Michael Can Inspire a Different Type of Theatrical Experience

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

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

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

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

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

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

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

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

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

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

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

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

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

Michael is now playing in theaters worldwide.

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

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

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

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

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

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

Who Is The Dragon in the Vale?

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

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

The Battle of the Gullet

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

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

As for that consequential character death…

Why Is Rhaenyra Crying?

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

James Norton as Lord Ormund Hightower

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

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

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

Aegon’s Murderous Motivations

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

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

Lord Cregan Stark’s Winter Wolves

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

Alicent Prepared to Flee

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

Skirmish at Harrenhal

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

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

Who Is Giving Birth?

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

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

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

House of the Dragon season 3 premieres Sunday, June 21 at 9 p.m. ET on HBO and HBO Max.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Daredevil Reborn, Kinda

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

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

Rebuilding the Defenders

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

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

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

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

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

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

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

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

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

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

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

15 Movies That Were Pulled from Theaters Right After Release

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

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

The Interview

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

The Hunt

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

A Clockwork Orange

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

The Last Temptation of Christ

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

Dogma

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

The Death of Stalin

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

Blue Is the Warmest Color

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

Noah

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

Tom Hanks and Audrey Tautou in The Da Vinci Code

The Da Vinci Code

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

The Kashmir Files

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

The Lady of Heaven

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

The Brown Bunny

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

Crash

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

The Texas Chain Saw Massacre

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

Persepolis

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

The 15 Most “Punchable” Movie Characters of All Time

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

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

The Drama, Rachel

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

One Battle After Another, Colonel Steven J. Lockjaw

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

Whiplash, Terence Fletcher

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

The Mist, Mrs. Carmody

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

The Green Mile, Percy Wetmore

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

Emma Stone and Mark Ruffalo in Poor Things Review

Poor Things, Duncan Wedderburn

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

Eternal Sunshine of the Spotless Mind, Patrick

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

Fargo, Jerry Lundegaard

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

Titanic, Cal Hockley

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

Back to the Future, Biff Tannen

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

The Polar Express, Know-It-All

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

Groundhog Day, Ned Ryerson

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

Aliens, Carter Burke

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

The Matrix, Cypher

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

The Menu, Tyler Ledford

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

15 Unsettling Movie Facts You May Not Have Noticed Before

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

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

The Shining, A Mysterious Studio Fire

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

The Craft, Strange On-Set Occurrences

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

The Cast of Final Destination 5

Final Destination, Inspired by a Real Premonition

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

Get Out, The Silent Party Guests

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

Hereditary, Figures in the Shadows

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

The Truman Show, Everyone Is Watching Him Constantly

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

Zodiac, The Basement Scene Ambiguity

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

Parasite, The Hidden Bunker Reality

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

Midsommar, Faces in the Environment

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

Fight Club, Tyler’s Absence from Reality

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

Children of Men, Normalized Collapse

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

No Country for Old Men, The Missing Climax

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

Ex Machina, Manipulation From the Start

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

The Lobster, Emotional Conditioning

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

The Witch, Subtle Supernatural Confirmation

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

15 Big Plot Holes Nobody Actually Cares About

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

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

Jurassic Park, The Sneaky T-Rex

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

Star Wars: A New Hope, The Death Star Weakness

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

The Dark Knight Rises Bruce Wayne

The Dark Knight Rises, Bruce Wayne’s Return

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

Back to the Future, The Parents Problem

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

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

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

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

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

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

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

The Matrix, Human Batteries

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

Frozen, Elsa’s Powers

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

Inception, Dream Rules Flexibility

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

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

Avengers: Endgame, Time Travel Rules

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

The Lion King, Scar’s Plan

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

Grease, The Flying Car

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

A Quiet Place, Sound Rules

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

Emma Watson in Beauty and the Beast

Beauty and the Beast, Timeline Confusion

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

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

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

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

Zac Efron, Baywatch

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

Matt Damon, Courage Under Fire

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

Dustin Hoffman, Marathon Man

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

Viola Davis, The Help

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

Robert Pattinson, Twilight

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

George Clooney, Syriana

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

Timothée Chalamet, A Rainy Day in New York

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

Sean Connery as James Bond

Sean Connery, James Bond series

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

Brendan Fraser, The Mummy trilogy

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

Adrien Brody in The Pianist

Adrien Brody, The Pianist

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

Leonardo DiCaprio, The Revenant

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

Michael B. Jordan, Black Panther

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

Anne Hathaway, Les Misérables

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

Charlize Theron, Monster

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

Hugh Jackman, Les Misérables

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

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

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

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

Team America: World Police, Puppet On Puppet Action

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

28 Days Later, Johnson Center Stage

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

Jennifer Lawrence in No Hard Feelings

No Hard Feelings, Beach Fight

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

Super Troopers 2 Cast copy

Super Troopers, Farva’s Sugar Bath

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

Bradley Cooper and cast of The Hangover

The Hangover, Mr Chow’s Trunk Exit

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

Sacha Baron Cohen As Borat

Borat, Hotel Wrestling

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

The Cast Of Forgetting Sarah Marshall

Forgetting Sarah Marshall, The Breakup

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

Romeo and Juliet, English Class Surprise

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

Robert Downey Jr and Cillian Murphy in Oppenheimer

The Oppenheimer, Unexpected Relations

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

Swordfish, Explicit Hackers

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

Airplane at 40

Airplane, Risky Jokes

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

Trading Places, Exposing Jamie Lee Curtis

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

Total Recall

Total Recall, Triple Trouble

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

Wild Things, Kevin’s Bacon

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

The Crying Game, Identity Reveal

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

Star Trek: Strange New Worlds Season 4 Boldly Goes Back… to The Tone of The Original Series

It’s official: Star Trek: Strange New Worlds will return for season 4 this July, and all signs point to an outing that will probably be a bit less…well, strange than last time around. The premiere date was announced as part of Paramount+’s presentation at this year’s CCXP Mexico, which also featured a first look at the teaser trailer for the new episodes. The clip features over a minute of footage from Strange New Worlds’ penultimate outing, and if it’s anything to go by, this is a Star Trek that’s going back to basics.

This news will likely come as a relief to those fans who weren’t all that enthusiastic about some of the series’ more out-there season 3 episodes, which saw the Enterprise crew turn into Vulcans, solve a 1920s-set Holodeck mystery, make a (very bad) documentary, and battle a uniquely ancient and dangerous evil at various points. (And that’s before we even get to the extended focus on Spock’s dating life.) 

