The House of Leaves Movies That Aren’t House of Leaves

After Mark “Markiplier” Fischbach’s indie sci-fi horror movie Iron Lung made waves at the box office, the popular YouTuber’s fans began discussing the possibility of him adapting Mark Z. Danielewski’s famously “unfilmable” novel, House of Leaves.

For the uninitiated, House of Leaves follows photojournalist Will Navidson and his family after they move into a new house with an unsettling anomaly. The house’s interior can expand into a dark, shifting labyrinth far larger than the house’s physical dimensions allow. As Navidson and others explore and film the house’s endless corridors, a recluse called Zampanò documents the events, but when Zampanò dies, a drifter named Johnny Truant discovers his manuscript and tries editing it, only to find himself spiraling into madness as the boundaries between the house, Navidson’s film, and reality begin to collapse.

It’s not the first time an emerging horror director has been linked with a potential adaptation of the bestselling book, nor will it likely be the last. Readers have yearned to see Danielewski’s complex story on the big screen since its 2000 publication, but there are already plenty of movies that offer similar vibes for anyone who can’t wait for the real thing.

Dave Made a Maze

The first thing to note about Dave Made a Maze is that it’s a horror comedy (among other things) which House of Leaves definitely isn’t. Yet they both focus on a similar core concept: a space that shouldn’t exist and behaves as if it has its own rules. They also feature fairly humdrum domestic settings that become gateways to impossible labyrinths filled with shifting corridors.

Dave (Nick Thune) creates his maze from cardboard, but like the House of Leaves house, it’s still one that can trap those who enter it and turn their exploration into a psychological and occasionally fatal trial. At one point, a film crew also enters the labyrinth, which blurs the line between observer and participant in both stories.

Though Dave Made a Maze is much more playful than House of Leaves, with appearances by Hal Hartley fave James Urbaniak and professional wrestler John Hennigan as a minotaur, it certainly contains enough core themes of Danielewski’s story to keep anyone enchanted by them happy.

Cube

Cube came out three years before House of Leaves was even published. The indie horror’s surreal setup finds a group of people waking up in a place that, at first, seems to have endless identical rooms, until one of them discovers that some of them contain deadly traps. As a result, the environment suddenly becomes both a psychological and physical threat. It unsettles the group’s perspective of space and security in much the same way that House of Leaves does, leading to paranoia and plenty of existential questions as the unwilling participants of the movie’s gauntlet desperately try to find a way out.

The deadly-maze concept at the heart of Cube should leave House of Leaves fans satisfied with its similar pieces of the story’s puzzle. There’s also a sequel, a prequel, and a Japanese remake to explore if Cube ends up being your bag.

Vivarium

Imogen Poots and Jesse Eisenberg star in Vivarium as a couple who travel to the suburbs to view a housing development but get trapped there with seemingly no way out. All the houses are identical, but number 9 becomes their reluctant home as they are forced by their captors to raise a creepy child against their wishes.

The movie explores themes of parenthood and aging in an unforgiving, unknowable domestic setting almost as strange as the one in House of Leaves, but the movie refrains from layering on any typical genre tropes, leaning into the existential dread of the couple’s bleak situation instead.

You Should Have Left

You Should Have Left is the most House of Leaves movie on this list. So much so that if you Google “House of Leaves movie” right now, it’ll be the first actual result you’ll see. However, it is also the worst movie on this list, so approach with caution.

Kevin Bacon stars as a retired banker who books a family holiday in Wales, but the vacation home they’ve chosen turns out to be extremely strange. Time isn’t flowing as it should, and there’s an anomaly in the angles between the walls and the floors; the house is larger on the inside than on the outside. Try as they might, they can’t escape the house once they’ve settled in, and Theo seems to be trapped there. If all this sounds a bit familiar, you might naturally imagine that German writer Daniel Kehlmann, on whose novella this movie is based, may have picked up House of Leaves at some point.

Synedoche, New York

If your favorite part of House of Leaves is how it layers stories and forces you to question the reliability of their narrators, then Synedoche, New York is the one for you. Featuring an incredible performance by the late Philip Seymour Hoffman and directed by notable surrealist Charlie Kaufman (Eternal Sunshine of the Spotless Mind) the movie follows a theater director called Caden Cotard (Hoffman) who creates a huge replica of New York inside a warehouse, but whose commitment to the project’s realism starts to blur the lines between fantasy and reality.

The labyrinthine stage soon expands beyond Caden’s control, and it’s not long before it starts to mirror the way his own life and relationships are unraveling. Like House of Leaves, the environment becomes an extension of human consciousness, reflecting the impossibility of fully understanding or containing your own existence.

Skinamarink

Kyle Edward Ball’s Skinamarink divided audiences back in 2022. Ostensibly following two kids who wake up one night to find their father missing, the movie spends about 100 minutes exploring what happens when their home’s objects, doors, and windows start vanishing as well. However, the movie’s slow, experimental nature is the root of the problem for some viewers, even as it delights others.

House of Leaves fans who yearn to be hypnotized by both a malleable sense of time and spaces that don’t make sense could still find Skinamarink just the ticket, but they should also be aware going in that the movie isn’t structured in a way that can ever be truly understood, blending analog horror with a pervasive, unsettling nightmare logic that you can’t help but respect.

Coherence

After a comet passes Earth, strange occurrences develop on the night of a dinner party. What starts out as a fun evening quickly deteriorates into confusion and panic as the revelers begin to encounter multiple versions of themselves and the party house. Realities are blurring, and it becomes increasingly difficult to know who to trust during overlapping timelines and events.

Coherence is definitely a fascinating sci-fi that takes full advantage of its minimal cast and single location on a low budget, but its greatest asset is its rewatchability: it becomes a puzzle, full of twists that demand further investigation. Consequently, it 100% deserves inclusion on this list.

Inland Empire

We might be preaching to the choir on this one, as a Venn diagram of House of Leaves enjoyers and David Lynch fans should pretty much be a circle, but we’d be remiss if we didn’t include Inland Empire in our recommendations.

It’s not always the first Lynch film that people turn to because it’s more impenetrable than some of his other works, but the story’s fractured narrative will constantly have you questioning which layer of reality you’re in, and that’s very much in the House of Leaves stable. You’ll feel just about as lost watching Inland Empire as you do reading Danielewski’s dense tome, especially when the film dissolves into a stream of consciousness that asks the audience to make up their own minds about what is real and what is myth.

Invincible: Sandra Oh Discusses Her Favorite Debbie Moment Yet

This article contains spoilers for Invincible season 4 episode 5.

In its fourth season, the Prime Video series Invincible finally delivers a confrontation long in the making. No, it’s not the rematch between Mark Grayson and Conquest, nor any of the bone-shattering battles between the intergalactic coalition and the Viltrum Empire. Rather, it’s the moment that Nolan Grayson (J. K. Simmons) a.k.a. Omni-Man, returns to the planet he betrayed for the Viltrum Empire and to Debbie, the wife he abandoned to become conqueror of Earth.

“It’s a real confrontation on many levels,” says Sandra Oh, speaking to Den of Geek about playing Debbie in that moment. “I remember feeling lucky that J. K. had already done his lines, so I had his voice already. I also remember weeping through the entire thing.”

“It happened very easily,” she continues. “When you have the ability to play a character for a long time, you don’t have to reach that far because you’ve already said it, or you’ve already lived it. Your character is already in you, and it ends up feeling earned. People are waiting for this moment, so you can kind of let it all out.”

Debbie’s response to Nolan is one of the last dangling plot points in the central twist of Invincible, which began life as a series for Image Comics by writer Robert Kirkman and artists Cory Walker and Ryan Ottley. When Mark’s (Steven Yeun) powers manifest, and he takes the identity of Invincible, he thinks that he’s going to follow in the footsteps of Omni-Man. But when Nolan reveals that he’s been sent not to protect the planet but to conquer it for Viltrum, it falls on Mark to fight his father. It falls on Debbie to keep everything grounded.

For Oh, the epic stakes of the Invincible concept add weight to Debbie’s reunion with Nolan, especially when he actually acknowledges his wrong-doing. For Oh, that moment transcends a simple plot beat in a superhero show and becomes something that resonates in the real world.

“It’s not only just Debbie as Debbie; it’s also who Debbie represents, all of humanity,” Oh explains. “She represents all those who have been betrayed, who feel helpless against the power structure.

“For the power structure that’s represented by Omni-Man to come to those who he betrayed and take responsibility over what the destruction he has wrought and ask for forgiveness is important for not just the character. It’s also an opportunity for the viewers to imagine what that would be for them. Let’s say you have betrayed people. What would you say? How would you ask for forgiveness? How would you take responsibility? And if you’re the betrayed, what would you say? Would you give forgiveness or not?”

Furthermore, Oh points out that Debbie’s status as a wife and mother makes her particularly well-suited to confronting Nolan about his actions. “There are so many big questions that Invincible brings up: Can you change your nature? Is forgiveness possible? And it doesn’t surprise me that it’s the mother who asks the question. She’s an important moral force. The feminine, the Earth, holds a lot of that responsibility.”

As with any superhero story, a great responsibility calls for great power. Debbie may not have the same abilities as her husband or son, but Oh points out a formidable gift. “I like her snappy resilience. She’s no nonsense, but her resilience has real feminine power,” Oh says.

“Here’s the human character, and everyone else has a superpower, but she’s not swayed. She’s not intimidated. When you feel hopeless or powerless within larger power structures and things you cannot control, Debbie shows how you can stand firm in what you believe and in your deepest humanity. I love that about her,” Oh declares.

So while the confrontation between Debbie and Nolan may not be Invincible at its most grandiose or bombastic, it is Invincible at its most real and, perhaps, its most important.

Invincible season 4 streams new episodes Wednesdays on Prime Video.

A24’s Backrooms Trailer Hopes the World Is Ready for a New Creepypasta Movie

If you’re feeling the weight of your years and you used to be with ‘it’, but then they changed what ‘it’ was, and now what you’re with isn’t ‘it’ anymore, and what’s ‘it’ seems weird and scary, that’s okay. All we need to understand is that aspiring filmmakers used to largely fund their first films with credit cards or arts bodies, and now they have Kickstarter and studios like Neon and A24 instead, who know that low-budget horror movies can do big box-office business. It’s just time to accept that some of the filmmakers behind those movies will also be popular YouTubers.

