraged both live reactions and extensive online discussion.

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Human: Fall Flat

Its physics-based gameplay creates unpredictable and often humorous moments. These qualities made it particularly appealing for group streaming sessions, boosting its popularity through shared experiences.

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Gang Beasts

Gang Beasts thrives on chaotic multiplayer fights and exaggerated physics. Its appeal largely comes from watching unscripted, comedic interactions between players, which helped it spread through streaming platforms.

YouTube/IGN

Devour

Devour gained attention through cooperative horror streams. Its intense pacing and reliance on teamwork create strong reactions, making it especially suited for live audiences.

YouTube/IGN

Content Warning

Designed around recording and sharing in-game footage, Content Warning naturally aligns with streaming culture. Its mechanics encourage moments that translate directly into viral clips and online content.

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Crab Game

Inspired by popular media, Crab Game spread quickly through streaming due to its chaotic multiplayer sessions. Its simplicity and unpredictability made it a frequent choice for group content creators.

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The Mortuary Assistant

This horror game gained traction through reaction-based streaming. Its atmosphere and unpredictable scares made it particularly effective for content creators looking to engage audiences with tension and surprise.

’80s Cartoon Intros Everyone Remembers Better Than the Show

The 1980s were a golden age for animated television, especially when it came to unforgettable opening sequences. Long before binge-watching or streaming, a show’s intro had to grab attention instantly, and many of them succeeded through catchy theme songs and striking visuals.

In quite a few cases, those openings became more iconic than the episodes themselves. Backed by rock-inspired tracks or bold narration, these intros left a lasting impression that still resonates decades later. Most of these shows faded from memory, but their memorable openings remained, living on through nostalgia, reruns, and countless revisits online.

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He-Man and the Masters of the Universe

The opening narration and theme song became instantly recognizable, setting up the world of Eternia with dramatic flair. Even for those who don’t recall specific episodes, the intro’s energy and iconic delivery remain firmly embedded in pop culture memory.

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ThunderCats

ThunderCats’ intro combined fast-paced visuals with a powerful theme song that built immediate excitement. Its dramatic tone and memorable chant helped it stand out, often leaving a stronger impression than the show’s actual storytelling.

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G.I. Joe: A Real American Hero

With its bold narration and action-heavy montage, this intro emphasized heroism and conflict. The closing tagline became especially iconic, making the opening sequence one of the most remembered elements of the series.

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Transformers

The Transformers intro featured a high-energy theme and clear premise setup. Its simplicity and intensity made it memorable, even for viewers who may not recall the show’s more complex and evolving storylines.

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Inspector Gadget

Driven by a distinctive melody, this intro stands out for its instantly recognizable tune. The sequence efficiently introduces the character while leaving a stronger lasting impression than many of the show’s episodic plots.

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DuckTales

DuckTales’ theme song became a cultural staple, widely remembered for its catchy rhythm and chorus. Even those unfamiliar with specific episodes often recall the intro, which helped elevate the show’s overall legacy.

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The Real Ghostbusters

Building on the popularity of the film, the intro uses a variation of the iconic theme song. Its familiar music and visuals made it instantly engaging, often overshadowing the show’s individual storylines.

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SilverHawks

SilverHawks features a synth-heavy theme that captures the era’s aesthetic. The intro’s music and visuals are often what viewers remember most, even if the series itself didn’t leave as strong a lasting impression.

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M.A.S.K.

The intro’s energetic theme song and fast editing made it highly memorable. It quickly establishes the show’s premise, often leaving a stronger impact than the episodes that followed.

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Jem and the Holograms

This intro stands out for its music-focused presentation and vibrant style. The theme song became a defining element, often remembered more clearly than the show’s narrative arcs.

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Voltron

Voltron’s intro uses dramatic narration and visuals to set up its story. Its tone and structure make it memorable, even for viewers who may not recall the details of the show itself.

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Bravestarr

Blending sci-fi and Western elements, the intro introduces its unique setting with a strong musical identity. Its distinct style helped it stand out, often being more memorable than the episodes.

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Centurions

The Centurions intro emphasizes transformation and action, supported by a dynamic theme song. Its visual energy made it easy to remember, even if the show itself didn’t achieve the same level of recognition.

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Dinosaucers

With a concept as unusual as humanoid dinosaurs, the intro leans heavily into its premise. The catchy theme and distinctive visuals often stick with viewers more than the episodes themselves.

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Pole Position

The intro’s upbeat music and racing visuals capture attention immediately. While the show itself is less frequently remembered, its opening sequence remains a nostalgic highlight for many viewers.

The Devil Wears Prada 2 Box Office Reminds Blockbusters Need Not Lean on Young Male-Skewing Action

There are a few ways one might look at this past weekend’s chic box office win for The Devil Wears Prada 2. As an observer who never gilds the lily, one can imagine Meryl Streep’s Ms. Priestly coolly stating, “A legacy sequel hitting big? In May? Groundbreaking.” Yet we, and probably most of the industry, should feel a lot more like Anne Hathaway’s Andy Sachs right now: just happy to be here and having a good time!

Indeed, Andy, Miranda, and the rest of the Runway coterie should be popping champagne now that The Devil Wears Prada 2 came in slightly ahead of its studio’s projections, with Disney estimating the sequel grossed $77 million in its first three days. That’s ahead of the $65 million to $75 million forecast by prognosticators ahead of the weekend, and nearly triple what the first Devil Wears Prada did when it opened to $27.5 million in 2006. Granted, that was a full 20 years ago, however even with inflation, the affection for these characters and that movie is palpable, with The Devil Wears Prada 2 grossing an estimated $233.6 million globally in its first weekend.

For context, that is the second biggest opening weekend of the year worldwide, behind The Super Mario Galaxy Movie’s $372.5 million and considerably above Michael ($219 million) and Project Hail Mary ($141 million). Although domestically, it’s worth pointing out that Michael and Project Hail Mary did open higher among North American ticket-buyers.

There are a lot of takeaways that can be gleaned from this, with Disney especially taking satisfaction in having created essentially another multi-decade franchise out of the defunct 20th Century Fox’s back catalogue. After all, this comes on the heels of Disney successfully rebooting other Fox franchises into 2020s hits via Alien: Romulus, Predator: Badlands, and arguably Kingdom of the Planet of the Apes. Furthermore, Devil 2’s success comes at a good time for the Mouse House, which doesn’t have a superhero movie opening this May as in past years—and in fact, the new Streep movie outdid Disney’s Marvel effort from 2025 in the same timeframe, Thunderbolts*, which opened to $74.3 million and with a much bigger price tag.

To be clear, this is not to besmirch Marvel’s prowess. The reason they don’t have their usual May opening weekend is because the studio is regrouping before the hard-press on Avengers at the end of the year (Spider-Man movies for Sony notwithstanding). However, the success of The Devil Wears Prada 2 says more than just the priceless value of audiences’ nostalgia, even if it does signal 2000s and Y2K member berries are now in full bloom.

That’s all well and good, but really… it’s just nice to see an adult-skewing, female-leaning comedy strutting in vogue despite studios continually being afraid to take a bet on those audiences. By virtue of its legacy sequel nature, none of the leads in The Devil Wears Prada 2 are under the age of 40, and the subject matter has far more to do with 21st century workplace situations—particularly the timely subject of print journalism’s rapid collapse—than it does “romantic” clichés often expected in women-led movies. Or, for that matter, the dangling keys of bloated CGI and childhood IP-excess at the multiplex.

Take the aforementioned Thunderbolts* from last May, a movie I personally enjoyed and think is one Marvel’s stronger efforts in this decade. The film still had a reported budget of $180 million, with anonymous sources suggesting to trades it’s possibly much higher. Conversely, Prada 2 reportedly cost $100 million, a number on the steeper side for a comedy due to actors and filmmakers being able to bargain higher for a sequel to a beloved classic, with the original’s director David Frankel and screenwriter Aline Brash McKenna also returning. Still, $100 million for a summer blockbuster that opened bigger than Michael—a huge hit in its own right, but with an enormous price tag due to behind-the-scenes troubles—is chump change in the modern era where most blockbusters come with budgets closer to a quarter or third of a billion dollars.

Those budgets are obviously influenced by large VFX demands, the commonplace need for extensive reshoots during post-production, and myriad other factors that come with making four-quadrant tentpoles that skew often toward the interest of teenagers. And for more than a decade, studio resources have gone by and large to investing in almost only that kind of entertainment, especially during the summer months.

