One of the Best Fantasy Series in Years Is Getting a Big Screen Adaptation

Fantasy is everywhere right now, on screens both large and small. From blockbuster films like Wicked and Dune to television series like The Lord of the Rings: The Rings of Power, House of the Dragon, and even Outlander, fans who love sprawling fictional universes, complicated main characters, and a dash of magic are truly living their best lives. And now Sony Pictures is currently set to adapt a feature film version of one of the best fantasy books that far too many people haven’t read yet: James Islington’s Hierarchy series

The announcement comes immediately following the successful November release of its second installment, titled The Strength of the Few, which debuted at #1 on the New York Times bestseller list, and there’s at least one more book in this saga on the way. Though Islington himself seems uncertain about just how long this series may go, so we should all probably stay flexible on that score. (Given the hefty page count of both books released so far, banking on at least four is beginning to look like the smart man’s bet.) 

The sort of sprawling, complicated epic fantasy that seems far too rare in our current market of short attention spans and quick-hit sequels, the Hierarchy series kicks off with The Will of the Many, a 700-page doorstopper that more than takes its sweet time getting started. (Buckle up for several hundred pages worth of dense worldbuilding and character introductions, is what I’m saying.) But the end result is more than worth it. A high-tension dark academia story that mixes politics, philosophy, magic, and no small amount of rage, the book will feel fairly familiar to many fantasy readers (particularly if you’ve read Pierce Brown’s Red Rising or virtually anything involving the magical boarding school trope. But Islington’s gift for twisty, deftly-plotted storytelling makes beats we’ve seen before feel brand new as his tale wrestles with everything from colonialism and capitalism to revenge and loyalty. 

Set in a sort of post-apocalyptic fantasy take on Ancient Rome, The Will of the Many is full of difficult, morally gray characters and a unique magical system in which people cede a portion of their “Will” (or life force) to bolster the abilities of those who rank above them in the authoritarian social ranking hierarchy. (Thereby, ensuring that those in power are the only ones with the strength to stay there.) The story follows Vis, a student at the elite Catenan Academy and the sort of annoyingly hyper-competent protagonist who is good at virtually everything, who often pops up in stories like this. (If you’ve heard this book referred to as “dudebro” fantasy, this is why, but you won’t care after the first couple hundred pages.)

Vis is also hiding a life-threatening secret from everyone around him. As he works to investigate a death and infiltrate the regime, he uncovers many secrets, lies to almost everyone he meets to some degree or other, and finds himself swept into a rebellion that could upend the world as he knows it. 

The project is in its very early days and, as yet, has no producer or filmmaker currently attached. But the Hierarchy series is an excellent example of the sort of ambitious original fantasy that belongs in theaters, rather than another unasked-for sequel or puzzling live-action IP reboot. Fingers crossed it lives up to the world Islington created on the page.

Zootopia 2 Review: Disney’s Buddy Comedy Is Still a Solid Joke

The difference between a successful buddy comedy and a successful buddy comedy franchise is all about chemistry. You can cast the oddest of odd couples as your oil and water gumshoes, but if audiences don’t enjoy seeing that unlikely duo vibe—be it Eddie Murphy and Nick Nolte discovering they love to smash redneck-heads in together, or Chris Tucker teaching Jackie Chan how to swagger to Edwin Starr—then you’re not getting a part two.

Luckily, Walt Disney Animation Studios and its fleet of animators—led as last time by directors Jared Bush and Byron Howard—know what they’re working with in Zootopia 2. The introductory sequence of our furry heroes Hopps and Wilde (voiced again by Ginnifer Goodwin as the Bunnyburrow transplant rookie and Jason Bateman as the sly-guy fox con-artist-turned-detective) finds the two already going rogue and undercover. Indeed, when we meet them the pair is trying to pass as an unlikely married couple by walking with a baby and stroller up to some seedy seaside docks.

On a surface level, the sequence is definitely teasing the tumblr shippers out there, who grew up too invested in the love lives of anthropomorphic critters. But it is also a way for all of Zootopia’s target audience of families to recognize the charm of affectionate bickering, which Goodwin and Bateman’s voices slide into like no time has passed at all. Still able to respectively conjure eager-beaver upstart energy and world-weary cynicism simply by clearing their throats, Goodwin and Bateman slip back into Hopps and Wilde like they’re a pair of well-worn winter slippers (with faux fur, of course). And the animators are thus in turn free to conjure them in amusing scenarios, such as a pair of lost tourists who took a wrong turn somewhere around Orlando’s Epcot.

Zootopia 2 is thus very much a solid buddy comedy sequel from the jump, because it does what the better Lethal Weapon or Rush Hour add-ons knew how to do: play it again with a few inventive key-changes. All of which goes a long way since so much else of Zootopia 2’s story and setup returns safely, and perhaps a little dully for the parents, to the familiar.

This is signaled early by the central mystery at play in the follow-up, a conspiracy which seems destined to rock to its core the metropolis where talking animals live together. As you might recall from the first film, the city of Zootopia is a sprawling urban landscape where every conceivable cuddly mammal, and plenty that are not, live and prosper. Some neighborhoods are submerged underwater while others are covered in snow. In Zootopia 2, we learn this was made possible because of “weather wall” technology that was invented a hundred years ago by (so we are told) a wealthy family of  lynxes, the Lynxleys. Yet at a ritzy gala thrown by the frostbitten blue-bloods, the first reptile anyone has seen in this berg for over a hundred years, Gary De’Snake (Ke Huy Quan), appears like a thief in the night to steal a family heirloom from the Lynxleys… an artifact that Gary swears will clear his family’s name and indeed all snakes’ reputations of being sinister forces of evil.

In the aftermath, the Lynxleys inform the Zootopia police that they want Gary dead, and for Hopps and Wilde to stand down on investigating the case. Adults will see where this is going, but children and parents alike can delight in an adventure that takes our core buddies out of the city and into the sticks where reptiles gather in backwoods bars, and life-and-death secrets will be unearthed with a side of fried-fly gumbo. It is also here that our heroic partners will be forced to reconcile their dueling worldviews, with Hopps the tenacious hero cop disagreeing with Wilde’s general noir-ish pessimism that nothing they do really matters; that’s just Zootopia-town, Judy.

When Zootopia arrived in cinemas nearly a decade ago, it felt like a breath of fresh air for Disney Animation, which had recently seen a successful revival of its princess movies via Frozen and Moana. Even so, the studio hadn’t made something as thoroughly left-field as this since arguably the 1980s. It was the aforementioned buddy cop movie, but with a twist that actually surprised parents as much as kids when it was revealed that the utopian world of the movie’s title was a lie wherein vegetarian animals were scapegoating and demonizing the minority “predator” population in their ranks as a form of political power and control. Given the film released the same year that this strategy ushered in a new age of division politics and racist scare tactics in the U.S., Zootopia felt shockingly edgy for a Disney movie (especially since plenty of parents clearly failed to comprehend the film’s message).

Zootopia 2 attempts to do the same trick with regard to a new erstwhile unknown marginalized group, this time reptiles, but like much else with the recent glut of animated sequels, it feels faintly reverse-engineered to give audiences the exact same thing. This can also be applied to the rest of Bush’s screenplay, which revisits the narrative of two unlikely friends simultaneously coming together while being torn apart by the prejudices of society.

So like Frozen 2 or Moana 2, it’s more of the same. But then, that is not a rare or verboten thing for either the film’s core audience or the buddy comedies of yore that both Zootopia pictures so wryly satirize and homage. At the end of the day, the appeal is the chemistry between the two leads and how they banter.

In the case of Hopps and Wilde, the aforementioned voice acting is again winsome, and Bush’s screenplay shines when it puts the pair in scenarios that flirt with turning them into veritable married spouses. Early on in the movie, the partners are punished for their devil-may-care rule-breaking by being sent to police partners’ version of couple’s therapy within the ZPD, and later they dress up like Mr. and Mrs. Smith while getting to hobnob with the elite and pampered of the faux-utopia. The vibes are still clever and fun, even if the rest of the movie is going through the motions.

In this way, Zootopia 2 far surpasses the doldrums of Disney’s Moana 2 last year and provides families with a charming diversion this holiday season. The series might already be entering its procedural phase, but when it comes to cop yarns, that’s just part and parcel of the process once numerals get in the title.

Zootopia 2 opens on Nov. 26.

Stranger Things: Four Episodes the Duffer Brothers Say You Should Rewatch

While audiences have been obsessed with Stranger Things since the 1980s-set horror adventure first burst onto the scene back in 2016, the many years that have passed between seasons and the show’s frequently overstuffed and lore-heavy episodes mean that it can be difficult to recall the details of its many complicated plot twists. What’s the difference between a demogorgon and a Mind Flayer? How did Barb die? Where did Vecna come from? How do Eleven’s (Millie Bobbie Brown) powers work? How did Will Byers (Noah Schnapp) get out of the mysterious Upside Down? Why is Max (Sadie Sink) in a coma? And Hopper’s where, now?

Luckily, the folks in charge know that keeping track of the vast amounts of Stranger Things mythology they’ve introduced is a Herculean task at the best of times —even when it hasn’t been four years since the last season came out. Speaking to The Hollywood Reporter, the Duffer Brothers have done their best to slim down the show’s mammoth 35-hour runtime into a more manageable chunk, listing four key episodes they recommend fans take another look at as we head into the final season. 

They are: 

  • “Will the Wise” (Season 2 Episode 4)
  • “The Spy” (Season 2 Episode 6)
  • “Massacre at Hawkins Lab” (Season 4 Episode 7) 
  • “The Piggyback” (Season 4 Episode 9)

The fact that these must-watch episodes all come from just two of the series’ four seasons is…certainly a choice, and probably an unfortunate commentary on how narratively unwieldy this show has grown over time, but let’s roll with it. 

“The Piggyback” is an obvious pick, if only because it’s the season 4 finale and the last episode any of us saw, in which the gang faces off with Vecna across multiple dimensions and the Upside Down essentially begins invading Hawkins. But what about the other three?

“Season two is when we really started to build out the mythology and started to dive into everything, and how this was going to be an ongoing [series],” Matt Duffer said. “That’s where we started to really plant the seeds for the mythology, and I think probably that’s why that is as relevant as it is. Season four is also highly relevant — ‘Massacre at Hawkins Lab’ is a good one.”

“That [episode] starts unveiling some of the Upside Down mythology and starts giving some answers, and, of course, all the stuff with Henry and Eleven continues to resonate throughout season five,” Ross Duffer added. “Those are some good ones to revisit.”

These episodes repeatedly stress the importance of Will’s time in the Upside Down, Eleven’s disturbing history, and the pair’s unexpected connection with the demon known as Vecna (Jamie Campbell Bower), indicating that these two characters are the key to whatever is going on in this last group of episodes.

Will has taken something of a backseat in the show’s most recent seasons as both its cast and the scope of its story have expanded. As for Eleven, her powers have only grown stronger since she was first introduced, and her surprising history with Vecna means she has a vendetta of her own to settle. In its final hours, Stranger Things certainly seems poised to bring things full circle to the two characters who essentially started it all. Does that mean they’ll both survive the journey? That’s still anyone’s guess. 

Stranger Things season 5 volume 1 releases on Netflix at 8pm EST on November 26, 2025.

The One Thing Mike Flanagan’s Exorcist Sequel Has to Get Right

On paper, it sounds like the upcoming Exorcist film is going in the right direction. Instead of following the initial plan to let David Gordon Green make two more sequels to The Exorcist: Believer, Blumhouse hired Mike Flanagan to write and direct a new take. Moreover, Flanagan has already secured an A-list star in Scarlett Johansson, signaling a level of prestige higher than the previous movie’s star Leslie Odom Jr. (who does excellent work, despite a terrible script).

But the success of 1973’s The Exorcist didn’t stem from the stars or from studio support. Heck, it didn’t even really come from William Friedkin’s skills as a director or screenwriter William Peter Blatty’s ability to write a script. Rather, it came from the faith of the two men: Blatty, the devout Catholic, and Freidkin, the committed atheist. Without that tension at the center, no Excorcist sequel can match the power of the original.

As a student at Georgetown University, young William Peter Blatty was enraptured by the story of a demon so tenacious that it took a team of priests and several rituals to expel it. The story stuck with the true believer Blatty, so much so that he eventually turned it into his 1971 novel The Exorcist, which soon was picked up by Warner Bros.

Blatty managed to secure a producer credit for himself, which allowed him to choose the man who would adapt his work. Blatty picked William Friedkin, then best known for his work on documentaries, because he could communicate the reality of demonic possession. But the two soon found themselves butting heads over the material, with the writer convinced that Satan was an existential threat and the director more concerned with Regan MacNeil’s (Linda Blair) medical condition.

