Editor’s note: The following contains major spoilers for Sterling Point.

But that’s not all. While on the island, Annie finds new friends, budding romance with two different guys, and a sister she didn’t know existed. Sure, the love triangle is enticing, as Annie tries to figure out whether her heart lies with Rory (Daniel Quinn-Toye), who she knows from her life in New York, or Ellis (Jacob Whiteduck-Lavoie), an island local who calms her in a way that’s unfamiliar and new. But the real love story is between Annie and her newly discovered sister Ramona (Amélie Hoeferle), who was also blindsided by the revelation, as the two get to know each other and fill in the gaps of their own family mysteries.

In this exclusive Collider Signature in-depth conversation, Megan Park, the showrunner of the coming-of-age series about messy first loves, digs into creating the world of Sterling Point and how her own experience as an actress shaped how she wanted to collaborate with her cast. During the interview, she discusses what it was like to bring her younger cast together, the character she was most worried about casting, the atmosphere she wanted to create on set, navigating Annie’s relationships with both Rory and Ellis, and wanting to create a first kiss moment that was as epic as The Notebook. Park also teases her approach to Season 2, whether there will be as many twists, what could be next for the characters, and the movie that she’s focusing on making now.

Megan Park Started ‘Sterling Point’ Without Knowing Where the Story Would Lead Her

“I just start at page one and I’m like, ‘I don’t know where this is going. Let’s see what happens.’”

Image via Prime Video

COLLIDER: First of all, I have to tell you that I found everything about this TV series just perfect. I want to live in this town and be friends with all of these people.

MEGAN PARK: Yeah, that was the goal. That’s awesome.

From the setting and the scenery to the characters and the cast playing them, to the way the story unfolds, this feels like it was made by somebody who is confident in the story that they were telling and the story in the show that they’re making. So, were you? Did you just know exactly what you wanted this to be?

PARK: Not at all. I wrote the pilot on my own. I grew up going to Muskoka, so the characters and the world were clear to me. It’s funny, I don’t do an outline and then write it in a format, and all these fancy things. I just start at page one and I’m like, “I don’t know where this is going. Let’s see what happens.” I’ve always been like that. I write my features that way. It drives people nuts, but I don’t know how to work any other way. So truthfully, I knew who these characters were, but I definitely did not know fully where the show was going. I, of course, had some ideas, but that’s where the writers’ room and all these much smarter people in the writers’ room who were far more experienced in making TV came in.

Thank God for them because they taught me so much about story and how to unravel it over eight episodes versus a movie and how to thread all these characters’ storylines together and have the propulsion you need to make a show for people to want to click next. So no, I didn’t know. I didn’t know at all. I just knew who these people were and the broad strokes of the themes. But what they did know was the tone of the show. The voice of the show felt very clear to me, and that was my North star. What I felt like I could provide was always knowing what I wanted that to be. But it really, truly takes a lot of people to make a show.

Shows like this tend to fall into two categories. There are the shows that feel like TV shows. And then, there are the shows that feel like these are real people and we could show up in this place and these people would all exist there. This show really felt like the latter, from the very beginning, which is not an easy thing to pull off.

PARK: Thank you. I love authenticity. That’s always the North star for me with everything.

From when you first conceived of this to the season that we’ve gotten to see now, were there any major changes that evolved that you never would have thought of in the earliest days, but now just can’t imagine the show without?

PARK: Oh, for sure. Oona, for instance, was written very differently on the page. She wasn’t British. But Bo [Bragason] was somebody that came in and was so special. It was like, “Oh, wow! I have to make a character that’s a little bit different to suit Bo.” Obviously, Bo isn’t exactly Oona, but there’s such a special quality to her that I wanted to infuse into the character. So, that was a really fun change. Also, nobody expected Annie to hook up with Rory in Episode 105. That was a last-minute decision where we were like, “Obviously, her first is going to be Ellis. But, what if? Annie is the type of girl who doesn’t do unexpected things. What if she went a little crazy on her 18th birthday because she hates birthdays and she hates the thought of it. But she had a good time and had fun and did something that was just super messy, as Ramona says, and youthful and doesn’t regret it?” That was something that, in the room, was fun to explore, just her letting loose a little bit.

What was it like to cast these characters? When you thought of an actor for a role, or when you saw someone as a particular character, did you just know in every instance? I just can’t imagine anyone else playing these roles.

PARK: I know. It’s funny, when you’re working with younger actors or writing a script, sometimes when I’m writing, like for My Old Ass, I’m picturing the Older Ass. You can think of actors that you could see playing the part and imagine that. But when it’s all younger actors, none of them are really well-known and I never really had a picture of any of them in my mind. It was all a surprise. But once I saw each one of their tapes and met with them, it was so instantaneously clear. It wasn’t like, “Oh, we saw 500 tapes for the role of Annie, and we couldn’t decide between the last final five.” We saw 500 tapes for Annie, and as soon as we saw Ella [Rubin], it was only Ella. And we saw 500 tapes for Ramona, and it was only ever Amélie [Hoeferle].

That’s always been the same for me. It was the same for My Old Ass. I saw so many tapes for Elliot, and then I saw Maisy [Stella] and that was it. So yes, these people were the people as soon as we saw them. Amélie’s tape was the first tape I saw of any character and I was like, “Wait, there’s Ramona.” And then, I was like, “Maybe I’m just excited. It’s the first tape in.” And then, I watched every other tape and I was like, “No. Damn. First tape, and there she is.” And we cast her. That was an easy one. They’re just so talented, this group of young actors. It’s insane.

Were there any characters that you were worried about casting?

PARK: Ellis was really hard to find. Ellis was the last character we cast. Jacob [Whiteduck-Lavoie] hadn’t taped in the original couple of rounds, so I hadn’t seen him. And Ellis is hard because you like him, but he’s got this specific quiet Canadian boy essence. It was really hard. And then, I saw Jacob’s tape two days before the last day of chemistry reads and I was like, “Wait, there’s something about this kid. I think he’s the one.” And so, we flew him to Toronto to read with Ella. He came in, and the second he walked in the door and said the first line, I remember leaning over and writing on the casting director’s paper, “This is him.” But I was getting nervous because I’ve actually never been in a situation where I had to hire somebody I wasn’t 100% sure of. I’ve always just been like, “There’s Ella. There’s Amélie. There’s Bo. These are our actors. And then, with Ellis, I was like, “What if I actually have to hire somebody that I’m unsure of in my gut?” And then, we found Jacob, and the rest is history. I was like, “There he is.”

Because it’s a character that not only has to be what you want him to embody, but he also has to balance with Rory.

PARK: When we cast Daniel Quinn Toye, who is this amazing Scottish actor, first, we were like, “How are we going to find somebody? Everyone’s going to be Team Rory. We need to find somebody who can rival him because he’s such a charismatic, amazing young man.” And then, we found Ellis and we were like, “Okay, cool.”

Was Connor always meant to be such a funny character? Did that develop out of how Keen Ruffalo embodied the character, or was that just always how you saw him?

PARK: Every actor definitely brings the character alive and adds something special to it. That’s always what’s so fun about it. But I will say that yes, Connor was always meant to be very funny. I don’t want to speak for the other writers of the show, but I feel like everybody really enjoyed writing the Connor character a lot. It was fun to push that to its limit. We all really enjoyed that in the room. That’s what’s so great about Keen. That character could have gone the other way and ended up being really unlikable, but Keen is so inherently likable and talented. And his improv was great. He’s amazing.

Park Wanted To Give Her Young Cast Everything She Didn’t Have on Set as an Actress

“I feel very protective of all actors, but especially young actors … and I wanted to create an atmosphere on set where they felt a lot of autonomy … but also had creative input in things.”

Image via Prime Video

I first became aware of you as an actor in The Secret Life of the American Teenager, which is an ensemble that had a bunch of younger actors. Because you do have a younger ensemble in this show, how did you approach working with this cast, as a director and as a showrunner, in a way that you wish you would have had when you were working? What did you want to give them that you wish you had then?

PARK: I wanted to give them everything I didn’t have. I definitely didn’t have any experiences like this when I was younger, or at the time, it did not feel that way. First, I really obviously relate to actors because I was one for so many years. It is really vulnerable and hard, especially being a younger actor. I was acting professionally at 16, 17, 18, even younger than these actors. I remember it well, so I have a lot of empathy for them. I feel very protective of all actors, but especially young actors being in that situation, and I wanted to create an atmosphere on set where they felt a lot of autonomy to have an opinion and be heard and be able to say not only how they felt as people but also had creative input in things.

I’m a big believer that hierarchy is bullshit on a set. Everybody should be treated equally, and that’s definitely not always the case on sets. I really try to run an ego-less vibe on a set and just make it really safe and free and fun, creatively. They were such a wonderful, kind group of young people that treated each other with so much respect. That’s also what made the performances so amazing. They were so kind and created such great chemistry with each other on such a professional level. I think about that scene with Bo and Amélie in Episode 108, which I directed – the breakup scene – and it was just like watching the most amazing tennis match, them acting in that scene. We had two cameras so they could just flow. They built such a rapport and a trust in each other that they could really just try things and be in the moment. It was really beautiful to watch. I try to just create an atmosphere like that and then support them as much as I possibly can.

I love the romance in this series and how it plays out over the season. I also love that Ellis and Rory are both good guys who care about Annie. Was that something that was really important to you, that you make that not just a difficult choice for her, but for the audience?