There are exceptions, of course. Probably the most headline-grabbing of which is 2023’s pink tidal wave in Barbie, albeit that was still an IP-heavy comedy relying on childhood interest and nostalgia. But there’s also the decidedly not kid-friendly rom-com Anyone But You, which grossed $220 million during the holidays in 2023 while in the shadow of Avatar: The Way of Water; last December’s darker laugher The Housemaid ($401 million globally) also cleaned up, and a retinue of “prestige” arthouse comedies have still been able to make nine figures globally, a la The Menu or Poor Things.

The audience does appear to be there for comedies and especially those in underserved demographics largely forgotten by studios. Whether IP/franchises are needed to bring them out of their homes remains to be seen, really, since you can count on one hand the number of women-led laughers that have been released as summer tentpoles by their studios in recent years. Two out of the three were Barbie and Devil Wears Prada 2; the third was the Jennifer Lawrence-led No Hard Feelings, which underperformed at $87 million worldwide.

Honestly, though, that is an awfully small sample size to write off original comedies, and the fact remains audiences do indeed want to see more than fast cars, capes, and sword fights in the summer months. Studios never stopped making horror movies en masse in the 2010s, not least of all because they’re so cheap to produce. However, audiences never lost a taste for that genre in a theatrical setting, nor were their dry spells to point to and say “audiences perceive this only as streaming content now.”

Well, The Devil Wears Prada 2, shows more than a few folks are ready to trip the lights fantastic at the theater for movies set in our world—or at least a highly fashionable corner of it. That’s all.

14 Games That Paved the Multiplayer Trail

The idea of multiplayer games, particularly ones with hundreds of players online at the same time, is something we are quite used to. But this didn’t used to be the norm; in fact, the progression between how gaming started and where we are now was a slow but steady one.

Through split-screen, LAN play, and early internet integration, these games pushed multiplayer forward in meaningful ways. Many of today’s most popular titles build directly on foundations laid years ago. These are the games that helped shape multiplayer into what it is today.

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Doom

Doom popularized networked multiplayer through deathmatch modes over LAN. Its fast-paced gameplay and mod support helped establish competitive multiplayer as a central part of first-person shooters.

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Quake

Building on Doom, Quake refined online multiplayer with dedicated servers and internet play. It became a foundation for competitive gaming, influencing how online shooters were structured for years to come.

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StarCraft

StarCraft became a cornerstone of competitive multiplayer, particularly through its online matchmaking and balanced factions. Its influence extended into early esports, especially in South Korea, where organized competitive play helped shape the future of multiplayer gaming.

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GoldenEye 007

GoldenEye brought split-screen multiplayer to a wide console audience. Its local competitive modes became a defining experience for console gaming, showing that multiplayer didn’t require a network to thrive.

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EverQuest

EverQuest expanded on MMORPG concepts with large-scale cooperative gameplay. Its design encouraged social interaction, grouping, and long-term progression, influencing many online games that followed.

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Counter-Strike

Originally a mod, Counter-Strike became a defining competitive multiplayer shooter. Its team-based gameplay and objective-focused matches helped establish the structure of modern online competitive games.

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Diablo II

Diablo II helped popularize online cooperative play through its Battle.net integration. Players could easily join shared worlds, trade items, and tackle challenges together, reinforcing the appeal of persistent multiplayer systems outside of traditional competitive formats.

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Halo: Combat Evolved

Halo helped popularize console multiplayer through LAN play and later online integration. Its balanced gameplay and accessible controls made it a cornerstone for multiplayer shooters on consoles.

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World of Warcraft

World of Warcraft brought MMORPGs to a massive global audience. Its accessibility and scale made online multiplayer a mainstream phenomenon, setting standards for social and cooperative gameplay.

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Call of Duty 4: Modern Warfare

This game revolutionized online shooters with its progression systems and matchmaking. Its multiplayer design became a blueprint for modern competitive games.

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League of Legends

League of Legends helped popularize the MOBA genre and competitive online play. Its accessibility and constant updates contributed to the rise of esports and long-term multiplayer engagement.

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Minecraft

Minecraft expanded multiplayer beyond competition into shared creativity. Its servers allowed players to collaborate, build, and create communities, redefining what multiplayer interaction could look like.

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Fortnite Battle Royale

Fortnite introduced large-scale battle royale gameplay to a massive audience. Its cross-platform play and live events helped redefine multiplayer as a shared, evolving experience.

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Among Us

Among Us popularized social deduction in online multiplayer spaces. Its simple mechanics and emphasis on communication created a new kind of multiplayer experience centered on trust and deception.

15 of Television’s Most Annoying Characters

Stories are driven through conflicts, showing us how characters either solve these conflicts or make them worse. If everyone in these tales acted rationally or without ill intent, stories would go nowhere, so there is a need for conflict-seeking characters. Even if, sometimes, they feel like too much.

And too much they are, since there are characters that people can’t stop complaining about online, often years after their given show has ended. While their antics pushed their stories forward, audiences around the world feel like their tales would’ve been better without them.

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Skyler White, Breaking Bad

Skyler often became a polarizing figure due to her opposition to Walter’s actions. While grounded in realism, her resistance and emotional reactions were frequently perceived by viewers as frustrating, sparking ongoing debate.

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Janice Soprano, The Sopranos

Janice’s manipulative tendencies and constant self-interest make her a recurring source of tension. Her behavior often complicates situations, reinforcing her role as one of the show’s most aggravating personalities.

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Ross Geller, Friends

Ross is often portrayed as overly insecure and prone to jealousy. His repeated relationship mistakes and neediness have made him a frequent target of criticism among viewers despite being one of the central characters.

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Sheldon Cooper, The Big Bang Theory

Sheldon’s rigid behavior and lack of social awareness are central to the show’s humor. However, his self-centered tendencies and constant need for control can make him frustrating to watch for some audiences.

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Kimmy Gibbler, Full House

Kimmy is intentionally written as obnoxious, frequently ignoring boundaries and inserting herself into situations. Her exaggerated personality made her memorable, but also one of the more irritating recurring characters of the era.

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Dawn Summers, Buffy the Vampire Slayer

Introduced later in the series, Dawn is often portrayed as emotional and impulsive. Her frequent need for attention and involvement in dangerous situations made her a divisive addition among fans.

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Pete Campbell, Mad Men

Pete’s ambition and entitlement often come across as grating. His tendency to undermine others and seek validation makes him a consistent source of frustration within the show’s corporate environment.

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Lori Grimes, The Walking Dead

Lori’s decisions and shifting loyalties frequently drew criticism from viewers. Her actions often complicated survival situations, making her one of the more debated characters in the show’s early seasons.

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Ted Mosby, How I Met Your Mother

Ted’s romantic idealism often turns into stubbornness and self-sabotage. His repeated mistakes, indecision, and tendency to overcomplicate relationships made him increasingly frustrating for viewers, especially as the series progressed and his character showed limited growth.

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Screech, Saved by the Bell

Screech’s exaggerated awkwardness and constant need for attention made him a defining comic relief character. However, those same traits often pushed him into overly irritating territory.

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Paige Jennings, The Americans

Paige’s evolving awareness of her parents’ secrets leads to frequent tension. Her reactions, while understandable, often disrupt carefully constructed plans, making her a frustrating presence in a high-stakes narrative.

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Jack Shepard, Lost

Jack’s leadership style and stubborn decision-making often divide viewers. His insistence on control and frequent clashes with others contribute to his reputation as an occasionally exasperating protagonist.

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Andrea Harrison, The Walking Dead

Andrea’s choices and alliances frequently placed her at odds with other characters. Her shifting loyalties and decisions under pressure made her one of the more controversial figures in the series.

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Ezra Fitz, Pretty Little Liars

Ezra’s secretive behavior and questionable decisions create ongoing tension. His storyline often relies on withheld information, which can make his character frustrating to follow.

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Teddy Perkins, Atlanta

While intentionally unsettling, Teddy Perkins’ behavior and mannerisms create discomfort that borders on irritation. His presence is designed to provoke, making him memorable but difficult to watch.

Lord of the Flies Review: Jack Thorne Makes William Golding’s Classic Feel Painfully Timely

This Lord of the Flies review is spoiler-free.

Even if you’ve never actually read Lord of the Flies, you probably still know the story of Lord of the Flies. William Golding’s iconic novel was written over 70 years ago, but its influence can still be felt throughout our pop culture today. It has been parodied on The Simpsons and South Park. Dramas from Lost and The 100 to Yellowjackets have cribbed bits and pieces from its story. Heck, Stephen King named his town of Castle Rock after a fort in the novel. There’s probably even an argument to be made that reality elder statesman Survivor — and all the shows it subsequently spawned — owe Golding a debt of gratitude.)