The conflict resulted in a perfect movie. At no point does The Exorcist itself deny the supernatural, as demonstrated by infamous scenes such as the one in which Regan turns her head 180 degrees and mimics the voice of a man she killed. But Friedkin never allows the material to become sensational, let alone preachy, turning his attention to the deep conflict within Father Karras (Jason Miller) and Regan’s mother Chris (Ellen Burstyn).

As a critical and commercial hit, now canonized as one of the great horror movies, The Exorcist has spun off sequels and a TV series. Yet, none of them have come even close to replicating the power of the first one. Sometimes, the problem can be attributed to the people behind the camera: Green’s ecumenical approach for Believer undercut its own themes, John Boorman had a crazy approach to Exorcist II, and Renny Harlin‘s glossy style meshed poorly with the material.

On paper, letting Blatty direct Exorcist III or giving the fourth movie to Paul Schrader, who combined faith and doubt perfectly in films like The Last Temptation of Christ or First Reformed, seem like a slam dunk, but both produced dull riffs on the 1973 film. Only the Fox show has really worked, and that’s because it plays more like prestige television than a continuation of The Exorcist.

All of which brings us back to Mike Flanagan. No current filmmaker has been better than Flanagan about exploring the relationship between faith and doubt. The beautiful monologues he wrote for Midnight Mass and The Haunting of Bly Manor reveal a mind both sensitive to the beauty of belief and cognizant of the demands of the real. Theoretically, he could bring both Blatty’s faith and Friedkin’s doubt to his Exorcist film.

If Flanagan can combine the two, then his Exorcist movie will finally justify the many attempts to build on the 1973 film. If not, then it will just be the latest sin against a cinematic masterpiece.

X-Men Star Teases a Mister Fantastic Team-Up in Avengers: Doomsday

Reed Richards a.k.a. Mister Fantastic is generally accepted to be the smartest person in the Marvel Universe. But he’s hardly the only super-genius or powerful person of that world, just one of many who gather in a group called the Illuminati. Joined by Tony Stark, Doctor Strange, and others, the Illuminati deal with problems the average person couldn’t even comprehend. And with the Fantastic Four and the members of Fox’s X-Men joining the MCU for Avengers: Doomsday, there’s a chance for the mutant members of the Illuminati to come together, such as Professor X or his successor Dr. Hank McCoy, a.k.a. the Beast. Certainly, such a meeting would be memorable.

Or so one would think. When asked by Entertainment Tonight about his experience shooting Doomsday, Beast actor Kelsey Grammer said, “I had a great time with the new guy from Fantastic Four.” When the interviewer tried to get more clarity by suggesting the name of Pedro Pascal, Grammer responded, “Pedro, thanks. Wonderful guy. I really, really enjoyed hanging out with him, and we worked together some.”

By this point, Marvel fans shouldn’t be too surprised that the stars don’t always understand what their characters are doing. Not only has MCU chief Kevin Feige been notoriously secretive about larger storylines, even with those acting out those stories, but the studio increasingly patches the movies together in editing. As a result, characters who share scenes together are performed by actors who never meet, as seen in films such as Spider-Man: No Way Home.

Moreover, Grammer is getting up there in years and still works at a steady clip. In 2024 and 2025 alone, Grammer appeared in six movies and 20 episodes of the Frasier reboot. In other words, he’s worked with a lot of people in just two years, let alone the scores of co-stars he’s had in a career that goes back to the late 1970s. We certainly can’t expect him to remember each weird superhero plot point or interaction he has as Beast.

But for those of us who obsess over this kind of thing, the prospect of an interaction between Beast and Mister Fantastic is exciting, especially in light of the movie that follows Doomsday, Secret Wars. In the comics, and in the alternate reality glimpsed in Doctor Strange in the Multiverse of Madness, Mister Fantastic is a founding member of the Illuminati. And when Professor X died in the comics (he got better), he appointed Beast to be his successor, and join brilliant men like Black Panther, Black Bolt, Iron Man, and Doctor Strange in dealing with multiversal threats.

We know that Doomsday will involve such a threat, as alternate realities will collide in universe-destroying events called Incursions. And we know that not only will Doctor Doom (played by Robert Downey Jr., for reasons we don’t yet understand) have his own plan for dealing with those events, but that Marvel’s heroes will have to come together to find a way to save their reality.

With the entire universe on the line, there are few people in the MCU more capable than Reed Richards and the Beast. Let’s just hope the on-screen action is more memorable than the shooting of those scenes apparently was.

Avengers: Doomsday comes to theaters on December 18, 2026.

Jim Steranko Gets the Spotlight at a Very Special Big Apple Comic Con

If there is ever a comic book creator who changed how we look at the medium within the least amount of published issues, it’s Jim Steranko. At a time when major comic book publishers in the country were restricting artists to a house style, Steranko took the paneling and layouts and turned them into eye-catching pop art. At Big Apple Comic Con 2025, Steranko not only spoke before a packed house at a special spotlight panel but received an award from the convention for his tremendous and enduring influence on the comic book industry.

At the panel, moderated by Mike Carbonaro and Mike Raphael, Steranko was asked about his origin story in comic books, recalling his roots as the son of Ukrainian immigrants in Pennsylvania’s coal country. Steranko shared his hardscrabble upbringing in a small home that only had tar paper for a roof. With his mother teaching him how to read through cheap comic books available at the time, Steranko proudly declared that comics “are in my blood” and had been from an early age.

As Steranko became a working professional in New York City in the ‘60s, he decided to create his own original comic book character, reflecting the spy craze in movies and television spurred by the success of James Bond. Dubbing his creation Agent X, Steranko was encouraged to pitch his work to the major comic book publishers of the era by his personal hero and mentor, Joe Simon, co-creator of Captain America. This led Steranko to schedule a number of pitch meetings throughout Manhattan on one fateful day that changed his career forever, including his then-fledgling role in the industry.

Dissatisfied with the reactions he got from his first meetings, Steranko ended his marathon day by going to Marvel Comics’ offices where he managed to get in one last meeting with Stan Lee. Noting that the artwork that Steranko pitched with was crude, Lee explained that “it has energy, and I can sell energy,” encouraging him to pick which of Marvel’s current titles he wanted to take on the helm. Knowing that trying to follow comic book auteur Jack Kirby on any of his titles would be “suicide,” Steranko decided to take the reins on Strange Tales, which had a recurring feature starring secret agent Nick Fury.

Feeling he couldn’t do worse than Fury’s current stories, involving him taking on fantasy villains at the time, Steranko repositioned the title to be a stylish espionage series; it became an overnight success. Steranko went on afterward to write and illustrate other celebrated work, including providing concept art for Raiders of the Lost Ark. As the spotlight panel came to a close, Steranko announced his plans to create the long-awaited third volume of The Steranko History of Comics. Steranko then received his award, with Carbonaro also receiving an award at the panel for his work in organizing Big Apple Comic Con and being a longstanding vanguard of the comic book industry.

The panel was followed by an eBay Live charity auction with proceeds going to the Book Industry Charitable Foundation (Binc), a nonprofit organization supporting independent bookstores and comic book shops in times of unexpected financial need. Hosted by Carbonaro and Raphael, three Steranko items from Big Apple Comic Con were provided as part of the charity stream: an autographed limited print of Nick Fury, Agent of S.H.I.E.L.D., an autographed print of the wraparound cover to The Steranko History of Comics II, and a vintage 1975 Star Trek event poster illustrated and signed by Steranko.

All three items sold in what quickly became a record-breaking charity auction and a continued testament to Steranko’s long-lasting comic book legacy.

We Might Be Getting a Game of Thrones Sequel Whether We Want It Or Not

The news that House of the Dragon was officially getting a fourth season probably didn’t surprise anyone. It’s one of HBO’s most successful post-Game of Thrones projects, after all. But the announcement that the fourth season — initially presumed to be the series’ last – might not be the Targaryens’ final outing after all was a bit shocking. Or maybe not.

The cable giant has long struggled to figure out how to harness the larger world of Westeros, with only House of the Dragon and the forthcoming A Knight of the Seven Kingdoms prequel having made it out of a particularly complicated form of development hell that has included rumored spinoffs about everything from the Children of the Forest and the warrior queen Nymeria to Aegon’s Conquest. Now, it seems as though the franchise may start looking forward as well as backward.

Per author George R.R. Martin, he’s involved in discussions about other projects, “several” of which seem to be stories that will pick up after the events of Thrones’ bloody (and fairly controversial) final episode.

“Aside from The Knight of the Seven Kingdoms and House of the Dragon, there are other Game of Thrones spinoff projects in development,” Martin said at an event attended by Los Siete Reinos. “Most are prequels. There are several in development, five or six series; and I’m not developing them alone, I’m working with other people. Yes, there are some sequels.”

These are rumors we’ve heard before. Who doesn’t remember the supposed Kit Harington-led Jon Snow series that would tell his continued story in the unexplored country north of the Wall? Or the one that was maybe going to follow Arya Stark on a journey to discover “what’s west of Westeros”? Neither of those has ever gone anywhere, and while it’s an open question as to whether Martin is referring to either of those specific projects here, there are no guarantees. He might mean something else entirely. After all, he’s still (allegedly) got two as-yet-unreleased books of source material to write work with.

But as someone wise (Jeff Goldblum) once said — the real question is not whether HBO can make a show like this, but whether they should. So much of Thrones’s ending left a bad taste in the mouths of so many fans, it’s difficult to wonder what anyone might actually want from a story like this. (Or even if they want it at all.) It seems unlikely that such a series would jump but so far into the future; after all, a big part of its appeal is naturally going to be grounded in finding out what happened to our surviving faves from the original.

But is anyone really all that interested in the reign of King Bran the Broken? Is the idea of Tyrion Lannister engaging in the complex act of nation-building in a world without politics and magic really all that appealing to the folks who were previously tuning in for White Walkers and dragon battles? Is there a story to be told about Sam’s ascension to the role of Grand Maester? Does anybody care what happened to second-tier figures like Gendry Baratheon or Davos Seaworth, no matter how popular they were in the original? (For my money, Queen Sansa, Lady of the North, is right there, if we’re looking for out-of-the-box inspiration. Just saying!)

The biggest question, of course, is what on earth the point of such a show might be. One of the biggest lessons inherent in Game of Thrones is that the titular “game” is essentially impossible to win, and the only way to truly do so is to stop playing. Theoretically, that’s what Bran has done — sort of, he’s still a king after all — but the hard work of sifting through the ashes to find what comes next might not exactly be the definition of must-see TV many are going to expect.

Doctor Who Season 15 Deleted Scenes Still Leave Out the Most Important Bit

Doctor Who turned 62 this week, but the celebrations were decidedly muted. This makes a certain amount of sense, given that the franchise is in what can only be called a state of considerable flux—the Disney deal is dead, the spinoff The War Between the Land and the Sea hasn’t aired yet (and won’t for a while in most countries), and we have no idea who the next Doctor will be, or why Billie Piper’s back on the canvas for some as-yet-undetermined reason. It’s, to put it mildly, a weird and slightly frustrating time to be a Whovian, which probably explains why one of the few items released to mark the occasion was a batch of deleted scenes from the series’ most recent outing. 

To be fair, this isn’t nothing — there’s almost 20 minutes of new footage from what turned out to be Ncuti Gatwa’s final season, with snippets from every episode except “The Well.” (Instead, we get one from the preceding Christmas special, “Joy to the World.”) It’s easy to see why most of these scenes were cut, if only because outside of Fifteen’s New Year’s Eve phone call to former companion Ruby Sunday (Millie Gibson) and Conrad’s (Jonah Hauer-King) visit to see Ruby’s family in “Lucky Day,” none of them add all that much to the stories the larger episodes were telling. 

In fact, what’s most interesting about these deleted scenes is the fact that the one we all most want to see has been completely left out: “The Reality War’s” original ending. 

It’s a truth universally acknowledged that the most recent season of Doctor Who wasn’t originally supposed to end with Fifteen’s regeneration. In fact, according to former star Carole Ann Ford, it appears as though it was set to reintroduce the Doctor’s granddaughter, Susan, and perhaps even lead into some sort of answers about the long-standing mystery surrounding what actually happened to her character. Ford described filming a scene in which she and an unidentified child actor assumed to be Sienna-Robyn Mavanga-Phipps, who played Poppy, watch Fifteen and his companion Belinda (Varada Sethu) dance at a party. Viewers never actually saw that moment onscreen — in fact, the episode’s ending was almost entirely changed — and if Disney+ hadn’t accidentally used a promo photo from that moment on their landing screen, they might have never known it existed at all. 

Maybe it’s a lot to ask Doctor Who to release something like this to the public. After all, it would require publicly admitting to whatever massive changes clearly went down behind the scenes that so clearly altered the course of Gatwa’s time in the TARDIS in a way they’ve never been willing to do before. But don’t we kind of deserve to see it anyway? After bringing back Ford for a quick cameo in “The Interstellar Song Contest” and seeming poised to finally confront literal decades of Susan speculation, it’s almost insulting to pretend like it all never happened. And that it wasn’t obviously going somewhere very different from Piper poking her head out of the TARDIS door in the season’s final moments. Sigh. Maybe we’ll get it in a box set someday. 

