Entertainment
10 Worst Remakes of Beloved ’90s Movies, Ranked
The movies released in the ’90s have a bigger cult-favoritism than any other era. Now that’s mainly because a lot of the people who watched them now have a good standing on social media so they have a bigger voice and take pride in their era. However, it’s important to note that the remakes from ‘90s movies almost always feel like they were made by people who could identify the brand but not the voltage. They know the title. They know the poster image. They know the broad setup people remember. The popular girl makeover story. The house party chaos. The cool dead guy in face paint. But what they do not know is the pressure system inside those movies.
The ’90s were weirdly specific. Teen movies had insecurity in them. Studio thrillers had sweat in them. Action movies had philosophy hiding inside stupidity. Family films had earnestness without apology. Even the glossy stuff usually had some emotional impurity to it, some embarrassment, ache, lust, identity panic, or wounded sincerity that made the whole machine hum. And most of their remakes kept sanding that away. Especially the 10 on this list don’t feel like new versions of old stories but replicas made from memory by someone who only saw the trailer and that’s why they’re treated far more harshly than any other decade.
10
‘He’s All That’ (2021)
This one is bad in the most modern, airless way possible. She’s All That is not some sacred text, and I am not pretending it is. It is a glossy teen comedy with all kinds of late-’90s artificiality built into it. But it understands one thing the remake does not: adolescent humiliation is real even when the movie is being silly. Laney Boggs (Rachael Leigh Cook) matters because the movie knows that being unseen is not just a premise trick. It is an emotional position. Zack Siler (Freddie Prinze Jr.)’s bet has actual cruelty in it because the film understands social hierarchy as a teenage religion.
He’s All That turns all of that into influencer-era flatness. The whole movie feels pre-filtered. Padgett Sawyer (Addison Rae) should feel like somebody whose popularity is always one public disaster away from collapse, but instead she mostly feels like a concept carrying brand-level anxiety. Cameron Kweller (Tanner Buchanan), meanwhile, is supposed to be the real person she learns to see, and the film never gives that dynamic enough awkwardness, sting, or mutual vulnerability to become emotionally persuasive. The makeover plot becomes even more insulting when the movie itself has no real idea what interior transformation even looks like. It confuses optics with identity, which would be interesting if the script knew it was doing that. It does not. It just lives there.
9
‘House Party’ (2023)
The original House Party is so alive. That is the thing people forget when they reduce it to a fun party movie. It is alive in its feet, in its music, in its flirtation, in the sense that one night can still feel socially enormous when you are young. The energy is not only in the party. It is in sneaking toward it, risking punishment for it, dressing for it, fantasizing about it, hoping this one night might shift your status, your luck, your romantic life, your whole self-image. That is why the original works. The house party is not in the background. It is the event around which youth organizes meaning.
The remake feels like it thinks celebrity cameos + nostalgia + studio chaos = vibe. It does not. Kevin (Jacob Latimore) and Damon (Tosin Cole) never really generate that nervous-goofy-host energy the original had. The script keeps inflating the premise into a larger, shinier, more self-aware comedy machine, and the result is actually smaller. A house party movie needs social texture. It needs that feeling that every room contains a slightly different danger, opportunity, embarrassment, or thrill. This one keeps giving you bits, references, and spectacle without ever turning the house into a living ecosystem of comedy and desire. It feels rented.
8
‘Don’t Tell Mom the Babysitter’s Dead’ (2024)
What made the original so lovable is how completely it understands teenage panic as administrative comedy. A group of kids are abandoned for the summer, the babysitter dies, and suddenly the oldest daughter has to bluff her way into adulthood through work clothes, office politics, sibling management, money stress, and mounting deception. That premise works because it taps directly into one of the greatest teenage fantasies: that adulthood is a costume you might somehow pull off if the emergency is bad enough. It is funny because it is desperate.
The remake gets some of the broad mechanics right and still misses the desperate comic pulse. Tanya Crandell (Simone Joy Jones) should feel like a young person improvising her way through systems she has no business navigating, terrified of being exposed and exhilarated by competence she did not know she had. Instead the movie often feels too aware of its own update. Too polished around the edges. Too eager to look contemporary rather than letting the old panic engine roar again. The family dynamic never gains the same scrappy pressure either. In stories like this, domestic mess has to keep knocking into public performance until the whole thing becomes one big balancing act. Here the balance feels less precarious, which means it is less funny and much less thrilling.
7
‘The Crow’ (2024)
Some remakes are bad ideas at the level of instinct, and The Crow is one of them. Not because no one else is allowed to touch it, but because the original is fused to a very particular wound. It is not merely a revenge fantasy with goth style but grief turned into weather. It is love lingering so violently it crawls back into the world in smeared makeup and black leather. It is sincere in a way later movies are often too embarrassed to be. The city looks spiritually spoiled. Eric Draven (Brandon Lee) feels less like a character than a romantic curse.
The remake tries to deepen Eric and Shelly by giving them more relationship scaffolding, more mutual destruction, more overt modern darkness. But that is exactly the trap. It starts building psychology where the original had myth. Eric (Bill Skarsgård) needs to feel like love and death have fused into one impossible figure. He cannot just feel troubled, damaged, sad, sexy, traumatized, or doomed in a recognizably contemporary way. He has to feel operatic. The remake keeps dragging him back down to earth. And once The Crow becomes earthbound, it stops hovering in that wounded comic-book afterlife where it was born to live. Then it is just another revenge movie trying on somebody else’s coat.
6
‘Jacob’s Ladder’ (2019)
The original Jacob’s Ladder is not good because it has scary imagery. That is exactly the wrong way to read it. It is terrifying because it is built around Jacob Singer (Tim Robbins)’s consciousness that can no longer stabilize reality. Trauma, war guilt, bodily panic, spiritual dread, memory fragmentation, all of it folds into one ongoing experience of psychic and existential dislocation. The movie makes confusion feel wounded rather than clever. Its horror is not just that Jacob sees terrible things. It is that he cannot trust time, selfhood, or the moral shape of his own life anymore.
