Jerry Jones
I Owe My Gold Jacket To Irvin
& His Winner’s Mentality

Published
February 15, 2026
12:30 AM PST

If it’s sci-fi and was directed by Christopher Nolan, it’s bound to be a hit. The celebrated director has become the go-to for highly theoretical sci-fi expeditions, with hits like Inception, Tenet, and Oppenheimer. One of his most celebrated films in this genre is the 2014 megahit Interstellar, which has grossed over $773 million worldwide. It is regarded as one of the best sci-fi films of all time thanks to its complex concept and top-tier performances. As Nolan prepares for his next film, The Odyssey, viewers are still revisiting the hit that introduced Timothée Chalamet to the world of blockbusters.

Data from FlixPatrol shows a massive global interest in Interstellar. It is among the top ten movies on many local and international streaming services, including HBO Max, iTunes, and OSN. In the U.S., Interstellar is ranked fifth on Pluto at the time of writing. The movie’s success on streaming is a continuation of its winning streak. Despite receiving mixed reviews from critics, Interstellar‘s ambitious storytelling connected with moviegoers, especially internationally. Produced with an estimated budget of $165 million, it grossed over $680 million during its original theatrical run and over $20 million during the tenth-anniversary re-release.

Interstellar had a recent screening in Los Angeles, and Chalamet was present alongside Nolan. The megastar revealed that the film was his all-time favorite. “Though my role is not enormous in Interstellar, I think I was number 12 on the call sheet, this film came to me at a time in life, in my career, where things were certainly not set yet,” the actor said. He played Tom, the teenage son of the main character Cooper (Matthew McConaughey). 12 years later, things are certainly set in Chalamet’s career after subsequent critical and box-office hits. His latest movie, Marty Supreme, has broken records for A24, becoming the studio’s highest-grossing film to date.

Christopher Nolan’s Next Film Comes Out This Year

The Odyssey is a departure from Nolan’s expected genre. The film is based on Homer’s story of Odysseus, the king of Ithaca, trying to return home after the Trojan War. It is an ambitious endeavor by the director, but he has the experience and cast to pull it off. The fantasy epic has a star-studded cast that includes Matt Damon, Anne Hathaway, Zendaya, Tom Holland, Lupita Ny’ongo, Robert Pattinson, Jon Bernthal, Mia Goth, Elliot Page, and more. The Odyssey premieres in theaters on July 17, 2026.

Watch Interstellar on Pluto TV in the U.S., and stay with us for more updates.

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Release Date

November 7, 2014

Runtime

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169 Minutes

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Margot Robbie
Good Genes or
Good Docs?!

Published
February 15, 2026
12:45 AM PST

Editor’s note: The following contains spoilers for ‘Wuthering Heights.’An adaptation has no obligation to honor its source material, but it does need to ensure that any changes made to the original text are justified. Emerald Fennell crafted a jarring new version of Emily Brontë’s beloved classic Wuthering Heights that only depicts half of the story in the novel. The romance between Catherine Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi) that Fennell focuses on only constitutes the first half of the book, with the second part centered on their respective children. While previous versions of Wuthering Heights have also ignored the second half of the novel, Fennell’s willingness to brush over the younger characters removes the haunting depiction of generational trauma that makes the material so haunting. Without seeing how the unrequited love between Catherine and Heathcliff manifests, Fennell’s Wuthering Heights is a standard period romance that lacks bite.

Fennell’s Wuthering Heights immediately announces its disregard for the source material because the character of Hindley Earnshaw, Catherine’s brother, is removed entirely. Hindley is not only a bully who subjects Heathcliff to physical and emotional torment, but the target of vengeance. It’s by treating Hindley’s son, Hareton, as an uneducated servant that Heathcliff subjects the descendant of the Earnshaw family to the same misery that he experienced. Fennell’s film instead uses Cathy’s father, Mr. Earnshaw (Martin Clunes), to fulfill the role of Heathcliff’s tormenter, but he isn’t a major factor in the film once she is wedded to Edgar Linton (Shazad Latif). While these decisions may have been for the sake of simplifying the text, character motivations become more confusing once their motivations are made more foggy.

Emerald Fennell Only Told Half of ‘Wuthering Heights’

Wuthering Heights is an epic tragedy because Heathcliff and Catherine are never allowed to be intimate with one another, as they each become locked in unexpected marriages. The importance of Catherine’s marriage to Edgar and Heathcliff’s wedding with Isabella (Alison Oliver) is to show how they are locked away from each other by societal rules; despite seemingly being given fulfilling relationships with considerable wealth, Catherine and Heathcliff are miserable because they have loved one another since childhood. Taking out the second generation of characters means that Wuthering Heights doesn’t show the ramifications of the separation. Instead, Fennell seems to stage the drama as a series of love triangles. Cathy only marries Edgar because of Heathcliff’s departure, which is prompted by a deception on the part of her maid, Nelly Dean (Hong Chau). Likewise, Heathcliff marries Isabella as an opportunity to torment Cathy. However, Fennell’s film doesn’t actually create any suspense because Catherine and Heathcliff are intimate, meaning that their respective marriages didn’t suppress their affections for one another.

