At one point, Bob Odenkirk decided he was no longer content just being the slimiest lawyer on television and the world’s most deplorable conman, he wanted to become John Wick. Well, it’s nice to have dreams, right? And he was good at it! Who knew? Nobody proved that Saul Goodman could absolutely kick your ass, turning the Better Call Saul star into one of action’s most unlikely leading men. If you thought Nobody was it, think again.

Normal is officially charting on HBO Max after arriving on the platform on August 14. The 91-minute action thriller reunites Odenkirk with Nobody writer and John Wick creator Derek Kolstad, while Kill List and Free Fire filmmaker Ben Wheatley directs. And at roughly an hour and a half, it doesn’t exactly overstay its welcome. It’s Odenkirk, a small town hiding something nasty, the creator of John Wick and the director of Free Fire smashing everything together for a wild ride.

For Sheriff Ulysses (Odenkirk), his provisional posting to the quaint Midwestern town of Normal was meant to be a welcome respite from both his marital woes and recent moral injuries in the line of duty. But when a botched bank robbery interrupts the municipality’s tranquil pace, a dark secret is inadvertently exposed, and Ulysses soon discovers that the town (and its mayor, played by Henry Winkler) is anything but its namesake.

Who Stars in ‘Normal’?

The similarities to Nobody are hardly accidental. Odenkirk co-wrote Normal alongside Kolstad, who wrote the original John Wick and created the franchise before going on to write Nobody. Wheatley brings his own taste for chaotic violence to the director’s chair, resulting in a movie Rotten Tomatoes describes as delivering “over-the-top carnage.”

Normal also features Lena Headey (Game of Thrones) as Moira, Ryan Allen (Between) as Deputy Blaine Anderson, Billy MacLellan (Nobody) as Deputy Mike Nelson, Reena Jolly (SkyMed) as Lori, Brendan Fletcher (The Revenant) as Keith, Peter Shinkoda (Daredevil) as Joe, Jess McLeod (One of Us Is Lying) as Alex, and Derek Barnes as James.

Critics have largely enjoyed Odenkirk’s latest excursion into action territory. Normal currently holds a 77% Tomatometer score on Rotten Tomatoes alongside a 76% verified audience score, with the critical consensus praising Odenkirk’s “gruff yet playful presence” and Wheatley’s commitment to ridiculous, bloody entertainment.

Normal is streaming now on HBO Max.

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Release Date

April 16, 2026

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Runtime

91 minutes

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Reality star Lisa Vanderpump has turned the Las Vegas Strip into her own glamorous playground, bringing her signature mix of over-the-top design, cocktails, dining, and nightlife to Sin City. 

From lavish restaurants and pink and purple-hued lounges to her growing hospitality empire, The Vegas Files takes a look at five “Vanderpumped” places where you can experience the “RHOBH” alum’s unmistaken Vegas aesthetic. 

In March 2019, Vanderpump opened her first location in Sin City – Vanderpump Cocktail Garden at Caesars Palace. 

This spot really brings Vanderpump’s signature brand of glamour into the spotlight. The garden-inspired lounge blends dramatic lighting, lush greenery, and a feeling that you’ve stepped right into Vanderpump’s world. 

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The menu offers Instagram-worthy cocktails and small bites, shareable plates, and desserts you won’t soon forget. 

Located inside Caesars Palace near the entrance to The Forum Shops at Caesars Palace, it’s the perfect first stop before doing some shopping and gambling, or last stop to unwind with a cocktail in hand. 

For more information, visit the website.

Vanderpump à Paris At Paris Las Vegas

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Vanderpump à Paris opened inside Paris Las Vegas in April 2022. A visit to this spot will transport you from the Las Vegas Strip to a Parisian courtyard. This destination offers a romantic ambiance with signature cocktails, elevated French-inspired bites, and a sexier version of the City of Light. 

Designed to relax with a cocktail in hand, it’s the perfect spot to begin your Vegas adventures, or a great spot to end the day after exploring the area. 

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Visit the website for more information.

Pinky’s By Vanderpump At Flamingo Las Vegas

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Pinky’s by Vanderpump opened its doors inside Flamingo Las Vegas in December 2024. 

