Entertainment
Star Trek Has Updated The Worst Writing Trope In The Stupidest Possible Way
By Chris Snellgrove
| Updated
Decades ago, comic writing legend Gail Simone coined the term “women in refrigerators”, (better known as “fridging,”), which describes writers killing female characters in gruesome ways just to motivate male protagonists. Star Trek started doing its own, more inclusive spin on this trope in Star Trek (2009), and the practice is alive and well in shows like Picard and Starfleet Academy. Instead of killing off a single character, though, this venerable sci-fi franchise keeps destroying entire planets in order to give its characters the most basic motivation.
In the 2009 Star Trek reboot, Romulus is endangered by a supernova, so Ambassador Spock embarks on a crazy plan to save the planet using red matter. He fails, and the subsequent red matter reaction sends both him and a Romulan named Nero over half a century into the past. There, Nero becomes enraged by the death of his planet and his family; blaming the older Spock, he decides to go “eye for an eye,” using red matter to destroy the planet Vulcan.
In Space, No One Can Hear You Cry
This leads to some fairly exciting action scenes as the Enterprise crew tries (and fails) to save Vulcan. Arguably, though, the primary reason for having Nero destroy this iconic Star Trek planet is to have Spock lose his mother. Star Trek (2009) was all about making Spock an angry emo kid, and killing off his mother helped contextualize both his rash decisions about young James T. Kirk (he literally ejected him out of the ship!) and his later desire to kill Nero rather than resolve things diplomatically.
Years later, the spinoff Star Trek: Picard returned to the plot beat of Romulus getting destroyed, revealing that Picard left the Enterprise-E to command an armada of ships whose mission was to save as many Romulans as possible before the planet’s destruction. Unfortunately, that armada is wiped out by a rogue group of synthetic lifeforms, and Starfleet subsequently abandons its rescue efforts. This causes Picard to retire, ending a lifetime of service in utter disgust at Starfleet abandoning the very principles upon which it was founded.
Even Picard Gets Riled Up
For The Next Generation fans, it was fun to see Picard flesh out how the destruction of Romulus affected the rest of the galaxy, but the primary reason the writers returned to this plot point was to explain how and why Picard went from celebrated Starfleet celebrity to disgruntled old fart wasting away on his vineyard. Like Kelvinverse Spock before him, Picard now had a tragic back story that explained why he might be more emotional than usual (which is presumably why he later lets his Romulan sidekick just behead anyone who gets in their way).
Most recently, Starfleet Academy introduced the shocking plot point that the Klingon homeworld of Qo’noS had been destroyed by the Burn. That homeworld and all the worlds of the empire were apparently powered by dilithium reactors. After the Burn (a galactic event that rendered all dilithium crystals inert and blew up any ship with an active warp drive), the Empire that once nearly destroyed Starfleet was reduced to about 50 ships and eight family houses.
It’s Getting Hot In Here
While Starfleet Academy may do something cool with this plot development (hey, stranger things have happened), it really seems like the writers destroyed Qo’noS just to give extra motivation to Jay-Den, the show’s Klingon cadet. As a pacifist, wannabe doctor Klingon with a combo of Daddy and abandonment issues, this guy already has a lot going on. However, the show’s writers decided to also make him one of only a relative handful of Klingons trying to keep their millennia-old culture alive despite only a fraction of his people surviving the Burn.
Watching that Starfleet Academy episode, it hit me with all the force of a bat’leth blow: for Star Trek, blowing up entire planets is the new fridging. Back in the ‘90s, writers were content to motivate characters like Green Lantern by simply killing their girlfriends in the most edgelord way possible (and stuffing their bodies in the fridge, no less). Now, these modern-day sci-fi writers feel the need to destroy entire planets and snuff out billions of lives just to explain complex plot points like “why is Spock sad?” and “why is Picard sad?” and ‘why is Jay-Den sad?”
Obviously, there’s nothing wrong with blowing up an entire planet if it really suits the story; Star Wars, for example, had the Empire blow up Alderaan to demonstrate how evil they really were. But since 2009, Star Trek has gone to utterly excessive lengths to motivate its chief characters in the stupidest possible ways. Like, be honest for a minute: would you have found Spock any less compelling if his mommy didn’t die in an extinction event, or Picard any less engaging if his reputation didn’t die along with Romulus?
This Repetitive Plot Is Without Honor
The blunt truth is that this is just lazy writing by Star Trek creative teams who don’t know how to motivate characters without giving them tragic backstories with body counts in the billions. It was already tired when they did it in the first Star Trek reboot film, and it was completely played out when they used it to explain why Picard was now so cranky and boring. Starfleet Academy has returned to this well for a third time, and to nobody’s real shock, the well is completely dry.
Gail Simone was right all those years ago when she called out fridging, and her general thesis was solid: namely, that writers need to find better ways to motivate characters than by killing the ones they care about. Instead, Paramount has continually upped the fridging ante by destroying entire planets because their creators can’t figure out any other way to give characters depth or emotional growth. Now, it’s well past time for the Star Trek writers to boldly go where they arguably haven’t gone in decades: to original stories featuring dynamic, properly-written characters with grounded motivations.
Should that prove impossible, what should the Star Trek writers actually do? They should blow up our own planet, which would be far, far more merciful than making us sit through this predictably awful franchise plot point for the umpteenth time. Plus, the destruction of the entire Earth might finally give us the motivation to do what we should have done long ago: unsubscribe from Paramount+ before we are finally claimed by the void.
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Entertainment
Whoopi Goldberg slams 'needy' Trump over America First Award: 'The most snowflakiest president I've ever seen'
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Her fellow “View” panelist Joy Behar then suggested a new prize that the President should be awarded.
Savannah Guthrie shut down rumors accusing her sister and brother-in-law of being involved in kidnapping her mother, Nancy Guthrie.
“[The FBI video was] just absolutely terrifying. It’s just totally terrifying,” Savannah, 54, said while addressing footage of the potential subject during an emotional sit-down with Today’s Hoda Kotb, which aired on Thursday, March 26. “I can’t imagine that that is who she saw standing over her bed. I can’t — it’s too much.”
