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The ‘Breaking Bad’ Home Is Officially Mine!!!

Published
February 25, 2026
10:39 AM PST

The Thunder Buddies are about to graduate from high school this year with the release of Ted Season 2. Before John Bennett (Max Burkholder) and his titular stuffed best friend (Seth MacFarlane) are thrust into the world of adulthood for the first time, though, they have to hold one last epic rager to toast their senior year with the level of debauchery they deserve. Most excitingly, however, is that everyone’s invited. Collider is partnering with Peacock to announce that, in celebration of the return of the MacFarlane-created sitcom on March 5, The Gutter in the Lower East Side in New York City is getting a Ted-themed makeover for one weekend only for a massive house party.

Ted and John’s “Mind in the Gutter Party” will wind back the clock to the early 1990s, when Ted was forced to attend school with John and navigate the trials of growing up at the bottom of the social ladder. As such, the bar and bowling alley will be imbued with the era’s aesthetic and covered in easter eggs paying homage to the Bennett family. It also promises plenty of “delights and debauchery” alike, from Ted-themed bowling to nostalgic throwbacks, classic games, exclusive clips from the second season, and much more that will only be revealed when attendees arrive. The only thing that could make such a party more accurate to MacFarlane’s crass bear is if it were taking place in Massachusetts.

Peacock has teamed with MacFarlane’s Fuzzy Door Productions to make this house party happen, with help from NVE Experience Agency. This isn’t NVE’s first time warping viewers back to the 90s, as they also helped with the Ted series premiere back in 2024. They’ve also applied their touch to activations for a wide range of other shows, from Peacemaker Season 2 to Ryan Murphy‘s Grotesquerie. Fans 18 and older will be able to enter the “Mind in the Gutter Party” at The Gutter LES for free on a first-come, first-served basis from 4 p.m. to 7 p.m. on Friday, March 6, and 1 p.m. to 7 p.m. on Saturday, March 7, while ages 21 and older can stay thereafter until 1 a.m.

What Does Season 2 of ‘Ted’ Hold for the Bennett Family?

Ted Season 2 begins in roughly the same spot the acclaimed series started, with John Bennett still awkward and unpopular and trying to navigate high school life with a little help from his best bud Ted. Only now, time has flown, and the end of senior year is fast approaching. With so much still left unaccomplished, the duo sets out to make the most out of what little time they have left by making more mistakes, smoking more weed, and indulging in some new activities, like Dungeons & Dragons, before they become fully-fledged adults. The rest of the Bennett family will be along for the ride too, including John’s strict, blue-collar father Matty (Scott Grimes), his remarkably sweet, caring mother Susan (Alanna Ubach), and his outspoken liberal cousin, Blaire (Giorgia Whigham).

Return to the Bennett household when all eight episodes of Ted Season 2 arrive on Peacockon March 5, then live it up like it’s the 90s at Ted and John’s Mind in the Gutter Party” at The Gutter LES in New York City on March 6 and 7.

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Release Date

2024 – 2024-00-00

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Peacock

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  Penny Johnson Jerald

  Principal

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  Seth MacFarlane

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  Ted (voice)

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  Max Burkholder

  John Bennett

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The Teenage Mutant Ninja Turtles are no strangers to reinvention. From Saturday morning cartoons to arcade brawlers to nostalgic throwbacks like Teenage Mutant Ninja Turtles: Shredder’s Revenge, the franchise has thrived by adapting to new generations. But the upcoming adaptation of TMNT: The Last Ronin is shaping up to be something entirely different.

According to publisher THQ Nordic and developer Black Forest Games, The Last Ronin is being developed as a serious, story driven third person action game. More notably, early reporting around the announcement described the project as being in the vein of modern prestige action titles like God of War.

That comparison alone signals a dramatic tonal shift for the franchise.

A Darker TMNT Was Inevitable

The Last Ronin comic series already proved that audiences are ready for a mature, emotionally heavy take on the Turtles. Set in a dystopian future where only one Turtle remains, the story abandons pizza jokes and lighthearted banter in favor of loss, vengeance, and legacy.

Translating that into an interactive experience almost demands a more cinematic approach. A traditional arcade style beat em up simply would not carry the emotional weight of the source material. The God of War comparison suggests a tighter narrative focus, heavier combat mechanics, and a presentation built around character development rather than multiplayer chaos.

If that direction holds true, The Last Ronin could become the most ambitious TMNT game ever made.