The remake takes a premise about unstable consciousness and somehow makes it feel much more ordinary. Jacob Singer (Michael Ealy) is still moving through trauma, but the script keeps translating the material into a more digestible grief-mystery form. That is death for this story. Jacob’s Ladder should feel like reality has become spiritually infected. Every hallway should feel one step away from revelation or collapse. The remake has some moments of unease, though it keeps wanting to resolve, clarify, and modernize the pain into something less metaphysical and therefore much less haunting. The original hurts because it feels like a man’s soul is caught in the machinery of memory and death. The remake hurts because it reminds you how rare that kind of ambition is.
5
‘The Lion King’ (2019)
There is almost something cruel about how useful this remake is as an argument. People kept saying the script was basically the same, as if that settled anything. But that is exactly why the remake is such a fascinating failure. It proves that writing is not just plot. Writing is tonal emphasis, expressive exaggeration, musical lift, line delivery, comic timing, visual rhythm, the amount of emotional elasticity the world allows. The original The Lion King is a myth pushed through animation into something ceremonial and intimate at once. Scar (Jeremy Irons)’s bitterness has theatrical poison in it. Mufasa (James Earl Jones)’s death. Simba (Matthew Broderick)’s shame. Rafiki (Robert Guillaume)’s guidance has play and wisdom tangled together. The whole thing sings because the writing is living inside performance and shape.
The remake preserves the map and drains the blood. The realism approach traps the material in the wrong visual philosophy from the start. These characters are supposed to embody emotions at full size. Instead, they often look and move like animals burdened by a story that needs more face than they are allowed to have. Scar’s manipulation shrinks. Mufasa’s death still lands because the bones are immortal, but the ache is less lyrical. Simba’s exile becomes less like a wound he is hiding from and more like a series of required story beats. The movie keeps proving, scene after scene, that reverence is not enough. You have to know what kind of exaggeration myth requires.
4
‘Mulan’ (2020)
This one makes me especially angry because the original already had the hard thing figured out. Mulan works because it binds a personal shame story to a war narrative without losing either. Mulan is trying and failing to perform the version of womanhood her society demands, then makes the most dangerous decision of her life out of love for her father, and has to survive a war machine that was never built to recognize her intelligence, nerve, or value. It is clear, forceful writing. Her growth emerges through action, concealment, adaptation, humiliation, and earned ingenuity.
The remake seems embarrassed by some of that structure. It starts elevating Mulan (Liu Yifei) into something more innately exceptional, more mythically preloaded, more destiny-coded, and in doing so it weakens the exact thing that made the original so satisfying. She should become formidable through pressure, not arrive half-transcendent. Once that shift happens, the story’s relationship to gender, effort, disguise, and tactical intelligence starts wobbling. And the supporting ensemble never forms the same emotional ecosystem around her. The camp in the animated film becomes a place where identity is tested. Here it feels more like a corridor toward grander abstraction. The remake keeps reaching for epic nobility and loses the scrappier, more human triumph that made Mulan beloved in the first place.
3
‘Total Recall’ (2012)
The original Total Recall is one of those stories where the trashiness is part of the intelligence. It is sweaty, nasty, funny, violent, politically cluttered, and constantly unstable in exactly the right way. The brilliance is that you can never fully detach the action from the identity crisis. Douglas Quaid (Arnold Schwarzenegger) is trying to become more, escape his life, recover the truth, and the movie keeps asking whether the “truth” is just another fantasy package customized to his appetite. That ambiguity gives the whole thing acid in its blood.
The remake turns all of this into sleek forward motion. It keeps the memory premise, the hidden identity stuff, the authoritarian world, the woman-who-might-be-wife and woman-who-might-be-ally machinery, but it does not know how to make paranoia feel dirty or existential. Douglas Quaid (Colin Farrell) is more grounded in the conventional sense, less bizarrely destabilized, and the whole movie pays for that choice. This remake version feels like a competent fugitive-action film borrowing a legendary premise without really surrendering to its sickness — too polished to hallucinate.
2
‘Flatliners’ (2017)
This one is a perfect example of a remake that thinks intensity is the same as pressure. The original Flatliners is messy, sure, but it understands that its premise is fundamentally obscene. Young medical elites are stopping their hearts to peek behind death like it is a locked lab door they can hack. There is arrogance in that. Hunger. Narcissism. A spiritual trespass disguised as intellectual curiosity. That is why the movie stays interesting even when it wobbles. It knows these people are not just doing an experiment but violating a boundary.
The remake cleans that up in exactly the wrong way. It gives you the premise, the escalating hauntings, the guilt manifestations, the peer-group disintegration, but it feels much more like a polished consequence machine than a true descent into the forbidden. The characters are too legible in the wrong way. The aftereffects are too narratively organized. The whole thing starts behaving like death is punishing them with personalized content, which is much less disturbing than the original’s larger feeling that they have opened a spiritual wound in themselves. Science-fiction thrillers about death should not feel this administratively neat. The dead deserve more mystery than that.
1
‘Point Break’ (2015)
This had to be number one, not because it is technically the clumsiest remake here, but because it misunderstands its original at the deepest possible level. Kathryn Bigelow’s Point Break is not just about extreme sports, surfing, bank robbers, and an undercover FBI agent. It is about seduction through risk. It is about masculinity becoming a spiritual hunger. It is about Johnny Utah (Keanu Reeves) being drawn not merely into a case, but into a worldview embodied by Bodhi (Patrick Swayze), a worldview where freedom, danger, transcendence, criminality, and self-annihilation all start blurring together. It is feverishly sincere about that. That is why it lasts. It is ridiculous and absolutely convinced of its own inner weather.
The remake sees the adrenaline surface and thinks that is the core. So it gives you bigger stunts, more global motion, more extreme everything, and almost none of the dangerous intimacy. Johnny Utah (Luke Bracey) is flattened into a much duller action-template protagonist, and Bodhi (Édgar Ramírez) is too abstract, too generalized, too content to be an eco-spiritual action-guru shape rather than a charismatic force. The whole thing loses the seductive madness that made the original hum. And once Johnny Utah is no longer psychologically seduced, the entire story collapses. The original is obsessed with obsession. The remake is obsessed with footage. That is why it belongs at the bottom. It misses the religion of the thing.