Savannah expressed gratitude to investigators and tech companies for being “able to find that video” as the search for her mom continues.
“So I hope at least with people of good heart and compassion stop the irresponsible and cruel speculation that had started to swirl,” she noted. “I’m glad that people saw what came to our door.”
Savannah Guthrie’s strong bond with sister Annie Guthrie is one that many parents dream of. “My sister is by far the most wise, intelligent, thoughtful, creative, generous and profoundly original person I know,” Savannah wrote in her 2024 book, Mostly What Goes Does: Reflections on Seeking and Finding His Love Everywhere. “She is my forever […]
When asked about the theories swirling online that Nancy’s kidnapper could be a family member, Savannah added, “It’s unbearable and it piles pain upon pain. There are no words. There are no words. I don’t understand, I’ll never understand.”
She continued: “And no one took better care of my mom than my sister and my brother-in-law. No one protected my mom more than my brother. We love her and she is our shining light. She is our matriarch. She’s all we have.”
Nancy, 84, was reported missing in Arizona in February. Pima County Sheriff Chris Nanos has continued to offer updates on the case, more than 50 days into the search.
The FBI released footage last month of a person in a mask outside of Nancy’s home who appeared to have a gun, but authorities have reiterated that no suspect has been identified. (Nanos previously told Us Weekly that Savannah’s sister, Annie, was the last person to see Nancy before she went missing.)
Today viewers are rallying around Savannah Guthrie and her family. News broke on Sunday, February 1, that Savannah’s mother, Nancy Guthrie, was reported missing in Arizona. The following morning, Savannah was absent from the Today show but released a statement on behalf of her family. “On behalf of our family, I want to thank everyone […]
“At this point, investigators have not identified a suspect or person of interest in this case. Detectives continue to speak with anyone who may have had contact with Mrs. Guthrie,” a statement from the department read in February. “Detectives are working closely with the Guthrie family. While we appreciate the public’s concern, the sharing of unverified accusations or false information is irresponsible and does not assist the investigation.
The message concluded: “No suspect or person of interest has been identified at this time.”
Savannah and her siblings have shared several statements pleading for their mom’s safe return in the weeks since her disappearance. In a separate clip from her Today show interview, Savannah broke down in tears while speaking about her mother.
“Someone needs to do the right thing. We are in agony,” she shared about the “unbearable” pain of waiting for answers. “And to think of what she went through. I wake up every night in the middle of the night. Every night. And in the darkness, I imagine her terror. And it is unthinkable.”
Entertainment
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Cheryl Hines feels Chelsea Handler is ‘trying to get attention’ by criticizing her former home.
By Robert Scucci
| Published
Here’s something I’ve learned about myself that I’m not particularly proud of. When I’m scrolling through my streaming apps looking for something to watch, I occasionally stumble upon a Nicolas Cage flick I’ve never seen before, like 2019’s A Score to Settle. The truth is I probably thought I’d already seen it, but was confusing it with one of his other straight-to-video outings with a similar revenge-coded title, like Stolen, Rage, Dog Eat Dog, and so on. While I’m thrilled that I’m one film closer to seeing everything Nicolas Cage has ever done, I’ve gotta say this movie is pretty terrible.
But here’s the thing every Nicolas Cage fan will tell you: a terrible Nicolas Cage movie is still a good Nicolas Cage movie, because Nicolas Cage is in it. I’m sorry, but it’s true. The screenplay is absolute trash, but he still commits to it. It makes no sense no matter how you break it down. He’s still the greatest actor on this planet, and I’m glad I’m alive at the same time he is because it means that when I stare up at the moon at night, he might be looking at it too.
Why A Score To Settle Makes No Sense
Here’s where I’d normally break down the plot before offering commentary, but I don’t think that’s entirely possible with A Score to Settle. I’ll try, but I can’t promise anything coherent. Nicolas Cage plays a man named Frank who’s released after serving 19 years in prison because he has a rare form of insomnia that will eventually kill him, so they just send him home.
Why is Frank serving 19 years? When he was younger, he worked for the mob and witnessed his boss Max (Dave MacKinnon) murder one of his hustlers with a baseball bat. He’s promised he’ll be paid handsomely and that his family will be taken care of, so he takes the fall under the assumption he’ll be out in six years. Instead, he gets a life sentence. His wife dies while he’s inside, and his son Joey (Noah LeGros) grows up to become an orphan and a drug addict.
In other words, Nicolas Cage’s character is perfectly set up for revenge because he willingly went to prison for someone known to double-cross people, and then acts shocked when that exact thing happens, as if he was born yesterday. After his release, he reconnects with Joey and digs up a briefcase buried in his old backyard that contains $450,000 and the murder weapon. And I need to remind you again that the people who locked him up thought he bludgeoned somebody to death with a baseball bat, and they just let him go, even though it’s confirmed without a sliver of a doubt that he’s mentally unstable.
He then takes his drug-addicted son to a luxury resort, buys him lobster and lamb, expensive watches, and a Corvette, as if that’s going to make up for an entire childhood without a father who willingly put himself behind bars for an amount of money that in this economy will buy a modest house, at best. Considering how much money he’s spending right off the rip on an excessive amount of luxury items, he’ll probably have to settle for a duplex with bars on the windows when all is said and done.
It Gets Worse
Nicolas Cage starts tracking down the men who wronged him in A Score to Settle, passing out at the most inopportune times because of his life-threatening insomnia. He falls in love with a prostitute named Simone (Karolina Wydra), then gets mad at a pimp for sending a different woman using the same name the next day. He buys automatic weapons from the daughter of a former associate known as Sleepy, in front of her kid, then kills a man named Tank while snacking on beef jerky at his upscale, butcher-themed gastropub.
Nicolas Cage doesn’t know how to use a cell phone because he missed the smartphone boom while in prison, but somehow immediately knows how to use the device’s GPS while driving a sports car at reckless speeds. Earlier in the film, he paid a bellhop $500 to help him get it off its lock screen and look up a couple of addresses for him. Stuff like this keeps happening in A Score to Settle, and I’m not even going to spoil the most ridiculous part because you need to see it for yourself.
