Thanksgiving,’ Eli Roth serves up a feature-length feast of gore, some of it stale

Gather ’round the table, horror fans, because Eli Roth is finally serving up his long-gestating holiday feast: the seasonal slasher movie “Thanksgiving.” The idea for this film got rolling some 16 years ago with the 2007 Quentin Tarantino/Robert Rodriguez double feature “Grindhouse,” in which Roth and his longtime friend Jeff Rendell cooked up a joke trailer inspired by their love of themed horror movies and a Massachusetts childhood spent just down the road from Plymouth, the site of the first Thanksgiving.

When horror fans first got their eyes on the “Thanksgiving” trailer, it sparked a fervent appetite for the whole meal, but with the full film finally hitting theaters after 16 years of discussion and development, it proves the adage — also true for Thanksgiving meals — that there can be too much of a good thing.

“Thanksgiving” is an enthusiastic slasher romp in which Roth is clearly having a ball making his childhood dreams come true. But the problem here is the underbaked script, co-written with Rendell. The film has been reverse-engineered around the holiday-themed kills (Black Friday mob, electric carving knife, turkey roasting) and references to the original trailer and other classic horror movies. The script takes the shape of a loose take on “Scream” or “I Know What You Did Last Summer,” with our killer, known as John Carver, stalking a group of teens in a revenge plot. “Thanksgiving” doesn’t try to deconstruct the genre — its only self-reflection comes with the requisite references — but the characters are thinly written, lacking motivation, and the central mystery is hopelessly muddled.

Our heroine is Nell Verlaque as Jessica. She could have easily swapped roles with social media star Addison Rae, who herself plays a vaguely mean popular girl Gabby; both are brunets with long, wavy hair and similarly wan screen abilities. The plot starts on Thanksgiving when Jessica’s father (Rick Hoffman), the owner of the Right Mart big-box store, starts his Black Friday sale a day early. A mob, frothing for free waffle irons, starts a vicious stampede after they’re taunted by Jessica’s snotty group of friends, who sneaked into the store early.

Mayhem ensues, lives are lost, etc. All that’s left is a haunting social media video and a sense of community grief and trauma. Fast forward a year later and this John Carver character — outfitted in Pilgrim finery — has been hunting down everyone involved in the melee for a deadly dinner party. It’s up to Jessica to track down the killer’s identity (is he one of two boyfriends?) since the bumbling Sheriff Newlon (Patrick Dempsey) proves to be utterly useless.

Roth, a horror fan and dedicated student of the genre, can stage and shoot an innovative suspense sequence. The violence is sadistic and gory; the setups are inventive and engaging. But he rushes through them and doesn’t let anything breathe. It’s the connective tissue — the gristle — between the kills that is seriously lacking. Local color is sprinkled on top like a garnish, not incorporated as a part of the whole, and the story movement from scene to scene hardly makes sense. It’s only the prior knowledge of horror tropes and a curiosity about who’s under the Carver mask that keeps this moving forward.

There’s also the sense that this holiday meal just might be a little stale. Certain set pieces like a cheerleader on a trampoline might have played well back in the Wild West of the mid-aughts, but in 2023 it’s cringe-worthy, and Roth seems to know that. He rushes through it as if he’s checking a box for the fans. His centerpiece of the table is a roasting sequence that reminds us why he excelled in the torture-porn era, but overall, “Thanksgiving” feels incredibly juvenile, perhaps due to its genesis so long ago.

If “Thanksgiving” had to be any specific dish on the holiday table, it would be stuffing: disparate chunks tossed together and baked. Stuffing is a dish where old bread goes to shine — a cheap and easy crowd-pleaser. But this particular serving of it is missing a crucial element, the binder. Without it, it’s just a crumbly mess. It might taste good for a bite or two, but Eli Roth’s “Thanksgiving” isn’t a full meal.

Fantasia Barrino talks ‘The Color Purple,’ facing her demons and surviving a suicide attempt

Fantasia Barrino is opening up about overcoming darker times and nearly taking her own life.

Barrino, who is reprising her role as Celie in the Oprah Winfrey-produced big-screen musical adaptation of Alice Walker’s novel “The Color Purple,” told Variety that although she never thought she would be, she is “so HAPPY — in all caps.”

After being crowned the winner of the third season of “American Idol” in 2004, Barrino told the trade outlet, she rushed to embrace her grandmother, who told her to buckle up, “because with all of this comes the storm.”

In 2008, after ending her run playing Celie in “The Color Purple” on Broadway, the singer visited a church in Los Angeles, where Bishop George Bloomer warned her that she had years of pain to come. If she held on and made it through, he told her, her ending would look better than her beginning.

Just two years later, amid a battle with depression and intense public scrutiny, Barrino tried to take her own life by swallowing sleeping pills and aspirin.

“I just wanted the noise to stop,” she told Variety. At the time, she’d been supporting her family financially, was embroiled in a nasty legal battle with her father over his portrayal in her memoir, and her house was in foreclosure. In the North Carolina hospital where she awoke with tubes down her throat, a nurse held up magazines with her face on their covers and told her, “‘You see that young lady? She’s strong. She’s a blessing — don’t you come back in here no more. You fight.”

“I left that hospital and said, ‘I’ll never do that again, because I have purpose,’” the singer and actor told Variety. “I’m going to speak into every young person’s life and tell them, ‘Don’t you dare give up.’

“I don’t care if it gets ugly again,” she continued. “I don’t care if there’s storms. I realized I have the spirit of an eagle.... They fly over storms.”

In 2016, Barrino told The Times that her album cover for “The Definition Of ...” was inspired by all the abuse she had endured in her life and finally being able to confront the thing she’d always run from, herself.

“I feel like I’m every woman. I’ve been through a little bit of everything,” she told The Times. “I’m the definition of strength.”

“It’s hard for women … [especially] in the industry. If you look at some of the greats, they either couldn’t keep a good relationship or they were in an abusive one,” she continued. “It was almost like the man was trying to tear that spark out of them. I went through a lot of that. I’ve been spit on. I’ve had a black eye. I’ve dumbed myself down to try to make a relationship work.”

When Oprah first approached Barrino to play Celie again, the “American Idol” winner turned her down. Playing Celie for eight shows a week on Broadway had been traumatic for her. Celie’s struggle with abuse, heartache and adversity had mirrored her own in ways that became increasingly burdensome. She swore that she’d never play the role again.

But director Blitz Bazawule ultimately persuaded her, explaining his spin on the story. She appreciated that an on-screen portrayal of Celie could feature the character’s inner monologue in ways a stage portrayal could not.

“You get to see how she made it through some of this stuff,” Barrino said. This time around, the Grammy winner said playing Celie was an opportunity to face her past, rather than run from it.

Latin Grammys 2023: Latinas steal the show, sweep all major awards

Latin Grammy Awards 2023: Live updates from Sevilla

The 24th edition of the Latin Grammys will bring together some of the biggest names across Latin Music and some new faces that will vie for the award for Best New Artist. This time the event isn’t taking place in Las Vegas, instead it will be hosted in Sevilla, Spain.

Las cosas no se hacen precisamente temprano por estos lares. Mientras que la alfombra roja se inició después de las 6 de la tarde y terminó después de las 9 de la noche, la ceremonia oficial de premios que se transmite por televisión comenzó después de las 10 de la noche y se prolongó hasta después de la 1.30 de la madrugada.

Para quienes cubrimos el evento en vivo, la jornada fue brutal. Para otros continentes, pertenecientes sobre todo a los territorios latinoamericanos y a los Estados Unidos, la idea de que el Latin Grammy se realizara tan tarde tenía sentido, incluso cuando no se iba a transmitir en vivo por allá.

En lo que respecta a los trofeos, los resultados finales favorecieron a tres mujeres: Karol G, Shakira y Natalia Lafourcade. Cada una de ellas se fue a casa con tres premios, lo que le dio al evento una clara impronta femenina.