Point Break
- Release Date
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December 25, 2015
- Runtime
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114 Minutes
- Director
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Ericson Core
- Writers
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Kurt Wimmer
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Turn off the lights, grab a blanket, and settle in with our picks for the best serial killer films ever made.
Former Penn State football long snapper Kyle Vasey was hospitalized and his fiancée, Corinne More, was killed in a hit-and-run incident in Colorado.
“Kyle was the victim of a terrible accident while out walking with his fiancée,” Kyle’s parents, Bruce and Shelly, shared in a GoFundMe created amid their son’s road to recovery. “A pickup truck negligently drove off the road and ran them down, going approximately 45 mph. The driver turned around to check out the damage he caused, then cowardly fled the scene.”
The former Penn State player endured “multiple fractures” all over his body, according to the GoFundMe.
The driver, 28-year-old Adam Bauserman, was eventually taken into custody after the tragedy, which happened on June 3. Bauserman was already driving with a suspended license from a previous DUI when he struck three pedestrians who were walking on the sidewalk.
University of Kentucky football player Nic Smith was found dead on campus, the school announced on Monday, June 8. School spokesman Jay Blanton said the University of Kentucky Police Department received a call around 10 a.m. on Monday reporting that a student had been found dead in a residence hall. Smith’s death was announced later […]
More, 35, did not survive, while Kyle was seriously injured. Dianne Windes, 72, was the third victim. She was reportedly walking in the opposite direction of the couple and hospitalized with serious injuries, per CBS News.
Deputies did not detect signs of intoxication, but are waiting on Bauserman’s blood test results for confirmation. At the time of the crash, Bauserman is believed to have been driving roughly 48 miles per hour.
When he was tracked down by authorities, CBS News reported that Bauserman asked police, “Do you know if I killed the man?”
Kyle Vasey Jeremy Drey/MediaNews Group/Reading Eagle via Getty Images
A doctor stated in an affidavit that Kyle is at substantial risk for permanent disfigurement or death.
“His left arm was the only limb not injured,” the fundraiser explained. “He has 3 spine fractures and 4 broken ribs. So far he has had six surgeries. At this point, he’s still on a ventilator and is sedated to help manage the pain while his body recovers. Thankfully, there was no major head trauma, and everyone is optimistic about his physical recovery. However, it is expected to be a long road of recovery.”
Witnesses allege that Bauserman intentionally aimed his vehicle at all three pedestrians, which Douglas County Sheriff Darren Weekly addressed.”This was a horrific scene,” Weekly told CBS.
“If we can prove that, we’ll certainly do that, but at this point we have no indication of that,” he said.
Bryce Adair, a production assistant for CBS Sports, has died after being involved in a car crash while working the 2026 Memorial Championship. The single-car accident happened on Wednesday, June 3, near the site of the tournament at Muirfield Village Golf Club in Dublin, Ohio. Adair was transported to Columbus’ Riverside Methodist Hospital, where he […]
The GoFundMe has raised over $24,000 at the time of this story’s publication.
“At this time, we are asking for your thoughts and prayers for a speedy recovery of his body, heart, and mind,” Kyle’s parents wrote. “However, any donations to help with his ever-climbing medical bills would be greatly appreciated.”
Kyle played at Penn State from 2018 to 2019. He agreed to a contract with the NFL’s Atlanta Falcons as an undrafted free agent after graduating, but he never saw professional action.
In recent years, Kyle has been working as a real estate agent in Denver.
A mother and father in Iowa were arrested after their 10-year-old child was allegedly found malnourished and locked up inside of their home.
Andrew C. Warrington and Kellie J. Warrington have been charged with first-degree kidnapping, child endangerment, willful injury and neglect or abandonment of a dependent person, according to Scott County jail records viewed by Us Weekly.
The victim’s identity has not been publicly revealed due to them being a minor. However, KWQC reported that the child was just 10 years old.
Andrew, 48, and Kellie, 47, allegedly “knowingly and secretly confined” the child in a bedroom for an extended period of time, according to Scott County arrest affidavits viewed by Our Quad Cities. The conditions of the bedroom were stark and did not include any furniture for the child to rest on.
The parents allegedly didn’t allow the child to use the bathroom, as well as deprived them of light, food and water during their confinement.
Andrew and Kellie reportedly concealed the situation by not allowing the child to attend medical appointments or mental health appointments and removed them from church activities, per the affidavits.
The lack of stimulation “for large periods of time [resulted] in both mental and physical torture” for the victim, according to court records viewed by Our Quad Cities. The child was also said to have suffered head injuries during their time trapped in the room.
“Without medical intervention, (the child) was at risk of death,” the affidavits claimed.
After authorities learned of the situation, the child was treated at the University of Iowa Hospitals and Clinics, according to KWQC. The current status of their health is unknown.
It is not currently clear how authorities became aware of the situation or how long an investigation into the matter lasted before Andrew and Kellie were arrested.
Andrew and Kellie were arrested on Friday, June 5, and are currently being held at Scott County Jail on $2 million cash-only bonds as of Tuesday, June 9. Both Andrew and Kellie are expected to attend a preliminary hearing on June 16.
It is not currently clear if Andrew and Kellie have entered pleas or retained legal counsel following their arrests. The Scott County Sheriff’s Department did not immediately respond to Us’ request for comment regarding the arrests.
The investigation into the case remains ongoing.
If you suspect child abuse, please call the Childhelp National Child Abuse Hotline at 1-800-4-A-Child or 1-800-422-4453, or visit ChildHelp.org. All calls are toll-free and confidential, and the hotline is available 24/7 in more than 170 languages.
Invincible is, without a doubt, one of the most popular superhero animated series of all time. In the vein of The Boys, this Prime Video show is brutal, bloody, and vulgar. However, it is filled to the brim with far more heart, love, and soul that helps define this series as one not of ridiculous gore and shock value, but telling a story about heroism, the price of it, and what it means to truly be one as a young person.
Mark Grayson (Steven Yeun) is very well-written and the world around him is also very well-established. Not only does Invincible have the writing of the original Invincible (2003) comic series writer, Robert Kirkman, behind it, but a bunch of new writers helping out now, as well. Having a whole writer’s room supporting the show and giving new ideas and reframing old ones has helped Invincible become something even more amazing than the original book, in some people’s opinions.