The basic beats of its story are familiar, if not necessarily for the faint of heart: A tale of shipwrecked children stranded on a deserted island whose attempts to form a functioning society spiral into savagery, chaos, and death, it’s a showcase for the worst elements humanity is capable of, told using a group of its most vulnerable members. As such, it’s difficult to imagine a writer working today who’s better suited to telling this story than Jack Thorne. The creator of the critically acclaimed limited series Adolescence, which sparked a global conversation about toxic masculinity, internet culture, and what, precisely, is going on with teen boys today, this feels like nothing so much as the natural next step for him as a writer and creator, a trip back to the text that first interrogated so many similar questions. 

The bones of the story remain the same. Set in the 1950s, Lord of the Flies follows a plane full of British schoolchildren, seemingly being evacuated from England during an unnamed and unexplained war. The plane crashes on a remote tropical island, the pilot dies, and the kids are left to fend for themselves, with no grown-ups to tell them what to do. What follows is a rapid descent into anarchy.

Though the boys initially elect a leader and attempt to impose familiar rules of structure and order — they are British, after all — things crumble rapidly. Factions form, fight, and fall out, with members arguing over everything from where to build lavatories to whether the weakest among them are worthy of care and protection. As the group splinters further, almost everyone descends into a kind of savagery, painting their faces with blood and clay, joining in chants and dances, and just generally becoming the monsters they’re so afraid lurk in the woods around them.

Golding’s work has been adapted for the screen a handful of times, this four-part Netflix drama is the first time the novel has been made into a television series. The shift in format not only gives its story more space to breathe, but also adds new flashbacks meant to flesh out several of the core characters’ histories. Each of its episodes is centers on one of the story’s four main characters: BrainyPiggy (David McKenna), cruel Jack (Lox Pratt), sensitive Simon (Ike Talbut), and well-meaning Ralph (Winston Sawyers). 

With an assist from Piggy, Ralph is initially elected leader, thanks to being moderately good at sports and the son of a military officer. He comes into immediate conflict with the hyper-competitive Jack, a smug choirister who wants power for himself. Not content with being named leader of the “hunters”, a.k.a the squad charged with finding food for the rest of the camp, he sets out to undermine Ralph at every turn, ultimately using his charisma and disregard for rules to tempt those bored by his rival’s attempts to impose structure and order in such a wild locale.

The series’ cast, comprised of over thirty child actors of various ages with little to no acting experience, is phenomenal. It’s honestly incredibly refreshing to see actual kids cast as children for once, a move that not only makes the entire endeavor feel more realistic, but the characters inevitable descent into violence all the more harrowing. (So many of these kids are just so small.) McKenna is particularly excellent, imbuing Piggy with a level-headeness that feels beyond his years, a sly sense of humor, and a fervent belief in right and wrong. And Pratt, who is set to play Draco Malfoy in the forthcoming (and largely unnecessary) HBO Harry Potter series, already feels like a star in the making. HIs Jack is petulant and aggressive by turns, horrifying and infuriating in equal measure. (That kid is a Slytherin through and through, is what I’m saying.) 

Even the island itself comes alive as a character in its own right. Director Marc Munden makes the most of the show’s lush Malaysian filming location, blending wildlife shots, vibrant colors, and beautiful vistas in a way that feels as much like a nature documentary as it does a TV drama. Extreme close-ups of the boys’s faces slide by, interspersed with shots of rotting fruit, dead animal carcasses, and a plethora of insects. Hallucinatory night shots see the forest drenched in reds and pinks, giving an otherworldly sheen to the world the boys find themselves in. As technical achievements go, this series is a complete success. (Well..except for the CGI wild pigs. Those aren’t great. But that’s a nitpick, in the grand scheme of things.)

As for its narrative, Golding’s lessons about the fragility of social norms, the dangers of tribalism, the appeal of charismatic leaders and the seductive nature of violence feel as timely and terrifying today as they ever have. (Possibly even more so, given, well…everthing.). Thorne smartly doesn’t attempt to draw direct parallels between the world of Lord of the Flies and our own present day, content to poke at broader truths and questions about human nature and let his audience draw their own conclusions. The result is something that feels bigger than the sum of its parts, and, at the very least, a rather convincing argument to give this book we read in English class so long ago another look.

All four episodes of Lord of the Flies are available to stream on Netflix now.

Euphoria Season 3 Is Full-On Body Horror – We Should Have Seen It Coming 

This article contains spoilers for Euphoria through season 3 episode 3.

Euphoria has always enjoyed mistreating young bodies. From the physical toll Rue (Zendaya) faces during her numerous drug relapses and withdrawals, to the way characters like Jules (Hunter Schafer) and Kat (Barbie Ferreira) utilize their sexuality in dangerous situations, the story of this teenage drama is told through the exploitation – self-inflicted or otherwise – of the human body 

Euphoria has also never been short on raw violence. In its first two seasons, Nate (Jacob Elordi) chokes and bruises his ex-girlfriend, puts another high schooler in a neck brace after almost beating him to death, and holds that same ex-girlfriend at gunpoint during his streak of blackmail. Season 2 built on these violent themes by writing a fatal ending for Ashtray (Javon Walton), the murderous sidekick of the show’s primary drug dealer, Fezco (Angus Cloud). 

The first episode of Euphoria’s third season arrived on April 12, with die-hard fans and skeptics alike wondering how this installment would build on or burn down the themes of hedonism and bodily cruelty that have come to be expected out of the show. The first three episodes have not only led the characters farther down that path, but into realms of actual body horror that put the first two seasons to shame. 

Body horror is defined as a focus on the mutilation, decay, or otherwise torture of the human body, in which “the human body itself becomes a source of fear, anxiety, and disgust, often through graphic and disturbing depictions of bodily changes, mutilation, or alteration,” according to IMDb

The most obvious example of body horror in Euphoria’s newest season comes in the form of Nate Jacobs. The once powerful high school bully has found himself in over his head as a real estate developer, owing money to not only his friends, but to a Godfather-esque investor named Naz who is owed over half a million dollars. 

In episode 3, Nate and Cassie Howard (Sydney Sweeney) finally get married. Although the ceremony goes relatively smoothly, Naz makes an appearance threatening to become Nate’s “worst nightmare.” In seasons 1 or 2, this likely would have meant more blackmailing or a tensely homoerotic conversation in the parking lot of a motel four episodes later. In season 3, this threat was followed through before the credits roll; Naz and his henchman surprise the groom as he carries his wife across the doorstep, leading to a gruesome beating for Nate and a broken nose for Cassie, and ending with Nate’s pinky toe severed from his foot.

The ending of this episode evokes films by David Cronenberg and Quentin Tarantino. Although these directors and many others have laid a solid foundation for the body horror subgenre in the film industry, it is rare for a teenage drama to feature such explicit sequences of bodily harm. Recent television shows like The Last of Us, The Boys, and Hannibal have contributed to a culture of body horror fans within the TV industry, but for a show not categorized under the umbrella of horror, Euphoria is taking an unexpected leap with these moments of violence. 

As if the burst pipe of Nate’s toe spewing blood all over his luxury home wasn’t enough, the new season of Euphoria is also exploring body horror within its fetishized sex scenes. Jules has always been the femme fatale of the show, and in this season she has dropped out of art school to pursue a surprisingly lucrative career as a sugar baby to disturbed men. 

One of these men is a married plastic surgeon who, after courting Jules for some time, wraps her head-to-toe in cellophane, naked with her arms stretched to the sky in a bone-chilling cosmetic cocoon. “I just might keep you forever,” he says as her breath fogs up the plastic wrap plastered across her mouth. It’s hard for a singular moment to outdo every freaky scene that precedes it in a show like Euphoria, but this one brought a whole new level of horrifying to season 3. 

The show’s antihero, Rue Bennett, is facing some of the most harrowing plot points of the show thus far, whether she’s teetering on the edge of the border wall between Mexico and the United States or staring down the barrel of a gun while her boss shoots an apple resting on her head. 

Rue begins her season 3 storyline by paying back her debt to the unassuming, but feared drug dealer Laurie (Martha Kelly). Instead of paying Laurie back the millions of dollars she owes, Rue starts working as a drug mule, forced to “body pack” by swallowing dozens of balloons filled with fentanyl and transporting them into the United States. 

The scene in which Rue and her friend Faye Valentine (Chloe Cherry) are forced to lubricate their throats and choke down latex-bound balls of lethal drugs is a grotesque depiction of the illegal drug trade. It is paired with another scene in which a young woman collapses at an airport while Rue narrates about the immediate fatality when a balloon pops inside a person’s digestive system in another haunting and horrific moment of TV from Sam Levinson, the show’s director and screenwriter. 

Levinson has faced backlash from fans and others in the industry for his objectification of young women, on both Euphoria and his single season drama, The Idol, including unnecessary nude scenes and a general unwillingness to write female characters who aren’t objects of sex. Ultimately, it will be the remainder of Euphoria’s third season that clarifies whether Levinson is displaying a penchant for gratuitous impropriety, or if these moments of body horror are elements of the show’s larger shift into a popular horror subgenre.