PARK: That was so intentional in the room. We didn’t want one of them to be the obvious bad guy. It represented two different versions of Annie, and she’s not really sure where she’s at. She’s right in the middle. It’s two lifestyle choices that her mom was grappling between. She had this life that she built in New York with a husband and a community, and Steven is not a bad guy. I hope that audiences understood the position Steven was in. It’s hard because his ex-wife passed away and I think he doesn’t want to speak ill of her to his children. There’s so much there under the surface. Jay Duplass is such a genius with what he brought to that role.

But for Annie, she’s also subconsciously thinking, “Wait, my mom made this choice, and it worked for a second. But then, she came back to this Ellis choice.” So, I think part of her decision might have been a little bit influenced by trying to live out the experiment her mom maybe never got the chance to. But also, Ellis is really refreshing to her in a way that he quiets her mind. He’s a very Canadian boy. He’s not Rory. He’s not necessarily talking about his emotions in that way, but he certainly quiets her in a way that’s really beautiful.

Do you think Annie and Rory ever would have happened if Ellis had just stepped up sooner, at any point?

PARK: What I think is really beautiful, especially about them hooking up in Episode105 is that she does feel really safe with Rory. I think she knows that she has really, really deep feelings for Ellis, but Rory is very kind and safe and empathetic. They relate on a lot of levels, in terms of their lives and where they come from and their anxieties and the pressure they put on themselves. I think she actually felt comfortable enough to explore a side of herself with Rory because of how great he is. But I think it had to happen in the way that it happened. I think she had to like to go there with Rory in order to feel ready to go there with Ellis, if that makes sense. She does start out as a girl with a gay boyfriend, and she’s aware that he’s gay. She’s trying to do the right thing. She doesn’t want to break up with him until he’s ready to come out.

I haven’t actually heard anybody talk about this, but I think it’s in Episode 104, she has a conversation with Ramona where she’s like, “I actually low-key thought I was asexual until I got here.” She just has not been in that headspace, and I think that really is true. So, all of a sudden, she’s like, “Wait, there’s two guys that I’m into. This is so crazy and so overwhelming.” So, I think it had to happen the way that it happened. Sometimes I watch these shows and people are so young and in these super serious relationships. Annie is 18, and she’s just feeling this for the first time. I think that’s happening at an older and older age. I feel like my parents’ generation, they were all in serious relationships when they were 16 and that was just normal. As a millennial, it’s not even cool to date in high school. You wait until you’re in college.

Park Knew How Magical Annie and Ellis’ First Kiss Was From the Moment They Shot That Scene in ‘Sterling Point’

“If this doesn’t win MTV’s Kiss of the Year, we’re quitting.”

Image via Prime Video

Advertisement

Ella Rubin has talked about how that moment when Ellis pulls Annie across the floor in the closet came up on the day you shot that. What was it like to see that all come together in the moment, for the first time? Did you know that it would be such a big thing and that fans would respond the way that they have?

PARK: Truthfully, yes. We didn’t know how the blocking was going to work. It was another director’s episode, Andrew Ahn, who’s amazing, and they were blocking it out. And then, our DP, K2, who was shooting, was like, “I think the pull should go like this.” We were trying it, and she was like, “Megan, sit down.” And so, her and I ended up sitting down in this closet, and Ella and Jacob were watching, and then she just grabbed me and pulled me. As soon as she did it, everyone was like, “Ooh, okay. That was hot. That works.” They hadn’t had a kissing scene. That was the first kissing scene they did because we did things out of order.

I remember that they did it, and you just never know how that chemistry is going to be. And I’ve got to say, that chin tilt is getting a lot of attention, but that was all Jacob. Nobody told him to do that. He did it and we were at the monitors, and we were like, “Woah, they have chemistry.” And I looked over at Chrystal [Lotz] and Skye [Tostowaryk], our hair and makeup department heads, who were at their monitors totally gasping. And I was like, “Okay, I think this is working.” And then, we joked, “If this doesn’t win MTV’s Kiss of the Year, we’re quitting.” I don’t even know if that’s still a thing.

I don’t know if it is either, but if it’s not, they should bring it back, just to give the show that award.

PARK: We were trying to make it as epic as The Notebook and hopefully it succeeds. They killed it.

Everything just had to come together perfectly in that moment for it to work the way it did.

PARK: He did the chin tilt on the first take, and then in the second take, he didn’t. I don’t even know if he realized it. We were like, “Do the chin tilt.” And he was like, “Okay. I didn’t know.” But the hug was also so sweet. They’re both just such talented actors. They had that real safety and trust with each other, which I think allows for those beautiful moments to happen. That’s collaboration. The magic happens when everyone is like, “Let’s come together and use our brains.”

Because you keep having these different reveals and twists throughout the season, were there any that you were worried or nervous about audience reaction to? Did it feel like the reactions you got from your own cast were good predictors for how audience might react?

PARK: The cast didn’t know where it was going either because they signed on when we only had some of the episodes written. I was always really nervous to hear their reactions because I also cared a lot about their opinions and they were obviously very invested in their characters, so it was always a good litmus test. I was terrified for the whole thing to come out. You’re on an island, so to speak, while you’re making a show like this, and you have no idea if it’s going to translate. You just have to try not to think about audiences. You want to think about what people are going to think, but you can’t think too much about it, otherwise you get too nervous and too freaked out and you can’t do it. You get stage fright.

I didn’t know if any of it was going to hit with people. That’s why it’s been so astounding to see. I love Gen-Z so much for the fact that they’re calling out these specific moments that were so special to me and so important to me – these quiet, naturalistic moments that made it into the cuts and that we really tried so hard to ground in reality. I’m not even on social media, but people have been sending me the best of the best, and to see that called out is so satisfying. It’s so great to hear the response, but from the actual people that we made it for, for these young fans, to be like, “Oh, wow, I really appreciate that. It makes me feel so seen,” is the best feeling.

There is such beauty and magic to this show, because of the location and how it all came together. Do you worry about facing the blank page and doing it all again for another season, or do you have a clear sense of Season 2 and even ideas for what happens beyond that?

PARK: You have to think about Season 2 as you’re creating Season 1 because you want to plant the seeds and set up the ending to hopefully have that. We did talk a lot about blue sky things of where we’d want to go and what new characters we’d want to introduce. It doesn’t seem daunting to go back there. If anything, it’s exciting to set the bar even higher. Knowing how much people appreciated what we were trying to do, I think we could push it even further. I hope that we’ve earned enough of people’s trust and respect. To try to top it, to me, is always a fun challenge. I’m in the process of prep on my movie that I’m shooting this fall, and it’s nice to have something to distract me right now.

Park Was Nervous About Landing the Plane With the ‘Sterling Point’ Season Finale

“There’s so much to tie up and there’s so much to leave hanging.”

Image via Prime Video

We get answers over the season, but you definitely leave some big unanswered questions at the end. Did you spend a lot of time thinking about what you wanted to answer and how much you wanted to set up, especially without knowing whether you would get to continue telling the story?

PARK: Yeah. I feel like Episode 8 was the big one where we were like, “Can we land the plane?” There’s so much to tie up and there’s so much to leave hanging. Episodes 1 and 2 really feel like a two-part pilot to me. When I wrote those two, I realized how much setup and how much world building I had to do in those two episodes. And then, you got to ease into the fun from Episodes 3 to 7. And then, with Episode 8, you’re like, “Oh, fuck.” I also co-wrote that one, so I was like, “Now, I’ve got to land the plane.” And that was another one that I directed. It felt like there was a lot of pressure and a lot of eyeballs on Episode 8. A lot of stuff got cut and moved around in that episode. It was really like putting the puzzle back together at the end and choosing which pieces to leave missing.

So much of the show, truthfully, is made in the edit. You look at what you have and what’s working and where you want to leave things, and you experiment with different endings and different moods of endings. We had a lot to play with. We shot a lot of levels. But it was scary. We sent the cut in, and then it was great to get the call, and I think the literal words they used were, “You landed the plane.” It was that fine line of, you don’t want to leave it, if there isn’t a Season 2, in a place where people are going to be like, “Fuck, man, you left way too many unanswered questions.” But you want there to be enough excitement that people hopefully want to see more.

Why do you think Connor makes the decision to search for his and Annie’s biological parents, but not tell her about it? Where had he gotten by the end of the season that led him to make both of those decisions?

PARK: Connor is a character where I just feel like there’s so much nuance there and he’ll be fun to spend more time with, in Season 2. His reveal in Episode 105, where he talks about how he got into an amazing summer program, but he couldn’t tell Annie about it because she’s the only smart one in the family. That’s her role, which I think is so true of roles that we take on, in systems and families. It’s really hard to break out of that sometimes. And so, for Connor, his arc is so much about coming out from under the thumb of Annie a little bit.

Just like Annie is trying to figure out what answers she needs to feel some sense of closure and understand who she is and where she comes from, Connor has a different perspective on that and has a different path of what he feels that he wants. He just doesn’t want to put up with the confrontation with Annie. In a way, he’s a little bit of a shit disturber, but also a little bit of a peacemaker. He picks and chooses. But I think this is the first time he’s like, “You know what? You’re doing what you need to do. I told you that I didn’t care about uncovering this stuff. These are not the things I need to know. But I want to know this other part of it. Now, we’re adults, so I have the right to do the same thing that you’re doing.” I think that is a really valid and bold choice. I think he had to do it without telling Annie because Annie would have literally taken his phone and thrown it into the lake.

The thing that I love the most about this season was the love story between Annie and Ramona. It’s just so great to watch them come together, especially from where they start. So, with Annie staying in Sterling Point and Ramona going to New York City, would you just find a way to get them back in the same place as soon as possible because it feels like you can’t keep them apart for too long?

