Mike Colter Wants Luke Cage for a Classic Daredevil Story
The explosive first season of Daredevil: Born Again has a lot in common with the Marvel Comics story Devil’s Reign. In both tales, Wilson Fisk becomes mayor of New York City and wages war against his enemies, especially Daredevil. At the end of the comic story, Luke Cage becomes the new mayor, which has raised hopes that Mike Colter would be reprising the character he played on Netflix.
As of yet, there’s been no news about Mike Colter reprising his role as Luke Cage for Born Again or any other Marvel show. However, Colter is already pitching ideas for a return, and he’s drawing from a Daredevil story that isn’t Devil’s Reign. “I definitely would want to see him find out what it’s like to have the power and complete control of the neighborhood,” Colter told The Direct; “and see if he can do the right thing and at the same time, keep his hands from getting dirty.” That premise makes a lot of sense for Cage, especially the version that Colter played for two seasons on Netflix. But it also sounds a lot like two classic Daredevil storylines, one beloved and the other remembered, but not fondly.
In the final pages of 2003’s Daredevil #50, by Brian Michael Bendis, Alex Maleev, and a host of guest artists, Daredevil throws the battered body of Wilson Fisk onto the floor of Josie’s Bar. “This is your Kingpin!” he shouts to the assembled thugs, before declaring his new position. “I am here to say: if you people so badly need some sort of Kingpin, someone to lord over you—well, from now on, it’s me.”
The issues that followed saw Matt experiencing initial success, keeping Hell’s Kitchen safe by becoming the new Kingpin. However, even before things began to unravel and Fisk plotted his return, his friends expressed concern about the dirty way that Daredevil brought order. A group of other heroes arrive to confront Matt, including Spider-Man, Mister Fantastic, Doctor Strange, and, yes, Luke Cage. They warn Daredevil that his methods will compromise his morals, and although he rejects them at first, they turn out to be right.
And yet, seven years later, Matt Murdock makes the same mistake, with far more uneven results. In the 2010 storyline Shadowland by Andy Diggle and Billy Tan, Daredevil becomes the leader of the mystical ninja clan known as the Hand. He establishes Hell’s Kitchen as a new base of operations, kills his arch-nemesis Bullseye, and eventually realizes that he’s being corrupted by supernatural forces. But not before other heroes confront him over his methods, a group of heroes that once again includes Cage.
Despite his character’s misgivings about such behavior, Colter wants to see Cage take control of his neighborhood. And it makes a lot of sense. Cage’s Harlem is not the same as Daredevil’s Hell’s Kitchen, particularly in its relationship to law and order. Many of Matt’s troubles come from his extraordinarily bad choices and his unshakeable Catholic guilt, while Cage knows first hand how the law enforces systemic racism. The stakes of his power grab would be very different than those of Daredevil, as would the heroes’ response.
Will Colter get the chance to play a morally complex Cage? “I have been talking to Marvel, and Jessica’s back, and there’s a lot of story left to tell, and I just think that it’d be a shame for me not to pop back up,” he told The Direct. Will that story left to tell send Luke down the same path as Matt? We’ll have to wait to find out.
Daredevil: Born Again season 2 arrives on Disney+ on March 24, 2026.
Eric Dane Perfectly Captured a Fan-Favorite X-Men Character With a Single Line
X-Men: The Last Standdeserves almost no praise. Not only did it replace the franchise’s gross first director with an equally gross new director, but it utterly fumbled the Dark Phoenix Saga, one of the greatest X-Men stories of all time. Moreover, it filled the screen with all manner of deep-cut characters from the comics, with little to no relation to their four-color predecessors.
Yet, there is one exception to The Last Stand‘s mishandling of Marvel’s Merry Mutants. Jamie Madrox the Multiple Man has only one notable scene, but he’s a perfect adaptation of the B-list mutant. And all of the credit belongs to the actor who played him, the late Eric Dane.
Created by Len Wein for 1975’s Giant-Size Fantastic Four #4, Jamie Madrox is the rare mutant who has had his powers since birth, instead of manifesting them at adolescence. When his doctor slapped him on his butt start his breathing, Madrox split into two clones, revealing his ability to use kinetic energy to create dupes. As an adult, Madrox took the name Multiple Man and served as a very minor character in the X-Men milieu until the 1991 relaunch of X-Factor by writer Peter David. David reimagined Madrox as the sad clown of the superhero set, a guy whose sarcasm and cool reserve mask a deep, and ironic, loneliness.
Under David’s guidance, Multiple Man became a fan favorite. Madrox fronted the third incarnation of X-Factor, acting as the noir-ish lead detective of a private investigation firm, and in 2018 got his own time-bending, wacky miniseries, from Matthew Rosenberg and Andy MacDonald.
Madrox is exactly the type of character who should show up for a bit part in an X-Men movie, a guy with a cool power and name recognition, but who doesn’t have a Wolverine or Storm-level fan base to justify an A-plot. The Last Stand gives Madrox two scenes, and allows Dane exactly one line in each of them. And the Grey’s Anatomy star nails it.
The first is Madrox’s introduction, when Magneto rescues Mystique from a truck carrying kidnapped mutants. Before freeing Juggernaut, a great X-Men character who gets totally mishandled by the movie and is miscast as Vinnie Jones, Magneto opens a door and out walks seven Madrox duplicates. “I can use a man of your talents,” sneers Magneto, to which Multiple Man shrugs, “I’m in.”
Even better is the second scene, which mostly stays in the perspective of the war room operated by mutant hunting military man Bolivar Trask (played here by Bill Duke, and played by Peter Dinklage in X-Men: Days of Future Past, because this franchise is nuts). Through infrared satellite images, we see Trask’s soldiers descending upon a secret camp filled with mutants. But as the soldiers get closer, the people all disappear, leaving one behind. We cut to the camp, where we see that everyone there was a Multiple Man duplicate, all of whom reabsorb into Madrox Prime.
“Okay,” he says with a snarky grin and his hands raised. “I give up!”
Everything about Madrox in that scene feels like it came right out of a Peter David comic. It’s not just his costuming, the green and yellow shirt peaking out from under a leather jacket. It’s the absolutely smug way Dane delivers the line, the grin that would make you absolutely hate him if he wasn’t so darn handsome.
Nearly every other character in The Last Stand strays far from their comic book roots. Hugh Jackman plays Wolverine as a soft-hearted romantic, while Famke Janssen’s Phoenix is a generic 2000s horror monster. Patrick Stewart and Ian McKellen have enough presence to make even poorly-written Professor X and Magneto work, but nearly everyone who isn’t Kelsey Grammer as Beast acts nothing like the mutants we know from the pages of Marvel.
Not so with Dane’s take on Jamie Madrox. With just a shrug and a smirk and a spot-on line reading, Eric Dane did right by Multiple Man fans.
Superman: Man of Tomorrow’s Braniac Offers Sweet Thoughts on Casting
In Man of Tomorrow, the upcoming sequel to Superman, German actor Lars Eidinger will play Brainiac. An intergalactic collector from the planet Colu, Brainiac’s cold, computer brain strips him of all emotion. He simply travels from planet to planet, shrinking cities he finds interesting and bringing them into his ship, with no regard of the lives he’s ruined.
In real life, Lars Eidinger seems like a big sweetheart. At least that’s the impression one gets from a new interview, in which he discusses his casting in the James Gunn picture. “It’s a true miracle that it happened,” Eidinger said. “I would venture to say that every actor, every actress in Germany, there is a secret hope that one day to receive a phone call from Hollywood. And I always thought, I’m 50 now, I thought okay, that’s it, and it suddenly happened. And it all went relatively quickly, didn’t it? And me? Yes, I really can hardly believe it, honestly.”
On one hand, Eidinger certainly isn’t a big name like several of the others that Gunn has cast in the DCU. But he’s not a newcomer either. Just last year, Eidinger had a brief but memorable role in Noah Baumbach’s Jay Kelly, having worked with the director previously in the Don DeLillo adaptation White Noise. Moreover, Eidinger has worked with French filmmaker Olivier Assayas, appearing in Clouds of Sils Maria and Personal Shopper.
More importantly, Eidinger is no more an unknown than the star of Man of Tomorrow, David Corenswet. Although the actor had a reoccurring role in Ryan Murphy‘s The Politician and the HBO series We Own This City, he was best known to moviegoers as the ill-fated projectionist in Ti West‘s Pearl. As a relatively fresh face, Corenswet was able to disappear into the role of Superman, allowing us to see the icon before the actor.
Such a disappearance may be even more important for Eidinger. Brainiac may not be a household name like Lex Luthor or even Bizarro, but he is one of Superman’s most intimidating foes. His intelligence exceeds that of Luthor, and unlike Lex, Brainiac has no emotion or ego to get in the way. You won’t see him nearly crying because Superman makes him feel small.
Brainiac first appeared in 1958’s Action Comics #242 by writer Otto Binder and artist Al Plastino. Even by early silver age standards, Brainaic was a menacing villain, a chilly collector of worlds whose force field blocked Superman’s attacks. Over the years, he’s only become more frightening. Whether as a skeletal robot or as a massive brute with purple tendrils, Brainiac always poses a challenge to the Man of Steel.
Maybe that’s why Eidinger so easily shrugged off the first question the reporter asked him. Before going into his warmhearted observations about his late-in-life big break, Eidinger was asked if he’s scared of Superman. “No,” the actor responded, without even pausing for a beat. That’s exactly the type of chilly, uncomplicated response Brainiac should have to a question about Superman.
Man of Tomorrow is set to release on July 9, 2027.
House of the Dragon Season 3 Trailer Feels Huge After Dunk and Egg’s Smaller Tale
The first teaser for House of the Dragon season 3 is positively bursting with dragons. At least five of the giant creatures are keeping it one hundred on the land, the sea, and the sky – breathing fire and striking fear into the hearts of all who see them.
Given the name of the show, this shouldn’t be as surprising as it feels. But after spending five weeks in Dunk and Egg’s more wholesome corner of Westeros on A Knight of the Seven Kingdoms, where simple concerns and smallfolk rule the day, the return of House Targaryen’s greatest weapon lands like a thunderclap. No more questions of duty or what makes a true knight, it’s time for some of the worst people in the realm’s history to take the reins again, plunging us all right back into the kingdom’s darkest hour. And no one is having a good time.
House of the Dragonhas received its fair share of criticism for slow-walking some of the bigger, more violent clashes at the heart of the infamous Dance of the Dragons Targaryen civil war. To be fair, the show had its reasons for those choices, particularly during a second season that was undoubtedly impacted by the writers’ and actors’ strikes of 2023. But that hurry up-and-wait philosophy seems to be fully out the window now, as the teaser promises several major confrontations that mean Rhaenyra Targaryen’s hopes for a swift victory with the help of Allicent Hightower are very unlikely to come to pass.
The clip’s scale is positively enormous, featuring everything from marching armies and dragons burning onlookers to a crisp to naval battles and aerial attacks. We see several shots from what is clearly the infamous Battle of the Gullet, the big fight that was teased throughout the final episodes of season 2 but that had yet to come to pass. (And it’s one fans have been waiting for since the show started.) A naval face-off that’s one of the bloodiest battles in all of Westeros’s history, the Battle of the Gullet sees the Triarchy take on House Velaryon’s naval blockade, which is backed up by Jacaerys Velaryon and several of Team Black’s newly-minted Dragonseeds. And it’s as horrifying as you’d expect anything that involves giant creatures that breathe fire and boats made of wood can be.
Elsewhere, a glimpse of blue dragon Tessarion hints that Prince Daeron Targaryen’s onscreen debut is imminent, and a shot of Otto Hightower (James Norton) amid a field of soldiers ready for war means that it’s a good chance we’ll also be seeing the Butcher’s Ball on this season’s dance card of major conflicts. Daemon is shown repeatedly in armor and swinging a sword. And, Aemond is preparing for Rhaenyra to try to take King’s Landing, with a badly injured King Aegon II still in hiding. All while the sounds of dragons fill the air.
Seeing the inevitable death and destruction looming on the horizon is a big adjustment after the more lighthearted take on George R.R. Martin’s world in A Knight of the Seven Kingdoms. In fact, it makes it all feel like even more of a tragedy. This family is ripping itself apart for nothing, for a world that will barely respect their house after their magical beasts fall. In A Knight of the Seven Kingdoms, just one good Targaryen dies and the world is forever altered. How many are about to perish here?
House of the Dragon season 3 is set to premiere this June on HBO and HBO Max.
Toy Story 5 Trailer Confronts An Existential Threat to All Toys
For objects of children’s entertainment, Buzz and Woody have been through a lot. In the first Toy Story movie from 1995, the cowboy Woody had to face potential replacement by the flashier space man Buzz Lightyear. Since then, they’ve been kidnapped by Wayne Knight, sabotaged by a rogue antique, and, uh… almost sent to Hell.
The latest trailer for Toy Story 5 brings the toys back to their roots, with a threat of replacement that goes deeper than Woody’s worry that Andy has outgrown him. The toys’ new kid, Bonnie, has been given a tablet called Lilypad (Greta Lee), and Lilypad can keep Bonnie’s attention—for better or for worse. To mount a rescue mission, Jessie has to call in some backup, bringing Woody and all of the original toys back together again.
As that summary suggests, Toy Story 5 faces a unique challenge. As Pixar‘s flagship franchise, Toy Story carries a level of prestige on top of the nostalgia it invokes, especially as the movie’s first audience has now grown up and many have their own children. Andy may also be an adult, and Buzz and Woody may have matured beyond their initial conflicts, but the series cannot completely abandon those characters.