God of War [credit:Santa Monica Studio]

What We Actually Know

Here is what has been officially confirmed so far:

The game is in development at Black Forest Games and published by THQ Nordic.

It is based directly on the The Last Ronin comic storyline.

It is planned for PlayStation 5, Xbox Series X and S, and PC.

It has been described as a third person action experience with a strong narrative emphasis.

There is currently no announced release date.

That is the extent of the verified information. No extended gameplay has been shown publicly. No firm launch window has been revealed.

The Risk of the God of War Comparison

Invoking God of War sets expectations sky high. That franchise redefined cinematic action games with deliberate combat, emotional storytelling, and high production values. By aligning itself with that model, The Last Ronin invites direct comparison to one of the most respected action series in modern gaming.

For longtime fans, that is exciting. It suggests depth and seriousness that matches the comic’s tone. For skeptics, it raises concerns about whether the studio can deliver on such an ambitious promise.

Black Forest Games has experience with action focused titles, but adapting one of the most beloved arcs in TMNT history comes with pressure.

Image: Inhyuk Lee/IDW Publishing

A Franchise at a Crossroads

TMNT is in a fascinating position. Nostalgia driven projects continue to succeed, but The Last Ronin represents a chance to push the brand into prestige territory. If successful, it could redefine how future TMNT games are developed.

For now, fans are left with a compelling premise and a bold comparison. Until gameplay is revealed, the conversation will revolve around one question.

Can The Last Ronin truly stand alongside God of War, or is that comparison simply aspirational?

Either way, this is not just another TMNT game. It is a statement about where the franchise wants to go next.

“Heart of Glass” is undoubtedly one of Blondie’s biggest hits. The disco-infused anthem of lost love was officially released as a single in 1979 after appearing on Parallel Lines the year before, but its foundations are much older. Tucked away for years, the 1975 demo of the song, then titled “Once I Had A Love (AKA The Disco Song),” eventually resurfaced on a reissue decades after its recording.

The hidden demo, released on the 2001 version of Plastic Letters, offers fans a rare glimpse into the band’s creative evolution. “Once I Had A Love (AKA The Disco Song)” is slower, funkier, and rawer than the polished reinvention, revealing how dramatically Blondie reshaped “Heart of Glass.” The contrast is audibly fascinating, but paints a bigger picture of Debbie Harry’s fearless instincts and embrace of experimentation.

Before “Heart of Glass” Came Blondie’s Lost 1975 Demo: “Once I Had A Love (AKA The Disco Song)”

Debbie Harry and fellow Blondie bandmate Chris Stein actually first wrote what would become “Heart of Glass” in 1974-75. The initial version was recorded as a demo in 1975 and remained a public mystery until 2001, when it was released on a reissue of Blondie’s second studio album, Plastic Letters. The song is featured under its first working title of “Once I Had A Love (AKA The Disco Song),” taken from the lyrics and its musical influences. Harry shared that the eventual “‘Heart of Glass’ was one of the first songs Blondie wrote, but it was years before we recorded it properly. We’d tried it as a ballad, as reggae, but it never quite worked.”

This version, “Once I Had A Love (AKA The Disco Song),” of the future hit is much slower, with a funkier and more straightforward beat than the version we all know and love. Its feature on the 2001 reissue of Plastic Letters was an early display that Blondie’s experimental rearrangements were paying off. Perhaps the starkest difference, though, is the use of an acoustic drum set as opposed to the drum machine in the Parallel Lines version of “Heart of Glass.” The beat from the real instrument rather than its electronic counterpart gives the song a much more relaxed atmosphere and highlights the grooviness of the scattered, almost-reggae-sounding electric guitars in the mix.

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The release of the 1975 demo of “Once I Had A Love (AKA The Disco Song)” on the reissue of Plastic Letters is a true insight into the evolution of Blondie and how they developed their sound as they approached the release of one of their most beloved hits. In sharing “Once I Had A Love (AKA The Disco Song)” with the world, we have been afforded access to the past and how it influenced the future of the band. It really is a gift to Blondie’s fans by allowing them a glimpse into the demo stages and the behind-the-scenes happenings of the mid-1970s.