PARK: I think you’d really want to see where they’re at in their separate worlds for a second, for sure. It will be so fun to see Ramona in New York and how that’s affected her, and if she likes or doesn’t like it. But then, of course, you’d want to bring them back together. When Ramona turns 18, she has a lot more autonomy over what happens with the island and her decision, so has her POV changed after being in New York for the year? But I think that you’d want to have the gang all back together for the summer, for sure. I think you also want to get a little bit of a feeling of what their lives have been like the last year.

That relationship was just so special to watch.

PARK: That’s the love story of the show. It was so Parent Trap-y, where you know the journey you’re going to go on, but they just played it so beautifully. They just became like actual sisters in real life. It was so cute to watch. They’re so close. They were always touching each other’s hair and braiding each other’s hair, and they had all these cute little handshakes and things that they would do. It was just really sweet to watch that relationship form. And talk about building that trust, so that they could really go there in scenes. They were great. It was so beautiful to watch.

While ‘Sterling Point’ Season 2 Might Not Have As Many Twists, It Will Dig Deeper Into the Character Relationships and Romances

“Now that you know the characters and the world and you’re invested, you can spend less time setting stuff up and just dive right into the juicy shit right away.”

Does it feel like Season 2 also has to be less twisty and more about seeing what’s next for these characters? What are the biggest questions about what comes next that you’re most excited to explore?

PARK: You can dig deeper into the romances. Ramona and Oona had this massive breakup. Everyone loves Ramoona and would want to know if they’re going to find their way back to each other. I think the same thing with Ellis and Annie. I’ve always wanted to explore, “Wait, did Ellis ever have an ex?” We don’t really know that. He’s so quiet and stoic but is there somebody from his past that comes forward that we don’t know about? I think the parents have a lot of explaining to do. Where is Oona’s mom? I think we want to meet her and understand her a little bit more.

Annie has now gotten further into the experiment than her mom ever did, so what is she going to do? Is she going to stay there forever and live on an island? How sustainable is that? Is everything she’s ever wanted going to shift? Probably not. So, there’s some conflict there, in terms of figuring out how her and Ellis can stand in line. There’s also a lot with this new layer of grief and womanhood. You can just age everything up a little bit in a more interesting and higher-stakes way. There’s a lot there, especially if a year has passed. We’ve also talked about, did Oona have a love interest from the past, from that time Ramona was gone? Now that you know the characters and the world and you’re invested, you can spend less time setting stuff up and just dive right into the juicy shit right away.

You talked about prepping your next movie and focusing on that right now. How different is that? What are you getting to explore with that, that you are excited about?

PARK: It’s totally different, which is what’s great about it. There are no young people in it. It’s about people close to my age. They’re all in their 30s and 40s, and it’s very much about motherhood and female friendship and marriage and divorce, and all those kinds of things. It’s a lot more to where I’m at in my life, with aging parents and where I feel like my peers are at. It’s really exciting to me to tackle that. I think what’s similar about it is the tone, in the sense that even though it’s not YA, there’s an authenticity to it. It’s Big Daddy meets Stepmom, but with a really contemporary feel. Hopefully, people feel like it still has the drama and the comedy and the heartfelt nature that the show has, which is what I’m always striving to mix together. But it’s definitely different.

And what is that project called?

PARK: Zoë Kravitz is starring in it. I’m doing it with Apple and LuckyChap. It’s called Die Alive. We’re shooting it in New York this fall.

Sterling Point is available to stream on Prime Video.​​​​​​

Advertisement

Release Date

Advertisement

August 5, 2026

Network

Prime Video

Advertisement

Directors

Aurora Guerrero, Megan Park, Andrew Ahn

Advertisement

Cast

Advertisement

• 
• 
• 

  Jacob Whiteduck-Lavoie

  Ellis

• 

  Nikko Angelo Hinayo

  Advertisement

  Sully

Advertisement

Advertisement

Rep. Lauren Boebert issued a fierce message to members of the press who reported on allegations that she had sex with three current and former staffers.

“You all ran a smear [campaign] and called it news. Some sloppy, desperate, obsessive hack stamps ‘Under Oath’ on a fake filing so you’ll write ‘Penalty of Perjury’ in the headline. That’s the whole freaking trick, it’s a scam and you fell for it,” the Colorado representative, 39, said in an X video on Sunday, September 20. “No member of congress certified in writing that his solicitous BS attack was made in good faith and warrants review as required by Ethics, and it’s evident that you didn’t even bother to look up House Ethics Committee rules that clearly state that the Committee can’t even accept a complaint filed inside 60 days of an election.”

The video was shared after a spokesperson for Boebert told Us one day prior that allegations lodged against her are “utterly false” amid an alleged House Ethics Committee complaint. “There is no truth to them [the allegations] whatsoever,” the spokesperson told Us on Saturday, September 16. “This is nothing more than a politically motivated stunt designed to manipulate the ethics process, create headlines, smear her, and generate clickbait.”

Boebert’s X video continued, “Ethics isn’t even allowed to accept this garbage. Yet, all of you, were more than willing to. Nobody in your newsroom checked the rulebook before they put my team’s names in your stories. Their photos are everywhere now and they are under attack because of your laziness.”

Related: Rep. Lauren Boebert’s Biggest Controversies Through the Years

Rep. Lauren Boebert has become one of the most talked-about figures on Capitol Hill since taking office in 2025. The Colorado Republican and outspoken ally of President Donald Trump has represented Colorado’s 4th District since January 2025, after previously serving in the state’s 3rd Congressional District. Along the way, she has generated a steady stream […]

The Colorado Times Recorder reported last week that American Muckrakers’ David Wheeler submitted a sworn statement about Boebert’s alleged misconduct with three of Boebert’s staffers — two female and one male — to the House Committee on Ethics. The reporting alleged that Boebert previously arranged a $200,000 hush money payment to prevent one staffer from filing their own ethics complaint.

Boebert’s X video addressed Wheeler specifically. “You are all aware that this is coming from the same desperate hack CNN caught in 2022 publishing a photo of another woman as me and also failing to prove a host of other lies that he’s created about me,” she said. “You ran the story anyway. This is more filthy garbage that reaches beyond me. This reaches into the homes of people who have dedicated years of service to Coloradans alongside me. I know that you’re more than willing to attack me and shame my household but this is different and you crossed a line.”

Wheeler and Boebert have been engaged in a four-year feud, with multiple threats of legal action lodged over the period.

Thank You!

You have successfully subscribed.

Advertisement

Related: Lauren Boebert Asks Why Capitol Hill Is ‘Horny’ Amid Misconduct Allegations

Rep. Lauren Boebert is weighing in on the allegations of sexual misconduct that have recently taken over Congress. “Go to church, find Jesus,” Boebert (R-Colorado), 39, told reporters near the steps of Capitol Hill, as seen in a video shared by Nexstar D.C. correspondent Vinay Simlot via X on Thursday, April 16. Before walking away, […]

Boebert continued, “I hope you think about the impact that this could have on them and their families, the next time you rush to print, without doing a little bit of research. So, while you sit back and think of how you can do your jobs better, I’m going to continue serving Colorado’s 4th district. I hate to spoil the fan fiction but ya’ll need to do better.”

She concluded her video with a message to the folks who have supported her throughout the scandal. “To the people who have had my back, thank you and I hope you see how desperate these fools are to get me out of office,” she said. “And I’ve got to say just one more thing, before I sign off here, to the rest of ya’ll: No, I’m not hiring.”

An Ethics complaint would put Boebert at risk of serious consequences due to the House Code of Official Conduct strictly prohibiting representatives from having intimate or sexual relationships with staff members who work directly under them. Boebert has represented Colorado’s 4th district since January 2025, having previously served the state’s 3rd congressional district.

Presley Gerber got candid about overcoming addiction six months before his tragic death at age 27.

Presley — the son of supermodel Cindy Crawford and husband Rande Gerber — died in a rehab facility on Sunday, September 20, Us confirmed. A spokesperson for the Gerber family said in a statement, “The family is asking for privacy during this very difficult and painful time,” it read.

Just six months before his death, Presley opened up about a psychedelic treatment for his addiction, undergoing what he described as an “ibogaine flood dose.”

According to the Iboga Wellness Institute, ibogaine is a naturally occurring compound “derived from the root bark of the African plant Tabernanthe iboga.” Therapeutic flood doses can be used to “treat opioid and other substance use disorders,” the organization’s website states. Ibogaine is not currently legal in the U.S.

Related: Celebrity Deaths of 2026: Chad Gilbert and More Stars We’ve Lost This Year

Hollywood mourned the deaths of some of its most legendary stars in 2026. In June, legendary music executive Clive Davis also died at age 94 following a hospitalization for an upper respiratory infection. The following month, G.R.L. member Lauren Bennett died at age 37, while Bonnie Tyler died at 75. Emergency!‘s Randolph Mantooth and Police […]

In a March 26 Instagram post, Presley shared a video clip of him preparing to undergo ibogaine treatment and wrote, “Quiet moment before everything changed. I was absolutely terrified, and I knew I would be again if I ever had to face something like this (helps to not go into the situations you do that get ya there but that’s life sometimes.)”

He continued, “My mantras were love yourself and [it’s] gotta be the last time for this reason. Letting go of control didn’t come easy, but I trusted there was something bigger than me guiding it. I knew why I was there. I faced what I had been running from, and somewhere in all of it, I started finding my way back to myself 🤍…. We shall see.”

“Praying it’s the last time I have to come back. Next time I’d like to choose 😜 🙏🏻 And absolutely can’t forget the incredible caring kind and on their s**t team. Helps a lot haha. And I made some dope ass friends there 🫂,” Presley added.