With sports and horror movies as canvas, an artist dissects the world’s digital upheaval

Emotionally creepy, intellectually disturbing and very, very loud, both audibly and visually, “Paul Pfeiffer: Prologue to the Story of the Birth of Freedom” is an extraordinarily compelling survey of the artist’s work in digital imagery, whether sculptures that incorporate video, room-size installations or large-format photographs. He’s been at it since the mid-1990s.

The newly opened exhibition of more than 50 works at Little Tokyo’s Geffen Contemporary at the Museum of Contemporary Art is also timely, which adds to its resonance. We have lately been swallowed up in spectacular social and political upheaval, intensified by the depredations of digital life that traffics in images of state violence. With the eruptions and disruptions of digital mass culture as its Ferrari-level engine, often represented by the roaring drama of sport, Pfeiffer’s art cogitates on power as an ongoing campaign waged between the individual and the crowd.

Pfeiffer, 57, was born in Honolulu the year before French theorist Guy Debord published “Society of the Spectacle.” That thin but influential volume meditates on social transformations wrought by the corporate expansion of mass culture machinery, which has metastasized with the digital revolution. Debord is an unseen scaffolding for a hypnotizing work like “Caryatid,” in which the Stanley Cup — that big, heavy, tiered silver trophy awarded annually to the National Hockey League playoff champion — floats, bobs and twirls in space before a cheering crowd on TV.

Nothing is holding it up. The airborne trophy — the oldest that can be won by professional athletes in North America — appears to have a life of its own. It hovers before the throng like a preening drone, playful yet vaguely malevolent.

Pfeiffer digitally erased the athlete holding the monumental trophy aloft in stock video of the event, a ritualized gesture of triumphal victory. The century-old object, not the player, is isolated as the active factor in our human relationship to the sporting scene.

What makes the work more than a passing visual amusement, a TikTok trick of editing, is the carefully altered monitor on which it is shown. A silver 9-inch television, chrome-plated and as pristine as a Jeff Koons bunny, is revealed as its own objectified gesture of triumphal power, discreetly encased in a Plexiglas box and elevated atop a pedestal. Corporate digital media are the dynamic agents in modern social experience, inseparably playful and malevolent.

Just as the shiny television monitor echoes the glittery Stanley Cup, so a viewer is likened to the athlete digitally deleted from the “Caryatid” video — essential to, but erased from, the spectacle. In ancient Greece, the culture where male athletes were so highly prized as heroic citizens, a caryatid was a draped female figure used instead of a column as an architectural support. Sometimes a caryatid has been compared to the unseen slave who carried society’s burdens.

Pfeiffer, who is Filipino American, moved with his family to Manila when he was 10, early in the Marcos dictatorship, and he has since returned to live and work in the archipelago several times. (Mostly he’s based in New York.) Notably, the Philippines has been twice colonized — first for over 300 years by Spain and its Christian religion, then for half a century by the United States and its tumultuous mass culture. Both come into prominent play in the artist’s work.

An extraordinary 2015 photograph shows a Black basketball player seen from below, hovering in space in the middle of a vast stadium, enormous crowds packed into the stands and the lower portion of an American flag glimpsed hanging high overhead. No one else is on the court.

A fabrication? A digital manipulation of an actual moment? An erasure of elements to reveal something hidden but meaningful in our culture, in the tradition of Robert Rauschenberg famously erasing a Willem De Kooning drawing?

The player’s arms are extended like a crucifixion. His face obscured and his blank white uniform disclosing neither team nor number, he is resolutely anonymous — as anonymous as the throng ogling in the stands. He seems held aloft by the sheer force of a mass performance.

The photograph is one in a group titled “Four Horsemen of the Apocalypse,” a reference to the prophecy of triumph and submission from the New Testament Book of Revelation. Spectacle and spectatorship, cruelty and liberation are embedded in a scene poised on the brink of an individual soul’s ultimate destiny. So is the promise of a second coming, which is not necessarily consoling. The image of Black resurrection through b-ball is at once celebratory, chilling and poignant.

Pfeiffer takes on big themes. In “John 3:16” (2000), the image focuses on a basketball, a talisman that completely fills the screen and bobs around as it is being passed between largely unseen players. Sometimes hands come into view, at other times there is only the spinning, ricocheting ball. It’s akin to the levitating Stanley Cup in “Caryatid,” made three years later.

This 2023 Horror Movie May Be One Of The Best Modern Lovecraft Adaptations

Suitable Flesh is a modern exploration of ancient fears, inviting audiences to confront the terrors that lie beyond the threshold of understanding.

The year 2023 promises an unsettling experience with Suitable Flesh, a spine-chilling adaptation of H.P. Lovecraft's short story, "The Thing on the Doorstep." Directed by the visionary Joe Lynch and penned by the talented Dennis Paoli, this film brings Lovecraftian horror to life, weaving a narrative that explores the thin veil between sanity and ancient, malevolent forces. With a stellar cast including Heather Graham, Judah Lewis, Barbara Crampton, Bruce Davison, and Johnathon, this new horror flick ventures into the depths of psychological terror.

Before delving into the depths of Suitable Flesh, it's crucial to understand the profound influence H.P. Lovecraft has had on the horror genre. Lovecraft's distinct cosmic horror, characterized by the insignificance of humanity in the face of incomprehensible cosmic entities, has spawned a multitude of adaptations across various media. From cult classics to contemporary hits, Lovecraft's tales of the unknown have ignited the imaginations of filmmakers and storytellers, giving rise to a rich tapestry of horror narratives that continue to captivate audiences worldwide.

What is Suitable Flesh about?

Heather Graham takes the lead as Elizabeth Derby, a psychiatrist grappling with the uncanny in a narrative that challenges the conventions of the horror genre. Unlike conventional horror protagonists who hastily embrace the supernatural, Elizabeth clings to rational explanations, even as the world around her descends into nightmarish chaos. As she grapples with Asa (Judah Lewis) and his cryptic tales, the film evolves into a mesmerizing dance between psychological thriller and body-snatching horror.

Elizabeth's attempt to diagnose Asa's erratic behavior is complicated by the unsettling violence and the emergence of a new personality. In a surreal blend of body-snatcher horror and erotic thriller, the narrative takes unexpected turns, challenging the boundaries of the genre. When Asa's father, Ephraim (Bruce Davison), unveils occult powers capable of forcing body swaps, Elizabeth must navigate a perilous journey to save herself from being ensnared in unsuitable flesh.

What is Suitable Flesh based on?

Suitable Flesh draws inspiration from Lovecraft's 1937 short story, "The Thing on the Doorstep." In Lovecraft's original tale, the narrative explores the eldritch horrors surrounding forbidden knowledge and the manipulation of mortal bodies by otherworldly entities. The adaptation takes creative liberties, infusing modern nuances into the narrative while preserving the essence of Lovecraft's cosmic horror.

"The Thing on the Doorstep" opens with Daniel Upton, the narrator, unraveling the harrowing events that led him to take the life of his closest friend, Edward Derby. Their lifelong friendship takes a dark turn as Derby's union with a mysterious Innsmouth woman, Asenath Waite, marks the beginning of an eerie transformation. Asenath's unsettling lineage, coupled with her father Ephraim's forbidden forays into sorcery, casts a malevolent shadow over their lives. Derby, ensnared in Asenath's enigmatic occult experiments, descends into madness, and Upton finds himself entangled in a nightmarish tale of forbidden knowledge and eldritch horrors.

As secrets unravel, the story unveils the sinister practice of body-swapping, blurring the lines between the living and the dead. Suitable Flesh reinterprets this tale for contemporary audiences, delivering a fresh take on Lovecraft's timeless themes.

‘The Marvels’ Never Really Stood A Chance

Critics and MCU fans all have something to say about the movie, and it’s a symptom of a larger issue.

Have you heard? “The Marvels” has the lowest box office earnings for the Marvel Cinematic Universe. The film brought in $47 million in its opening weekend. So many headlines about the film, which had a reported production budget of $274.8 million, have been screaming about its failure. This is it, folks, the end of the Marvel franchise, and it’s all because of those pesky woke women who think they can make comic book movies, many detractors said.