Talamasca’s William Fichtner Hopes Jasper Will Meet The Vampire Lestat

One of the most intriguing aspects of AMC’s larger Anne Rice universe is the potential for crossovers and connections amongst its various shows. While Talamasca: The Secret Order may be the franchise’s newest property, it’s also the series whose story has the most potential to easily intersect with the others. (That whole “we watch and we’re always there” thing is more than just a saying, after all.)

Before the show’s official launch, Talamasca agents appeared on sister series Interview with the Vampire and Mayfair Witches, and while the first season of Secret Order was only six episodes, they included appearances by familiar characters like Daniel Molloy (Eric Bogosian) and Raglan James (Justin Kirk). But these were largely supporting appearances, what the people really want to know is — what about the vampires?

Talamasca’s mysterious Jasper (William Fichtner) is indeed the only vampire we’re really introduced to in season 1, but he’s also the show’s most fascinating figure, a deeply human immortal with a tragic backstory, an obsession with controlling information, and a lot of repressed rage. Much of the series’s first season revolves around his quest for revenge against the Talamasca and the uneasy partnership he forms with telepathic rookie agent Guy Antole (Nicholas Denton), which leaves little room to ponder where the character might fit in the larger hierarchy of vampires in Rice’s world. His journey, at least at this current moment in his story, seems a much more solitary one (insert your own thoughts about his likely unfinished business with Guy here) than some of the other immortals we’ve met. But what might happen if Jasper did run into someone like Lestat?

“Boy, wouldn’t that be fun to find out,” Fichtner laughingly told Den of Geek. “I think it would be absolutely wonderful for Jasper to walk into a room with Lestat. I think everybody else should probably leave the room for a little while if that happens. Think it could get a little dangerous in there.”

Given Jasper’s taste in music, it’s unlikely he’ll somehow end up at a Lestat concert when the third season of Interview with the Vampire rolls around. (“Long Face” is definitely lacking the Texas twang of his other listening choices, let’s put it that way.) But while the vampires clearly move in very different supernatural circles, it’s certainly entertaining to imagine how they might interact if given the chance.

“Obviously, they’re both two very powerful people,” he added. “And I’m not so sure if they would be seeing the world eye to eye, but, you know what? Wouldn’t that be interesting if they did in their own way?”

Of course, outside of being immortal blood drinkers, the pair have remarkably little in common. Lestat is centuries old, deeply European, and fully indulges in all the decadent trappings that come with life as a vampire. (The clothes! The hair care routine!) Jasper, for his part, is almost obnoxiously American, a squatter in a Talamasca building he’s essentially stolen for his own ends whose flashiest outfits involve T-shirts and cowboy boots. Most notably, however, is the fact that while Jasper appears to be quite the expert on the Talmasca, he doesn’t actually seem to know any other vampires. But, then again, that’s probably on purpose.

“One of the interesting things about Talamasca season 1 is that you don’t see the interaction of Jasper with the other vampires. But he’s not a vampire that’s been around for hundreds and hundreds of years,” Fichtner said. “I think it’s evident from just following the story of Talamasca season 1 that he knows [about other vampires] even if he’s not been around as long as they have. I definitely think he knows.. But I just don’t think right now that Jasper — look, Jasper put himself in that motherhouse because he has things he wants to do. I don’t think he cares about another vampire right now. He just doesn’t. He cares about other things.”

Eddie Murphy Regrets Turning Down Ghostbusters

Who you gonna call? Long before everyone in the world knew the answer to that question was “Ghostbusters,” Dan Aykroyd and Ivan Reitman called Eddie Murphy. And Murphy said no. Along with fellow Saturday Night Live alumni John Belushi, Murphy was one of Akroyd’s first picks to star with him as a team of paranormal investigators. But when Belushi died and Murphy passed, Aykroyd reworked the line-up, eventually finding partners in Bill Murray, Harold Ramis, and Ernie Hudson, who combined to make Ghostbusters into a 1984 megahit.

Unsurprisingly, Murphy looks back at the decision with regret. Speaking with the AP (via Variety) about his the documentary Being Eddie, Murphy identified the horror comedy as one of the movies he wished he would have done. “I was supposed to do Ghostbusters. Didn’t do that, and Rush Hour. Didn’t do that. Oh, and Who Framed Roger Rabbit?.” he added. “Those are my big three ‘wish I would have done’ movies.”

While Rush Hour‘s outlook might be a little more clear, it’s not too hard to see why Murphy passed on Ghostbusters and Who Framed Roger Rabbit?. For the latter, Murphy was considered for the part of Eddie Valiant, the noir-style gumshoe forced to pair with a cartoon rabbit who gets pinned with an unjust charge. Today, Who Framed Roger Rabbit? is a certified classic, but Bob Hoskins, who eventually got the part as Eddie, couldn’t always see the vision of Robert Zemeckis. Moreover, the early process of combining live action and animation created a unique challenge and an often grueling set, something that a star of Murphy’s caliber may not find appealing.

Even more unsurprising is Murphy’s decision to turn down Ghostbusters. A devoted follower of all things supernatural, Aykroyd initially imagined the film as a three-hour horror epic with only some comedic elements. Moreover, while the two worked well together in 1983’s Trading Places, it was clear that Murphy was about the skyrocket to stardom. He certainly didn’t need to be part of an ensemble with other SNL vets.

Nothing symbolizes the change of Murphy’s status than the movie posters of 1984. He was missing from the line-up on the poster for Ghostbusters, which released in June of that year. But the poster for Beverly Hills Cop, which would hit theaters just a few months later, was all Eddie. Beverly Hills Cop was powered entirely by Murphy’s Bugs Bunny-style energy, proving that he could bring his comedic talent to even a movie that began as a Sylvester Stallone action flick. The fact that Ghostbusters did slightly better numbers than Beverly Hills Cop, grossing $370 million over the crime comedy’s $320 million, doesn’t distract from the role it played in Murphy’s ascension.

Today, Murphy finds comfort in the decision. “With Ghostbusters, I did Beverly Hills Cop instead,” he pointed out. Given that the franchise spawned four entries, including the well-received recent movie Beverly Hills Cop: Axel F, it’s hard to say he made the wrong choice. Sometimes, it pays to say no, even when the Ghostbusters call.

Being Eddie is now streaming on Netflix.

Hugh Jackman Might Return as Wolverine, and He Really Shouldn’t

Hugh Jackman is the best at what he does. And what he does is apparently play Wolverine until the day he dies. At least, that’s what we have to think after the Australian actor talked about donning Logan’s adamantium claws again while visiting the Graham Norton Show. When Norton pointed out that the actor has repeatedly said he was done with the character, only to return and star in a big hit, the host asked if Jackson was coming back again. “Maybe,” answered a smiling Jackman, before declaring, “I am never saying ‘never’ ever again.”

Of course, most actors would consider returning to their signature role. Moreover, many of Jackman’s co-stars from 2000’s X-Men are back as Marvel’s Merry Mutants in the upcoming Avengers: Doomsday. However, Jackman has already had one more outing as the Canucklehead, even after bringing his character to a natural and satisfying conclusion with 2017’s Logan. Deadpool & Wolverine got away with giving Jackman one last time around, this time in a comics-accurate costume, but any other returns, even for a cameo, will diminish both the actor and the character.

It’s easy to understand why Jackman would cling to the part. Before getting cast as Wolverine in X-Men, Jackman was a relative unknown and Scottish actor Dougray Scott was picked for the part. But when an injury on the set of Mission: Impossible II forced Scott to drop out, Jackman got the call and immediately made the role his own. Despite being tall, hairless, and handsome—three qualities not associated with the short, hirsute, and ugly Canadian antihero—Jackman captured the inner savagery and desire for nobility that made Wolverine one of comics’ most popular characters.

Jackman’s take on the character proved so true that Wolverine spun off into three solo movies. The first X-Men Origins: Wolverine proved to be one of the worst superhero movies ever made and while director James Mangold managed to make The Wolverine into a liked, but uneven entry, it was the third time that proved a charm. The sparse and serious Logan stripped away the excesses of the Old Man Logan comic book story that inspired it and gave Wolverine something so rare among superheroes: an actual ending.

So good was that ending that most couldn’t help but cringe a little when Ryan Reynolds announced that he was bringing Jackman along with him for the Merc With a Mouth’s first MCU adventure, Deadpool & Wolverine. Yet, the movie won over skeptics, in part because of the audacious way it began, with Deadpool literally digging up Logan’s corpse, and in part because of the excellent performance that Jackman put in as a Wolverine who truly failed his friends.

In short, Hugh Jackman has become synonymous with Wolverine in the minds of both moviegoers. Which is exactly the problem. While Jackman does a fantastic job playing that version of Wolverine, the character in the comics has proven to be even more rich and complex than we’ve seen on screen. It’s time to let someone else see what they can do with Logan.

On some level, Jackman himself seems to understand this. “I did mean it when I said ‘never,’ until the day when I changed my mind,” he told Norton. “But I really did for quite a few years, I meant it.” Hopefully, he doesn’t mean it when he refuses to say never, giving someone else a chance to play Wolverine.

Wicked: For Good Box Office Proves Splitting Musical in Two Was Right Call

Like a ship blown from its mooring by a wind off the sea, or like a seed dropped by a sky bird in a distant wood, it’s safe to say that the November box office has been changed for the better, because it knew Wicked: For Good.

If you can pardon us for bastardizing a few bars of Stephen Schwartz for a moment, that is still the best way to digest what just occurred over the weekend when Wicked 2 opened to an outstanding $150 million in the first three days at the North American box office and a further $226 million worldwide. For context, that not only soars above the first Wicked’s impressive $113 million debut one year ago but also is the second highest domestic opening of the year, coming in only behind A Minecraft Movie’s $163 million debut in April. It also is the third highest domestic opening ever for the month of November, coming in just behind Black Panther: Wakanda Forever ($181 million) and The Hunger Games: Catching Fire way back in 2013 ($158 million).

For theater owners, this is the exact kind of gravity-defying act exhibitors have prayed for after the worst October in nearly a decade when not counting the COVID-effect on 2020. And in a 2025 where superhero movies based on beloved characters like Superman and the Fantastic Four can only open respectively to $125 million and $118 million, having Cynthia Erivo’s Elphaba and Ariana Grande’s Glinda float and/or bubble above the once sure-things of superhero entertainment is a godsend.

Even Universal, which has had a pretty rosy year already thanks to Jurassic World: Rebirth and How to Train Your Dragon, must be feeling extra magical. After all, neither of those franchise films cleared $100 million in their North American premieres while Wicked: For Good has an excellent lane to dominate the holiday season corridor, even with Zootopia 2 opening this week from Walt Disney Animation Studios. That will cut into Wicked 2’s box office some, but the first Wicked cleared $750 million globally despite competing against Moana 2 over last Thanksgiving. And given its larger opening and Wicked: For Good’s still sterling “A” CinemaScore, the sequel seems likely to do even better despite the talking zoo animals. Furthermore, there’s nothing significant to challenge either film until Avatar: Fire and Ash nearly a month from now.

Cumulatively, this shows Universal Pictures made a shrewd and potentially game-changing decision when it decided to break Schwartz’s stage musical phenomenon into two films rather than one. Artistically, and certainly critically, the move can be challenged as commercial or cynical. In my review of Wicked: For Good, I found the second movie suffered significantly from the divide since Act Two of the stage show is not nearly as compelling as Act One. Asking to stand on its own without the best songs, character moments, or larger narrative context did it no favors. Yet one thing critics need to always keep in mind is they are not the target audience for an all-ages spectacle like this.

And as demonstrated by the “A” CinemaScore, Wicked: For Good is working with glowing word-of-mouth among its intended target audience of families and folks who simply love the music and the characters, and want to see them realized onscreen by exceptional talent like Erivo and Grande, not to mention production designer Nathan Crowley and costume designer Paul Tazewell. Critics groups can quibble all they like about the narrative effectiveness of, say, the Tin Man’s surprising origin story in the sequel, but for young theater kids who feel it in their bones when Elphie and Glinda testify they’ve been changed for the better because “I knew you,” it matters not a single yellow brick.

Meanwhile Universal has potentially created a innovative solution to one of the ongoing issues of adapting musicals written for the stage: condensing what is often three hours of material divided into two acts into a conventional 120-minute, three-act structure. As it turns out, you can simply expand both acts for the stage and double the hype and event-ization of the movies’ release.

Admittedly it remains to be seen if such a maneuver would work on less popular musicals like, say, Dear Evan Hansen or Jon M. Chu’s glorious adaptation of Lin-Manuel Miranda’s In the Heights over at Warner Bros. Indeed, something like In the Heights demands to be a cohesive story and would almost certainly not benefit narratively from a one-year gap.