Crawford, 60, Rande, 64, and Presley’s sister, Kaia Gerber, were among the people to comment on his post at the time.

Advertisement

Related: Cindy Crawford‘s Family Guide: Meet Her Husband, Siblings and More

Cindy Crawford has always put her family first on her way to becoming one of the industry’s most legendary models. Crawford and Rande Gerber, who tied the knot in 1998, share son Presley Gerber and daughter Kaia Gerber. Both children have followed in their mother’s footsteps. “I could help guide her and help her navigate,” […]

“You are a warrior! Walked thru the fire to find yourself! So proud! 🙏,” Cindy wrote.

Kaia, 25, wrote, “That’s my brother I am so damn proud.”

Rande added, “Rooting for you Presley! Always admire your drive to never stop fighting for your life. Good things are coming! 🦋🫶”

During a 2023 appearance on the “Studio 22” podcast, Presley shared his mental health challenges and how he hoped to help others struggling with their mental health.

Thank You!

You have successfully subscribed.

Advertisement

“Having struggled with mental health, depression and some other things that come along with that, I think that whether I help one person or a hundred people get out of that place I was in at one point in my life, that’s all I need to do,” he said.

“It’s a huge part of my life. It’s a 24/7 job and there’s so much to it,” he continued. “That’s what I really want to do — help people get out of whether you’re depressed [or] struggling with something that’s having a negative effect on your body. … What I hope I can do is have made the mistakes for some other people, so they don’t have to make the same mistakes that I made.”

If you or someone you know is struggling with substance abuse, contact the Substance Abuse and Mental Health Services Administration (SAMHSA) National Helpline at 1-800-662-HELP (4357). 

Nicole “Snooki” Polizzi shared a health update with her fans following her stage 1 cervical cancer diagnosis and subsequent hysterectomy. The 38-year-old reality TV star was diagnosed in February 2026.

RELATED: Prayers Up! Nara Smith Reveals Her Two-Year-Old Daughter’s Cancer Diagnosis (VIDEO)

Nicole “Snooki” Polizzi Says She’s Cancer-Free After Hysterectomy

Nicole Polizzi shared some good news with her fans regarding her health journey. Snooki announced she was diagnosed with Stage I cervical cancer in February. In addition, she announced that she would undergo a hysterectomy, which she had on Friday, July 31, according to PEOPLE.

The former ‘Jersey Shore’ star told the outlet that she was now “cancer-free” after the ordeal.

The Centers for Disease Control and Prevention recommends that women have regular pap smears to screen for cervical cancer, and Snooki added that she’d been avoiding having hers.

“As of right now, I am cancer-free,” she said. “They got everything out. So I’m definitely happy that I did it. I avoided getting my pap smear for a long time, and once I finally went to the doctors, I feel like it’s just been week after week of doing a procedure, then another procedure, and then a hysterectomy. So it’s been a journey and a long road, but I’m happy that I’m on the other side of it and everything is going good.”

Snooki added that she was slowly getting back to herself after a months-long health journey and that she must be careful. Her doctors told Snooki that she needs regular pap smears every three months to catch the cancer if it returns.

“I’m trying to listen to my body and give my body grace and not go crazy. There’s days where I do too much and then I just feel exhausted and I start getting pains,” she said. “But other than that, I’m finally starting to feel better. I feel like I’m almost getting back to myself… Getting a cancer diagnosis is very terrifying and scary. So, I just want my body to be as healthy as it can be. I feel like I’m eating better, working out, obviously staying on top of my appointments. I’m just not avoiding anything and just trying to be the best version of myself.”

Fans Share Reactions After Snooki’s Health Update

Fans shared well-wishes after the news was shared on TSR’s Instagram page. Several folks thanked the Lord, while others shared their relief that Snooki is okay.

User @be_joey_just_be wrote, “To GOD be the Glory🙌🏾.”

@ashleybrittney added, “❤️ praying for her journey!!!”

User @1missbanks replied, “I was waiting on this! Amen! 🙏🏾.”

@tahiria_ added, “YES LAWD🙏🏾❤️.”

@beautifulbeast56 replied, “Aweeeee my meatball I love you 😍 great news.”

User @march_ninety_three_ joked, “You guys scared me a little 😩 be careful with the praying hands emoji.”

Snooki Announced Cervical Cancer Diagnosis On TikTok

The Shade Room reported that Snooki revealed her cervical diagnosis in February 2026 with a video on TikTok.

“My results came back from my colposcopy,” she said. “And it came back stage 1 cervical cancer called, um, adenocarcinoma…. Obviously not the news I’ve been hoping for, but also not the worst news, um, just because they caught it so early.”

Snooki also said that surgeons removed “a chunk of her cervix” during her first colposcopy. After that, she had a cone biopsy — a procedure where a cone-shaped portion of abnormal tissue is taken from the cervix, per the National Cancer Institute.

@snooki

A little update for my ladies 🙏🏽 #cervicalcancer

♬ original sound – Snooki

Advertisement

To note, Snooki has partnered with the non-profit F*ck Cancer, an organization dedicated to advancing early cancer detection and prevention. She will host the organization’s 100th event milestone on Wednesday, September 23, in Los Angeles.

RELATED: Prayers Up! Gloss Up’ Team Shares Health Update Following Severe Foot Injury In Car Accident (PHOTOS)

Crime movies are supposed to make bad decisions irresistible for a couple of hours. Give us the room where everybody is lying. Give us the bag of money that obviously should be left alone. Give us the guy who thinks he has planned for everything, the detective who notices one detail too many, or the entire town pretending not to see who keeps dying. The pleasure is in knowing trouble is coming and still wanting somebody to open the door.

The six here scratch completely different parts of that itch. Some are nasty little machines. Others use crime to expose whole systems that have learned how to protect themselves. The point is, if crime movies are your thing, these should already be in the queue.

6

‘The Outfit’ (2022)

Image via Focus Features

Leonard Burling (Mark Rylance) cuts suits in a Chicago shop frequented by local gangsters, and he has perfected the useful habit of appearing uninterested in whatever criminals discuss around him. Then one night a wounded mobster comes through the door, a mysterious tape becomes everybody’s problem, and The Outfit traps almost its entire story inside Leonard’s workroom.

That limited space is the fun. Every person entering the shop changes who seems to have control. A drawer, a coat, a pair of scissors, even the back room can become important because the movie has taught you to look at everything Leonard touches. He spends so much time appearing harmless that you start doing exactly what the gangsters do and underestimate how carefully he is reading the room. The film has the lovely confidence of an old-fashioned crime story where information is more dangerous than firepower. Put this on with someone who enjoys catching lies before characters do. There is a very good chance both of you will start competing.

5

‘No Sudden Move’ (2021)

Image via Warner Bros.

Three criminals are hired for a supposedly simple job in 1950s Detroit. Hold a family hostage, escort the husband to his office, retrieve a document, get paid. Naturally, almost none of that survives contact with reality.

No Sudden Move is delicious once everybody realizes the job was only one piece of something much larger. Curt Goynes (Don Cheadle) wants his money and a clean exit. Ronald Russo (Benicio del Toro) keeps making choices that suggest self-preservation has to fight for space with greed. The missing document pulls gangsters, businessmen, and the auto industry into the same mess, and suddenly street-level crime looks tiny beside what powerful institutions can bury legally. The wide-angle photography gives rooms an oddly warped feeling that suits a story where everyone sees only part of the picture. It is one of those crime movies where you spend half the runtime asking who is using whom, then discover the answer may simply be everyone.

4

‘The Bikeriders’ (2023)

Image via Focus Features

Kathy (Jodie Comer) meets Benny (Austin Butler) at a bar, sees the leather, the bike, and the whole dangerous package, and falls for him. With the kind of certainty that makes everyone else’s warnings basically useless. Through her, The Bikeriders watches the Vandals motorcycle club grow from a place where outsiders find companionship into something much harder to control.

That change gives the movie its bite. Johnny (Tom Hardy) starts the club around motorcycles and belonging, while Benny represents the freedom everybody thinks they are protecting. Then new members arrive who care less about the old codes, violence gets uglier, and the romantic image of biker life begins fighting with what the club is actually becoming. The film draws from Danny Lyon’s famous photographs and interviews, which helps explain why so many scenes feel observed rather than manufactured. And Benny is exactly the sort of character friends will argue about afterward. Cool enough to understand the attraction. Reckless enough to make Kathy’s exhaustion completely understandable. Watch this for the bikes and attitude, then stay for the slow realization that subcultures can lose control of their own mythology.

3

‘The Killer’ (2023)

Image via Netflix

An assassin (Michael Fassbender) waits in an empty Paris office for his target and fills the silence with rules. Stay disciplined. Stick to the plan. Anticipate, do not improvise. Then he misses.That failure turns The Killer into one of the funniest possible movies about professional competence because the man narrating his flawless methodology keeps having to deal with evidence that he is, in fact, human.

He flies commercially, buys supplies from ordinary stores, uses fake identities borrowed from sitcom characters, and listens to The Smiths while preparing to kill people. The glamour has been stripped out of the profession until murder starts looking disturbingly close to gig work. Then the Florida fight arrives and reminds you how quickly all that controlled routine can become brutally physical. The deadpan humor is easy to miss if you expect a conventional revenge thriller. Get onto the movie’s wavelength and it becomes incredibly rewatchable.

2

‘The Batman’ (2022)

Image via Warner Bros.