“The Marvels” is the sequel to “Captain Marvel,” which was the MCU’s first female-led (and co-directed) film. This sequel is also a follow-up to “Ms. Marvel,” the Disney+ series that introduced the much-loved comic book character of the same name to the franchise.

Yes, there are criticisms about the film that many people agree on, like the fact that some of the backstory needed more context and the villain was underdeveloped. But this vehement declaration that it’s the worst Marvel film ever with the worst characters, etc., is a symptom of a larger issue.

To put it plainly, racism and misogyny play a huge role in what is perceived as successful. Genre films like the MCU installments are particularly guilty of this: It took Marvel 10 years to make a film with a majority Black cast and creative team, and women have been leads in less than a handful of MCU films (the Disney+ spinoffs are more diverse, but television has always been the place where executives take risks).

The truth is, “The Marvels” never really stood a chance. It is the first film in the franchise to be made by a Black female director, Nia DaCosta, and it features three female superheroes: Brie Larson as Carol Danvers/Captain Marvel, Iman Vellani as Kamala Khan/Ms. Marvel and Teyonah Parris as Captain Monica Rambeau. It also includes Kamala’s family, all of whom are played by South Asian-origin actors.

Marvel has been losing goodwill ever since the end of the Infinity Saga. The fourth and fifth phases of the franchise have seemed more disjointed, but what’s been different about Marvel properties post-“Avengers: Endgame” has been how diverse they are — more women and people of color have been leading the stories and creating them. And MCU fans have not been receptive to that diversity.

Larson has been unfairly targeted and hated by so-called Marvel fans from the moment she was cast. She made the correct and bold decision to say she wanted more diversity in the media that was covering “Captain Marvel,” and that statement put a target on her back so large that YouTubers still foam at the mouth at the mere mention of her name.

MCU followers couldn’t be bothered to finish, or even try watching, “Ms. Marvel” because the lead was a teenage girl of Pakistani origin. Kamala Khan is a young person trying to fit in, keep her family happy and discover the extent of her superpowers — you know, like that white dude from Queens called Peter Parker. Her story is universal and worth investing time in.

Moreover, “Captain Marvel” was review-bombed to such an extent — before it was even released — that Rotten Tomatoes had to change its rules. The film’s successors were never going to become blockbuster hits because the cards were stacked against them. People’s mindsets haven’t changed that much in four years.

Just before “The Marvels” was released, Variety shared its “Crisis at Marvel” feature with headlines focusing on Marvel executives discussing the possibility of “reviving Robert Downey Jr.’s Iron Man and Scarlett Johansson’s Black Widow,” despite those characters being dead.

Without taking cultural issues into account, as well as the general disinterest among some vocal superhero fans about new, diverse characters leading Marvel films, we can’t just rely on the box office as the ultimate arbiter of success.

It’s funny how, now that “The Marvels” has performed so poorly at the box office, people are acting like box office numbers are the only way to judge the quality or effect of a film, almost as if no other good (or even great) film has ever failed at the box office. Equating “The Marvels” box office numbers to its quality would then mean we’d have to accept that “Guardians of the Galaxy Vol. 2” is better than “Captain America: The Winter Soldier” because the former made nearly $400 million while the latter didn’t break the $300 million mark.

But that’s not true. The films came out at different times, catered to different sensibilities and, well, one was more hyped than the other. But we can all admit that the second Captain America film was a bold and well-written film, whereas “Guardians 2” was derivative and predictable.

The Marvel promotional juggernaut has been a huge part of the franchise’s success so far. But “The Marvels” was marketed and released during the strikes by the writers’ and actors’ unions, so the performers couldn’t promote the film.

None of Marvel’s properties in 2023 have been a resounding success, even if they’ve broken even.

What people have intentionally failed to report is that “The Marvels” may not have been everyone’s favorite, but many critics have given it great reviews, and the audience score on Rotten Tomatoes is at a decent 84%. It is also the biggest debut ever for a Black woman director.

'The Marvels' Suffers 'Unprecedented Box Office Collapse'

The superhero movie may have encountered a new villain at the box office: genre fatigue.

Since 2008’s “Iron Man,” the Marvel machine has been one of the most unstoppable forces in box-office history. Now, though, that aura of invincibility is showing signs of wear and tear. The superhero factory hit a new low with the weekend launch of “The Marvels,” which opened with just $47 million, according to studio estimates Sunday.

The 33rd installment in the Marvel Cinematic Universe, a sequel to the 2019 Brie Larson-led “Captain Marvel,” managed less than a third of the $153.4 million its predecessor launched with before ultimately taking in $1.13 billion worldwide.

Sequels, especially in Marvel Land, aren’t supposed to fall off a cliff. Yet “The Marvels” debuted with more than $100 million less than “Captain Marvel” opened with — something no sequel before has ever done. David A. Gross, who runs the movie consulting firm Franchise Research Entertainment, called it “an unprecedented Marvel box-office collapse.”

The previous low for a Walt Disney Co.-owned Marvel movie was “Ant-Man,” which bowed with $57.2 million in 2015. Otherwise, you have to go outside the Disney MCU to find such a slow start for a Marvel movie — releases like Universal’s “The Incredible Hulk” with $55.4 million in 2008, Sony’s “Morbius” with $39 million in 2022 or 20th Century Fox’s “Fantastic Four” reboot with $25.6 million in 2015.

But “The Marvels” was a $200 million-plus sequel to a billion-dollar blockbuster. It was also an exceptional Marvel release in numerous ways. The film, directed by Nia DaCosta, was the first MCU release directed by a Black woman. It was also the rare Marvel movie led by three women — Larson, Teyonah Parris and Iman Vellani.

Reviews weren’t strong (62% fresh on Rotten Tomatoes) and neither was audience reaction. “The Marvels” is only the third MCU release to receive a “B” CinemaScore from moviegoers, following “Eternals” and “Ant-Man and the Wasp: Quantamania.”

“The Marvels,” which added $63.3 million in overseas ticket sales, may go down as a turning point in the MCU. Over the years, the franchise has collected $33 billion globally — a point Disney noted in reporting its grosses Sunday.

But with movie screens and streaming platforms increasingly crowded with superhero films and series, some analysts have detected a new fatigue setting in for audiences. Disney chief executive Bob Iger himself has spoken about possible oversaturation for Marvel.

“Over the last three and a half years, the growth of the genre has stopped,” Gross wrote in a newsletter Sunday.

Either way, something is shifting for superheroes. The box-office crown this year appears assured to go to “Barbie,” the year’s biggest smash with more than $1.4 billion worldwide for Warner Bros.

Marvel has still produced recent hits. “Guardians of the Galaxy Vol. 3” launched this summer with $118 million before ultimately raking in $845.6 million worldwide. Sony’s “Spider-Man: Across the Spider-Verse” earned $690.5 million globally and, after rave reviews, is widely expected to be an Oscar contender.

The actors strike also didn’t do “The Marvels” any favors. The cast of the film wasn’t permitted to promote the film until the strike was called off late Wednesday evening when SAG-AFTRA and the studios reached agreement. Larson and company quickly jumped onto social media and made surprise appearances in theaters. And Larson guested on “The Tonight Show” on Friday.

The normally orderly pattern of MCU releases has also been disrupted by the strikes. After numerous strike-related delays, the only Marvel movie currently on the studio’s 2024 calendar is “Deadpool 3,” opening July 26.

Separately, after two weeks atop the box office, Universal Pictures’ “Five Nights at Freddy’s” slid to second place with $9 million in its third weekend of release. The Blumhouse-produced videogame adaptation has accumulated $127.2 million domestically.

Taylor Swift’s “The Eras Tour” concert film came in third with $5.9 million from 2,484 venues in its fifth weekend of release. The film, produced by Swift and distributed by AMC Theatres, has made $172.5 million domestically and $240.9 million worldwide.

Sofia Coppola’s “Priscilla” held strongly in its second weekend of wide release. The A24 film, starring Cailee Spaeny as Priscilla Presley and Jacob Elordi as Elvis, remained in fourth place with $4.8 million, dipping only 5% from the week prior.