Thankfully, this teaser has a much more traditional Trek feel: There’s a voice-over about the power of exploration, some shots of several interesting-looking alien plants, and a reminder that space is both beautiful and terrifying in its awesomeness. Of course, not everything about it is old-school — there’s a shot of a literal dinosaur at one point — but it certainly seems to be aiming for a more “seek out new life and new civilizations” vibe.

To be fair, that’s pretty much something that showrunners Akiva Goldsman and Henry Alonso Myers have been promising almost since season 3 concluded. The two are well aware of how divisive some elements of the previous season were among many of the franchise’s most vocal fans, and seem motivated to rein things in a bit as they pivot the series toward its endgame.

In that vein, this teaser also features plenty of moments that nod toward where this particular adventure is ultimately heading. There are probably as many shots of Paul Wesley’s James Kirk in this teaser as there are of Anson Mount’s Captain Pike, and most of the characters who will go on to appear on Star Trek: The Original Series pop up at various points. If this is a show in the beginning stages of a major transition to the world of the one that comes after it, well. Those choices make a certain amount of sense. 

That said, it’s also clear that even if it does manage to tone things down a bit, Strange New Worlds will still march to the beat of its own drummer in its fourth season. Besides whatever’s going on with the aforementioned dinosaur, we already know that this run of episodes will feature the Enterprise crew getting turned into puppets, after all. That’s certainly not what anyone would call traditional.

Star Trek: Strange New Worlds season 4 will premiere July 23 on Paramount+.

TV Premiere Dates: 2026 Calendar

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

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

Please note that all times are ET. 

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

DATESHOWNETWORK
Monday, April 27Straight to HellNetflix
Tuesday, April 28My Killer Father: The Green Hollow MurdersParamount+
Wednesday, April 29The House of the SpiritsPrime Video
Wednesday, April 29Widow’s BayApple TV
Thursday, April 30Man on FireNetflix
Friday, May 1GloryNetflix
Friday, May 1Doin’ ItParamount+
Monday, May 4Lord of the FliesNetflix
Wednesday, May 6Love Is Blind PolandNetflix
Wednesday, May 6Worst Ex Ever Season 2Netflix
Wednesday, May 6Citadel Season 2 Prime Video
Thursday, May 7The Chestnut Man: Hide and SeekNetflix
Thursday, May 7LegendsNetflix
Thursday, May 7M.I.A.Peacock
Thursday, May 7The Terror: Devil in SilverAMC+
Friday, May 8My Royal NemesisNetflix
Friday, May 8Thank You, Next Season 3Netflix
Friday, May 8UnconditionalApple TV
Saturday, May 9Song of the SamuraiHBO Max
Monday, May 11Pop Culture Jeopardy!Netflix
Monday, May 11Regular Show: The Lost TapesAdult Swim
Tuesday, May 12Devil May Cry Season 2Netflix
Tuesday, May 12U.S. Against the World: Four Years With the Men’s National Soccer Team (9:00 p.m.)HBO
Tuesday, May 12The Punisher: One Last KillDisney+
Wednesday, May 13Between Father and SonNetflix
Wednesday, May 13Perfect Match Season 4Netflix
Wednesday, May 13Roosters Season 2Netflix
Wednesday, May 13Good Omens Season 3Prime Video
Wednesday, May 13Off CampusPrime Video
Thursday, May 14NemesisNetflix
Thursday, May 14SoulmateNetflix
Thursday, May 14Welcome to Wrexham Season 5FX
Thursday, May 14On the RoamHBO Max
Friday, May 15Berlín and the Lady with an ErmineNetflix
Friday, May 15The WONDERfoolsNetflix
Friday, May 15Rivals Season 2Hulu
Friday, May 15Dutton RanchParamount+
Friday, May 15Couples TherapyParamount+
Wednesday, May 20CarizzmaNetflix
Wednesday, May 20Maximum Pleasure GuaranteedApple TV
Thursday, May 21The BoroughsNetflix
Thursday, May 21SkyMed Season 4Paramount+
Friday, May 22Mating SeasonNetflix
Friday, May 22The Chi Season 8Paramount+
Sunday, May 24Rick and Morty Season 9 (11:00 p.m.)Adult Swim
Wednesday, May 27A Good Girl’s Guide to Murder Season 2Netflix
Wednesday, May 27My 2 CentsNetflix
Wednesday, May 27Spider-NoirPrime Video | MGM+
Thursday, May 28The Four Seasons Season 2Netflix
Thursday, May 28Murder Mindfully Season 2Netflix
Thursday, May 28Deli Boys Season 2Hulu
Thursday, May 28Criminal Minds: Evolution Season 19
Friday, May 29Brazil ’70: The Third StarNetflix
Friday, May 29Calabassas ConfidentialNetflix
Friday, May 29Star CityApple TV
Tuesday, June 2Love Island Season 8 (9:00 p.m.)Peacock
Wednesday, June 3The Legend of Vox Machina Season 4Prime Video
Friday, June 5Cape FearApple TV
Sunday, June 7The Vampire LestatAMC
Monday, June 8Alice and SteveHulu
Thursday, June 11Sweet Magnolias Season 5Netflix
Friday, June 19Sugar Season 2Apple TV
Sunday, June 21House of the Dragon Season 3 (9:00 p.m.)HBO
Thursday, June 25Avatar: The Last Airbender Season 2Netflix
Friday, June 26Life, Larry, and the Pursuit of Happiness (9:00 p.m.)HBO
Wednesday, July 1Elle Season 1Prime Video
Friday, July 3Silo Season 3Apple TV
Thursday, July 9Little House on the Prairie Season 1Netflix
Friday, December 25Harry Potter and the Philosopher’s StoneHBO Max

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

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

Amazing Live Sea Monkeys Documentarians Discuss a Big Battle Over Tiny Creatures

In the 1960s and ’70s, kids couldn’t open a comic book or go to a toy store without seeing sea-monkeys. Sort of. While advertisements and displays promised an underwater kingdom of smiling pink creatures living lives of ease, the actual creatures were microscopic specks that were barely visible to the naked eye. Most would just forget about sea-monkeys as an odd update of the old flea circus phenomenon.