From Disco To New Wave: How Blondie Reinvented “Heart of Glass”

Image via Private Stock Records

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In 1978, “Once I Had A Love (AKA The Disco Song)” was rerecorded to ultimately be a little more pop-oriented. Guitarist Stein shared that “When we recorded it for Parallel Lines, we were really into Kraftwerk, and we wanted to make it more electronic. We weren’t thinking disco as we were doing it; we thought it was more electro-European.” This redirection also explains why Blondie dropped the parentheses of “AKA The Disco Song.” The development of electronic elements as a diversion from disco to rebrand as “electro-European” is quite ironic. Disco tracks did use drum machines, and Blondie’s version emphasized programmed electronic beats inspired by Kraftwerk, diverging from the 1975 live drum demo. Maybe it’s just me, and Debbie Harry, but you don’t need to camouflage disco as anything else in order for it to be cool. A tune’s a tune.

Speaking about disco and the implied stigma against it, Harry herself said that “It’s commercial, but it’s good, it says something… that’s the kind of stuff that I want to do.” What is so groundbreaking about this statement is that Harry does not make commercial success and good quality music mutually exclusive. Harry perfectly bridged the gap of this, let’s face it, absurd implication and allowed her work to be fun and have artistic integrity. The success of the song only goes to show that sticking to your guns and giving power to your own authenticity often pays off.

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The acknowledgment of the disco influence in the initial title of the song shows how Blondie was never afraid of the genre. The power of the band is their fearlessness and refusal to adhere to any rules. There is great irony in alternative genres like punk, rock, and new wave in that their rebellious existence relies on a set of unspoken rules, guidelines to follow if you want to be part of the club. But Blondie rejected that with “Once I Had A Love (AKA The Disco Song)” by proudly accepting its sonic foundations.

The journey from “Once I Had A Love (AKA The Disco Song)” to “Heart of Glass” captures exactly what made Blondie so compelling: a refusal to stand still. The journey between the two versions doesn’t simply map the song’s evolution but also charts the reshaping of the band’s identity. What began as a shy experiment ended as a cultural phenomenon showing that, when done boldly, reinvention is its own form of authenticity.

Movies. What can be said that hasn’t been said likely a trillion times over by almost every voice in the world by now? Film has not only helped shape pop culture as we know it, but it’s helped the world—social and political climates alike—as the medium continues to evolve and grow. With that, there are specific franchises that have helped lead the charge.

Whether they’ve become the highest-grossing franchise on the planet, changed the world and pop culture as they know it, or are simply extremely beloved by all, these movie franchises are quite easily some of the most iconic there are. Without these franchises, the world simply would not be what it is today.

10

Shrek (2001–)

Image via DreamWorks Animation

One of the most impactful and high-quality animated series of all time is quite easily the Shrek collection of films. With the likes of Pixar and Disney Animation at the head of the animated film game at the time, the first entry in the series. Shrek totally changed the game and offered a project that was not only for children, but appealed to the adults as well, with crude humor that could go over kids’ heads while adults could bask in the humor.

Animation was proven to not just be for the kiddos. Everyone can enjoy it. This makes it not only iconic, but very important to the entire animated film space. Shrek tells a heartfelt story with every entry, and pushes for self-acceptance for all audiences. It’s a great franchise all around and has done so much for cinema.

9

Jurassic Park (1993–)

Image via Universal Pictures

Starting as a novel three years prior to the film in 1990, the Jurassic Park franchise has grown to become one of the most famous horror/action series. First brought to life by Steven Spielberg, the first Jurassic Park was one of the most unique horror films of the time (and many argue still is in the modern day), and since, it has grown into a major motion picture action franchise.

Some enjoy the new, more action-oriented Jurassic World saga of the franchise, and some definitely do not. Regardless of this, the franchise has not only made a plethora of money at the box office with every entry, but has one of the largest directional shifts in a film franchise to this day. Love it or hate it, this has made the Jurassic Park franchise pretty iconic.

8

Avatar (2009–)

Image via 20th Century Studios

James Cameron absolutely changed the game for visual effects in film in 2009 with his massive hit, Avatar. It is still, even in 2026, the highest-grossing movie of all time (though it did battle it out with Avengers: Endgame for a bit), which alone makes it super iconic. This has led to Cameron becoming one of the most hailed directors in the current film landscape.

With every movie that releases in the series—most recently Avatar: Fire and Ash—Cameron proves the worth of this franchise and the audience shows him that with how many people come out to see them. There seems to be no stopping this director or this series from being one of the best their is, and no one is complaining.