This “Vanderpumped” spot puts a glamorous spin on classic Vegas style at the Flamingo, blending the resort’s vintage history with the reality star’s style and flair. 

The restaurant and cocktail lounge surrounds guests with Art Deco-inspired design, lush green tones, and an atmosphere that’s equal parts sophisticated and theatrical. 

With creative cocktails, indulgent bites, and a lively terrace overlooking the world-famous Las Vegas Strip, Pinky’s is serving the kind of glitz and glam that Vanderpump is known for. 

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Find more information on the website.

Gigolo Bar Inside The Reality Star’s New Hotel

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Her newest bar, located inside her brand new hotel, has a unique name that fans immediately recognize. When The Blast spoke exclusively with Vanderpump a few months back, she explained the name and how she landed on it for her hotel’s bar. 

“I think people are surprised when they walk through the hotel, they see Gigolo Bar, which is also a nod to Giggy, my little dog who’s the head of the Vanderpump Dog Foundation that’s saved thousands of dogs, so people have a special place in their heart for that little guy,” she told The Blast. “When I pitched the idea of that bar, I said, ‘I’d like to call the bar in the lobby Gigolo,’ they were like, ‘Okay, so we’re gonna call it after male sex workers?’ I said, ‘No, after a dog.’ They went, ‘Oh it feels so much better now.’ People are loving that bar and it’s very curated and the drinks are all very special.” 

The ‘RHOBH’ Alum’s First Ever Hotel

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Vanderpump’s newest Vegas venture is her first hotel. During a recent appearance at Customer Contact Week in Las Vegas, she joked about her business ventures.

“A lot of people have been in my bars and drank with me, had dinner at my restaurant and ate with me, so in a way I feel we’ve been dating for a long time,” she told the crowd. “And now you get to sleep with me.” 

The hotel is her 40th venue. She transformed The Cromwell into the Vanderpump Hotel, and while doing that, filmed a reality show called, “Vanderpump Rules: Lisa Las Vegas” which is set to air sometime later this year. 

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Learn more and book your stay on the website.

Be sure to check out The Blast’s social media pages to see a reel of Vanderpump’s Vegas locations.

The biggest weekend in domestic box-office history delivered a massive $400 million-plus haul, thanks mainly to Spider-Man: Brand New Day‘s record-breaking $360 million debut. This wasn’t like the “Barbenheimer” event three years ago, when Oppenheimer and Barbie delivered more than $220 million in combined revenue in one weekend. Later this year, Warner Bros. and Disney are hoping for a repeat of the “Barbenheimer” event when Dune: Part Three and Avengers: Doomsday clash at the box office. Both films began pre-sales months before release; based on current revenue, they could produce another $400 million-plus weekend and possibly a new record.

Avengers: Doomsday has generated $35 million in advance ticket sales so far, according to Global Box Office. The movie is projected to gross between $260 million and $300 million in its opening weekend, with room for change given how much time there is until its release in December. By comparison, Avengers: Endgame set an opening-weekend record in 2019, grossing $357 million. This record was beaten by Spider-Man: Brand New Day in July. Marvel and Disney are leaving no stone unturned in bringing the MCU back to its former glory; despite the success of Spider-Man: Brand New Day, the franchise has been damaged in recent years by the underperformance of movies such as The Marvels, Thunderbolts*, Captain America: Brave New World, and Ant-Man and the Wasp: Quantumania.

How Much Is ‘Dune: Part Three’ Projected to Gross in Its Box-Office Debut?

Meanwhile, Global Box Office is reporting that Dune: Part Three has generated $10 million in advance sales already. This sets the movie up for a franchise-record opening, putting it on track to become the trilogy’s first installment to gross more than $100 million in its first weekend. By comparison, Dune: Part Two grossed $82 million in its domestic debut in 2024, and finished its global run with around $715 million. The first Dune was controversially released day-and-date on HBO Max, which dented its overall box-office performance. Despite the setback, it ended up grossing more than $430 million worldwide, including revenue from a re-release in 2024. All three movies in the acclaimed sci-fi series have been directed by Denis Villeneuve, with Timothée Chalamet and Zendaya in the lead roles. The third film will also feature Anya Taylor-Joy, Florence Pugh, Javier Bardem, Rebecca Ferguson, Robert Pattinson, Jason Momoa, and others. Dune: Part Three and Avengers: Doomsday will face off on December 18. Stay tuned to Collider for more updates.