However, larger mega musical favorites like Les Misérables, The Phantom of the Opera, and Hamilton end on major mic drops like Wicked’s “Defying Gravity.” Furthermore, the latter two have major time jumps between acts like Wicked, which could justify splitting the material in two. Granted, POTO and Les Mis have already been adapted into films, but Andrew Lloyd Webber has made no secret he wants another bite at the apple with Phantom, and Hamilton remains a golden goose waiting for a more traditional film narrative adaptation. Plus, the 2012 adaptation of Les Mis might have been a huge hit, but the unevenness of the casting has left some fans eager to see another swing with vocal talent more comparable to Erivo and Grande in Wicked in the roles of Valjean and Javert. That material also has plenty of time jumps, if you want to change where the dividing line is between films…

These and perhaps a handful of others that can keep tourists coming back to Broadway year after year might benefit from a similar hype machine to Wicked that franchising the material naturally invites. Studios and exhibitors who bring those movies to theatrical audiences might even call such a thing wonder-ful.

Wicked: For Good is playing in theaters now.

Stranger Things Season 5 Trailer Puts Steve and Dustin Bromance Front and Center

Stranger Things offers a lot to viewers. The Netflix series has become a sensation thanks to its expansive monster mythology, its use of needle drops like “Running Up That Hill” by Kate Bush, and a cast that ranges from reliable stars like Winona Ryder to breakouts such as Sadie Sink. But, let’s be honest, there are two major reasons that people get so excited about the streaming sensation: Steve Harrington and Dustin Henderson, especially when they’re together.

That’s what the people want and it’s exactly what they get in the final trailer for volume 1 of Stranger Things‘ fifth and final season. The trailer begins and ends with the dynamic duo in Steve’s (Joe Keery) car, now outfitted with a ridiculous satellite receiver, not too dissimilar from the antenna Doc Brown puts on the DeLorean in Back to the Future. When Dustin (Gaten Matarazzo) expresses doubt about their newest plan working, Steve responds. “It’s gonna work. It’s not like we’re conspicuous or anything,” gesturing up to the device on the roof.

The Steve and Dustin bromance works so well because it’s so unlikely. As Stranger Things creators Matt and Ross Duffer have made clear, they initially thought of Steve as a one-season character, and even considered killing him off in the first few episodes. They wrote him as a typical preppy teen guy, the handsome and popular dude who would distract good girl Nancy (Natalia Dyer) from the more authentic and sensitive Jonathan (Charlie Heaton).

But Keery brought enough charm to the part that they rewrote him to be more of a likable goofball who also fit in with the cool kids, giving Steve a new lease on life. And when later seasons required the central quartet of preteen boys to start going their own ways, Steve became a natural pairing for Dustin, the kid most devoted to his friend group.

The Steve and Dustin duo might be the most prominent element of the latest Stranger Things trailer, but it’s hardly the only set of familiar faces we see. Where previous promotional materials for the ultimate season had reemphasized the threat of the monstrous Vecna (Jamie Campbell Bower), leaving the Upside Down to conquer the town of Hawkins, Indiana, this final trailer goes back to the primary appeal of the show. More than anything else, Stranger Things is about a bunch of characters we like, hanging out together.

So while we do get glimpses of Vecna’s attack and adult characters such as conspiracy theorist Murray Bauman (Brett Gelman) or military scientist Dr. Kay (Linda Hamilton), most of the trailer focuses on the kids. We get Mike (Finn Wolfhard) inspiring old pals Dustin, Lucas (Caleb McLaughlin), and Will (Noah Schnapp). We get exciting images of Eleven (Millie Bobby Brown) and Nancy. We get wry replies from newer additions to the friend group Robin (Maya Hawke) and Erica (Priah Ferguson).

Certainly, the happier vibe owes largely to the fact that Netflix is releasing the final season of Stranger Things in three different chunks, and this trailer only highlights the first four episodes, collected as volume 1. Volume 3 will collect the next three, with the finale releasing as a stand-alone on January 1. As the show heads to its ending, the bad times will surely come.

But until then, we’re on a roller-coaster ride of fun, and Steve and Dustin are driving.

Stranger Things season 5 volume 1 releases on Netflix at 8pm EST on November 26, 2025.

Stephen Lang on Tombstone’s Troubled Production: Kurt Russell ‘Refused to Let It Die’

Of all the so-called “Neo-Westerns” produced in the modern era—which is to say Oaters made after the ’70s—few have enjoyed as much longevity as Tombstone. Released sheepishly in 1993 by a studio so preemptively embarrassed about behind-the-scenes troubles that Disney elected to not screen it for critics, Tombstone was expected to come and go. Instead it never left. 

Bill Clinton famously screened Tombstone multiple times in the White House’s East Wing throughout his presidency; publications like Paste and IndieWire list it among the greatest Westerns ever made to this day; and star Val Kilmer titled his autobiography after one of the many quotable lines his Doc Holliday utters in the picture: “I’m your Huckleberry.” It’s a remarkable legacy, which in some ways still astonishes the people who made it, including Stephen Lang.

We caught up with the respected character actor earlier this month ahead of his latest turn in Sisu: Road to Revenge. We also got to talking about his time as Ike Clanton, the cowardly bully and rustler who found himself squaring off against Holliday (Val Kilmer) and Wyatt Earp (Kurt Russell) at the O.K. Corral. Thirty-two years after the cinematic fact, Lang is visibly proud of Tombstone’s legacy, even if it remains an experience marred by what it might have been.

“I knew that the original script was as good a script, and better, than any I’ve ever read,” Lang recalls. “It was essentially The Godfather in 1880 Arizona, it seemed to me. It was so good. There were so many strands going on. And then as we made the film, there were difficulties, certainly, at the beginning. Things straightened out, but I just never knew that we were gonna make something—I didn’t know that we could achieve what the script achieved, okay? And in fact, we didn’t.”

Lang is alluding to the fact that when Tombstone was rushed into production in order to beat Lawrence Kasdan and Kevin Costner’s Wyatt Earp to theaters, it originally had the screenwriter Kevin Jarre attached to direct. A bit of an unsung hero in late 20th century Hollywood, Jarre had previously seen incredible success by penning the WGA-nominated script for Glory (1989). He also had just seen his dream project—an adaptation of Bram Stoker’s Dracula—die an ignoble death after Francis Ford Coppola’s own iteration beat Jarre to production.

So getting the chance to helm his other passion project—a grand epic about the simmering animosities and rivalries that erupted between the Earp family and various criminal factions in the Arizona territory in the 1880s—was an opportunity Jarre leapt at. What remains ambiguous is exactly why Jarre’s would-be directorial debut fell apart, but what is clear is that after a month of production (and the film falling significantly behind schedule), producer Andrew Vanja fired Jarre. In the aftermath, Rambo: First Blood Part II director George P. Cosmatos stepped in, and the film went under significant rewrites in Russell’s trailer. In fact, there remains disputed accounts as to whether Russell ghost directed Tombstone (a theory Russell notoriously has remained silent about over the years).

“What we made was a very good film,” Lang says. “It’s a really cool movie. I would never deride the movie and I’m delighted when people call it a classic or their favorite Western, or something like that. But we set out to do other things as well. I don’t mean to be cryptic, it’s just the way it is.”

While Lang also does not comment on the directorial authorship of the film, he does recognize what the film’s leading actors brought into turning a troubled production into a cult favorite.

Says Lang, “We were a very tight group, and I give Kurt tremendous credit for wrapping his arms around that film and refusing to let it die. He did that. Val set a certain tone, and Val and I got along like gangbusters after we got our shit straight. And I loved Val. He’s a tremendous actor, and Kurt still remains to me somebody who I not only feel tremendous friendship and kinship with, but I admire. He knows a tremendous amount about the art and craft of making movies.”

And whoever gets credit for what Tombstone became, it undeniably turned into a movie that’s stood the test of time.

Talamasca Showrunners Provide Answers to That Complicated Season 1 Ending

This article contains spoilers for Talamasca: The Secret Order episode 6.

While Talamasca: The Secret Order is the third installment of AMC’s Anne Rice television universe, it’s the first to truly strike out on its own path. Based on an original concept rather than a specific piece of source material, the series follows the story of the titular organization that is used as a kind of connective tissue throughout many of Rice’s novels. This move gives the show a certain kind of narrative freedom that its sister series, Interview with the Vampire and Mayfair Witches, lack, and Talamasca takes the opportunity and runs with it, crafting a story full of paranoia, double-dealing, and secrets. 

In many ways, the series’s first season feels almost like a prequel, setting up characters, relationships, and vendettas that only fully come into clarity in the closing moments of its final episode. And while several of the biggest questions introduced over the course of its six episodes are answered, those answers only go on to open up more possibilities for where the show might go in the future.

Here’s a rundown of the big reveals from the Talamasca’s first season finale and what they might mean for the show’s future, with a little help from the series’ creators and cast.

The Location of the 752 Is Revealed

Much of the series’ first season has revolved around the hunt for the mysterious 752, an object that contains centuries of the Talamasca’s research and knowledge about the immortals and other supernatural creatures that populate the world. (The name “752” refers to the date of the organization’s founding.) In the wake of the destruction of the Talamasca’s Amsterdam library, it’s now the only location of key knowledge — including the identities of vampires and other supernatural beings around the world — and, as such, is a pretty desirable bit of leverage for almost everyone on the series’ canvas, whether human or vampire. 

The finale’s big twist, of course, is that the 752 isn’t an object at all — it’s a person. Doris, the girl who’s kept popping up repeatedly at key moments to help Guy out of various jams, isn’t actually a witch as many of us had presumed. She’s Helen’s twin sister, originally named Emma, whose supernatural gift is a sort of superpowered eidetic memory that allows her to perfectly recall…well, literally, everything. Any book she’s read, any person she’s met, any piece of information she’s been given, even the weather she experienced on a given day, all appear to essentially live forever inside her head. Turned into a vampire on the Talamasca’s orders, she’s been forced to become a living (well… technically undead) repository for the entirety of their knowledge and history. 

“We didn’t know from the very, very jump, but we knew well before we started writing the season,” showrunner Matt Lafferty told Den of Geek when asked about the decision to make the 752 a person rather than a physical object. “It was something that emerged over the early days of the writers’ room, and it just seemed right. If the Talamasca is an organization that watches and is always there and is always gathering information, what would it mean to put that kind of knowledge inside of a living being?”

The late-in-season revelation does shake up many of our assumptions, as viewers, about what we’ve spent the previous six episodes watching, both in terms of our understanding of how the Talamasca operates and what might happen to Doris should her secret become common knowledge amongst the show’s various competing factions. 

“It just felt right for our story and, obviously, it creates real stakes,” Lafferty said. “If you’re trying to look for a book — a book can’t get hurt. A book might get burned, or it might disappear, and that might be a certain sadness. But the peril that an actual being is in if they’re the one that’s being sought after just felt like a new and interesting idea to us and something that could only live in a world like this.” 

Guy Comes Into His Own

Guy initially serves as our entry point into the world of the Talamasca, a young law school graduate struggling to control his mind-reading abilities who learns that pretty much everything he’s always assumed to be true about his life and the world around him is a lie. Not only are supernatural beings like vampires real, but his entire existence has essentially been manipulated by the Talamasca, from his placement with a foster family to his law school admission.

The bulk of season 1 has essentially followed his (often incredibly clumsy) search for answers, including a search for the mother he thought was dead. 

“In a very short period of time over the course of the first season, Guy has gone from someone who didn’t even believe in supernatural beings to someone who’s neck deep in association with them,” showrunner John Lee Hancock said. “He’s found out his entire life has been curated, and he’s essentially up to his neck in Talamasca. It’s a dive into the deep end for him, for sure, and that’s always a really fun and exciting place to go. We look forward to seeing him trying to, let’s say, navigate his way out of the pool.” 

Part of that effort going forward will undoubtedly be his search for his mom — and with literal living encyclopedia Doris seemingly remembering something concrete about where she might be located, it seems as though he finally might have somewhere concrete to start looking. Plus, per the series showrunners, it also sounds like we’re just at the beginning of finding out what Guy can really do. 

“Guy is somebody who started out trying to repress this ability he has to read other people’s minds, to reject the idea that he might have some sort of supernatural capability at all,” Lafferty added. “By the end of the season, I think you find that not only has he started to accept that ability but, in letting go and not keeping so tight a grip on it, he’s seen that ability develop and stretch. He’s now seeing images instead of just hearing voices. So… I think we’ve put Guy through boot camp a little bit and now he’s coming into his own.” 

Jasper Ends Up a Prisoner — or Does He?

While things are — at least in a slightly twisted fashion — looking up for Guy, the same can’t really be said for Jasper. The vampire, whose (to be fair, well-founded) animosity toward the Talamasca and furious determination to track down the 752 has put him at odds with what feels like every character on the series’ canvas at one point or another this season, has really been through it in the past couple of episodes.