Every revenge trope you can think of shows up in A Score to Settle, but you also have to remember that because of the insomnia angle, it’s technically a psychological thriller too, but only when it feels like being one. It’s a ramshackle affair where Nicolas Cage does the best he can with what he’s given, but what he’s given is so bad that even he can’t save it. I’ll give him an A for effort, but A Score to Settle makes Prisoners of the Ghostland look like Casablanca by comparison.
If you’re working your way through Nicolas Cage’s filmography as a means to cope with the horrors of modern life, A Score to Settle won’t do you any favors. It will get you one step closer to your final form, and it does deliver some classic Cage Rage, which is always good for the soul. This one’s an absolute punisher, though, and you should know that going in.
A Score to Settle is currently streaming for free on Tubi.
Spoiler Alert: This list contains spoilers for The Pitt Season 2, Episode 11.
The Pitt is back, people, and this writer is happy to report that Season 2 is every bit as captivating as Season 1. Pittsburgh Trauma Medical Center has a lot on its hands for the Fourth of July, and the first 11 episodes have made that extremely clear. With Dr. Robby (Noah Wyle) on his last shift before taking a three-month sabbatical, Dr. Al-Hashimi (Sepideh Moafi) has arrived one day early to get a feel of how he runs things. Meanwhile, Dr. Langdon (Patrick Ball) is back from rehab and struggles to feel welcome back.
This show is just one plot twist after another, so it’s hard to even keep track of all the developments that have taken place over the course of these 50-minute episodes. There are still four more to go, but there have definitely been enough plot developments to compile a list from what we’ve seen so far. Dr. Robby deciding to stay because his friend is waiting for a CT scan is a nice twist, but it’s not very surprising. After all, everyone expected Robby to stick around for the entire season. Something slightly more surprising would be Robby offering Whitaker (Gerran Howell) his apartment while he’s on sabbatical, but that doesn’t have the punch that the season’s best surprises so far have had. Ranked by their emotional impact, shock factors, and relevance to the overall show, these twists and turns tell us there are still more brilliant moments to come as the season draws to a close.
Orlando Leaves Early
Season 2, Episode 7 “1:00 P.M.”
Orlando (William Guirola) didn’t even want to go to the hospital in the first place, despite being in dire need of care. After his condition finally starts improving, his daughter and mother struggle to get him to stay. He says it’s too expensive, and apparently their income falls into a gap where insurance can’t be given. His daughter tries to start a GoFundMe. He’s told he can move to a much less expensive section of the hospital, etc. Nothing works, he leaves.
He tells Dr. Mohan (Supriya Ganesh) that he’s already in a lot of debt. He simply can’t take on anymore, even if it’s at a significant discount. As the family’s main provider, he thinks more about his wallet than his health—something that many people under the current healthcare system can relate to. It’s telling to have him leave so much sooner than he should and after all the help he was offered. Viewers can only hope he won’t return to the Pitt later in even worse condition.
Mohan’s Panic Attack
Season 2, Episode 10 “4:00 P.M.”
One of the most impressive things about The Pitt is that it somehow manages to be such a fast-paced phenomenon and yet doesn’t feel too hard to follow—at least for the viewers. The characters, on the other hand, can get pretty overwhelmed. Last season it was Dr. Robby, but this time it’s Dr. Mohan who breaks down in the middle of her shift.
She and third-year med student Joy (Irene Choi) are talking to a patient when Mohan starts having trouble breathing. It’s an intense sequence as she tries to get some air in the worst place possible. Joy has the common sense to bring her a wheelchair, which leads to Dr. Robby telling Mohan off. It turns out to be a panic attack, induced largely (but not solely) by her mother’s calls, showing indeed that Mohan looking for work elsewhere is probably a good decision.
Baby Jane Doe
Season 2, Episode 1 “7:00 A.M.”
Just as The Pitt provides enough answers to our questions to help us understand the context for this new season, it also gives us new questions for us to ponder. The biggest one right off the bat comes in the form of an infant, who was found in a bathroom in the ER. As they give the baby tests, she seems to be in good health overall. That’s good, but how did this happen?
This question still hasn’t been answered after 11 episodes, so at this point it will probably wind up being a conflict that resolves in the season finale. More than one person thinks the child has been abandoned, while it’s also been suggested that sometimes a mother will leave a baby in a bathroom and return to pick it up later (which would still leave a few questions). A bundle of innocence and mystery in a frantic environment, this anonymous patient has been making viewers scratch their heads since the season premiere—and we’re all hoping there’s a happy ending to this plot thread.
ICE Arrests Nurse Jesse
Season 2, Episode 11 “5:00 P.M.”
This show didn’t back down from America’s socio-political climate in the first season, and Season 2 is just as ambitious. In last week’s episode, ICE agents arrive at the ER with a detainee who was injured during their raid. As rumors spread that immigration enforcement is here, several hospital staff leave out of fear they’ll be arrested. The ICE officers weren’t intending on arresting anyone else, but, sure enough, Nurse Jesse (Ned Brower) winds up in cuffs.
And all because he was just trying to help Pranita (Ramona DuBarry) get her treatment before leaving. The agents don’t want to wait for the patient to be put in a sling; they want out, and Jesse gets too physical for their liking. ICE has accrued a reputation for being aggressive, and this episode demonstrates how the agency essentially comes across as the antithesis of a hospital. Meanwhile, the Pitt is now even more understaffed than it already was.
Waterpark Disaster
Season 2, Episode 9 “3:00 P.M.”
By the time we’ve hit Episode 9, another hospital is sending their ambulances over to Pittsburgh Trauma Medical Center and the Pitt has shut down its internet. What else can go wrong? A waterpark disaster: after a ride collapses, the poor souls who were caught in the middle of it are now also getting sent to the ER. They definitely need help, piling more difficulty onto an already chaotic situation.
One of The Pitt‘s best new characters, Ogilvie (Lucas Iverson) was so cocky at the beginning of the season. Well, his attitude has gradually changed over the course of the day. In the wake of this mess, Ogilvie winds up having to hold a dismembered leg and is visibly distressed by it. It’s amazing how a show with such material can find dark comedy in a med student’s obvious yet ignored discomfort. Meanwhile, this emphasizes just how many things can go wrong in one day without having anything to do with each other. Their only common denominator is where the victims wind up: the emergency room.