But to documentarians Mark Becker and Aaron Schock, the legal battle over the creatures is the stuff of epic drama, precisely because of the woman at the center, Yolanda Signorelli, wife of sea-monkey marketeer Harold von Braunhut. “Yolanda, she’s a complicated person,” Schock tells Den of Geek after the SXSW premiere of Amazing Live Sea Monkeys. “As we understood the parameters of Yolanda’s life, we gained insight into who she was.”

Since Von Braunhut’s death in 2003, Signorelli has been caught in a legal battle over ownership over the sea-monkeys and the secret formula that allows the creatures (actually, brine shrimp) to come to life when removed from packaging and placed into the water. Between the ongoing legal battle, the complexities of her relationship with her much-older husband, and Von Braunhut’s hateful political views, Signorelli made for a reluctant subject.

“It was a process of talking to her for a few months at a time until we built up a certain level of trust with her, and we eventually got that invitation to come visit her,” explains Becker. “We showed up at her home at the Sea-Monkey Estate, with those gates in the shape of sea-monkeys. They opened and we entered into this entire world.

“When we met Yolanda in that first weekend, we had this feeling that she was a great subject. As a person, she’s very ethical. She’s fighting this battle she believes in, and we knew that we had the heart and core of our story, whatever the ugliness surrounding it.”

“Sometimes, when you do a documentary, you start with this almost schematic understanding of what the story is,” adds Schock. “Yolanda seemed like somebody who’d lived through a whole world. We were very interested in this Mad Men-era, with her working behind the scenes at [Sea-Monkeys distributor] Transcience and working with novelty toys. But then we were struck by her struggle.”

That realization came the moment they visited Signorelli at the estate and found her living in ruins, with no running water or electricity.

“It was like a portal,” Schock says. “It was compelling, and we were a little bit ecstatic about it, to be honest, in that dorky documentary way that we had the privilege to be there. But then the human side came through, because we left the schematic notion we had and met Yolanda herself. She was so relatable, and we became comfortable talking to each other fast that we wondered when we would actually start filming. We were spending so much time just chatting and hanging out.”

During that period of conversation, the filmmakers witnessed Yolanda interacting with animals. Her care for real small creatures, not just sea-monkeys, struck the documentarians. But they were even more impressed that she stuck to her principles when it came to the dispute instead of cashing out.

“We figured pretty quickly that Yolanda had other options for her condition,” Schock points out. “She could have sold the sea monkeys for a few million dollars and retired, and that would be totally understandable. When we met her, she was in the process of putting hundreds of acres of valuable land into a trust so it could be a preserve forever. She could have sold it and retired to Florida. As we began to understand the parameters of her life and the choices she was making, it gave us insight into her ethical backbone.”

With such an ethical figure in the center, the filmmakers had a way into their story, which often went to dark and upsetting areas. The filmmakers may be quick to credit Von Braunhut for his audacity with the Sea-Monkeys (“He’s a mad genius,” acknowledges Becker), but they also have to wrestle with his political beliefs. Von Braunhut was an overt White Supremacist who supported the Ku Klux Klan.

Because of her late husband’s legacy, Signorelli has been reluctant to draw attention to her situation. “When we would broach situations that came up in the press, Yolanda was wary of always being lumped into the worst of what Harold had done in his life. She felt rather separate from that in her own way.

“Our conversations with her were a slow walk towards full transparency,” admits Schock. “We’d be talking to her about B-movies and dealing with oppressive men in the ’60s, but also broaching darker subjects that have to do with the secrets that Harold held.”

Through those difficult conversations, Becker and Schock have been able to make something rich and human with Amazing Live Sea Monkeys, proving once again that, when it comes to these odd creatures, there’s so much more than meets the eye.




Why Netflix’s New Charlize Theron Movie Is Going to Make You Yearn for an Australian Holiday

Icelandic filmmaker Baltasar Kormákur does not set out to make tourism destination films any more than he seeks to specifically tell stories of man, or woman, versus nature.

It just seems to work out that way for him and the audience who watches along with a serious fear of missing out.

As the filmmaker sheepishly confides to us, after his harrowing dramatization of the 1996 Mount Everest climbing disaster, Everest, came to theaters in 2015, interest in the Sagarmatha mountain spiked: “Even with all those people dying there, I actually infused the interest in Everest in the world,” the director says with a hint of mystification. “There was more traveling there the year after.”

So it seems likely to go again with Kormákur’s latest wanderlust adventure with elements of life-or-death stakes debuting on Netflix this weekend, the Charlize Theron-led Apex. Both a story of survival as as a cat-and-mouse game between killer and prey, Apex has a lot going for it, not least of all is the breathtaking vistas that it’s largely set in along some of Australia’s most remote and picturesque waterways.

The film is the story of Sasha (Theron), a woman overcoming grief and perhaps a sense of guilt after losing her partner Tommy (Erica Bana) in a freak climbing accident at the beginning of the movie. And on paper, it’s that story of sorrow crossed with the psychological thriller. After all, she meets in those Aussie wilds a fellow outdoors proponent, Ben (Taron Egerton). Alas, he’s also a chap who has read The Most Dangerous Game one too many times, and he has the crossbow to prove it. It’s theoretically lurid adventure story stuff, but in Kormákur’s eye, it’s also an unlikely travelogue guide to the extreme sport scene around the globe.

“I felt Yosemite is maybe a little bit overused, so I wasn’t as interested in that,” Kormákur says of the film’s original setting when the screenplay by Jeremy Robbins first came his way. Initially set entirely in the U.S., beginning with a climbing accident in Yosemite National Park and then transferred to a fictional American river, Apex at one time could’ve looked quite different. However, as a former climber himself, and a director with a firm timetable he could squeeze the film into Theron’s schedule, Kormákur found himself pulled instinctually to the Land Down Under.

“There’s a uniqueness of its nature,” Kormákur muses, “I love that. Also I felt  that [you gain a lot] when you cast Eric Bana as the lover, and that she was going through her grief by going to a country that she is not at home in.” Finally, though, it just made sense with the time of the year. “It was informed by the fact that we had to shoot this during the winter months and we couldn’t do that in a cold place. So we needed to find something in the Southern Hemisphere.”

Initially, there was talk of trying to pass Australia off as parts of the North American landscape, but ultimately the production leaned into the loneliness of Sasha being a stranger in a strange land, especially when she realizes she’s alone with a killer.