Martin Scorsese’s “Killers of the Flower Moon,” an Apple Studios production being theatrically distributed by Paramount Pictures, took in $4.7 million on its fourth weekend, to bring its domestic haul to about $60 million. While quite low for a $200 million movie, “Killers of the Flower Moon” is primarily an awards-season statement by Apple of its growing moviemaking ambitions.

John Wick Franchise Producer Expresses Interest in Doing a Bowery King Spinoff

John Wick franchise producer Basil Iwanyk weighs up the prospects of a possible Bowery King spinoff starring Laurence Fishburne.

With multiple spin-offs either airing or planned since John Wick: Chapter 4, franchise producer Basil Iwanyk has expressed his interest in creating a series centered around the eponymous hitman's partner-in-crime.

In an interview with Screen Rant, Iwanyk teased the prospect of creating a spin-off chronicling Laurence Fishburne's mysterious character, the Bowery King. A long-time associate of Wick, Bowery King has become a fan favorite of franchise viewers, and Iwanyk believes there's legitimacy and intrigue in a potential film or series based on the character -- one who he believes has an interesting backstory. "I like the Bowery King a lot, and I like that world," he said. "We scratched the surface of who he is and who these men are and women, and why they do what they do. I think there's something really cool about these people who make conscious choices to be in the shadows. And be the people that we look through every day when we walk down the street, or we go, 'Oh, this person wants money from me?' I think that's a world that we haven't touched yet, which I think could be really cool and really edgy and rough, dark. I don't know, that is something that I've always been really intrigued with."

The Bowery King is one of the John Wick franchise's most fascinating characters; a former underground crime boss whom the High Table left for dead, leading him to align with Wick. Fishburne's character first appeared in John Wick: Chapter 2 and has been ever-present throughout the franchise ever since. Iwanyk further underlined the potential of exploring the Bowery King through a spin-off production. "All the Bowery King group, they leave an impression on every movie that they're in. Because there's also the guys in The Continental, they're like knights or samurai, it's very formal. And the Bowery King people are crazy and fun and informal. And I think that's a great... I don't know, I have no idea what that world is. We're making this up as we go along. But man, that world intrigues me a lot," he said.

The John Wick franchise expanded following Chapter 4 with the release of The Continental, a TV mini-series based on the eponymous hotel chain featured throughout the film series. Additionally, a female-led spin-off film featuring Ana de Armas, Ballerina, is planned for its theatrical debut on Jun. 7, 2024, examining her central character's thirst for vengeance against her family's murderers.

Chapter 4 proved to be the John Wick franchise's apex. Released this past March, the latest sequel earned a record $440 million in worldwide ticket sales against its $100 million budget. However, with the apparent demise of its titular assassin at the end of the movie, questions remain over the future of the Bowery King and other key characters as Lionsgate develops Chapter 5. Director Chad Stahelski previously stated that Chapter 5 won't be made without lead star Keanu Reeves, though he also hinted that Chapter 4 was the end of the line for Wick.

Viola Davis Loved Making Tom Blyth 'Squirm' on the Hunger Games Set

Oscar-winner Viola Davis loved playing the villain alongside co-star Tom Blyth in A Ballad of Songbirds and Snakes.

Viola Davis loved playing the villain in A Ballad of Songbirds and Snakes.

Speaking to The Hollywood Reporter, Academy Award winner Viola Davis discussed her role as the villain in the Hunger Games prequel movie. The actress admitted that she loved playing the villain: "Just seeing how many times you can make someone squirm — like Tom Blyth, oh man it was a joy because he was very receptive to it, so I was just so happy about poking him." The actress plays Dr. Volumnia Gaul, the gamemaker for the 10th annual Hunger Games, an imposing and ominous figure in the story.

Davis Reveled in Her Villainous Duties as Volumnia Gaul

Davis recalled the moments in which she had to physically prod at Blyth, such as when she had to give his character stitches. "Loved it! Absolutely loved it," she said with a smile. Upon being asked what it was like to act alongside Blyth, Davis praised his performance and his adherence to his craft, telling the reporter that "it was a joy to play with him." In the upcoming prequel, Blyth plays a young Coriolanus Snow under the supervision of Davis' Dr. Volumnia Gaul. The plot follows Snow's ascension within the Capitol, struggling with his desire for status and a complex relationship with his mentee and District 12 tribute Lucy Gray Baird (Rachel Zegler).

In the same interview, Davis discussed the importance of wardrobe and makeup with regard to a role like this and feeling fully immersed in the world: "When you step out of the trailer, and you have the makeup and the hair and the beautiful costumes... you feel like you're that person. That you've transformed."

Percy Jackson and the Olympians Trailer Teases the Demigod's Epic Quest

A new trailer has been released for the Disney+ series Percy Jackson and the Olympians.

A full trailer has just been released for Percy Jackson and the Olympians.

An all-new adaptation of the original book series by Rick Riordan, Percy Jackson and the Olympians was developed for Disney+ by Riordan and Jonathan E. Steinberg. It introduces Walker Scobell in the titular role with Leah Sava Jeffries and Aryan Simhadri, respectively, co-starring as Annabeth Chase and Grover Underwood. The series will make its premiere on Disney+ on Dec. 20, 2023, and an early look can be seen by viewing the new trailer below.

Per Disney+, Percy Jackson and the Olympians "tells the fantastical story of a 12-year-old modern demigod, Percy Jackson, who’s just coming to terms with his newfound supernatural powers when the sky god Zeus accuses him of stealing his master lightning bolt. Now Percy must trek across America to find it and restore order to Olympus."

Other cast members featured in the new series include Virginia Kull as Sally Jackson, Glynn Turman as Chiron, Jason Mantzoukas as Dionysus, Megan Mullally as Alecto, Adam Copeland as Ares, Jessica Parker Kennedy as Medusa, Lin-Manuel Miranda as Hermes, Jay Duplass as Hades, Toby Stephens as Poseidon, and the late Lance Reddick as Zeus. Addressing Reddick's passing in a blog post, Riordan teased of his Percy Jackson role, "At least it’s comforting to know that we’ll be able to share that performance with Lance’s millions of fans, and we will get to see his artistry in action one more time. As for me, I have trouble believing such a force of nature could ever really be gone. I will choose to think that maybe Mount Olympus simply had need of their king."

Percy Jackson Gets Rebooted With the Disney+ Series

The new series has no connection to the previous feature films that were released based on the books. Riordan has since suggested that part of the reason the films didn't do very well was because they didn't capture the right tone because the actors were a bit too old. That's one reason why the stars of the new series are all actual teenagers, as it adds a genuine "teenage quality" to the show.

"Once you have older teens, it’s a completely different dynamic," Riordan said. "You lose so much of the wonder. The magic of being a middle grader doesn’t come across the same way. There’s a jaded teenage quality.”

The first two episodes of Percy Jackson and the Olympians will premiere on Disney+ on Dec. 20, 2023.

Dragon Ball Reveals "The Sort of Bulma That Toriyama Wouldn't" in Retro Art

Bulma takes center stage in a collection of '80s promotional artwork by manga artist Gaku Miyao originally geared toward Dragon Ball's female fans.

Dragon Ball has unveiled a series of retro illustrations spotlighting Goku's beloved companion since the series' earliest conception, Bulma.

X (formerly Twitter) user Todd Blankenship (@Herms98) recently showcased a series of vibrant promotional pics from the franchise's early years. According to the post, these pictures were not drawn by Dragon Ball creator Akira Toriyama but by another manga artist named Gaku Miyao, who is now known for their Kazan series. However, the illustrations adorned the covers of Showa's line of Dragon Ball-themed notebooks, which were designed to appeal to the franchise's female fans. Therefore, Miyao made Bulma a centerpiece of the campaign, including her in every illustration alongside Son Goku.