Diverted Cases from Westbridge Hospital
Season 2, Episode 3 “9:00 A.M.”
The first few episodes of Season 2 were engrossing enough, but things really start to heat up when Westbridge Hospital shuts down. We aren’t told why, only that they’re sending their ambulances over to the Pitt. The workload is about to skyrocket, making this not only a suspenseful finish to Season 2, Episode 3, but also an excellent way to practically guarantee that the rest of the shift (ergo, the season) is going to be intense.
It’s a simple formula: more patients means more cases to do (and drama to deal with) in a short window of time, which means even less time for the characters to rest. As much as this sets us up for serious plot lines, the show finds a way to bring in a lighthearted response as well: the betting pool. The guy who set up last season’s pool enthusiastically sets up this new one, and viewers can safely bet this is going to be another terrific season.
Louie’s Death
Season 2, Episode 6 “12:00 P.M.”
Louie (Ernest Harden Jr.) was established as a regular patient in Season 1, and his return in the second season was both worrisome and unsurprising. The man’s charm and expertise in surprising subjects also meant that fans enjoyed seeing this mythical alcoholic’s familiar face, and we were led to believe that he just needed some fluid drained from his abdomen. A lot of it, sure, but he’d had this procedure done a few times before.
So when he dies, it comes as a shock to both the doctors and the viewers. Robby and Langdon together try to bring him back (fitting, as Robby knew him best), and it’s heartbreaking to watch them fail. Louie was so adored by the hospital staff that they even find time to pay their respects together, at which point Robby gives everyone Louie’s unknown backstory. Only now that he’s dead does the audience learn that his wife and unborn child died in a car accident, which both explains his drinking and makes it all the more tragic.
PTMC Shuts Down the Hospital’s Internet
Season 2, Episode 7 “1:00 P.M.”
Out of everything that’s happened so far, this season’s defining characteristic is the plot twist that was foreshadowed by Westbridge Hospital’s problems and finally arrived in Season 2: they need to work without computers. As we learn that hospitals in the area have been targeted for cyberattacks, the hospital CEO himself comes to announce that Pittsburgh Trauma Medical Center will be shutting down their internet before any such attacks can be successful.
Very bad news, as everything nowadays has been so geared toward new technology that people have started using AI to take down notes. The more senior doctors need to explain how to document everything the old-fashioned way, and it’s a minor miracle that Joy’s photographic memory was strong enough for her to remember everything on the board. Miscommunication and other issues are inevitable, however, as they even ask a retired clerk to help out because she’s so proficient at the old system. Humanity’s reliance on technology is powerfully explored as The Pitt remains one of the decade’s most brilliant television series.
The Pitt
- Release Date
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January 9, 2025
- Network
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Max
- Showrunner
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R. Scott Gemmill
- Directors
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Amanda Marsalis
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Noah Wyle
Dr. Michael ‘Robby’ Robinavitch
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Tracy Ifeachor
Dr. Heather Collins
Four months after revealing she purchased an estate with her boyfriend, Tammy Rivera is living in bliss. The former reality TV star shared an update this week about the changes she’s seeing in herself and being “actually happy.” In response, fans are eating up the joy she’s shared, applauding the era she’s in and the man by her side!
RELATED: Tammy Rivera Shares Video & Message About New Estate She Purchased With Her Man
Tammy Rivera Says She’s Happy & The Social Reactions Are Wholesome
Rivera shared the home life update on Wednesday via Instagram. She included photos and videos featuring her and her boyfriend, Kosher Oasis. She’s chilling on a boat on their lake for the first time, she revealed. Kosher was sitting on their deck, feet kicked up with their dog. Cats exploring the estate, pancake and eggs breakfast with a view. Also, a video of them paddle boating on their lake. Vibes? Elite. Their energy? At peace. Fans? Loving it.
“Today was our first day out on the lake testing the fishing boat and pedal boat… and I had a whole moment 😩 Somehow I went from Chanel and Birkins to cats, dogs, Class A RVs, a lake estate, and fishing boats… and I don’t even recognize myself anymore lol. But the crazy part? I’m actually happy. Like… really happy. And so is he. ❤️ #TRiveraOnTheLake”
In her comment section, Yandy Smith wrote, “So beautiful,” with red heart emojis, while Tahiry Jose added a clapping hand emoticon and crying GIF. Kandi Burruss said, “I love this for you” and Apryl Jones commented, “This is where it’s at lol.”
@chantel.duhh wrote, “Mama made sure her daughter was str8 now she’s living her best life! Now,THAT’S the American Dream🫶🏾!I’m always rooting for u girl!!”
“And ain’t nun wrong with it Tammy, looks good on you 🥰🫶🏾,” @_myownboss_247 added.
Tammy Rivera is only 39, with her 40th coming up on July 30. But a comment from @jayshantae.turner gave her a sweet warning: “This is 40 sis, I swear once your bday comes THAT DAY you just gone feel different…like more at peace…you’ve been preparing yourself…I felt like this last year and when that 40th hit, shit just made sense. The growth is beautiful ❤️ I love seeing you flourish. Love you!!”
“Love this for you!! 🥰🥰,” @shawnnaworldwide wrote and @iamperez commented, “I love this for u both 😍.”
And fans are noting that her happiness isn’t limited to her sprawling estate. A few days ago, she shared a video recap of “life lately.” Several clips showed her chilling in bed and around her property with her cats and a peek at home renovation. But Tammy is also seen vibin’ with her loved ones, including with her daughter Charlie, at a skating rink and elsewhere.
RELATED: Tammy Rivera Responds After Internet User Said She & Waka Are “Bout To Be Back” After He Paid For Charlie’s New Condo (PICS)
Tammy’s Been Living Large Since Last Year
In November, Tammy let fans know about one of her biggest accomplishments, purchasing her beautiful estate. She shared the news amid the holidays and thanked her bae Kosher for remaining solid throughout the tedious process.