Betrayed by Guy, burned to a crisp by Doris, and taken prisoner by the Talamasca before he was even fully healed from his injuries, Jasper is definitely not living his best life at the moment. (Unless you count the fact that he’s gotten to kill a whole bunch of people along the way.) 

But when he’s dragged in chains to the Talamasca’s Amerstam motherhouse, he’s introduced to the mysterious director known as Houseman, who offers him an unexpected deal: Make vampires for the group in exchange for his freedom. Initially, this strange opportunity seems like something of a gift — and a chance to perhaps do something he’d wanted to do anyway. (Jasper’s been fairly adamant about the fact that he thinks the world needs more vampires in it.) But the man who plays Jasper isn’t so sure. 

“Jasper’s in a situation right now that is not of his own control. When he says to Guy the first time, ‘You know how many vampires there are in the world? Not enough’ — that was [said] on his turf and his terms,” William Fichtner said. “But that’s not the situation he’s in right now. Now, someone else is pulling the strings and telling him what to do. Jasper’s left looking at a room full of people, and he’s told, ‘You want more vampires? Make ‘em.’ So I’m not sure if this is exactly the way Jasper wanted this to go. In fact, I know that it isn’t.”

Though Talamasca has been tight-lipped about many of Jasper’s larger motivations, including why he seems to think the world needs more vampires in it than it currently has, it’s clear that this is a unique chance for him, a trade that could at least keep him out of a Talamasca prison. Whether he’ll take it — considering the source it comes from — remains an open question.

“You’re left wondering what’s gonna happen, and I really don’t know what Jasper’s gonna do,” Fichtner said. “There’s no given that he’s going to… I mean, do you think Jasper’s going to suddenly roll over and become someone else just because one person throws a stun grenade and wraps him up in a carpet? Oh, no, no, no. I never thought that. And, listen, I truly don’t know what the future would hold if we did a second season. But I can tell you from what I think about Jasper, from what I know about the things he cares about and the things he wants—this situation right now that he was left in is not one of them.”

What’s Next for Guy and Jasper’s… Whatever They Are

Unfortunately, the Talamasca season 1 finale doesn’t really get the chance to circle back to the series’s most intriguing relationship, the unorthodox connection/friendship/flirtation between Guy and Jasper. When last we saw the unlikely duo of vampire and his mind reader bestie/frenemy, Jasper had just discovered Guy’s duplicity — and didn’t exactly take it well. Guy escaped Jasper’s wrath thanks to the intervention of Doris and a makeshift flamethrower, and the two haven’t exactly had a minute to talk it all out, what with everything else that’s been going on. 

But, according to Fichtner, the lying is going to be a bigger thing for Jasper to get past than many may expect. 

“Jasper’s the only person on this entire show who tells the truth all the time. It’s kind of a thing for him. And as an actor, that’s an interesting character trait to [play] with,” he says. “He has no reason to be dishonest about anything, and he’s very clear about what it is that he wants. And after reading the entire first season, I thought that one of the most pivotal moments between Guy and Jasper is when he says to him at the beginning of episode 5, when they’re sitting in the car, ‘Don’t lie to me, cause I don’t with you.” And then he finds out that he did, and that’s… well, it’s an explosive thing for Jasper.”

The pair walked a frequently blurry line between adversaries and kindred spirits throughout the season, drawn to one another in a way that seemingly crosses boundaries between such things as species and sides. 

“I think it’s obvious in the writing and obvious in the storytelling over the season that Jasper likes Guy. He understands him in a lot of ways, and his upset about where he’s at in his own life,” Fichtner said. “Because Jasper has a lot of similarities [with him] in terms of his own past and his experience with the Talamasca. Exploring this dynamic between the two of us has been my favorite part of the first season, for sure.”

In some ways, Jasper’s… let’s just call it over-the-top response to what was a fairly innocuous lie about Doris’s identity, is a sign of how important that burgeoning bond was to the vampire.

“I look at it this way — if somebody does something that you feel like betrays you, and you don’t care about that person, you can let that negative energy out of your life really, really quickly. But if you feel like somebody betrayed you and it really affects you, it really impacts your feelings, you might have a reaction that’s probably pretty close to Jasper’s,” he said. “It upset him what he did. There’s emotion there. He took a chance on [Guy], and he feels like he didn’t follow through on whatever sort of relationship or friendship was beginning here. He feels betrayed, and he hasn’t let it go.”

And while the season certainly ends in a place that leaves both characters on different (and separate) journeys, Fichtner fully expects the pair to come back together again.

“So is there something [between them] down the line?” he said. “Listen, we don’t know right now because we really don’t know about a second season, but I will tell you that I’d be shocked and amazed if the relationship between Guy and Jasper was not explored way deeper than it is right now.” 

What Talamasca Season 2 Might Involve

The fallout between Guy and Jasper isn’t the only story that as-yet-unannounced Talamasca season 2 would have to focus on. The series’s first outing ends with Doris and Guy on the run as Helen allows herself to get arrested to buy them time to escape. Where they’re headed to and whether Doris’ knowledge will be able to help Guy figure out where his mother is are questions only a second season can answer, but those are questions the series’s showrunners are well aware they need to answer. 

“Well, we know that Guy and Doris are headed off, escaping the British Isles. We know that Jasper’s deep in the bowels of the Amsterdam MotherHouse, having made a quid pro quo agreement with Houseman,” Lafferty said. “We know Guy wants to find his mom. We know Jasper says he wants to make more vampires, and it looks like he’s been given that chance on a silver platter. I think, should we get the chance to keep telling the story, we’d make sure that we follow those trajectories and see where they go.” 

A second season would also likely dig deeper into the conflicting agendas and loyalties at the heart of the Talamasca itself.

“It’s not about painting the Talamasca as evil, but rather illuminating that this is a big, complicated world and it’s full of lots of different and occasionally darker personalities. The idea of the Talamasca — “we watch and we’re always there” — it kind of lends itself to the idea of monks sitting and transcribing and keeping records,” Hancock said. “But Anne herself realized that, well, unless they leave the library, they’re not very interesting characters. So they insinuate themselves into situations, into lives, sometimes changing themselves in the process.” 

There’s also an inherent contradiction in the idea of the erudite Talamasca as we’ve seen it presented throughout the AMC television universe (or even within Rice’s books) and the darker, more overtly manipulative underbelly that sits at the center of the series that bears its name. And that’s a contrast the series’s showrunners sound eager to explore.

“Another thing we’re really interested in exploring, should we get the chance, is that obviously, there is a good and formidable and forthright version of the Talamasca out there, and that faction butting heads with these other elements might be something that creates conflict within an organization,” Lafferty said. I think we’re starting to see the first little buds of that here in season 1. But we want to suggest that this is a very complex, complicated, sprawling world, and there are so many other stories that can transpire within it.” 

Revamped Version of the Classic Doctor Who Sea Devils Episode Coming in December

‘Tis the season for Sea Devils, apparently. Not only is The War Between the Land and the Sea, the Doctor Who spinoff that revolves around the classic monsters, finally set to premiere (at least in the U.K.), but the BBC is also set to release a special version of the original episodes that featured their debut. 

The original story, “The Sea Devils,” was a Third Doctor adventure that first aired in 1972 and introduced the franchise to the amphibious creatures who once ruled the Earth before humanity wanted to reclaim it for themselves. It starred Jon Pertwee as the Doctor alongside Katy Manning as companion Jo Grant, and features an appearance by Roger Delgado as infamous villain The Master.

The plot is pretty basic: The Doctor’s investigating some random ship disappearances when he discovers that the Master has not only escaped from the maximum security island prison in which he was being held — just go with it; it’s kind of his thing — but has built a device that allows him to control the Sea Devils and use them as his own personal army to conquer Earth. This all goes haywire in predictable ways that involve the creatures turning on the Master, the Doctor being really clever, and the aversion of nuclear war. (Or at least a nuclear explosion.) 

The original six-part serial has been re-edited into a new feature-length format, though whether or not we’re still actually allowed to refer to these creatures as Sea Devils remains to be seen. The new version will feature updated sound design by Mark Ayres and an enhanced score woven together with the original (admittedly, kind of weird) experimental electronic score by Malcolm Clarke.  

The corporation has been testing the waters with updated versions of classic installments for some time. Still-existing audio recordings of some of the franchise’s infamous “lost episodes” have led to classic adventures being recreated in an animated format, and the Tales of the TARDIS BBC limited series saw former Doctors and companions explore some of the franchise’s most famous older episodes in depth. And Doctor Who has dabbled in these condensed versions before, dropping an updated take on The Daleks alongside the show’s 60th anniversary celebrations and Second Doctor saga The War Games last year.

 “Fifty-two years after they first rose from the depths, it’s Sea Devil night across the BBC!” Doctor Who showrunner Russell T. Davies enthused when the program was announced. “ A great idea never dies, and viewers young and old can now heed the warning: watch the seas!”

Of course, your mileage may (and likely will) vary on whether these adaptations that cut stories originally told over multiple hours into manageable 90-ish minute chunks are a good idea or not. It’s true, some of the classic stories are a bit unwieldy, narratively speaking, and can drag in places. But, there’s also something inherently uncomfortable about cutting and/or shifting so much of the original content. We’ll just have to watch and judge for ourselves. Eventually. Maybe. With everything else going on behind the scenes in the Whoniverse at the moment, there’s no firm news about any sort of broader release plan for this new installment might be. (Or if one even exists) Americans might have to wait for the DVD.

The special version of The Sea Devils will air on BBC Four and BBC iPlayer on December 7 and will be followed by the double episode premiere of The War Between the Land and the Sea on iPlayer and BBC One. 

The Wicked Ending’s Fundamental Flaw

This article contains spoilers for Wicked: For Good.

The Broadway fans tried to warn us. Ever since the news came down that the film adaptation of Wicked would break the megahit musical into two separate films, fans have warned that second act isn’t nearly as good as the first.

It’s not just that the story takes a darker turn, separating rivals-turned-friends Elphaba and Glinda (portrayed in the film by Cynthia Erivo and Ariana Grande) for most of the story, as the latter joins the Wizard’s authoritarian regime and the former becomes the scapegoat whose vilifying allows him to shore up power. It’s also that the songs aren’t as good, lacking anything close to the favorite “Popular” or the literal showstopper “Defying Gravity.”

Turns out, the fans were right. Wicked: For Good tries to justify itself as its own discrete film by adding new scenes and songs, but none match the power of the first half. Worse, the bond between the two women gets diluted by the year-long gap between Wicked‘s release in November 2024 and For Good‘s debut this weekend.

But the biggest problem by far with the Wicked split is the way the new movie tries for a happier ending than either the original 1995 novel or the Broadway musical imagined. Instead of being a victory and redemption for both women, Wicked: For Good ends with a milquetoast apology, a defense of authoritarianism, and an insult to the viewers.

For Worse

Wicked began life not as a musical, but as a cynical revisionist novel by Gregory Maguire. Wicked: The Life and Times of the Wicked Witch of the West used the world of Oz imagined by author Frank L. Baum as a platform to explore the nature of evil, reframing the Wicked Witch of the West Elphaba as a social outcast who gets pushed into evil-doing and Glinda the Good Witch as a fake social climber who betrays the bond they formed in school.

The musical by Stephen Schwartz and Winnie Holzman finds self-afirmation in Elphaba’s story and leans into the friendship between the two women. It relegates most of the nastiness and political critique of Maguire’s novel to the second act, and even then it continues to underscore the connection between Elphaba and Glinda, as demonstrated by the reconciling number For Good. In the musical, Elphaba fakes her death and escapes Oz with Fiyero, leaving Glinda to rule as the Good Witch.

All of those elements from the musical make their way into Wicked: For Good, but the need to expand one act into a full movie means that they get even more attention. We spend more time with Elphaba as a beleaguered freedom fighter, as in the film’s superhero-inspired opening, and more time with Glinda as she seeks power and riches for herself. In one particularly jarring moment, the scene of Boq (Ethan Slater), now transformed into the Tin Man through a bit of body horror magic, leads a lynch mob to find and kill Elphaba is followed by a new song “Girl in a Bubble,” in which Glinda has a little pity party for the gilded cage she created by betraying her friend to the Wizard (Jeff Goldblum).

A similar problem occurs with the staging of the song “Wonderful,” performed by the Wizard in hopes of getting Elphaba to join him with Glinda. In the musical, the Wizard sings about how he’s a victim of people’s expectations, that he’s just a carnival barker from Kansas who was thrust into his position at the behest of Oz’s citizens. But director Jon M. Chu and the screenplay by Holzman and Dana Fox adds a preamble in which the Wizard muses upon epistemology. He rebuffs Elphaba’s insistence upon telling the truth by arguing that truth is just what people agree to believe.