Following the success of this year’s self-funded game adaptation Iron Lung from Mark “Markiplier” Fischbach, A24 hopes the horrors will persist once again in Backrooms, the directorial debut of Kane Parsons aka Kane Pixels. Parsons became enchanted by the iconic creepypasta back in 2021 and created a web series around the concept, which imagines a vast, endless maze of monotonous rooms just beyond reality, where you just might accidentally slip out of the real world and become trapped.

Numerous video games have already dabbled in the Backrooms, but now it’s time for them to grace the big screen, and Chiwetel “Chewy” Ejiofor, Renate Reinsve, and Mark Duplass are along for the ride as Parsons attempts to elevate his material.

Check out the trailer below…

There’s been little in the way of enthusiasm for creepypasta-inspired theatrical movies since the critically savaged yet still profitable Slender Man in 2018. Sony’s messy, sub-10% RT score effort has been largely forgotten since its release, but the world may now be ready for a fresh bowl of creepypasta, and if the trailer is anything to go by, Chewy (Doctor Strange) and Renate (Sentimental Value) will be in typically good form.

Are you ready for the sickly, faded yellow vibe of the Backrooms this summer? Or do you get enough of that at the office? Let us know in the comments.

Backrooms is coming to theaters on May 29, 2026.

Robert Kirkman and Steven Yeun Break Down That Major Invincible Rematch

This article contains spoilers for Invincible season 4 episode 5.

Since it debuted on Prime Video, Invincible has been a brutal show, even more so than the comics that inspired it. That brutality seemed to reach a climax in season 3, when the Viltrumite known as Conquest (Jeffrey Dean Morgan) arrived on Earth. Mark barely survived that battle, and yet, somehow, the rematch in season 4 is even worse, bringing to the show an unprecedented level of violence.

“We give everyone a good warning,” co-showrunner Simon Racioppa tells Den of Geek, referring (of course) to the voice actors and animators, not the viewers. “We warn them first: This is coming, be aware.”

“It is the highlight of working on this show, to be able to watch every iteration of those sequences come together,” says Robert Kirkman, who created the comic with artists Cory Walker and Ryan Ottley and serves as co-showrunner with Racioppa.

“Because it happens in the writing. There’s a lot of modulation in the writing and picturing of the scenes. Then we do the first pass on voice acting, and we start seeing animatics and we start moving things, and then we see rough animation. When we do ADR, we heighten things, and as we’re seeing scenes with the sound mix, we’re adjusting things. We’re able to modulate everything every step of the way.

“Seeing when it all comes together and knowing what each person added, you understand what a massive thing these scenes are,” Kirkman concludes.

For star Steven Yeun, who voices Mark Grayson, his contributions involve not just lines of dialogue, but also providing the proper noises to indicate Invincible’s bones cracking, in one memorable moment, Mark’s response to getting his guts ripped out by Conquest.

“That was so fun. You just have to let the organs do most of the work,” he laughs. “You gotta let the slimy noises do most of the work. But in my mind, I know it’s such deep pain that it’s beyond pain. Your body’s in pure shock.

“But also there’s this other gear where he’s trying to beat this guy, and he wants vengeance. There’s a tension between holding his grip and pushing down while his stomach is being ripped out. It’s a metaphor for the loss of innocence that Mark’s experiencing. You’re getting part yourself ripped out while you’re still trying to assert yourself,” Yeun explains, before crediting the source material.

“Good on the writers,” he exclaims. “It’s pretty damn cool.”

“He’s selling himself short,” responds Racioppa. “I like Steven because he initially records for us without any visuals. We sort of describe the scene, and he’s read the script, but when we bring him back in, that’s when we have some pictures to show him.

“When he saw these, he said, ‘Oh, okay, I have to do this again. I have to go bigger because I can hit this moment.’ Once he actually saw everything on screen, we do it again with him and he’s able to somehow make his performance even better, even if it’s just breathing or just screams or just slow moans. He is so good at it, and it adds an extra level to everything. It makes the violence feel so real and affecting.”

“It’s a very interesting volley process, because Steven does the initial voice, and that dictates the animation,” Kirkman expounds. “So then when the animation comes back, he’s able to take something that was built on what he did, and improve it by playing with what was done. It’s a remarkable process.”

Clearly, the creators of Invincible love the hyperviolence that the Conquest battle and other scenes can provide. But what about the audience? Are they thrilled or repulsed by seeing the hero torn apart?

“I’m very fortunate because my kids are very old now, and they really like the show,” says Kirkman. “I was looking forward to seeing their reactions to that sequence, especially. It was a lot of fun to see them, because that scene is so affecting and unnerving. Even seeing it 100 times like I do, I’m still like, ‘Oh my God, that is a bit much.’ But it’s great to see how a team of hundreds of people working on Invincible focus and bring something like that to life.”

In short, it takes hundreds to tear apart a hero like Invincible, and we’re all the better for it.

Invincible streams new episodes every Wednesday at 3am EST on Prime Video.

15 Movie Stars You Didn’t Know Got Their Start as Kids

Every major movie star has a starting point, but for some, that journey began much earlier than audiences realize. Long before leading blockbuster franchises or award-winning performances, many well-known actors were already appearing in films, commercials, or television as children.

These early roles are often overshadowed by the careers that followed. From brief appearances to fully fledged child stardom, actors like Leonardo DiCaprio and Natalie Portman built the foundations of their careers at a young age. Looking back at these beginnings offers a different perspective on how long some of today’s biggest names have been in the spotlight.

Leonardo DiCaprio

Began acting in commercials and TV shows like Growing Pains, establishing himself early before transitioning into major film roles in the 1990s.

Natalie Portman

Made her film debut at age 12 in Léon: The Professional, earning critical attention for a performance far beyond her years.

Christian Bale

Rose to fame as a child in Empire of the Sun, delivering a widely praised performance that launched his long-term acting career.

Scarlett Johansson

Started acting young, gaining early recognition in films like The Horse Whisperer, showcasing emotional depth even as a child performer.

Ryan Gosling

Appeared on The Mickey Mouse Club as a child (pictured above with Justin Timberlake), alongside future stars, before transitioning into serious film roles later in his career.

Kirsten Dunst

Began acting in commercials and films early, with Interview with the Vampire bringing her significant attention as a child actress.

Joseph Gordon-Levitt

Had a steady child acting career in TV and film, notably in 3rd Rock from the Sun, before transitioning into adult roles.

Jake Gyllenhaal

Appeared in films as a child, including City Slickers, before later establishing himself with more mature and complex roles.

Jodie Foster

Began acting in commercials as a toddler and gained early fame with films like Taxi Driver, establishing a long, acclaimed career.

Drew Barrymore

Rose to fame as a child in E.T. the Extra-Terrestrial, becoming one of the most recognizable young stars of her time.

Kurt Russell

Started as a child actor in Disney productions like Follow Me Boys, building a foundation that later led to a successful adult film career.

Elle Fanning

Started acting at a very young age, initially appearing alongside her sister before establishing her own independent career.

Neil Patrick Harris

Rose to fame as a teenage lead in Doogie Howser, M.D., showcasing his acting abilities early on well before How I Met Your Mother.

Shia LaBeouf

Began as a child actor on Disney Channel, gaining recognition before moving into major film roles like Transformers.

Ryan Reynolds

Began acting as a teenager in Canadian television series like Fifteen, gradually building toward a successful film career over the years.

12 Movie Mistakes Nobody Actually Cares About

Not every movie mistake is a problem. In fact, some of the most obvious errors in film history are the ones audiences happily ignore. Whether it’s a continuity slip, a scientific impossibility, or a blink-and-you-miss-it production blunder, these moments rarely take away from the experience. If anything, they’ve become part of the charm.

People that make movies are humans after all, and they make mistakes. But for the audience, as long as the vision stands and the intention is there, some oversights can be permitted, particularly when you’re fully immersed. Of course, pointing them out is all in good fun, and a great excuse for a rewatch!

Gladiator

A gas canister is clearly visible on a chariot during a battle scene, a major production oversight that stands out but never distracts from the film’s intensity. If anything, it shows that the chariot needed some extra horsepower.

The Avengers

Captain America’s suit is visibly damaged and then suddenly repaired in the same battle, a continuity slip that goes largely unnoticed in the chaos.

Pulp Fiction

Bullet holes appear in the wall before the gun is fired, a continuity error fans often point out, but one that hasn’t impacted the film’s iconic status. After all, you’re only looking for the holes when the gun is fired, not before.

Jurassic Park

The T-Rex enclosure changes layout mid-scene, going from flat ground to a massive drop, a spatial inconsistency widely discussed but easily overlooked. After all, the park’s layout is not the core of the movie.

Braveheart

A modern car is visible in the background during a battlefield shot, an anachronism that’s become a classic example of harmless movie mistakes. Fortunately, the vehicle almost blends with the background.

Casino Royale

Bond’s injuries appear and disappear between scenes, a minor continuity issue overshadowed by the film’s grounded tone and strong performances.

Harry Potter and the Chamber of Secrets

A crew member briefly appears during a dueling scene, something sharp-eyed viewers have spotted without it affecting the film’s popularity. And honestly, it’s so dark that you can barely see him.

Star Wars

A stormtrooper hits his head on a doorway, a blooper that became so beloved it was later acknowledged in official releases.

Indiana Jones and the Raiders of the Lost Ark

The story arguably reaches the same conclusion without Indy’s involvement, a logic flaw that hasn’t diminished its reputation as a classic adventure.

Avengers: Endgame

The film’s time travel rules contradict themselves at times (particularly regarding Captain America and his ending), yet audiences largely accept it due to the emotional payoff and scale.

Back to the Future

The time travel paradoxes raise endless questions, but viewers embrace the fun rather than scrutinizing the inconsistencies too deeply.

Pirates of the Caribbean: The Curse of the Black Pearl

A crew member wearing a cowboy hat appears briefly in the background, a funny mistake that fans enjoy spotting. He might just be a very fashionable pirate.

13 Great Movies Ruined By the Final Act

A strong opening can hook an audience, and a compelling middle can build something special, but a weak final act can undo everything that came before it. Some films are remembered not for how well they started, but for how frustratingly they ended.