This is The Batman closest to what cartoons made us feel as a kid. It’s just so much better than cartoons. It lives in a league of its own. No comparison to Ben Affleck’s take or Christian Bale’s take at the character. Gotham is already exhausted when a masked killer starts murdering powerful people and leaving riddles behind for Batman (Robert Pattinson) who is almost bored with no clear path and outcome. That shift is crucial. The Batman spends far less time wondering whether Bruce Wayne can punch criminals than asking whether he can actually understand the city he has spent two years terrifying from the shadows.

The investigation gives the movie its personality. Crime-scene photographs, coded messages, hidden corruption, the Iceberg Lounge, Falcone (John Turturro)’s grip on Gotham, and the Riddler (Paul Dano)’s obsession with the Wayne family keep pulling Bruce deeper into a history he thought he understood. Then the Penguin (Colin Farrell) chase gives you a Batmobile entrance so ridiculously aggressive that the engine itself feels like a threat. Gotham looks wet, filthy, overcrowded, and permanently twenty minutes from another bad night. Best of all, Batman has to confront the fact that calling himself vengeance has consequences when other angry men start using the same language. This is a detective movie wearing a cape, and more superhero films should be this comfortable getting mud on the costume.

1

‘Killers of the Flower Moon’ (2023)

Image via Paramount Pictures/Apple TV+

The Osage people become extraordinarily wealthy after oil is discovered beneath their Oklahoma land. Then they start dying. That blunt reality sits underneath every minute of Killers of the Flower Moon. Ernest Burkhart (Leonardo DiCaprio) marries Mollie (Lily Gladstone) while his uncle William Hale (Robert De Niro) presents himself as a friend to the Osage community, and the horror comes from watching affection, money, racism, and murder exist inside the same homes.

There is no criminal mastermind hiding in a smoky room waiting for a final reveal. People discuss killings like business arrangements. Doctors participate. Authorities fail. Neighbors know more than they say. Mollie becomes sicker while the men closest to her keep performing concern. That is why the film’s length never feels like indulgence once you surrender to it. You are being made to live inside the repetition of the crime and the confidence that nobody powerful will stop it. The ending then refuses to let Hollywood turn all that suffering into a comfortable piece of entertainment. It is devastating, furious, and absolutely essential.

A Saturday night gathering in Sanford, Florida, took a serious turn after gunfire erupted in the area, sending police rushing to the scene. Authorities are now working to piece together what happened as several people were injured, including two victims who remain in critical condition.

RELATED: Prayers Up! Rapper Bloodhound Q50 Reportedly Passes Away Following Drive-By Shooting In Chicago

Police Respond After Gunfire Erupts In Crowd

According to Sanford police, officers responded to the area of West 10th Street and Poplar Avenue shortly after receiving a call about 9:54 p.m. Officials said shots were fired toward a crowd gathered in the street during a social gathering, leaving at least eight people injured.

Two Victims Reportedly In Critical Condition

Sanford Police Public Information Officer Nicole Brown initially reported a minimum of six victims, including two people in critical condition, before the department later updated the total to eight victims. Authorities had not immediately released the ages of those injured.

“It seems like an isolated incident, but at this time it’s unconfirmed. But, again, if you see something, say something. As we always say, call us if you see something suspicious, somebody riding around that you don’t know or they seem suspicious, call us and we’ll definitely come out and check them out,” Brown said.

Police Are Still Working To Determine What Led To The Shooting

Police had not announced any arrests at the time of the report. The circumstances that led to the shooting also remained unclear. Brown said authorities did not know whether there was more than one shooter. Officers indicated that the scene was secure and there was no immediate threat to the public.

Authorities are asking anyone who may have information about the shooting to contact law enforcement. Brown also encouraged residents to report anything they consider suspicious. Investigators were treating the incident as potentially isolated, though that had not yet been confirmed.

RELATED: Prayers Up! Mass Shootings In Chicago & Trenton, New Jersey Reportedly Leave 3 Dead And 18 Injured (VIDEOS)

Cindy Crawford and her family are mourning the loss of her son, Presley Gerber. The model and fashion public figure died suddenly at 27 after a lengthy battle with addiction. In an interview months before his death, Crawford praised her children and boasted about how “proud” she was of them.

Presley Gerber had spoken openly about his challenges in the past. During a 2023 interview, the model and brother of Kaia Gerber advocated for mental health resources and noted how important it is for people to share their truth. According to him, speaking honestly about personal trials and tribulations can help others more than people realize.

In a May interview with PEOPLE, Crawford opened up about what it was like working with her two kids and her husband for their collective partnership with the performance apparel brand Vuori. In addition to spending the “amazing” day on set shooting family pictures, Crawford said working together made her realize how “proud” she was of her two children.

“It was like watching their interaction with each other. Nothing makes, I think, a parent prouder than when your kids like each other and love each other,” she said about the moment, adding that it was “so nice” to share that moment together as a family.

Crawford went on to talk about how her life had changed since her children became full-fledged adults, left the house for good, and started new chapters in their lives. “I mean, of course, we’ll always be parents, our kids are always a priority. They just don’t need us as much as they did, so we can enjoy each other more,” she said.

Advertisement

Cindy Crawford’s Son, Presley, Died At 27

Crawford’s previous interview has resurfaced following the news of her son’s tragic death. According to TMZ, Presley died Sunday, September 20, at a rehab facility in Los Angeles. A family rep shared a statement saying the three of them are “asking for privacy” during this challenging time.

Presley spent his entire life in the spotlight, but he stepped into his own lane at 15 when he signed with IMG Models, per The Blast. Presley modeled for major brands, including Calvin Klein, Celine, Moschino, and Dolce & Gabbana.

Presley Gerber Was Open About His Struggles With Mental Health And Addiction

Presley had used his notoriety in the past to speak about his struggles with mental health and advocate for those who have struggled similarly to him. While appearing on the “Studio 22” podcast in 2023, Presley said one of the things he cared most about was helping other people.

“Having struggled with mental health, depression and some other things that come along with that, I think that whether I help one person or a hundred people get out of that place that I was in at one point in my life, that’s all I need to do,” he said.

Advertisement

“[Mental health] is an issue. It is such a big part of my life. It’s a 24/7 job, and there’s so much to it,” Presley continued. “That’s really what I want to do: help people, whether you’re depressed, you’re struggling with something that is having a negative effect on your body. I mean it could be anything, and there’s no judgment.”

Cindy Crawford’s Daughter Reflected On Her Brother’s Struggle With Addiction

Presley’s sister, Kaia, also reflected on his struggle with addiction in a past interview with Vogue and admitted to being more reserved growing up because she didn’t want to take the focus away from her brother’s needs.

“I think that’s also why I started to self-​identify as the easy one and never wanted to ask for help. Because it felt like too much to have two children who were needing,” she said.

Kaia went on to say that for a while, her family was used to keeping things private; however, her brother’s willingness to tell his story challenged them to be honest in a completely new way.

“My parents for most of our lives were very, very private and didn’t share anything — and now we have this absolute teacher, my brother, who says, ‘I’m gonna be very human for everyone.’ There’s only so much you can hide from the world,” she said. “And trying to put a lid on something just makes the person feel like you’re ashamed of them.”

Advertisement

Presley Posted For Men’s Mental Health Awareness Month

In November 2025, Presley returned to Instagram after a two-week hiatus, saying he stepped away from the platform to focus on his health and well-being.

“But I’m coming back … stronger, clearer, more intentional than ever,” he wrote before reflecting on his regular series, “Mental Health Mondays,” which was designed to encourage others to speak openly about their troubles.

He also highlighted Men’s Mental Health Awareness Month and noted the importance of keeping the topic at the forefront of public conversations.

If you or someone you know is struggling with substance abuse, please contact the SAMHSA helpline at 1-800-662-HELP.

Advertisement

The beauty of a miniseries is that it tells a complete story within the span of its episodes. There are no cheap frills or filler; every episode is integral to the overall narrative. One of the fastest-rising miniseries genres is the thriller. From crime dramas to horror stories, quick, precise storytelling remains in sharp focus.

There have been some sensational thrillers over the years, but there are only a few that are simply perfect. These ten represent that moniker. The series in this list features everything from extraordinary horrors that will spook you silly to sci-fi stories that will blow your mind. No matter the genre, they share the DNA of providing constant thrills from start to finish.

9

‘The Outsider’ (2020)

Image via HBO

The brilliance of a special miniseries is its ability to seamlessly shift from one genre to another without an ounce of hesitation. That’s exactly how The Outsider operated. Adapting the Stephen King novel for television by Richard Price, The Outsider follows the murder investigation of an 11-year-old boy in a small Georgia town. While local teacher and Little League coach Terry Maitland (Jason Bateman) is arrested, police detective Ralph Anderson (Ben Mendelsohn) and private investigator Holly Gibney (Cynthia Erivo) slowly realize an evil, shape-shifting entity might be behind the crime.

A cleverly disguised supernatural thriller, The Outsider’s gradual shift from impossible alibis and eerie anomalies into pure supernatural dread is sensational. The narrative uses real-world grief, community suspicion, and personal loss to build a grounded reality that makes the otherworldly threat even more unsettling. The primary trio has strong chemistry. Mendelsohn’s grieving, cynical detective and Erivo’s eccentric PI are the perfect opposites-attract duo that grounds the story. An underrated gem, The Outsider is worth the 10-episode journey.