7

Harry Potter (2001–2011)

Harry Potter is another franchise that was birthed from a largely popular book series. Upon release in 2001, Harry Potter and the Sorcerer’s Stone introduced audiences to the Wizarding World, and they almost instantly fell in love. One of the biggest appeals of the series was that audiences got to grow with these kids, with each new movie bringing a new year to Hogwarts, and another year of the kids’ lives.

Getting to see an evolution like this in characters and plot had people massively invested in the franchise. Something like this hadn’t really ever been seen in film before. It was an exciting experience, and keeps the series feeling memorable to this day. People feel profoundly connected to these characters, which has kept the series alive to this day.

6

James Bond (1962–)

Image via Sony Pictures Releasing

One of the longest-running film franchises of all time is the action-packed spy series known as James Bond. This is a super special series that has held its longevity by consistently introducing new actors as the titular character for each new saga. Not many other franchises decide to take on this strategy, making James Bond stand out among the rest.

This has led to many different interpretations of the character over the decades—different actors and different stories through them all. Having a franchise that seemingly never dies is a great idea on the studio’s part, as it keeps people invested in what could come next and who could be the next actor to portray the great super spy himself.

5

Batman (1966–)

Image via Warner Bros.

Much like James Bond, superhero films have taken on a similar approach when it comes to keeping their franchises alive—changing actors as the franchise evolves. Batman is one of the most popular superheroes of all time, so it only makes sense that his films seemingly never stop coming out. He’s a favorite among many and has had some incredible evolution over his cinema tenure.

Some younger audiences may not know that, at the beginning, he was far goofier than he is now, via the Adam West adaptation. As the franchise has grown, it’s gone on to hold some incredible films—The Dark Knight by Christopher Nolan being known as one of the best superhero movies of all time—and that’s proof of how quality the Batman franchise has always managed to be.

4

Spider-Man (1977–)

Image via Sony Pictures Releasing

With the well-known fact that Spider-Man is the most profitable superhero of all time, it stands to reason that Marvel Comics and Sony Pictures Entertainment (the owners of the Spider-Man movie and partial television licensing) would want to start and keep making Spider-Man movies to break the box office. Spider-Man is one of the most relatable and beloved superheroes because he’s an everyman, which makes him appealing to audiences and keeps them coming out to see him in action. Also, not to many people’s knowledge, but it—like many of the other most iconic franchises out there—Spider-Man also holds one of the longest-running franchises out there. He’s had minor live-action films far before his 2002 theatrical debut.

Whether he’s being played by Tobey Maguire, Andrew Garfield, Tom Holland, or one of the many portrayals in the Spider-Man: Into the Spider-Verse franchise, the character always delivers something great. Maguire’s first Spider-Man movie served as one of the first high-flying superhero movies of the modern age that set the standard alongside X-Men, the huge legal deal between Marvel Studios and Sony Pictures Entertainment to get the character involved in the Marvel Cinematic Universe proved how important the character is to the industry, and the excellence of Spider-Man: Into the Spider-Verse redefined the cinematic animation space forever. The proof in the pudding of Spider-Man’s worth makes his franchise more than iconic.

3

The Lord of the Rings (2001–2014)

Image via New Line Cinema

Arguably the most popular and earliest high-stakes action/adventures fantasy franchise is none other than Peter Jackson‘s The Lord of the Rings. Based on the novel by the legendary author, J. R. R. Tolkien, these films (which include the eventual prequel series, The Hobbit) arguably changed film forever when they first released in 2001 thanks to how much they changed the realm of visual/special effects to achieve creating a world like this.

Before James Cameron did so with Avatar, The Lord of the Rings shifted the ground beneath everyone with how it accomplished its visuals. Not to mention, they’re some of the greatest fantasy stories told in cinema, much like their reputation in the literature space. These movies are beloved to this day—to the point that they continue to get re-releases in theaters everywhere every once in a while.

2

The Marvel Cinematic Universe (2008–)

Image via Marvel Studios

When Iron Man debuted in 2008, the world changed forever, as it was graced with one of the largest, most expansive, highest-grossing, and most beloved cinematic franchises/universes of all time. The MCU is, to this day—a whopping 18 years later—always looked forward to, even in its less than ideal eras. A handful of its movies are among the highest-grossing of all time, and the impact this world has had on pop-culture is profound.

The likes of Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Spider-Man (Tom Holland), Thor (Chris Hemsworth), and dozens more have become some of the most popular cinematic characters of all time. It’s pretty dang hard to argue with the facts in the box office numbers and the critical reception of almost every movie.