Whether it’s a tonal shift, a rushed resolution, or a twist that doesn’t quite land, these endings often spark ongoing debates among fans. Of course, ‘ruined’ is highly subjective depending on who we’re asking, but at the very least, these films had a lot of potential that went nowhere due to their conclusions.

I Am Legend

The movie is well-known for making drastic changes from its source material, but no change is bigger than the ending, making even the name of the movie nonsensical. It used to have something closer to the book ending originally, only to change it after test audiences reacted negatively.

Law Abiding Citizen

Often criticized for abandoning its morally complex setup, the ending shifts focus away from its central conflict, leaving audiences feeling the story’s premise was not fully explored. This makes it extra complicated due to most fans connecting with the villain.

Glass

The finale’s subdued resolution and sudden narrative turns divided audiences, with many expecting a more impactful culmination after the buildup across multiple interconnected films. And all this without mentioning the puddle.

High Tension

The twist ending introduces inconsistencies that conflict with earlier events, leading viewers to question the internal logic of the story despite its effective early tension.

Honey, Don’t!

The final act struggles to maintain the tone established earlier, with tonal shifts that some viewers feel disrupt the film’s overall narrative cohesion. While the movie tries to tie everything together at the end, many questions remain, at least on feeling, unanswered.

Wonder Woman

Praised for most of its runtime, the film’s final act leans heavily into CGI spectacle, which diluted its grounded emotional and thematic elements. On the story side of things, blaming the god of war for, well, wars, makes us question how come war is still a thing after his death.

A Star Is Born

While emotionally impactful, the final act’s direction has been debated, with some viewers feeling it leans into familiar storytelling choices rather than subverting expectations. It also portrays controversial views regarding one of the main character’s death.

Phenomenon

The film’s ending shifts toward melodrama, which contrasted too sharply with the more restrained tone established earlier in the story.

Babylon

The extended montage finale divided viewers, with some praising its ambition while most felt it disrupted pacing and overshadowed the film’s central narrative threads.

Mary Elizabeth Winstead in 10 Cloverfield Lane

10 Cloverfield Lane

The grounded psychological tension gives way to a more explicit sci-fi conclusion, a tonal shift that many viewers found jarring compared to the earlier claustrophobic storytelling. Granted, it is part of the Cloverfield series, but still.

Source Code

The ending introduces a hopeful resolution that some argue contradicts the film’s established rules, raising questions about the internal consistency of its time-loop mechanics. Just ending it a couple of minutes earlier would’ve been ideal.

Jack O'Connell in 28 Years Later Trailer

28 Years Later

The final act of the movie changes tone so drastically, that for a lot of viewers it ruined the film. Of course, if you’re into the tone it shifted to, then you’ll be set, but not a lot of people expected the Power Rangers to be a key plot point of a zombie movie.

Hancock

The film’s shift from a grounded superhero deconstruction into a more traditional mythological storyline left some viewers feeling the final act lacked the originality of its opening. Worst than a bad final act, it is a bad final half.

14 Times The Side Character Stole The Show

Often a show’s lead character isn’t its most memorable person, rather it’s the one standing just outside the spotlight. Television history is full of side characters who started as supporting roles, only to steal scenes through charisma, writing, or sheer unpredictability.

Due to their popularity, the characters ended up closer to the spotlight, either gaining their own shows or storylines inside their original one. Whatever the case may be, the plans for these characters were not for them to steal the show, but they certainly did. You might be surprised with what you’ll find in this list.

Steve Urkel (Family Matters)

Originally intended as a one-off guest, Urkel’s popularity exploded with audiences, leading to expanded screen time and ultimately redefining the entire show around his character.

Titus Andromedon (The Unbreakable Kimmy Schmidt)

Titus became a breakout fan favorite thanks to his theatrical personality, memorable musical moments, and scene-stealing humor that often overshadowed the main storyline.

NoHo Hank (Barry)

What began as a comedic supporting role evolved into one of the show’s most beloved characters, blending humor with surprising emotional depth across later seasons.

The Janitor (Scrubs)

Neil Flynn’s largely improvised performance turned a minor antagonist into a defining presence, with surreal humor and running gags that became central to the show’s identity.

Leon Black (Curb Your Enthusiasm)

Leon’s arrival revitalized the series, with his blunt perspective and improvisational chemistry with Larry David making him one of the show’s funniest recurring characters.

Spike (Buffy the Vampire Slayer)

Originally planned as a short-term villain, Spike’s popularity led to an expanded arc, eventually transforming him into one of the series’ most complex and beloved figures. He even survived Buffy herself as he transitioned to the Angel show.

Karen Walker (Will & Grace)

Karen’s sharp wit, eccentric behavior, and iconic one-liners made her a standout, often dominating scenes despite not being the central character.

Lafayette Reynolds (True Blood)

Lafayette’s charisma and bold personality resonated strongly with audiences, leading to an expanded role far beyond his original storyline in the source material. Certainly an achivement as a non-vampire character.

Caroline Forbes (The Vampire Diaries)

Initially portrayed as a secondary character, Caroline evolved into one of the show’s emotional anchors, gaining depth and fan appreciation as the series progressed.

Boyd Crowder (Justified)

Originally meant to die early, Boyd’s compelling presence led to a major role expansion, becoming one of television’s most memorable antagonists. That energy Walton Goggins brought to the role is clearly being channeled in his take of the Ghoul in Fallout.

Josiah Bartlet (The West Wing)

Though not initially intended as the central focus (even though he was the president), Bartlet’s commanding presence quickly elevated him into the heart of the series.

Jesse Pinkman (Breaking Bad)

Planned for a shorter arc, Jesse became essential to the show, with his emotional journey providing a crucial counterbalance to Walter White’s transformation. It’s hard to believe a version of Breaking Bad without Jessie, but it goes to show how these stories aren’t set in stone.

Crowley (Supernatural)

Crowley’s charisma and morally gray nature made him a recurring favorite, often stealing scenes with sharp dialogue and unpredictable alliances.

Pacey Witter (Dawson’s Creek)

Pacey’s character growth and relatability resonated strongly with viewers, eventually making him one of the most beloved and discussed figures in the series.

16 Movies That Have Aged Worse Than Warm Milk

Time hasn’t been kind to every movie. While some films grow into classics, others feel increasingly out of place as cultural norms, technology, and audience expectations evolve. Movies like American Pie and Crash were once widely accepted or even celebrated, but now spark debates across social media and forums about whether they still hold up.

In some cases, it’s outdated humor or problematic themes. In others, behind-the-scenes controversies or aging visual effects have reshaped how audiences engage with them. This list looks at films that haven’t just aged, but gotten stale and hard to look at, becoming far more difficult to revisit with the same perspective today.

American Pie

Once a defining teen comedy, the film normalized invasive behavior, especially the hidden webcam scene, which has been widely interpreted as a serious violation of consent.

Crash

Initially praised and even awarded Best Picture, the film has an overly simplistic way of portraying racism, with it reducing complex issues into contrived coincidences.

Revenge of the Nerds

The most common example of aging poorly, the film includes scenes that are now clearly recognized as depicting sexual assault played for comedy, which fundamentally changes how we can perceive it now.

The Matrix Reloaded

While ambitious at release, viewers today often criticize its heavy reliance on early-2000s CGI and dense exposition, which feel less impactful compared to the original film’s tighter storytelling and groundbreaking visuals.

Ace Ventura: Pet Detective

The film’s ending twist is now broadly criticized for transphobic humor, with something that was once played for laughs now feeling uncomfortable and out of step.

American Beauty

Although once critically acclaimed, its central storyline involving a middle-aged man’s obsession with a teenage girl, combined with Kevin Spacey’s real-life controversies, has significantly altered audience perception.

Hackers

Celebrated as a cult classic, it is now often mocked online for its wildly unrealistic portrayal of hacking, featuring flashy visuals and jargon that bear little resemblance to actual computer systems.

Love Actually

Still popular during holidays, the film is increasingly scrutinized for certain storylines, particularly those involving workplace relationships and romantic persistence that can easily come across as uncomfortable or inappropriate.

Soul Man

Few movies have aged as badly as Soul Man. The film’s use of blackface as a central plot device, something deeply offensive and rightfully condemned.

You’ve Got Mail

Its premise, centered around anonymous online relationships, reflects an early internet culture that feels quaint today, particularly due to how drastically communication norms have evolved since its release.

Mrs. Doubtfire

While still beloved, the central premise of deception and manipulation within a family dynamic has drawn more critical scrutiny, with some audiences finding the protagonist’s actions troubling in hindsight.

What Women Want

The film’s humor and gender dynamics are now often viewed as outdated, with the protagonist’s behavior raising concerns that were, sadly, not as widely discussed at the time of release.

Rain Man

Although acclaimed, it cemented a narrow and stereotypical portrayal of autism, which does not reflect the broader understanding of the spectrum today.

S- and the City 2

Widely criticized for its portrayal of Middle Eastern culture, with many viewers noting that its stereotypes and tone feel especially out of place by contemporary standards.

Lethal Weapon

While still influential, some viewers note that its tone and certain character elements, particularly Riggs’ mental instability, feel different in hindsight. This is made twice so considering later controversies involving Mel Gibson.

Shallow Hal

The film’s central concept, built around physical appearance and transformation, is now frequently criticized for reinforcing harmful stereotypes about body image despite its intended message.

15 Iconic Scenes That Were Almost Totally Improv

Making movies is an incredibly involved endeavor, one that requires the commitment of multiple people to reach some form of end product. As such, actors often add their own spin to the script, examining what’s really going on with their characters.

It’s through that collaboration that some of the best scenes in cinema are born, either by an actor forgetting a line, reacting instinctively, or simply pushing a scene further than expected. From comedy classics to dramatic standouts, these unscripted touches often add a layer of authenticity that scripted dialogue often can’t replicate. Join us as we take a look at the best improv scenes of all time.

The Princess Bride: Billy Crystal as Miracle Max

Billy Crystal improvised extensively throughout his scenes as Miracle Max, delivering rapid-fire jokes that caused cast members to break character, forcing multiple retakes due to uncontrollable laughter.