On the other hand, what more is to be said about characters deeply indebted to the childhoods of Baby Boomers? It’s not just today’s kids who didn’t grow up with Buck Rogers and Howdy Doody, some of the inspirations for Buzz and Woody—the concepts are just as unfamiliar to their parents and, in some cases, their parents’ parents. How can Toy Story 5 be as relevant as the four movies that precede it?
The new trailer gives some hints about the movie’s approach. First of all, there’s the emphasis on Jessie, who has been a dynamic supporting character since her introduction in Toy Story 2, but who has never received the attention she deserves. Then, there’s Bonnie’s family, which did play a background role in Toy Story 4. However, that film took the family on the road, giving us less time to see their full milieu.
Most importantly, there’s Lilypad. More than just a new character, Lilypad gets at the central issue of the Toy Story franchise. These movies have always told us that toys care about their owners and bring out the best in their owners. Clearly, Lilypad can connect with Bonnie, but the trailer also shows us that it’s making her inert and uncreative.
In other words, Lilypad threatens to replace Buzz and Woody just like Woody threatened to replace Buzz. But where Woody found a way to be second best to his space-age pal, the toys likely cannot co-exist with Lilypad, a device that threatens to make Bonnie dull and lazy. Will that switch be enough to animate Toy Story for a new generation? We’ll find out this summer.
Toy Story 5 arrives in theaters on June 19, 2026.
A Guide to the Comics That Have Inspired James Gunn’s DC Universe
Even though he and Peter Safran have only been the co-chairs of DC Studios since 2022, James Gunn has already made the shared storytelling universe his own. The three projects released since then—Superman, Creature Commandos, and Peacemaker season 2—have all born his trademark, as do the upcoming movies Supergirl and Clayface and the series Lanterns.
But as much as James Gunn has an idiosyncratic style, and as much as he tends to avoid directly adapting storylines, it’s clear that certain runs and eras of DC stand out as inspirations. Based on Gunn’s comments and the types of stories he likes to tell, here are the DC Comics runs that seem most important to Gunn and his vision of the DCU.
The Saga of the Swamp Thing (1984–1987)
Shortly after taking the top job at DC Studios, Gunn shared on social media some comics that he recommends. That list included The Saga of the Swamp Thing, the groundbreaking horror comic that brought Alan Moore to the attention of the average reader. Just a few weeks ago, Gunn once again shared an image from the series, reminding us that he really likes Swamp Thing, even though there are currently no projects with the character in development.
It’s not hard to see the appeal of Swamp Thing for Gunn. The story of scientist Alec Holland who transforms into a plant monster—or of a plant monster who thinks he’s Alec Holland—Swamp Thing isn’t just a mix of superheroes and horror, it’s also a deeply romantic story. We don’t often see much of Alan Moore’s high-concept storytelling in Gunn’s work, but anyone who loves DC Comics at least has a respect for Moore’s work.
Man of Steel (1986)
Leading up to the release of Superman, Gunn made plenty of references to Grant Morrison and Frank Quitely’s All-Star Superman. And to be sure, elements of that comic do show up, with crazy concepts like the kaiju attack and portraying Lex Luthor as a straightforward, immoral villain. But some of the best parts of the movie came from another, very different Superman comic.
Released around the time of the Crisis on Infinite Earths reboot, the miniseries Man of Steel served to reimagine Superman for the modern age. Writer and artist John Byrne did away with some of the more outlandish parts of Clark Kent’s history, including over-the-top powers like super-ventriloquism or the existence of Superboy, and gave us a more grounded, realistic Superman. All-Star Superman may be the exact opposite of the character from Man of Steel, but when Clark Kent and Lois Lane have their argument about Superman’s role in international relations, that’s more Byrne than it is Morrison.
Suicide Squad (1987–1992)
Really, it all starts with Suicide Squad, and not just because Gunn’s first DC project was The Suicide Squad, released before he even rose to the top of DC Studios. Rather, it seems like the DC Comics of the late 1980s and early 1990s are most important to Gunn and shaped his perceptions of these characters, particularly when done by writer John Ostrander and artist Luke McDonnell.
Launched in 1987, Suicide Squad introduced some of Gunn’s favorite characters, including Rick Flagg, Amanda Waller, and John Economos. It also gave plenty of attention to the sort of goofy Z-listers that Gunn adores, such as Captain Boomerang and Javelin. The highlight of Ostrander’s run was the Janus Directive crossover, which involved other Gunn favorites Checkmate, Peacemaker, and Vigilante.
Justice League International (1987–1989)
Gunn’s favorite version of the Suicide Squad debuted in Legends, the company-wide crossover that followed up on Crisis on Infinite Earths with a story about the public doubting its heroes. The end of that series saw the launch of a new version of the Justice League, the flagship team of the DC Universe.
However, this incarnation, dubbed Justice League International (JLI), was unlike any superteam that came before, or would come again. Created by writers Keith Giffen and J. M. DeMatteis and artist Kevin Maguire, the JLI was like a sitcom version of a superhero team, in which big guns like Batman and the Martian Manhunter rubbed shoulders with scrubs such as Blue Beetle, Booster Gold, and, of course, the bad attitude Green Lantern, Guy Gardner.
Captain Atom (1987–1991)
Where most comic fans know the characters that DC bought from long-defunct publisher Charlton Comics as little more than the inspiration for Watchmen, Gunn clearly has affection for the heroes as they were integrated into the mainline universe after the Crisis. He’s already put Peacemaker and Judomaster on screen, and if rumors about Creature Commandos season 2 are to be believed, Captain Atom, the guy who inspired Doctor Manhattan, will be coming soon.
Captain Atom is a strange character, but one who fits the Gunn approach. On the surface, Nathaniel Adam is a straightforward military man, a guy willing to do his duty for his country. But when an experiment gives him nuclear powers, he finds himself coming closer to godhood than he had ever wanted or imagined. Famously, DC intended to turn Captain Atom into the Monarch, a villain from the future, and while a clunky, last-minute rewrite spared the hero from that fate, he’s always had a cloud hanging over him. That dark cloud, combined with themes of the government’s involvement with superheroes, makes Captain Atom an ideal Gunn character.
Green Lantern: Emerald Dawn (1989–1990)
The HBO series Lanterns releases later this year, but if you wouldn’t know it from WB’s marketing. In contrast to the full push given to Supergirl, the show about Green Lanterns Hal Jordan and John Stewart has just a still featuring stars Kyle Chandler and Aaron Pierre, a quick clip, and a logo. Moreover, there has been a surprising lack of green in this show about Green Lanterns, as we still haven’t seen the heroes in costume and even the logo is pretty monochrome.
While that might worry those expecting lots of weird aliens in a show about space cops, the dour aesthetic does have a comic book precedent. The 1989 miniseries Green Lantern: Emerald Dawn by writers Christopher Priest, Keith Giffen, and Gerard Jones and artists M.D. Bright and Romeo Tanghal retold the origin of Hal Jordan, imagining him as an guilt-riddled alcoholic who has heroism thrust upon him. The success of that series spawned a sequel and a relaunched regular series, which featured a greying Jordan hanging around the California desert, and looking a lot like Chandler in the few bits we’ve seen from Lanterns.
Lobo (1990–1992)
Given Gunn’s origins as a writer with gross-out indie moviemakers Troma Entertainment, it’s almost surprising that we’ve had to wait until Supergirl for the Main Man Lobo to show up. While Keith Giffen may have introduced him as a generic antagonist in 1983’s Omega Men #3, he and his co-creators Alan Grant and Simon Bisley soon turned Lobo into an over-the-top satire of the edgy comics that became all the rage in the 1990s.
Nowhere is that more clear than in the 1990 Lobo miniseries and its 1992 sequel Lobo’s Back, the latter of which proudly showed Lobo’s back and his bare backside on its first issue cover. The series establishes Lobo’s ridiculous backstory, revealing that he killed everyone on his planet because an elementary teacher gave him a bad grade but also showing how much he loves space dolphins. Lobo is exactly the type of extreme humor and surprising sweetness that Gunn loves, so there’s no doubt that he read these comics.
Top 10 (1999–2001)
Even more than Swamp Thing, the most surprising comic run mentioned in Gunn’s early batch of recommended DC works is Top 10, by Alan Moore and artists Gene Ha and Zander Cannon. Unsurprisingly, given Moore’s involvement, Top 10 is a superhero deconstruction. However, unlike his most famous works, there’s an optimism and playfulness to Moore’s approach, which reveals a love for the genre.
Top 10 takes place in a megacity where everyone—men, women, kids, pets, and everything in between—has superpowers and wears crazy costumes. The series focuses on the police officers who patrol this city, marrying the banal realism of an Ed McBain novel to capes and cowls. As an imprint done for WildStorm Comics before DC acquired the latter (much to Moore’s chagrin), Top 10 exists outside of mainline continuity, so it’s hard to see how exactly Gunn would use the material for the DCU.
The Authority (1999–2002)
Like Top 10, The Authority was a WildStorm book disconnected from the DC Universe, and it’s easy to see why. Created by Warren Ellis and Bryan Hitch, The Authority is a realpolitik take on the Justice League. Where Superman and Batman try to inspire people to be better and respond to villain threats, Midnighter, Apollo, and their other ultra-powerful heroes take it upon themselves to build a better world.
The combination of big screen visuals and amorality made The Authority electric in its original run, and it only grew more relevant in the years of America’s War on Terror. Yet, the series’ tendency to be mean-spirited, especially when writer Mark Millar took over with artist Frank Quitely, has not aged well. That said, The Authority has found new life after being integrated into mainline DC, and Gunn has cited an adaptation as one of the first things he wants to tackle in his DCU.
DC: The New Frontier (2004)
As with many of the books on this list, DC: The New Frontier will likely never be directly adapted, but it does inform Gunn’s approach to the characters. Written and drawn by Darwyn Cooke, New Frontier retells the dawn of the Silver Age as a single, coherent story. While all of the Silver Age heroes make appearances, it focuses mostly on Green Lantern Hal Jordan, Martian Manhunter, and Superman.
Through those characters, Cooke approaches real-world problems like PTSD from the Korean War, McCarthyism, and expanding American interventions in foreign countries. But Cooke’s retrofuturist stylings retain an optimistic gleam, especially as the heroes come together to form the Justice League. New Frontier’s combination of sadness and hope perfectly captures James Gunn’s view on superheroes.
Infinite Crisis (2005–2006)
Infinite Crisis doesn’t seem like the type of series that would have a life beyond comic books. Released for the 20th anniversary of Crisis on Infinite Earths, Infinite Crisis was both an homage and scapegoating of that famous multiverse story. Writer Geoff Johns, working with a team of artists, brought back several concepts from the original, including the big bad the Anti-Monitor, as well as some of the survivors from the multiverse collapse, including the Golden Age Superman and Superboy-Prime.
However, Johns also suggested that the darkness and violence of the modern DC Comics stemmed from a loss of innocence that followed the Crisis, instead of, you know, the dark and violent comics that Johns wrote. Still, between big weird concepts like Captain Marvel villain Mister Mind becoming a giant moth that restarts the multiverse and the introduction of Sanctuary, the planet that will be the focus of the Superman sequel Man of Tomorrow, it seems that Infinite Crisis was a favorite of Gunn’s.
Checkmate (2006–2009)
In the final episode of Peacemaker‘s second season, Chris Smith and the 11th Street Kids rebrand themselves as a private superhero agency called Checkmate. Even though this version of Checkmate has little to do with the global intelligence group in DC Comics, Gunn has said that he’s drawn inspiration from that organization for other parts of the DCU.
In particular, Gunn points to the 2006 incarnation of Checkmate, a series written by the great Greg Rucka. This version leans heavily into espionage drama, reimaginging characters such as the original Green Lantern Alan Scott into spymasters who mistrust even their fellow Checkmate agents. Gunn has already integrated Sasha Bordeaux from this run into his Peacemaker series. Surely, more elements are not far behind.
Batman by Grant Morrison (2006–2013)
When he initially announced his Superman film, Gunn used several images from Grant Morrison and Frank Quitely’s All-Star Superman. And yet, when Superman finally hit theaters, it included no images or scenes from that comic, but still felt very much like a proper adaptation of that comic.
One has to wonder if the same will be true of The Brave and the Bold, which Gunn has promoted with images from Batman and Son, a pivotal storyline from Morrison’s Batman run. In addition to introducing the Damian Wayne version of Robin, the son of Bruce Wayne who is a ninja assassin and also the world’s snottiest thirteen-year-old, Morrison’s Batman run imagined the Dark Knight as a jet-setting adventurer in the vein of James Bond. If Gunn draws from these comics for the DCU, then we will get a clear departure from the grounded Caped Crusader in Matt Reeves’s The Batman.
Mister Miracle (2017–2019)
Thus far, Gunn has avoided direct adaptations of comic books. Even Supergirl, which appears to draw fairly heavily from Supergirl: Woman of Tomorrow has its revisions, such as a dustier color palette and the inclusion of Lobo. However, if there’s one series that seems to be more or less following the source material, it’s the upcoming Mister Miracle animated series.
Which makes sense, because the series was written by Tom King, and King is a member of Gunn’s DCU writers room. Mister Miracle takes the vast New Gods mythology that Jack Kirby devised in the 1970s and turns it into a study on depression. Overbearing as that may sound to some, King and artist Mitch Gerads—whose distinctive style will hopefully be recreated (and he will be compensated) for the show—find moments of humor, such as a sequence involving the ultimate evil Darkseid and a veggie platter.