Bulma has been a staple of Toriyama's iconic shonen title since the very beginning, as she is the one who famously stumbles across Goku in Dragon Ball's debut chapter. What Bulma lacks in strength, she makes up for with a genius technology-savvy intellect that allows her to create impressive inventions like the Dragon Radar, a device designed to track down the legendary dragon balls. After befriending Goku, she invites him on a quest to collect the dragon balls so she can summon the Eternal Dragon and ask for a wish. This journey ultimately causes Goku to abandon his solitary life and pursue studies in martial arts under the tutelage of Master Roshi.

Even in subsequent installments, Bulma retains a strong presence in the franchise, frequently using her technical know-how to aid the Z Fighters. Her son, Trunks, also serves as a critical player for major sagas in both Dragon Ball Z and Dragon Ball Super. In Super, much of the series' humor is derived from Bulma's interactions with Vegeta, who marries her at some point after DBZ's "Cell Saga." Although Vegeta typically acts emotionally aloof, his love for Bulma is highlighted during a fan-favorite moment from Super, where he refers to her as "My Bulma!" in a fit of blind rage. The Dragon Ball Super manga later recreated this iconic moment with Gohan and his daughter Pan.

MCU Creators Considered Making Loki's Wildest Kang Theory Reality

The team behind Marvel's Loki considered making a major He Who Remains change that would have made the show's wildest Kang the Conqueror theory true.

Loki season 1 could have had He Who Remains as the variant of another major Marvel Cinematic Universe character, not Kang the Conqueror, making Loki's wildest Kang theory true. Jonathan Majors first debuted as He Who Remains in Loki, then played Kang in Ant-Man and the Wasp: Quantumania, but things could have been very different.

Speaking with Den of Geek, Loki producer Kevin Wright revealed that the team behind the series considered making He Who Remains a Loki variant. Check out the full quote below:

“We just thought [He Who Remains] would be a great title for the last man standing in the multiversal war. In the writers’ room, all ideas are on the table, and there were conversations about what if Loki was He Who Remains. Those conversations didn’t get very far; I don’t think it even got to Tom [Hiddleston] because while there is something fun about that, and there are compelling aspects to it, it makes the universe feel small. So, it was always going to be He Who Remains, always a version of Kang.”

The MCU Finally Remembers The Avengers Replacements Exist 2 Years After Their $400M Debut

The MCU Phase 4 and 5 have faced criticism for not doing much with its newly introduced characters, but a fun Easter egg helps rectify that.

After almost two years of relative silence, it looks like the MCU is finally ready to start acknowledging The Eternals' hidden history in the timeline, with a subtle nod to the team's existence in Loki season 2, episode 2. Eternals opened to mixed reviews in November 2021, setting up multiple storylines to explore, yet the team has been largely ignored ever since, except for one or two very well-hidden Easter eggs. The Eternals have been operating on Earth for centuries, secretly pulling the strings of human history. However, outside their feature film, the team has been sidelined.

Directed by Chloé Zao, Eternals was an ambitious project that spanned across centuries. It set up a number of storylines that seemed crucial to the future of the MCU, including Tiamut the Celestial being left frozen and exposed in the middle of the ocean. Apart from a passing reference to Tiamut in She-Hulk: Attorney At Law, these stories have been left untouched. The film's poor reception means it's unclear when these characters will be revisited, but the Loki Easter Egg is a timely acknowledgment of The Eternals' past.

Loki's Eternals Reference Explained

Loki season 2, episode 2 features a number of Easter eggs, but with the time-traveling focus of the series, it was the perfect moment to acknowledge a group of immortal beings, even if it was a subtle reminder. As Loki and Mobius walk through London’s West End in 1977 to confront X5/Brad Wolfe, they walk past some movie posters, including one featuring the likeness of Eternals hero, Kingo. At one point in Eternals, the team splits up, leaving each to pursue their own path. Kingo, played by Kumail Nunjiani, has abandoned a life in the shadows for a more public one as a Bollywood star.

How Kingo Is Around in Loki's 1977

It's not the first time the MCU has provided a knowing nod to Kingo and his acting career, with the charismatic superhero previously featured in The Guardians of the Galaxy Holiday Special. The short film’s major focus is on Drax the Destroyer and Mantis as they look to bring Kevin Bacon to Star-Lord as his Christmas gift. As the duo seeks out the Hollywood actor they pass a couple of posters for Kingo's movies. As a Bollywood superstar, Kingo has appeared in countless films over the years, but the most recent reference hints at a possible future for Kingo and The Eternals in the MCU.

The Eternals previous existence has never been touched on in the MCU, however. By living such a public life, Kingo's longevity as a performer would surely be questioned at some point. In Eternals, Kingo covered his immortality by simply claiming to be from a long line of actors who replaced each other every generation. The poster in 1977 is likely to be Kingo's "father." At some point, the hidden history of the first team to replace The Avengers needed to be remembered, and it makes sense that a series like Loki focused on time travel would be the place to finally do it.

Netflix's New Horror Show Just Staged The Reacher Reunion We've Been Waiting For

Netflix's latest horror series has staged a reunion between two key cast members of Reacher, who won't be returning for season 2 of Amazon's show.

Netflix's new horror miniseries The Fall of the House of Usher stages the Reacher union that Amazon's series has denied viewers. While the Tom Cruise duology of Jack Reacher movies may have been a financial success, the casting of the actor himself was - and remains - controversial among fans of the books. Amazon's Reacher found its perfect embodiment of the titular avenger in Alan Ritchson, who had both the stoic humor, charm and physique to bring the hulking character to life. Perfect as Ritchson was, his co-stars in the first season deserve equal praise.

Reacher season 1 cast Willa Fitzgerald as Roscoe and Malcolm Goodwin as Finlay, and adapted the first novel in Lee Child's series Killing Floor. Roscoe fan Finlay help Reacher investigate the murder of Reacher's brother, which thus uncovers a criminal conspiracy taking place in Margrave. Reacher, Roscoe and Finlay made for a very likable trio, and while they survive the events of the story, viewers were soon disappointed to learn Fitzgerald and Goodwin wouldn't be returning for Reacher season 2. The next season skips ahead ten books to Bad Luck and Trouble, where neither Roscoe nor Finlay make appearances or even get a passing reference.

Reacher's Willa Fitzgerald & Malcolm Goodwin Reunite In Fall Of The House Of Usher

While they aren't returning for more Reacher (at least for now), Fitzgerald and Goodwin made an unexpected reunion for Netflix's well-reviewed Fall of the House of Usher. This is Mike Flanagan's latest - and final - horror series for the streamer and is based on the works of Edgar Allen Poe. The show also features many flashbacks to the past, where the younger version of Mary McDonnell's morally bankrupt Madeline Usher is played by Fitzgerald.

The younger version of Carl Lumbly's Auguste Dupin, meanwhile, is played by Goodwin. Unfortunately, the nature of the story means Fitzgerald and Goodwin don't get to interact much, though they share several scenes. Still, Fall of the House of Usher gives them both juicy roles, and it's just nice to see them together onscreen following the news that Reacher season 2 wouldn't be bringing them back.

Willa Fitzgerard's Usher Villain Is The Total Opposite Of Reacher's Roscoe

Goodwin's Dupin is more optimistic and less cynical than Reacher's Finlay - though the events that take place in The Fall of the House of Usher quickly show Dupin how ugly his feud with the Ushers would become. Still, Dupin and Finlay share some things in common, including the belief that justice will prevail. The same can't be said for Fitzgerald's Madeleine, whose ruthless ambition and willingness to do whatever is necessary - up to and including murder - are in stark contrast to Reacher's Roscoe.

Fitzgerald's Roscoe might be the most optimistic of the central trio, but she still has an inner toughness and sense of duty that drives her to solve the case. It's this inner goodness that made viewers (and Reacher himself) warm to the character, with Child himself stating Fitzgerald's take on Roscoe was superior to the one found in Killing Floor. That's what makes the actor's turn in The Fall of the House of Usher so startling, as there's barely a trace of humanity to be found in Madeleine.

Her brother Roderick (Zach Gilford) appears to be the only other human being she cares about, and even that's debatable. That means the dynamic between Fitzgerald and Goodwin is quite different during their scenes together, with the former's character always carrying a hint of malice. This versatility should work in Fitzgerald's favor as she moves on from Reacher - and hopefully means she'll have a few more villain roles in the future.