Zoolander: “But why male models?”

Ben Stiller forgot his line during a key exposition scene and repeated the same question again, prompting a perfectly timed improvised response that became one of the film’s most quoted jokes.

Top Gun: Val Kilmer’s dismissive lines

Val Kilmer reportedly improvised several Iceman reactions, including dismissive dialogue that added tension, helping define the rivalry with Maverick in a more natural, confrontational way.

Blazing Saddles: The Waco Kid scene

Filled with comedy moments, this one improvised scene by Gene Wilder is what makes Blazing Saddles memorable. The actor even glances at the camera, almost asking the director if they are really going to keep that line. They did.

Star Wars The Empire Strikes Back: Han Solo’s “I know”

Harrison Ford improvised the now-famous response to Leia’s confession, replacing the scripted line and creating one of cinema’s most iconic character-defining moments.

“Most annoying sound” scene

Jim Carrey was known for improvising heavily, and this scene evolved through spontaneous performance choices, amplifying its absurdity beyond what was originally scripted.

Ghostbusters: Rick Moranis’ performance

Rick Moranis improvised many of Louis Tully’s eccentric lines, helping turn a relatively minor character into one of the film’s standout comedic highlights, and securing his return in the sequel.

Good Will Hunting: “He stole my line”

Robin Williams improvised subtle dialogue variations throughout filming, with the ending gaining emotional weight through natural delivery rather than rigid adherence to the script.

Midnight Cowboy: “I’m walking here!”

Dustin Hoffman reportedly shouted the line at a real taxi during filming, turning an unexpected moment into one of the most famous improvised lines in film history. While the taxi might have been part of the script in the end, the line was not.

The Avengers: Robert Downey Jr. improvisation

Robert Downey Jr. frequently improvised dialogue and behavior as Tony Stark, influencing scenes with natural charisma and even adding props like food to interactions, making him quite unpredictable to his fellow cast members.

Best in Show: Fred Willard’s role

Fred Willard improvised the majority of his commentary, delivering unpredictable lines that enhanced the mockumentary style and became some of the film’s funniest moments.

Parks and Recreation: “Network connectivity problems” line

Chris Pratt improvised the line after misunderstanding medical jargon, perfectly capturing Andy’s character and becoming one of the show’s most beloved jokes, something jokingly resented by the writers to this day.

The 40-Year-Old Virgin: Waxing scene

The waxing sequence was largely improvised, with Steve Carell actually undergoing the procedure on camera, resulting in genuine reactions that heightened the scene’s comedic impact.

Aladdin: Robin Williams’ Genie lines

Robin Williams improvised extensively, recording multiple takes filled with unique jokes and impressions that animators later incorporated into the final film.

Caddyshack: Bill Murray’s role

Bill Murray improvised much of Carl Spackler’s dialogue, including entire monologues, helping define the film’s chaotic comedic tone and cult status. It is said that he recorded his entire appearance in the film in a single day.

Invincible Showrunners Explain Season 4’s Big Tech Jacket Change

Among its many virtues, both the Image comic book Invincible and the Prime Video animated series are celebrations of superhero tropes and history. Mark Grayson, a.k.a. Invincible, is an amalgam of Superman and Spider-Man, and the series goes on to include riffs on the Justice League and the Avengers, the Hulk, the Legion of Super-Heroes, and more. Case in point: Tech Jacket, a teen hero who borrows elements from Iron Man, Green Lantern, and Firestorm.

Yet, when Tech Jacket finally appeared in Invincible‘s fourth season, co-showrunners Robert Kirkman and Simon Racioppa put a small twist on the classic character, changing him from the high school guy Zack Thompson into the high school girl Zoe Thompson, voiced by Zoey Deutch. As Kirkman and Racioppa explain to Den of Geek, they made the switch for the simplest reason. “When it came time to introduce Tech Jacket, I realized that if we had brought him straight to comics, he’d be very similar to Mark,” says Kirkman.

First introduced in his self-titled comic from 2001, written by Kirkman and penciled by E. J. Su, Tech Jacket helped expand the Invincible universe by showing the war between the Gelderians, wise but physically weak aliens who invented the vest, and their arch-enemies, the war-like Kresh. After the end of his first series, Tech Jacket became a regular in the mainline Invincible comics, helping Invincible and the Coalition in the Viltrumite War, which is how Zack, now Zoe, comes into the animated series.

Rather than simply give Zoe in the cartoon the same attributes as Zack in the comics, Kirkman and Racioppa took the opportunity to reimagine Tech Jacket. “We decided early on that it would be interesting to gender swap this character,” reveals Kirkman. “We started thinking about who Zoe would be instead of Zach. There are some exciting things that come up when you change that character.

“The vibrancy of that character and the energy that she brings is so much more affecting coming from Zoey Deutch,” continues Kirkman. ” She’s just a really, really cool character that we’re having a ton of fun with.”

“Also, Robert was like, ‘You can only cast actors who match the character’s name! Zoey’s for this role,'” quips Racioppa. “No, I’m kidding, she’s incredible.

“She came in and knew the character. She’s so professional and fun to work with, and she has a great sense of humor, because the character is fun. They go through things, but she has great jokes, great one-liners, and Zoey just delivers on all that. We could not be more delighted when we cast her for the show.”

That sense of lightness that the Zoe Tech Jacket can bring will be essential as she joins Mark in the Viltrumite War that spans season 4, pitting the Coalition against Grand Regent Thragg and his forces. Yet, if there’s one thing consistent in superhero stories, including those that inspired Invincible and both versions of Tech Jacket, it’s that the good guys have hope, even in the darkest of times.

Invincible streams new episodes Wednesday on Prime Video.

Daredevil: Born Again Season 2 Episode 2 and 3 Review – Shoot the Moon, The Scales & The Sword

This article contains spoilers for Daredevil: Born Again season 2 episodes 2 and 3.

In perhaps the most thrilling moment of the two latest episodes of Daredevil: Born Again, Kingpin makes Matt Murdock into Daredevil’s victim. On a television address to his city, a city he’s held under siege as he enacts martial law as part of his anti-vigilante legislation, Wilson Fisk claims that Matt Murdock has gone missing, blaming Daredevil for the crime.

The gambit works, and not just because Matt saved Fisk’s life at the end of Born Again‘s first season, when he dove in front of a bullet fired by Bullseye. It also works because Fisk is right on a metaphorical level: Daredevil ruined the life of Matt Murdock. Matt’s endless guilt, his inability to give up his superhero identity—even when his friends and lovers beg him, even when such activities make him an outlaw—has left him unable to be the handsome and successful lawyer he could be.

That tension between superhero and regular guy drives both “Shoot the Moon” and “The Scales & the Sword,” allowing Daredevil: Born Again to be compelling television, even if it’s not quite the superhero spectacle we want it to be.

On one hand, it’s surprising that Born Again still feels like it lives in two different worlds. Even when overstuffed with Punisher, Elektra, and the Hand, the Netflix series always felt like a show about Matt Murdock, lawyer by day and crime fighter by night. However, Born Again was split not just between Murdock and Fisk, the latter of whom only became a more compelling character in the years since the Netflix series ended, but between the world of superheroes, lawyers, and politics.

Most viewers assumed that Born Again‘s fractured nature stemmed from its odd production cycle, in which the original showrunners, who imagined the show as a political and legal thriller, were replaced by current guide Dario Scardapane, who brought superheroics back to the fore. Yet, three episodes into a season that Scardapane built from scratch, no reusing footage from the previous regime, Born Again still remains a show about regular people just as much as it is Daredevil and the Kingpin.

Throughout these episodes, we get glorious fight scenes, shot with fluid style and verve by episode two’s directors Justin Benson and Aaron Moorhead and episode three’s Solvan “Slick” Naim. But we also get strong character beats, most surprisingly evident in the relationship between Daniel Blake, the up-and-comer in the Fisk organization played by Michael Gandolfini, and young journalist BB Urich, played by Genneya Walton.

BB hosts The BB Report, a man-on-the-street news show that provides Born Again with a Greek Chorus, even if it appears to resemble long-form interviews common to nightly news of times past and not the rapid-fire, TikTok-ready segments that someone of BB’s age would make. Worse, BB carried the weight of being the successor to Ben Urich, a longtime staple in the pages of Marvel Comics (you might remember that Joe Pantoliano portrayed the character in the little-loved 2003 movie), perfectly performed by Vondie Curtis-Hall in the Netflix series.

Urich’s death at the hands of the Kingpin left a hole in the Netflix series that BB could not fill, but season two is finding something different to do with her. As we found in the premiere, BB has been forced to produce PR pieces sympathetic to the Fisk campaign, an act that both fills her with guilt and draws the attention of secret internet raconteurs, who produce the counter-program City Without Fear, critiquing BB’s reports via a figure in a ridiculous Fisk mask. By the end of episode two, we learn that BB is the woman behind the Fisk mask, an echo of the classic superhero secret identity motif.

As we see in these two episodes, the BB Report and City Without Fear are less used to describe the state of New York City’s politics and more to explore BB’s internal struggle. In that way, she serves as a foil to Blake, a true believer in Fisk’s policies who doesn’t understand why is good friend BB doesn’t get on board. As Daniel realizes that BB has been leaking material from the Fisk administration to City Without Fear—and as Fisk himself starts to realize that Daniel is the leak within his organization—the political becomes personal quickly.

The friendship allows the two actors to shake off the weight put on them in the previous season and play their characters as just regular people. Gandolfini no longer feels like he’s (completely) in his father’s shadow, and finds an unexpected sweetness to Blake. Daniel can cheer on his boss’s brutality in one scene and then share the kindest, most supportive comment to B. B. in the next.

Likewise, Walton’s no longer forced to be the voice of a new generation with BB, and instead can portray her as a young adult unsure about the future and heartbroken as she sees a genuinely good friend get corrupted by the Fisk machine. When they share a joke a dinner or express concern about the other’s life choices, both Walton and Gandolfini remind us that there are real people affected by the super-battles between Daredevil and Bullseye and Kingpin.