It adds to the story but also the extremity of the shoot. Theron did many of her own stunts in the film, including jumping off a waterfall in vivid wide-shot, as well as plenty of the rafting. The director also insists almost all of the climbing seen in the film is Theron. But by Kormákur’s own admission, he’s a bit past the days where he does everything he asks his lead actors to do; “I used to be that guy, let’s put it that way, and I would do that, but she wasn’t asking me.” Nonetheless, the movie itself became an extreme sport in its own right for the people making it.

“When I was scouting, I did some of the swimming because we’re going to places we couldn’t get to anywhere else,” the director explains. “And at the end of the day, we had the whole crew swimming with us to locations, because there is no other way to get there.”

Indeed, there was a particularly isolated cavern in which Ben corners Sasha at one point, and the only way in or out was through. And under. This was achieved by dropping some supplies by helicopter and limiting the rest of the crew to only 40 people. Still those 40, plus Theron and Egerton, had just one way to get to work.

“When you have the crew and the actors doing that, then the hardest part is done, because everyone is now like, ‘Oh let’s get this done,’ because they’re already in it so deep. They’re getting raw and real.”

Kormákur suggests he doesn’t go out looking for dire adventure stories like Everest or Apex. He’s in fact offered many scripts in this milieu that he turns down. But every once in a while, one especially triggers the imagination when it goes beneath the surface, and into those deep, cavernous places of the mind.

“I could see the metaphor for what it could be,” he says of Apex, “a punishing journey of going through purgatory after doing something that you feel you can’t get over, and you blame yourself for in a way. And I think we go to the deepest places.”

The metaphor and meaning of the film changed organically once Theron, Egerton, and the director were all onboard. The desire wasn’t just to move from the U.S. to Australia, but to strip the characters to a nigh primordial place.

“I felt the [lonely grief] was enough to keep us interested in who she is,” Kormákur says. “Whether she’s a lawyer or a doctor did not necessarily inform how she’s going to react to this situation. So there was a choice of not indulging too much in that. That was also what Charlize was adamant about, she didn’t want to start getting deeply into backstory. She wanted to keep it forward, moving.”

That momentum led to a vision that is both more intimate and global. Which again belies the digital tourism of it all.

“That’s what brought us to the Troll Wall [mountain] in Norway,” Kormákur posits about the film’s dramatic opening. “I wanted to get the contrast of the two different places, because these people who live this kind of life and do this kind of thing, they’re all over the world. There are no borders in their experiences. They’re in Germany, they’re in Pakistan, and you know, they’re in the most crazy places doing this. So I wanted to give you a little bit of a feeling of that.”

Even in stories of life or death, you need to give audiences an idea for their own next (hopefully) safer adventure.

Apex is playing now on Netflix.

Widow’s Bay Review: A Sweet and Scary Horror Story That Feels Completely Original

This Widow’s Bay review is Spoiler-Free.

Widow’s Bay is a series that defies easy description. (That’s a compliment, by the way.) Part workplace comedy, part trope-filled horror story, and part love letter to the power of community and found family, it’s a show that’s honestly quite unlike anything else that’s on TV right now. It’s ten-episode first season mixes surprisingly frightening scares with sharp, biting humor and follows a cast of colorful, quirky weirdos who are as complicated and compelling as any on Apple TV’s roster of hard-to-pin-down comedies and genre-bending dramas. (Widow’s Bay is such an Apple series, and that’s also a compliment.)

Set on a picturesque island off the coast of New England, the town of Widow’s Bay looks like something out of a magazine ad, and its remote, vaguely timeless off-the-grid feel is a big part of its appeal for those who live there. (Its residents don’t have Wi-Fi or cell service, truly the dream!) Its well-meaning, if slightly oblivious, mayor, Tom Loftis (Matthew Rhys), is determined to turn his struggling community into the Northeast’s next big tourist hot spot, thanks to a little help from a visiting New York Times reporter.

There’s just one problem: Widow’s Bay is also a town where bad things happen. Its history is spotted with not only storms, dangerous fog, and various maritime disappearances and disasters, but also persistent rumors of strange creatures and dark activities, such as witchcraft and cannibalism. (Not to mention, the occasional priest getting eaten by a whale, according to the framed newspapers at the local historical society.) And, unfortunately for Tom’s larger cultural ambitions, it seems the island is now somehow waking up in all sorts of unexpected supernatural ways.

With some help from the local superstitious town crank, Wyck (Stephen Root), Tom is forced to confront some of Widow’s Bay’s darkest corners, where folklore and ghost stories carry far more weight than logic and history. Director Hiro Murai crafts a fully lived-in vision of the series’ titular town (and, at several points, its dark historic past) that’s packed with visual references to many longstanding horror tropes and franchises, from a Jaws-like beach escape to a creepy masked killer sloooowly stalking a victim through an empty alley, Halloween-style. Creator Katie Dippold’s dialogue is frequently laugh-out-loud funny, but her story smartly forces the show’s characters to reckon with their own internal demons as often as they face off against external frights.

The series is also an endeavour that’s clearly made with both love and respect for the genre it’s part of. The show takes its horror surprisingly seriously. There are plenty of genuine jumps and scares as well as a fair bit of gore, but the show’s scary elements are never played for the kind of laughs that occur so naturally elsewhere. And while Widow’s Bay may poke fun at its idiosyncratic characters and the increasingly outlandish situations they find themselves in, it also never punches down. Instead, it leans hard into the thing that makes all horror stories worth surviving: The people at its story’s center. 

Rhys’s Tom contains surprising multitudes, and his performance strikes a careful balance between earnestness and skepticism, with a bit of unexpected bravery on top. He’s the mayor of a town that he doesn’t always seem to like all that much, but to which he is strikingly and singularly loyal. He’s a devoted single dad to a teenage son (Kingston Rumi Southwick) who seems to be steadily growing apart from him despite his best efforts. He’s afraid of many things, but capable of finding immense courage. And he’s a great boss, if his refusal to fire his objectively terrible employees means anything. As Tom’s forced to face the fact that there’s more to the world of Widow’s Bay than he has ever been willing to fully admit, he must wrestle with the question of how far he’s willing to go to save it. 

Although Apple TV has largely centered Rhys in the show’s marketing efforts, Widow’s Bay is an ensemble piece that gleefully subverts many of the stereotypes associated with the kinds of characters at the center of its story. Caustic assistant Rosemary (Dale Dickey) spends most of her time chain-smoking and sharing tidbits of unwanted gossip about townsfolk’s personal lives. Forgetful secretary Ruth (K Callan) struggles to deliver her boss’s phone messages, let alone recall specifics about who might have stopped by the office and when. Mousy Patricia (Kate O’Flynn) desperately wants to be seen and appreciated by those around her after a lifetime of being told the most traumatic event in her past never happened. And Wyck, in addition to being the designated town weirdo, is also a drunk struggling to manage his addiction. On almost any other show, these are the sorts of characters who would most likely end up as cannon fodder, doomed to die in an early episode to prove the supernatural powers of the island mean business. Here, they form the bedrock of the town’s community. 