New episodes of Euphoria season 3 release Sundays at 9 p.m. ET on HBO and HBO Max.

The Devil Wears Prada 2 Eulogizes Journalism, Movie Stardom and Last Gasps of Creativity

It was a different world The Devil Wears Prada opened in 20 years ago, as indicated by the fact that you could open a summer hit like The Devil Wears Prada without it being a sequel, remake, or reimagining. To be sure, the 2006 original—which also netted Meryl Streep an Oscar nod—was still based on a hit bestselling book. But even that trend of adapting popular, gossipy novels aimed at a slightly more sophisticated audience was the rule in Tinseltown, not the exception.

It was a time when comedies were blockbusters, summer crowd-pleasers didn’t regularly cost a cool quarter-billion dollars and up, fashion magazines dictated the trends of entire fall clothing lines, and 20th Century Fox existed.

So by virtue of The Devil Wears Prada 2 opening with the familiar “Fox Fanfare,” but now in front of a 20th Century Studios logo, it should be clear we’re in a drastically altered landscape where even Streep’s iconic Miranda Priestly is pitifully hanging on by her blood-red fingertips. Forget about sympathy for the Devil; this is a full-throated salute and eulogy for anyone still trying to do anything in the media landscape besides squeeze pennies and dimes from a wasteland’s husks.

Already critics have rightly picked up and even felt appreciated by The Devil Wears Prada 2’s tribute to print journalism. While the marketing before the film’s release wisely basked in the joy of seeing Streep back in her singularly crisp silver bob, not to mention Anne Hathaway and Emily Blunt returned as well—and even the Stanley Tucci!—the real surprising heart of the film is how sweetly it romanticizes journalism. And by extension filmmakers who also miss the art of telling a story instead of curating content.

The thrust of the film is that for complicated reasons, the fictional fashion magazine Runway—a thin layer of frosting above the film’s setting in Vogue and Anna Wintour’s infamous office space—is in crisis, and Miranda Priestly’s dithering CEO has forced her to take on Andy Sachs (Hathaway) as her new senior features editor. This isn’t due to a strong belief in Andy, just awareness she gave an impassioned, expletive-laden defense of written journalism that went viral on TikTok (she had just been laid off moments before accepting an award for reporting).

Yet this amusing scenario is more than just a contrivance for explaining how Miranda and Andy would ever work together again after the end of the last movie; it is also the first step into a film bathed in the uncertainty and gallows humor cynicism that’s infecting newsrooms from New York to D.C., and LA to London. (Never mind the smaller markets where local newspapers and magazines are virtually extinct.)

As Tucci’s long-suffering fashion director at Runway scoffs, “Runway isn’t a magazine anymore.” There’s a book still, if barely read, but they’re now a content portfolio where his work is designed to be passively scrolled by while people are on the toilet. “I used to do four-week shoots in Africa every year,” he laments, “now I’m lucky if I can rent a studio for the day in Hoboken.”

Like anyone who still makes their living, if only just, by the printed word, I could feel that line and so many others. Even in as quirky and whimsical an offshoot of media as entertainment journalism, I’ve been around enough in the past 13 years to see the noose tighten. Another marquee publication gone; another outlet absorbed and its newsroom eviscerated; those brands consolidated, and half the staff at each deemed redundant by C-suites and boards that never seem to run out of chairs.

At times it can feel like arriving late to an epic party that lasted roughly the whole of the 20th century. But now the tables are being folded up, the food put away, and the music has awkwardly stopped.

So, yes, it is easy to see why some critics are smitten with The Devil Wears Prada 2, but then it is perhaps easy to see why even the filmmakers of something as most assuredly unstoppable as a sequel to one of the defining films of the 2000s and Millennial youth can feel like their backs are up against the wall. Because, starting with the lack of Fox beneath that “Fox Fanfare,” The Devil Wears Prada 2 is releasing in a world where the far glitzier and swankier Hollywood open bar is also seemingly near last call.

There is something so satisfying about watching Streep, Hathaway, and Blunt all back onscreen and trading mean-girl put downs and calls for fashion-shaming. It’s also nice because it’s getting increasingly rare to see any of them on the big screen. While Hathaway is having a genuinely nice moment this spring and summer, leading sure-thing Devil between the more opaque Mother Mary, and having a pivotal role in The Odyssey come July, one of those was a tiny-budgeted A24 indie mood piece masquerading in horror couture, and the other is a supporting role with longtime champion Christopher Nolan.

Yet in recent years, she’s often been relegated to streaming movies like the very good The Idea of You and the very meh The Witches. And as with virtually every other household name these days, she also got a well-reviewed and little-watched Apple prestige series in WeCrashed. Meanwhile Emily Blunt also does prestige work, often though as “the wife or girlfriend,” a la The Smashing Machine and Oppenheimer. And even the Meryl Streep, while always appearing to be fine-dining on anything she appears in, is also more often being pushed to the small screen—Big Little Lies, Only Murders in the Building—or in films that live there, such as Netflix’s The Prom and Don’t Look Up.

It should be stressed though that each is still doing a lot better than some of the top talent of their respective generations who don’t have touchstones like The Devil Wears Prada to revisit; or a studio still thriving enough to make it.

Consider that when The Devil Wears Prada’s original patron at Fox was subsumed by Disney in 2019, it was like a sequoia tree toppled over with reverberations that rippled from the Hollywood Hills to Venice Beach. In the last 12 months, the Ellison family has essentially swallowed the legacies of both Paramount Pictures and Warner Bros. whole, and all the while Wall Street prognosticators clapped, saying, “It is the only way to succeed.”

That small-ball, infinite growth, logic is what got the man who gave the world Dr. Pimple Popper and Naked and Afraid on reality TV the chance to run the studio of Bogie and Bacall into near-extinction. But David Zaslav is getting a golden parachute for his troubles—and after nearly firing the creative executives who greenlit Sinners and One Battle After Another for him before either of those films opened.

The bottom line is fewer studios means fewer movies with the apparatuses to succeed in theatrical distribution, which means fewer opportunities for everyone whose value comes from making movies, as opposed to exploiting them. Among those that are getting made are products increasingly retrofitted for the algorithm and “second screen” viewing habits, which can be summed up as streaming services asking filmmakers to make their movies dumber and duller, so folks can follow along while scrolling on IG reels. It’s the same logic that saw print journalism get co-opted by SEO optimization practices (clickbait). But as theatrical attendance continues to decline in a post-COVID world and studios make fewer theatrical films—or Google turns off the spigot of their search engine firehose that so many outlets once catered to—everyone’s fingertips strain evermore to hang on.

One of the running gags in The Devil Wears Prada 2 is everyone, including the imperious Miranda Priestly, is forced to flatter and secondguess at the whims of their patrons. While the movie begins with Miranda and Andy brought together by the same old guard billionaire who owned Runway in the 2006 film, in the sequel his son and heir is waiting in the wings with a line of consultants (or “undertakers,” as Andy accurately surmises). A major question in the film becomes if there are better alternatives for Runway, for Miranda, for Andy, and just anyone who wants to do good work.

Some potential investors say the right things, others are deliciously drawn tech bros who mindlessly yap about the greatness of AI while obliviously sitting beneath Da Vinci’s The Last Supper in Milan. In the end, though, they’re all just presented as thin lifelines in a raging, tumultuous sea. At one point, Miranda even tells Andy they’re not friends, exactly, they’re just looking for a piece of driftwood big enough to hold both of them. For right now.

Even a film—or IP—as apologetic for bad bosses and materialistic excess as the Devil Wears Prada has relatively few illusions about the capitalistic race to the bottom. It’s a tumble that leaves creatives and visionaries whose work people enjoy finding their greatest success to be…. clinging to wrecked driftwood. For right now.

The Devil Wears Prada 2 is in theaters now.

Hokum Cements Adam Scott as One of Our Great Everyman Actors

This article contains light spoilers for Hokum.

Early in the Irish horror movie Hokum, American author Ohm Bauman loses what little patience he had with the staff of the rustic hotel he’s visiting. When bellboy Alby (Will O’Connell) fails to comprehend his blunt and rude rejection, Ohm places a spoon over a candle, lets it heat up, and then presses it into the interlocutor’s hand. Alby recoils with shock and waits for an explanation, but Ohm only says, “You’re gonna need thicker skin than that if you’re gonna make it as a writer.”

For all that writer/director Damian McCarthy does right—that is, for as much as Hokum is really, really scary—the script is filled with characters who make unbelievable decisions, even by horror movie standards. Yet Adam Scott‘s performance as an unpleasant and deeply sad Ohm allows us to buy into not just the unlikely interpersonal relationships, but also the Irish folklore that drives the movie.