8

‘All Her Fault’ (2025)

Image via Peacock

A good thriller can tap into true human fear to deliver a sizzling story that may feel too close to home. That’s where All Her Fault is rooted. Based on the novel of the same name by Andrea Mara, All Her Fault is every parent’s nightmare comes to fruition. The eight-episode series follows the terrifying aftermath of Marissa Irvine’s (Sarah Snook) son, Milo (Duke McCloud), vanishing after a scheduled play date. As a frantic search begins, Detective Jim Alcaras (Michael Peña) works to uncover what happened, leading to an investigation that unearths a complex web of deep family secrets, public media scrutiny, and buried lies tied to those closest to Marissa.

With stellar ensemble performances, All Her Fault anchors a literal nightmare with biting commentary and a smartly twisted narrative. After a heart-racing twist hooks you, the story slowly transforms into a terrifying tale of self-deception, paranoia, and how easily we trust for convenience. While the story is about the terrors of potentially losing a child through no fault of your own, All Her Fault digs into the imbalance of domestic labor and modern parenting pressures through the lens of a dysfunctional partnership. All Her Fault thrives on stellar performances, especially from Snook, Peña, Dakota Fanning, Abby Elliott, and Jake Lacy, who confirms why he continually gets typecast as a bad guy.

7

‘Bodies’ (2023)

Image via Netflix

Sometimes, high-concept sci-fi thrillers are the most bingeable. Such is the case for the British miniseries Bodies. Based on the DC Vertigo graphic novel by Si Spencer, Bodies centers around four detectives in four different time periods — DS Sharhara Hasan (Amaka Okafor), DS Karl Weissman (Jacob Fortune-Lloyd), DI Alfred Hillinghead (Kyle Soller), and DC Iris Maplewood (Shira Haas) — who find the exact same dead body in the same London alleyway. Spanning more than 150 years, the detectives realize their cases are tied to a massive, multi-generational conspiracy centered around an enigmatic political leader named Elias Mannix (Stephen Graham).

Bodies delivered shocks from start to finish. Bodies has an immediate hook that keeps you glued to the screen as the mind-blowing twists and turns come at full speed. By following four individuals tackling the same problem in different eras, it exposes personal struggles that reflect the social pressures of their times. Rather than drag out the mystery over multiple seasons, Bodies delivers its brilliance in eight tight episodes, concluding in a satisfying way. The series sets itself apart by blending a police procedural with historical period drama and futuristic sci-fi without ever departing from its unique narrative.

6

‘A Murder at the End of the World’ (2023)

Image via FX

Perhaps one of the most underrated thrillers in recent memory is A Murder at the End of the World. Created by Brit Marling and Zal Batmanglij, the psychological mystery thriller centers around Darby Hart (Emma Corrin), a Gen Z amateur hacker and sleuth. Darby and eight other guests are invited to an exclusive, remote glacial retreat in Iceland by reclusive tech billionaire Andy Ronson (Clive Owen). When one of the guests turns up dead, Darby must use her tech skills and investigative instincts to prove it was murder. Shifting from past and present, A Murder at the End of the World presents the mystery at hand while exploring Darby’s past investigation alongside her former partner and fellow sleuth, Bill (Harris Dickinson).

A standout series, A Murder at the End of the World reinvents the whodunnit tradition with a modern, high-tech twist. Corrin anchors the series with a stellar performance. With a punk aesthetic, Darby subverts the classic detective, bringing an innate edge. By cutting off the characters from the rest of the world, the story earns an Agatha Christie aesthetic where the snowbound architectural backdrop traps the action. Weaving in a sharp commentary on artificial intelligence, billionaire hubris, and the ethics of the true-crime genre, A Murder at the End of the World refutes a bloated story for a high-octane series.

5

‘The Beast in Me’ (2025)

Image via Netflix

One of Netflix’s surging greats, The Beast in Me, is proof that extraordinary acting can carry a series across the finish line. Created by Gabe Rotter, Aggie Wiggs (Claire Danes), a Pulitzer Prize-winning author who stopped writing after the tragic death of her young son, is drawn into a dangerous game of cat-and-mouse with her new neighbor, Nile Jarvis (Matthew Rhys), a man suspected of murdering his wife. The two enter a toxic and tense relationship where Aggie searches for the truth while writing a book about his life, all while confronting her own inner demons. A masterpiece cat-and-mouse chase, The Beast in Me is an enthralling exposition on deep themes of trauma, guilt, and human darkness.

The Beast in Me is an intense thriller that explores the dangerous boundary between a writer and their subject. Whether Nile is guilty or not, Aggie’s obsession with uncovering the truth drives her to the dark places she’s fighting against. Danes and Rhys have breathtaking chemistry, pushing one another to the brink. Their rich psychological mind games drive the action. The unsung hero of the ensemble is Brittany Snow as Nina Jarvis, Nile’s second wife. She brings a robust strength that becomes the story’s moral center. A truly haunting cinematic thriller, The Beast in Me is proof that a tight, single-series story is the perfect recipe in today’s streaming landscape.

4

‘Baby Reindeer’ (2024)

Image via Netflix

Some of the most harrowing stories tend to be the ones based on real-life events. Created and starring Richard Gadd, the hit thriller Baby Reindeer is inspired by his own experience. Baby Reindeer follows Donny Dunn (Gadd), a struggling comedian who is relentlessly stalked after showing a moment of kindness to a vulnerable woman, Martha (Jessica Gunning). The simple act of a cup of tea devolves into a suffocating obsession that ends up unearthing unresolved, buried trauma from his past. Inspired by his solo play, Baby Reindeer explores the messy and confusing psychology of abuse, shame, and why victims sometimes delay seeking help.

A raw, traumatic story, Baby Reindeer does not hold back. In this brutally honest series, Gadd uses Donny to explore his own flaws, mistakes, and confusing choices while showing the difficulties of the situation at hand. Baby Reindeer centers on how two damaged people become trapped in a destructive cycle. Further, the series openly tackles the lesser-discussed male sexual assault. Its unpredictable pacing, with varying episode lengths, mirrors Donny’s unstable mental state. Anchored by two fantastic, career-making performances, Baby Reindeer is not an easy watch, but it’s necessary viewing.

3

‘Behind Her Eyes’ (2021)

Image via Netflix

If there’s a thriller whose conclusion you won’t see coming, look no further than Behind Her Eyes. A mind-bending sci-fi story, the Steve Lightfoot-created series is based on Sarah Pinborough’s novel. Louise Barnsley (Simona Brown) is a single mother who falls into a dangerous web of secrets, infidelity, and supernatural body-swapping after having an affair with her married boss, David Ferguson (Tom Bateman). Despite knowing better, Louise begins an affair with David and develops a close friendship with his perfect wife, Adele (Eve Hewson). The deeper Louise gets into the affair, the more she learns about David’s abusive behavior and Adele’s dark past involving her childhood friend Rob Hoyle (Robert Aramayo).

Behind Her Eyes is a standout thriller that leaves you utterly gobsmacked. What begins as a simple love triangle evolves into a gripping psychological thriller before shape-shifting into a supernatural masterpiece. Astral projection serves as the framing device for the body-swapping mechanic. By the time the twist is revealed, it recontextualizes everything, making Behind Her Eyes a brilliant second-watch option. Constructed in six solid episodes, Behind Her Eyes wastes no time in hooking you and keeping you intrigued until the bitter end.

2

‘Midnight Mass’ (2021)

Image via Netflix

The collaboration between Netflix and Mike Flanagan was quite prosperous, as nearly every single series was a success. Case in point: Midnight Mass. The supernatural horror thriller set on Crockett Island, a small, isolated, and impoverished fishing village, follows the return of Riley Flynn (Zach Gilford) following four years in prison for a fatal drunk-driving accident. Coinciding with his return is the arrival of a charismatic and mysterious young priest, Father Paul Hill (Hamish Linklater), who begins performing inexplicable miracles, curing local ailments and reversing aging among the residents, which causes a massive religious revival. Soon, it is revealed that these miracles are tied to a terrifying, blood-feeding creature.

Midnight Mass explores how religious devotion can twist into dangerous zealotry, using scripture to justify horrific actions. Unlike the haunted house stories that preceded it, Midnight Mass blends deeply personal human drama with a slow-burning supernatural mystery. Despite the tight-knit community, the island setting is claustrophobic and inescapable. The series reinterprets classic vampire mythology to explore themes of faith and sobriety. With an explosive finale, Midnight Mass is grounded in extraordinary performances, especially from Samantha Sloyan as Bev Keane. A great series to rewatch every spooky season, Midnight Mass is proof that Flanagan is a master of original ideas. ​​​​​​​

1

‘The Fall of the House of Usher’ (2023)

Image via Netflix

Picking the best Mike Flanagan series is literally a Sophie’s choice. There’s something so juicy about The Fall of the House of Usher that it earns this spot. Combining an all-star conglomerate of Flanagan players with delicious source material, the Edgar Allan Poe-inspired series is the most daring of Flanagan’s Netflix entries. The Fall of the House of Usher follows the shocking mysteries surrounding the deaths of corrupt pharmaceutical billionaire Roderick Usher’s (Bruce Greenwood) six children over the course of two weeks. Through the past and the present, Roderick and his twin sister, Madeline (Mary McDonnell) reveal how their pharmaceutical was ruthlessly built through immense corruption and crime. Across eight episodes, Flanagan weaves characters, titles, and themes from many of Poe’s classics to create a sublime Gothic thriller.