While Dickey gets some of this show’s best lines, it’s O’Flynn who emerges as the quiet MVP of Widow’s Bay. Patricia is at the center of not one but two of the season’s best episodes, and her arc is both surprising and deeply satisfying to watch unfold. Similarly, Root finds the humanity in the show’s most objectively (on-paper, at least) ridiculous figure, and the bonds that ultimately form between their characters and Rhys’s Tom is one of the show’s most unexpected delights.

Widow’s Bay isn’t a series that fits neatly into a box. It’s difficult to quantify and/or explain. Some of the twists toward the end of the season strain credulity. (Even for a show that openly features sea hags and boogeymen.) It might be just a smidge too long. But there’s something to be said for a series that’s willing to be as charmingly and openly bizarre as this comedy-horror hybrid that’s determined to march to the beat of its own drum. That’s got to count for something. 

Widow’s Bay premieres Wednesday, April 29, on Apple TV.

15 Massive Hits That Never Won a Major Award

Oftentimes, you hear a song that is just so good it must have won some kind of award. After all, you’re hearing it everywhere, and everyone loves it, so it’s a clear deal. But you’d be surprised how many tracks, even the catchiest ones that won’t leave our head, remain unrewarded.

These are the songs that, at least to our standards, deserve more recognition. No matter if you discovered them on the radio, on an online platform or via recommendation, they are part of our lives and many others. Songs that defined their eras, but aren’t recognized as such.

Mr. Brightside, The Killers

One of the most enduring songs of the 2000s, “Mr. Brightside” has spent years on charts globally and remains a cultural staple. Despite its longevity and massive popularity, it never won a major industry award.

All the Small Things, Blink-182

A defining pop-punk anthem that helped bring the genre into the mainstream, the song achieved major commercial success and radio dominance. Even so, it never translated that impact into a major award win.

Call Me Maybe, Carly Rae Jepsen

A global smash that dominated 2012, “Call Me Maybe” became one of the most recognizable pop songs of its era. Despite multiple nominations and huge sales, it failed to secure an award victory.

Take Me to Church, Hozier

Blending soulful vocals with socially charged themes, the song became an international hit and critical favorite. Despite its reach and acclaim, it did not win a major award at prominent ceremonies.

Closer, The Chainsmokers

Spending 12 weeks at number one, “Closer” was one of the biggest songs of the 2010s. Its dominance across radio and streaming platforms did not result in a significant win.

Party Rock Anthem

A global party hit that defined an era of dance-pop, the song topped charts and became a cultural phenomenon. Despite its reach and staying power, it never won a major award.

Macarena, Los del Río

Known worldwide for its dance craze, “Macarena” dominated charts and pop culture in the 1990s. Its novelty appeal likely contributed to it being overlooked by major awards bodies.

Harlem Shake, Baauer

A viral sensation that reshaped how songs could reach number one, it exploded through internet culture. Despite its historic chart impact, it failed to earn a real win.

Low, Flo Rida

A defining late-2000s club hit, “Low” spent weeks atop the charts and became one of the decade’s biggest songs. Its commercial success did not translate into prestige recognition.

Too Close, Next

A massive R&B hit in the late 1990s, the song dominated charts and radio. Despite its success and influence, it never secured a major industry award.

Just Want to Be Your Everything, Andy Gibb

A chart-topping hit that helped define late-1970s pop, the song achieved widespread success. Even so, it failed to earn a major award despite its popularity.

Physical, Olivia Newton-John

One of the biggest hits of the early 1980s, “Physical” spent 10 weeks at number one. While certainly dominant, it did not secure a major award win.

The Twist, Chubby Checker

A cultural phenomenon that topped the charts in two separate years, “The Twist” remains one of the most influential songs ever. Its impact far outweighs its lack of awards.

Conjuring Kesha

Tik Tok, Kesha

A defining pop hit of the early 2010s, it spent weeks at number one and shaped the sound of its era. Even with its success, it did not win any awards.

Firework, Katy Perry

An era-defining anthem with massive chart success, “Firework” became one of Perry’s signature hits. Even with multiple nominations and strong cultural impact, it did not secure a major award like a Grammy.

14 Songs You Never Realized Went Number 1

Chart-topping hits often feel obvious in hindsight, particularly when you listen to popular music on the regular. Believe it or not, however, the Billboard Hot 100 is far less predictable. Some songs dominate radio, streaming, and pop culture for years without ever reaching number one, while others quietly hit the top spot and fade from memory.

That disconnect creates a strange category of tracks people assume either did or didn’t reach the summit. In particular, certain number one hits don’t “feel” like chart-toppers in retrospect, whether due to novelty status, timing, or being overshadowed by bigger songs. These are tracks that surprisingly did reach number one, even if many listeners never realized it.

“Ice Ice Baby” Vanilla Ice

Often remembered more for controversy than dominance, this track still made history as the first hip-hop song to reach number one on the Billboard Hot 100, surprising given its novelty reputation and debates around its borrowed bassline.

“Baby Got Back” Sir Mix-A-Lot

With its humorous tone and unconventional subject matter, this song stood out from early 1990s pop trends. Its spoken-word intro and bold style made its rise to number one feel unexpected compared to typical chart-toppers.

“Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini” Brian Hyland

A novelty-style track with a playful premise, it hardly fits the mold of a dominant chart hit. Its catchy, almost comedic tone makes its number one status feel surprising in hindsight.

“The Macarena” Los del Río

More associated with its dance craze than chart success, this global phenomenon still topped the Billboard Hot 100, despite being viewed primarily as a novelty hit tied to a specific cultural moment.

“Harlem Shake” Baauer

Driven almost entirely by a viral meme, this track reached number one largely through user-generated content and streaming, highlighting how unconventional hits can dominate charts without traditional radio buildup.

“We R Who We R” Kesha

Despite strong popularity, this song is often overshadowed by Kesha’s other hits. Its debut at number one makes it a surprising entry among her discography.