By spending more time with the nihilistic and self-serving parts of the story, and separating those elements from the uplifting friendship in the first film, Wicked: For Good builds to a contemptible close.

The Wonderful Ruler of Oz

The ending of Wicked: For Good doesn’t recall so much The Wizard of Oz as it does The Dark Knight, the second of Christopher Nolan‘s Batman movies. Before she fakes her death and makes her escape with her beloved Fiyero (Jonathan Bailey), now transformed into a particularly upsetting version of the Scarecrow, Elphaba shares one last moment with Glinda. Instead of allowing Glinda to join her in telling the truth about the her and the Wizard, Elphaba insists that she must be wicked, so that Glinda can be good.

In other words, she must embrace her role as public scapegoat so that Glinda can gain the credit for defeating her, and thus use the popularity she wins to gain power over the Wizard and become a good leader. The film presents the moment as tragic for both Elphaba and Glinda. Not only are they not able to live together, but they can’t tell anyone about it. In the most romantic of terms, their friendship becomes a secret only shared by one another.

But within the context of Wicked: For Good‘s political allegory, the ending feels cynical. Throughout the film, the people of Oz mostly exist as a chorus who reacts to what the major characters say. When the Wizard makes a declaration or when Madame Morrible (Michelle Yeoh) makes broadcast, Chu cuts to the hoi polloi screaming in affirmation. As the Wizard explained before “Wonderful,” people take as truth what their leader tells them.

Thanks to Elphaba’s sacrifice, Glinda can dispose the Wizard and Morrible. But when she takes power, she operates the same way that they did. She perpetuates the story about phow the Wicked Witch was bad and how she helped Dorothy Gale kill the witch, which legitimatizes her claim to rule Oz. Sure, she immediately orders the citizens of Oz to share the land with the animals that the Wizard tried to silence, but the fact that the citizens cheer with as much energy as they called for the animals’ capture suggests reveals the movie’s political viewpoint.

Regular people are idiots, the movie seems to be saying. They’re little piggies who deserve nothing.

New Witch, Same as the Old Witch

Obviously, that portrayal of moronic masses embracing autocrats could have real resonance right now, when much of the Western world is being run by demagogues with legions of unquestioning followers. Were the film trying to be as cynical as Maguire’s book, that point would be effective.

But for all of its changes, For Good wants to follow the lead of the musical. Moreover, it’s a big holiday release by Universal Pictures, a movie designed to get families to come to the cinema and then shop at Target. So the film ends by framing the rise of Glinda as a good thing, a setting to right what the Wizard did wrong. Or, put another way, the film asks audience to be happy that a good autocrat has taken the place of the bad autocrat. And as a good autocrat, Glinda puts forward the official record of the Witch’s downfall at the hands of Dorothy… which we viewers know as the 1939 movie The Wizard of Oz.

So that’s how Wicked: For Good ends, by installing a benevolent dictator and comparing the audience who loves the 1939 to the mindless rabble who cheers at any lie their leaders tell them.

With its ending, Wicked: For Good doesn’t just fail to cover the problems of the musical’s second act. Instead, it heightens those problems, changing the story for the much, much worse.

Wicked: For Good is now playing in theaters worldwide.

Rian Johnson Crushes Our Muppet Knives Out Dreams

As the release date for the third Knives Out installment, Wake Up Dead Man, approaches, speculation has already started to ramp up for where the franchise goes from here. Director Rian Johnson has made it pretty clear that he’d like to continue telling stories in this universe, so the real question (outside of whether Netflix signs back up to distribute more films) is what sort of bizarre case Daniel Craig’s Benoit Blanc will solve next. 

“Creatively, I feel energized after making this one,” he told The Hollywood Reporter on the red carpet at the Los Angeles premiere for Wake Up Dead Man. “Daniel and I are already starting to formulate… what could the next one be if we do another one?”

What that actually means at the moment is anyone’s guess. But what we do know is that Johnson’s not planning to take advantage of the internet’s favorite (and often repeated) suggestion, which is that Blanc’s next murder case should somehow involve the Muppets. This truly isn’t as weird as it sounds; folks online love speculating about adding the popular Jim Henson creatures to various franchises, and a potential version of Knives Out featuring Kermit or Miss Piggy has been a topic of discussion for some years. 

Unfortunately, Johnson seems to have no plans to actually make one. During a recent appearance on THR’s Awards Chatter podcast, Johnson manages to crush all of our dreams by insisting that there’s no way that a crossover between Blanc’s world and that of the felt-made puppets could realistically work. 

“On the internet, the notion of a Knives Out Muppet movie comes up a lot,” Johnson said. “I wanted to get you guys together here so that I could explain why that’s a bad idea.” 

The director goes on to lay out his theory in some detail. “I love and respect Muppet movies too much. The reality is, if you put Muppets in a Benoit Blanc movie, it would feel totally wrong because they would be getting murdered,” he said. “The alternative is to just stick Benoit Blanc into a Muppet movie, which admittedly would be very fun, but would kind of break the reality of what Blanc is.”

But, look, I think we can all agree that despite Johnson being the literal inventor of Blanc and his world, he is very wrong about this. There are plenty of Muppet-based or adjacent crimes that Blanc could find a reason to investigate, some of which (The Great Muppet Caper) have already been proven to work without breaking any sort of human or puppet reality. Plus, let’s not forget, most of The Muppet Movie actually involves Kermit getting chased by a guy who literally wants to turn him into frog legs. 

Surely, there’s room for a story in which Blanc has to prove Piggy didn’t commit a crime she’s falsely accused of, using the same sort of familiar mystery movie tropes and frankly ridiculous crime-solving scenarios that power the rest of the franchise. And I mean, if Michael Caine can make Muppets feel like believable parts of a Charles Dickens classic, there’s no reason to doubt that Craig would be able to do the same in a different genre. 

Not everything is terrible, though. While Johnson insists a puppet-based Knives Out is off the table, he’d apparently still really like to make a Muppet movie. 

“I would just love to do a regular awesome Muppet movie… I’ll do the Muppet caper, or my Muppet musical. Get together with Frank Oz and cook something,” said. “That would be amazing.”

Marvel Contest of Champions Makes the Jump to PC Gaming

Ever since 2014, Marvel Contest of Champions has been thrilling fans worldwide, allowing them to pit a wide roster of heroes and villains from the Marvel Universe against one another in real-time combat. Over a decade later, Contest of Champions boasts a strong community bolstered by regular competitions updates, not only refining the gameplay and adding new characters, but new modes and in-game events. And all these years later, the game shows no signs of slowing down, with the mobile game making the leap to PCs and teasing even more ambitious updates in the months to come.

In November, Marvel Contest of Champions brought together fans of the game for the celebratory Summoners Fest at developer Kabam’s offices in Vancouver. Players from around the world competed for big prizes, with fans also streaming the competitions and announcements on Twitch. Den of Geek was invited to attend this year’s Summoners Fest and spoke to the developers behind the game about its legacy and what’s coming next.

For any game to endure and remain a fan-favorite for over a decade, mobile or not, is an incredible feat and it’s one that Marvel Contest of Champions has maintained. Kabam CEO Simon Sim attributes this longevity to the team creating and refining a quality game, the title maintaining a strong community, and Kabam’s close relationship with Marvel in ensuring their iconic characters are well-represented in the game. Sim notes that the development team is not only proud of the game they’ve created but also enjoy playing it, appreciating its blend of RPG and fighting game elements that continues to improve upon its mechanics and gameplay depth.

“I believe all of us are strong Marvel fans. We really like our game. We hear the community’s voice and, at the same time, our voice. Whenever we apply new modes and content, we hear and adjust to that because the community is a strong reason for our success,” Sim observes in an interview with Den of Geek. “This unique skill-based RPG game that we created needs a lot of computer engineering and operational knowledge background. Year after year, we become stronger with that and a reason that we’ve maintained our game for 11 years.”

That sense of synergy with Marvel is something that’s existed in Contest of Champions since the beginning, with roster additions and in-game events reflecting major developments for Marvel’s other projects in film, television, and comic books. But the importance of the community built up around the game, constantly driving its renewed success with every update is something that its developers maintain clear sight of. If there’s any secret to why we’re still talking about and playing Contest of Champions more than the vast majority of other mobile games, it’s how big a role the community plays in the ongoing developments surrounding the game’s updates.

“The community itself is a game team member,” explains principal creative writer Tyler Nicol. “The fact that they are there is the reason why we can keep building, growing, and establishing this 11-year career of a game. It’s because they’re there cheering and helping with us. That hand-in-hand relationship is unique.”

A Thriving and Growing Community

Community really is the name of the game when it comes to Marvel Contest of Champions, and the robust and excited attendance at this year’s Summoners Fest is clear evidence of that. There is a familiarity and genuine friendship between many of the attendees and the developers, something that’s grown and deepened over time. Several people currently working at Kabam started out as Contest of Champions players and fans, including Sim who started playing the game when it first launched. 

“I’ve worked in other companies and know many different industry people, but the actual community leaders come join our company and we work together,” Sim shares. “Me and the Kabam team value the community a lot. Even internally, we have daily community sentiments shared. Weekly, we review what the community sentiments are – is it getting better or worse, why it’s getting better or worse, which parts they like. This is one of our very important processes.”

More than just the chance to celebrate Contest of Champions, events like Summoners Fest also give the developers the chance to see the game in an in-depth perspective that playtesting could never quite provide. Seeing dedicated fans who have mastered the gameplay mechanics in inventive ways from hours upon hours of practice helps the developers see the nuances of the game in a new light. This helps the developers plan how to build new Champions for the roster and other refinements that, in turn, offer fresh surprises to longtime players.

“Our players have taught us so much about the game,” admits RPG designer Stuart Urquhart. “Our players are responsible for so many interactions that they’ve discovered and that we’ve codified into actual rules. As that’s gone on, we’ve learned how to make more fun Champions. We also realize that our existing Champions still feel great, so we’ll go make and revisit them.” 

Bringing the Contest of Champions to PC

While Marvel Contest of Champions had historically been a mobile game for iOS and Android devices, the game made the leap to PCs this year, now available through Steam. For Kabam, the expansion from strictly mobile devices had been an ongoing development for years as the company mulled making the title a multiplatform experience for years. Developers noted that there was a vocal desire from PC users to have a version of the game available, with Kabam deciding to bring the title to the platform based on that demand.

“When you go back home and you’re sitting in front of a PC, you want to play with a controller on a bigger screen,” Sim observes. “We wanted a bigger screen and we decided it was time to try a PC expansion. It is a complicated and heavy investment. We already have more than 10 years of content to bring to the PC while maintaining its quality. It was not an easy journey, but if there’s a user demand, we need to provide our game.”

More than just a quick up-conversion, Kabam worked diligently to ensure Contest of Champions on PC retained the appeal and quality-level in its presentation for larger screens and button-mapping to keyboards or controllers. Fortunately, the game’s art style and impressive technical presentation for mobile devices translated to the PC experience, even with its longer lifespan. Though this still took considerable hard work, Kabam is proud of how the PC port of Contest of Champions looks and feels compared to its mobile counterpart.

“It took a ton of effort but we started out from some really great places. We already had a game that controlled incredibly well. We already had a game that looked amazing, especially given the time when it was created and the hardware that it was created with,” Urquhart adds. “We have that incredible advantage of having our game looking really good when you put it on a larger screen.”

The Future of Marvel Contest of Champions

Kabam has already teased what’s to come for the next several months of Contest of Champions, including the addition of the fan-favorite hero Blue Marvel to the roster. But beyond new playable characters, 2026 is already looking bright for the thriving mobile and PC game. The new year will see the release of the limited time event Dimensional Arcade: Concert of Champions to the mix, a rhythm game that has players control popular heroes as they battle incoming enemies on time to original music. Den of Geek was able to play an early build of Concert of Champions at Summoners Fest, and found it fun and accessible, taking down opponents as Dazzler to a genuinely catchy tune.

Between these new game modes, even more playable characters, and revamped progression system designed to welcome new players while rewarding established users, Marvel Contest of Champions definitely isn’t slowing down. And with the community playing such a key role in the game’s continued success and development, Kabam is making and refining a game for fans and by fans every step of the way.

Developed and published by Kabam, Marvel Contest of Champions is available on iOS and Android devices, as well PC through Steam.

Sansa and Jon Shippers, It Sounds Like The Dreadful is For You

It’s not a secret that Game of Thrones basically encouraged us all to be complete weirdos, particularly in the romance department. Whether you were rooting for Jon Snow to hook up with his aunt Daenerys or hoping Tormund Giantsbane got the chance to shoot his shot with Brienne of Tarth, it’s a show that filled in the gaps around its epic battles and complex political machinations with all manner of complicated relationships, ranging from platonic to romantic and everything in between. In the world of Westeros, anything goes. 