Which is a good thing, because episodes two and three continues to do place-setting work for the primary characters. Bullseye’s still in the wind, dropping by a cathedral to ask about Matt’s mom, Sister Maggie, but he doesn’t do much killing this time around. Fisk bloodies a trainer while prepping for a boxing match/PR stunt, but we know he’s really bulking up to go one-on-one with Daredevil. And Daredevil limits himself to small guerilla-like strikes against Fisk’s forces, small victories that threaten to disappoint the audience as much as they do Karen.

Between the two episodes, the only big action sequence comes at the end of episode three, when Daredevil frees the captives in Fisk’s secret prison with the help of Angela del Toro (Camila Rodriguez). The sequence looks fantastic, giving Jack Duquesne (Tony Dalton) a chance to show off his Swordsman skills and letting Angela debut as the new White Tiger, even if only Matt wears a full costume.

Is any of the action as the climax of an Avengers movie? No, but it’s at least compelling in its own right, fleshing out the world of Daredevil until we finally get the full super-heroics that this season has been teeing up.

More importantly, Born Again continues to do justice his super and civilian characters. Daredevil may be the enemy of Matt Murdock in the eyes of most of Marvel’s New Yorkers, but Born Again has finally figured out how to explore both the super and the human parts of its superhuman world.

Daredevil: Born Again season 2 streams new episodes at 9pm EST every Tuesday on Disney+.

Supergirl Trailer Breakdown: Lobo, Argo City, and Krypto in Peril

However, every version of Supergirl has managed to fly out from behind her cousin’s shadow, sometimes in very strange ways. The new DCU version of Supergirl, played by Milly Alcock, is no different. In the latest trailer, we see a lot more about this the Girl of Steel and her world, establishing her as truly a different type of hero.

To the casual observer, Supergirl is just a blond version of Superman wearing a miniskirt. She has the same powers, a similar basic backstory, and she’s generally a force for good. The first trailer for 2026’s Supergirl did little to change that narrative, outside of adding the wrinkle that Kara Zor-El has a bit more spunk than her cousin Kal-El.

Let’s breakdown the latest trailer to get a better understanding of the DCU’s Maid of Might.

Supergirl-2

The Last Daughter of Krypton

During the production of last year’s Superman, James Gunn would often share Frank Quitely drawings of the Man of Steel sitting on a cloud or watching Earth from afar, a lonely deity separated from humanity. The idea that Superman carried the weight of his lost world and felt disconnected from adopted home world has long been associated with the character, but wasn’t actually much of Gunn’s take. David Corenswet played Superman as a guy who loved humanity and integrated well among them.

Rather than discard the idea entirely, it appears that Supergirl will examine Kara as the Last Daughter of Krypton. The trailer establishes her as a lonely soul who hasn’t been able to find her place, something that Clark himself expresses via cameo from Corenswet.

The trailer also shows why that take makes sense. Traditionally, writers treated Kara as someone who fit in on Earth because she arrived as an adult into a world where Superman was already a beloved hero. However, Supergirl appears to be picking up on the tragedy of her adult journey. Kara actually grew up in Argo City, on a portion of Krypton that survived intact after the explosion, and feels the loss of her culture more keenly than Clark, who only knows the world through records and stories.

Superman may get to watch videos of Ma and Pa from his Fortress of Solitude, but Supergirl will experience true solitude as she wanders through space.

Zor El Supergirl

Zor-El and Life in Argo City

Argo City is one of the weirdest concepts in Superman lore, and that’s saying something. Originally, writers simply said that the city survived because the land it was on was dislodged in-tact from the rest of Krypton, allowed to float through space unencumbered. Over time, writers added other explanations, ranging from magic to interference by Brainiac to a giant shield erected around the city. The shield allowed Kara to mature to her teen/young adult years, when she was launched in a rocket toward Earth as Argo City also faced destruction.

The trailer shows us not just that shield in action—a yellow sphere shot into the sky—but also the man who made it: Kara’s father and Clark’s uncle, Zor-El, played by David Krumholtz. In most comics, including the miniseries that inspired the movie Supergirl: Woman of Tomorrow by Tom King and Bilquis Evely, Zor-El is a generic scientist with a penchant for watches, even more underdeveloped as his brother and Superman’s dad, Jor-El.

But the trailer suggests that Supergirl will spend more time in Argo City, giving Zor-El some more attention. A shot of Kara holding her father’s watch recalls his genius as an inventor, and we see bits of a funeral—presumably that of Kara’s mother, Alura (Emily Beecham)—which will involve the religious practices of the Kryptonians.

But is more Zor-El a good thing? Superman revealed a villainous side to Jor-El, and Zor-El traditionally shares the values of his brother. Will fond memories for Kara be nightmares for everyone else?

Supergirl Krem

Krem of the Yellow Hills

For the most part, Supergirl seems to hew closely to Supergirl: Woman of Tomorrow. Kara will be recruited by young Ruthye Marye Knoll (Eve Ridley) to hunt down Krem of the Yellow Hills, the man who killed her father. We have long known that Matthias Schoenaerts plays Krem in the film, and we even got a glimpse of him in the first trailer. But in the latest trailer, Krem establishes himself as perhaps the most hatable character in cinema history by immediately shooting Krypto with a crossbow.

Krypto’s injury comes straight from Woman of Tomorrow (as does the resolution, for those worried folks who don’t want to wait to find out if the super-dog pulls through). Woman of Tomorrow was inspired by True Grit, the Charles Portis novel that inspired an okay John Wayne movie and an excellent Coen Brothers movie. Supergirl stands in for bounty hunter Rooster Cogburn, Ruthye Marye for aggrieved child Mattie Ross, and Krem of the Yellow Hills for Tom Chaney. In True Grit and in Woman of Tomorrow, the killer is in fact a coward, a dullard who murdered a girl’s father out of stupid anger.

However, the trailer features a more frightening Krem, now leader of a band of marauders called the Brigands. He may still have a doofy facial expression, but this Krem comes covered in armor, carrying an ax and a crossbow. Elsewhere in the trailer, Krem demonstrates impressive fighting skills. In short, this is version of Krem is a true villain, even if never shot Krypto with an arrow.

Lobo’s Here, Fanboy

Krem’s power upgrade isn’t the only change from the King and Evely comic. Supergirl also adds, Lobo, the last Czarnian, an invincible, ammoral, and outrageous bounty hunter played by Jason Momoa.

Lobo first appeared as a minor antagonist in the sci-fi series Omega Men and a supporting character in L.E.G.I.O.N., but he rose to prominence as a satire on the type of edgy comics that were all the rage in the 1990s. With his popularity came a desire to see Lobo in less antagonistic roles, and he soon became an ally of the Justice League and Superman, albeit an often uneasy one.

Lobo isn’t in Woman of Tomorrow, but it’s not hard to imagine how he’ll fit in the story. Lobo always keeps his word and will always hunt down his target, so presumably someone else has hired him to capture Krem or even Ruthye Marye and/or Kara. Or, perhaps, Kara tries to hire Lobo to find Krem, so she can pawn off Ruthye Marye and continue her drinking.

Either way, Lobo’s appearance promises to give Kara space to show off her Kryptonian powers—and a chance to show how she can outsmart an unstoppable and merciless opponent.

Supergirl

Supergirl Unleashed

Perhaps the most surprising and exciting parts of the trailers are those that showcase Kara’s powers. Although physically smaller than her cousin, Kara has all the same strength and abilities as any other Kryptonian exposed to yellow sunlight, which means that she can just as easily topple a kaiju and lift a building.

The second trailer is full of scenes showing Kara’s powers: she tosses toughs around in a bar, she hurls a mace to clear a bunch of Brigands, she stops a photon cannon with her laser vision. In these moments, we’re not just reminded that, whatever dramatic or thematic weight that director Craig Gillespie and writer Ana Nogueira bring, Supergirl is still an action movie. They also remind us that Supergirl is a formidable superhero, just one who saves the day in her own style.

Supergirl flies into theaters on June 26, 2026.

New Masters of the Universe Trailer Has Even More Toys from Your Childhood

The first trailer for the latest live-action adaptation of Masters of the Universe played things safe and self-aware. We saw lots of Nicholas Galitzine bumbling around as Adam to offset the more sweeping shots of the magical world of Eternia, with only a handful of glimpses at arch-villain Skeletor. Most tellingly of all, the camera cut away when Adam raised the Power Sword to declare, “I have the power!” and transform into the mighty He-Man.

Those worried that this 2026 film would repeat the mistake of the ’80s version from Cannon Films and shy away from the toy line will be pleased to see the new movie’s latest trailer. This time, we see Adam’s full transition to He-Man and we get to hear Jared Leto‘s more growling take on Skeletor. Best of all, the new trailer is chock-full of characters and vehicles kids of a certain age remember from their childhoods.

Directed by Travis Knight, Masters of the Universe reimagines Prince Adam as office drone Adam Glenn, who still remembers his childhood on Eternia. Adam is called back to Eternia to help allies Man-At-Arms (Idris Elba), Teela (Camila Mendes), and Fisto (Jóhannes Haukur Jóhannesson) against Evil-Lynn (Alison Brie) and the forces of Skeletor. Along the way, he flies some cool spaceships, fights some neat monsters, and rallies some more friends, all of which seem to come directly from the toy line.

Eagle-eyed watchers of the trailer will recognize Ram-Man (Jon Xue Zhang) among the rebels that He-Man gathers, and will see that he’s fighting Trap Jaw (Sam C. Wilson). One of the fight sequences involves Rotons, flying disc-shaped spaceships with razor blades around the edges. Even better, we see He-Man actually riding a Sky-Sled, the air-bound jet ski thing that was a staple of the toys and cartoons. While Leto’s growl is markedly different from the screech that Alan Oppenheimer gave Skeletor in the 1980s, CGI allows the character to look like a living action figure.

The trailer’s emphasis on Masters of the Universe toys makes sense for several reasons. First, Masters of the Universe began life as a toy, a set of figures designed by Mattel to cash in on the popularity of Conan the Barbarian and Star Wars. Everything, from the cartoon to the comics to the movies, flows from those toys.

Second, Masters of the Universe is directed by Travis Knight, who is not only the son of Nike co-founder Phil Knight, but also the CEO of animation studio LAIKA. Knight directed the live-action Bumblebee and Kubo and the Two Strings. Both of those films were moving, delightful stories about childhood and the power of stories, and both of those films revealed Knight’s skill at bringing inanmate objects to life.