As he told us at Den of Geek, Gunn’s favorite DC character is Bat-Mite, a troublesome imp who loves Batman. Although he’s managed to work imps into both Peacemaker and Superman, he still hasn’t figured out how to bring in Bat-Mite.
The most obvious avenue would be following the path that Grant Morrison set in their Batman run, in which Bat-Mite was a hallucination that Bruce Wayne built into his psyche should his mind be compromised. But we can’t help but hope that Gunn goes way back to the character’s origin in 1959, when he was just a superfan who arrived from another dimension to annoy the Caped Crusader.
Glen Powell: Murder Can Have ‘An American Quality’ in How to Make a Killing
Not until the day we sit down has Glen Powell fully appreciated his knack for playing charming, winsome, and morally flexible protagonists capable of getting away with murder. Granted, he co-wrote one such bloke in Hit Man, the beguiling romantic comedy he made with Richard Linklater a few years back that (SPOILERS) ends with his character and the object of his desire discovering how to commit to marriage over the death and cover-up of a bully.
That’s bush leagues though when compared to Powell’s newest dark comedy courtesy of A24, How to Make a Killing. The latest film from writer-director John Patton Ford (Emily the Criminal) sees Powell’s Becket Redfellow learn that the easiest way to get ahead on Wall Street is by offing the estranged and dynastic family line he was ostracized from before birth—but never so fully disowned by that he can’t inherit their billions once they die. It’s a gallows humor premise which Powell savored from the jump.
“It’s something that not until today I really unpacked, so you’re catching me at a weird time where, obviously, I’m going to have to talk to somebody about all this,” Powell quips. “[But] true crime is such an interesting thing, our fascination with the darker sides of ourselves, and I was always intrigued by how John viewed this movie as just American ambition. It’s a going-into-business movie about a young scrappy kid making it in the world, yet he’s stepping over the bodies of his own blood to get there.”
There is indeed something acutely all-American, perhaps even more so in the 21st century, about the setup. As Powell muses, “It’s a very American quality, just the lengths that we go in hustle culture—the lengths that you would go to become what you need to be.”
This facet is also intriguing since How to Make a Killing is ostensibly a film noir throwback as well, complete with its own femme fatale (Margaret Qualley) and a root in 1940s cinema, albeit of the British variety since it is loosely inspired by the 1949 English comedy, Kind Hearts and Coronets.
“It’s funny how the original is so deeply entrenched in British classism, yet how incredibly John has made it feel so American,” observes Jessica Henwick, who plays Ruth, a woman Becket is also drawn to despite her lacking the cutthroat ambition of a Wall Street bro.
And the actor who plays the man between her and Becket, Zach Woods as the Redfellow ne’er-do-well Noah, even points out that the Global Social Mobility Index of 2020 ranked the UK as having a higher degree of class mobility than the U.S. (although both are, notably, not even ranked among the top 20 these days).
Says Woods, “There’s less barriers to socioeconomic advancement in a place where you can grow up three hundred yards from a place and have a totally different accent than your neighbor, yet still even there it’s easier to get ahead.”
Given both How to Make a Killing’s own lineage and stereotypes about UK culture versus the U.S., it’s a topic director Ford has a lot of fun with. But then, the whole movie features a curious joie de vivre despite offing new characters left and right. One such target includes Topher Grace in the delicious role of a Redfellow who’s gone into Christian rock evangelizing, and has the mega-church cult following to prove it.
“I’ve always been fascinated, even before I got the role, with not only religious leaders but also self-help gurus,” Grace reveals. “Basically it’s under the banner of anyone who gets up in front of the rest of the world and says, ‘I can show you how to lead a better life.’ I always thought that was hilarious, and then on top of it, there were a couple real specific people that I watched closely, and to me it’s endlessly hilarious because it’s so ironic.”
The appeal of doing this is playing marks whom the audience is willing to root against while we follow heroes of dubious ethics. It’s been a staple of cinema from at least the early days of noir to modern favorites. For example, Henwick is quick to point out how great Park Chan-wook’s recent Korean dark comedy of similar terrain, No Other Choice, can be. Grace, meanwhile, notes that some of his favorite movies are the Martin Scorsese films like Taxi Driver or Goodfellas. And for his part, Woods darkly suggests he always rooted for Man in Walt Disney’s Bambi (1942).
“He’s got to eat!” Woods insists with a twinkle in his eye. “And they’re overpopulated in this region! It’s a cult, goddammit!” And culling the cult might just be the most American thing you can do.
How to Make a Killing goes into business only in theaters on Friday, Feb. 20.
Star Trek: Starfleet Academy – Bella Shepard Discusses How Fear Drives Genesis Lythe
The following contains spoilers for Star Trek: Starfleet Academy episode 7.
Star Trek: Starfleet Academy is, as its name implies, the story of an institution. But it’s also the story of the cadets who make that institution worthwhile, and its sprawling cast is full of a wide variety of characters from different backgrounds, cultures, and life experiences. From humans and Klingons to Betazoids and holograms, the series has explored traditional coming-of-age themes through a wide variety of character perspectives. But, somehow, despite everything that’s happened so far in the series’ first season, we still know relatively little about overachieving Dar-Sha cadet Genesis Lythe. Seventh episode, “Ko’Zeine,” attempts to change that, with a story that takes a dive into the pressures and fears that motivate her behavior.
“This episode really uncovered so much about Genesis,” Bella Shepard tells Den of Geek. “I almost felt like I got to step outside of her a little bit and have a new perspective on her. I wasn’t given much to work with for the character as a whole when I first booked the project, so getting the script for episode 7, I was like, “Yes, finally.” Before that, it’s like I got little easter eggs about who she is and where she comes from.”
An hour that explores questions of duty, expectation, and self, “Ko’Zeine” reveals that Genesis isn’t exactly the perfect student we’ve all been led to believe. She altered her Starfleet Academy recommendations during the application process and removed the criticisms they contained to ensure she was accepted as a student. To a one, her recommendations all noted that while Genesis is incredibly driven, her drive comes from a place of fear, from an inability to accept her own successes or trust her own ability.
“She’s afraid of failure,” she says. “But that’s such a big umbrella: failure to uphold your image, failure to achieve what you want, or failure to love somebody the way they deserve to be loved. She thinks her value comes from her achievements, because that’s really what she’s known her whole life. So to have something other than achievements, which could be love or friendship, those don’t mean as much to her because she thinks that that’s not what people want from her or want to see from her. Her fear is really driven by not being who she thinks people want her to be.”
Ostensibly, her dream is to follow in the footsteps of her famous father, a Starfleet admiral who sounds as if he’s not exactly in the running for Dad of the Year when it comes to being present as a parent. But “Ko’Zeine” gives us plenty of reasons to question whether this path is one she truly wants.
“I think it’s so easy to do something familiar, and, obviously, her father being in a high position within the Federation, that’s familiar to her. Pressure’s familiar, and authority is very familiar to her. Because she’s afraid to step out of her comfort zone too much, she’s stuck with what’s familiar. Following in his footsteps, that’s what’s comfortable for her. If he’d been something really boring, like a librarian, she probably would’ve just worked at the library, but she would have been the best librarian. She would’ve had all the books in order perfectly and they would’ve been dusted and cleaned. Again, I think, it’s her being afraid of failure. And she talks about how, ‘Oh, I’m hoping that people don’t correlate my achievements to my father’s,’ but really, she set that system up herself. She needed the security of her father’s position to be able to fall back on and be like, ‘Well, that’s the guy I’m learning from. So if I’m doing it wrong, it’s because I’m just learning from him.’”
Thankfully, Starfleet Academy is allowing Genesis to open herself up to lots of new people and experiences, which often challenge her own perceptions of herself. In “Ko’Zeine,” she finds herself spending a holiday weekend sequestered in the Academy with Caleb, and though she’s technically using him to commit some mild crimes to help her break into her own records, their friendship is a genuine one.
“I think what Genesis and Caleb see in each other are both things that they lack,” Shepard says. “Genesis sees Caleb’s ability to just be free. He always says what’s on his mind. He does what he wants. He doesn’t follow the rules, and he doesn’t have any kind of structure in his life. He never has. That for him is his comfort zone, and for Genesis, her comfort zone is structure. It’s rules, it’s following things by a book. It’s almost like they both have something that the other wants, and I like to think they vibed right off the bat because they saw that reflection in each other. They’re so similar in so many ways, but they got there through opposite paths.”
“I like to think of them as platonic soulmates in a way,” Shepard continues. “They can finish each other’s sentences. I like to imagine them being on the same bridge one day and sharing a captain’s chair because they think so much alike, and they’re so good at problem-solving, and what one lacks, the other one makes up for. It makes a lot of sense to me why they feel so connected to each other, because it’s almost like, ‘I’ll be your crutch if you’ll be mine.’”
Shepard is not only spending Starfleet Academy’s first season introducing a new character, but an entirely new alien species as well. She’s the first actor to play a member of the Dar-Sha, a humanoid species characterized by thin ridges above her eyes instead of eyebrows.
“Knowing the impact that this franchise has had on the world and then being able to come in and — I’m not playing a human, of course, but all of these characters are human at heart. They all have real, true humanity. And to be able to develop something from scratch was just so liberating as an actor, because it was like…I can’t really do anything wrong here. I can have fun with this. And even down to little details. I got to work with the costume department on her jewelry, and we’ve created this whole backstory on where and how she gets it.”
While we haven’t learned that much about the Dar-Sha onscreen, one has to assume an episode about this is coming in the not-too-distant future, if only because they’re a new species that could be or do pretty much anything. But Shepard herself has clearly thought about it a lot.
“The Dar-Sha being nomadic and not having really a home planet, I like to imagine that they’re just overly resourceful. Like they just gather everything from every culture, because they’re constantly moving through space,” she says. “They’re meeting people of different cultures and different species, so I like to just pull from everything that I can research in this real physical life and put that into, “Ooh, I like this piece of culture, I feel like we can integrate that into the space, into the future version for the Dar-Sha story,” and it’s just been so fun. My job is to play pretend, and now I get to do it to the fullest extent.”
The question of what Genesis’s Academy career will look like going forward is one only the rest of the season (and series, to be honest) can answer. But to hear Shepard tell it, “Ko’Zeine” is just the beginning.
“The thing about Starfleet [Academy] is this is a great opportunity for all the characters to really discover themselves, and they’re all so young. It’s a great opportunity for them all to learn the hard lessons and to fall and get up again. And we get to see Genesis discover more of her flaws later in the story and use a lot of her strengths again. She’s such a good team leader because she’s able to utilize other people’s strengths And I think for myself personally, I’ve been told as a child that I’m very bossy, or I’m too confrontational and I’ve integrated a lot of that into Genesis. I want to speak my mind, and I want to lift my friends up and tell them how they can keep going through life. And I think Genesis does a lot of that through her story, and we get to see more of her in-depth in season 2, which I’m so excited for people to see. I can’t wait for everyone else to follow on her journey.”
New episodes of Star Trek: Starfleet Academy premiere Thursdays on Paramount+, culminating with the finale on March 12.
Star Trek: Starfleet Academy Episode 7 Review — Ko’Zeine
The following contains spoilers for Star Trek: Starfleet Academy episode 7.
Star Trek: Starfleet Academy slows things down this week, a move that probably shouldn’t surprise anyone given the high-stakes events that unfolded in “Come, Let’s Away.” And, to be fair, “Ko’Zeine” isn’t a bad hour. In fact, it offers some much-needed insight into two of the show’s most underserved characters. But after a string of three truly excellent episodes, it’s jarring to settle for one that feels… just okay.
As the spring semester holiday looms, everyone’s basically just trying to hold it together. Caleb’s fretting about whether to contact Tarima, now relocated home to Betazed to recover from removing her implant and melting a squad of menacing aliens with her mind. (At least she’s seemingly out of her coma? Yay?) Sam’s still a bit glitchy — literally – as a result of her injuries. And everyone’s still in mourning, not just for the death of War College cadet B’Avi, but the sort of consequence-free cocoon they’d all been living in up to this point. Nus Braka’s scheme forced them all to grow up in sudden and uncomfortable ways, to confront the idea that this path they’ve chosen has real and occasionally deadly risks. But other than a few throwaway comments here and there, “Ko’Zeine” doesn’t really deal with much of the fallout directly.
Part of the reason for that is that there’s been a time jump. Roughly a month has gone by since the events of “Come, Let’s Away,” so we’ve missed out on their immediate aftermath. We didn’t get the information dumps that would have provided more detail about what, precisely, Braka stole or how he might intend to use it. We didn’t see the Federation’s initial response in terms of trying to hunt him down. Even the immediate shock of grief has passed. Tarima’s already woken up and returned home. Everyone’s trying to get on with things because that’s what people do, even and especially in the face of tragedy. It’s All Worlds Day — the most hilariously bland-sounding of holidays — and there are celebrations to be had. Obligations to be met. Families to be visited. So that’s what everyone does. Mostly. Which, yeah, makes sense, but still kind of feels like we missed a step somewhere.
The episode follows a pair of dual storylines. The first sees Darem hauled back to the Khonian Realm to celebrate his sealing, the fulfillment of an engagement we’ve never heard about before to a woman we’ve never met. Jay-Den gets carried along for the ride after incorrectly assuming his classmate was being kidnapped. What follows is an introduction to both Khonian culture and a side of Darem we’ve never seen before — he’s… surprisingly nice and accommodating? — as Jay-Den is suddenly forced to serve in the role of his “Ko’Zeine,” a.k.a. Best Man.