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Release Date

December 18, 2026

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Director

Denis Villeneuve

Writers

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Jon Spaihts, Denis Villeneuve, Frank Herbert

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Although it has been an extremely strong year at the box office, 2026 has still had its fair share of flops, from Jessie Buckley‘s divisive performance in The Bride! and director Travis Knight‘s Masters of the Universe to the critically panned AI-based thriller Mercy and the inevitable flop The Death of Robin Hood. But perhaps the most notable flop of the year came from the new DC Universe, as talented young star Milly Alcock headlined as Kara Zor-El for the first time.

Opening to just $38 million domestically and $68 million worldwide, Supergirl marked a significant drop compared to last summer’s surprise smash Superman, as it whimpered out of theaters with just $126 million worldwide, against a reported budget of $170 million. So poor was this result that DC Studios co-CEO Peter Safran felt the need to publicly comment, admitting that “Supergirl didn’t meet our box office expectations,” but adding, “it’s just one component of a broader, long-term strategy at DC Studios that we remain confident in.” For James Gunn, who was an executive producer and creative supervisor on Supergirl, this is far from his first flop.

Back in 2021, Gunn faced a similar box office disaster as writer and director of The Suicide Squad, a sequel to David Ayer‘s Suicide Squad from 2016. The film boasted a $185 million budget and a stacked cast of famous faces, from Margot Robbie and John Cena to Idris Elba. However, it only made $168.7 million in total global revenue, falling far short of expectations and becoming one of the most high-profile flops of 2021. Gunn himself acknowledged the failure, although he was quick to admit that the COVID-19 pandemic and a poor streaming release strategy harmed its chances.

‘The Suicide Squad’ Has Bounced Back

Five years later and in the shadow of Supergirl‘s collapse, The Suicide Squad has surprisingly bounced back. At the time of writing, the film is one of the ten most-watched on Netflix worldwide. Other films to have ranked in the current top ten include the 2026 Indian film Cocktail 2, Kevin Hart‘s latest Netflix comedy 72 Hours, the 2003 rom-com gem What a Girl Wants, the 2015 sci-fi favorite Extinction, and Louis Leterrier‘s The Last House.

Stay tuned to Collider for the latest streaming stories.

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Release Date

August 6, 2021

Runtime

132 minutes

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Director

James Gunn

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Producers

Charles Roven, Peter Safran

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In a perfect world, both audiences and critics would be in love with a particular TV show. However, we sadly don’t live in a perfect world, and the television landscape is littered with numerous shows that are either loved by professional critics but hated by audiences, or loathed by the critics, but are beloved by viewers. Then, there’s a third angle: TV shows are lauded by critics, but, upon watching them, are actually kind of bad.

So, we’re going to take a look at the TV shows that were darlings of the critics, but were actually kind of bad. It’s not that I absolutely hated these shows. I tried to give all of them a chance (and may do so again in the future), but I just simply couldn’t get into these shows.

‘Quantico’ (2015–2018)

Image via ABC

We talk a lot about thrillers on this site, but I think one sub-genre that we don’t talk enough about is terrorism thrillers. These are shows in which the storyline is centered on a terrorist plot in which a law enforcement officer must prevent. 24 was probably the standard-bearer of the sub-genre, and it was a huge hit for Fox. So, in 2015, ABC, which was desperate for dramatic hits at the time, decided to create their own 24-inspired terrorism thriller, Quantico; and, to put it nicely, it was spectacularly mid.

Starring Priyanka Chopra, Quantico follows an FBI rookie who, all of a sudden, becomes the prime suspect in a terrorist attack on New York City’s Grand Central Terminal, and, according to the terrorism thriller textbook, our protagonist must clear her name. Critics loved Chopra’s performance, and the incredibly diverse cast, but the dual timelines made the show hard to follow for the average viewer. After three seasons, Quantico faded into the television purgatory.