1

Star Wars (1977–)

Image via Lucasfilm

Much like how The Lord of the Rings is one of the greatest fantasy stories ever told, the Star Wars franchise is one of the greatest science fiction stories ever told. This series has completely set the standard and defined how sci-fi stories are told 49 years post-original film release. Star Wars is exceptionally long in tenure and provided many films and television series over the decades.

Star Wars‘ impact on not only film, but sci-fi storytelling as a whole, is unlike anything seen in modern cinema. The legends of the Skywalkers, Mandalorians, its many empires, and more are unforgettable and continue to be looked forward to, even after the Skywalker Saga has ended (the saga that started the series in the first place). There’s just no replacing Star Wars.

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George Lucas

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Star Wars The Clone Wars

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Since launching its original programming, Netflix has been home to some of the biggest science fiction shows in modern pop culture. Most people will point to breakout hit Stranger Things as Netflix’s best sci-fi show, or the dark, thought-provoking Black Mirror. The series that’s managed to stand out, both in terms of concept and critical reception, is Love, Death + Robots. Created by Tim Miller and David Fincher, Love, Death + Robots pushes the envelope both in terms of storytelling and visuals, making it one of the strongest series in Netflix’s stable.

Ironically, Love, Death + Robots almost started life as a reboot of the popular Heavy Metal series, as Miller and Fincher attempted to gather filmmakers, including James Cameron and Zack Snyder, to produce segments for it. Their Heavy Metal project never came to fruition, but it was the success of Deadpool that eventually led to Love, Death + Robots in its current form, per an interview with Miller:

“Deadpool had just come out… so what does David [Fincher] do? David calls and says, ‘OK, so we’re going to use your newfound popularity to get our anthology movie made,’ and then literally like two weeks after that, he said, ‘F*** the movie stuff, let’s just take it to Netflix, because they’ll let us do whatever we want.’”

The gambit paid off, as Love, Death + Robots is one of Netflix’s most critically acclaimed shows; Seasons 3 and 4 earned a rare 100% on Rotten Tomatoes, while reviews praised the series’ constantly evolving storytelling. Anyone who watches Love, Death + Robots would agree, as it delivers plenty of stories that aren’t just visually stunning but sit with you long after the credits roll.

‘Love, Death + Robots’ Is a Visually Stunning, & Often Disturbing, Watch

Image via Netflix

No two segments of Love, Death + Robots look alike, thanks to Tim Miller’s Blur Studio gathering together a series of animation studios, including Polygon Pictures (Your Friendly Neighborhood Spider-Man) and Titmouse (The Legend of Vox Machina). Some segments look extremely photorealistic, like Season 1’s “Three Robots” and its Season 3 sequel, “Three Robots: Exit Strategies”. Others hew closer to traditional animation, such as the Season 3 segment “Kill Team Kill,” which pits a team of Green Berets against a cybernetically enhanced grizzly bear. The variety on display is incredible and shows why animation deserves more respect.

What Love, Death + Robots is best known for, other than its beautiful animation, is the sheer nightmare fuel packed into some of its segments. Take the segment “Bad Travelling,” directed by David Fincher himself; it features a massive crab-like creature menacing the crew of a sailing ship and even using a dead man’s corpse as a macabre puppet. “In Vaulted Halls Entombed” pits a squadron of soldiers against a Lovecraftian entity, revealing how its very presence drives them to madness and murder. But the Love, Death + Robots segment that will truly terrify viewers is Season 2’s “All Through The House,” featuring a version of Santa Claus that will immediately make you want to board up your chimney. Once again, the depth of animation is on full display as these twisted visions could only come to life through this specific medium.

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A ‘Love, Death + Robots’ Creator Brought Another Sci-Fi Anthology to Life

Tim Miller wasn’t content to rest on his laurels after Love, Death + Robots, as he created another animated anthology in the form of Secret Level. While Love, Death + Robots fully embraced science fiction, Secret Level gets its name from adapting video games into animation, though it keeps the former’s approach of putting a unique twist on said games. Pac-Man is transformed into a dark fantasy full of horror and blood, while Keanu Reeves lends his talents to a somber take on the Armored Core video games. Secret Level was renewed for a second season, meaning that Miller and his crew have the chance to bring more video games into the world of animation.