This is all fraught in a typically young-adult-fiction sort of way, as Darem and Jay-Den’s scenes continue to crackle with the kind of chemistry that’s certain to be problematic when one of them has an alleged fiancé waiting to marry them and the other’s got a boyfriend back home. But once again, Karim Diané and George Hawkins are great together, as Jay-Den serves as Darem’s sounding board and cheerleader, stepping up to give a top-tier best man speech about the way that his classmate — and friend — not only helped him find his own voice, but has become a self-assured leader amongst their Academy crew.
Elsewhere, the episode also follows Caleb and Genesis, who have both, for very different reasons, opted to stay behind in the locked-down Academy rather than journey elsewhere. Caleb turned up his nose at the host family Ake found for him to stay with and Genesis is so obviously lying when she says her father had a last-minute obligation come up that it’s almost commendable how long the episode commits to the bit that she’s just down for a weekend of random competitive rulebreaking hinjinks with her favorite no consequences classmate who also happens to be the school’s best hacker. What a coincidence!
Seven episodes in, Genesis is still the member of our core crew that we know least about, and “Ko’Zein” gives us something that feels almost like a reason for it: She doesn’t technically belong at the Academy. She altered her recommendations to land a place in this cadet class, and really isn’t sure that she’s capable of being the person that her father so clearly wants her to become. Ake wants to submit Genesis for the Academy’s pre-command track, a sort of pre-med style crash course in captain’s training for those who’ve displayed particular skills.
As part of this, the committee will re-review all of her initial application materials and speak with her references, which all seems innocuous enough… at least until Genesis freaks out about it, and concocts an elaborate plan involving Caleb, Ake’s captain’s chair, and a cloned key to try and cover up the fact that she altered the originals. Her crime is, in the grand scheme of things, hardly the worst thing in the world, particularly given how eminently capable she’s already proven herself to be as a student and a leader. But maintaining her can-do, ready for anything, constantly striving image comes at a very real personal cost, and this is the first we’re really seeing of how her fear of failure has shaped her.
Much like in “Vitus Reflux,” Genesis and Darem’s stories are used as mirrors for each other, as each wrestles with the pressures of expectation, fear, and self-doubt in different ways. Are either of them on paths of their own choosing? Are they making themselves smaller or lesser to fit into preconceptions of who they’re meant to be? What do they each really want out of their lives, and how does their Starfleet Academy experience help them figure out what that is? These are, of course, precisely the kinds of questions that college is meant to force you to face, and it’s nice to see that’s still true even hundreds of years in the future. The episode ends with Darem annulling his new marriage and abdicating his throne, while Genesis is removed from the captain’s track. It’s a failure on a technical level, for both of them, or at least a man like Genesis’s father would probably say so. But it’s also a fresh start, and there’s something awfully promising in that.
New episodes of Star Trek: Starfleet Academy premiere Thursdays on Paramount+, culminating with the finale on March 12.
A Sonic the Hedgehog Character Is About to Sound Like Princess Anna
As befitting a video game franchise that has somehow spanned fan art featuring main characters doing everything from experiencing religious conversions to birthing babies (just google it; or better yet, don’t), the Sonic the Hedgehog movie series has had a strange evolution. What began as a ’90s style adaptation that downplayed game elements in favor of a human/animal adventure set on Earth has grown increasingly faithful to the Sega Genesis games and the expansive lore that followed.
So when the post-credit sequence of Sonic the Hedgehog 3 introduced both Metal Sonic and the hedgehog Amy Rose, fans demanded to know who would be voicing the latter. Paramount has heard those demands and said, “Let it go,” as they’ve announced that Kristen Bellwill be voicing Amy Rose for Sonic the Hedgehog 4.
To those who don’t know Sonic the Hedgehog, or to those who love Frozen, it might sound like Bell’s taking on a role far below her station. After all, Bell has been a pop culture mainstay for as long as Sonic has been around. As a young actress, Bell worked on the stage and popped up for upsetting stories in Deadwood and The Shield before breaking out as teen detective Veronica Mars. Veronica Mars made Bell a star, which she’s parlayed into films such as Forgetting Sarah Marshall and Frozen and another hit series in The Good Place.
But to those who love Sonic, it’s Bell who’s lucky to get the part. Amy Rose first appeared, alongside the robot Metal Sonic, in the 1993 Sega CD game Sonic CD. Originally, Amy barely transcended the old Ms. Pac-Man trope of “male character, but a girl,” as she was a pink hedgehog whose only defining features were her love for Sonic and her weapon, the Piko Piko Hammer. However, over several games, cartoons, and comics have turned Amy into a three-dimensional character with her own distinctive interests and motivations.
Those motivations will certainly be part of Sonic the Hedgehog 4, the latest entry in what has been a series that manages to get better and do better at the box office the more that it embraces the weird parts of the game series.
Of course, it doesn’t hurt that the Sonic movies also have a cast of big names. In addition to Jim Carrey, who recovers the manic energy that made him such a hit in the early ’90s, the movies feature voice vocal performances from Ben Schwartz as Sonic, Idris Elba as Knuckles, and Keanu Reeves as Shadow.
By adding Bell’s star power, Sonic the Hedgehog 4 has license to delve even deeper into the video game weirdness that fans love. Or, at least, Bell can bring in fans not prepared for just how strange the world of Sonic truly is.
Sonic the Hedgehog 4 plays in theaters on March 19, 2027.
Lee Cronin’s The Mummy Makes Ancient Egypt Spooky Kid Scary
Is there a classic monster more outdated than the Mummy? Sure, it’s scary to be covered in bandages and buried alive. But as the Orientalism that made the idea of a mummy’s curse so scary to Westerners fades (or at least mutates), it’s harder and harder to sell a beastie that’s essentially a zombie covered in gauze. If you can’t go the adventure route used for the Brendan Fraser movies, how do you make the mummy interesting to modern audiences?
If you’re Lee Cronin, you use that most cutting edge of horror tropes: scary, probably dead, kids. Spooky youngin’s are all over the latest trailer for Lee Cronin’s The Mummy, which introduces us to two loving parents played by Jack Reynor and Laia Costa, who learn that their missing daughter has been found. It turns out that Katie has been gone for eight years, and she was discovered within an ancient Egyptian sarcophagus. Worse, she looks less like a darling little girl and more like, well, like someone who has spent eight years inside an ancient Egyptian sarcophagus.
Where the classic Universal Mummy was a romantic whose love transcended the bounds of death, and where Fraser’s Rick O’Connell battled a supervillain version of the mummy, Cronin is drawing inspiration from his most recent film, Evil Dead Rise. The trailer is filled with not just the types of audacious split diopter shots that Sam Raimi would love, but also with icky bits like gooey bandages, bloody teeth, and limbs that creak as they twist into unnatural configurations.
Most of all, the trailer for Lee Cronin’s The Mummy features kids being dead and/or scary. Creepy kids and child endangerment aren’t exactly new to cinemas: after all, Frankenstein’s Monster tossed a little girl into a lake in 1931 and eight-year-old Rhoda Penmark terrified her mother in The Bad Seed in 1956.
But lately, moviegoers have taken a renewed interest in seeing kids come to terrible ends on screen, and sometimes return to do new terrible things. The It franchise and its TV spinoff Welcome to Derry, the Terrifier series with its exploding child bits and creepy Art the Clown girl, the tykes with mutilated faces in Talk to Me and Bring Her Back, and the midnight runners of Weapons have ignored all taboos to enjoy critical acclaim and/or big box office returns.
One might feel that Cronin is jumping on a bandwagon for his kid-centric take on the mummy, if the concept didn’t seem like something that fits the premise. As outrageous as the imagery gets, the trailer promises to ground the horror in emotional fears of the parents. That very real anxiety gives Cronin and other filmmakers room to go a little harder with the horror.
And if Evil Dead Rise is any indication, Cronin certainly will go hard with The Mummy, reanimating the tired old monster and making him something all too terrifying.
Lee Cronin’s The Mummy arrives in theaters on April 17, 2026.
Spider-Man: Brand New Day Book Announcement Reveals First Plot Details
When we last saw Peter Parker, nobody knew who he was. The end of Spider-Man: No Way Home brought Peter (Tom Holland) to what seemed to be his lowest point. His Aunt May had died, he lost access to both his Avengers allies and Tony Stark‘s money, and he spent his time sewing a suit in a crappy NYC apartment. Since then, we’ve been waiting on bated breath to see how much worse things would get in the follow-up, Spider-Man: Brand New Day.
“Four years have gone by since we last caught up with our friendly neighborhood hero. Peter Parker is no more, but Spider-Man is at the top of his game keeping New York City safe,” the blurb declares. “Things are going well for our anonymous hero until an unusual trail of crimes pulls him into a web of mystery larger than he’s ever faced before. In order to take on what’s ahead, Spider-Man not only needs to be at the top of his physical and mental game, but he must also be prepared to face the repercussions of his past!”
Okay, that’s not the richest thing in the world, but it does contain some surprises. Most notably, the blurb tells us that things aren’t so bad for our friendly neighborhood wall crawler. That’s actually a refreshing change for the MCU version of Spider-Man. In the comics, Spider-Man may be the Charlie Brown of the superhero set, but he does occasionally have things go his way. I mean, the guy was married to a supermodel for years.
The MCU Spidey may have had instant access to Tony Stark’s billions, but he’s never been respected as a superhero. If he’s the one keeping New York City safe, then that must earn him some respect, even if nobody remembers that it’s Peter Parker behind the mask.
Of course, the blurb also mentions “an unusual trail of crimes” and a “web of mystery,” which probably refers to the host of guest stars set to appear in Brand New Day. We know the film will feature minor baddies such as Boomerang, Tarantula, Scorpion, and Tombstone—the last of whom is rumored to be the ultimate villain of the movie—as well as fellow heroes Hulk and the Punisher.
Then there’s Stranger Thingsstar Sadie Sink, whose role is still undisclosed. If she is, as many hope, playing Jean Grey of the X-Men, then the arrival of feared and hated mutants in the MCU will certainly be a web of mystery unusual for Spider-Man. And Spider-Man may know a thing or two about webs, but that’s going to make life much, much worse for Peter.
Oh well, at least it sounds like Peter will have a few good months.
Spider-Man: Brand New Day swings into theaters on July 31, 2026.
Tom Noonan Gave the Scariest Performance in Any Hannibal Lecter Movie
Writer Thomas Harris gave the world Hannibal Lecter, one of the greatest on-screen monsters in cinema history. In novels such as The Silence of the Lambs and Red Dragon, the erudite psychiatrist-turned-cannibal terrified audiences, even more so when brought to the screen by Anthony Hopkins. Yet, Hopkins wasn’t the first person to play Lecter in live action, as he was preceded by Brian Cox in Manhunter. Moreover, Manhunter featured the scariest moment in any adaptation of a Harris work.
Directed by Michael Mann and based on the 1981 novel Red Dragon, Manhunter follows FBI agent Will Graham (William Petersen) as he tries to find Francis Dolarhyde, a murderer dubbed “the Tooth Fairy.” Played by Tom Noonan, who passed away on February 14 at the age of 74, gives a chilling performance, one that outdoes even Hopkins’ work as Harris’s most famous creation.
Released in 1986, Manhunter marries Mann’s cool, neon aesthetic to Harris’ overheated form of psychological horror. Most of the film focuses on Graham, an incredibly empathetic profiler who has retired from the FBI after capturing Hannibal Lecktor (as the name is spelled in this film). However, Graham’s desperate superior, Jack Crawford (Dennis Farina), convinces him to investigate a series of murders carried out by the Tooth Fairy, the soft-spoken man Francis Dolarhyde.
Rendered deeply self-conscious by the abuse his mother heaped on him and concerns about his physical appearance, Dolarhyde witnesses perfect families in the film he develops and then murders them. After each killing, he leaves bite marks on the women, earning his Tooth Fairy nickname, and replaces their eyes with mirrors.
Despite these over-the-top elements from the source material, Mann emphasizes the gumshoe, workaday nature of the FBI, which restricts even Dolarhyde from being too outrageous. It’s a difficult assignment, yet somehow Noonan pulled it off. A hulking man who stood 6’5″, Noonan cut an intimidating presence, which also led to him being cast as Frankenstein’s Monster in The Monster Squad. However, he balanced his intimidating physique with a gentleness, accentuated by his soft tone of voice and warm eyes.
In his best roles, Noonan played those two elements off one another to create a complex figure. He emphasized the gentleness of Frankenstein’s monster and made the Satanist Mr. Ulmer in The House of the Devil someone the main character would believably trust. He used his size to make actor Sammy Barnathan in Charlie Kaufman’s Synecdoche, New York all the more pathetic when he gets vulnerable.
But his best moment came as Francis Dolarhyde in Manhunter. Noonan gets us to feel sorry for Dolarhyde as Graham and Lecktor uncover the trauma that made him into a killer, and we’re even moved by his romance with a blind coworker played by Joan Allen. None of those feelings go away when Dolarhyde first reveals his diabolical nature. Rather, Noonan uses them to accentuate the horror.
Midway through Manhunter, a botched operation results in Dolarhyde capturing the tabloid reporter Freddie Lounds (Stephen Lang). With Lounds bound to a chair, Dolarhyde reveals himself in his person as the Red Dragon, Satan as imagined in the poetry and etchings of William Blake. He monologues to the captive Lounds about his power, about how Lounds owes him not fear but “awe.” At the beginning of the monologue, Dolarhyde shows Lounds images of Blake’s drawings and photographs of victims, punctuating each image with the question, “Do you see?”