10
“A Deal with the Devil”
Season 3, Episode 2
One of the most complex and interesting characters in Invincible isn’t just Mark Grayson, but none other than Cecil Stedman (Walton Goggins). No other episode fully depicts this like the likes of Invincible Season 3, Episode 2, “A Deal with the Devil”. The divide that inevitably comes between Invincible and the old, but badass man, is one of the best conflicts in the series. After the betrayal of Nolan Grayson (J.K. Simmons)—Omni-Man—Cecil’s trust in Viltrumites and, honestly, powerful people in general, is at an all-time low. Not to mention, the episode also depicts an origin of sorts for Stedman.
All of this culminates in a conflict that pulls the two apart. When it’s revealed that Cecil has been working with both Darkwing II (Cleveland Berto) as an agent and D.A. Sinclair (Eric Bauza) to create the ReAnimen—two people he considers to be vile killers—Mark flips out and attacks him, causing him to reveal his hand that he has implanted anti-Viltrumite technology in Mark’s head—a total invasion of privacy. This severs their alliance for seemingly good and puts Mark completely on his own, as well as sewing conflict in the members of the new Guardians of the Globe.
9
“I Thought You Were Stronger”
Season 2, Episode 8
Despite the fact that it sometimes suffers from mid-season slumps in animation quality, the Invincible team always goes all-out for their big finales, and the finale for Season 2, Invincible Season 2, Episode 8, “I Thought You Were Stronger” is a great example. This is one of the first times that Mark’s family is genuinely put in danger, and it causes him to put to test all moral standards that he holds for himself as Angstrom Levy (Sterling K. Brown) severely harms his mother, Debbie Grayson (), and holds her and his little brother hostage.
Not only does this result in an awesome fight, but it features Mark being sent to tons of other universes, including a great reference to Spider-Man and the story the two have together in the comics, as seen in Marvel Team-Up #14 (2005). Now Agent Spider (Josh Keaton), the Web-Slinger is voiced by none other than Josh Keaton, voice of The Spectacular Spider-Man himself. With a great cameo and phenomenal fight, the Season 2 finale is one to remember.
8
“Don’t Leave Me Hanging Here”
Season 4, Episode 8
The Season 4 finale—Invincible Season 4, Episode 8, “Don’t Leave Me Hanging Here”—emphasizes the fact that not only does Invincible thrive in action-based conflict, but the narrative-based conflict, as well. After the terrible fight with the Viltrumites and being gone from Earth for so long, Mark deals with the emotional fallout of it all, and is given a horrible choice.
Mark doesn’t just discover that Atom Eve (Gillian Jacobs) was pregnant and had to make a difficult choice all on her own (causing him to feel extremely guilty), but he finds out that the Viltrumites have secretly invaded Earth, and Grant Regent Thragg (Lee Pace) comes to him with a choice: fight him now and let Earth be destroyed and conquered, or allow his people to live and breed on Earth, doing nothing about it and letting the planet live another day. It’s a terrible position to be in and, while he resists at first, Mark accepts. After a whole episode of what seems like PTSD causing him to think he’s seeing Thragg, the eventual reveal of the real deal is executed masterfully.
7
“Don’t Do Anything Rash”
Season 4, Episode 7
Everyone loves a good battle-oriented episode and one of the best comes in the form of Invincible Season 4, Episode 7, “Don’t Do Anything Rash” as Invincible, Oliver Grayson (Christian Convery), Nolan, Tech Jacket (Zoey Deutch), Battle Beast (Michael Dorn), Space Racer (Winston Duke), and the Coalition of Planets raid Viltrum to face the Viltrumites head-on. While the fight seems like it’ll go alright at the beginning, nothing goes the way they hoped it would.
This fight with the Viltrumites is brutal and has gigantic repercussions for the rest of the series and the characters present in the fight. Not only is Thaedus (Peter Cullen), leader of the Coalition, murdered, but Oliver is gravely injured, seemingly dead until revealed to have a chance at recovery. This episode also ends in the destruction of the entire planet of Viltrum, ripping almost everything Thragg loved away from him.
6
“It’s About Time”
Season 1, Episode 1
A good pilot can define whether a series will find success or not and the pilot of Invincible, Invincible Season 1, Episode 1, “It’s About Time” is an amazing one. While it may start out seeming like the standard superhero series with a bit of brutal The Boys flair, the big twist at the end of the episode solidifies this as a show that will be subverting expectations and unlike what people believed it would be in the majority of the first entry in this series.
After Mark has his big “first fly” as Invincible, in his new suit, set to an awesome soundtrack, audiences watch as his father, the ever-beloved Omni-Man, murders the Guardians of the Globe in cold blood. Why does he do this? No one is sure, and that leads to a mystery and season-long conflict that has viewers invested from start to finish.
5
“What Have I Done?”
Season 3, Episode 7
The “Invincible War” arc from the comics is one that fans of said source material were looking forward to being animated more than most parts of the series up until this episode. Invincible Season 3, Episode 7, “What Have I Done?” depicts Angstrom Levy’s attack on the world via an army of evil Invincibles from across the multiverse in hopes of destroying the Invincible name for good.
This doesn’t just showcase how easy it would be for Mark to take over the planet if he wanted, but how much he is genuinely stronger than his fellow heroes. While a lot of them have died by the end of the episode, the hero can only stop the invasion for good by locking both Angstrom and the leftover Invincibles in another dimension. It’s a brutal episode that doesn’t just ruin the name of Invincible, but ends up in the death of Red Splode (Jason Mantzoukas).
4
“Give Us a Moment”
Season 4, Episode 5
Conquest (Jeffrey Dean Morgan). Is. Back. He isn’t just simply back, but he’s back and badder than he’s ever been. As the team is assembled by Allen the Alien (Seth Rogen) and Nolan, soon leaving Earth and heading to space to face the Viltrumite Empire, Mark finally gets his rematch with Conquest… and it doesn’t go as anyone hopes.
When the two go face-to-face again, Mark manages to actually kill Conquest this time, but at a terrible cost. In one of the most brutal, gory, and hard-to-watch scenes in the series, as he chokes Conquest to death, the evil Viltrumite slices the young protagonist’s abdomen open and pulls out his guts. Mark doesn’t give in and kills Conquest, but it puts him into a coma that will come to last for months.