The majority of Hokum takes place in the Bilberry Woods Hotel in rural Ireland, where Ohm’s parents spent their honeymoon. Troubled not just by his inability to end his incredibly successful trilogy of books about a conquistador, but also by the trauma of losing his mother as a small child and his late father’s cruelty, Ohm decides to visit Bilberry and scatter his parents’ ashes. Although he immediately condescends to everyone from creepy owner Cob (Brendan Conroy) to gruff groundskeeper Fergal (Michael Patric) to needy clerk Mal (Peter Coonan), Ohm manages to make nice with bartender Fiona (Florence Ordesh) and local oddball Jerry (David Wilmot).

After a pair of shocking events (which we won’t spoil here), Ohm decides to investigate the hotel’s locked-off honeymoon suite. The investigation forces the skeptical Ohm to deal with all manner of frightening phenomena, including ghosts, witches, and an absolute nightmare creature called Jack the Jackass.

As the outsider, Ohm plays the audience surrogate, focalizing our fears and teaching us how to react. That’s challenging, given how often the script calls for Ohm to make terrible decisions, not least of which is “Don’t go back into the hotel once the weird stuff the locals describe start actually happening.” And yet, we trust Ohm as our representative precisely because of Scott’s ability to play an everyman.

Adam Scott has been on our screens since he was a teenager, initially drawing attention for playing bully Griff Hawkins in the sitcom Boy Meets World, but then falling back into a series of steady, but unremarkable, minor roles. Although most of these parts were variations of Griff, playing a little snot in an episode of NYPD Blue or a libertine in 18th-century France in Hellraiser: Bloodline.

Scott finally found his ideal roles in 2009 and 2010, first as failed commercial actor Henry Pollard on Party Down and then as former child star politician Ben Wyatt in Parks & Recreation. As suggested by the similarity in their backgrounds, these characters made use of Scott’s long onscreen history, asking him to play somebody who has grown tired of spectacle.

That combination of both insider knowledge and outsider reserve made Scott the perfect person to usher the audience into the absurd worlds of Party Down Catering or the municipal workers in Pawnee, Indiana. With their exasperated glances to the camera and worn-out catchphrase, “Are we having fun yet?” Scott’s characters would ensure the audience that they were right to find all the goings-on quite silly. But the fact that he was still part of it, standing there as Leslie Knope extolls the virtues of civic pride or when Ron Donald pitches Soup R’ Crackers again.

Although extremely different in tone from those breakout works, Hokum asks Scott to do the same. With his bangs pulled down atop his thick glasses, an unkempt beard around his face, Ohm looks every bit like someone who doesn’t want to engage with humanity. Moreover, McCarthy throws the audience into a story that pulls not just from Irish folklore, but also from mythology unique to the hotel setting, and also a fictional kid’s show that Ohm watched as a child. Hokum gives viewers every reason to dismiss the material as too oblique or unrealistic.

However, we stay in it because Ohm stays in it. He recoils in fear when a donkey man shoves his face through a curtain and he scrambles away when a dumbwaiter threatens to drag him down to the hotel’s hellish basement. But after registering his fear for the audience, he remains in the hotel, staring skeptically at the space where the monster just was. He allows us to identify everything that happened as unrealistic, while still giving us a reason to stay with the story.

Even when he’s unlikable, even when he’s doing things we would never do, Adam Scott represents us on screen.

Hokum is now playing in theaters worldwide.

Monarch: Legacy of Monsters Star Reveals the Season 2 Ending That Almost Was

The following contains spoilers for the Monarch: Legacy of Monsters season 2 finale.

Monarch: Legacy of Monsters’ second season may feature some of the series’ biggest Titan battles to date, but its primary story is a deeply human one. From Cate’s refusal to leave Lee Shaw in Axis Mundi to Kentaro’s wild plan to try to save the dead father he can’t bring himself to admit he lost, it’s been a season of big emotions, hard choices, and far-reaching consequences. And perhaps no character has been asked to endure quite as much as Keiko Randa, the brilliant, time-displaced scientist who is forced to reckon with so much loss and change during season 2’s 10 episodes.

“They really tortured her through the season,” Mari Yamamoto, who plays Keiko, laughingly tells Den of Geek. “I think she probably needs a lot of therapy, right? Because it’s been 10 days…the whole season is actually just 10 days, isn’t that crazy? I’ve been describing it as she’s grieving while she’s running.” 

Over the course of those 10 days, Keiko has (among other things) lost her son Hiroshi, learned that Lee consciously chose to leave her in Axis Mundi to protect the future, discovered that the letter she wrote admitting her feelings for Lee broke up the family she left behind, and found the spot where Bill Randa most likely died on Skull Island, along with a series of notes that affirm he never gave up the search for his wife. It is, by any sort of reckoning, a whole lot

“I think she gets to a place around episode seven or eight, when [she and Cate] are on their mission to get Co-cai [a.k.a. Titan X] back on track. I think, for her, there is a sense that, ‘I’ve literally lost my son too, if I die doing this, I’m okay with it. If I die doing this but I can save people, then maybe it’s worth having traveled in time and lost everybody,’” Yamamoto explains. “She’s at a place where…I wouldn’t call it suicidal, but I think it’s a very ready to really risk it all kind of place. But then she comes back from it. And I think that forging this bond with Cate, seeing Cate accomplish this monumental task of getting a Titan back on track, it reignites her own excitement about Titans and the work she was doing.”

Keiko’s relationship with her granddaughter doesn’t just give her a purpose in her strange new modern life; in one version of the Monarch finale, it actually played a key role in her decision to keep living it.

“One thing I will say is that I think the reason that she finds the will to live again is Cate,” Yamamoto says. “In the original cut, Keiko could choose if she wanted to go back to the past with Lee. And she almost steps in, but then she turns back for Cate.”

Keiko and her granddaughter are surprisingly alike, from their rampant curiosity and unique connection to the Titans to their time spent in Axis Mundi.

“At the very end of last season, [Keiko] couldn’t even process that she had a grandkid,” Yamamoto says. “But seeing the similarities in Cate and the way she understands her, about why she had to go down into the pit all those years ago, it’s small moments, but inside of her there’s a massive shift because she’s just like, ‘wow, you really are like me, and you really understand me’. And that bonds them even more.”

To hear Yamamoto tell it, Keiko’s onscreen bond was very much informed by her own off-screen relationship with co-star Anna Sawai, who plays Cate. 

“I think we really built it off our own connection as actors. Like Anna is just… as everybody knows, she’s just incredible. I look into her eyes, and I basically start crying. That was the kind of relationship we had. We completely trusted each other, and I so admire her. I think that permeated into Keiko’s feelings as well.”

Of course, Keiko’s bond with her granddaughter isn’t the only relationship that’s front and center in the season 2 finale. (Though it is the only one that involves a badass rescue beneath a pair of dueling Titans.) Her relationships with both Lee and Billy are tangled and messy enough that they could probably fuel an entire 10-part drama all on their own. But for Yamamoto, it’s the inexplicably connected nature of this trio that makes their shared bonds so compelling.

“I’ve never wavered in my belief that the three of them — Billy, Lee, and Keiko — are soulmates,” she says. “It’s not just Lee and her, and it’s not just Billy and her. It’s the three of them. And, in a strange way, Lee and Keiko don’t work without Billy, which is the tragedy, right? Kurt [Russell, who plays the older Lee Shaw] was saying that when we find Billy’s letter in the rift, Lee also looks at it and realizes it’s for Keiko, and he’s like, ‘Damn, I was never meant to be with her. It was always supposed to be Billy.’ That’s how he played it. And I thought that was so beautiful. But also at the same time, they couldn’t have worked without Lee. If any of those elements go missing, including the time and setting on all of those things, they’re just doomed. That’s the tragedy of these three people.”

The finale manages to give Lee and Keiko — at least their younger selves — some closure thanks to the timey-wimey magic of the rift energy that sends Titan X back to Axis Mundi and allows the pair to see each other one last time. (Granted, Lee’s older self also gets a moment with his younger self, which is equally moving in a slightly different context.)

“Playing that moment, looking at young Lee…as I said, there was a scene that was cut where she struggles to make that decision, but she ultimately accepts it, decides to stay, and says goodbye to young Lee. He’s okay with it. It’s that thing of, ‘See you in the next one’, you know? There’s a hope in that sadness. And looking at Lee now…he’s still that person that you know is always going to be there for her. They do have their differences, of course, but she knows that and he knows that, and that’s just how it’s going to be, no matter what age difference there is.”