‘FBI’ (2018–Present)

Image via CBS

Dick Wolf is no stranger to the crime procedural sub-genre, and he has created some absolute gems, from the genre-transforming Law & Order universe to the criminally underrated New York Undercover. I love Dick Wolf’s work, which pains me to write that FBI, the police procedural that premiered on CBS in 2018, is not among his best despite critical acclaim.

If you’ve watched a Dick Wolf series, you pretty much know how FBI works. Set in its New York City field office, the series follows a unit of FBI special agents as they work to protect the citizens of the city from bad guys. While I agree with the critics that the performances are great, I can’t help that FBI feels eerily like a knock-off version of Law & Order. Everything, from the episode structure to how the characters interact with each other, just seems like Law & Order-like. I wanted FBI to be different, to take more risks, and it just sticks to the tried-and-true, which isn’t bad, but if you want that, just go watch Law & Order.

‘Supergirl’ (2015–2021)

Image via The CW

This is a CW show, so I’m going to be grading this show on a steep curve. Everyone knows that CW superhero shows are hit-or-miss, and for a time, Supergirl seemed like a hit, until it wasn’t. Supergirl follows the cousin of Superman, Kara Zor-El/ Kara Danvers (Melissa Benoist), as she defends National City (what an interesting name for a city) from the bad guys who want to do harm to it.

The first three seasons of Supergirl were pretty good (for a CW show, anyway), and I got into the plot. But afterward, it was all downhill from there. The storyline began to make no sense, and the characters became pretty bland. It’s a shame, because Supergirl could have been among the great superhero shows on the small screen. Instead, it’s another in a line of examples as to why superheroes belong on the big screen, not on TV.

‘Homeland’ (2011–2020)

Image via Showtime

There’s always one show in every list I write that brings me chest pain for criticizing it, mainly because I enjoyed said show during its initial run, but, rewatching it, I can see the flaws more clearly. Here, it’s Homeland, the Showtime espionage thriller that had me in a chokehold in the 2010s, but I can now understand why it’s not seen in such a great light today.

Each season of Homeland is different, but the main plot centers around Carrie Mathison (Claire Danes), a CIA operations agent who embarked on an unauthorized operation in Iraq and, as punishment (I guess), was re-assigned to the agency’s Counterterrorism Center. It’s here where most of the action of the series takes place, and the series has received numerous industry awards and nominations. But, where I have a problem with Homeland is how it constantly misrepresents Muslims. Yes, this was a time in which the War on Terror was at its peak, but it still wasn’t a fair portrayal of the faith, and the criticisms that this show got for its portrayal of Muslims are warranted.

‘Ten Percent’ (2022)

Image via Prime Video

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We normally don’t accommodate comedies with miniseries. While there are a few examples of comedic exploits turning into miniseries (Beef is a great example of this), comedies normally get multiple seasons to pull in an audience. So, it was weird when Ten Percent, a British comedy streamed on Prime Video, only got one season on the series. Then, I rewatched it, and I could see why.

While the series was filmed in Britain, the show is actually based on a French series, Dix pour Cent, which is set in a talent agency in London that is thrown into turmoil when the agency’s founder dies unexpectedly. While critics did like the fact that it was pleasant, I had the pleasure of watching the original French show, and once you watch that one, you’ll quickly see that this is a carbon copy of that series. The British version of Ten Percent did little to differentiate itself from its French counterpart, which is jarring because the British are pioneers when it comes to comedy, and it’s usually other countries copying them, not the other way around. Why would they do this? No wonder it was done after just eight episodes.

‘Star Wars Resistance’ (2018–2020)

Image via Lucasfilm

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I’m going to preface this by saying that Star Wars rarely works as a comedy. Especially after the genius grittiness of Andor, Star Wars is at its best when it stays in its space opera roots. So, when I decided to re-watch Star Wars Resistance, I was completely taken aback by the comedic scale of this series, and it just didn’t work for me.

It’s shocking for me to write this because, back during its original run, I liked Star Wars Resistance. I totally get why it has a 92% critical rating on Rotten Tomatoes, as the story of Star Wars Resistance did set the stage for bigger adventures that were more kid-friendly. But, this is where it also lost me. I don’t want kid-friendly Star Wars. I want gritty Star Wars, and Resistance just doesn’t do it for me anymore.