Love, Death + Robots is a standout in Netflix’s catalog because it showcases the depths to which animation can go while pushing the boundaries of science fiction. It’s more than worth a weekend binge.

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Release Date

March 15, 2019

Network

Netflix

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Directors

Víctor Maldonado, Patrick Osborne, Robert Valley, Alfredo Torres Martínez, Jerome Chen, Emily Dean, Rémi Kozyra, Léon Bérelle, Dominique Boidin, Alberto Mielgo, Maxime Luère, Andy Lyon, Robert Bisi, Dave Wilson, David Nicolas, Simon Otto, Damian Nenow, Laurent Nicolas, Kevin Van Der Meiren, Vitaliy Shushko, Owen Sullivan, István Zorkóczy, Javier Recio Gracia, Oliver Thomas

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Jenna Ortega‘s Wednesday is returning for a third season but not every cast member is confirmed to reprise their role.

Wednesday, which premiered in November 2022, is based on the character originally introduced in The Addams Family cartoons. The concept later was adapted into a TV series, several feature films and a live musical adaption.

Christina Ricci previously played Wednesday Addams in 1991’s The Addams Family and its subsequent sequel, Addams Family Values, before joining the Netflix series in a new role. She shared scenes with Ortega, who has since brought her own version of Wednesday Addams to life.

The first season followed Wednesday’s attempts to master her psychic powers at Nevermore Academy while dealing with a killing spree at the hands of a mysterious monster. Season 2 followed Wednesday returning to school after becoming the savior of Nevermore. She then prepared to save the day again after getting visions of Enid’s impending death.

Season 3, which is currently in production, is expected to follow Wednesday as she digs further into the Addams and Frump lore.

Keep scrolling to see which cast members are — and aren’t — coming back when the show returns for season 3:

Jenna Ortega

There would be no Wednesday without the titular character, so Jenna Ortega is front and center when the show comes back for season 3.

Hunter Doohan

Tyler quickly became a fan-favorite character who is confirmed for season 3.

Gwendoline Christie

Gwendoline Christie’s Principal Larissa Weems went from main cast to recurring and her future on the show hasn’t been confirmed.

Jamie McShane

Following his onscreen death, Tyler’s dad isn’t expected in season 3.

Percy Hynes White

Season 1 introduced Percy Hynes White as Xavier but the actor was ultimately written off following an offscreen scandal.

Emma Myers

The friendship between Wednesday and Enid will remain an important part of the series in season 3.

Joy Sunday

Similar to Enid, Joy Sunday’s Bianca is a major part of the show.

Georgie Farmer

Ajax is still part of season 3 after Georgie Farmer’s character was introduced in the show’s first season.

Naomi J. Ogawa

After Naomi J. Ogawa exited the show ahead of season 1, Yoko has yet to appear on the show.

Moosa Mostafa

Eugene has been confirmed as part of season 3 — with Moosa Mostafa returning to set.

Christina Ricci

While Christina Ricci’s Laurel was killed off in season 2, it remains to be seen if the show is truly not planning to bring the actress back again.

Victor Dorobantu

Thing has become a scene stealing character as Victor Dorobantu’s role has been expanded.

Isaac Ordonez

After being promoted to main cast, Isaac Ordonez returns for season 3.

Luis Guzmán

Luis Guzmán’s Gomez is credited as a main cast member for season 3.

Catherine Zeta-Jones

The Addams family lore will continue to be at the center of the show as Catherine Zeta-Jones returns in season 3.

Steve Buscemi

Principal Barry Dort appears to be a one-off role with Steve Buscemi not returning for season 3.

Owen Painter

While Slurp a.k.a Isaac was a key presence in season 2, Owen Painter wasn’t announced as part of the next chapter of the show.

Billie Piper

Isadora’s story will keep being expanded when Billie Piper returns for season 3.

Noah B. Taylor

Following his short-lived romance with Enid, Taylor’s Bruno is exiting the series.

Evie Templeton

Agnes will keep playing an important role in season 3 of Wednesday.

Winona Ryder

The Stranger Things alum has joined Tim Burton’s Wednesday in a mysterious role in season 3.

Joanna Lumley

After being a recurring cast member in season 2, Joanna Lumley is returning in a larger capacity as Grandmama Hester Frump.

Eva Green

Ophelia Frump will be introduced in season 3 with Eva Green taking on the role.