In the Harris novel Red Dragon, and the later substandard adaptation by Melania director Brett Ratner, Dolarhyde uses this moment to reveal his muscular body, prosthetic sharp teeth, and large dragon tattoo. But Mann chooses a more conventional approach, dressing Dolarhyde in regular street clothes. In this version, he wears a nylon stocking over the top half of his head and does not put in the teeth until the final moments.
However, the scene still chills because of the subtle way Noonan plays Dolarhyde as both imperious and nervous. He remains calm throughout his speech, only slightly raising his voice when Lounds’s eyes close. While the calm could be interpreted as confidence, especially as Noonan towers over the seated Lang, it instead reads as reverence. Dolarhyde truly believes that he has transcended the body that he hates, that he’s become a vessel of the Red Dragon. Noonan never overplays it, never gets into the campiness that sometimes overtakes Hopkins’s work as Lecter. He plays it gentle, human, and utterly horrifying.
In that one scene, Tom Noonan’s ability to be both powerful and gentle brings a unique terror to a Hannibal film, a terror unmatched by any other Harris adaptation.
10 Best Picture Oscar Nominees from the ’90s That Should Have Won
Whoa there, pardner! Hold yer horses. See, what you’re about to read needs to be prefaced by a very particular piece of information. It would be unwise to scroll further without this here knowledge, so rest up yer spurs and prepare to yield on any scufflin’ or tarnations.
Right, looky here. Art surely is subjective, and film award voters usually have to pick just one winner to declare as the best. Now, is that really the “best” film? Or are there other, just as worthy films that could have taken that there award? Yessir, you’re darn tootin. Sometimes, voters’ll even be choosin’ a winner that don’t even really go on to endure in our cultural lexicon, so to speak, when every man, woman, and child knows that a good fence should be pig-tight, horse-high, and bull-strong!
So, when we were out here lookin’ through some movies from the 1890s that didn’t win big, we got to thinkin’ that maybe some of them were just as worthy of winnin’, if not more, while some of the actual winners might be about as welcome as a rattlesnake at a square dance.
…oh, wait. The 1990s? That changes everything. Okay then, let’s take a look at just 10 Best Picture nominee losers from the decade that totally had the juice to snatch the statue, which you’ll be glad to know will not be written up in the parlance of an old-timey prospector.
Dead Poets Society
Driving Miss Daisy is a fine character study with truly great central performances by Jessica Tandy and Morgan Freeman, so it’s not surprising that it picked up the Oscar for Best Picture in 1990. Still, some feel its take on race relations – focusing on friendship rather than systemic injustice – has dated quite a bit, especially since Spike Lee’s Do the Right Thing failed to even pick up a nomination in the same year. Interestingly, when Oscar voters were polled by THR in 2015, they said they’d choose My Left Foot instead ofDriving Miss Daisy, but we have to give a shout-out to an entirely different loser: Dead Poets Society.
If its continued rediscovery across new generations has taught us anything, it’s that Peter Weir’s coming-of-age drama taps into something timeless. It’s about that one moment when someone finally makes you feel seen, pushing you to be brave enough to think for yourself. Its themes still resonate with young people navigating expectations from all sides, and its “carpe diem” ethos has legit become cultural shorthand. Arguably, Dead Poets Society would have endured as a Best Picture winner because finding your voice never really goes out of style.
Goodfellas
1991’s Best Picture nominees are all pretty solid. Ghost, Awakenings, The Godfather Part III …Christ, okay, not that one, but the others! All solid. The winner that year, Dances with Wolves, is also a decent flick. James Cameron must have thought so at least; he’s already remade it three times, ayooooo.
Ahem, anyway, despite the general solidness of Kevin Costner’s directorial debut, it’s still a bit surprising that Goodfellas didn’t take the statue that year, isn’t it? I mean, of course Academy voters were gonna go for the wolf guy over Joe Pesci saying “fuck” 300 times; it makes perfect sense, but Goodfellas is a stone-cold classic. Scorsese’s movie completely redefined the gangster movie, for crying out loud. The kinetic camera work, the legendary Copacabana tracking shot, the wall-to-wall needle drops – it’s all still influencing filmmakers. Do you think the solid-gold anxiety cinema of Marty Supreme would be hitting the same way today if Goodfellas hadn’t set the blueprint in its final stretch? Ehh, well, at least Scorsese won the long game here. Modern crime storytelling just wouldn’t be the same without this one.
JFK
This is tough because the 1992 winner was The Silence of the Lambs, one of the greatest horror movies of all time. It’s a good choice for Best Picture, and it’s so rare that the horror genre gets its due at the Oscars! I can’t be mad about that. But what if there could have been two Best Picture winners from that year’s lineup? Well, JFK would probably be the other one.
Admittedly, it would have endured as a controversial choice. Though bold and provocative, Oliver Stone’s political conspiracy thriller looks back at the events surrounding the assassination of John F. Kennedy with a mix of fact and fiction that has infuriated plenty of historians and critics. However, JFK remains a fascinating exploration of a pivotal moment in American history that enraptures viewers even as it plays with the idea of presenting unverified claims as the truth. In many ways, it was an ominous portent of what was to come.
A Few Good Men
The 65th Academy Awards ceremony was a good time for Al Pacino enjoyers, as he had standout performances for Scent of a Woman and Glengarry Glen Ross in the running, but voters’ hearts finally settled on Unforgiven when they were choosing Best Picture, sweeping aside Scent, The Crying Game, Howard’s End, and the absolute banger that is Rob Reiner’s legal drama A Few Good Men.
In terms of lasting (the U.S. military getting up to all sorts of shady crap at Guantanamo) and cultural relevance (Jack Nicholson’s “You can’t handle the truth!” rant is endlessly quotable) A Few Good Men has stood the test of time. Fueled by an electrifying Aaron Sorkin script and further propelled by Tom Cruise at the peak of his 1990s dominance, it’s sometimes easy to forget that it also boasts many other strong performances. Kiefer Sutherland’s sneering First Lieutenant Kendrick, the late and great J. T. Walsh’s defeated Lieutenant Colonel Markinson, Demi Moore’s ambitious yet flailing Lieutenant Commander Joanne Galloway. Even Noah Wyle, now in the middle of a renaissance on HBO Max’s The Pitt, gets a piece of the action in what could have been just a throwaway role. It all adds up to a classic courtroom showdown of a movie that is easily more rewatchable than Unforgiven. Fight me.
The Fugitive
Ok, it’s time to settle down a bit, because I’m not about to be out here claiming that Schindler’s List shouldn’t have won Best Picture in 1994. Schindler’s List is an incredibly good and genuinely significant movie that deserved to win. What I am going to ask, though, is how many times you’ve watched it. Is it one? I’m going to guess that for most of you who have watched it, it’s one. Because it’s a tough watch, isn’t it? Great movie. Important movie. But brutal subject matter based on real, horrifying events. Unlike, say, The Fugitive.
I’m not going to compare The Fugitive to Schindler’s List; that would be ridiculous, but The Fugitive is still a great flick that could just as easily have won Best Picture in any other year, simply by being a terrific, edge-of-your-seat thriller that features not only a compelling turn by Harrison Ford as Dr. Richard Kimble but also Tommy Lee Jones’ relentless energy and humor as the U.S. Marshal out to get him. Tight pacing and great chase sequences make The Fugitive a textbook example of a thriller done right.
Pulp Fiction
Pulp Fiction ultimately fell to Forrest Gump when it was nominated for Best Picture, but it wouldn’t be the last time Quentin Tarantino felt the Oscar slip through his fingers because Django Unchained and Once Upon a Time in Hollywood would later meet the same fate.
Tarantino might be somewhat comforted by the movie’s massive cultural impact, though, which still reverberates today. With its nonlinear storytelling and pop-culture-saturated dialogue, everyone and their mom thought they could make their own version of Pulp Fiction after its release. The results varied, to say the least. No one could quite match Tarantino’s choice needle drops and hyper-stylized violence while also managing to revitalize and launch careers (Guy Ritchie fans, your sign won’t stop me because I can’t read) but it sure says something that even the attempt to do so became a cinematic template.
The Shawshank Redemption
It’s wild to think that The Shawshank Redemption, a movie that often tops “best of” lists everywhere, didn’t win the Best Picture Oscar in 1995, but it was up against some real competition that year in Pulp Fiction, Four Weddings and a Funeral, and Quiz Show. Can we really blame Oscar voters all these years later for noping out and choosing the twee “life is like a box of chocolates” fare of Forrest Gump just to keep the peace? Yes, we absolutely can; this is the internet. People can say anything. But we’d argue that saying The Shawshank Redemption should have won Best Picture over Forrest Gump isn’t exactly ragebait these days. It’s a flawless Frank Darabont masterpiece, people!
Fargo
If there’s a definitive, cut-and-dried, “bad” Best Picture choice on this list, it’s gotta be picking The English Patient (a fine film, don’t get me wrong) over friggin’ Fargo, a movie so good it went on to spawn an also-great five-season TV show. Voters accepted that Frances McDormand should win Best Actress and that the Coen brothers should win Best Original Screenplay for this stellar black comedy crime caper, but it does feel a little bit like when it came to choosing Best Picture, their collective fingers slipped when they were trying to hit the Fargo button.
You see, there are plenty of memorable moments in Fargo. Marge’s “Oh, you betchas,” literally anything with William H. Macy trying to weasel his way out of the bind he’s in, the woodchipper scene, the local girls recalling their encounter with Steve Buscemi, but I’m gonna be real with you here: the only thing I can remember about The English Patient is Ralph Fiennes and Juliette Binoche’s pained expressions. I can’t be alone.
Good Will Hunting
Nothing was going to get in the way of James Cameron’s Titanicwinning Best Picture. Nothing. But damn, there were some phenomenal contenders that really lost out in 1998, weren’t there? First up, Good Will Hunting, which famously won young BFFs Ben Affleck and Matt Damon a screenplay Oscar but couldn’t quite snatch Best Picture out from under the strains of hearts going on and such.
Though the “apples” scene has been parodied to death at this point, Good Will Hunting remains a charming crowdpleaser that builds its foundations out of Affleck and Damon’s raw talent but also gets a particularly wonderful performance out of the late Robin Williams, as his grieving psychology professor deftly breaks down the walls of a literal genius who still doesn’t quite have the confidence to leave behind the familiar and embark on his own journey of discovery.
LA Confidential
L.A. Confidential was another of 1998’s losers that didn’t stand a chance against icebergs being right ahead and whatnot. Generally, it’s now considered one of the best neo-noir crime thrillers ever made, but it wasn’t enough to stop Cameron’s heart of the ocean.
Of all the movies on this list, L.A. Confidential is probably the trickiest to discuss without acknowledging that it stars Kevin Spacey in a plum role, and remarks about his conduct on set have also recently been made. Co-star Guy Pearce calls him an “amazing” actor whom Pearce says he had “a difficult time” with, describing Spacey as “a handsy guy.” Not amazing context through today’s lens, but at the time, people definitely thought L.A. Confidential deserved to be among the Best Picture nominees, and it was even championed as a potential underdog to win the Oscar, which is no surprise given that Curtis Hanson’s attempt at adapting James Ellroy’s seedy novel is enormously successful.
Take it to the comments section, people; there’s no more to see here!
Colossal Woolly Mammoth ‘On Track for 2028’ as Perception Around De-Extinction Evolves
Ben Lamm, the CEO and co-founder of the technology firm Colossal Biosciences, does not want to play favorites with the company’s various de-extinction projects. One look around a newly finished headquarters in Dallas, Texas speaks volumes for how proud the company is about their dire wolf—or a functional recreation of the Pleistocene predator using the genetically-edited code of gray wolves to match the genome of the extinct creature of prehistory. And they have various projects, including the thylacine (the Tasmanian tiger), the dodo, and great moa of New Zealand, in various stages of development.
Still, at the end of the day, the one he seems most eager to cross the finish line remains the woolly mammoth, an animal which Colossal does not only wish to recreate by editing the genetics of its closest living relative, the Asian elephant, but to also rewild—returning the furry giant to the arctic tundras that mammoths once roamed.
“I think that the mammoth conjures probably the most excitement,” Lamm muses inside a dire wolf-bedecked conference room. “Of anything we’re working on, it’s like people almost put it in the Jurassic Park age. It wasn’t, but people still have this view. We were making pyramids while mammoths were still here.”
Indeed, the last known mammoth population to walk the earth died out roughly 4,000 years ago, about six centuries after the Egyptians started putting up their monuments. It is a creature in (distant) human history, but one mythical enough to trigger the imagination. That myth is also what first made Colossal a reality after Lamm got inklings in the 2010s about George Church, a Harvard geneticist who made it a life’s dream to bring back the woolly mammoth. And according to Lamm today, they’re as close as a mere two years out from having that calf in the world.
“We’re certified by the American Humane [Society], we’re certified by Global Humane,” Lamm says. And they’re more than two and a half years into the process of working on oval egg retrieval in elephants—a crucial aspect in developing the IVF process for safely birthing a mammoth calf with an Asian elephant surrogacy that will last 22 months. “We’ve made a lot of progress on that one. I’m not announcing anything today, but I think we’re going to show some really interesting progress on that this year that people will get excited about, and which has huge applications to captive breeding programs and elephant conservation. [It will] ensure that this is repeatable, exciting, and impactful in a way that has no negative impacts on elephants.”
The founder further asserts once they can 100 percent confirm the transfer process of elephant embryos is safe, it could have an immediate impact in both the mammoth project and endangered elephant populations.