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The inclusion of the second generation of characters is necessary in creating dramatic irony because the novel shows how each of the children comes to suffer as a result of their parents’ sins. Heathcliff’s son, Linton, does not have any of his father’s strength and thus never gets to enjoy the pleasures of his father’s fortune; Catherine’s daughter, Catherine Linton, is born when her mother dies in childbirth, and is denied knowledge of her heritage by her father, Edgar. The eventual tragic love story that emerges between Linton and Cathy is meant to be a dark mirror to that of their parents, as it is Linton who dies of sickness, and Cathy who is left to marry another. Even the other versions of Wuthering Heights that only adapted half the book, such as the 1939 masterpiece directed by the great William Wyler, were able to show the loneliness Heathcliff feels when he’s haunted by the ghosts of the past. Fennell’s version, despite being much longer, doesn’t even include the flashes forward to the future, as it instead ends with a montage of a younger Catherine (Charlotte Mellington) and Heathcliff (Owen Cooper).

‘Wuthering Heights’ Doesn’t Have a Clear Motivation for Heathcliff

That Hindley, and by extension, Hareton, are not included means that there’s not a significant reason why Heathcliff returns to seek revenge after acquiring a fortune. Heathcliff’s treatment of Hareton, whom he values less than his own son, would have mirrored how he himself was treated by Mr. Earnshaw in comparison to Hindley. To see Heathcliff’s failures as a parent is important because he is simultaneously unable to protect his own child and faces the ultimate humiliation when Catherine’s daughter falls in love with Hareton, whom he despises. As a result, Elordi’s version of Heathcliff is simply a petty, petulant spurned lover whose separation with Catherine all comes down to a misinterpretation. It not only denies agency to both Catherine and Heathcliff, but also makes the Lintons into less interesting characters; Fennell only sees Edgar as a villain, and depicts Isabella as being vapid and childish.

Although Fennell has proven to be a polarizing figure because of her provocative stylistic choices, Wuthering Heights isn’t all that shocking because it distills a complex story of psychosexual, incestuous desire into a standard weepie. There was an opportunity to make a new version of Wuthering Heights that became the definitive adaptation, as it had the chance to include the knottier themes of the second half of the book that weren’t seen in the cinematic versions in 1939, 1970, 1992, and 2011. That so much of Brontë’s prose was ignored doesn’t just make Wuthering Heights an unfaithful adaptation, but turns it into a shallow, incomplete film in its own right. Unlike the way the romance should have been depicted, Fennell’s Wuthering Heights only skims the surface.

Wuthering Heights is now playing in theaters.

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Release Date

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February 13, 2026

Runtime

136 Minutes

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Director

Emerald Fennell

Writers

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Emerald Fennell, Emily Brontë

Producers

Margot Robbie, Tom Ackerley, Emerald Fennell, Josey McNamara

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Police procedurals have always captivated audiences. From the early days of the genre with shows like Dragnet — which was one of the first of its kind to take the fascination with law enforcement off the pages of quick-to-read novels and onto the screen — the titles have performed well with viewers across multiple age groups. These days, every major network has their own primetime procedural that rakes in the viewership numbers hand over foot. On ABC there’s High Potential and 9-1-1; while NBC has long been the home of the long-running and beloved drama, Law & Order; with CBS finding a sprawling fandom with its three-season running title, Tracker.

On the big screen, police-centered entertainment often swings even harder as the feature-length format allows directors to dig into the drama of it all and drive their stories home. Movies like Antoine Fuqua’s Training Day, Martin Scorsese’s The Departed, and Michael Mann’s Heat have all not only grown a devoted following but also gained acclaim on the awards circuit. With over-the-top characters, high stakes, and a shorter time frame to put it all out there, these movies can be as thrilling as they are emotionally involved, which has helped them stand out as instant classics.

In 2012, David Ayer tried his hand at crafting a gritty police drama with the help of Jake Gyllenhaal and Michael Peña in his film, End of Watch. Centered in South Central Los Angeles, the movie follows two LAPD officers, Brian (Gyllenhaal) and Mike (Peña), who are not only partners but close friends. Together, they patrol the streets, searching for gang members to bust all while staying alive to see their families at the end of the night. Unfortunately for HBO Max subscribers, time is running out to stream the pulse-pounding thriller as it’s set to leave the streamer on February 23.

Who Else Stars in ‘End of Watch’?

In addition to Gyllenhaal and Peña leading the police team, End of Watch also features performances from a standout ensemble that includes David Harbour (Stranger Things), Anna Kendrick (A Simple Favor), Frank Grillo (Tulsa King), America Ferrera (Ugly Betty), Natalie Martinez (Bad Monkey), Kristy Wu (Buffy the Vampire Slayer), Maurice Compte (Dominique), and more.