In other words, Knight is the perfect person to direct a He-Man movie, and the latest trailer shows exactly why. If only they could figure out a way to put Orko in the movie now…

Masters of the Universe releases in theaters on June 5, 2026.

Joel Kinnaman Is Off the Chain in Jo Nesbø’s Detective Hole

This article contains spoilers for Jo Nesbø’s Detective Hole, but not the killer’s identity

In the first episode of Jo Nesbø’s Detective Hole, it’s clear that Joel Kinnaman has had no trouble shaking off the nice guy persona he’s been adopting over the last seven years for Apple’s cult sci-fi show For All Mankind. Viewers who only know him as aging astronaut Ed Baldwin are certainly in for a bit of a shock: Kinnaman did not come to play in Netflix’s latest Nordic noir.

The Swedish-American actor has played a detective before, most famously in AMC’s The Killing, but in Detective Hole, he stars as Tom Waaler, a corrupt colleague of the titular character and a real piece of work. Having decided to make his way up the chain of command and do the bidding of mysterious Norwegian power players, Waaler clashes with Hole, a decent sleuth with an alcohol addiction on the verge of quitting the police every eight minutes or so throughout the series.

Hole and Waaler are supposed to be tracking down a serial killer who removes the fingers of his victims and places red pentagram gems on bits of their corpses. The pair reluctantly team up at various moments as they close in on the murderer, even though Hole suspects that Waaler iced his beloved colleague. Waaler is also hiding a grudge of his own against Hole because he was driving drunk during a car chase that got Waaler’s cop boyfriend killed. However, he’s willing to forgive and forget if Hole agrees to let go of his sensibilities and join the dark side. Waaler is nothing if not adaptable.

Over nine glorious, utterly ludicrous episodes, Waaler glides from scene to scene wearing an absolutely flawless fit that usually includes a blue suit jacket and a glinting gold chain. His hair is impeccable, his jawline snatched, his sexuality fluid. As he lifts his gun to annihilate everyone from Hole’s cheery blonde partner to a skeezy local criminal, you can’t help but lean in. Waaler might be a chilling, violent individual, but Kinnaman is having so much fun playing him that you nearly forget he’s not the show’s primary villain. As such, the show’s serial-killer element—surely the part that has attracted most of the viewers who haven’t read the book it’s based on—almost becomes background noise as we follow Waaler through the backstreets of Oslo.

Kinnaman doesn’t hesitate to dial his performance up to an impressive level, consistently blowing every other actor off the screen. During one particular sequence, his dirty detective breezes by a grim public bathroom where he usually meets his gang connection. There, a random young man hanging around catches his eye. Waaler wonders whether he’s overheard any of his dodgy dealings, and is soon engaged in enough flirty conversation with him to establish that he has. Waaler’s demeanor shifts from vulnerable to deadly in a heartbeat, and he follows the trusting man into the bathroom for what the poor lad assumes will be a consensual sexual encounter.

Instead, Waaler waits for him to poke his dick through a glory hole in the stall, slices it off, stabs the man through the face as he collapses, then feeds the severed member to his pet dog. In another scene, Kinnaman strips down to his underwear and grinds hungrily against his own reflection in a floor-length mirror. To say it’s a lot would be an understatement.

Soaking in Waaler’s wild exploits, the juxtaposition of him and the show’s central character remains uniquely hilarious. Waaler is smooth and flawlessly put together in every dangerous situation, while Hole is just a mess. Permanently dripping with sweat, shaved per sometimes, and bleary-eyed, Hole can barely keep up with what’s happening today, let alone the deadly machinations of Waaler and his pawns. Another actor in the role of Waaler might have let Tobias Santelmann be the star of the show as Hole, but Kinnaman’s casting turns out to be a real coup. Waaler’s not the main character, but he might as well be, and you can’t wait to see where he ends up when the final credits roll.

If you haven’t already witnessed his fate with your own eyes, you will not be disappointed.

Jo Nesbø’s Detective Hole is now streaming on Netflix.

The Boys Season 5 Release Date Schedule, Story, and New Characters Explained

Well, well, well. If it ain’t the final season of The Boys, coming to Amazon Prime Video this April! Eight diabolical episodes await us as Billy, Hughie, Starlight, Mother’s Milk, Frenchie and Kimiko make one last effort to rid the world of Supes, or at least the worst one of all: Omelandah.

Who will die and who will survive the chaos of this fifth season? We simply do not know. We can, however, tell you everything you need to know about season 5 so you can stay on top of who’s in, who’s clutch, and when each episode drops.

Read on for all the details, savvy?

The Boys Season 5 Release Dates

The release schedule for the final season will unfold over two months, with the first two episodes premiering on April 8. Check out the entire schedule below…

  • Episodes 1 & 2: April 8
  • Episode 3: April 15
  • Episode 4: April 22
  • Episode 5: April 29
  • Episode 6: May 6
  • Episode 7: May 13
  • Episode 8: May 20

The Boys Season 5 Story

As we enter the final season, Homelander (Antony Starr) has secured a very powerful global position, while Starlight (Erin Moriarty) leads a resistance group, hoping to topple him. However, the rest of the gang has either been captured by Homelander’s minions or has scattered. They need to come together one last time to take Homelander down once and for all.

The good news is, they’ve discovered a synthetic pathogen that can kill Supes. The bad news is, there’s only one sample left, and Billy Butcher (Karl Urban) will have to deploy it correctly—and at the right time—for it to have the impact they need.

As for any ongoing story post-finale, season 5 looks to be the last we’ll see of The Boys‘ main characters. While its current live-action spinoff show, Gen V, hasn’t been renewed for season 3 at the time of writing, another live-action spinoff series is on the way that focuses on Vought’s origins. Soldier Boy (Jensen Ackles) and Stormfront (Aya Cash) will be front and center in the 1950s-set Vought Rising, which is planned to be multiple seasons. Rest assured, there’s more diabolical action still to come!

The Boys Season 5 New Characters

Usually, there are quite a few characters joining new seasons of The Boys, but season 5 seems to be keeping it fairly low-key in that regard while it concentrates on wrapping up the show. That doesn’t mean the season’s new characters won’t have a big impact on the story, though, because there’s also a big Supernatural reunion planned for the fifth episode.

Jared Padalecki and Misha Collins, who played Sam Winchester and Castiel opposite Jensen Ackles in the beloved long-running series, will be portraying characters in The Boys‘ final season that could even rival Soldier Boy’s douchebaggery, according to creator Eric Kripke, who also created Supernatural back in the day.

“They show up in episode 5,” Kripke revealed to EW. “What I love about what they’re doing is they’re just such douchebags. It’s great. I mean, Soldier Boy is no treat either, but they’re just really not morally upstanding dudes. It’s a blast to watch them play that. It was just so much fun.”

Amazon and Kripke are currently keeping the exact details of Padalecki and Collins’ characters under wraps as they don’t want to spoil the surprise.

It’s been reported that Mason Dye (Stranger Things) will also feature in the final season ahead of becoming a series regular in the upcoming prequel show, Vought Rising. He’ll play a Supe called Bombsight.

Producer Seth Rogen is also set to make another appearance, having been spotted before in minor (but hilarious) moments in previous seasons of the show.

The Boys Season 5 Trailer

15 Underrated Performances in Otherwise Forgettable Movies

Not every great performance comes from a great movie. Sometimes, even when a film fails to impress critics or audiences, a single actor manages to rise above the material and deliver something genuinely memorable.

It can be a committed dramatic turn, a scene-stealing villain, or an unexpectedly nuanced performance; these moments often become the only reason a movie is remembered at all. From blockbuster misfires to critically mixed releases, actors like Ben Affleck and Eddie Redmayne have turned in performances that stand out despite the films around them. Here are 15 examples where the acting outshined everything else.

Chris Evans in Materialists

Chris Evans delivers a grounded, restrained performance in this romantic drama, earning praise for subtle emotional beats all while the rest of the cast pales in comparison.

Raul Julia in Street Fighter

Raul Julia fully committed to M. Bison, delivering a theatrical, charismatic performance that remains iconic despite the film’s widely criticized tone and execution.

Ben Affleck in Justice League

Ben Affleck brought a darker, more seasoned take on Batman, often praised by fans even as both theatrical and extended versions of the film received mixed reception. It might not be the greatest movie Batman, but it was a decent one.

Christopher Lee in The Man with the Golden Gun

Christopher Lee portrayed Scaramanga with elegance and menace, elevating the Bond villain role in a film often considered weaker within the franchise.

Brittany Snow in The Pacifier

Brittany Snow added sincerity and charm to a family comedy, standing out among exaggerated performances and helping ground the film’s emotional moments.

Christian Bale in Thor: Love and Thunder

Christian Bale received praise for his intense portrayal of Gorr, bringing emotional depth and menace that contrasted sharply with the film’s lighter tone.

Eddie Redmayne in Jupiter Ascending

Eddie Redmayne delivered an eccentric, highly stylized performance that became a focal point of discussion, dividing audiences but ensuring the character remained memorable. In contrast, no one remembers Jupiter Ascending.

Michael Fassbender in Prometheus

Michael Fassbender was widely praised for his portrayal of David, bringing subtle menace and curiosity that stood out in an otherwise divisive sci-fi prequel.

Meryl Streep in The Iron Lady

Meryl Streep won an Academy Award for her portrayal of Margaret Thatcher, widely regarded as the film’s strongest element despite mixed critical reception.

Jake Gyllenhaal in Southpaw

Jake Gyllenhaal underwent a physical transformation and delivered an emotionally raw performance, often highlighted as the film’s defining strength.

Tom Hardy in Legend

Tom Hardy played dual roles as the Kray twins, earning praise for distinct character work even as the film itself received mixed reviews.

Gene Hackman in The Poseidon Adventure

Gene Hackman brought authority and emotional weight to his role, anchoring the disaster film with a performance that remains one of its most respected elements.

Michael Caine in Jaws: The Revenge

Michael Caine delivered a professional and charismatic performance, often cited humorously given the film’s critical reputation, yet still adding credibility to the story.

John Malkovich in Eragon

John Malkovich gave a restrained but notable performance, standing out in a fantasy adaptation that failed its job at jump-starting a franchise.