By Robert Scucci
| Published 2 seconds ago

I hate to admit that I rarely talk publicly about my appreciation of David Foster Wallace’s fiction and essays because, for reasons I’ll never fully understand, his name is associated with pretentiousness. On one hand, I get it. Infinite Jest is not only an intimidating read, but you could also throw it in your backpack before a hike if you want to maximize your workouts because it’s such a heavy piece of work, literally and figuratively.

The End of the Tour, a movie about David Foster Wallace based on the 2010 memoir Although of Course You End Up Becoming Yourself by David Lipsky, unpacks whatever preconceived notions of pretension you may have about Wallace, his work, his anxieties, and his battle with depression that eventually claimed his life in 2008.

Based on Lipsky’s (portrayed by Jesse Eisenberg) multiple-day interview with Wallace (portrayed by Jason Segel) as the author made his final press rounds to promote Infinite Jest in 1996, The End of the Tour humanizes the author in a way that could make anybody who thinks he’s just a holier-than-thou blowhard reconsider their stance. Through Eisenberg and Segel’s powerhouse performances, we catch a fleeting glimpse at what happens when an intimidating amount of intellect intersects with the kind of personality that feels so trapped inside his own mind that he simply doesn’t know how to operate like a regular person.

Wallace’s work is startlingly verbose, and through that verbosity, he doesn’t mince words about his fears of living in a post-modern, post-ironic world. His essays “E Unibus Pluram: Television and U.S. Fiction,” “Getting Away from Already Being Pretty Much Away from It All,” and “A Supposedly Fun Thing I’ll Never Do Again” illustrate how much thought went into every single interaction he had and how those thoughts paralyzed him.

You don’t need to read Infinite Jest to appreciate Wallace’s insights on modern and post-modern American life. Look up any interview, and it’s written all over his face. Jason Segel, in what I consider to be the best role of his career, captures that energy flawlessly in The End of the Tour. So much so that even if you never crack open a Wallace tome, you’ll still come to appreciate him as a human being who felt so lost in this world that he decided to leave it on his own terms.

The End Of The Tour

The premise for The End of the Tour is simple. Struggling author and Rolling Stone writer David Lipsky doesn’t believe a literary work like Infinite Jest, a 1,079-page novel about post-modern American life, could become such a massive success. At his girlfriend Sarah’s (Anna Chlumsky) urging, he reads the book and becomes obsessed with David Foster Wallace, asking his editor to give him a chance to interview him as he wraps up his book tour. Once he gets the green light, he travels to Bloomington-Normal, Illinois, where Wallace lives and teaches.

Their relationship is adversarial at first. Wallace is guarded in how he answers questions while Lipsky’s tape recorder is running, and he requests that anything he wants struck from the record can’t go into the final published interview. Lipsky honors that request, and a more trusting rapport eventually forms as they buy copious amounts of junk food from the convenience store, where Wallace loads up his arms with treats the second he learns about his interviewer’s expense account.

These interactions are the bread and butter of The End of the Tour. As Wallace lets his guard down, he tells Lipsky how he thinks, and what’s most astonishing about these conversations is how much Wallace wants to be a regular guy with a private life, despite the fact that it’s clear he’s also the kind of guy who writes books like Infinite Jest. You can tell he wanted the notoriety as a literary force to be reckoned with, then realized he didn’t want the celebrity that comes with it.

Wallace admits that out of all the celebrities out there, he’d probably want to meet Alanis Morissette because she seems like the only person who would occasionally enjoy a bologna sandwich. When they take a final stop on his book tour in Minneapolis, Minnesota, Wallace refuses to stop at the statue depicting Mary Tyler Moore tossing her tam in the air, something he talks about at length in “E Unibus Pluram: Television and U.S. Fiction” while unpacking how network syndication added horrifying layers of irony to The Mary Tyler Moore Show, which is way too dense to unpack here.

The Fight Against Post-Modern Loneliness

The End of the Tour illuminates how guarded Wallace is when answering questions, always assuming that a journalist like Lipsky will spin the narrative however he wants. But when asked why he doesn’t have a TV, the floodgates open.

While you can find several interviews with the real David Foster Wallace where he talks about the remote control changing the way we consume entertainment, Segel delivers what I believe is the warning Wallace was trying to leave us with, in the author’s words: “And it’s gonna get easier and easier, and more and more convenient, and more and more pleasurable, to be alone with images on a screen, given to us by people who do not love us but want our money.” He goes on to say that when it gets to that point, he’ll want to leave the planet. 