‘The Morning Show’ (2019–Present)

I feel like TV morning shows have a cutthroat nature behind those scenes that would be ripped for exploration into a television series. That’s what Jay Carson thought as well when he adapted Brian Stelter‘s 2013 novel, Top of the Morning, into The Morning Show, for Apple TV. Starring Jennifer Aniston and Reese Witherspoon, The Morning Show looks at the sad nature of what it’s like behind the scenes of a morning show.

The Morning Show is a textbook example of a “critical darling” series. It was beloved by critics, and was nominated for a number of awards, and most of them rightfully so. The performances of Aniston and Witherspoon were dynamite, and this series accurately hit on a number of topics that many viewers could relate to. Having said that, The Morning Show had one major flaw: it is really boring. It doesn’t matter how good the writing is or how great the performances are, if a show works best as sleep-inducing background noise, it doesn’t work as an entertaining program. The Morning Show could have been among my favorites, but you can’t cook a steak without seasoning and expect it to taste great.

‘The Lord of the Rings: The Rings of Power’ (2022–Present)

Image via Prime Video

Oh, I’m pretty sure I’m going to get some hate in the comments for including this show, but let me explain why it should be here, and I’ll let you form your own opinions. The Lord of the Rings: The Rings of Power was critically loved, but it’s incredibly overrated, and I didn’t think the storyline was really well fleshed out, especially in the mess that was the second season.

The Rings of Power was a good idea that had a ton of potential to be one of the best high fantasy shows on television, but its overwrought performances, thin plotline, and questionable accuracy to the J. R. R. Tolkien novels are what weighs this series down. There is a reason why the second season had a lower viewership than the first; fans saw through the smokescreen and saw the series for what it was: an underwhelming fantasy series that was over-hyped by critics.

‘NCIS: Sydney’ (2023–Present)

Image via Paramount+

As much as I’m a huge fan of the Law & Order universe, I am equally a fan of the NCIS franchise. The original NCIS will never be touched, but I have a soft spot in my heart for the spin-offs. They’re not as good in quality as the OG NCIS, but they hold their own and have managed to differentiate themselves from the original as so, they stand on their own two-feet and don’t need assistance from the parent series, except one: NCIS: Sydney.

If you’ve watched NCIS, you don’t need me to explain the plot. It’s the same flavor, except the NCIS agents are now in Instagram-scenic Sydney, Australia catching bad guys this time around. Unlike its siblings, NCIS: Sydney doesn’t offer anything different or exciting than the other spin-offs offered. It doesn’t have enough flavor to justify its existence, and while the action is just as good, you’re better off watching NCIS‘s better spin-offs.

‘Halo’ (2022–2024)

Image via Paramount+

This one is personal. As a fan of the Halo games, I wanted so long to see what a TV series based off of the video game series would be like. I have been on board ever since I learned it was in development in 2013. I waited like a kid on Christmas Eve for this series to drop. So, when it finally did in 2022, I grabbed my popcorn, my Gatorade, and settled in for a night of binge-watching. To say I was disappointed with the finishing product is a tremendous understatement. I was crushed.

Halo, the TV series, had tremendous promise, and, to be fair, I wasn’t expecting it to be perfect. Having written that, when you’re sourcing from a beloved video game franchise, you need to give that source material the justice it deserves, and Halo, the TV series, didn’t do that at all. It’s very derivative, the writing is uninspiring, and it’s too plot-driven for a franchise that’s centered on its characters. While the critics gave it hope, I gave up midway through Season 1. Halo, the TV series, is a bad show, and its first impression left a very bad taste in my mouth.