3
“It’s Been a While”
Season 2, Episode 4
When Mark is called to an alien planet to help them, he finds someone he could have never, ever expected to see there: his father, Nolan. Having not seen him since their big fight at the end of Season 1, when he fled Earth after beating Mark almost to death, the young man, understandably, doesn’t have a great reaction to seeing his dad again. To make matters worse, his good ‘ol pops reveals to him that he’s had another son with a member of the alien race on the planet he’s been residing on.
Although, at the end of the day, Mark is still grateful to see his father because, well, he’s still his father. Audiences get to see where Nolan went and what he did after leaving Earth, getting to witness the fact that he’s actually on a path to redemption and the call on Mark to save this planet was genuine. This is because the Viltrumites are coming and Nolan genuinely doesn’t want the people of this planet to suffer the way Earth did with him. So, together, in a fight scene that is absolutely iconic, father and son team up to take on the oncoming Viltrumites and save the planet. Nolan is taken, and Mark is left with his new baby brother.
2
“I Thought You’d Never Shut Up”
Season 3, Episode 8
The finale of Season 3, features one of the best, most brutal, and hard-hitting battles in all of Invincible. After Conquest comes to Earth at the end of the previous episode, he and Mark finally get to fight, and it’s an episode-long trading of blows that is unlike any other in the entire show—potentially only rivaled by that of his fight with Nolan in the Season 1 finale.
Invincible Season 3, Episode 8, “I Thought You’d Never Shut Up” is meant to show not just Mark, but the viewers how truly unrelenting the Viltrumites are. Conquest doesn’t hold back for a single second and almost kills young Oliver, and full-on murders Atom Eve. He doesn’t even begin to entertain talking with Mark and the hero is only able to “kill” him by smashing his head into him over and over (after having almost all of his limps immobilized and broken). Thankfully, Atom Eve doesn’t fully die, but this fight leaves Mark in a space that redefines how he sees heroism as a whole.
1
“Where I Really Come From”
Season 1, Episode 8
There’s truly zero question about the fact that the best episode of Invincible, to this very day, is Invincible Season 1, Episode 8, “Where I Really Come From”—aka the big finale of the first season outing. When Nolan’s villainy is finally revealed, it seems as if no one stands a chance against him besides his own son, Mark. Before they fight, though, Nolan tries to avoid this outcome by explaining to Mark, as the title states, where he really comes from.
It’s here the audience and the young hero finally get to hear the truth about Nolan and the Viltrumite race. Because he’s a good person, Invincible immediately denies this plan to take over the planet and fights his father, who is still abundantly stronger than him. In reality, it’s an episode of Nolan beating the ever-loving snot out of his son and almost murdering him. Not to mention, the fight ends in the best monologue in the series from the villain that is still quoted today. Until the end of time, this episode will remain unforgettable.
By Robert Scucci
| Published
This past weekend, I celebrated my birthday by going to see The Book of Mormon for the first time at The Tennessee Performing Arts Center (TPAC). My wife bought us tickets, which I have not looked up the price for because I don’t want to have a heart attack, and I finally checked off the last box I needed to earn the best kind of bragging rights: to the best of my knowledge, I’ve finally seen every single project that Trey Parker and Matt Stone have their names attached to.
I have my own La-Z-Boy BASEketball (also a gift from my wife), and I fall asleep to the sound of the South Park DVD mini-commentaries more than I’d ever care to admit publicly. I’ve watched all of their college skits, and even the ill-fated and short-lived Princess series that the duo animated with Macromedia Flash.
The one thing that was missing from my life was The Book of Mormon, and for a pretty stupid reason. When the musical premiered in 2011, I was fresh out of college (read: broke) and starting to do that whole “career” thing (read: trying to move out of my parents’ house). So what it comes down to is that I’m cheap, and even though I would take the occasional trip to NYC to play shows with my bands, I never jumped at the opportunity to see the damn thing until this past Sunday.
I’m overjoyed to report that, as somebody who will blindly consume everything Trey Parker and Matt Stone put out, I’m more than willing to forget about Seasons 27 and 28 of South Park because The Book of Mormon is their magnum opus, and it’s not even close. The version of the play I saw didn’t feature any of the original cast, but the production was such a well-oiled machine that I don’t think that matters much. The songs hit hard, the jokes lit up the room with laughter, and I’ve never had so much fun cackling at other people’s misfortune because it’s all framed so wholesomely.
All About Mormons
This is where I come clean and admit that I’ve never attended the theater outside of the occasional high school trip when I was in the symphonic band and got dragged to the opera or symphony while competing. I was relieved when my wife told me I didn’t need to wear a tie or anything like that, and even more stoked when I found out I could order a hot dog and a Diet Coke for a nominal fee. The theater itself was beyond efficient. The only comparison I have in recent memory is a typical movie theater trip, where the concession line could potentially take you away from the film you’re trying to see for a not insignificant amount of time.
TPAC has a firm cutoff for stragglers, which worried me, but to their credit, they belted out concessions like nobody’s business. After looking for parking during CMA Fest (we gave ourselves plenty of time, relax), we were getting down to the wire.
The play itself is exactly what you’d expect from Trey Parker and Matt Stone. If you’re a longtime fan of South Park, you already know exactly what they think about the Mormons after watching the Season 7 episode “All About Mormons” (dumb, dumb, dumb, dumb-dumb!). The thesis presented in that episode is a simple one: the religion itself is often criticized for claiming that Jesus Christ visited the Americas, and that its scripture came from golden plates that only Joseph Smith could see and translate. It doesn’t hold up to scrutiny, but the flip side is that Mormons are also considered some of the kindest and most wholesome people you’ll ever meet, so that’s the tradeoff.
The Book of Mormon pushes this sentiment to extremes when the young, naive, and idealistic Elder Price and Elder Cunningham are shipped off to their first two-year mission assignment. Elder Price is dead set on going to Orlando, Florida, but as luck would have it, he’s paired with Cunningham, an emotionally immature pathological liar who means well but can’t help getting himself into heaps of trouble when left unsupervised.