Why Roscoe And Finlay Aren't Returning For Reacher Season 2

ng characters in Childs' books, and Reacher has never returned to Margrave or encountered Roscoe or Finlay again following the events of Killing Floor.

Amazon's show will be doing the same, and while it's not impossible that Fitzgerald or Goodwin could make guest appearances in future series, they won't be back for Bad Luck and Trouble. This makes their stealth reunion in The Fall of the House of Usher all the more fun. Again, it would have been better if their characters had more interactions with one another, but it still stages the Reacher reunion that Amazon couldn't provide.

Two of Futurama's Most Beloved Characters Have Surprisingly Wild Kill Counts

Futurama's Bender and Turanga Leela are two of the show's biggest heroes. Despite their heroic feats, they've racked up a lot of kills over the years.

The world of Futurama is one where death and murder aren't just accepted aspects of life, but a casual constant. People who should by all accounts be dead can live on as heads in jars, and characters causing countless deaths across the cosmos is brushed aside. Even with this in mind, some of the show's nominally heroic characters have racked up some horrifying kill counts over the years.

In one of Futurama's darkest elements, Bender and Turanga Leela have proven to be very violent over the years. Bender especially has a staggering kill count in-universe, and Leela has even turned her wrath onto her friends in an infamous non-canon tale. Here's how two of Futurama's central characters quietly became very horrifying.

Futurama's Bender Is a Literal Killing Machine

A long-running gag about Bender is his an innate desire to kill all humans. He repeats the phrase throughout the series, going all the way back to Season 1's "I, Roommate." Notably, this doesn't seem to be a restrained or prevented desire. Instead, he repeatedly throws himself into violent acts for fun over the course of the show. Bender has repeatedly thrown out aside references to many of his kills, like in Season 4's "The Farnsworth Parabox" (Directed by Ron Hughart and Written by Bill Odenkirk) where he references a time he beat a man into the ground with a shovel like a railroad spike.

Season 7's "Fun on a Bun" (Directed by Stephen Sandoval and Written by Dan Vebber) saw him steadily make his way through other competitors in a cooking contest so that he could take the top prize. His tyrannic rule in Season 3's "A Pharaoh to Remember" (Directed by Mark Ervin and Written by Ron Weiner) ended with a massive statue of him detonating in an explosion that could be seen from space, likely killing the countless slaves he'd had under his rule. He's even killed people by accident, such as his cooking mentor Helmut Sparkle in Season 3's "The 30% Iron Chef" (Directed by Ron Hughart and Written by Jeff Westbrook). Bender's true killing potential has been especially proven in other time periods.

After being sent into the past during the events of Season 5's "Bender's Big Score" (Directed by Dwayne Carey-Hill and Written by Ken Keeler & David X. Cohen), Bender's attempts to escape the authorities resulted in wide-scale destruction of New York City. This plays a part in society being forced back while Fry was frozen cryogenically. Meanwhile, the future glimpsed in Season 7's "Decision 3012" (Directed by Dwayne Carey-Hill and Written by Patric M. Verrone) revealed that Bender would eventually turn against all of humanity and lead robots in a violent uprising that largely wipes out the species. Bender's disdain for human life in the modern day of Futurama is often held at bay by his professed love for specific people like his best friend Philip J. Fry, his former protector Hermes, and the rest of the Planet Express Crew.

Leela's Violent Tendencies Could Have Wiped Out The Planet Express Crew

Within the show, Leela is often the voice of reason and morality, and is often Futurama's most consistent hero. Her soft side for animals has seen her risk life and limb to save sentient life, and she's even gone up against her friends in the name of protecting various alien creatures -- an attitude that resulted in her expulsion from the DOOP in Season 8's "Zapp Gets Canceled" (Directed by James Kim and Written by Shirin Najafi). At the end of the day, Leela attempts to commit to heroic acts. However, Leela has also always exhibited a more violent side that she struggles to restrain. Her first impulse in many episodes is to use violence to either intimidate others or forcibly beat them, highlighting how she's come to depend on her violent side over the years.

Years of being picked on at the orphanage where she was raised gave her a harsh side, as her combat training revealed itself in Season 2's "Raging Bender" (Directed by Ron Hughart and Written by Lewis Morton). This stemmed partly from her desire to prove the sexist proclamations of her sensei wrong. Leela's habit to resort to violence for the greater good was on full display in Season 5's "Bender's Game" (Directed by Dwayne Carey-Hill and Written by Eric Horsted, Michael Rowe, Patric M. Verrone & David X. Cohen). Wrestling with the impact of having seemingly killed an innocent creature, Leela swore off violence -- only to quickly backslide when danger called upon her.

Current Berserk Team Discuss the Struggles of Continuing Manga After Kentaro Miura's Death

The current team behind the Berserk manga feels that they are doing Kentaro Miura proud by continuing his story.

The team that is currently creating the new arc of the Berserk manga admits it was hard continuing without the original creator.

The fantasy manga was created and headed up by Kentaro Miura, who sadly passed away in 2021. Many fans felt that Berserk's story would end with his passing. However, many of Miura's close friends and the manga studio decided that it would be best to continue Berserk to honor his legacy.

The Return of Guts and Berserk

Kouji Mori and Studio Gaga are responsible for the most recent arcs in Berserk, including the newest arc that just started. In an interview with Asahi, Mori noted that the team felt it might be too hard to continue on without Miura. However, Mori then felt that if he didn't do it, a certain someone might not be too happy: "I thought maybe I could do it. I thought Miura would be angry that I didn't do anything, so I made the decision."

Once the decision was made, he went to Studio Gaga, and they had a meeting to further determine what to do next and how to proceed with the story in a way that would make the late Miura proud: "During the three- to four-hour meeting, I explained the development to Studio Gaga staff. Afterward, I exchanged personal messages with the chief. I give advice on drafts, but the final drawings are the work of Studio Gaga. The drawing skills of our staff, including Chief Kurosaki-kun, are extraordinary. I believe that after they complete Berserk, they will become artists who will leave their mark on the manga world."

Wish Will Celebrate Disney's 100 Years With 'Dozens of Legacy Nods' to Classics

The upcoming animated film Wish will pay homages to various animated Disney film since 1937's Snow White and the Seven Dwarfs.

The upcoming Disney animated film, Wish, will include subtle nods to the studio's various fan-favorite films of the last 100 years.

Wish is directed by Chris Buck known for co-directing the studio's hit films Tarzan, Frozen, and Frozen 2, and Fawn Veerasunthorn, who served as the head of story on Raya and the Last Dragon. In an interview with Entertainnment Weekly, Buck and Fawn revealed that akin to Easter eggs, the movie will throughout be paying subtle nods to classic Disney films, to celebrate Disney's 100th Anniversary.

Buck and Veerasunthorn expressed their delight at finding these hidden references. "They're all over the movie," Buck said. "We are compiling a list, and I couldn't tell you how long it is now. " "There's some that we don't even know are there yet, and we may not know until they tell us," he said citing various departments' surprising contributions.

Wish adopts the wide aspect ratio of 1959's Sleeping Beauty, a technique not used by Disney since that film. Buck emphasizes that this choice gives an epic feel to the narrative, aligning it with the broader legacy. "The way things are framed, it's purposeful," Veerasunthorn claimed. The film's creation involved collaboration with fellow Disney enthusiasts across the studio, aiming to create a movie that resonates with fans and pays tribute to the magic of Disney.

Ahsoka: Shin Hati Fondly Reminisces About Her First Lightsaber Duel & Flying a Ship in the Star Wars Universe

Shin Hati actress Ivanna Sakhno relishes her time using a lightsaber and flying a starfighter on the Disney+ series Ahsoka.