While Kit Harington and Sophie Turner played siblings for the entirety of the show’s eight-season run, that didn’t stop some fans from hoping their (allegedly) familial relationship might take a very different sort of turn, particularly once the truth of his Targaryen parentage was revealed. But although Jon and Sansa shippers may never have gotten a big romantic moment between the not-exactly-techinically siblings in Westeros, they’re finally going to get the chance to see the actors who portrayed them make out, albeit in very different circumstances.

The former Game of Thrones stars have reunited for the period Gothic horror film The Dreadful. Set during the 15th century, it follows the story of Anne (Turner), a young woman who lives on the fringes of society with her mother. But when a man from her past (Harington) returns, his arrival sets off a chain of events that upend her life. While that description is fairly basic, it certainly sounds as though the story will include all the twisted romantic dynamics one could ask for.  Even if filming it sounds like it was something of an adjustment for the actors involved. 

According to Harington, who spoke about the project while promoting his new film The Family Plan 2, kissing his former onscreen sibling was more than a bit “odd”. 

“She was one that sent that movie [script] to me and somehow didn’t see what I saw in it,” Harington told E! News. “I was like, ‘These guys, these are lovers, right?’ I felt very odd about that. But it was a good chance to be with her again and work together. It was slightly embarrassing, having to get on an apple box to kiss her because she’s about a foot taller than me. But other than that, my dignity was pretty intact.”

Turner’s memory of the situation is a bit more colorful. Though she says she and Harington agreed the film has “such a good script” that they “kind of had to do it,” the initial kissing scenes were something of a… let’s just call it a challenge. 

“We had put it out of our minds, and then we get on set and it’s the first kissing scene, and we are both retching,” Turner said during an appearance on Late Night with Seth Meyers earlier this year. “Like, really, it is vile. It was the worst.”

But apparently, at the end of the day, what really matters is the Stark kids getting the chance to come back together again. The pack survives, and all that.

“What was lovely is that we got on set together and our friendship completely ignited again,” Harington said. “It felt like being with family. It really did.”

Though The Dreadful has wrapped filming, it does not yet have a release date.

Teenage Mutant Ninja Turtles Is Already Rebooting

One would think that the Teenage Mutant Ninja Turtles are a pretty straightforward concept. You’ve got four brothers with distinct personalities, they’re ninjas and turtles. They like to party and they fight the Shredder. Rinse, repeat, cowabunga.

But for whatever reason, current rights holders Paramount, just like New Line Cinema and others before them, feel the need to keep reinventing the wheel when it comes to the heroes in a half-shell. So we really shouldn’t be surprise to hear that a new live-action Turtles movie is in the works, just two years after the animated hit Teenage Mutant Ninja Turtles: Mutant Mayhem. And it’s all Sonic the Hedgehog‘s fault.

According to The Hollywood Reporter, “multiple sources say Paramount wants to “Sonic-fy” the TMNT franchise,” which is why the studio has hired Sonic the Hedgehog producer Neal H. Moritz to produce the Turtles movie. “If you want Sonic, you go to the guy who did Sonic,” said an unnamed source.

On one hand, it’s easy to see why Paramount would make this move. The Sonic the Hedgehog franchise, which currently consists of three films with a fourth on the way, has been incredibly succesful for the studio. And that’s with an IP that has had no movie presence before 2020.

Teenage Mutant Ninja Turtles have been a much more constant presence on the big screen. Their 1990 film was an indie hit and has only become more beloved over the decades, even if the two follow-ups failed to carry the same momentum. A 2007 animated film failed to revive the movie franchise, even if television series and video games kept the turtles alive in some form. The 2012 Michael Bay produced live-action movie made good money at the box office, but was reviled by fans and critics alike, so much so that the much better follow-up Out of the Shadows (2016) flopped.

All of which brings us to 2023’s Mutant Mayhem. Directed by Jeff Rowe, from a story that Seth Rogen and Evan Goldberg wrote with Rowe and Brendan O’Brien, Mutant Mayhem gave us actual teenage turtles. Voiced by a cast of young adolescents, who recorded their lines together to give the movie an improvised and chaotic feel, Mutant Mayhem captured the teen energy that the franchise has always promised.

Mutant Mayhem received strong reviews from critics and earned $180.5 million on a budget of $70 million, spawning both a television spinoff Tales of the Teenage Mutant Ninja Turtles and a sequel. But the new live-action movie announcement comes just after the cancelation of the series after its second season, which will debut on December 12, 2025. The sequel film is currently still in development, but one cannot help but wonder if the live-action movie will push it out of production.

All of which raises a question: what, exactly, does Paramount want from the Ninja Turtles? One gets the sense that not even they know. And as long as the Turtles themselves get to keep partying and eating pizza, they’re probably not too worried about it.

Movies to Put You in the Stranger Things Mood

Did you know that Back to the Future’s 1985 release is closer to the actual 1955 of shiny diner milkshakes and sock hops than it is to the first season of Stranger Things? That’s not necessarily an important factoid to your life, but one which highlights both how long ago the actual ‘80s were, as well as how immaterial that is when it comes to enjoying their eternal appeal.

The fashion, the hair, the music, and most especially the movies of that era have stuck in the pop culture zeitgeist so thoroughly that a streaming amalgamation of all of the above remains one of the most iconic television events of this century. It also begins its end this month after nine years of making us want to party like it’s, ahem, 1989.

Still, if you’re like us, you might think to yourself you don’t have 40 hours to devote this week to reliving the past four seasons of Stranger Things. Or maybe you already have, but your thirst for ‘80s entertainment, or films just as nostalgic as the Duffer Brothers series, remains unquenched? In which case, we’ve got you covered! Below is a list of most (though never all) of the films that influenced the tone, tenor, and cadence of Hawkins, Indiana and its run-ins with the Upside Down. Tubular.

E.T.: the Extra-Terrestrial

We begin with the reference point so obvious that the first season of Stranger Things happily reversed the famous image of a boy’s superpowered BFF making a bike fly. In the TV show, Eleven instead makes a van of government boogeymen chasing her and Mike go soaring into the air. It’s one of the highlights of season 1 and speaks to both the eternal appeal of E.T. and Stranger Things. Both are projects about lonely, ostracized children making due with distracted parents through the power of friendship; each features scary, nameless government-types who want to separate a child from his soulmate; and all of them feature a neighborhood call to adventure for the outcasts. Thankfully though, little Elliot and his alien bestie never kissed. – David Crow

Close Encounters of the Third Kind

To keep the Steven Spielberg theme going, we turn to his other iconic extraterrestrial movie, albeit one that came out a little before the ‘80s in 1978. If E.T. defined the children’s narrative for the first couple of seasons of Stranger Things, Close Encounters of the Third was the big influence for the adult perspective on Hawkins’ strange happenings. The most traumatic moment of Spielberg’s film is when a mother’s little boy is abducted by strange lights in the home.

Conversely, Joyce Byers uses mysterious glowing Christmas lights to communicate with her own lost child, Will (which also echoes the use of music as the great translator in Close Encounters). And though Will is saved at the end of the first season, his possession by the Mind Flayer in season 2 echoes another 1970s film about exorcisms that is too intense for children. However, the scene of the Mind Flayer coming to Will in a vision at the childhood home is straight out of this Spielberg classic. – DC

Jaws

We know we are beating the Spielbergian horse pretty hard right out of the gate, but it seems prudent given how the filmmaker’s touch as both a director and producer so thoroughly inspired early seasons of Stranger Things. And in the case of Big Jim Hopper, the lovably gruff bear of Hawkins’ police force, the touchstone is Roy Scheider’s slightly less haunted Chief Brody in Jaws. So boot this 50-year-old masterpiece up and get yourself another tale of a weary and worldly city cop finding purpose and hope when he defends his small town from a monster in the greatest shark attack movie ever made. – DC

Firestarter and Carrie

If one were to name the two overriding influences on Stranger Things writ large, it could be summed up as “Spielberg and King,” the latter referring of course to Stephen King. The prolific master of the macabre potboiler was inescapable at book stores in the 1980s, and that went for the multiplex too where his tales were adapted frequently.

His first published novel, Carrie, is definitely his best work about a telekinetic young girl who goes ham on those she perceives as her enemies. However, Brian De Palma’s dreamlike night terror adaptation from 1976 is far more horrific than anything Eleven gets up to in Stranger Things (though Angela and her other bullies in season 4 definitely mirror a young John Travolta and P.J. Soles here). So if you want to find the true inspiration for Eleven, check out the far trashier but mildly enjoyable Firestarter, a 1984 King adaptation about a telekinetic gal who goes rogue and escapes her cruel government handlers. Also to up the ‘80s nostalgia, she’s played by Drew Barrymore, E.T.’s little sister… So does that make Barrymore like Eleven’s godmother? – DC

Stand By Me

You guys wanna see a dead body? No? Well then, do you want to see a surprisingly sweet coming-of-age movie about a group of kids looking for a dead body? Based on a novella by (who else?) Stephen King, 1986’s Stand By Me captures the master horror writer’s elegiac tone of youth gone by, with none of the usual supernatural trappings.

The plot of the Rob Reiner-directed film is very simple. The year is 1959 and grade school friends Gordie Lachance (Wil Wheaton), Chris Chambers (River Phoenix), Teddy Duchamp (Corey Feldman), and Vern Tessio (Jerry O’Connell) embark on a journey outside of town where, rumor has it, they can come upon the dead body of a of a missing boy named Ray Brower. While that setup is certainly macabre, Stand By Me is really all about the strange rhythms of childhood – the grim curiosities it engenders, the unlikely friendships it nurtures, and the bittersweet memories it leaves behind.

Though they seek Mindflayers and Demogorgons rather than corpses, it’s not hard to see Will, Mike, Lucas, and Dustin in Stand By Me‘s central quartet. – Alec Bojalad

It Chapter One

Of all the Stephen King influences on Stranger Things, none may be more acute than his 1986 coming-of-age horror opus It. For evidence of this, look no further Andy Muschietti’s 2017 film adaptation It Chapter One. Younger viewers could be forgiven for thinking that this first part of an epic duology is riffing on Stranger Things, not vice versa.

Not only does the plot deal with a group of children confronting a monster in the 1980s (taking over from the novel’s 1950 setting), but Mike Wheeler himself is right there! Yes, Finn Wolfhard makes his film debut as Richie “Trashmouth” Tozier, the clown archetype of The Losers Club … though notably not the clown of the film. That distinction goes to another fellow. – AB

Ghostbusters

One of the most charmingly shameless bits of nostalgia-mining in Stranger Things is when the four youngest heroes—Mike, Lucas, Dustin, and Will—dress up as the Ghostbusters for Halloween in season 2. They even made their costumes the centerpiece of the season’s marketing. There is probably a reason, then, that Sony Pictures cast Finn Wolfhard (who plays Mike) in their starry-eyed legacy sequel, Ghostbusters: Afterlife, four years later.

But if you haven’t revisited the original film in a good while, trust us it’s a lot funnier and more smart-assed than you might remember. Seeing it again might also remind you why the kids were so convinced everyone at school would think they’re cool for bringing proton packs to home room. Plus, the demodogs in season 2 are totally a riff on the Zuul hellhounds in Ghostbusters. – DC

Aliens

On the subject of demodogs, we might mention their other major ‘80s influence: 1986’s Aliens. While pop culture has swung back around in recent years toward celebrating Ridley Scott’s more cerebral and scary 1979 original, back in the ‘80s there were plenty who considered James Cameron’s Aliens the greatest action movie ever made. It’s relentlessly paced and with creature-feature monsters that just will not quit.

So the whole episode where Joyce, Hopper, and Mike are trapped in a building with monstrous Upside Down creatures feels like it was taken directly from the set pieces of this classic, including poor Bob Newby’s brutal death when the bug hunt goes wrong. And if you have never seen it, now’s your chance to find out why your parents were so distrusting of Paul Reiser as Dr. Owens… – DC

The Thing

Perhaps the strongest ‘80s monster movie influence on the look and aesthetic of Stranger Things is John Carpenter’s 1982 movie which did the rare thing: it became a remake that’s better than the original. The Duffer Brothers and their fellow writers even make this explicit when Lucas gets on a soap box in season 3 about how much better Carpenter’s remake is to 1951’s The Thing from Another World.

It is probably not coincidence either that season 3 was also the year where the kids had to deal with the Mind Flayer infecting and corrupting what seemed like a third of the town’s population, starting with poor Billy Hargrove. His transformation scene looks a bit like a nod to another ‘80s monster cult darling, An American Werewolf in London (1981), but the sequence where the kids try to “test” him in the sauna is straight out of Kurt Russell’s temperature checks in this definitive sci-fi portrait of paranoia. – DC

The Blob

Here’s one more ‘80s remake of a ‘50s classic that seems like it was a big influence on season 3 and (perhaps) season 5 of Stranger Things: the Blob. In the 1988 version of the story, a group of teenagers realize they’re being lied to by government authorities regarding a strange alien-like substance that is threatening to consume their town. The way the titular substance melts everyone’s bodies to mush definitely played a part in what happens to the infected folks in season 3.