They quickly learn that they weren’t adequately trained to handle the very real, very deadly problems awaiting them in Uganda, where a warlord named General Butt-F*cking-Naked rules with an iron fist and everybody fears for their lives. It’s a perfect odd-couple, coming-of-age story that uses the Mormon religion as its vehicle to show the insurmountable odds stacked against these young missionaries, and how they handle them as two kids from Utah who have, up until this point, lived very sheltered lives.
It Holds Up, Even If I’ve Never Seen It Before
My biggest fear going into The Book of Mormon for the first time was whether the humor would still land. Generally speaking, most things that were considered irreverent or offensive just a few years ago seem tame by today’s standards, especially when they’re rooted in topical humor. It’s the reason I think South Park’s most recent run may have been funny in the moment but won’t hold up 10 years from now as anything worth revisiting.
Heck, in the South Park documentary, 6 Days to Air, Matt Stone commented on the show’s early seasons and compared them to Yo Gabba Gabba! when discussing what they’re allowed to get away with now. With that in mind, my enthusiasm was guarded, but the conflicts presented in The Book of Mormon are not only as old as time, they’re universal. There is still civil unrest in developing countries, and young men and women still do missionary work, meaning the entire premise holds up without feeling dated.
As for the humor itself, it’s shocking how many different people were into The Book of Mormon. Songs like “Hasa Diga Eebowai” hilariously, and profanely, spell out the kinds of perils the characters face in Uganda, but then you get naively wholesome songs like “Sal Tlay Ka Siti,” which is all about starting fresh in the elusive and mythical paradise known as Salt Lake City, Utah. There’s really something for everybody here so long as you don’t mind a gratuitous amount of curse words peppered through each song and dance number.
Understudy Didn’t Break The Illusion
Between Act I and Act II, the role of Elder Cunningham was swapped out, and we were told over the loudspeakers that Jacob Aune would be replaced by Keith Gruber for the remainder of the musical. For what reason? I don’t know. Aune was magnetic, and his boisterous presence and enthusiasm for messing everything up for Elder Price (Ethan Davenport) never felt phoned in. I wondered if he fell ill or something because, if he was fighting off whatever caused the change, I couldn’t tell at all.
Honestly, the set changes were so efficient, even with the lights completely killed at times between musical numbers, that I wondered if Aune had been injured while everybody was shuffling around backstage and had to be swapped out quickly, though I’m only guessing here. His understudy, despite having brown hair instead of red and a noticeably different build, didn’t miss a beat. I’m no expert, but when one of the leads is swapped out right before his character’s big number, “Making Things Up Again,” and the show continues without a single hiccup, I’ll always be impressed.
It was also a treat to see two very talented individuals portray the same character, which allowed me to see what each performer brought to the table and how they contributed to the overall show. I’m calling this experience a treat because I’m notoriously cheap, and this will probably be the only time I venture out to see The Book of Mormon. I felt like I got a two-for-one deal!
The Book of Mormon was everything I thought it would be, and it may very well be Trey Parker and Matt Stone’s crowning achievement. Just like the most timeless South Park episodes, the musical doesn’t lean on topical humor, and its jokes will still land another 15 years from now. I watched elderly women laugh their asses off at jokes about maggots living in a poor Ugandan’s scrotum, and people my age cover their mouths when Elder Cunningham finally converts Nabulungi after essentially telling her that Mormonism is Star Wars.
I got lost twice looking for the bathroom line during intermission, and at one point I spit up my Diet Coke during “Hello! (Reprise)” toward the end of the musical. Don’t worry, I caught it in my shirt, and nobody was harmed.
If you’re like me and hate crowded places but love all things Trey Parker and Matt Stone, you owe it to yourself to check out The Book of Mormon, which is currently running shows all over the country as part of its 15th anniversary celebration.
Diamond Brown is calling Chris Brown an “IG Dad” while airing out their alleged text messages.
RELATED: Oop! Diamond Brown Seemingly Throws Shade At Chris Brown Amid Him Reportedly Responding To Her Paternity & Custody Suit
Diamond Brown Calls Chris Brown An “IG Dad” While Airing OUT Their Alleged Text Messages
On Tuesday, June 9, Diamond Brown took to her now-deleted Instagram account to share a few posts to her Story. Furthermore, the posts showed alleged screenshots with a contact identified as “CB.” In an initial text, dated February 18, she wrote that he does not control her or have a say in her personal relationships. Subsequently, she explained that he has his own life and a baby on the way. Ultimately, she told the singer to focus on consistently showing up for his children and keeping their communication strictly to co-parenting.
On March 26, Chris allegedly responded to her, saying that she hates him, but whenever she wants him, he’s there. Furthermore, he told her that she always turns him on, so she should stop being a “b***h.”
In her final post, she chastised the singer, calling him an “IG dad.”
Social Media Reacts
Social media users slid in TSR’s comment section with reactions to Diamond Brown’s message and alleged texts with Chris Brown.
Instagram user @say.somee_ wrote, “He didn’t give one damn”
While Instagram user @keryivellises added, “I’m actually glad she posted this bc yall swore up and down she was jealous/bitter about Jada but he was doing all this while Jada was pregnant!!! Smh Diamond has been quiet for a long time. She could have been aired this out but people reach a breaking point where enough is enough.”
Instagram user @bahnnybunny wrote, “Can you stop stressing him out before the tour? I need those 1-2 steps immaculate 😂”
While Instagram user @_.__llaraa_._ added, “Mind you, chris brown is pushing 40″
Instagram user @dedecantey wrote, “It’s crazy because I love him, but I like her lol she doesn’t seem weak”
While Instagram user @jennybabyxo_ added, “Damn Jada that’s how Breezy be moving on yo ass 😂😂😂”
Instagram user @therealaquariusjook wrote, “She spelled a working hard dad wrong 😂dat man be touring so u can have the lifestyle u want”
While Instagram user @dckash_ added, “It can get ugly before it gets beautiful 📠✍🏽😂”
Instagram user @honeybunnjae2.0 wrote, “Just give me his #”
While Instagram user @thatstorm_ added, “It took a month for him to respond ??? 😂”
Instagram user @the.affirmation.oracle wrote, “Ohhh so Hate Me was about Diamond ? 😏”
While Instagram user @xx.liliiii added, “n***a said you turn me on LMFAOOOOO what is wrong with him”
Here’s What Happened Before Diamond Brown Called Chris Brown An “IG Dad” While Airing OUT Their Alleged Text Messages
As The Shade Room previously reported, in April, Diamond Brown filed a paternity suit against Chris Brown, requesting primary physical and legal custody fo their daughter, Lovely. Earlier this month, Chris responded to her petition, requesting joint custody.