Jeremy Irons in Dungeons & Dragons

Jeremy Irons leaned fully into an over-the-top villain role, delivering a memorable and energetic performance that has since gained a cult following. Sadly, he didn’t return in Honor Among Thieves.

14 Movies That Accidentally Predicted Real-World Events

Sometimes the most unsettling predictions come from movies. Over the years, films like Contagion and The Truman Show have gained renewed attention for how closely their ideas mirror real-world events. But that mirroring isn’t always the original intent.

Whether it’s global pandemics, mass surveillance, or the rise of artificial intelligence, these stories often capture patterns that only become obvious in hindsight. Online discussions are filled with examples of movies that feel less like fiction today and more like early warnings, showing that sometimes fiction in movies hits a little too close to reality.

Contagion

Frequently cited as the clearest example, the film predicted pandemic behavior like misinformation, panic buying, and vaccine races that closely mirrored COVID-19.

The Truman Show

Predicted reality TV culture and the normalization of constant surveillance and performative lifestyles long before social media became dominant.

Idiocracy

Once absurd satire, now widely referenced online for predicting anti-intellectual trends, consumerism, and political discourse decline.

Her

Anticipated emotional relationships with AI assistants, now echoed in chatbots and digital companions.

Back to the Future Part II

Predicted wearable tech, video calls, and even a Cubs win timeline close to reality, something fans love pointing out.

Gattaca

Predicted ethical dilemmas surrounding genetic engineering and DNA-based discrimination, now debated alongside real-world genetic testing advances.

The China Syndrome

Released shortly before the real Three Mile Island nuclear incident, making its premise feel eerily prophetic.

2001: A Space Odyssey

Accurately imagined video calls, AI assistants, and tablet-like devices decades before they became everyday technology.

Children of Men

Often compared online to refugee crises, authoritarian responses, and global instability, making its dystopia feel uncomfortably plausible.

The Cable Guy

It is often brought up for predicting media saturation and the merging of entertainment, surveillance, and everyday life.

Repo Men

It is often pointed out that background details humorously predict franchise trends and corporate dystopia.

Don’t Look Up

Widely interpreted as predicting or reflecting real-world responses to global crises, particularly misinformation and political division.

Leave the World Behind

Sparked online debate due to similarities with real-world tech outages and cyberattack fears, though often exaggerated.

V for Vendetta

V for Vendetta

Often compared to modern political unrest, surveillance states, and protest movements, especially in online discussions.

15 Unsettling Movie Details We Still Think You Should Know

Not all movie scares come from jump scares. Some of the most unsettling details in film are the ones hiding in plain sight, presenting themselves as barely visible background figures.

No matter if it’s a moment or an entire film, these motion picture facts are worth sharing for their unsettling nature alone.

The Strangers

A masked intruder silently appears in the background during an early scene without music cues, something many viewers miss initially, which adds a deeply realistic and unsettling sense of intrusion.

The Blair Witch Project

Actors were deliberately deprived of food and comfort during filming to heighten tension, meaning much of the fear and exhaustion seen on screen is genuine.

The Thing

The ambiguity of who is infected extends even into the final scene, leaving viewers with lingering paranoia about identity and trust.

Annihilation

The film’s ending deliberately avoids explanation, creating a sustained sense of unease that ends up as unresolved dread rather than traditional horror.

Ex Machina

The creator of the AI fails to implement basic safety measures, a detail often highlighted online as quietly terrifying given its real-world technological implications.

Invasion of the Body Snatchers

Background extras subtly behave “off” before the plot reveals the invasion, creating an uncanny atmosphere that many viewers only recognize on repeat viewings.

Irreversible

The film uses extremely low-frequency sound to induce nausea and anxiety in viewers, a technique often cited online as contributing to its overwhelming discomfort.

Under the Skin

Scenes involving victims sinking into black liquid are staged with minimal explanation, creating a surreal, dreamlike horror that many viewers find deeply unsettling.

We Need to Talk About Kevin

The film’s cold tone and lack of clear answers about the protagonist’s behavior create a lingering psychological discomfort that permeates through its runtime.

Eraserhead

Its industrial sound design and surreal imagery create a constant sense of dread, with viewers frequently describing it as nightmare-like even without traditional horror elements.

The Lobster

The film’s bizarre premise, where single people are turned into animals, is played completely straight, making its world feel disturbingly plausible in tone.

The Invitation

The slow, awkward dinner setting builds unease long before anything violent happens, a technique frequently praised for creating psychological dread.

Signs

The brief, almost casual reveal of an alien at a children’s party is frequently cited as one of the most unexpectedly terrifying moments in cinema.

Audition

The film’s shift from calm drama to extreme psychological horror catches viewers off guard, making its later scenes significantly more disturbing.

The Prestige

The revelation that a magician repeatedly sacrifices himself for his trick introduces a disturbing layer to what initially appears to be a simple rivalry story.

A Labor of Love: Birth is for P*ssies Portrays ‘Guttural’ Human Experience With A Punk Soundtrack 

At the first birth doula training Hannah Shealy ever attended, she was handed a tote bag with the words “birth is for p*ssies” on it. As she went to more classes and began working as a birth doula, she kept thinking, “This is not like the movies at all.” 

“A lot of the movies present birth in this aggressive and violent way,” Shealy says. “But I think all the stories leading up to the moment of a baby coming out of a body are the more interesting ones.”

As she continued working with expecting mothers, the idea of writing a show about labor, pregnancy, and motherhood flooded her mind. She realized that the portrayal of birth in the media often “terrifies” people who have never given birth before. More than creating realistic depictions of the psychological processes of birth, Shealy wanted to write something empowering.

Seeking an “indie warrior” to produce Birth is For P*ssies, Shealy found the perfect match in Celine Sutter. After reading the script, Sutter felt inspired to step out of her comfort zone and take on the role of producer. 

In the first episode that premiered at SXSW as a part of the Independent TV Pilot Program, audiences saw stories of birth from two very different worlds. Shealy’s character, Maya, meets an affluent couple from Tribeca before getting thrown into her first real birth experience as a doula, working with a single mother from the Bronx with limited resources. 

Shealy describes birth as slightly “punk rock,” so she wanted a soundtrack to create a similar effect, leading her to singer-songwriter and alternative pop star Mikaela Mullaney Straus, better known as King Princess. 

The musician had a busy year, with the release of their most recent studio album, Girl Violence, hitting record store shelves in September of 2025. In hindsight, the title of this most recent record may have been an apt premonition of King Princess’ work on the soundtrack of for Birth is for P*ssies. 

“I remember … reading the script and hearing Hannah’s story of being a doula, and really knowing nothing about birth myself at all, and I was like, ‘God, birth is really punk rock,’” King Princess says. 

Shealy and the rest of the production team were open to their ideas for the soundtrack, which were inspired by listening to IDLES and deciding on a punk sound with “shrieky and feminine” elements, the artist says. 

“I was like, ‘Well, maybe it should be kind of punk,’ because it’s to juxtapose this thing that we all think is … so beautiful,” King Princess says. “No, it’s guttural, so maybe we should do something that sounds kind of punk and crazy.”

The marriage of the show’s themes and its soundtrack is a reflection of how the musician views the union between the film and music industries, something they are excited to explore after this first experience soundtracking a piece of television. 

“I just don’t think you have film without music or music without film, I think that they’re always dapping up,” King Princess says. “For me, it has always been synonymous with part of the experience of enjoying a medium, that there are multiple mediums built into one.” 

Sutter knows presenting the medium of television at festivals is a “toss up,” but she was particularly excited about SXSW because of the state where the pilot would premiere at. 

“It’s not spoken about, and reproductive rights are under attack in this country, especially in Texas,” Sutter says. 

As it turns out, the audience responded well to not only the relevant themes of the pilot, but also the nuances and presentation of the project itself; the company of Birth is for P*ssies walked away from SXSW 2026 with the Audience Award for the Independent TV Pilot Competition – a promising indicator of the project’s future.

Something Very Bad Is Going to Happen Stars on Where the Story Goes From Here

This article contains Something Very Bad Is Going to Happen spoilers.

Nicky Cunningham is not in a good place at the end of Something Very Bad Is Going to Happen. Having jilted his bride, Rachel, at the altar, he has tried and failed to save his family from experiencing horrifying deaths by finishing the ceremony. As a result, he believes he has also sacrificed Rachel, but is left speechless when she survives and leaves him to deal with the aftermath of his decisions.

Previously, he’d been informed that Rachel’s bloodline was afflicted by a terrible curse: marry your soulmate or die. There were ways to avoid the consequences—like not getting engaged in the first place—but once the engagement was on, there was no escape. Nicky’s skepticism about the curse and his decision to back out of the marriage meant that it spread to his own bloodline, including those family members who had already tied the knot.

Adam DiMarco, who plays Nicky on the new Netflix series, isn’t sure if this is the last Nicky will see of Rachel, despite the catastrophic fallout. “I think once he wakes up from his living nightmare, he might try to track her down and hash things out,” he tells Den of Geek. “I mean, he didn’t die. He’s still alive. He believes that she’s his soulmate, but hopefully, he can also learn to respect her space and boundaries and just let her get on with her life.”

Though Rachel seems to have put their marriage behind her when the credits roll on the final episode of the show, the couple might not be done with each other just yet. DiMarco says he’s always focused on the light and darkness of Nicky and Rachel’s relationship, the yin and yang. Where Rachel once felt rather stranded in the darkness, idealizing her lover and unaware of his issues, she now feels unburdened.

“I keep thinking about these tattoos that our characters have, where it’s like a black rabbit and a white rabbit chasing each other in a circle,” he muses. “Sometimes you feel like you could be one or the other. I think when the series starts, Nicky’s definitely more like the white rabbit, and by the end, maybe he becomes the black rabbit.”

Before Nicky pursues Rachel, he’ll probably need to recover from the carnage of his fateful wedding day. Thanks to the cold feet he experienced just before he was supposed to say “I do,” he could only watch in horror as his mother, sister, and various other members of his family bled out profusely through their faces.