“Purchasing this estate has been one of the hardest things I’ve ever had to do — definitely top 5 on my list! The spiritual battle we fought through this process made me stand firm in my faith. I told God, ‘I want what You want for me.’ And the moment I walked into this house, I looked at my man and said, ‘Baby, this is my house.’ And indeed… it was,” Tammy Rivera wrote in November.
After thanking a slew of people, including her realtor and sister, she circled back to give her man his flowers. “Words can’t describe the support, love, care, and patience you’ve shown me. I can’t wait to share our new home — and this new chapter of life — together,” Tammy said.
RELATED: Okay, Then! Social Media Reacts As 21 Savage Shows Love To Latto Amid Her Pregnancy Announcement
What Do You Think Roomies?
The miniseries format has been very successful in recent years, bridging the gap between movies and multi-season shows with their short but well-produced stories. So it’s no surprise that Prime Video is home to several masterpiece miniseries made over the past few decades. However, considering the platform features one of the biggest streaming collections of movies and shows available to audiences today, actually finding one of these to watch can be a daunting task, which is why we’ve done the work for you.
From acclaimed hits to little-known gems, Prime Video’s best miniseries encompass a wide range of genres and styles, and feature stories and performances by some of the greatest talent working in the industry today. Without further ado, here’s our handpicked selection of the best Prime Video miniseries of all time.
1
‘Tales from the Loop’ (2020)
Written and developed by Nathaniel Halpern, Tales from the Loop is a sci-fi drama series inspired by the neo-futuristic art book of the same name by Swedish artist Simon Stålenhag. The show explores the lives of several people living around a machine called The Loop, which is believed to be the key to the mysteries of the universe, revealing how their interconnected lives are shaped by various uncanny events. The series stars Rebecca Hall, Paul Schneider, Duncan Joiner, Daniel Zolghadri, and Jonathan Pryce in key performances.
In the vein of the original artwork, the sci-fi series uses abstract and surreal art to depict themes of existentialism, the future of humanity, and the perception of time. Thought-provoking and unique in its narrative, Tales from the Loop is a beautiful watch, even if the pace may feel a bit dragged at times. Unlike far too many sci-fi shows of our time, Tales from the Loop is a warm, hopeful experience exploring a story at the intersection of humanity and technology, transforming its still source material into fantastic and moving visuals.
2
‘Solos’ (2021)
An anthology sci-fi drama miniseries created by David Weil, Solos explores seven different stories of human experiences. Loosely interconnected by a frame narrative and narration, each story in the anthology explores different existential themes like memory, time travel, artificial intelligence, loneliness, and finding connection, brought to life through (mostly) solo performances. The show stars Anne Hathaway, Morgan Freeman, Helen Mirren, Anthony Mackie, Uzo Aduba, and Constance Wu.
A deeply character-driven show built around its use of solo acting showcases, Solos presents a fascinating perspective on what it means to be truly human through the stories of its diverse characters and their wide range of emotions. Anne Hathaway’s depiction of her character in and as “LEAH,” with her complex, emotional, and self-aware story, in particular, stands out as a phenomenal performance. Since its release, the anthology has had rather polarized reviews, with some criticisms of its ambitious and experimental nature, but also praise for the rich characters and strong performances.
3
‘I’m a Virgo’ (2023)
An absurdist comedy series created by Boots Riley, I’m a Virgo tells the fantastical story of Cootie, a 19-year-old boy who stands tall at 13 feet, and is being raised by his uncle and aunt, unaware of the realities of the world. When a group of teenage political activists accidentally learn about him, it brings Cootie out of his shielded life and helps him discover love, friendship, and his own identity. Jharrel Jerome stars as the titular supersized hero, with Olivia Washington, Brett Gray, Kara Young, Allius Barnes, Walton Goggins, Mike Epps, and Carmen Ejogo in key roles.
I’m a Virgo is a quirky take on the superhero trope, propelled by Jerome’s elevated performance alongside an equally compelling Walton Goggins as The Hero. The story has a lot of heart and dark humor, exploring the imaginative coming-of-age joyride of a teenage boy who finds himself anew in a world he never knew. On its release, I’m a Virgo received critical acclaim, with high praise for Riley’s vision and Jerome’s acting, but it has remained a highly underrated series nonetheless.
4
‘River’ (2015)
A British crime thriller miniseries created and written by Abi Morgan, River stars Stellan Skarsgård as Detective Inspector John River, a brilliant police officer but a troubled man, who is grieving the recent death of his partner and fellow detective, Sergeant Jackie “Stevie” Stevenson (Nicola Walker). Haunted by visions of Stevie and other murder victims, River begins to covertly investigate her murder, uncovering deep secrets of Stevie’s life and his own fractured mind. Adeel Akhtar, Lesley Manville, and Eddie Marsan star in key supporting roles.
Gritty, suspenseful, and packed with tension, River is a thrilling yet oft-forgotten crime miniseries that stands out in the genre with its compelling performances and tightly-knit story. Leading a stacked ensemble cast, Skarsgård owns the screen as a man caught between the living and the dead, whose genius works in tandem with the fragility of his mind, and it leaves the audience in absolute awe. River also succeeds in not being too tropey or tied up in the usual standards of its genre, instead using crime as a platform to explore themes of grief, loss, and the struggle against personal demons.
5
‘Scavengers Reign’ (2023)
An adult-animated sci-fi series created by Joseph Bennett and Charles Huettner, Scavengers Reign is an extension of their Adult Swim short film Scavengers. Set in an indeterminate future, the series follows the surviving crew of Demeter 227, a damaged interstellar cargo ship that crashes on an alien planet, leaving them stranded in a seemingly lush but ultimately dangerous environment. The show’s voice cast stars Sunita Mani, Wunmi Mosaku, Alia Shawkat, Bob Stephenson, and Ted Travelstead, and the series is produced by Titmouse, Inc. and Green Street Pictures.