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Halo

Release Date

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2022 – 2024-00-00

Network

Paramount+

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Showrunner

Kyle Killen

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Directors

Jonathan Liebesman, Craig Zisk, Dennie Gordon, Roel Reiné, Debs Paterson

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The Punisher has been a difficult character to crack in Marvel Comics adaptations because the notion of a vigilante gunslinger is no longer as novel or as appealing as it was when Frank Castle debuted. Three different actors have portrayed Castle in live-action films, and each portrayal failed, despite the talent of their stars; these films ranged from being completely ignorant of the character’s real-world ramifications to being trapped in a generic revenge-thriller formula. The one spark of hope that fans of the Punisher earned after years of disappointment was in the second season of Netflix’s Daredevil, in which Jon Bernthal’s version of Castle appeared as a nemesis-turned-ally of Matt Murdock (Charlie Cox). While Daredevil suggested that Castle might be best utilized as a supporting character, The Punisher does justice to the source material with a modernized, emotional, and surprisingly timely approach to his complex mythology.

Although the fundamentals of Castle’s backstory were laid out in Daredevil, The Punisher offers a partial origin story through flashbacks that is necessary, given that it wasn’t nailed in any of the previous film interpretations. However, Castle is trapped in the present because he is haunted by the loss of his family, which has caused him to retreat into being a solemn recluse hunting down the criminals that murdered his loved ones. The hardest step Castle has to take is finding a new purpose after vengeance, as he does not feel that justice has been served by his bloodlust. Bernthal gives a damaged, multifaceted performance that highlights Castle’s struggles with post-traumatic stress disorder, and the two-season show delves into the societal evils that shaped his cynical perspective.

Netflix’s ‘The Punisher’ Reinvents Frank Castle

Although Daredevil had already indicated it, The Punisher confirms that Bernthal was born to play Castle because he understands the sadness and intensity that cause him to be constantly under strain. Bernthal’s Castle is just as obsessed with vengeance as the character is in most comic book depictions, but his fixation has become an addiction because of how in flux his moral code is; having concluded that anyone guilty of committing crimes similar to those made against his family deserves to be punished, Castle has set himself up on an unquenchable quest for revenge that will never be completed. Since the show picks up after Daredevil Season 2, which itself featured Castle already established as an anti-hero, there is no pleasure or spark within the routine that he has committed himself to. Castle works best as a character when he is grizzled and indigent, and The Punisher draws him out of repetition with a newfound mystery that links to his past.

The Punisher finds a clever way to explore Castle’s history in the military because it introduces the character of Billy Russo, a former member of his Force Recon team, played by Ben Barnes. Russo represents an alternative to Castle who initially seems to be better adjusted because he leads a recovery group for fellow veterans and has found new work as a private contractor; however, this masks an insidious lie that Russo has used to hide his guilt, as he has not been made to suffer as Castle has. That The Punisher is a series, and not a film, gives it more time to take a sincere look at veterans’ issues that Bernthal undoubtedly takes seriously, and it also makes an effort to question gun control tactics during a time in which mass shooting incidents are sadly all too common. In addition to acknowledging why Castle’s fatalistic techniques are ultimately not helpful, The Punisher examines how easy it is for vulnerable young men, especially veterans with mental health issues, to be seduced into joining radical groups that promote violence and hate speech.

‘The Punisher’ Is Marvel at Its Grittiest and Most Psychological

Bernthal has the presence to carry The Punisher on its shoulders, but the show has a surprisingly stacked ensemble that ensures it is more than just a solo adventure. Bernthal has been a longtime friend and collaborator with Ebon Moss-Bachrach, whose role as Ben Grimm in the Marvel Cinematic Universe was predated by his performance in The Punisher as the former NSA analyst David Lieberman, who goes by the codename “Mirco.” Lieberman is a veteran of a different sort who has also been denied the opportunity to connect with his family, which sparks parallels with Castle. It’s compelling to have another hero with a different skill set, and the real-life friendship between Bernthal and Moss-Bachrach makes their onscreen chemistry all the more authentic and adds a healthy amount of humor to an otherwise dark show.

Although many of the Netflix Marvel shows struggled as they went along because they had to connect to one another, The Punisher maintains a degree of quality throughout and justifies the episode count for each season. It even gets a boost of momentum in its second season thanks to the addition of Giorgia Whigham as Amy Bendix, a drifter who becomes a surrogate daughter for Castle. It’s also among the most dynamic streaming shows in terms of action, as the brutal, unglamorized brawls couldn’t be more different than the elegant choreography in Daredevil. It has been exciting to see Bernthal expand upon the character with his most recent appearances in the MCU, but The Punisher remains the most riveting and exhilarating depiction of the character on screen.