“Part of Me” Katy Perry

While Katy Perry is known for multiple chart-toppers, this particular song often flies under the radar compared to her biggest hits, despite debuting at number one.

“This Is the Night” Clay Aiken

Associated more with its reality TV origins than long-term impact, this song reached number one but is rarely remembered alongside other hits from the same era.

“Do I Make You Proud” Taylor Hicks

Another competition-driven hit, its chart success contrasts sharply with its limited cultural longevity, making its number one status easy to overlook.

“Inside Your Heaven” Carrie Underwood

Despite Underwood’s later success, this early single is not among her most iconic songs, even though it debuted at number one following her reality show win.

“God’s Plan” Drake

A massive streaming success, yet often overshadowed by Drake’s broader catalog, making its number one debut less immediately obvious compared to his more culturally dominant tracks.

“You Are Not Alone” Michael Jackson

Not as frequently discussed as Jackson’s biggest hits, yet it made history by debuting at number one on the Billboard Hot 100.

“Exhale (Shoop Shoop)” Whitney Houston

Often overshadowed by Houston’s more iconic songs, this track still debuted at number one, making it a less obvious chart-topper in her catalog.

“I’ll Be Missing You” Puff Daddy

A tribute song with a somber tone, it dominated charts despite being stylistically different from many mainstream hits of its time, making its success feel unusual in retrospect.

15 Performers Who Aren’t in the Country Music Hall of Fame But Probably Should Be

The Country Music Hall of Fame is meant to represent the most important figures in the genre, and it certainly succeeds at that. As expected though, and considering its limited annual inductions, many major names are still left waiting. With only a handful of artists added each year and strict eligibility timelines, even hugely successful performers can go decades without recognition.

As of 2026, dozens of influential singers, hitmakers, and genre-defining acts remain outside the Hall despite strong resumes and industry support. Frequently cited by fans and critics alike, these artists are overdue for induction based on their impact, longevity, and contributions to country music.

Dwight Yoakam

A key figure in the Bakersfield revival, Yoakam blended traditional country with rock influences and achieved both commercial success and critical acclaim. His long career and influence make him one of the most consistently cited omissions from the Hall.

Shania Twain

One of the best-selling country artists ever, Twain helped bring the genre into the global pop mainstream. Despite massive commercial success and crossover appeal, she remains outside the Hall as of 2026.

Faith Hill

A dominant force in late 1990s and early 2000s country, Hill combined chart success with crossover appeal. Her absence is often noted given her consistent hits and role in shaping modern country-pop.

Martina McBride

Known for her powerful vocals and string of hit songs, McBride has maintained relevance across multiple decades. Her continued exclusion is often cited as surprising given her sustained success.

Brad Paisley

Paisley’s mix of technical guitar skill, humor, and chart success has made him one of the most recognizable modern country artists, yet he has not been inducted despite his long-running career.

Blake Shelton

A major figure in both music and television, Shelton has achieved significant chart success and mainstream visibility. His absence from the Hall is often noted given his impact on modern country culture.

Clint Black

Part of the late 1980s country resurgence, Black delivered multiple number-one hits early in his career. His consistent output and influence have made his omission a frequent talking point.

Crystal Gayle

A major crossover star in the 1970s and 1980s, Gayle achieved both commercial success and critical acclaim. Her absence is often highlighted when discussing overlooked female artists.

Lynn Anderson

Best known for “Rose Garden,” Anderson was a defining voice of her era. Despite her success and recognition, she has yet to receive Hall of Fame induction.

Mary Chapin Carpenter

Blending folk and country, Carpenter built a respected career with multiple awards and hits. Her artistic influence and longevity make her a regular mention in Hall of Fame debates.

Jo Dee Messina

A major presence in late 1990s country, Messina scored multiple chart-topping hits. Her impact during that era makes her absence notable compared to her peers.

John Michael Montgomery

Known for numerous hits throughout the 1990s, Montgomery was a consistent chart presence. His omission is often cited when discussing artists from that decade who defined the genre.

LeAnn Rimes

Breaking out at a young age with major success, Rimes became one of the most recognizable voices in country. Despite early impact and crossover appeal, she remains outside the Hall.

Eddie Rabbitt

Rabbitt helped shape the country-pop sound of the late 1970s and 1980s, producing numerous hits. His influence is often cited as deserving of Hall recognition.

Earl Thomas Conley

With a string of number-one hits, Conley was one of the most successful artists of the 1980s. His continued exclusion is often viewed as a major oversight.

20 Unsettling Music Facts You May Not Have Known

The music industry is full of stories that go far beyond what listeners hear streamed or on the radio. Behind many famous songs and artists are real events that are far more unsettling than the music itself suggests. There are stories with disturbing recording circumstances, troubling treatment behind the scenes, and bizarre circumstances that have become part of music history.

These are artist’s life stories, the price they pay for fame, and the horrors that happen around them. And sometimes, they don’t even know those things are even happening.

Britney Spears

For over a decade, Spears lived under a conservatorship that controlled her finances and personal decisions, despite continuing to perform and release music. Court testimony later revealed strict limitations on her autonomy, making it one of the most widely discussed cases in modern pop.

Phil Collins’ “In the Air Tonight”

A long-standing rumor claimed the song was inspired by Collins witnessing a real drowning and inviting the bystander responsible to a concert. Collins has repeatedly denied the story, but its persistence adds an eerie layer to the song’s legacy.

Ozzy Osbourne

During a 1982 concert, Osbourne bit the head off a bat thrown onstage, believing it was rubber. It was real, leading to immediate medical treatment for rabies and cementing one of rock’s most disturbing onstage moments.

Conjuring Kesha

Kesha

Kesha’s legal battle with producer Dr. Luke included allegations of abuse, yet she remained contractually tied to his label for years. The situation raised concerns about artist control and the difficulty of exiting restrictive deals.

Michael Jackson’ “Smooth Criminal”

Jackson’s signature 45-degree lean required specially designed shoes anchored to the stage. While it looked supernatural in performances, the illusion depended on hidden mechanics rather than physical ability alone.

Eric Clapton’ “Tears in Heaven”

The song was written after Clapton’s four-year-old son died in a tragic fall from a high-rise apartment. The deeply personal context makes the track one of the most emotionally heavy hits in popular music.

The Rolling Stones

The Rolling Stones, Altamont Concert

During their 1969 Altamont Free Concert, a fan was killed by security while the band performed. The incident, captured on film, became a defining and disturbing moment for the band.