As we look toward a third season of Monarch, Keiko and Lee are taking separate paths in their attempts to track down the still-missing Kentaro and Isabel Simmons before they can find a way to open a permanent rift, a choice that could provide some intriguing conflict for the pair down the road.

“It would kind of be interesting to see them fall into real opposition, right?” Yamamoto says. “Because they haven’t really, in these 10 days we’ve seen them together. And like the more intense the feelings you have for someone, what happens when that curdles or is misdirected? I think that’s an opportunity to explore both their dark sides, maybe. That’d be really interesting.”

All 10 episodes of Monarch: Legacy of Monsters season 2 are available to stream on Apple TV now.

Monarch: Legacy of Monsters’ VFX Supervisor on the Debut of Another Familiar Kaiju and Humanizing Titan X

The following contains spoilers for the Monarch: Legacy of Monsters season 2 finale.

Monarch: Legacy of Monsters’ second season wraps up with a monster-sized face-off between Kong and Titan X on Skull Island, another appearance from Lee’s past self, an emotional split between Cate and Kentaro, and the dramatic rescue of a stolen Titan egg. The finale wraps up most of the season’s outstanding plot threads, but it also sets plenty of new stories in motion, including the establishment of a secret Monarch division (in a literal basement) that’s charged with the top secret task of locating Kentaro and Apex’s Isabel Simmons, who are determined to find a way to Axis Mundi…and potentially a still-alive version of Hiroshi Randa. 

But with Titan X and its egg safely returned through the rift, and the threat of imminent disaster averted, fans will most likely be focused on the finale’s coda, a moment that reveals the first Monarch appearance of another very familiar kaiju: Rodan.

“It was an evolving conversation of what our big reveal for the coda was going to be, and do we know where it’s going? [Rodan] ended up being a pitch at some point,” Monarch’s VFX Supervisor Sean Konrad tells Den of Geek. “I don’t want to say when I found out specifically, but it was a really interesting [conversation]. And that ended up being one of the last things we shot. We were shooting in Thailand, and I think it was our last day with Kurt [Russell, who plays Lee Shaw]. We were looking around for a location with a vantage point, with a nice reverse, so we could shoot something. It took a long time to find it, but we ended up at a perfect spot. Even though a lot of that view over to the volcano is digital.”

Given that Legacy of Monsters takes place in the gap between the films Godzilla and Godzilla: King of the Monsters, this is technically our first sighting of Rodan in the Monsterverse timeline. Here, the giant pterosaur-like Titan is nesting in a volcano in what appears to be Thailand — an intriguing development given that, by the time of King of the Monsters, Rodan is contained in Mexico. But, visually, the creature looks essentially the same. 

“This Rodan is basically the same monster from Godzilla: King of the Monsters. And I love that design,” Konrad says. “So we didn’t really want to touch it, but it’s an ongoing thing, as you’re telling a story, you always find new details in an asset that need improving or working on, or other stories you can tell with them. While we didn’t do a lot with Rodan in this case, the company that took that work on, [Rodeo FX], they did change things a little bit, but it was more to make the rendering of it a little bit more efficient.”

Viewers were likely a bit surprised to see how little Godzilla features in Monarch’s second season. The giant lizard only appears twice in season 2, first during a sixth episode dream sequence that sees the creature destroy Tokyo, and again during its penultimate hour, which sees Godzilla and Titan X face off. And, according to Konrad, that minimalism is on purpose.

“When Godzilla shows up, it’s on. But there’s only so many sorts of big, action-y moments you can really do with Godzilla,” he says. “A lot of those moments have been done, like Godzilla on the ropes in 2014, looking at the soldiers on the ground like they’re ants. And then, Godzilla doesn’t quite understand humanity in the way that Kong does. So there’s less you can really do without starting to violate what the canon of the character is. But I always like a Godzilla scene. I always like those challenges.”

Instead of Godzilla, the mysterious Titan X takes center stage for much of season 2, a new monster that, from its earliest moments, seems quite different from many of the other creatures we’ve met in this universe, from its more demonstrative and expressive demeanor to its actively maternal tendencies. 

“It’s a lot of the same premise of Star Trek, for instance, where [Gene] Roddenberry has this rule about how every alien needs to have eyes so you can empathize with them,” Konrad says. “I think their eyes end up being a really important part of Titan X and in the visual filmmaking language, we use a lot of close-ups of the eye to give a lot of emotionality to [the creature].”

Konrad and his team employed many visual cues in the creation of Titan X to help convey the breadth of the creature’s expressions and feelings. 

“While the face itself may not have a ton of range of motion, we figure out what the most empathetic angles were for it,” he continues. “In the same way that if you, say, shoot a person from below, they’re going to look a bit more heroic, or they might look dominating. You shoot somebody from above, they’re automatically a bit meeker or smaller. So you get the camera up above and suddenly she starts looking a little bit more empathetic. You tilt the head a certain way, and she starts to look a little bit more empathetic. Or you can go in the opposite direction and really take the lip and expose more teeth, and suddenly she starts to look a little bit more fearsome. We really wanted to design all those aspects into it.”

Given that much of Titan X’s behavior is motivated by its quest to protect its egg, it was also important to acknowledge that, at least to some recognizable degree, the creature is female and a mother. 

“We didn’t want to overdo the gender binary feminine look of Titan X, either, because what is the notion of that [for these creatures]?” Konrad says. “But a thing that I looked at a little bit was the alien queen [from Alien] and the literalness of the crown in that design. The normal alien is basically just a giant phallus, but they subvert it for the queen by making it more of a crown. Those kinds of ideas are what informed us as we were doing this — we gave her very pronounced eyelashes, for example. Those are very subtle things that I don’t think the audience necessarily notices or reads — things you’re not conscious of, but then retroactively become conscious of as the story reveals itself, is kind of what we were going for.”

With the reveal of Rodan at the conclusion of the finale, it’s clear that Monarch isn’t done bringing some of its biggest monsters to the small screen. 

“I always question whether or not I should answer those kinds of things,” Konrad laughs when asked if there’s a particular creature or kaiju he’d be most excited to bring into this universe. “It’s just so tricky because you’re like… just by saying something, does that suddenly lead the audience to [assume that’s happening]? But I worked on Godzilla 2014, and bringing Godzilla into the world in this way was really exciting. There’s always a million other creatures from the canon that I think are really interesting. I love all my children equally… But I always wonder about how you could update, like, Ebirah, which a lot of people hate as a design. I’m always curious about the ones that would be really hard to do.” 

All 10 episodes of Monarch: Legacy of Monsters season 2 are available to stream on Apple TV.

15 Games That Took Over the Internet Overnight

Video game companies are always trying to break the formula of success, of the next big thing that players will be obsessing over. It is, of course, a fool’s errand, since the eves and flows of the market are not something you can often predict. But the search for the golden goose continues.

You may notice that, from the games shown below, most of them are indie success stories. This is not because they cracked a code, it is because thousands of indie ideas are constantly appearing, one more original than the other. We can’t know what the next viral sensation will be, but it will likely come from a creative mind with an idea to tell.

YouTube/Hornster

Among Us

Originally released in 2018, Among Us exploded in popularity in 2020 thanks to streamers and online play during lockdowns. Its simple social deduction gameplay made it instantly accessible, turning it into one of the most visible multiplayer games almost overnight.

YouTube/Throneful

Fall Guys: Ultimate Knockout

Fall Guys became an instant hit upon release, driven by its colorful design and chaotic party gameplay. Its strong presence on streaming platforms helped it dominate online spaces quickly, making it one of the most talked-about games of 2020.

YouTube/IGN

Palworld

Palworld surged in popularity immediately after launch, drawing attention for its unusual mix of creature collection and survival mechanics. Its viral spread was fueled by online discussion about its concept, quickly making it one of the most talked-about games of early 2024.

YouTube/IGN

Lethal Company

This co-op horror game gained rapid traction through streaming platforms, with players sharing chaotic and comedic moments. Its low price and emergent gameplay helped it spread quickly across online communities shortly after release.

YouTube/PlayStation

Fortnite Battle Royale

While Fortnite existed before, its battle royale mode transformed it into a global phenomenon almost instantly. Its free-to-play model and constant updates helped it dominate gaming culture and online discussion soon after its release.

YouTube/Apex Legends

Apex Legends

Apex Legends launched without prior announcement and quickly attracted millions of players. Its polished mechanics and connection to an existing franchise helped it spread rapidly through word of mouth and streaming.

YouTube/GameSpot

Pokemon GO

Pokémon GO became a worldwide sensation almost immediately after release. Its augmented reality gameplay encouraged real-world exploration, leading to massive player engagement and constant online sharing of experiences.