You generally consider a trilogy capper to be the cherry on the icing at the top of the cake, if in this scenario the cake is three epic films telling one grand tale. Well, in this baking analogy, this cake is overly sickly sweet, probably store bought and full of chemicals. But you know what, we still love it, and we’ll gorge ourselves silly on it. Anyway, enough of that, let’s talk about saving the world and saying goodbye to Tom Hardy.

Venom: The Last Dance is having, well, its last dance on Netflix in the United States. The movie officially leaves the streaming platform on August 25, which is sure to be a blow to fans who’ve made the movie one of the most popular in the world. The film even made its way to No. 1 all across the world. And whatever you think about the Venom movies, they made some serious money at the box office. The Last Dance earned $478.9 million worldwide, including approximately $139.8 million domestically and $339.2 million internationally.

In Venom: The Last Dance, Hardy returns as Venom, one of Marvel’s greatest and most complex characters, for the final film in the trilogy. Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie’s last dance. Fair to say, though, things get worse when Knull — the ancient creator of the symbiotes — enters the picture. See, his forces need the Codex carried by Eddie and Venom, sending the pair on one final chaotic road trip.

Who Starred in ‘Venom: The Last Dance’?

Hardy is joined by Chiwetel Ejiofor (12 Years a Slave) as Rex Strickland, Juno Temple (Ted Lasso) as Dr. Teddy Paine, Rhys Ifans (The Amazing Spider-Man) as Martin Moon, Stephen Graham (Adolescence) as Patrick Mulligan, Clark Backo (Letterkenny) as Sadie Christmas, Cristo Fernández (Ted Lasso) as the bartender and Andy Serkis (The Lord of the Rings) as Knull. Kelly Marcel, who co-wrote the first two movies, made her feature directorial debut with The Last Dance and wrote its screenplay from a story developed alongside Hardy.

Venom: The Last Dance is streaming on Netflix until August 25.

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Release Date

October 25, 2024

Runtime

110 Minutes

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Director

Kelly Marcel

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Portuguese soccer star Quévin Castro died at age 25 after collapsing during a match.

The central midfielder was competing in a friendly preseason match between his team, Real Sport Clube, and rivals Estrela de Amadora at Estádio das Seixas stadium in Malveira, Portugal, on Saturday, August 22, when he collapsed. He was transferred to a local hospital where he was ultimately pronounced dead, per Press Association.

The Lisbon Football Association announced the tragic news in a Facebook post mourning Castro.

“To the family, friends, and the affiliated club [Real Sport Clube], we extend our deepest condolences during this tragic time for Portuguese football,” the organization wrote on Saturday.

His current team, Real Sport Clube, also paid tribute via social media, writing, “Quevin Castro was far more than a player, he was a member of our family, leaving a mark on all those who had the privilege of knowing him, both on and off the pitch.”

“At this time of grief, Real Sport Clube – Futebol, SAD extends its most sincere condolences to the family and all friends of Quevin Castro, expressing its full solidarity and unconditional support,” the club’s statement read. “May the memory of Quevin Castro live on in our hearts. Rest in peace.”

Real Sport Clube’s friendly match against Estrela de Amadora was postponed indefinitely following Castro’s death.

Estrela de Amadora paid its respects to Castro’s teammates and family, sharing the team’s “deepest sorrow for the passing of Quevin Castro, player for [Real Sport Clube].”

“At this moment of profound sadness, Estrela da Amadora extend their most heartfelt condolences to the family and friends of Quevin Castro, as well as to the entire Real Massama structure,” Estrela de Amadora’s statement read. “Our thoughts are with all those close to him. Rest in peace, Quevin.”

Castro played for several English teams throughout his nine-year soccer career, including a two-year stint with West Bromwich Albion from 2021 to 2023. During his stint with West Brom — whose players are known as the Baggies — he was loaned out to Burton, Notts County and Gateshead.

He later played for Cambridge City and Eastbourne Borough in 2025 and 2026 before returning home to Portugal to sign with Real Sport Clube in June. Tragically, Castro died before he was ever able to play in an official match with Real Sport Clube.