The Who, Cincinnati Concert

In 1979, a crowd surge outside a concert led to multiple deaths before the show even began. The band was initially unaware and performed as scheduled, making the event one of the most tragic in live music history.

Marilyn Manson

Manson’s career has been surrounded by controversy, including multiple abuse allegations. While he has denied wrongdoing, the accusations have significantly impacted his public image and legacy.

Milli Vanilli

The duo won a Grammy before it was revealed they did not sing on their own recordings. The award was revoked, making it one of the most infamous scandals in music history.

Kanye West

West’s interruption of Taylor Swift at the 2009 MTV Video Music Awards became one of the most controversial live moments in music, reshaping both artists’ public narratives for years.

Sid Vicious

The Sex Pistols bassist was charged with the murder of his girlfriend Nancy Spungen. He died of a drug overdose before the case went to trial, leaving the incident unresolved and deeply tied to punk history.

Lisa Lopes

Lisa “Left Eye” Lopes burned down her partner’s house during an argument in 1994. She was later sentenced to probation, and the incident remains one of the most shocking personal stories involving a major artist.

John Lennon

Lennon was shot and killed by a fan outside his apartment in 1980. The attacker had earlier asked him for an autograph, making the event one of the most disturbing cases of celebrity fixation turning violent.

Selena Quintanilla

Selena was murdered in 1995 by the president of her fan club. The killing shocked the music world and remains one of the most tragic and unsettling events involving a rising star.

2Pac

Tupac Shakur was shot in Las Vegas in 1996 and died days later. The case remained unsolved for decades, contributing to ongoing speculation and conspiracy theories surrounding his death.

The Notorious B.I.G.

Just months after Tupac’s death, Biggie Smalls was killed in a drive-by shooting. Like Tupac’s case, the murder remained unsolved for years, deepening the mystery around their rivalry.

Dave Grohl, Nirvana

After Kurt Cobain’s death, Grohl considered quitting music entirely. The tragedy ended Nirvana abruptly and left a lasting impact on those involved, but fortunately he kept on doing music.

Amy Winehouse

Winehouse’s struggles with addiction were widely documented before her death at 27. Her song “Rehab” gained an unsettling context in hindsight, given how openly it referenced her situation.

Travis Scott, Astroworld Festival

A crowd crush during Scott’s 2021 Astroworld Festival resulted in multiple deaths and injuries. The incident raised serious concerns about concert safety and artist responsibility during live performances, something that is still being overlooked even to this day.

15 Special Interests That Automatically Make You a Nerd

Having a passing interest in things like video games or movies doesn’t usually mark someone as a nerd, since being one is about the passion that goes into the interest. Turning something into a hobby that you pour hours of your life into is the essence of a nerd, regardless of topic.

Of course, when we say someone is a nerd in a general sense, we usually don’t mean a movie nerd or a sports nerd. We mean the type of nerd that spends time in fantasy worlds, or making the perfect deck for a tournament. As a proud nerd myself, these are the special interests that mark someone as such.

Dungeons & Dragons

The classic tabletop RPG is often the first thing people associate with nerd culture. Its reliance on imagination, rules, character sheets, and long campaigns has made it a defining hobby for deeply invested, detail-oriented players.

Magic: The Gathering eBay Horror

Magic: The Gathering

With intricate mechanics, constant expansions, and competitive play, Magic demands both strategic thinking and ongoing investment. Its mix of collecting and gameplay has made it one of the most recognizable “nerdy” hobbies for decades. Other card games have an equal amount of ‘nerd’ energy, but Magic is the most representative.

Star Wars

Beyond the films, Star Wars includes extensive lore, spin-offs, and fan theories. Following the universe closely often means engaging with a massive amount of content, something strongly associated with dedicated fandom culture.

Pokemon

What starts as a simple game or show often evolves into deep knowledge of generations, stats, and mechanics. Competitive battling and collecting habits reinforce its reputation as a detail-heavy, enthusiast-driven interest.

Warhammer

Known for its dense lore and complex tabletop gameplay, Warhammer blends strategy with painting and collecting miniatures. The level of commitment required makes it one of the most stereotypically “nerdy” hobbies, and an expensive one at that.

The Lord of the Rings

A cornerstone of modern fantasy, it attracts fans who dive into languages, histories, and extended lore. That depth of engagement has long tied it to traditional perceptions of nerd culture.

Cosmere

Following the Cosmere often means tracking interconnected stories, hidden details, and overarching lore. Its complexity and theory-heavy fandom make it a modern example of deeply engaged, knowledge-driven interest.

Harry Potter

While widely popular, dedicated fans often engage deeply with lore, houses, and extended material. That level of continued involvement places it firmly within recognizable fandom and “nerd” culture spaces.

Comic Books

Keeping up with comic continuity often involves decades of storylines, reboots, and alternate universes. That complexity, combined with collecting, has long made comics a core pillar of nerd identity. Following the Spider-Man movies won’t make you a nerd, but following the comics will.

Manga

For western audiences, manga is just as nerdy or even more so than comic books, since they are read “backwards.” Anime is becoming more and more popular, to the point where few are considered nerds just from watching anime, but the same is not true for following manga.

League of Legends

With its steep learning curve, evolving meta, and competitive environment, League of Legends attracts players who invest significant time mastering mechanics and strategies, reinforcing its association with dedicated gaming culture.

2025-02-02 - ALGS Year 4 Championship - Joe Brady

Esports

Following esports involves tracking teams, players, and constantly shifting metas across multiple games. Its analytical and time-intensive nature makes it a clear example of modern “nerd” engagement, showing that you don’t have to play video games to enjoy them.

Board Games

Having a few board games for your monthly wine party is not nerd-worthy, but having a growing collection of board games you barely (if ever) touch certainly is. And we’re not talking about Clue or Monopoly, but board games with rules so intricate it takes longer to explain than to play.

World of Warcraft

As one of the most influential MMOs, it demands long-term commitment, knowledge of systems, and social coordination. Its scale and depth have made it a defining example of immersive gaming culture.

Doctor Who

With decades of continuity and a constantly evolving storyline, Doctor Who rewards long-term viewers. Its mix of sci-fi concepts and deep lore has made it a staple of classic fandom culture, with each fan having their own favourite season, cast and Doctor.