The Fall of the House of Usher brilliantly pairs a 19th-century horror sensibility with 21st-century themes and corporate satire. The 8-episode show tells you exactly what’s going to happen; the thrill is seeing just how the deaths come, all while paying homage to Poe’s greatest hits. Every single episode functions as an anthology-style character study focusing on the downfall of a different arrogant heir. Ratcheting than relying on cheap jump scares, the series leans on foreboding, poetic, atmospheric dread. The series features stellar Flanagan faithful and new faces, namely Carla Gugino as the diabolical, shape-shifting entity Verna and the legendary Mark Hamill as family fixer Arthur Pym. If there’s any series to watch when there’s a chill in the air, it’s this one. ​​​​​​​

The Marvel Cinematic Universe may be on the up and up thanks to the reinstatement of Bob Iger as Disney CEO and the critically successful release of Thunderbolts*, The Fantastic Four: First Steps, and—most recently—Spider-Man: Brand New Day, but that hasn’t stopped people from being worried about what’s to come and the failure or success of Avengers: Doomsday. This is especially true regarding the casting of Robert Downey Jr. as the villain of the film, Doctor Doom. The fan response to this news was and still is unlike any kind of reaction Marvel has gotten for their MCU projects ever.

As stated, though, the MCU and Marvel Studios are on the uphill climb to where they were before Phases Four and Five, so all hope is not lost for Avengers: Doomsday and the following film, Avengers: Secret Wars. Directors Joe and Anthony Russo need to really blow people away with the fifth Avengers movie to fully win fans back to the MCU, as it’s the project with the most hesitation behind it from audiences. However, the Russo Brothers made the extremely excellent Avengers: Infinity War and Avengers: Endgame, so there’s a good chance they can pull this off. There are things they need to make sure they do, though, if they’re going to win the MCU fans back completely. This really is a make-or-break movie for Marvel, and there’s no doubt that they already know it.

10

Balance the ensemble

Image via Marvel Studios

If one thing is true about the cast of Avengers: Doomsday, and the MCU as a whole, it’s that there’s a gigantic cast that always seems to be growing. If the fifth Avengers installment is going to manage a cast that large, the directors are going to need to employ the same strategies they did with the last few entries if they’re going to keep things feeling streamlined and not too jumbled.

What made the likes of Avengers: Infinity War work so well was the fact that they managed to balance their large ensemble cast—keeping every character important, without them overstaying their welcome. Was Avengers: Infinity War lightning in a bottle (since Avengers: Endgame had a much smaller main cast)? Only time will tell.

9

Thrilling action

Image via Walt Disney Studios Motion Pictures

Does anyone really have any doubts about whether Avengers: Doomsday is going to have great action? Marvel Studios films have always been pretty good about providing fast-paced and high-flying action, especially in all of the Russo Brothers’ Marvel projects. That doesn’t mean there isn’t room to fumble, though, and they need to keep up their pace with fight sequences if they’re going to keep people invested in Avengers: Doomsday. With all the new MCU characters that are being introduced, as well, they have all the chance in the world to provide new and exciting action scenes.

Characters like Shang-Chi (Simu Liu) and his Ten Rings, The Fantastic Four, Namor (Tenoch Huerta), and many more have unique abilities that could add so much to choreography and visual spectacle. Team-ups between characters like these could allow the Russo Brothers to introduce fights like audiences have never seen before in the MCU, which would make these sequences super memorable, and that will allow Avengers: Doomsday to feel special. The war scenes they managed to pull off in Avengers: Infinity War and Avengers: Endgame were so well-executed that it’s hard to believe they won’t bring good action to Avengers: Doomsday, though.

8

Bring a great cliffhanger ending

Image via Marvel Studios

If Avengers: Doomsday is the first part of a two-part story ending with Avengers: Secret Wars, then that would mean it’ll most likely have a similar format to Avengers: Infinity War—the first part to the ending of the Infinity Saga. What made the ending of that MCU movie so great was that it didn’t just end with a full-circle moment—thanks to Thanos (Josh Brolin) being the protagonist of that film—but simultaneously a cliffhanger, as well.

If they’re going to secure more butts in the seats of theaters showing Avengers: Secret Wars, they’ll want a similar cliffhanger at the end of this one. This obviously means that, more likely than not, Doctor Doom is going to take the win, and the remaining Avengers are going to have to pick up the pieces in the sixth movie.

7

Know their priorities

Image via Marvel Studios

If Marvel Studios and the Russo Brothers need to do one thing, it’s to keep their priorities in check. They need to know what the fans want and are looking for from Avengers: Doomsday, while still making decisions that are right for the story. There really shouldn’t be too much setup for stories outside of what’s to come right after in Avengers: Secret Wars, as it could really clutter the story. No one wants to take time to set up the next Shang-Chi and the Legend of the Ten Rings film (even though they really should get on that) while Doctor Doom is threatening the universe—most likely the multiverse—for 99% of the runtime. A sequel to Shang-Chi’s film is just an example, but the reality is there.

With the soft reboot coming for the MCU after these next two Avengers films, there’s a chance that there won’t be anything to set up and distract from the core plot of Avengers: Doomsday, but they also run into another potential problem. They need to ensure they don’t focus too much on characters that don’t matter as much to the plot as others do. What made Avengers: Infinity War and Avengers: Endgame great is that they gave smaller and less important characters moments to shine without taking away from the more important ones. After the snap, they only kept around characters that were absolutely necessary to tell the story in Avengers: Endgame, which served them incredibly well.

6

Stay away from nostalgia bait

Image via Marvel Studios

With so many characters coming back from previous franchises—like the X-Men—it can most definitely be really tempting to want to use nostalgia bait to get audiences excited, rather than good plot beats. The Russo Brothers haven’t had issues with this in the past two Avengers movies, but with the number of previous Marvel franchise characters coming back, the risk is definitely still there.

The inclusion of the 20th Century Fox universe characters—and other franchises, too, if one is to assume—is no fluke, and done for a reason. They want people to see their favorite old characters in the new The Avengers flick; they just have to ensure that they keep themselves from not giving them a good reason to be there. A movie that was amazing at this was Spider-Man: No Way Home, in the way that the old Spider-Man franchise characters all served the story in some way, shape, or form.

5

Give the VFX artists time to cook

Image via Marvel Studios

One of the biggest problems with Marvel for quite some time has been the fact that they have generally treated their VFX artists pretty poorly. This has led to shoddy visual effects at times, especially in the post-Avengers: Endgame era. Most notably, movies like Ant-Man and the Wasp: Quantumania and Thor: Love and Thunder, which are already movies that struggled to find quality in the first place. This isn’t the visual effects artists’ fault, though, as it’s commonly known that they are put under ridiculous time constraints, less-than-ideal working conditions, and are wrongfully blamed for the quality of effects. When a film studio lets its VFX artists have the time to pull off what they need to do successfully, they are always rewarded with some visually gorgeous scenes that are unforgettable.

Not only do they need to improve on this because it will only make their content better, but because it’s genuinely just the right thing to do, for the sake of their artists who are making their projects possible in the first place. So they won’t just get a better quality film out of it, but a lot more good faith from audiences everywhere who are upset with both the quality and the treatment of their hard-working artists. With the recent strikes, people are now more aware than ever of the kind of working conditions that artists can be treated to in the industry. Of all the issues Marvel Studios has had these last five years, this one is one of the biggest, most impactful, and most brand-damaging. This isn’t just crucial for winning fans back in Avengers: Doomsday, but for the entire future of the MCU. If this trend continues, it could spell really bad things for their public reputation, which, if ruined, could sink the ship for good—genuinely.

4

Make the past matter

Image via Marvel Studios

The biggest, most proclaimed worry among fans about Avengers: Doomsday is that, when it came to ending the Infinity Saga, there was a lot of buildup. Thanos may not have appeared much before his grand entrance in Avengers: Infinity War, but the likes of the Infinity Stones were being built up from what felt like day one—also known as when the Tesseract (the Space Stone) appeared in Captain America: The First Avenger.

The worry comes with the fact that, as far as fans know, there really hasn’t been any buildup to Avengers: Doomsday. There’s a chance that Doom’s been pulling the strings from behind the past two Phases, sure, but only time will tell—maybe he could be out for the many artifacts discovered in Phases Four and Five, like the Ten Rings. Fans and general audiences alike want to feel rewarded for watching the last grouping of films, and maybe they would have if they kept Kang the Conqueror (Jonathan Majors) around—who was being built up through both the Loki and Ant-Man franchises—but that’s no longer the case. So, the Russos have some real legwork to do if they’re going to make Doom feel earned.

3

Keep it focused

Image via Marvel Studios

With the number of characters being juggled in every The Avengers film, directors will always run the risk of their story becoming unfocused and scatterbrained. With how disjointed the MCU has felt since Avengers: Endgame, the chances of losing sight of things and getting distracted are higher than they have ever been before. With all the new characters coming into the fray who have major plots of their own, it could be far too easy to get sidetracked in a character’s introduction and exposition, or even a side plot that doesn’t have much to do with the main plot.

A great example of a time this has happened is the notorious Avengers: Age of Ultron, where the story is truly all over the board. It’s setting up the Infinity Stones, dealing with Ultron (James Spader), Vision’s (Paul Bettany) introduction, and developing a meaningless relationship between Natasha Romanoff (Scarlett Johansson) and Bruce Banner (Mark Ruffalo)—far too many things coming together as one very convoluted plot. Even Avengers: Age of Ultron‘s biggest defenders can agree that this movie was done dirty with how many things it was trying to do, whether to the fault of Joss Whedon or Marvel Studios executives. Why did they insist on these meaningless extra plot lines? No one really knows. If a movie with fewer characters, like Avengers: Age of Ultron, could get as unfocused as it did, there’s a lot of fear when looking at a movie with a cast the size of Avengers: Doomsday.