“[The limiting factor] won’t be a technology factor,” Lamm says, “it will be [getting] everyone around the table, including our animal rights partners, and everyone feeling we’re okay to put these in here. So I think they will.”
While Lamm is confident they’re “on track for 2028,” already the company is preparing for where mammoths would go in two years. Matt James, Colossal’s chief animal officer, cryptically confirms that significant nature preserves have been earmarked with partners to rear mammoths.
“It’s a northern climate, not south, I can tell you that,” he chuckles. Additionally, the experience of studying the dire wolves in their own undisclosed captivity has helped James begin writing and rewriting animal care and rewilding manuals for a creature most associated with the Ice Age.
“I think a lot of the regulatory stuff has been really interesting for us, as we’re uncovering what are the regulatory pathways to eventual rewilding of a genetically modified animal,” James explains. “That’s something nobody’s ever done before, so even going through this exercise is more hypothetical with dire wolves, it has been really good about us finding the connections of the people that are sort of experts in those areas… that’s been really good for building our network of expertise, because this isn’t a thing that happens in a silo at Colossal. It’s going to take a whole village of people to help us develop these strategies.”
It’s also bringing to fruition a dream that 40 years ago might have seemed fanciful, but in 2026 is seeing opinions rapidly evolve, even within the scientific community.
Dr. Beth Shapiro would know. The evolutionary molecular biologist and geneticist has been studying Ancient DNA since her graduate school days at Oxford in the early 2000s. By then, the first academic paper on Ancient DNA was well-known, with Allan Wilson’s UC Berkeley extinct study group publishing its findings in 1984. The document is often cited as an influence on Michael Crichton’s Jurassic Park and also prompted the first question a journalist ever asked a scientist in this field: Can you one day bring back a woolly mammoth?
“My first book was actually called How to Clone a Mammoth [published in 2015],” Shapiro tells us, “which was a long-form answer to why it was really hard, and all of the technological, ethical, and social challenges one would need to solve to get to the point where you can bring a mammoth back to life. So the idea of de-extinction has been circulating in Ancient DNA, but I think what’s changed is the technology has advanced to the point where all of the foundational tools that we need to make it happen exist. Now they just need to be accelerated and be pushed to the extreme.”
Consider that one of the breakthroughs has been advancing and scaling up multiplex-genome engineering. With their dire wolf, Colossal pinpointed about 20 edits needed in the gray wolf genome to functionally recreate the dire wolf in appearance, behavior, and ecological function. Some of the other species Colossal aims to de-extinct next will demand thousands, tens of thousands, and possibly a million edits. All of it is on the table.
Such rapid advancement has led to a fair amount of skepticism, both among the press and perhaps more acutely in the world of academia where scientists like Shapiro hail. (She is technically on a three-year sabbatical from the University of California, Santa Cruz while now working as the chief science officer at Colossal.) But a colleague of hers who’s also been fascinated by the potential of de-extinction for just as long—Dr. Andrew Pask, Colossal’s chief biology officer and head of the company’s research efforts in Australia—says such perceptions are changing given recent breakthroughs in combatting the fatal EEHV in elephants and the potential of the dire wolf project offering coattails in engineering newfound biodiversity within American red wolf populations.
“This big shift has happened as we’ve also proven that we’re having real conservation outcomes,” Pask explains. “I talk at a lot of conservation conferences, and I think initially people were just really skeptical. They would always come up and be like, ‘I just don’t see how this is actually going to lead to conservation outcomes.’ And we kept on saying, ‘Here are all the things we’re projecting will happen.’ But I think now, as we’re actually achieving those goals and showing these things, people are going, ‘This is actually an important path forward.’”
Right now, Pask is helping progress a genetically-engineered quoll—a small nocturnal, and extremely endangered marsupial in Australia—into becoming the first controlled release “ambassador project” in his native country where the Colossal quoll can help introduce the attributes needed to survive a changing habitat.
“I think people are much more accepting that we do have to take these kind of measures if we want to save biodiversity on our planet,” says Pask. “We absolutely have to. There is no other technology that can bring back lost biodiversity. You have to engineer it back in. It can happen over evolutionary time, but we would need hundreds of thousands, if not millions of years for some of these populations that we whittled down to 10 individuals to become healthy again. And they won’t. They’ll go extinct before that can happen. But we can bring those things back with conservation.”
Pask claims he’s achieved more tangible results in the past three years than in the 20 that preceded them. He likens such exciting progress to the world collectively driving full speed off a cliff and, having only now noticed there’s a path off the suicide ride, folks in the backseat are shouting, ‘No, no it’s too risky!’
But as his colleague Shapiro notes, choosing not to do anything due to risk-aversion is itself a risk that will invite dire consequences.
“The idea of de-extinction is exciting,” Shapiro says. “It brings new people in, brings new money into conservation. The money that’s gone to support Colossal would have otherwise gone to something like Bitcoin. Who knows? This is not money that would’ve supported traditional approaches to conservation. So I think it’s a huge win that Ben has been able to raise hundreds of millions of dollars and push it to developing tools for conservation.”
Right now the woolly mammoth is still at least two years away, but already benefits from researching how to replicate and rewild a mammoth are being implemented in living elephant populations.
“What’s crazy is all those works are helping elephants today,” says Lamm, “but selfishly we need all that to then build synthetic herds of mammoths and rewild mammoths. So we’re learning great things and helping today, but we’re also selfishly learning for our de-extinction project.”
Life finds a way, indeed.
The Mandalorian and Grogu Will Feature a Directing Great… As an Alien Shopkeeper
The Mandalorian and Grogu boasts not one, but two big names behind the camera. First, there is Jon Favreau, who directed Elf and Iron Man, created The Mandalorian, and helmed several episodes of the series. Then there’s the guy who helped Favreau write the screenplay, Dave Filoni. Not only is Filoni about to rise to co-head of Lucasfilm, but he also created The Clone Wars, the fan-favorite animated series that has increasingly been the focus of Star Wars media.
Yet, despite their achievements, neither of those two men are the most impressive director involved in the project. As seen—or, rather, heard—in the latest trailer for The Mandalorian and Grogu, Martin Scorsese lends his voice to an Ardennian who closes up shop when he hears that Din Djarin is tangled up with the Hutts.
absolute cinema
Martin Scorsese joins The Mandalorian and Grogu only in theaters and IMAX May 22. pic.twitter.com/6pytrpKzYH
To be honest, Scorsese’s involvement seems to make no sense. After all, this is the guy who created some of the grittiest and most upsetting movies of all time, grimy classics such asTaxi Driverand Goodfellas. This is the guy who spoke dismissively of superhero movies, a guy who not only offered a withering response to Todd Phillips’s Joker (which was a clear riff on Scorsese’s The King of Comedy), but compared the entire genre to amusement park rides. Scorsese makes complex movies about crime and God and sin and redemption. What the heck is he doing in a Star Wars flick?
The answer is more simple than you’d think. First of all, even if Scorsese was an East Coaster who went to NYU, he still palled around with West Coast movie brats like Steven Spielberg, Brian De Palma, and, yes, George Lucas. He saw Star Wars back when it was a little independent movie that his buddy was doing outside the studio system.
And then there’s the fact that Martin Scorsese really, really likes movies. Even if he’s best known for his grown-up fare, the director has indulged in kid-friendly spectacle himself, making the 3D romp Hugo. He regularly champions films of various genres, and even previously lent his voice to Shark Tale, a film that even the biggest Star Wars hater can admit is probably worse than The Mandalorian and Grogu.
Finally, Scorsese is hardly the most unlikely filmmaker to get involved with The Mandalorian. Season 1 featured regular appearances by Werner Herzog, the German director best known for documenting nature at its most meaningless and violent. Herzog made for a striking addition for the series and famously demanded that Favreau and company use a puppet instead of CG for Grogu, creating the cultural phenomenon that was Baby Yoda.
Will Scorsese’s Ardennian shopkeeper become an equally beloved pop figure? Well, probably not. But at least Star Wars marketing team got a good “Absolute Cinema” joke out of it.
The Mandalorian and Grogu and Martin Scorsese arrives in theaters on May 22, 2026.
KPop Demon Hunters Stars Recall Dull First Introductions to the Characters
KPop Demon Hunters is a bona fide phenomenon. Since the Sony Animation film hit Netflix on June 20 of last year, it has broken streaming records, moved tickets at theaters, sold toys and records, and garnered awards recognition. More importantly, the film and its themes of acceptance have resonated with viewers from all sorts of walks of life.
But to those voice actors who brought Huntrix’s songs to life, the initial idea wasn’t that exciting. “The only information I got pertaining to the movie was very generic,” remembered singer and rapper Rei Ami, who provides the singing voice of Zoey. Regarding the trio in Huntrix, she told Variety that the casting notice just said, “KPop girl group, also demon slayers by night, powerful music, and they’re badass and cute.” For Zoey in particular, it read, “the only description I got was that this person needs to be able to sing in Korean and English, but they need to be able to rap extremely fast.” Yet, despite that bland description, Rei and her co-stars soon discovered something special.
Based on that description, it’s not hard to imagine the type of movie that Rei Ami and her co-stars thought they were getting. KPop Demon Hunters follows the titular musical trio, consisting of not just rapper Zoey (her speaking voice provided by Ji-young Yoo in the English dub), but also dancer Mira (speaking voice by May Hong and singing voice by Audrey Nuna) and frontwoman Rumi (spoken lines by Arden Cho and singing by Ejae).
When not selling out stadiums, the three women battle demons. However, Rumi must hide the fact that she too is part demon, a fact made harder to conceal by the arrival of a human-turned-demon named Jinu (Ahn Hyo-seop in spoken dialogue, singing by Andrew Choi) who leads a male act called the Saja Boys.
The film’s hit songs, especially “Golden” may be misconstrued as a generic “believe in yourself” anthem, the same sort of themes peddled by kids movies for the past several decades—the same sort of themes that could easily be delivered by characters who are, in the blank description, “badass and cute.”
But to her credit, Rei and her co-stars pushed further and found something richer and stuck with it. “I don’t know what this movie is going to do, but it’s everything I love in terms of animation. It’s a Netflix film. It’s music, and it’s based in Korean culture. It’s everything that I am,” she told herself. And even though she drew the line at one particular high note in the hit “Golden”—”I told my manager, Aaron Tropf, ‘Tell them Rei cannot hit this note. She does not want to hit this note'”—she put her strength into the part.
And now, Rei recognizes that the dare was with it, because the performers are experiencing validation. “It’s long overdue,” she declared. “We worked our asses off. We’ve had the door shut in our faces. We were told we were too little, too much.” And all that from a cast description for KPop Demon Hunters that was too little, but so much.
KPop Demon Hunters is now streaming on Netflix.
The Mandalorian and Grogu Will Bring a Star Wars Fan Favorite from The Clone Wars
For most people watching the latest trailer for The Mandalorian and Grogu, the exciting stuff is everything that’s always been great about Star Wars: the spaceships, the power of the Force, all the cool sci-fi updates to classic genre elements. But for a certain group of people, the best part of the trailer is the appearance of a gangly guy with a wide-brimmed hat on his head and a mutt by his side. For them, it’s all about Embo.
For the uninitiated, Embo is the frightening-looking figure who removes Din Djarin’s helmet midway through the trailer, breaking Mandalorian law but also revealing the handsome face of star Pedro Pascal. Even the neophyte viewer knows that the situation doesn’t look good for Mando. But for fans of Star Wars: The Clone Wars, Mando’s bad luck is going to lead to a good time.
Embo made his debut in “Bounty Hunters,” the 2010 season 2 episode of The Clone Wars animated series. The episode finds Obi-Wan, Anakin, and Ahsoka arriving at a village where the desperate farmers have hired a quartet of hired guns for protection from local warlords. Although Embo is just one of the four new faces introduced in that installment, his stoic demeanor and general nobility—holding to a deal but willing to accept help from the heroes—won over fans.
After another appearance in season 3, Embo popped up several times in the show’s fourth season, truly standing out in “The Box,” which involved a competition between bounty hunters. Watching Embo hold his own against established killers such as Cad Bane cemented his legend.
For most fans, Embo carries a mystique that recalls the love original trilogy fans had for Boba Fett. As difficult as it is to remember now, Boba Fett was little more than a cool-looking guy standing in the background of The Empire Strikes Back who had to be warned by Darth Vader against going too far. Not even his ignominious end inReturn of the Jedi, getting bumped into the sarlacc pit by a blind and bumbling Han Solo, or participation in the Star Wars Holiday Special could diminish his appeal.
For that reason, fans aren’t coming to The Mandalorian and Grogu looking to learn more about Embo. As long as he keeps looking cool, with his bowcaster on one side and his dog Marrok on the other, and as long as he makes Mando’s life difficult, that will be enough.
But will it be enough for everyone else? Created by Jon Favreau, The Mandalorian proved to be a hit for Disney+, in part because of the pop culture sensation around Baby Yoda and in part because the show went back to pulpy basics. But as The Clone Wars creator Dave Filoni developed a stronger voice in the series, it became more indebted to lore from that cartoon series and its sequel Rebels. Thrilling as that shift was for those who grew up with those shows, everyone else fell off of The Mandalorian.
As a major motion picture playing in theaters, The Mandalorian and Grogu cannot afford to cater to a select group of fans who loved a certain cartoon show fifteen years ago. So while the movie can absolutely bring in deep cuts like Embo, the reference alone won’t sell tickets. Then again, Embo has always make a strong first impression. That impression alone might be enough to make believers of everyone who watches The Mandalorian and Grogu.