More recently, Diamond Brown appeared to throw shade at Brown with her social media re-posts — one dating as recently as earlier this week.
RELATED: Standing On Business? Diamond Brown’s Recent Social Media Message Has Internet Users Strongly Divided & Mentioning Chris Brown
What Do You Think Roomies?
Sienna Miller met actor Oli Green at a Halloween party thrown by a mutual friend, but it wasn’t exactly love at first sight.
“I was like, ‘This is absurd. This will not go anywhere,’” she told British Vogue in December 2023. “He worked hard to persuade me to go out for a drink with him.”
Miller previously dated Jude Law on and off from 2004 to 2011. She moved on with Tom Sturridge, whom she dated from 2011 to 2015. The pair welcomed daughter Marlowe in July 2012.
After Miller connected with Green, Emily Blunt tagged along for one of their New York City dates in early 2022. Blunt told British Vogue that she sees “so much of” her longtime friend in Green, especially “that free-spirited, curious, guileless thing that he has.”
Sienna Miller has never given up on love — even after her messy split from ex-fiancé Jude Law made headlines in the early 2000s. “There’s a whole six weeks of that experience that I don’t remember,” Miller recalled to the Daily Beast in December 2020. “I have no recollection of it.” Miller confessed she was […]
The couple made their red carpet debut in March 2022. More than one year later, it was reported that Miller is pregnant with the couple’s first baby together. The Daily Mail confirmed in January 2024 that she gave birth to a baby girl. Miller revealed she is pregnant with her and Green’s second child at the British Fashion Awards in December 2025.
Miller confirmed in May 2026 that she and Green welcomed their second child together. News broke in June 2026 that the couple is engaged.
Keep scrolling for a look back at Miller and Green’s complete relationship timeline:
February 2022
Miller and Green were first linked after being spotted on a date in New York City.
March 2022
The couple were seen leaving Royal Albert Hall together in London after the BAFTAs. Later that month, Miller and Green made their relationship red carpet official at the Vanity Fair Oscar Party in Beverly Hills.
April 2022
Miller revealed to Elle UK that she chose to freeze her eggs when she turned 40. She shared that the pressure of her biological timeline was a “really loud noise.”
“Biology is incredibly cruel on women in that decade — that’s the headline, or it certainly was for me,” she explained. “Then I got to 40 and I froze some eggs. Having been really focused on the need to have another baby, I’m just like, if it happens, it happens. That kind of existential threat has dissipated.”
August 2023
One month after she sparked pregnancy rumors in St. Tropez, Miller showed off her growing baby bump while wearing a bikini on vacation in Ibiza.
September 2023
Miller bared her baby bump in an ivory Schiaparelli ensemble while attending the Vogue World: London event.
December 2023
Miller graced the cover of British Vogue 28 weeks into her pregnancy and opened up about her relationship with Green. At the time, the couple had recently moved into their own place after living at Green’s parents’ home in West London.
“I don’t think you can legislate on matters of the heart,” she said, addressing her 14-year age gap with Green. “I certainly have never been able to.”
January 2024
News broke that Miller gave birth to their baby girl.
May 2024
Miller reflected on her vacation with Green to the Maldives, revealing the babymoon was their first couples’ trip. “When Oli and I were preparing for the trip we realized that we’d never actually been on holiday, just the two of us, in our entire relationship,” she wrote in an essay penned for The Sunday Times. “So it was really magical to have that time together, thinking about each other and the baby that was about to arrive.”
June 2024
“I didn’t expect to take it seriously,” Miller told Harper’s Bazaar of the early days of her and Green’s romance. “And then quite quickly, I fell in love.”
Miller recalled being surprised by Green’s age when they met. “I wasn’t like, ‘I’m gonna get a younger boyfriend,’” she recalled. “It was more, ‘F–k! Why are you young? That’s so annoying.’”
Looking back, the actress said their 14-year age gap has actually been positive. “There is a difference in the way that generation of men respect women,” Miller added. “It’s specific to him, he is very wise and well-adjusted, but I do believe it’s also that generation. They have grown up with a slightly more level playing field. I see it in his female friends as well as in the men.”
December 2025
Miller showed off her baby bump at the British Fashion Awards in December 2025, revealing that she and Green are expecting their second baby.
May 2026
Miller told E! News that she and Green had welcomed their second baby.
“It’s happened,” she told the outlet. “I have a tiny baby next door. It feels like stringing sentences together is a bit challenging. I’m on very little sleep, but I’m madly in love with my baby.”
June 2026
Days after Miller was spotted with a ring on her left hand, E! News confirmed that she and Green are engaged. Us Weekly reached out for comment at the time.
Entertainment
“The Pitt” star reveals another character is leaving the ER ahead of season 3: 'I'm scared and nervous'
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The series previously bid farewell to Supriya Ganesh’s Dr. Mohan.
Entertainment
Apple TV’s Best Detective Thriller Goes Full ‘Mindhunter’ in Final Season 2 Sneak Peek [Exclusive]
Apple TV is quietly having one of the biggest years in the streamer’s history, with new projects across the board in various genres taking the world by storm. The most popular show on Apple TV at the time of writing is Your Friends & Neighbors, which stars Jon Hamm. Apple TV has already picked up the series for Season 3, and it’s all but guaranteed that it will be back for more episodes sometime next year. The biggest movie on Apple TV right now is F1, the Brad Pitt-led racing blockbuster that’s now spent nearly six months at the top of streaming charts. Apple TV has become known for its dedicated work in the sci-fi genre with shows like Severance and Pluribus, but the streaming service has expanded enough to have hits sure to please fans of all preferences.