Still, the setup of a group of wily teenagers knowing not to trust authorities that seek to quarantine their town appears as if it will be in direct conversation with the story of season 5. – DC

A Nightmare on Elm Street

If we are rattling off the scary movies that inform so much of the horror elements of Stranger Things, then we absolutely need to talk about the biggest influence on the show’s scariest season: Freddy Krueger. Old Dead Fred, the child murderer who after being killed by a lynch mob of angry parents comes back to haunt their teenage children as a dream demon, is basically season 4’s Vecna with jokes.

The Duffers are not shy about this fact. After all, they cast the man behind Freddy’s fedora, Robert Englund, as Victor Creel. Victor is the guy wrongfully accused of Vecna’s crimes in season 4. The authorities might have the wrong guy, but every time Vecna comes to one of his victims in “visions” that leave terrified teenagers in a dreamlike state that they cannot easily wake from, season 4 becomes the best Nightmare on Elm Street sequel since Dream Warriors in ‘87. If you haven’t seen the original 1984 flick, however, now’s your chance before Vecna’s return in season 5…

Also, FYI, Nancy is named after Heather Langenkamp’s all-time badass final girl from the 1984 original, and the cool bits of the demogorgan stretching its head through the wallpaper in season 1 is also taken from the Wes Craven original. – DC

Sixteen Candles

There’s a good chance that if you’re watching Stranger Things’ later seasons, you’re in it for the characters and youthful relationships more than the monster mash nonsense. In which case, John Hughes might be way more your jam than Freddy Krueger or John Carpenter. In which case, we might suggest starting with 1984’s Sixteen Candles. It’s not Hughes’ best teen film—that honor goes to The Breakfast Club or Ferris Bueller’s Day Off—but it is the one that most resembles the relatively carefree innocence of love triangles and unrequited crushing in Stranger Things.

In this one, Molly Ringwald plays a girl whose family is so absent-minded about her latchkey life that they forget her 16th birthday! Worse, she is in love with a way more popular high school senior while having to shake the attentions of a nerdy guy. She is in other words like what Nancy thinks her life is in season 1 of Stranger Things, albeit the teen soapiness has passed onto her younger co-stars these days now that Nancy is in full Linda Hamilton mode. – DC

Heathers

While also on the subject of ‘80s teen movies, we’d be derelict in our duties if we did not mention the teen movie that put Ms. Joyce Byers on the map. Well before she became the face of anxious motherhood, Winona Ryder was the definitive Gen X cool girl of the ‘80s and ‘90s, and it all began in Heathers (1988), a pitch black comedy wherein Ryder plays the only popular girl at her school not named Heather. She still runs with the rest of that clique though… at least until she is convinced to start murdering these bad influences by a worse one with a dreamy smile.

Basically Mean Girls made in a time where you could joke about this kind of thing—and written by Daniel Waters, whose brother directed Mean GirlsHeathers is notoriously a movie they could never make today. But if you can put yourselves in the heightened silliness of a sarcasm-drenched ‘80s comedy aimed at 18-year-olds ready to snark after graduation, you’ll have a blast. – DC

Fast Times at Ridgemont High

Perhaps the most important teen movie north star on Stranger Things, Fast Times at Ridgemont High is nominally of the raunchy R-rated sex comedy subgenre of teen movies that dominated this era. But it’s aged a lot better because it was written and directed with intelligence and authenticity by Amy Heckerling when she was only 10 years out of high school in 1982. Heckerling brings a wit and playful knowingness to the escapades of mall rats like Stacy (Jennifer Jason Leigh), space case Spicoli (Sean Penn), and ‘80s dream girl Linda (Phoebe Cates). Yes, the same Phoebe Cates that Dustin swears his girlfriend who lives in Utah is hotter than! He swears!

Obviously Phoebe Cates’ most famous scene is a running joke in Stranger Things 3, but the film’s depiction of teenage boredom and ingenuity at dead-end mall jobs is a bigger affectionate touchstone. – DC

Back to the Future

A prominently featured flick we catch some of the kids watching at the Starcourt Theater in ST3 is of course Back to the Future. The show even has some good fun when an involuntarily-drugged Steve cannot wrap his head around Michael J. Fox (or Alex P. Keaton from Family Ties!” as Steve keeps insisting) as the star of an adventure movie.

Yet this Amblin entertainment from director Robert Zemeckis, and producer Spielberg, better encapsulates the exuberant tone of Stranger Things’ third season where kids get up to the darndest adventures, physics, interdimensional planes, and even flux capacitors be damned! – DC

Red Dawn

A recurring through-line in seasons 3 and 4 of Stranger Things was ‘80s pop culture’s obsession with Russian bad guys and the Cold War. As we learn in the third year, there is even a secret Russian base beneath the feet of Hawkins, Indiana. This Red invasion fantasy where only the teenagers can save us owes a deal of debt to John Milius’ Red Dawn. Actually the no-frills, no-apology depiction of gun culture in the States—a major theme in Kevin Reynolds’ screenplay—runs an influence all the way back to Stranger Things 1 where Nancy Wheeler gets target practice with Jonathan that proves vital in the finale and beyond.

However, Milius’ heightened sense of jingoism histrionics in Red Dawn find their way into seasons 3 and 4 when a group of kids meet the commies beneath their feet. – DC

Stripes

But the depiction of the Russians themselves may owe more mostly to ‘80s comedies like Stripes, at least in season 3. Depicted as envious buffoons who just want that sweet, sweet capitalism—and for Americans to stop making their lives so miserable—the Russians of the third season better resemble the Soviets we meet in Bill Murray’s popular 1981 Cold War comedy. The Ruskies get a lot more sinister in Stranger Things 4 after Hopper is shipped off to a gulag, but in function Joyce and Murray’s season 4 plot is still basically the third act of Stripes: the comic relief must slip past the Iron Curtain and save their friends from Soviet, err, hospitality. – DC

Super 8

Finally, while every other film on this list is a movie that inspired Stranger Things, it’s worth ending on a movie that tried to be Stranger Things… five years before Stranger Things even premiered! Directed by J.J. Abrams, 2011’s Super 8 is basically a dry run for everything that Netflix’s streaming behemoth would one day present. It’s: 1. Set in the ’80s (Well, 1979 technically). 2. Clearly inspired by Messrs. Spielberg and King (with Spielberg actually producing the film). 3. Features precocious youths dealing with a sci-fi/horror threat in a small Midwestern town.

Where Stranger Things and Super 8 diverge, however, is that Stranger Things is very good and Super 8 is not. That’s not to say that Super 8 is awful, mind you. Abrams’ slick, kinetic direction is rarely boring and the kid performers are all compelling enough. The Spielberg pastiche is just missing a certain energy, spark, and originality that Stranger Things contains in spades. The contrast between Stranger Things’ success and Super 8’s relative anonymity, just five years apart, is a reminder that art is a tricky thing. Sometimes talented artists can have the same good idea at roughly the same time and yet fate will smile upon only one as the zeitgeist-breaker. – AB

How Bonnie Langford Convinced Bradley Walsh to Join the Ranks of Doctor Who Companions

Fourteen different actors have “officially” played Doctor Who’s famous Time Lord, even more if you count some of the ancillary figures like Jo Martin’s Fugitive Doctor, John Hurt’s War Doctor, or David Bradley, who took over the role of the First Doctor in the series’ modern era. (And technically, David Tennant did it twice.) While that may seem like a lot, it’s really not when you consider the fact that the show’s been running for well over 60 years at this point. But when it comes to the Doctor’s constant partners in adventure, the number’s much higher.

Depending on the criteria you use to judge what a “companion” means in the world of the show, anywhere from 50-70 people have travelled with the Doctor over the course of the series’s run. Many made multiple appearances, often across time periods and eras, and their legacy lived on well after they were gone, both within the world of the show and outside of it. And sometimes, the people who have played them end up shaping the show’s direction even years later.

Bonnie Langford played classic companion Melanie Bush, who appeared opposite both Colin Baker and Sylvester McCoy’s Doctors in the 1980s. But it turns out that Langford is not just a former companion herself; she played a pivotal role in the casting of another many years later. She apparently helped convince Bradley Walsh to join the show.

Speaking with the Radio Times, Langford recalled encouraging the actor and popular TV presenter to say yes to the opportunity. 

“I went and met him for lunch,” she said. “And he said, ‘I’ve been asked to do Doctor Who, I don’t know if I should.’ I said, ‘Do it. Do it. Do it. Do it. Do it. It’s the gift that keeps on giving.’ And he did! In the end, we ended up doing a scene together, and I was just so pleased.”

Walsh played Graham O’Brien opposite Jodie Whittaker’s Thirteenth Doctor for two seasons before departing the show in the 2021 special “Revolution of the Daleks”. He later returned for 2022 special “The Power of the Doctor,” the finale installment that served as a swan song for both Whittaker and then-outgoing showrunner Chris Chibnall. 

The episode saw Langford and Walsh’s characters cross paths during a (hilariously long overdue)  gathering of a support group for former companions, which featured appearances by multiple former Who stars, including William Russell (Ian Chesterton), Katy Manning (Jo Grant), Janet Fielding (Tegan Jovanka), and Sophie Aldred (Ace). 

But although we haven’t seen Walsh onscreen since, Langford has returned for multiple guest spots in recent seasons. Mel, now a UNIT employee, first popped up again during the 60th anniversary specials with David Tennant, and most recently appeared in the two-part season 15 finale “Wish World” and “The Reality War”.

According to Langford, she was “delighted” when she first received the call from Chibnall asking her to reprise her role, and gave substantial consideration to the idea of the person that the Mel would have grown into over the years.

“At that point I thought, ‘Well, I wonder what Mel would be,'” she said. “A lot calmer. A lot calmer, and much more into her computers, yet very discreet about the work that she does. She had such a loyalty to the Doctor. It was really great that I had been able to still be in touch with [Mel], to think, ‘I wonder where she’s been and what she’s done, and how she has kept her connection with the Doctor.'”

But mostly, she says, she’s glad she got to reestablish the character for a new generation of fans and tone down some of her more “irritating” tendencies.

“I’m really honoured that he thought Mel was worth bringing back, and that she got totally and utterly involved with the bi-generation,” Langford said. “It was a thrill. I was very taken with the fact that I was able to correct all those mistakes that I felt I had made first time round and, for Mel’s sake, that she was able to return as a much more rounded character with vulnerabilities.”

Prime Video Just Stealth Released One of the Biggest BBC Historical Dramas of the Year

We all know that we live in an Age of Content. Dozens of television shows, movies, and unscripted series are hitting streaming on what feels like a daily, if not hourly basis, and it’s honestly more than any of us could ever hope to keep up with. But it does help when you at least know they exist. Case in point, Prime Video’s King & Conqueror, which many people may be surprised to learn you can actually turn on your televisions and watch right now. 

The streamer’s decision to stealth drop the series, a big-budget, sweeping British historical drama that aired on BBC One and BBC iPlayer earlier this fall, with absolutely zero fanfare — not even a pre-release date announcement! — is fairly bizarre. Given the earlier buzz around the streamer’s acquisition of the series, it seems almost incomprehensible that it actually arrived with such a profound whimper. But, hey, as they say, knowing is half the battle. 

Featuring a starry cast that includes Game of Thrones alum Nikolaj Coster-Waldau and former Grantchester Hot Priest James Norton, the sweeping eight-part saga dramatizes the lead-up to the Battle of Hastings in 1066, an event that reshaped England forever and ushered in profound changes in everything from the aristocracy to the country’s language. But though the show features its fair share of bloody battles and grisly betrayals, its story is primarily told through the strangely mirrored lives of its two primary protagonists: Harold Godwinson (Norton), Earl of Wessex and the last Anglo-Saxon King of England, and William of Normandy (Coster-Waldau), the man more commonly known as William the Conqueror. 

Given pop culture’s current Game of Thrones-induced obsession with gritty series following warring families indulging in elaborate betrayals and political backstabbing — George R.R. Martin’s books are not so subtly based on England’s Wars of the Roses — King & Conqueror feels built in a lab to hit and hit big. This story, after all, has it all: a messy succession crisis, an interconnected family dynasty that essentially goes to war with itself, complex women, and more. (Granted, the early reviews out of the U.K. are mixed, but much worse shows have dominated streaming charts in recent years.) 

Perhaps Amazon worries that U.S. viewers will find the complicated relationships and sprawling cast of characters at the center of this particular corner of English history too confusing to follow, and subsequently just threw the project out to see what happened. But the answer appears to be a positive one, given that the series is currently sitting in Prime Video’s Top 10 with almost zero promotion behind it. Maybe Americans are actually a lot more interested in early British history than the folks in charge at Amazon thought?