At the time of its release, Scavenger’s Reign earned widespread acclaim and became a critic favorite, earning a Primetime Creative Arts Emmy Award for Outstanding Individual Achievement in Animation for its background design. The story, writing, animation style, character design, and voice acting are all simply fantastic, and together, they make this series a beautiful and bizarre virtual adventure that leaves you hypnotized in every episode. Even though it did not garner the mainstream attention it deserved before getting canceled after one season, Scavenger Reign will remain one of the greatest sci-fi series ever made.
6
‘Swarm’ (2023)
A satirical dark comedy miniseries created by Janine Nabers and Donald Glover, Swarm stars Dominique Fishback as Dre, an obsessed fan of Ni’Jah, a world-famous pop goddess who’s a lot like Beyoncé. The show follows Dre as she travels the country on a dark path of extreme fandom, which hits a turning point when a traumatic incident hurts her idol’s stardom and life. Besides Fishback, the series also features Chloe Bailey in a recurring role, with several notable guest stars like Rory Culkin, Paris Jackson, X Mayo, Billie Eilish, Stephen Glover, and Cree Summer.
Masterfully written, directed, and acted, Swarm is a trance-inducing tale of toxic fandom that satires extreme forms of icon-worship culture through one obsessed fan’s POV. The show’s crux lies in Fishback’s unhinged Dre, who takes her fixation to gory and lethal extremes in a performance that is best described as meticulous but also deeply disturbing. Since its release, Swarm has been highly praised for its nuanced storytelling and for balancing psychological horror and suspense with incisive humor, earning it several accolades, including a NAACP Image Award.
7
‘The Underground Railroad’ (2021)
Created by Barry Jenkins, The Underground Railroad is a magic realism historical fiction miniseries adapted from Colson Whitehead’s eponymous Pulitzer Prize-winning novel. The series reimagines the titular network of real-life abolitionists who helped enslaved African Americans escape from the South in the 1800s as an actual locomotive transporting people to freedom, and follows the story of Cora (Thuso Mbedu), an enslaved woman fleeing Georgia while being hunted by a ruthless slave catcher. Chase W. Dillon, Joel Edgerton, Peter Mullan, and Sheila Atim appear in other main roles, with William Jackson Harper, Lily Rabe, Damon Harriman, Will Poulter, and more as recurring characters.
Barry Jenkins brings the original novel to life with his hauntingly poetic vision and an amazing cast, turning The Underground Railroad into a visually and conceptually astonishing piece of art. Horrifying but also deeply human in its narrative, the series is often hard to watch, but never loses attention, thanks to its stellar performances and elevated production values. Though The Underground Railroad has been widely acclaimed and earned several accolades, including a BAFTA, a Peabody Award, and a Golden Globe, it’s still one of Prime Video’s most underrated miniseries.
8
‘Dead Ringers’ (2023)
Dead Ringers is a psychological thriller series remake of David Cronenberg’s 1988 film, which itself is an adaptation of Bari Wood and Jack Geasland’s 1977 novel Twins, following twin gynecologists, Beverly and Elliot Mantle, who share an intensely codependent relationship that is often unethical and pushes medical boundaries. On a mission to reinvent women’s fertility care, they walk a dark path of obsession, illegal experiments, and risky fertility procedures, but their personal psychological complexities threaten to ruin it all. Rachel Weisz plays the dual role of Elliot and Beverly, with Britne Oldford, Poppy Liu, Jennifer Ehle, and Michael Chernus in other main roles.
A diabolical depiction of the “twin condition,” Dead Ringers is an intelligent, humorous, and thrilling psychological drama that is carried by its layered protagonists. Rachel Weisz is phenomenal in her portrayal of the two extreme characters, playing the aggressive and the meek with the same verve. Though often compared to the original film, the miniseries is a brilliant work in its own right, where gender-swapping the central characters elevates the storytelling rather than diminishing it or appearing gimmicky. Appropriately, Dead Ringers was well-received on its premiere and earned several accolades, including a Peabody Award and a Golden Globe nomination for Weisz.
Dead Ringers
- Release Date
-
2023 – 2023-00-00
- Network
-
Prime Video
- Directors
-
Sean Durkin, Lauren Wolkstein, Karyn Kusama
Entertainment
Ryan Gosling’s Is Officially the King of Sci-Fi as He Joins Oscar-Winning Duo’s First Movie in 4 Years
This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.
It’s been four years since Daniel Kwan and Daniel Scheinert, collectively known as The Daniels, shocked the world, and the box office, with their breakout hit Everything Everywhere All at Once. They’re set to start shooting their mysterious new movie later this year, but so far details about it have been kept under wraps. We finally know one thing about the movie: the identity of its star, who’s on a major hot streak right now.
According to reports, Ryan Gosling will star in the Daniels’ as-yet-untitled new film. There is no word yet as to his role in the film, or any plot details about it. However, Kwan did drop a few tantalizing hints at South by Southwest earlier this month, in an interview with Collider’s Steve Weintraub. Kwan teased that the film is “going to be fun sci-fi, action comedy with a big heart. Very existential. All those things that you would hope that one of our movies would be.” They intend to shoot much of the film on IMAX, which would be a first for the duo, and for production to kick off this summer in Los Angeles; ideally, that would have the film ready for release in the 2027 holiday season.
This article covers a developing story. Continue to check back with us as we will be adding more information as it becomes available.
By Jennifer Asencio
| Published
The 1986 Lucasfilm movie Howard the Duck was never going to win any awards. Right from the beginning, everyone recognized how cheesy it was. Few people, aside from true comic book nerds, knew Howard had anything to do with the Marvel universe. Coming from the studio that brought us the original Star Wars trilogy and featuring Lea Thompson fresh from her first turn as Lorraine Baines-McFly, the movie just seemed like it was out of left field.
An Insane Plot And Production
Howard is a very ordinary duck, enjoying his life in Marshington, DC, when suddenly a portal opens and drags him right from his living room and into the very Earthling city of Cleveland. There, he meets Beverly, herself an aspiring musician. She takes him in and introduces him to Phil, a groupie for her band who also happens to work in the lab at the local museum. Howard is hoping Phil can help get him home, but in the meantime, he looks for a job and helps Beverly by managing her band.