The Mandalorian and Grogu comes to theaters on May 22, 2026.
28 Years Later: The Bone Temple – Jimmy Crystal’s Funniest Moment Was Cut from the Movie
Nia DaCosta’s 28 Years Later sequel, The Bone Temple, has no shortage of darkly comic moments. Though the film is also peppered with some absolutely brutal scenes of violence and gore, the director seems to understand how uniquely silly some of the characters are, as tragic as their circumstances might be. Still, one of the main characters’ funniest moments ended up on the cutting room floor.
The latest movie in the franchise focuses on the villainous Sir Lord Jimmy Crystal (Jack O’Connell) who fashions himself after the late, disgraced U.K. entertainer Jimmy Savile. The Bone Temple explores what happens when Jimmy happens upon the sweet-natured Dr. Kelson (Ralph Fiennes) and becomes convinced that he’s the devil who’s been encouraging him to torture and kill countless people across Britain, along with his gang, the Fingers.
But in a new deleted scene from the film, Jimmy’s daytime encounter with Dr. Kelson is cut short by the appearance of the roaring Alpha, Samson, who terrifies Jimmy enough to have him scarpering in a truly hilarious way.
In this exclusive deleted scene from @sonypicsathome@28YearsLaterMov: The Bone Temple, Sir Lord Jimmy Crystal (Jack O'Connell) and Dr. Ian Kelson (Ralph Fiennes) part ways just as the infected Alpha Samson (Chi Lewis-Parry) arrives! pic.twitter.com/2BDjZx6HXu
Arguably, this would have ended up being the funniest Jimmy Crystal moment in The Bone Temple, but you can see why it was ultimately cut from the film, as it somewhat undercuts the seriousness of the conversation between Jimmy and Kelson. It also squashes Jimmy’s surprise at seeing Samson towards the end of the film, when he also mistakes him for the Devil.
The Bone Temple is the second movie in a planned trilogy written by Alex Garland. Danny Boyle, who directed the first movie, is planning to return to helm the third, which will see the return of Cillian Murphy’s character from the original film, though there has been some uncertainty around whether a third film would even happen, as The Bone Temple received critical acclaim but a disappointing box office haul. However, Sony still seems to be behind Boyle’s final entry in the franchise, and the director is reportedly planning a summer 2026 shoot.
Terminator Zero Cancellation: Creator Mattson Tomlin Shares Unfinished Plans
In 2024, the animated series Terminator Zero premiered on Netflix and did the seemingly impossible: it presented a thoughtful, well-structured story set in the Terminator universe that vastly outdid many of the live-action sequels.
Positive reviews soon poured in for the eight-episode show, which was developed by The Batman Part II writer Mattson Tomlin and featured animation by the esteemed Japanese studio Production I.G., but fans of the show were unhappy to find out this month that there would be no more of it, as Netflix has cancelled Terminator Zero after just one season.
Tomlin took to X for a post-mortem after the news broke, saying he might write a thread in the future about his planned five-season run of the show. “The series finale was special,” he said. “It was part of my pitch to get the job. I’ve written all of the season two scripts and outlined pretty much all of season three.”
Maybe someday I’ll do a big thread about the plans I had for the full five season run. The series finale was special and it was part of my pitch to get the job. I’ve written all of the season two scripts and outlined pretty much all of season three. https://t.co/io5KK7zjoO
There don’t seem to be any hard feelings between Tomlin and the streamer, however, despite the show’s upsetting cancelation.
“Netflix was really great about supporting the show and giving me tremendous creative freedom to do what I wanted to do. Good partners,” Tomlin wrote, explaining that the decision was down to the show being “expensive and very time-consuming” and that making more of the series depended on it snagging a bigger audience. “The only way they could justify it was if the audience showed up for it, and they just didn’t.”
Tomlin also noted that Netflix did offer to let him wrap up the Terminator Zero story with two or three additional episodes, but that he turned them down: “I felt the story I wanted to tell was much longer, and the finale of season one actually left things in a good place.”
Set around 1997 in Tokyo, Terminator Zero follows a resistance soldier named Eiko, who is sent back from 2022 to stop a looming catastrophe by protecting Malcolm Lee, a scientist developing a new Skynet rival called Kokoro. But as Judgment Day nears, Malcolm’s work also draws the wrath of a Terminator (voiced by Timothy Olyphant in the English dub), forcing Eiko to keep Malcolm and his family alive. Season 1 ended with Kokoro deciding to defend humanity from Skynet, and another attack looming.
The Mandalorian and Grogu Trailer Adds Baby Greedo to Star Wars
When The Mandalorian debuted in 2019, it leaned hard into the pulpy origins of Star Wars. Set to a Ludwig Göransson score that borrowed heavily from Ennio Morricone Spaghetti Western music, The Mandalorian followed the titular character as he walked into watering holes full of disreputable characters and sought out his bounty. But people didn’t really care about that. They cared about Baby Yoda, the popular (and frankly better) name for the creature he protects, the creature officially named the Child and then Grogu.
Creators Jon Favreau and Dave Filoni don’t use the name Baby Yoda in the title of their upcoming film The Mandalorian and Grogu, but they know what the people want. That’s why the trailer features a brief glimpse of an infant Rodian, a character we are going to call “Baby Greedo.” No, this child doesn’t shoot first, but he does look scared before being whisked away by his mother, and he does it adorably.
Baby Greedo is just one of the many creatures on display in the trailer. Sure, there’s a bit about a plot involving the bounty hunter Embo from (unsurprisingly) The Clone Wars cartoon series, as well as the Mandalorian Din Djarin (Pedro Pascal) facing off against Jabba’s son Rotta the Hutt (The Bear‘s Jeremy Allen White), who also comes from The Clone Wars, because of course he does.
But really, it’s all about the monsters. We get to see Hutt gladiators, a cool white sea serpent thing, some dinosaur-looking dude. Clearly, Favreau and Filoni have taken the lessons of the Mos Eisley Cantina and applied it to the entire film.
That aesthetic includes leaning into the cuteness of Grogu and Baby Greedo. As Djarin’s voice over suggests, Grogu is maturing into the powerful Force user we knew he’d become, and even if his attempts to lift a vehicle inspire more slapstick chuckles than they do awe, he clearly has great power. To underscore the point, the trailer features images of Grogu meditating serenely in a swamp, bringing to mind Yoda, or as we like to call him, “Grown-up Grogu.” And if that wasn’t enough, there appear to be multiple Anzellans like Babu Frik, bringing to mind the one redeeming feature of Star Wars: Episode Nine—The Rise of Skywalker.
But will it be enough? As Baby Yoda has matured into Grogu and as The Mandalorian became more a sequel to The Clone Wars, its appeal has been limited to Millennials who love the prequels and Filoni’s cartoons. Dedicated as they are, that audience may not be enough to make a major motion picture worthwhile. But maybe the sheer cuteness of Baby Greedo will make up the difference.
The Mandalorian and Grogu hits theaters on May 22, 2026.
Dreamcatcher Is Exactly the Stephen King Movie It Should Be
“I don’t like Dreamcatcher very much,” Stephen King said of his bestselling sci-fi horror book back in 2014. Written in longhand under the heavy influence of OxyContin, a medication that the author was taking after a car accident had left him severely injured, the book was certainly …something. Mind you, this remark about him not liking his book came more than a decade after it had already been adapted for the screen and he’d declared the movie version “one of the very, very good adaptations” of his work. Perhaps, then, we should view this as a very strange kind of compliment.
Indeed, the Dreamcatcher movie is also certainly …something. A largely faithful adaptation of King’s tome, it was directed by Lawrence Kasdan, who had previously found success writing Raiders of the Lost Ark and The Bodyguard. He co-wrote Dreamcatcher with legendary screenwriter William Goldman, and the film features a stacked cast that includes Timothy Olyphant, Morgan Freeman, Thomas Jane, and Damian Lewis. It’s no surprise that people were excited to see how it turned out.
However, there was still the actual King story to contend with, and what a story it is! We follow four lifelong friends – Jonesy, Beaver, Pete, and Henry – who share a mysterious psychic bond after saving a troubled boy named Duddits in childhood. Years later, they reunite for an annual hunting trip, only to find the area gripped by a deadly alien infection. Stumbling upon a disoriented stranger, they soon discover he’s carrying a parasitic extraterrestrial lifeform that violently bursts from the assholes of its human hosts. This “shitweasel” infection spreads rapidly, so the U.S. military quarantines the region to contain the threat.
The leader of the alien force is also revealed to be capable of possessing human bodies. It takes control of Jonesy (Lewis), using him as a host to finalize its evil plan. Jonesy battles the invader in a surreal “memory warehouse” inside his own mind, trying to regain control. Meanwhile, Henry (Jane) teams up with the adult Duddits (Donnie Wahlberg) to stop the aliens from contaminating a major water supply.
So what we have here is a lot of nonsense peppered with classic King dialogue motifs (“SSDD,” “fuck me Freddy,” “fuckarow.”) There are alien butt monsters, the U.S. military, a snowstorm, scenes set entirely in a character’s mind, and jarring Maine flashbacks that have to keep explaining who Duddits is and why his supernatural bond with the lads matters, because he’s going to come back at the end to save the day. To say all of this is messy would be an understatement, but when you know that King wrote this story while high as balls on OxyContin, I’d argue it’s all pretty easy to understand.
The movie also springs one bonkers filmmaking decision after another on us, as it should. “Sometimes you can underestimate what can be in a movie,” Kasdan told In Focus. “There were things in the book that I wanted in the movie that [Goldman] felt maybe couldn’t be in – and I sort of added them back.” He absolutely did, yes. And then some. For example, the character of Jonesy is an American, but when the alien leader, Mr Gray, possesses his body almost halfway into the movie’s runtime, it turns out that the alien has a clipped, Laurence Olivier-esque, 1930s British accent, which Lewis admits was “a kind of wild and surreal” decision, adding, “People jumped online afterwards and said, ‘Oh God, I really loved the film. But that Damian Lewis guy, what is that English accent? It’s totally unbelievable.'”
That’s right, the audience didn’t think Lewis – who is actually British – managed to pull off what was essentially his own accent. That’s how much whiplash Jonesy’s “tally ho!” handbrake turn into Mr Gray inflicts on viewers. And that’s hardly all. Jonesy’s mental memory warehouse, kept from the book, is also envisioned as a real warehouse where Lewis is seen pottering around, retrieving files full of exposition and plot twists. When we jump there, we don’t know if we’re about to see a deus ex machina or a flashback that derails the movie’s momentum. Elsewhere, Jason Lee’s performance as the somewhat underwritten Beaver is so surprisingly good that he blows everyone else off the screen. When he’s eaten alive by a toilet monster at the end of the first act, it leaves a sudden gaping hole (no pun intended) in the movie’s vibe.
Then there’s the U.S. military duo of Freeman and Tom Sizemore, who feel like they’re in a completely different movie. Dreamcatcher needs us to understand that Freeman’s Colonel Abraham Curtis is unhinged and that Sizemore’s Captain Owen Underhill is the only one who can stop him from nuking the infected site from orbit, but these roles are woefully miscast – Sizemore is not a natural straight man and Freeman seems extremely uncomfortable with the dialogue he’s been given as he rants about everything from his gun (he got it from John Wayne) to the reverence he has for American citizens “they never miss an episode of Friends,” all while trying to sell dialogue like “Bucko, I think we’re on the same page – pissing in the same latrine” with classic Freeman gravitas (he fails spectacularly.) Though Freeman said he got input on everything we see him do in Dreamcatcher, he also joked, “What if I said ‘paycheck’?” when asked what kind of genre it falls into.
We haven’t even gotten to Wahlberg’s performance as the adult version of Duddits. Here, the New Kids on the Block icon-turned-actor has the unenviable task of playing a powerful alien entity hiding inside the body of someone with a disability. Wahlberg said he prepared for the role by watching videos of kids with Down syndrome. Your mileage may vary with this one, folks, to put it mildly.
Taking all this into account, it will not shock you to learn that Dreamcatcher bombed both critically and financially. Not only that, it “wounded” Kasdan’s career considerably; it would be almost a decade before he directed another movie (the Diane Keaton-led dog rom-com, Darling Companion.)
Still, there’s something decidedly bold about Dreamcatcher that invites a reassessment, especially in the wacky, Scooby-Doo-riffing era of Welcome to Derry. You’ve got to admire (and dare I say, respect) Kasdan’s certainty that a story about a group of psychic friends dealing with an alien shitweasel invasion in the middle of a snowstorm, from the decidedly drug-fueled mind of Stephen King, would work on the big screen. I mean, it didn’t, but the movie remains massively entertaining because everyone seems to be having such a lot of fun with the deranged material. “I loved making that movie,” Lewis said, reflecting on the experience. “I loved working with Larry. It was a wild ride of a film; that script was a lot. But we had a great group of guys.”
Sometimes, that’s all you need. Sure, Dreamcatcher remains an unsubtle clusterfuck of a movie, yet at least it swings for the fences. With so many genres crammed inside it – alien invasion, body horror, psychic friendship drama, military thriller – it is absolute chaos, but that’s a feature, not a bug. And y’know what? With everything it’s got going on, at least you’re never bored.
Colossal Is Using New AI Tools That Might Just Save the Gray Wolf
The tooth-billed pigeon, which is sometimes referred to as “the little dodo” of the Pacific, is a variety of fowl indigenous only on the islands of Samoa. For more than a decade, it was also thought to be lost, if not outright extinct, after its last confirmed sighting occurred in 2013. That changed in 2025, though, when the Colossal Foundation—the conservation arm of the Texas technology company—introduced a new device to Samoa.