Known for his work behind a multitude of high-octane features, Ayer is no stranger to police dramas as he worked alongside Fuqua as Training Day’s screenwriter. He also penned the 2003 film, S.W.A.T., and continued to pursue work in the same vein as a director through vehicles such as Harsh Times, Street Kings, Sabotage, and Bright.

Head over to HBO Max before February 23 to stream End of Watch.

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Release Date

September 21, 2012

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Runtime

109 minutes

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Megan Thee Stallion
‘Savage’ Hot Shots To Kick Off Her 31st!!!

Published
February 15, 2026
1:00 AM PST

Horror movies were booming in the 1980s thanks to the slasher fad. However, finding the genre on TV was a different story. The Twilight Zone came back for a few years in the decade, and if you were a kid of a certain age, CBS’ Beauty and the Beast could be a bit creepy, but if you wanted straight-up horror, one of the only options out there was Werewolf. It debuted on the rather new Fox network in 1987, and although it ended all too soon, after two short seasons, Werewolf left its mark as a scary series ahead of its time.

What Was ‘Werewolf’ About?

The Fox Broadcasting Company was formed in 1986 as the fourth major network behind ABC, CBS, and NBC. It struggled in the beginning, with few successes, like Married… with Children, which meant Fox took more risks. One of those with the series Werewolf. Premiering as a two-hour event in July 1987, Werewolf had an interesting formula, combining the winning television concepts of The Incredible Hulk and The Fugitive into one.

Werewolf focused on a young man named Eric Cord, played by John J. York, best known to horror fans at the time for his small role in Night of the Creeps. He’s our hero, even though Cord is a werewolf. Like The Incredible Hulk‘s Bruce Banner (Bill Bixby), Cord is stuck by a curse he doesn’t want, which transforms him into a terrifying monster. Having been attacked by a werewolf, Cord now becomes one, leading him on a pursuit to find the lead lycanthrope. If he can kill him, Cord will be free. Playing the villainous role of Janos Skorzeny was the star of The Rifleman, Chuck Connors (horror fans will remember his creepy role in Tourist Trap), in one of his last television parts before his death in 1992.

Werewolf tells two all-encompassing stories. It’s not only about Cord trying to find Skorzeny, but it is also about the hero, just like in The Fugitive, being tracked down for a murder he didn’t commit, this time by a bounty hunter played by Lance LeGault named Joe Rogan (yes, that’s his real character’s name). But how can Werewolf create a sympathetic hero if he’s also turning into a monster who kills people? Werewolf found a way around that. Whenever Eric Cord transforms, it’s bad guys who meet their end.

‘Werewolf’ Was Cancelled After Two Seasons

Werewolf had a premise which might have seemed over-the-top in 1987, but it did have something going for it. The series was created by Frank Lupo, the same man who co-created hit 80s shows like The A-Team and Hunter. Werewolf, however, had a major problem right out of the gate. It’s big star, Chuck Connors, barely showed up, only appearing in four of its 29 episodes. Alan Cole, the script editor for the show, wrote about what happened on his blog. A few days after starting working on Werewolf, Lupo showed up in Cole’s office asking him to kill off the Skorzeny character. Cole couldn’t understand why, because “Connors had done a damned good job of portraying an evil, scary, villain with no moral compunctions whatsoever.” As it turned out, though, Connors wanted a new deal before the first episode even aired, angering Lupo.

This led to the TV icon mostly being written out of the series, with someone else made the villain. That could have led to disaster, yet Werewolf remained a fun series. It had a likable, good-looking lead, two compelling stories, and plenty of scary thrills. So, how did the werewolf look? After all, this was TV in the 80s, and you can imagine the monster looking hilariously bad on a struggling new network. No worries there, because the titular monster was created by none other than Rick Baker, the practical effects genius who had already created two famous werewolves for Michael Jackson‘s “Thriller” video and An American Werewolf in London, the latter of which resulted in him winning the first ever Academy Award for Best Makeup.

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Eric Cord isn’t the only werewolf in the series. There are plenty of bad ones too, who have no qualms about killing the innocent. Baker’s effects brought them to life, with the creatures mostly walking upright like a human. Thanks to Baker, they hold up with the best of werewolf movies, and the attack scenes are easily the best part of the series. This is because, as Cole revealed, there were three werewolf costumes, and cost about $500,000 each.

Werewolf was canceled just 13 months after it debuted without an ending that wrapped things up. Fans never had the resolution of learning if Eric Cord would kill the head lycanthrope and have his curse removed. As disappointing as this was, it also left viewers forever wanting more, making it unforgettable for those who watched it. It was a flawed series, hindered by the actions of an aging TV star, but saved by the passion behind its effects. If you were a kid in the 1980s, there’s a good chance Werewolf was your introduction to horror.