Ahsoka Tano (Rosario Dawson) finally faced off against Shin Hati, but the Dark Jedi didn’t stand a chance against the one-time student of Anakin Skywalker (Hayden Christensen). Actress Ivanna Sakhno brings Baylan Skoll’s (Ray Stevenson) apprentice to life each week on the Disney+ series Ahsoka. And for Sakhno, she’ll never forget the first time her lightsaber blazed to life on set. Sakhno said in an interview conducted prior to the SAG-AFTRA strike (via Star Wars):

“It will always stay within me as the moment when Natasha and I saw our lightsabers ignite for the first time. And I see Natasha’s eyes. And she’s looking into my eyes. And, in that moment, we could really sense that it’s the beginning. It felt like the months of training before and what was about to come balanced each other out and kind of grounded the experience. It felt like we opened the gates into the universe.”

Sakhno refers to the very first episode of Ahsoka and her character’s showdown with the Star Wars: Rebels live-action version of Sabine Wren who is portrayed by actress Natasha Liu Bordizzo. During that one-sided duel, Shin gets the better of Sabine. The Dark Jedi’s orange lightsaber stabs right through Sabine, but she manages to survive.

Ivanna Sakhno Relished Piloting a Starfighter

Another high-water mark of Ivanna Sakhno’s time working in that galaxy far, far away came when her character Shin Hati got to pilot a starfighter in the Star Wars streaming series Ahsoka: Part Three — Time to Fly. Sakhno described the thrilling experience in an interview on Entertainment Weekly’s Dagobah Dispatch podcast. Sakhno said:

"It was the coolest thing in the world! In general, the set - same as for The Mandalorian - we used really advanced technology, so we had The Volume. It's filled with screens and incredible light. But the actual ship and a lot of the aspects of the physical world — they were built for the show.

So, I do remember sitting in front of my cockpit, and really catching my younger self as a kid looking around. And all the buttons were working. And you feel like it's your childhood dream coming true. You really feel like a pilot in a ship, and you get to do this for a living. I just felt giddy and incredibly lucky to be able to experience it."

After being defeated, Shin flees at the conclusion of Part Seven — Dreams and Madness. The Dark Jedi fared quite well against Sabine (Bordizzo) in their short rematch, and Shin even got the upper hand against Ezra (Eman Esfandi) at one point. But Shin didn’t stand a chance against Ahsoka. The final episode of Ahsoka streams Tuesday, October 3 at 9 p.m. EDT on Disney+.

Chucky Season 3 Trailer Promises Bloody Halloween Inside the White House

Chucky is coming back with its Season 3, and this time, the story will take place inside the safest place in the United States, the White House.

The third season of Syfy and USA Network’s hit cult horror series, Chucky, is finally arriving next month, and seems to be taking an equally ridiculous and horrific turn.

Syfy released the full-length trailer on its YouTube channel, which shows that the notorious killer doll, Chucky, has somehow found his way into the White House, becoming the favorite toy of young Henry Collins, the son of President James Collins. While Chucky's motives within the nation's highest office remain unclear, the trailer teases a reunion with familiar faces from the previous seasons.

In Season 3, Chucky establishes an unexpected connection with Henry, offering him companionship in the unfamiliar White House environment. The trailer reveals a key scene in which Chucky gives a FaceTime call to Jake, Devon, and Lexy, to entice them and declare, "They'll never forget me this time." The gang decides to go on a mission to Washington DC to kill Chucky and free Lexy's sister. Additionally, Tiffany Valentine resurfaces, surviving Chucky's assault from Season 2 finale and finding herself behind the bars. She is also angry with Lexy who had fooled her by playing a producer.

Devon Sawa, a notable cast member the in previous seasons, continues to be a pivotal figure in Chucky. Having portrayed various characters, including twin brothers and a possessed figure, Sawa now assumes the role of the President of the United States. Brad Dourif is returning as Chucky in his 35th year with the cult franchise. Jennifer Tilly is also back as Tiffany Valentine. Returning alongside them are Zackary Arthur as Jake Wheeler, Alyvia Alyn Lind as Lexy Cross, Björgvin Arnarson as Devon Evans, and Carina Battrick as Caroline.

Chucky Episode Titles Are Named After Horror Movies

Chucky Season 3 will once again consist of eight episodes, and premiere the first episode titled “Murder at 1600". The annual Halloween episode, "Halloween III: Season of the Witch," will arrive a bit early on October 25th. Two other episodes, named after popular horror movies, Let the Right One In and Jennifer’s Body, have been announced, while details on the remainder four remain under wraps.

Reviews for the previous seasons of Chucky have been strongly positive. Following into the step shoes of the renewed interest in bringing back old franchises such as Halloween, Scream, Saw and The Exorcist, Chucky has also attracted enormous popularity among fans, rekindling the "80s horror film series" craze into pop culture.

Chucky Season 3 will premiere on Oct. 4, on the Syfy channel. Additionally, the new episodes will stream on Peacock the day after they air.

How Logan Explores Themes of Elderly Care

Logan shows the difficulties of caring for people who suffer from Alzheimer's by portraying the father-son relationship of Professor X and Wolverine.

When Logan came out in 2017, most fans believed they would be seeing Hugh Jackman's Wolverine for the last time. Because of this, the movie showed a new side of two of the most famous X-Men characters -- Logan and Professor Xavier. Logan beautifully portrays the strong bond between Wolverine and Professor Xavier, highlighting the sacrifices made in caregiving for someone with Alzheimer's disease. By presenting the mental and physical decline of Professor X, Logan opens up a discussion about the struggles of those who suffer from Alzheimer's and their caregivers.

The X-Men movies showcased Professor X as a caring figure to all of his students. In Logan, that favor was returned as Wolverine was shown to deeply care for Professor X. He kept him alive and spared him the knowledge of how his uncontrolled powers killed most of his former students. By portraying such an important topic in a superhero film, viewers can witness the dynamic of these kinds of relationships and the sacrifices that come along with them.

Professor X Is Logan's Most Tragic Character

Since his first cinematic appearance in the first X-Men movie in 2000, Charles Xavier has been portrayed as a mentor and father figure to both his students and the X-Men. His continuous fight for the coexistence of mutants and humans earned him the adoration and love of those closest to him. In order to protect young mutants from the hatred and prejudice of the rest of the world, Professor X made a school where homo superiors could learn and control their powers. Ever since then, Xavier had spent his entire life protecting mutant-kind and trying to bridge the chasm between it and humanity.

In Logan, viewers are informed that most of the X-Men and over 600 people were killed during something called the "Westchester Incident." It is later revealed that due to his Alzheimer's, Professor X was unable to control his telepathic powers, creating psychic seizures that killed everyone around him. After the incident, Logan took Xavier away. During their time together, he gave him medication to suppress his psychic powers and to forget about the incident. However, at some point, Xavier remembered what he did and dealt with great sadness and grief. Since he dedicated most of his life to protecting his students and innocent people, he was hurt at the realization of what he had done. What makes this even more regretful is the fact that he once used his mind in order to protect and find other mutants. But his own mind turns against him and kills his loved ones, showing how devastating his power can be.

How Alzheimer's and Elderly Care Are Represented in Logan

Logan accurately represented how Alzheimer's disease can affect certain individuals. In the case of Charles Xavier, he was shown to have mood swings and occasionally fights with Logan. When he first appeared in the movie, he loudly recited Shakespeare and sang "Little Miss Muffet" to himself. On the one hand, there were times when he seemed erratic and suspicious of his caregivers. On the other, there were times when he seemed lucid, being able to make sense of his surroundings. The movie accurately represents the effects of Alzheimer's on Xavier, including mood swings, memory loss and confusion, shedding light on the struggles faced by those with the condition. Because of the decline of his cognitive abilities, Xavier was often seen in a state of confusion, which aggravated him and led him to fight with Logan.

Similarly, Wolverine was seen to be affected by both his obligation and need to take care of Xavier. Despite the help of the mutant tracker Caliban, there were times when Wolverine could not bear to be near his former mentor due to his declining health. However, he never stopped looking after him, as he saved money to buy a boat to finally offer safety for them both. Every action and decision he made was based on how it will affect his father figure. Even during their final moments together, when Xavier was stabbed by X-24, Logan looked after him by staying with him as he drew his last breath. Then, with the utmost care, Logan buried him next to a lake, stating to Laura that he thought that Xavier would have liked his final resting place.