Described as a bioacoustics array derived from sound censors and a 360-degree camera mounted on top, this “classifier” is an AI-powered machine that has only begun to be deployed over the past 13 months at sites and national parks around the world. And according to Matt James, the chief animal officer of Colossal Biosciences as well as the executive director of the Colossal Foundation, it pinged the tooth-billed pigeon 43 times on its first deployment in Samoa alone.
“We know it’s out there,” James smiles while sitting across a conference room in Dallas. “So the next step [was] to get teams out there, go get eyeballs on them. And they’ve now seen them for the first time a month ago. It’s the first time in 13 years the bird’s been seen by a human, so the next step is can you begin to grab these animals and put them back into human care, so we can create captive breeding and release programs?”
That last bit might prove especially prudent considering one of the reasons the bird is virtually extinct is because an invasive breed of feral cat has flooded the island. It’s hardly an ideal situation, but according to the Colossal officer, it’s a chance to “bring them to human care, remove the cats, begin to build the population, and put them back in the wild, all because an AI tool is able to find it where nobody else could find it.”
It’s also a sample of work that might be less flashy than the de-extinction project that’s made Colossal famous after they brought a version of the dire wolf back from prehistory last year, but it has profound and immediate implications for species already here, from this relatively large pigeon in the South Pacific to elephants in Africa, and the much debated American gray wolf inside the continental U.S.
When we catch up with James, it’s during the recent grand opening of the Colossal Biosciences headquarters and laboratories in Dallas. We previously toured the campus last year when Colossal dominated social media with images of baby dire wolves—and Colossal CEO Ben Lamm remains adamant that the goal of having a woolly mammoth calf walking the earth again by 2028 remains on track. But it’s clear the technology company is at a pivot point following the last 12 months. The closest thing to a real-life Jurassic Park is now open to school tours, the world’s first permanent BioVault dedicated to preserving endangered or extinct genetic genomes is being established in Dubai, and as James muses, “[If] ’25 was about growth… ’26 is about delivery. It’s time.”
The foundation’s “bioacoustics classifier” and the AI system it implements seems like one such device that can deliver sooner. Already its systems are being implemented in Yellowstone National Park in Wyoming, where it is being used to monitor gray wolves, and in the Samburu National Reserve in Kenya, where it is intended to study and protect the African elephant.
“We’ve developed it and we just give it to our conservation partners for free,” James explains. “The hardware is a piece that we will buy for them and then deploy it.” In Yellowstone, they’ve already deployed 55 classifiers, which create a grid system monitoring five kilometers each. “They’re really far spaced out,” James continues, “you don’t need a ton of them to do that, and so for $55,000, you essentially can cover all of the world’s largest national park.”
First deployed at Yellowstone in January 2025, the devices work by remotely connecting with a cell network which uses bioacoustics that record the sound of an animal’s cry to build and analyze spectrogram data, deciphering what is, say, a gray wolf instead of a coyote. The goal is for Colossal AI engineers to match that with a machine-learning tool that is able to individually distinguish a specific elephant or gray wolf, or pigeon, from another with a single drone image. According to James, when the bioacoustics classifier was first tested, it had a 96 percent accuracy rate, and that score has only gone up since it’s been refined.
The applications for such tools also expand far beyond just finding hard-to-seek species. The plan is to enhance the study of living animals, as well as mitigate potentially dangerous encounters with humans.
“So we now have a tool that basically can look at drone imagery, track elephants, and say we know exactly who this elephant is,” James notes. “What it begins to create is ethogram data, so it’s telling you behaviorally what they are doing. Right now they’re muddying, they’re flapping their ears, they’re all directing their attention to one individual in the herd. So [in our] partnership with Save the Elephants in Samburu, that’s giving them a lot of data to work on management.”
He continues, “But if you think about one of the biggest issues with elephant conservation and wolf conservation, it’s conflict with humans. If you can begin to identify, basically, the troublemakers in each group, you can create early warning systems for cattlemen in Montana or for crop co-ops in Kenya and say, ‘Hey, just so you know, there’s a troublemaker in your area, you should be deploying your mitigation tools tonight and avoid some of the conflict that results in elephant or wolf death.’”
The technology has so far not actually been used to mitigate conflict between ranchers and gray wolves in the American West—one of the continued flashpoints which contributes to the ongoing debate about delisting the gray wolf as an endangered species in 44 states—yet the intent is there to both improve relations with those worried about wolves attacking livestock, as well as a general public that might still view the timber wolf as a nuisance or monstrous beast.
“I’m hoping it creates an opportunity to understand wolf language,” says James. “When we start talking about language, it’s a great way to anthropomorphize a species that’s severely persecuted, wrongfully persecuted. And if you can create some compassion for this species, hopefully you’re reducing some of the persecution. Cattlemen probably don’t really care for that part, but if we can say, ‘Hey, it’s a great conflict mitigation tool,’ they care about that. [Meanwhile] the mass public says, ‘Okay, well, maybe wolves aren’t as bad as we thought they were,’ and I think that’s the winning combination.”
The technology already exists, and in fact appears to be the tip of the spear in introducing AI tools into conservation efforts. After all, James muses that Abhishek Jana, a senior scientist working in the Colossal Foundation’s AI unit, retrofitted the bioacoustics tech from being a “bird classifier” to a wolf-based device in a single weekend. “We literally said on a Friday, ‘Hey, can you make a wolf classifier?’ And on Monday, I had an email where he said ‘try this.’”
It makes the mind wonder about the implications a decade from now.
Wuthering Heights: Why Does Book Fidelity Seem to Matter Only for Emerald Fennell?
This article contains Wuthering Heights spoilers (as well as for Frankenstein and Dune).
Emerald Fennell’s relationship to Emily Brontë appears to be an estranged and distant thing. The Millennial iconoclast who once filmed Barry Keoghan getting intimate with the grave of his lost love in Saltburn would at a glance seem perfect for the English author’s portrait of multigenerational degradation. What is Wuthering Heights if not an godseyed view of several great houses slowly falling to ruin, which becomes complete when the Byronic antihero Heathcliff likewise digs up the remains of his great love? It’s about clinging tightly to the past until you’re in the ground with it.
Curiously though, that is not the movie Fennell chose to make. As was initially hinted by the filmmaker and Warner Brothers cheekily bringing back the title quotes on posters favored by Golden Age Hollywood publicity departments—think one-sheets for Gone with the Wind (1939), Warners’ own Casablanca (1942), or even William Wyler’s Wuthering Heights circa ’39—this “Wuthering Heights” is an unapologetic reinterpretation; a deviation; an outright reevaluation, even, which took the basic outline of Brontë’s story and reframed it in a narrative that better represented the themes Fennell wanted to explore: lust, love, and the maximalist ecstasy of a soul set free.
In my review of the film, I suggested it felt less like a 19th century story about tragic longing and repressed desires curdling into hate than it is a teenage daydream ocurring while listening to Kate Bush’s “Wuthering Heights” (also with the quotation marks) and imagining what the book is about. That apparently was not too far off the mark. In several interviews, Fennell has talked about coming to the novel at 14 years old and feeling transformed by its effect on her mind. She even said, “I think the things that I remembered were both real and not real. So there’s a certain amount of wish fulfillment in there, and there were whole characters that I’d sort of forgotten or consolidated.”
That tracks since so much of Fennell’s film deliberately evokes a fevered dream and the artifice of cinema classics of yore. There are the old Hollywood flourishes but also bits of surrealism, German Expressionism, and imagery that might look at home in a music video for the aforementioned Kate Bush. And whether you love Fennell’s indulgent sense of artifice, or find it simplistic since it glorifies a romance between two people who remain genuinely awful—with Cathy still played with self-absorbed vanity by Margot Robbie and Jacob Elordi’s Heathcliff staying gloomily transfixed by his grudges and hatreds for everyone around him—it is nevertheless a valid work of art from an artist who chased her own muses.
Yet so much of the criticism I have seen directed toward Wuthering Heights 2026, and Fennell in particular, seems less concerned about engaging with what she put onscreen than what she left out. Admittedly there are missed opportunities worth acknowledging. The loss of the central ghost story framework of the tale robs Cathy and Heathcliff’s doomed and damnable love story of some of its ethereal charm, as well as oblique perversity. Also while Heathcliff’s racial background is intentionally ambiguous on the page, refusing to let Heathcliff to appear as a changeling perceived as the “other” within the strictures of the landed English gentry deprives the story of the 19th century imperial desires and anxieties that Brontë exploited.
While Australian Elordi’s Heathcliff is lily white, Fennell intriguingly takes a “color-blind casting” approach to the characters who would seek to cast Heathcliff out into the cold: the rich aristocrat Edgar Linton (Shazad Latif) and Nelly (Hong Chau). The latter is Cathy’s maid and confidant who, in Fennell’s telling, proves to be as duplicitous as any of them. It is, in fact, this Nelly who deliberately betrays Cathy and Heathcliff’s trust at various points. Yet this shift does not evidently court any commentary on perceptions of race in Britain at the height of imperialism. Rather it seems designed to push the film further into the realm of distant fairy tale, where it is as divorced from a historical time and place as Cathy’s plunging necklines.
To critique the changes, or find them inferior, is fair game. But the vast majority of discourse around this Wuthering Heights seems specifically derived from the personal umbrage that the changes exist at all. The narrative seems less about whether Fennell made a good movie and instead that shehad the audacity to make a movie tailored to her own tastes instead of that of English literature departments.
“Everyone hates the new Wuthering Heights trailer, and here’s why,” The Spinoffpublished five months before the movie came out. “Emerald Fennell’s ‘Wuthering Heights’ is objectively not Wuthering Heights,” opinedCBC in a review that suggests the film’s changes are so head-scratching that they may eventually “lead to a brain injury.” Collider, not unfairly, surmised that Brontë is “rolling in her grave.”
Brontë probably is, to which I ask… so what?!
Why does it matter so much that Emerald Fennell personally deviated from an oft-adapted novel to craft her own maximalist fantasia? She is not the first filmmaker to take striking liberties with Brontë. In fact, it was not until the 2011 Andrea Arnold miniseries starring Kaya Scodelario and James Howson that a major adaptation attempted to cover the full multigenerational breadth of the book. Until then, most followed William Wyler’s lead from the classic 1939 Hollywood version starring Laurence Olivier and Merle Oberon by ending the story with Cathy’s death and Heathcliff’s plea she haunt him forevermore. Arnold’s miniseries also holds the distinction of being the first version to cast a Black actor as Heathcliff. Still, before and after we’ve had Ralph Fiennes, Tom Hardy, and Timothy Dalton, among others, play Heathcliff, and films like the ‘39 version which conspicuously soften Cathy’s selfishness or Heathcliff’s sadism.
Beyond Wuthering Heights, some of the most celebrated films of the last few years have taken just as much, if not greater, liberty with their source materials. Jacob Elordi indeed stars in another of them via Guillermo del Toro’s gorgeously realized vision of Frankenstein, for which Elordi might very well win an Oscar. His and del Toro’s interpretation of Mary Shelley’s Creature is full of pathos and elegant acting choices. They also choose to intentionally downplay the Creature’s flaws and failings. Hence in del Toro’s film, it is Victor Frankenstein (Oscar Isaac) who accidentally kills the woman he is in love with instead of the Creature cruelly and deliberately murdering Elizabeth on her wedding night to Victor.
Similarly, the year before, nerd culture generally was in geek cinema nirvana when Denis Villeneuve’s Dune: Part Two ended in tragedy as the Fremen warrior Chani (Zendaya) refuses to accept Paul Atreides’ wedding betrothal to a galactic princess as a political necessity. Instead she sees Timothée Chalamet’s Paul for the burgeoning tyrant most book-readers miss entirely when they finish Frank Herbert’s first Dune volume on the high of Paul defeating his enemies, and Chani happily accepting her lot as Paul’s concubine.
These are just a few of far more significant structural changes made both by del Toro and Villeneuve, whose shifts ran the gamut from changing the location and period (Frankenstein on the page is set in late 18th century Switzerland, not mid-19th century England) to omitting entire details like the tidbit of Paul and Chani having a young son who is murdered by their rivals in a novel that spans years, not months.
It is easy to wonder whether Fennell is held to a different standard than other filmmakers, perhaps because of her tendencies for decadence and excess (and questionable class subtexts) courting acrimony from a specific, popular lens of modern online criticism. Or, perhaps, it is because she’s a woman. Truthfully, though, it might be less about Fennell than the source material. While del Toro and Villeneuve, like Fennell, had intense formative experiences growing up with the novels they adapted, Wuthering Heights is a far more universal foundational text for thousands due to being on the English curriculum of most secondary or high schools on either side of the Atlantic.
Wuthering Heights has been read by more modern audiences than Frankenstein or Dune, or Dracula, or probably even Huckleberry Finn. To let Cathy and Heathcliff have sex on the moors is a bit like revealing to audiences that Ebenezer Scrooge is married. That’s just not the way things are supposed to happen!
But at the end of the day, art is much more fulfilling when engaged on its own terms versus comparing it side by side with a text. The best films based on books generally make mincemeat of their source material—The Godfather, Jaws, The Shining—and as del Toro himself once said, “At the end of the day, I say adapting is like marrying a widow. You can pay respect to the late husband, but on Saturdays, you gotta get it on.”
Being able to get it on is one thing Fennell’s Wuthering Heights has no trouble with, especially when Charli XCX ballads drift across the 19th century moors.