YouTube/IGN

Helldivers 2

Helldivers 2 saw a rapid surge in popularity due to its cooperative gameplay and strong community-driven moments. Its online presence grew quickly as players shared large-scale battles and coordinated missions across social platforms.

YouTube/Xbox

Phasmophobia

This indie horror title gained massive visibility through streaming shortly after release. Its voice recognition mechanics and cooperative gameplay created memorable moments that spread quickly across online communities.

YouTube/IGN

Valheim

Valheim launched in early access and quickly became a viral hit. Its blend of survival mechanics and exploration, combined with low system requirements, made it widely accessible and heavily discussed online.

YouTube/Minecraft

Minecraft

Though its rise was more gradual, Minecraft experienced sudden bursts of viral popularity at different points, especially through YouTube content. Its sandbox nature made it ideal for shareable experiences that spread rapidly online.

YouTube/Mega Crit

Slay the Spire

While initially niche, Slay the Spire quickly spread through streaming and word of mouth. Its addictive loop and strategic depth made it a frequent topic of discussion in gaming communities shortly after gaining visibility.

YouTube/poncle

Vampire Survivors

Vampire Survivors became a viral hit due to its simple mechanics and highly addictive gameplay loop. Its low cost and constant updates helped it spread quickly through recommendations and online discussions.

YouTube/Coffee Stain Studios

Goat Simulator

Goat Simulator gained viral popularity almost immediately due to its absurd premise and glitchy gameplay. Its shareable, chaotic moments made it a perfect fit for online content and quick internet spread.

YouTube/Trailer Vault

Only Up!

This climbing-focused game became widely visible through streaming, with players sharing both success and failure moments. Its difficulty and simple concept made it easy to watch and quickly spread across platforms.

15 Movies That Captured the Cold War Paranoia of the ’70s and ’80s

The Cold War shaped global politics, perspectives, and the understanding of the outside world for many people. The paranoia of a looming World War 3 was real, and with those topics capturing people’s minds, the Hollywood of the ’70s and ’80s made sure to capitalize on it.

The idea was to capture the geopolitical anxiety and amplify it, imagining worst-case scenarios or exposing unseen conspiracies. These films remain powerful reminders of a time when fear of espionage and annihilation felt like a daily reality, a type of dread that seems to be looming over us again.

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The Day After

This television film shocked audiences with its realistic depiction of nuclear war and its aftermath. Its focus on ordinary citizens facing catastrophic consequences made it one of the most direct portrayals of Cold War fears ever broadcast.

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WarGames

Centered on a teenager who accidentally accesses a military supercomputer, the film reflects fears of technological escalation. Its premise highlights how easily nuclear conflict could be triggered through misunderstanding or system failure during the Cold War.

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The Hunt for Red October

Though released just after the 1980s, the film embodies Cold War tensions through submarine warfare and political uncertainty. Its focus on defection and mistrust reflects the era’s underlying paranoia about shifting allegiances.

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Three Days of the Condor

This thriller centers on a CIA analyst who discovers a conspiracy within his own agency. Its portrayal of internal betrayal and surveillance reflects the growing distrust of institutions during the Cold War era.

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Invasion of the Body Snatchers

Using science fiction as allegory, the film explores fears of conformity and hidden enemies. Its premise, that anyone could be replaced without notice, mirrors Cold War anxieties about infiltration and loss of identity.

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Red Dawn

Depicting a Soviet invasion of the United States, Red Dawn channels direct Cold War fears into action. Its portrayal of teenagers resisting occupation reflects both paranoia and a desire for defiant patriotism.

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The China Syndrome

While focused on nuclear energy, the film taps into broader fears of technological disaster and institutional cover-ups. Its themes align closely with Cold War anxieties about secrecy and catastrophic consequences.

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Fail Safe

Though earlier, this film remained highly relevant during the Cold War’s later decades. Its depiction of accidental nuclear war reinforced fears about human error within complex military systems.

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Dr. Strangelove

A satirical take on nuclear brinkmanship, the film highlights the absurdity of mutually assured destruction. Its dark humor underscores how fragile global stability could be during the Cold War.

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Firefox

Clint Eastwood plays a pilot sent to steal an advanced Soviet fighter jet. The film emphasizes technological rivalry and espionage, both central concerns during the height of Cold War competition.

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The Spy Who Loved Me

This James Bond entry reflects Cold War tensions through global espionage and nuclear threats. While stylized, it still draws heavily on the era’s geopolitical conflicts and mutual suspicion between superpowers.

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Gotcha!

This spy thriller follows an American student pulled into real espionage while traveling in Europe. Beneath its lighter tone, the film taps into Cold War paranoia through shifting identities, double agents, and the idea that danger could be hiding in plain sight.

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Rocky IV

Framed as a boxing match, the film becomes a symbolic confrontation between the United States and the Soviet Union. Its exaggerated portrayal captures the ideological rivalry at the heart of the Cold War.

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Threads

This British film presents an unflinching depiction of nuclear war and its aftermath. Its stark realism and bleak tone make it one of the most disturbing portrayals of Cold War anxieties.

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Blue Thunder

Focusing on surveillance technology and government overreach, the film reflects fears of internal control as much as external threats. Its themes align with Cold War-era concerns about power and accountability.

15 Farrah Fawcett Films Other Than “Charlie’s Angels”

Farrah Fawcett will forever be tied to Cherlie’s Angels, but as an actress with great range, her career extended far beyond that iconic role. She took on a wide range of projects across film and television, gradually shifting from light roles to more serious, character-driven performances.

We’re talking about both TV and cinema, small and large roles; she was one of the many icons of the 70s, one that can’t be reduced to only one role. These entries highlight some of her most notable work outside of her most famous series, showing a broader picture of her career.

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Logan’s Run

Fawcett appears in a supporting role in this sci-fi classic set in a controlled utopian society. Though brief, her presence helped boost her early film visibility just before her rise to television stardom.

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Sunburn

A comedy thriller starring Fawcett alongside Charles Grodin, Sunburn follows an insurance investigator caught in a dangerous case. The film leans into light suspense and showcases her in a leading theatrical role.

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Saturn 3

This sci-fi thriller pairs Fawcett with Kirk Douglas in a tense story about isolation and technology. The film is remembered for its darker tone and unusual atmosphere compared to more mainstream science fiction of the time.

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The Cannonball Run

A high-energy ensemble comedy about an illegal cross-country race, the film features Fawcett among a large cast. Its chaotic humor and celebrity lineup made it a commercial success during the early 1980s.

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Extremities

One of her most critically noted performances, Fawcett plays a woman who turns the tables on her attacker. The film is intense and character-driven, marking a departure from her earlier, lighter roles.

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See You in the Morning

A romantic drama where Fawcett stars opposite Jeff Bridges. The story explores relationships and blended families, offering her a more grounded and emotional role late in the decade.

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The Apostle

Directed by and starring Robert Duvall, this drama includes Fawcett in a supporting role. The film received critical acclaim, and her performance contributes to its exploration of faith and redemption.

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Dr. T & the Women

In this ensemble comedy-drama directed by Robert Altman, Fawcett plays one of several interconnected characters. The film examines relationships and personal crises within a wealthy social circle.

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Love Is a Funny Thing

An early role in a romantic comedy, this film reflects Fawcett’s beginnings in smaller parts before achieving widespread recognition. It’s a lesser-known entry in her filmography.

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Myra Breckinridge

Fawcett has a small, uncredited role in this controversial comedy. While not a major performance, it represents one of her earliest appearances in a theatrical film.

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Man of the House

Starring Tommy Lee Jones, this comedy places Fawcett in a supporting role. It’s one of her later film appearances, showing her continued presence in mainstream projects decades into her career.

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The Burning Bed

A landmark TV movie, Fawcett plays a woman trapped in an abusive marriage. The performance earned major acclaim and helped redefine her public image as a serious dramatic actress.

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Small Sacrifices

Based on a true crime case, Fawcett portrays Diane Downs. The role is complex and unsettling, further cementing her ability to handle darker, more demanding material.

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Poor Little Rich Girl: The Barbara Hutton Story

Fawcett plays socialite Barbara Hutton in this biographical TV film. The role spans multiple periods of the character’s life, allowing her to showcase a wide emotional range.

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Nazi Hunter: The Beate Klarsfeld Story

In another biographical drama, Fawcett portrays activist Beate Klarsfeld. The film focuses on efforts to bring Nazi criminals to justice, giving her a role grounded in real historical events.

The 15 ’70s & ’80s Movies With the Weirdest Endings

The 1970s and 1980s were filled with films willing to take risks, and nowhere is that more obvious than in their endings. Instead of neat resolutions, many movies from this era opted for ambiguity, shock, or outright confusion.