Logan's Portrayal of a Family

Despite the intensity and difficulty of taking care of a person who suffers from Alzheimer's, there were important lessons that the characters learned from this experience. Laura's arrival heralded new dangers for them both, but it also gave them an opportunity to rejuvenate old relationships and create new ones. Laura played her role in helping take care of Xavier as well, becoming a constant companion to him during their time together. Even Professor X noted how her power reflected her role as a caregiver and a hunter. In addition to Xavier and Logan having formed a father-son relationship, Laura, in a way, formed a granddaughter-grandfather relationship with Xavier. Xavier was the one who persuaded Wolverine to help Laura, and through her, he was able to show his former pupil the meaning of familial love. In a way, they became a family.

Even though Xavier did not want Laura to become like Wolverine, he also wanted Logan to take care of her. Xavier was once a teacher, and he understood the value of loving and being loved by a child. Logan showcased the importance of family and love in the face of Alzheimer's, as Xavier's declining health prompted him to teach Wolverine about the value of life and create a family with Laura. At some point, he said to Wolverine, "You know, Logan… this is what life looks like. A home, people who love each other. Safe place. You should take a moment and feel it." Even though Xavier was suffering from Alzheimer's and under the care of Wolverine, he still tried to teach him about the value of family, something that transcends the obligations of duty.

The theme of taking care of the older generation has been a popular theme in movies, with some notable examples being Amour, Still Alice and The Father. The depiction of Alzheimer's and things like it in movies can make audiences aware of the issues that surround elderly care in real life. But, by portraying such an important topic in a superhero film, it opened up the conversation to a wider audience. The presentation of the mental and physical decline of Patrick Stewart's Professor Xavier came as a shock to many, but that doesn't mean it wasn't an important topic to cover.

Logan also shows how such situations can give clarity in life. Despite the fact that Xavier had Alzheimer's, he still mustered traces of his past self to save Laura. He also guided Wolverine and made him realize the importance of family and of loving and being loved. Taking care of the elderly can be difficult, mainly due to various emotional reasons. For Logan to watch a man that he looked up to become a shadow of his former self can be sorrowful. However, it also shows that, even though there are difficulties, Logan would have done anything for Xavier, even in his old age, because of his love for him. The movie highlighted the relationship between father and son, elder and caregiver and grandparent and grandchild. When Laura appeared, she became, in many ways, the new caregiver of the family. However, instead of providing physical care, she provided emotional care by reminding Xavier of what life can be. Likewise, Logan reminds those who are affected by Alzheimer's that there is something more to life than surviving -- there is living.

One Piece Theory: Mihawk Is the Son of a Roger Pirate and a Former Empress

An intruguing couple in One Piece has been considered the top candidates as Mihawk's parents, and the evidence points toward this theory being true.

Despite being syndicated for over 25 years, One Piece still presents many questions that demand answers. Among its many narrative threads, there are countless events that need to be explored. While Will of D., the lineage of Shanks, and the identity of Rocks D. Xebec are but a few of these mysteries, they speak to the show's interest in the lineage of One Piece's cast. The anime explores this recurring theme time and time against. As the series approaches its long-awaited final saga, there are still several major characters whose backstories and lineage are completely unknown. Arguably, the most noteworthy of these individuals is none other than Dracule Mihawk, the World's Strongest Swordsman.

Since his first appearance in the Baratie Arc, Dracule Mihawk’s origins have been shrouded in mystery. One Piece states the swordsman was once a Marine Hunter. As evidenced by their brief encounter at the end of the East Blue Saga, Mihawk considered Shanks to be his greatest rival at some undetermined point in the past. However, other than this information, virtually nothing is known about Mihawk's backstory, leading many fans to speculate that the identity of his parents could be revealed at a later date. Considering the swordsman's age, as well as a few other factors, there are two characters who are routinely mentioned as his potential parents: Silvers Rayleigh and Shakuyaku.

Updated on September 17, 2023 by Kennedy King: With Monkey D. Luffy now considered an Emperor of the Sea, the hunt for the One Piece has begun in earnest. Dracule Mihawk, who previously had little interest in finding the treasure, is now part of the Cross Guild alongside Buggy the Clown and Crocodile. This development makes the World's Strongest Swordsman more significant than ever. As he inches closer toward his long-awaited showdown with Roronoa Zoro, Mihawk's lineage will certainly be explored in the near future.

The Visual Similarities Of Mihawk, Shakuyaku, And Silvers Rayleigh

While the visual appearance of a One Piece character is not a reliable way to predict who their relatives might be, it's not the worst place to start in the case of Dracule Mihawk. When comparing his appearance to other notable characters, the World's Greatest Swordsman bears a striking resemblance to two specific characters introduced during the series' Sabaody Archipelago Arc. One is Shakuyaku, the former Empress of Amazon Lily. The other is Silvers Rayleigh, the former first mate of the Roger Pirates. The first similarity of note stems from Mihawk's hair, which has always been presented as pitch black with sharp, pointed accents. Shakuyaku's hair is very similar, and while its color isn't particularly noteworthy, the fact it is styled similarly to Mihawk's stands out. Both of their hairlines come to a triangular point below their ears — a similarity that is further emphasized by their strong squared chins. Although these overlapping visual designs could be chalked up to the art style of One Piece's author, Eiichiro Oda, there are more signs that point to a connection between the trio.

Besides Shakuyaku, Dracule Mihawk also enjoys a distinct resemblance to Silvers Rayleigh, the former right hand of Gol D. Roger. Although Silvers' hair is depicted as blonde during his youth, lighter hair colors tend to be a recessive gene, so it's not unrealistic to think that the two could be directly connected. Rayleigh's facial hair and eyebrows were black when he was still on the Roger Pirates. This lends further credence to the idea that his hair serves as a point of connection to the World's Greatest Swordsman. In fact, Rayleigh's style of facial hair also provides a potential through line between the two legendary pirates. Mihawk's goatee includes a single strip running down the middle of his chin, whereas Silvers Rayleigh sports five stripes of similarly arranged facial hair. These minor similarities between character designs may seem like an effect of Oda's art style. However, One Piece's author has used this strategy to provide hints about several characters' lineage. These hints include Zoro's resemblance to the Shimotsuki Clan, Sanji's eyebrows and their connection to the Vinsmoke Family, and the messy hair of Portgas D. Ace and Gol D. Roger.

How the One Piece Timeline Supports A Connection Between Mihawk, Shakky, And Rayleigh

When comparing the ages of Mihawk and his potential parents, the pieces continue to fit together. By the events of One Piece, Silver Rayleigh is 78, Shakuyaku is 64, and Dracule Mihawk is 44. If Mihawk is their son, it would mean that the pair would have been 34 and 20 when he was born. Considering that they were both pirates at this time and Shakky retired 42 years before the story, it is not impossible that they met on the sea and hooked up after a heroic bout between their crews. The words of Gloriosa support this theory, since she states that every Empress of Amazon Lily falls victim to the Love Sickness. Since Shakky abandoned her post as Empress around the same time that Mihawk was born, it's entirely possible that she did so in order to raise the boy who would eventually become the World's Strongest Swordsman. Similarly, when Silvers Rayleigh holds an infant Kozuki Momonosuke, he comments the child reminds him of the old days, perhaps suggesting that he is reminiscing about the time that he spent raising Dracule Mihawk.

Unfortunately, until further notice, the evidence surrounding Dracule Mihawk's connection to Shakuyaku and Silvers Rayleigh is completely circumstantial. Neither Shakky nor Rayleigh ever directly mention the fact that they have a son. Whenever Mihawk's rivalry with Shanks is discussed, there is never any mention of them being connected through the Roger Pirates. While the World's Strongest Swordsman has never been talkative, it seems like he would have mentioned his backstory to Roronoa Zoro during the two years that they spent together in the series' timeskip. Still, there are plenty of explanations for these discrepancies, making it entirely possible that Dracule Mihawk backstory houses one of the biggest secrets in One Piece history.