Spider-Noir Gets Tombstone to the Screen Before Brand New Day

Spider-Man has one of the most varied and wonderful rogues galleries in all of comic book history. Peter Parker regularly goes toe-to-toe with heavy-hitters like Green Goblin, Venom, and the Kingpin. But he also has a host of unimpressive weirdos, including the Gibbon and the Kangaroo. For the most part, they all stay in their place. Green Goblin and Doctor Octopus will always be the biggest threats, especially as Venom has become a hero and the Kingpin fights Daredevil, the rest of the Sinister Six, including Electro and Mysterio, can have an arc here and there, and then everyone else fights for the scraps.

But a new promo for the MGM+ series Spider-Noir suggests that the hierarchy of power among Spider-Man villains has changed. It’s not so much that D-lister Silvermane gets to be the show’s big bad, nor the muscle he sends to fight Nicolas Cage‘s hardboiled take on Spider-Man. It’s that Tombstone gets highlighted, just months before he’s slated to be a major problem for Tom Holland‘s Peter Parker in Spider-Man: Brand New Day.

Loosely adapted from the comic book series Spider-Man: Noir by David Hine, Fabrice Sapolsky, Carmine Di Giandomenico, and Marko Djurdjević, and spinning out of Spider-Man: Into the Spider-Verse, Spider-Noir stars Cage as Ben Reilly, a 1930s private investigator who can do whatever a spider can. As this latest promo shows us, Ben will be going up against the gangster Silvermane (Brendan Gleeson), who relies on a trio of toughs to do his dirty work, including Sandman (Jack Huston), Megawatt (Andrew Lewis Caldwell), and Tombstone (Abraham Popoola).

Tombstone, of course, isn’t a new thorn in Spidey’s side. First introduced in Web of Spider-Man #36 (1988), by Gerry Conway and Alex Saviuk, he’s been a regular player in stories about the New York underworld. Born Lonnie Lincoln, he grew up with Daily Bugle editor Robbie Robertson and was constantly teased for being a Black child with albinism. The bullying led Lonnie to a life of crime and to embrace his appearance. Taking the name Tombstone, he filed his teeth to sharp ends and built an imposing physique.

For most of his history, Tombstone’s been a constant C-lister. While the animated series The Spectacular Spider-Man made him that show’s version of Kingpin (and got Keith David to provide the voice!), he hasn’t appeared in any of the live-action movies, nor does he get more than a couple of arcs or side missions in any cartoons or games.

However, that’s starting to change. Lonnie Lincoln was a major supporting character in season one of Your Friendly Neighborhood Spider-Man, where he’s voiced by Eugene Byrd. That series imagines Lonnie as an extraordinarily talented good kid who befriends Peter Parker. The first series ends with him being forced to participate in the local gang, and being exposed to chemicals that will certainly transform him into the imposing Tombstone.

Moreover, Tombstone’s rumored to be the chief antagonist of the next MCU film, Spider-Man: Brand New Day. Played by Marvin Jones III (who also voiced the character in Into the Spider-Verse), Tombstone will be one of the many baddies who tangle with the overworked Spidey, including Boomerang and the Hand. How will that fit into a story that’s also about the Hulk, Punisher, and probably Jean Grey of the X-Men, as well as his regular pals MJ and Ned? We’re not sure.

But it’s clear that Tombstone is having a moment, and the next part will be in Spider-Noir. This Tombstone “links the comic book character to a very grounded backstory,” says Popoola, promising something unique from even the versions in Your Friendly Neighborhood Spider-Man and Brand New Day. In fact, he sounds unique from any other C-list hero, which can only help Tombstone move further to the top spot of evil among the sinister foes of Spider-Man.

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

Looks Like The Rings of Power Season 3 Is Arriving Earlier Than We Thought

Most news about the Lord of the Rings franchise of late has centered on the forthcoming big screen adventure The Lord of the Rings: The Hunt for Gollum and Stephen Colbert’s in-the-works Shadows of the Past project. But if current rumors are to be believed, we’ll be headed back to Middle-earth well before then, thanks to Prime Video’s blockbuster fantasy saga The Lord of the Rings: The Rings of Power. 

The series, which still ranks as the most expensive ever made, has drawn its share of criticism for the liberties it’s taken with J.R.R. Tolkien’s source material and the changes it’s made to the backstories of some of its characters. But it’s still seen as a priority for the streamer, which is allegedly still on track to finish out its five-season vision despite the high costs associated with its production. 

Per The Hollywood Reporter, The Rings of Power season 3 will hit our screens later this year — months earlier than anyone expected. (The conventional wisdom up until this point was that a 2027 release was likely, given its extensive post-production needs.) While Prime Video hasn’t officially confirmed this report one way or the other, it makes a certain amount of sense. Season 2 concluded back in the Fall of 2024, and a late 2026 release would put the gap between seasons at two years, which is roughly the same amount of time that passed between the show’s first and second outings. 

When season 3 does arrive, though, things will look a bit different. Though season 2 concluded with the siege of Eregion and the death of Celebrimbor, its third outing will be set after a rather lengthy time jump. Honestly, this isn’t that big of a deal, since most of the story’s main characters are some variety of long-lived being that means the aging process doesn’t really apply to them. Plus, Tolkien’s history spans such a long period of time — a century passes between the forging of the 19 rings we saw made in season 2 and the One Ring to Rule them All in Mordor — that fast forwarding through some of the lesser bits is probably a smart choice. 

The Rings of Power will pick back up again at the height of the War of the Elves and Sauron, as the Dark Lord works to create his master ring. (Technically, these events also take place over a hundred years apart, but let’s go with it for the sake of brevity.) Beyond that, we don’t know much about what aspects of Tolkien’s history the third season will tackle, but it’s done some pretty detailed set-up for several major events, including the selection of the Nazgul, the closing of the Doors of Durin, and, probably most importantly, the Fall of Numenor. (And that’s not counting whatever they’re planning to do with Gandalf and that still-unidentified Dark Wizard next.)

Announced returning cast members include the major players: Charlie Vickers as Sauron, Morfydd Clark as Galadriel, and Robert Aramayo as Elrond, though those are far from the only familiar faces we’ll see in season 3. (An early preview clip features Lloyd Owen’s Elendil with his iconic blade Narsil.) The show is also adding some new faces in as-yet undisclosed roles, including Stranger Things star Jamie Campbell Bower and King & Conqueror’s Eddie Marsan, as well as Andrew Richardson, Zubin Varla, and Adam Young. Who are they all playing? Your guess is as good as ours.

The Lord of the Rings: The Rings of Power is streaming now on Prime Video.