Phil gets help in the form of Dr. Walter Jennings, whose laser experiment is what dragged Howard to Earth, but it also brought along “someone else”: an interdimensional monster so ugly and dangerous that it could single-handedly destroy the planet. It doesn’t want to do that until it can invite a few friends along using Jennings’ laser, and Howard and his new friends are all that stands between the Earth and certain destruction.
So Ahead Of Its Time, We’re Just Now Catching Up With It
Let’s face it: Howard the Duck is not a good movie, and it never was. But between oversaturation of the Marvel Cinematic Universe as it is today and the ensemble cast that somehow carried this very 80s comic adventure, the movie is a lot more fun today than it was when it first came out. It was ahead of its time as a lampoon of the Marvel universe, well before the Avengers ever assembled onscreen. Howard is actually part of the Guardians of the Galaxy continuity, which makes sense given that they have a talking raccoon and a sentient tree.
The amazing cast is led by Thompson, Tim Robbins as Phil, and Jeffrey Jones as Dr. Jennings, with a team of puppeteers moving Howard around, while he is voiced by Chip Zien. Notable cameos include Holly Robinson as one of Beverly’s bandmates; police procedural star Paul Guilfoyle as, unsurprisingly, a cop; and comic actor David Paymer as Jennings’ lab assistant. Jorli McLain, an obscure actress who looks a lot like Tracy Gold of Growing Pains, steals her scene as a waitress in a restaurant called Cajun Sushi.
Jones is especially good, which is a little uncomfortable when you know his off-screen crimes, but the actor was excellent at his craft, as evidenced by a range of other roles as disparate as Beetlejuice, The Hunt for Red October, Ferris Bueller’s Day Off, and Valmont. As Dr. Jennings, he plays it deadpan, as though a walking, talking duck is normal in his world. As his alter ego, his delivery of lines and comic timing make it obvious why he was allowed to continue acting after he served his time. He is the best part of an over-the-top and chaotic movie, setting up its zany heroes with hilarious precision.
Tim Robbins is known for being a very pedantic actor, memorizing his every line and movement. He is also not known for this kind of comedy, so his appearance is a pleasant surprise from an actor who is usually found in more witty films like The Hudsucker Proxy and Bull Durham. Yet he plays his character with the same zeal as a 1930s screwball actor, including trips, falls, and numerous physical stunts played for the laugh.
A Certified Cult Classic
Lea Thompson bears the brunt of the film, though, having to appear in the most scenes with the puppet that represents Howard. Playing against an inanimate object, she pulls out all the stops and leans into the outrageous plot, from the seedy club to her studio apartment, the all-night sushi place, and the mad scientists’ lab. It’s not one of her best performances, but it is worthy of an actress who had to play opposite an anthropomorphic waterfowl, especially when she is skirting the fine line of the romance that never quite happens between them.
The movie is still a cult classic, despite being objectively terrible, and a large part of that goes to both the cast and the puppetry. Howard always looks like a puppet, but we can overlook that because all the rest of the special effects are deliberately worse. The movie is based on a campy comic book and manages to capture that tone with its framing and imagery, never attempting to be more than it is. This is not the quality of the Marvel Cinematic Universe, and that’s okay, because it was never trying to be that kind of blockbuster. Maybe if the MCU followed the Duck’s lead and leaned more into campiness and less into attempted gritty backstories, it wouldn’t be as tiresome as it is now.
Unfortunately, to watch Howard the Duck, you’ll have to rent it through Amazon Prime Video, YouTube, or Fandango at Home. It’s not quite a family movie with its flash of duck boobies and hinted romance between Beverly and Howard, but with all that in perspective, it’s still worth the rental for a nice cheesy popcorn night. Clocking in at just under two hours, it’s also more endurable than an MCU slog.
Classic films are understandably among the most memorable and iconic in film history, whether for their sweeping sets and timeless narratives or the characters that feel like old friends, still resonating with us all these decades later. For the truly nostalgic, revisiting them or discovering hidden gems is almost inevitable (think comfort food, but for cinephile souls and minds).
What’s especially delightful about these films is that you can watch them in under, or just around, one and a half hours. Compared to today’s marathon-length blockbusters, that’s a breeze. Not that long films are bad — far from it — but sometimes you just want to enjoy great cinema without committing to a whole afternoon. These classic movies under 90 minutes are definitely worth their runtime, delivering a satisfying story in one sitting and no intermission required.
10
‘Laura’ (1944)
If you’re in the mood to watch a stylish noir but don’t have much time on your hands, Laura might be your best bet. Directed by Otto Preminger, the 1944 film follows police detective Mark McPherson (Dana Andrews) as he investigates the murder of the beautiful and highly successful advertising executive Laura Hunt (Gene Tierney).
With a haunting David Raksin score, great performances, and a compelling narrative, Laura delivers a great time in front of the screen with a runtime of 88 minutes. The essential noir has influenced plenty of contemporary works — think of David Lynch‘s Twin Peaks, which not only shares the character’s name but also plot and thematic similarities — and cemented its place among the most iconic and innovative films in its genre. In the meantime, it also offers a compelling critique of male obsession and possessiveness.
9
‘Cléo from 5 to 7’ (1962)
Anchored by Agnès Varda‘s intimate gaze, Cléo from 5 to 7 is possibly one of the most elegant film picks one could choose under 90 minutes. Drenched in stunning black-and-white visuals, the film transports audiences to the streets of 1960s Paris as it follows the day in the life of beautiful singer Cleo (Corinne Marchand) as she waits to learn whether she has cancer.
Cléo from 5 to 7 fascinates us with its primary, purely internal conflict, observing Cléo’s fear of mortality through a refreshing, empathetic, modern lens. At the heart of the film, Varda contemplates time and the meaning of life, especially when confronted with uncertainty and potentially overwhelming odds. Without being overly preachy, the 90-minute gem has become a French New Wave classic essential that invites viewers to pause, reflect, and find the beauty in their own lives and blessings.
8
‘Breathless’ (1960)
Speaking of the French New Wave, Jean-Luc Godard — who even makes a cameo in Varda’s film alongside his partner, Anna Karina— is another filmmaker worth exploring. His iconic, cool and detached Breathless follows a reckless young criminal and small-time thief (Jean-Paul Belmondo) as he steals a car and impulsively murders the motorcycle policeman who pursues him.