2

Have genuine emotional weight

Image via Marvel Studios

It cannot be denied that The Avengers franchise—while filled with blockbuster spectacle—has always had a plethora of emotional weight behind its stories. A lot of this comes from the bond between the original team of Avengers, but with so many new characters being involved—who have never really interacted before—they’re going to have a hard time delivering the same kind of connectedness, which means they’ll need to find emotional weight in other corners of the plot.

There’s a large chance that Doctor Doom is going to have a horrifically tragic backstory, which would bring in a lot of emotional significance. Regardless of how it’s brought in, it needs to be present, regardless. Avengers: Doomsday and Avengers: Secret Wars alike need to have a lot of emotional weight in their plot, and one can only hope the Russos really lock in on this.

1

Make Robert Downey Jr.’s Doom Work

Image via Marvel Comics

If there’s one thing that people are extremely vocal about when it comes to the next two The Avengers movies—Avengers: Doomsday, especially—it’s whether or not they’re going to be able to make the casting of Robert Downey Jr. as Doctor Doom actually work. Ever since the casting announcement, it’s been an incredibly hot topic. How on Earth is Downey Jr. going to play Doctor Doom so soon after the end of his reign as Iron Man in Avengers: Endgame? Why would they make the decision to cast him when there is a plethora of other actors who would absolutely own the role? These are two of hundreds of questions being asked by fans, general audiences, and critics alike.

It’s so out there that one can truly only make a judgment call after seeing the film (as trailers probably won’t depict exactly what they’re doing either). While there’s a gigantic chance they could fumble the bag, there’s just as big a chance that they rock the house and provide an intensely great villain. The Russo Brothers brought the world Captain America: The Winter Soldier, Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame, so it’s hard to believe that they’ll suddenly drop the ball out of nowhere, and on a film with such grand importance. The chance is there, though, and the aspect of the film that has the biggest chance of making that happen is Doctor Doom. One can only hope that they have a very specific vision for Doom, and it’s simply something nobody could expect and that will work well because it’ll be so specific to this universe and never really done before.

Advertisement

Avengers: Doomsday

Advertisement

Release Date

December 18, 2026

Advertisement

Runtime

165 Minutes

Writers

Advertisement

Stephen McFeely, Michael Waldron, Chris McKenna, Erik Sommers

Advertisement

Advertisement

Advertisement

A science fantasy movie can have all the spaceships and cloned bodies in the universe, but the stuff that actually stays with you is always much smaller. It is the human stuff. A parent trying to protect their family, or an old hero trying to live with their own failures.

The best modern films in this genre treat their massive scale like a pressure cooker for the characters. You expect massive explosions, but the most important moments always come down to awkward conversations and personal choices that cannot be undone. These six movies absolutely nail that balance, so let’s break down exactly how they pull it off.

6

‘Avatar: The Way of Water’ (2022)

Image via 20th Century Studios

Avatar: The Way of Water gets its emotional charge from making Jake Sully (Sam Worthington) feel helpless in a world he once seemed to understand. He has built a life in the forest, raised children, led a clan, and settled into the daily rhythm of family. Everything shatters the second the Sky People return with recombinant avatars carrying the memories of dead soldiers. As a result, the safest thing Jake can do is leave everything familiar behind.

That is where the movie becomes more affecting than people give it credit for. The Sully family’s move from the forest canopy to the open ocean feels huge because the children are visibly out of place. They gasp, kick awkwardly, fail to hold their breath, and look painfully small beside the reef clan’s effortless grace. At first glance, the ocean scenes just look gorgeous. But honestly, what really hooks you is how physical it all feels. You can practically feel the water on their skin, the panic of holding their breath, and the vibe of learning to move with the sea creatures. The whole movie eventually ditches the massive ‘save the planet’ mission. It just becomes about saving one family.

5

‘Guardians of the Galaxy’ (2014)

Image via Marvel Studios

Guardians of the Galaxy enters like the exact opposite of noble space fantasy. The story starts with Peter Quill (Chris Pratt), who is a scavenger dancing through a ruined alien temple with a Walkman, stealing an orb like this is just another petty job. That ridiculous contrast is still the movie’s secret weapon. On the surface, he acts like a charming rogue, but everything about him is built around avoidance, such as the music, the jokes, the flirting, and the refusal to sit still with grief.

Once the bounty hits, the movie starts throwing broken people into each other at full speed. Gamora (Zoe Saldana), Rocket (Bradley Cooper), Groot (Vin Diesel), Drax (Dave Bautista), and Quill spend half the time shoving, insulting, side-eyeing, and threatening each other. They are a total disaster. It takes a while before they become anything close to a team. The space-prison breakout is the perfect expression of that chaos. There is no clean heroism here. Just improvised violence, bad planning, and weird trust forming under pressure. Don’t get me wrong, the cosmic plot is massive, but underneath it all, these losers are lonely in very specific ways. And weirdly enough, that is exactly why they somehow become a family, completely against their own instincts.

4

‘Star Wars: Episode VIII – The Last Jedi’ (2017)

Image via Lucasfilm

Star Wars: Episode VIII – The Last Jedi is the rare franchise film brave enough to stare directly at its own legend. It follows Luke Skywalker (Mark Hamill), who has become the story everyone else tells about him, and the man himself can barely stand the weight of it. On Ahch-To, he is tired, bitter, soaked by island rain, and committed to disappearing. Then Rey (Daisy Ridley) arrives with the lightsaber, the symbol, and the demand. She expects the impossible. She wants him to become “Luke Skywalker” again.

The toss over the shoulder is still a brilliant shock because it announces the film’s real subject immediately. This story cares less about worshiping heroism than examining what happens when a hero survives long enough to hate the myth built around him. You can literally see it in the performance. Hamill’s slumped posture, his avoidance, his irritation with Rey, and his shame over Ben Solo (Adam Driver) make Luke feel painfully human. But despite all that baggage, he eventually finds a way forward that doesn’t erase his mistakes. That is exactly why taking that stand on the salt flats is a quiet, defiant mic drop. It is just an exhausted legend choosing hope entirely on his own terms.

3

‘Poor Things’ (2023)

Image via Searchlight Pictures

Poor Things turns a coming-of-age story into something strange, funny, grotesque, and completely liberating. Bella Baxter (Emma Stone) begins inside Godwin Baxter (Willem Dafoe)’s controlled home, awkwardly navigating the rooms while she tries to figure out how her own limbs work. Since she is basically starting from zero, her stiff walk, blunt speech, appetite, curiosity, and total lack of social embarrassment make every early scene feel alive with discovery. She is watched, studied, guided, and contained. But she is never truly owned. The men around her just assume she is.

The film snaps open once Bella leaves that monochrome world. Color floods in almost rudely, and suddenly she wants food, sex, language, travel, danger, cruelty, politics, mistakes, pleasure, and knowledge. Her body changes with her mind. That clunky Frankenstein walk smooths out into total control. She goes from being a sheltered science project to a real person. And, she is absolutely done apologizing. Seriously, that constant leveling-up is exactly why the movie hits so hard. It just keeps outgrowing its own setup. After chewing through enough of the world, she finally dictates what kind of person she is going to be.

2

‘Everything Everywhere All at Once’ (2022)

Image via A24

Everything Everywhere All at Once starts with the least glamorous crisis imaginable. Evelyn Wang (Michelle Yeoh) just wants to survive an IRS audit. She is exhausted, irritated, behind on paperwork, worried about her father, distant from her husband, and unable to talk to her daughter without turning love into criticism. Then Waymond (Ke Huy Quan)’s body suddenly becomes someone else’s, an earpiece appears, and the dull office building starts cracking open into a multiverse.

The movie’s chaos is funny, but the reason it actually wrecks you is Evelyn’s face. She is a woman whose brain is already overloaded before reality starts splintering. Every absurd action, every fight, every alternate life, every ridiculous jump only matters because Evelyn keeps seeing versions of herself that made different choices. The IRS desk clutter becoming a martial-arts battlefield is great, but Joy (Stephanie Hsu)’s pain is the anchor. No matter how weird things get with the bagel, the rocks, the laundromat, the taxes, and the reconciliation. All of it just comes down to a mother finally choosing empathy. She lets go.

1

‘Dune: Part Two’ (2024)

Image via Warner Bros. Pictures

Dune: Part Two is the modern science fantasy epic that every other movie in the genre now has to survive being compared to. The plot kicks off with Paul Atreides (Timothée Chalamet) in the deep desert as a displaced royal heir trying to learn Fremen ways without fully surrendering to the role waiting for him. Despite his best efforts to just blend in, he watches, listens, trains, fails, adapts, and tries to stay human while everyone around him keeps turning his survival into proof of prophecy.

That gradual shift is what makes the film terrifying. Paul’s transformation is a slow burn. Instead of a sudden change, the sand, silence, rituals, and religious expectation are allowed to tighten around him scene by scene. That tension peaks during his first sandworm ride, which is completely overwhelming just because of how physical it feels before it ever becomes symbolic. It grounds you in the thumper pounding, the worm rising, and Paul fighting to stay attached under the desert sun. Then his body language changes. The hesitant student becomes a commander, and the young man terrified of a holy war suddenly starts using belief as a weapon. He becomes the myth. Once he actually starts shouting orders and seizing power, the awe has completely curdled into dread. The film is inevitably magnificent because its beauty is inseparable from the horror of watching Paul become exactly what he feared.

Advertisement

Dune: Part Two

Advertisement

Release Date

Advertisement

February 27, 2024

Runtime

167 minutes

Advertisement

Director

Denis Villeneuve

Writers

Advertisement

Denis Villeneuve, Jon Spaihts, Frank Herbert

Advertisement

Advertisement

Advertisement