Camila Morrone, who portrays Rachel in the series, says that the messy finale was achieved by blending practical effects with CGI. “A rig went under the eyes, in the nose, and then behind the ears,” she explains. “There was a lot of blood coming out of the rig in real time, through a blood bag pump. We’d also do a big shot of really sticky, thick blood. That would be our gargling blood.”

Morrone admits the blood rigs weren’t her favorite part of the process, but says actors with much smaller roles also had a rough time filming the last episode of the show. “Shout out to the wedding guests for sticking with us in that finale. That was tough for those poor people. They were like, ‘This must be a fun show to come on.’ We were like, ‘Welcome to hell!'”

All eight episodes of Something Very Bad Is Going to Happen are available to stream on Netflix now.

Something Very Bad Is Going to Happen Almost Had a Totally Different Bride

This article contains spoilers for Something Very Bad Is Going to Happen.

In the finale of Netflix’s Something Very Bad Is Going to Happen, there’s a beautiful, terrifying shot of bride-to-be Rachel (Camila Morrone) finally walking down the aisle to marry Nicky, the love of her life. Dressed in white and perfectly made up, Rachel believes she is either heading to “happily ever after” or her doom.

Though the show tells the story of Rachel trying to navigate her cursed bloodline, where tying the knot with the wrong person could kill her, it uses this wild concept to explore the lead-up to the wedding and Rachel’s struggle with whether she and Nicky should be getting hitched in the first place.

“The idea originated from my own fear of commitment and thinking about what it means to marry the right person,” creator Haley Z. Boston tells Den of Geek. “Do soulmates exist? A lot of questions I was grappling with.”

Boston describes herself as an anxious person who “sees the bad in everything” but cites the horror genre as a way to take these internal fears and externalize them. Thanks to the genre’s freedom, Something Very Bad Is Going to Happen isn’t afraid to ask difficult and dark questions about love and commitment in modern times, and Boston says she’s already received some surprising feedback from viewers. “I’ve been told that people have related to this show more than they expected,” she says, adding, “That’s an incredible thing to hear.”

Rachel eventually throws caution to the wind and tries to marry Nicky in earnest, but with so much of the series devoted to whether the couple will actually make it down the aisle, it may surprise you to learn that when Boston first wrote the story, it focused on an entirely different wedding.

“In the original version of the show, Rachel was going to Portia’s wedding, Nikki’s sister, and Rachel ended up having to get married by the end of the season,” Boston explains. “Then we decided to streamline it more and make it Rachel’s wedding. I didn’t initially choose that because I didn’t think Rachel was the kind of character who would have a wedding. That is part of her character, but then she succumbs to the pressure of being with someone who really values marriage. Right from the beginning, it’s already a compromise for her. It was just exciting to figure out her story as someone who’s kind of forced down the aisle.”

After Nicky backs out of the wedding, the self-centered Portia becomes one of the many victims of the curse instead, meeting her fate in the twisted, bloody finale, which ends with Rachel ditching Nicky as ‘We Will Not Be Lovers’ by The Waterboys plays. Boston says she heard the song about a doomed relationship right before she penned the final episode, and from that moment on, she knew it had to be the last needle drop.

“I wanted the show to end with Rachel driving away, mirroring the pilot,” she says. “It was important to me that she’s driving away alone. Not only do the lyrics really match what the show is doing, but they also have such an interesting tone. I wanted it to just really feel triumphant.”

All eight episodes of Something Very Bad Is Going to Happen are available to stream on Netflix now.

25 Films That Had More Drama Behind the Scenes Than in Them

Hollywood productions often look glamorous on the surface, but many films come with stories far more chaotic than anything that ends up on screen. Clashes between actors, overblown budgets, and endless rewrites can turn a ‘simple movie’ into a full-blown disaster. Those behind-the-scenes battles can become more memorable than the finished product itself.

Plenty of productions have been defined by on-set arguments, creative disputes, and production disasters that fascinated fans long after release, but these 25 movies prove that the real drama in Hollywood doesn’t always happen in front of the camera; it can happen during the long road to getting a film made.

Apocalypse Now (1979)

While a memorable film, Apocalypse Now is also remembered for Marlon Brando’s drunkenness, Martin Sheen’s heart attack, and set-destroying typhoons that blew the budget beyond proportion.

Cleopatra (1963)

Illness and budget issues plagued Cleopatra, but the main drama was the affair between Elizabeth Taylor and Richard Burton that dominated headlines.

Heaven’s Gate (1980)

Director Michael Cimino repeatedly rebuilt massive sets and blew well past the budget, essentially collapsing the United Artists company.

The Island of Dr. Moreau (1996)

The original director was fired early, and on-set tensions involving Val Kilmer and Marlon Brando turned the shoot into chaos.

Jaws (1975)

It may have become an instant classic, but with its mechanical malfunctions while filming in the ocean causing constant delays, the initial simple budget doubled.

Fitzcarraldo (1982)

Director Werner Herzog insisted on dragging a real steamship over a mountain in the Amazon, creating one of the most grueling shoots in film history.

Alien 3 (1992)

Multiple scripts, directors, and studio interference plagued production, leaving director David Fincher disowning the film.

Waterworld (1995)

Storms destroyed floating sets and the production became the most expensive movie ever made at the time, all for a box-office flop.

Mad Max: Fury Road (2015)

The film spent roughly 15 years stuck in development before filming even began.

The Man Who Killed Don Quixote (2018)

This passion project by Terry Gilliam collapsed multiple times due to illness, flooding, funding issues, and legal disputes.

The Exorcist (1973)

The shoot ran far longer than planned and included injuries, accidents, and rumors of a “curse.” Today, said rumors add to the film’s state as a cult classic.

The Wizard of Oz (1939)

The production burned through multiple directors and reportedly subjected actors to harsh working conditions, including but not limited to third-degree burns.

The Abyss (1989)

Underwater filming conditions caused exhaustion, injuries, and major tensions between cast and crew.

Blade Runner (1982)

Studio interference, budget issues, and conflicts between director Ridley Scott and the cast made filming notoriously difficult.

Gangs of New York (2002)

Director Martin Scorsese spent decades trying to bring the project to the screen, with Daniel Day-Lewis’s method acting getting on the nerves of his fellow cast members.

The Irishman (2019)

Funding problems and technical challenges delayed production for over a decade.

Alita: Battle Angel (2019)

Originally planned by James Cameron in the early 2000s, the film languished for years before finally being made by Robert Rodriguez.

Justice League (2017)

The film changed directors mid-production and underwent massive reshoots, ending with a tone-deaf final product.

Solo: A Star Wars Story (2018)

Directors Phil Lord and Christopher Miller were fired late in filming and replaced by Ron Howard.

World War Z (2013)

Major rewrites and reshoots forced the third act to be completely reworked.

Cutthroat Island (1995)

The film’s huge budget and troubled production helped bankrupt its studio.

The Emperor’s New Groove (2000)

Originally planned as a serious musical epic called Kingdom of the Sun before being radically reworked mid-production.

The Thief and the Cobbler (1993)

Spent nearly 30 years in production before finally being completed in altered form.

Supernova (2000)

Creative disputes led to multiple rewrites and the director leaving shortly before filming.

Sonic the Hedgehog (2020)

The film was delayed and redesigned after backlash to the original character design in its first trailer. Ugly Sonic will forever be remembered.

The 15 Oldest Movie Stars Who Are Still Working Regularly

Hollywood has always celebrated youth, but some of its most enduring icons are proving longevity is just as compelling. From Clint Eastwood still directing in his 90s to Sylvester Stallone leading modern streaming hits, veteran stars continue to shape the industry well past traditional retirement age.

While some do simple cameos or nostalgia appearances, most are still headlining projects, winning awards, and adapting to new platforms like streaming television. This list highlights a generation of performers who built Hollywood’s legacy and are still actively contributing to it today, several decades into their careers.

Tommy Lee Jones

  • Born: 1946
  • Age: 79

Continues selecting occasional roles, remaining active, with recent appearances and industry attention albeit slowing output and focusing on selective projects.

Sylvester Stallone

  • Born: 1946
  • Age: 79

Recently starred in streaming series Tulsa King and continues producing and acting in action-driven projects across film and television, as well as having a reality TV series about himself.

Susan Sarandon

  • Born: 1946
  • Age: 79

Maintains steady work in independent films and television, frequently appearing in dramas and prestige streaming productions in recent years.

Helen Mirren

  • Born: 1945
  • Age: 80

Continues appearing in major films and franchises, including recent action and drama roles, while maintaining a steady presence across both cinema and television projects.

Danny DeVito

  • Born: 1944
  • Age: 81

Remains active through voice acting, television, and film roles, with ongoing involvement in comedy and animated productions. Currently filming a Jumanji sequel.

Robert De Niro

  • Born: 1943
  • Age: 82

Recently starred in The Alto Knights and continues leading major films and high-profile streaming series projects.

Harrison Ford

  • Born: 1942
  • Age: 83

Transitioned into television with major roles while still appearing in blockbuster films, maintaining a strong presence in franchise and streaming content.

Al Pacino

  • Born: 1940
  • Age: 85

Continues acting in films and streaming projects, often taking supporting roles in biographical and crime-oriented productions.

Patrick Stewart

  • Born: 1940
  • Age: 85

Recently reprised iconic roles in television while maintaining steady work in voice acting and film appearances. Will return in Avengers: Doomsday.

Ian McKellen

  • Born: 1939
  • Age: 86

Continues acting across film and stage, with recent projects spanning independent cinema and theater productions.

Morgan Freeman

  • Born: 1937
  • Age: 88

Frequently appears in thrillers and dramas, alongside narration work, maintaining a consistent presence in film and streaming releases.

Anthony Hopkins

  • Born: 1937
  • Age: 88

Remains highly active, continuing to lead films and prestige projects across international productions. Has several recent works, Locked being among them.

Judi Dench

  • Born: 1934
  • Age: 91

Selectively appears in film and television, balancing health limitations with occasional high-profile acting roles. While ‘retired’ from acting, she has recently done a documentary about her life.

Michael Caine

  • Born: 1933
  • Age: 92

Recently appeared in The Great Escaper, his most recent film. He is still engaging in occasional industry involvement.

Clint Eastwood

  • Born: 1930
  • Age: 95

Directed Juror No. 2 recently and continues developing new films, remaining active behind the camera into his mid-nineties.