Clocking in at just 90 minutes, Breathless deserves the many flowers it has gotten over the years thanks to its innovative filmmaking and its groundbreaking editing. With sheer audacity, the film essentially rejected what cinema had known so far, defying the conventions of post-war French films and American cinema, and cementing its place among the most memorable classics of its time. Another notable Godard classic under 90 minutes is A Woman is a Woman, an upbeat, quirky musical particularly fitting for those who crave a feel-good watch.
7
‘Brief Encounter’ (1945)
Fans of slow-burn romance and classic cinema are likely familiar with Brief Encounter, a heart-wrenching David Lean picture that is a masterful meditation on duty and self-sacrifice. The plot follows two strangers, both married to others, who meet in a railroad station and find themselves in a brief but nonetheless intense affair.
Based on Noël Coward‘s one-act play Still Life, this timeless black-and-white romance continues to conquer hearts 80 years following its release — it was voted #2 on the BFI’s 100 best British films of the century — and understandably so. Lean’s film is compelling in its simplicity, with two powerful acting efforts from Celia Johnson and Trevor Howard and a story of missed chances that lingers. What’s even better, the runtime is around 87 minutes.
6
‘Rope’ (1948)
Hitchcock enthusiasts who have not yet explored the filmmaker’s entire filmography may be pleased to know that Rope is just around 80 minutes — perfect for whenever you’re short on time but want to indulge in something suspenseful and intriguing. The film essentially follows two college students — arrogant Brandon (John Dall) and his friend Philip (Farley Granger), who murder an old college mate and then host a dinner party to prove their intellectual superiority.
Hitchcock’s first color film may not be his finest, but it’s certainly one of the director’s boldest and most memorable, and perhaps his most theatrical. Rope is particularly notable for taking place in real time and being edited to appear as one long shot. With its technical mastery and great performances (James Stewart also stars as the dangerously perceptive Rupert Cadell), the must-see classic movie remains a thrilling, engaging cinematic experience despite its compactness.
5
‘Paths of Glory’ (1957)
As far as iconic war pictures go, Paths of Glory ranks among the most impactful, and it’s not hard to see why. With a short 88-minute runtime, the Stanley Kubrick classic follows a member of the French General Staff who asks his subordinate, the ambitious General Mireau (George Macready), to send his division on a suicide mission to take a well-defended German position.
At its core, Paths of Glory is a fiery indictment of injustice and war. It is widely considered one of Kubrick’s many masterpieces (directed at 29), fascinating not merely through its impressive technicalities — like the long tracking shots that fully immerse audiences — but also through a powerful critique of military arrogance and the dehumanization of humans at war. It’s no wonder that the anti-war powerhouse is preserved in the U.S. National Film Registry for its cultural impact.
4
‘Rashomon’ (1950)
From the visionary mind of acclaimed filmmaker Akira Kurosawa, Rashomon helped revolutionize cinema with its nonlinear storytelling. The film follows a priest (Minoru Chiaki), a woodcutter (Takashi Shumura), and another man (Kichijirō Ueda) as they take refuge from a rainstorm in the shell of a former gatehouse.
Rashomon is now celebrated as one of the greatest and most influential films of the 20th century. Part of its appeal lies in its groundbreaking plot device, which involves the various characters’ subjective, alternative, and contradictory versions of the same incident, and also in its meditation on moral ambiguity and subjectivity. All these years later, it remains a revolutionary film in its technicalities and narrative, cementing its place as a timeless cinematic landmark — and at just 88 minutes, it’s a masterpiece worth checking even when one is short on time.
3
‘Bicycle Thieves’ (1948)
This Italian neorealism masterwork by Vittorio De Sica is a cinephile fan-favorite. With a powerful portrayal of human suffering and poverty at its center, the story, set in post-war Italy, centers on a working-class man named Antonio (Lamberto Maggiorani) whose bicycle is stolen, ultimately endangering his efforts to find work. Along with his son Bruno (Enzo Staiola), he sets out to find it.
Beyond its moving depiction of poverty, Bicycle Thieves is influential because it revolutionized cinema while capturing the raw grit of everyday life in such a poignant setting. With its stripped-down style and wonderful performances by nonprofessional actors, De Sica’s movie cemented a wave that remains highly relevant these days, enduring as an immediate favorite that feels immersive and heartbreaking at once.
2
‘The Passion of Joan of Arc’ (1928)
Among French cinema’s most renowned entries is The Passion of Joan of Arc, which remains a truly moving depiction of the final days, interrogation, and execution of the titular heroine. With a powerful lead performance by Renée Jeanne Falconetti — and Carl Theodor Dreyer‘s direction that emphasizes Joan’s deep suffering with heartbreaking close-ups — the silent epic continues to shatter hearts all over the globe.
There are two different versions of The Passion of Joan of Arc: one runs at 110 minutes and a shorter one is approximately 81 to 82 minutes, which is the commonly available restored version presented by The Criterion Collection. Whether it’s the unparalleled acting performance that many have claimed is the best of all time, the pioneering cinematography and atmosphere, or the narrative’s authenticity to history (the screenplay is based directly on the actual trial records) with crushing emotion, Dreyer’s movie endures as essential viewing for anyone who both wants to dive deep into cinema and understand Joan.
1
‘City Lights’ (1931)
When the topic is classic movies under 90 minutes, City Lights — along with other Chaplin essentials like The Kid or Modern Times — immediately comes to mind. The film follows a dewy-eyed Tramp who falls in love with a sight-impaired girl (Virginia Cherrill) who mistakes him for a wealthy man. As he attempts to win her heart, he raises money to pay for an operation to restore her sight.
At 87 minutes, City Lights perfects the romantic comedy genre by mixing fast-paced physical comedy with slower and deeply emotional moments; it is precisely its length that allows for a fully developed silent narrative that sticks with audiences and, for such a reason, remains a must-see cinematic experience, especially for hopeless romantics who don’t mind sitting silently and absorbing its poignant story that culminated in arguably one of the most touching final scenes of all time.
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