As somebody who writes movie reviews for an entertainment news site, I’m fully aware of the irony here, as I’m telling you all to go watch a movie. One of the reasons I don’t hang out on social media is that what Wallace is describing, even though he didn’t live long enough to see it, is basically the current state of the internet. He didn’t have a TV in his house because he knew it would be his undoing. His restraint didn’t come from a holier-than-thou stance, but from being self-aware enough to recognize his own addictive behavior and how easily he’d become a slave to his devices instead of being productive.

Listen, I’m not telling anybody to go pick up a copy of Infinite Jest. Watching The End of the Tour, on the other hand, is a great idea because the dialogue is pulled from recorded conversations between Lipsky and Wallace. While their talking points are still deep and cerebral, they also function as a conversational counterpart to his more verbose writing, all of which carries the same underlying message.

As of this writing, The End of the Tour is available for rental or purchase through Fandango at Home, YouTube, Apple TV+, and Amazon Prime Video.

Rest in peace, David Foster Wallace. You would have absolutely hated Instagram Reels.

By Jennifer Asencio
| Published 6 seconds ago

Robert Carradine, famous for playing Louis Skolnick in Revenge of the Nerds and Sam McGuire in Disney’s Lizzie McGuire franchise, has died. Tragically, the actor succumbed to bipolar disorder and committed suicide on February 23, 2026.

A statement from the prolific Carradine family remembered Robert as a “beacon of light” and acknowledged the actor’s decades-long struggle with bipolar disorder, an illness marked by mood swings on a spectrum between excitable mania and severe depression. Brother Keith, speaking for the family, referred to Robert’s “valiant struggle” with the illness, saying, “There is no shame in it. It is an illness that got the best of him.”

Robert’s battle with bipolar disorder began after he was distraught about the death of Kung Fu star David Carradine, his brother and mentor, who encouraged him to audition for his first role in 1972. Traumatic events like the loss of a loved one have been known to trigger bipolar disorder, as well as clinical depression and severe anxiety. Genetic factors may establish a propensity to develop bipolar disorder, but environmental factors can cause major disruption, even to people who are being treated. Other episodes in Robert’s life, such as a car accident in 2015, were caused by psychotic episodes connected to the illness.

The youngest son of Golden Age actor John Carradine, Robert was born into a family dynasty that includes his actor brothers David and Keith, animator Christopher, and niece Martha Plimpton. Encouraged to join his famous family’s business, he debuted in the John Wayne classic The Cowboys, about a cattle driver forced to recruit a group of misfit teens to run the herd. This resulted in several years of steady work in small parts on television and the big screen.  He also appeared in Mean Streets, Cannonball!, and Coming Home during this time, paving the way for stardom. His next major boon would come in 1980, with the dual release of The Long Riders, a western in which he starred with his brothers, and The Big Red One, a World War II film.

His breakout role was as Lewis, the leader of the Adams College chapter of Lambda Lambda Lambda and the nerds that comprise its membership. Four Revenge of the Nerds movies included Robert Carradine’s iconic character and distinctive “nerd laugh” as he leads and inspires the nerds in college hijinks against the jockish Alpha Beta fraternity. The original 1984 film was a cult classic that is still beloved despite a controversial prank played by the protagonists. Robert would later appear in numerous podcasts and guest appearances as an expert in all things nerdy, thanks to this franchise.

His other major role was on the Disney teen sitcom Lizzie McGuire, about the tribulations of the titular character as she navigates the world of middle school and coming of age. The show was marked by an animated version of Lizzie, whose fourth-wall-breaking comments reflected the character’s inner world. Robert Carradine played her oft-perplexed father, Sam, introducing his comedic acting to a new generation of fans. He also appeared in the 2019 proposed revival of the show, but filmed only two episodes before the project was canceled.

Robert has 150 credits to his name, with numerous television guest appearances on shows like NYPD Blue, Lois and Clark, and Nash Bridges. He appeared with David Carradine on two episodes of Kung Fu: The Legend Continues and with fellow “Tri-Lamb” nerd Anthony Edwards on E.R. Movie roles included Escape from L.A., Ghosts of Mars, and Django Unchained.

Tragically, he leaves behind some films that will be released posthumously, including a horror movie called Skate to Hell that is currently in limited release as of this writing, and an upcoming remake of Night of the Living Dead. Audiences will get to pay tribute to this celebrated actor for just a little longer as these films find their way to audiences.