Another show that has returned to Apple TV this year and is taking the world by storm is Criminal Record, the hit proceduralled by Peter Capaldi and Cush Jumbo. The first season of Criminal Record premiered back at the beginning of 2024, and the show finally returned to streaming in April after a two-year hiatus. Criminal Record Season 2 is finally set to come to a head tomorrow, but before it does, Collider is thrilled to partner with Apple TV to debut an exclusive sneak peek at the final episode. The new sneak peek shows Daniel and June going full Mindhunter in an intense interrogation of a suspect, warning him that if he doesn’t confess, everything is going to come raining down on his head.
What Is ‘Criminal Record’ About?
An official synopsis for Criminal Record, which holds an impressive 90% score from critics on Rotten Tomatoes, reads as follows: “When an anonymous tip implicates a wrongly convicted man in an old murder case, ambitious DS June Lenker (played by Cush Jumbo) collides with seasoned DCI Daniel Hegarty (played by Peter Capaldi) in a tug-of-war over truth and justice. A gripping London crime thriller about race, power, and institutional corruption.”
Criminal Record was written and created for TV by Paul Rutman, who is also known for his work writing Summers and Five Days. Criminal Record has not yet been renewed for Season 3. Check out the first two seasons of Criminal Record on Apple TV and stay tuned to Collider for more updates and coverage of the series.
- Release Date
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January 10, 2024
- Network
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Apple TV
- Showrunner
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Paul Rutman
- Directors
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Jim Loach
- Writers
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Thomas Eccleshare, Ameir Brown, Paul Rutman
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Andrew Brooke
Clive Silcox
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Charlie Creed-Miles
DS Tony Gilfoyle
1990 was an unusually big year for crime movies. There are crime films that come out every year, sure, but there was one of the best of all time in 1990: Goodfellas, plus a bunch of other notable ones. Sure, The Godfather Part III wasn’t as good as either of the first two, but it’s still not as bad as some people make it out to be. Then, there was Miller’s Crossing, which has always been an underrated Coen Brothers film, Dick Tracy (which is more of a comedic crime movie), and John Woo’s Bullet in the Head, which gets unfairly buried between The Killer (1989) and Hard Boiled (1992), despite being almost just as good.
So, it was a crowded scene. And in that scene, there was also King of New York, which might well be the most underrated of the bunch, even if it’s not entirely obscure, as it’s become something of a cult classic (or, at least, the kind of movie that’s viewed more favorably nowadays than it was back when it first came out). It’s a take on Robin Hood, but with a gangster in then-contemporary New York City, and it stands as perhaps the best and most approachable movie in Abel Ferrara’s filmography. He’s a sometimes challenging director, and sure, King of New York is a little offbeat, and maybe not for everyone, yet is still worth giving a shot if you’re generally a fan of gangster thrillers.
The Plot of ‘King of New York’
The Robin Hood comparison is fair, honestly. Frank White (Christopher Walken) is that 20th-century Robin Hood, and he’s a powerful crime lord who’s just been released from prison, and he sets his sights on going legitimate. However, before he does that, he also wants to tie up loose ends within the world of crime he formerly operated in, and so that involves going around and taking down his competitors. Then, there are plans to donate the money he’s made through illegitimate means to those who are downtrodden.
King of New York utilizes the titular city incredibly well throughout, with the gritty narrative feeling more believable because of how well the movie’s world is fleshed out within a single film.
In that sense, King of New York is also about redemption, but it explores this tension between doing violent things and possibly still being a net good for society at the same time. There’s certainly stuff to think about here alongside the more visceral and intense moments offered by King of New York. It also utilizes the titular city incredibly well throughout, with the gritty narrative feeling more believable because of how well the movie’s world is fleshed out within a single film. Therein lies a potential comparison to Goodfellas, and the movies of Martin Scorsese, since he’s another director who likes setting plenty of his films in New York (Goodfellas, of course, included).
What ‘King of New York’ Offers as a Gangster Movie
If you’re even a little familiar with Abel Ferrara, you’re probably aware that he tends to make dark and despairing movies, and he’s also not shy about pushing boundaries. So, that goes some way toward explaining why King of New York is as gritty and downbeat as it is. It’s not sugar-coated, feeling dark even by the standards of the gangster genre, and it was even originally rated X, in the U.S., before an appeal successfully got its rating back down to an R (this was right before the introduction of the NC-17 rating, as that happened in 1990, too).
There’s a guy who has a violent past, and his present is also quite dominated by violence, given what he wants to do when he’s fresh out of prison, but he seems to be up against forces that are morally worse than him. And then the fact that many of his adversaries are technically on the “right” side of the law makes things interesting, since King of New York showcases the extreme lengths police can go to when trying to take down violent criminals. There’s an antihero who wants to use his influence (that he got from being a criminal) to do some good, a police force that’s driven to fight fire with fire, and then other criminals who are far more ruthless than either of those other two sides, being the guys the antihero wants to take down. It all gets violent, more than a bit messy, and consistently morally interesting, more than sustaining a film’s worth of conflict.
‘King of New York’ Has One of Christopher Walken’s Very Best Performances
Also, at the end of the day, King of New York is incredibly valuable for being one of those rare movies where Christopher Walken gets to be the unambiguous main character. He tends to be the sort of actor who shows up in supporting roles, stealing scenes, or sometimes really only stealing one scene (see Pulp Fiction). He’s an all-time great supporting actor for this reason, but King of New York is a great showcase for his ability to also be a surprisingly strong leading man. His performance here is also a little different from the kinds he’s more famous for giving, since it’s more understated, and the film’s general grimness means he’s by no stretch of the imagination doing anything quirky on screen.
There’s a strong supporting cast here, too, as the likes of Laurence Fishburne, David Caruso, Wesley Snipes, Giancarlo Esposito, and Steve Buscemi all show up throughout King of New York, too. It’s an easy enough movie to watch nowadays, too, since it can be streamed on Amazon Prime (for now, maybe not forever). If you’re a fan of Christopher Walken, or in the mood for something a little offbeat and underrated, as far as gangster/crime/thriller movies go, then King of New York is certainly worth a shot.
King of New York
- Release Date
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July 18, 1990
- Runtime
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103 minutes
- Director
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Abel Ferrara
- Writers
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Nicholas St. John
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