We’re talking about experimental storytelling, darker themes, and a desire to subvert audience expectations, with finales that often left viewers puzzled after the credits rolled. Some became iconic for their boldness, while others remain divisive. Either way, they stand out as examples of a time when mainstream films were far more willing to end on strange, unsettling, or unexpected notes.

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Carrie

After what seems like a quiet resolution, the film delivers a sudden, shocking final moment that became one of horror’s most famous endings. Its abrupt shift reinforces the lingering trauma at the heart of the story.

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Invasion of the Body Snatchers

The ending abandons hope entirely, revealing the full extent of the invasion. Its final moment is both simple and deeply unsettling, leaving audiences with a sense that resistance was ultimately futile.

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The Wicker Man

This film builds slowly before culminating in a ritualistic and disturbing finale. The contrast between its calm tone and shocking conclusion makes the ending especially unsettling and difficult to forget.

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The Thing

Ending on ambiguity rather than resolution, the film leaves its characters in a tense standoff. The lack of clear answers reinforces the paranoia that defines the entire story.

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Blade Runner

Depending on the version, the ending ranges from ambiguous to cautiously optimistic. Questions about identity and humanity remain unresolved, making the conclusion feel intentionally open-ended.

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Videodrome

The film’s surreal narrative culminates in a finale that blurs reality and hallucination. Its abstract imagery and lack of clarity make it one of the more challenging endings to interpret.

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Planet of the Apes

While technically just before the ’70s, its impact carried into the decade. The final reveal reframes the entire story, turning a sci-fi adventure into a bleak commentary that shocked audiences with its sudden, unforgettable twist.

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Brazil

What initially appears to be a triumphant escape is revealed to be something far darker. The ending subverts expectations, turning hope into a disturbing realization about the character’s fate.

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Angel Heart

The film’s twist recontextualizes everything that came before it. Its revelation is both shocking and inevitable, delivering a conclusion that feels deeply unsettling.

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The Shining

The final image raises more questions than it answers, suggesting a deeper, cyclical mystery. Its ambiguity has led to decades of interpretation and debate.

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Escape from New York

The ending undercuts the mission’s importance with a simple but symbolic act. It reframes the story’s stakes, leaving a cynical impression about authority and control.

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Mad Max

Rather than a clean resolution, the film ends on a brutal note of revenge. Its harsh conclusion reflects the collapsing world the story takes place in.

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Star Wars: Episode V The Empire Strikes Back

Unusual for a blockbuster, the film ends without victory. Its unresolved conflicts and major revelations left audiences surprised at the time.

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Don’t Look Now

The film concludes with a shocking and sudden revelation that reframes its eerie buildup. Its ending is both tragic and deeply unsettling.

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They Live

The final moments abruptly expose the film’s hidden reality to the world. Its sudden, almost comedic reveal contrasts with the paranoia that builds throughout the story.

BREAKING: New Lanterns Promo Image Has Actual Green In It

In a bold creative decision that’s certain to shake the world of pop culture, HBO Max has released to Instagram a new still from its upcoming series Lanterns. To the shock and delight of at least 12 people (yours truly included), the picture prominently features the color green.

The image depicts a human fist butting against a strange, alien-looking object. While the dark shading and overall drabness of the fist and its surroundings match the tone of the images and teasers already released for the series, the object itself has a hue that can only be described as “green.” The inclusion of this greenness represents a hard break from what we’ve been previously shown for the HBO series, which heretofore has seemed like a show about two guys in street clothes walking around the desert, sitting in a bar in the desert, and driving at least one car off a cliff… in the desert.

Okay, okay, all sarcasm aside, it is pretty surprising and refreshing that Lanterns is at least acknowledging that the show is about Green Lantern, the DC Comics franchise that has existed since 1940 and has been one of the publisher’s top sellers for the past two decades. For as much as James Gunn‘s DCU has embraced the goofier side of the DC Universe, turning Peacemaker, of all people, into a key character, Lanterns has seemed embarrassed of its comic book roots. So far, HBO has been selling the show like its True Detective, treating the extraterrestrial stuff in Lanterns like the supernatural stuff in that show’s first season. Which is to say, not really including it at all.

However, the new image makes it abundantly clear that Lanterns will have alien elements, and that those elements will be green. The image shows Hal Jordan charging his ring on the power battery, a key part of Green Lantern lore. When inducted into the Green Lantern Corps, each member is given a power ring, which allows them to create whatever they can imagine through force of will. However, they must charge that ring every 24 hours, which they do while reciting a sacred oath.

The power battery is one of the elements of Green Lantern that came from the character’s first incarnation in 1940 and persisted when the concept was revised in the Silver Age, changed from the more more magical-based Alan Scott to the sci-fi Hal Jordan, one of thousands of intergalactic policemen. Over the years, the battery has become one of the most important bits of Green Lantern iconography, with individual Corps members modifying theirs to match their personality.

However, the power battery has also been one of the clunkier parts of the mythology, the sort of thing that Lanterns co-creator Damon Lindelof may have mocked in the past (he said he was sorry). Between Lindelof’s comments and the overall lack of sci-fi elements in promotions, fans have worried that maybe the power battery would be ignored, in the same way that we never see stars Kyle Chandler or Aaron Pierre wearing their costumes.

With the release of the new picture, we Green Lantern fans have less of a reason to fear the show (fear, of course, being the chief emotion of the Green Lantern Corps’ arch-enemies in the Sinestro Corps). We have seen the future of the series, and that future is… green.

Lanterns comes to HBO Max on August 16, 2026.

My Adventures with Superman Reveals Season 3’s Big Bad

The Reign of the Supermen is upon us! Or, rather, it will be this summer, because that’s when My Adventures with Superman returns for its third season. As excited as we are to rejoin the show’s anime-inflected take on Clark Kent, Lois Lane, and Jimmy Olsen, it’s not all fun and sunshine for the Man of Tomorrow and his pals. Because along with the announcement comes the reveal of the season’s primary antagonist, the Cyborg Superman.

“We’re Cyborg Superman right out the gate,” showrunner Jake Wyatt told Entertainment Weekly, while also promising a very different approach to the villain. “It’s not gonna be a retread of the comics,” he promised, which does raise an eyebrow or two when he adds, “We’re digesting Reign of the Supermen.”

For those who don’t recall, Reign of the Supermen was one of the stranger and more influential decisions that DC Comics made in the ’90s. Superman famously died fighting Doomsday in Superman #75 (1992), which was immediately followed by the storyline Funeral for a Friend, in which Metropolis and the rest of the world tried to come to terms with their loss. That story ends with the reveal of four different people of whom claim to be the real Superman in one way or another.

There was John Henry Irons, an inventor whose life was saved by Superman and who promised to carry on his legacy. There was the new Superboy, a secret clone of Superman released before he grew to adulthood. There was a cold and murderous alien who looked like Kal-El, later revealed to be a Kryptonian invention called the Eradicator. And, of course, there was the Cyborg Superman, who looked like a mix between Clark and the Terminator.

The secret of those characters unfolded in Reign of the Supermen, in which Lois Lane and the Justice League discover that the Cyborg Superman is actually Hank Henshaw, an explorer modeled on Reed Richards of the Fantastic Four, who sought revenge on the Man of Steel by changing his appearance and gaining the trust of the populace. Once he gained that trust, the Cyborg began destroying cities (including Green Lantern Hal Jordan’s hometown Coast City, leading the way for his downfall) to make way for the conqueror Mongul. He was only stopped by the combined forces of not just the other Supermen, but also the real and revived Superman, who came back to life with a black costume. And also a mullet.

Important as that story was, Wyatt assures fans that My Adventures with Superman won’t be showing viewers the death of Superman again, something covered in Smallville, Batman v Superman: Dawn of Justice, and Superman & Lois. Instead, the show will be staying within its own version of the DC Universe. That version already includes Hank Henshaw, who was introduced at the end of season 2 as a researcher at S.T.A.R. Labs.

Wyatt explained that his show will be “less Death and more about, ‘What’s a Superman?’ The fun thing about Reign of the Supermen is that it’s all these impostors who have the same power set but different values.” That means we’ll not only get more of John Henry Irons, a.k.a. Steel, but also this show’s take on Superboy and the Eradicator.

One also has to wonder if the introduction of Cyborg Superman will also lead into My Adventures with Green Lantern, which is currently in production and slated for release later this year or early next year. Wyatt confirmed that Jessica Cruz, the character will be the focus of My Adventures With Green Lantern will appear in season three of My Adventures With Superman, and even though Cyborg Superman specifically hurt Hal Jordan, he’s an antagonist to the entire Corps.

Whatever the plans may be, it’s clear that My Adventures With Superman will raise the stakes while staying true to its unique world.

My Adventures with Superman season 3 debuts on HBO Max on June 13th, 2026.