His former team West Bromwich Albion announced plans to honor Castro during the Baggies’ match against Burnley on Sunday, August 23.

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“West Bromwich Albion are devastated to learn of the untimely passing of Quevin Castro, aged just 25,” the team said in a statement. “Albion will pay tribute to Quevin on Sunday, with a period of applause in the 25th minute of the fixture against Burnley. [Coach] James Morrison’s men will also wear black armbands.”

The Baggies went on to offer condolences to Castro’s loved ones, saying, “The thoughts of everyone at Albion are with Quevin’s loved ones at this desperately sad time.”

Notts County Football Club — whom Castro played for on loan in 2022 — said in its own statement that the organization was “shocked and deeply saddened” to hear about the player’s death.

Sony’s war on physical media continues with Crunchyroll. After it announced it would change how it handles its storefront, fans were outraged, claiming the company is making it harder to get physical copies of their favorite shows. Now, a month has passed since the initial announcement, and Sony has not backed down.

Sony’s war on physical media began with PlayStation, when it announced that, by 2028, it would no longer produce physical discs for its games, moving toward all-digital distribution, as it claimed it made more digital sales. This has upset many gamers, and the message started to appear on PlayStation 5 boxes, warning buyers that the company would discontinue disc production. And it’s not just PlayStation, Sony also owns Crunchyroll, and last month it announced that the Crunchyroll Store will be available only to paid subscribers in the Mega and Ultimate Fan tiers, claiming it will create a “new curated experience.” This news also sparked backlash as fans accused Sony of making fans “pay the company more” just to buy merch.

The change to the Crunchyroll store began this month, and according to CBR, the anime platform has delisted many products from its online store, including anime, manga, light novels, Blu-ray discs, etc. Users on social media have also noticed the change, upset that a huge amount of physical media has been removed from the store and that the product selection has been reduced. There is still some anime merch to buy, like the Solo Leveling Season 1 Blu-ray and DVD or the Cyberpunk: Edgerunners Complete Series Blu-ray, as well as a variety of figures and Funko Pops, clothing, and other collectible items, but to complete the purchase, customers must be paid subscribers.

What Is Crunchyroll?

Image via Crunchyroll

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Crunchyroll is the largest streaming platform for anime content. Founded in 2006, it houses over 2,000 titles. It has over 15 million subscribers, and in 2020, the streaming platform was acquired by Sony from its previous owner, AT&T. Crunchyroll is the place for anime fans if they want to watch some of the biggest titles, like Solo Leveling, Frieren: Beyond Journey’s End, Demon Slayer: Kimetsu No Yaiba, and Witch Hat Atelier. But because of licensing agreements, the platform isn’t available in every region, including Japan and other Asian countries. Crunchyroll isn’t the only platform that carries anime. Prime Video carries Studio Ghibli content, as well as other shows like the new Ghost in the Shell series, and Netflix also has its own anime library and is the go-to platform for those who don’t have access to Crunchyroll.

Stay tuned to Collider for more updates.

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Release Date

2019 – 2024-00-00

Network

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Fuji TV, Tokyo MX, Gunma TV, BS11, Tochigi TV, Kansai TV, Tokai Television Broadcasting, Fukui TV, Hokkaido Cultural Broadcasting, Iwate Menkoi Television, Sendai Television, SAGA TV, TNC, OHK, Ishikawa TV, Kochi Sun Sun Broadcasting, TV Shizuoka, UMK TV Miyazaki, Television Shin Hiroshima System, NST, NBS, Sakuranbo TV, TSK, Ehime Broadcasting, KTS, NIB, Fukushima TV, TOS, AKT, Toyama Television, TV Kumamoto, Okinawa Television Broadcasting

Directors

Hideki Hosokawa, Shinya Shimomura, Akihiko Uda, Takuro Takahashi, Shuji Miyahara, Masaru Takeuchi, Toshiyuki Shirai, Takuya Nonaka, Yuki Ito, Ken Takahashi, Takahiro Majima, Yusuke Shibata

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• 

  Natsuki Hanae

  Tanjiro Kamado (voice)

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  Akari Kito

  Nezuko Kamado (voice)

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