Netflix’s War Machine, which feels like a spiritual successor to the Transformers franchise, is a reminder of how strong this kind of story can be when it’s done right. That’s part of what made 2024’s Transformers One feel like such a welcome return to form for the franchise, pairing stunning animation with a much stronger focus on the central relationship between Optimus Prime (Chris Hemsworth) and Megatron (Bryan Tyree Henry). However, as fans are reminded of the depth and complexity that the Transformers franchise is capable of having, it’s the perfect time for a retrospective look at one of the most underrated series to come from the franchise — Transformers: Prime.

Among the many animated series, Transformers: Prime stands out as one of the most character-driven and mature installments in the series, willing to explore the tragic history between the Autobots and the Decepticons without holding back on the devastation that is wrought by their eons-long war.

‘Transformers: Prime’ Is the Grittiest Animated Series in the Franchise

Transformers: Prime first premiered in 2010, immediately establishing itself as a series wholly distinct from its predecessor, the fan-favorite Transformers: Animated. Though both series are ultimately still children’s shows, there is a distinct tonal shift between the lighthearted atmosphere of Transformers: Animated and the grittier tone of Transformers: Prime. Featuring some of the most recognizable Autobots in the biz, the series follows Team Prime — comprised of Optimus Prime, Bumblebee, Ratchet, Arcee, and Bulkhead — as they fight against the Decepticons on Earth, while simultaneously hiding their existence from the rest of humanity. In this continuity, the war between the two feuding factions led to the utter devastation of their home world of Cybertron, rendering it inhospitable because of the complete exhaustion of its Energon reserves. Centuries after their war began, the Autobots now find themselves based out of a former military base in rural Nevada, using Ground Bridges to travel across the globe in order to combat the Decepticon threat.

Though at its core, the series is still quintessentially Transformers, the series also takes several innovative swings that expand upon franchise lore. The show introduced Dark Energon, an unstable form of the substance that powers all Transformers, which has the ability to bring the dead back to life as zombified versions of themselves. Transformers: Prime also has a noticeably smaller cast of Transformers than other installments, but this actually serves as one of the series’ strengths, as it allows the spotlight to be shed on some more underrated characters in the franchise.

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The 20 Most Powerful Robots in Transformers, Ranked

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Bulkhead, for example, was first introduced in Transformers: Animated, but established himself as a series staple in this iteration. The show gives plenty of time and attention to the interpersonal relationships and history between the different members of the team, bringing depth, complexity, and humanity to the otherwise otherworldly beings. Additionally, though there are human characters in Transformers: Prime, they don’t serve as a proxy for the audience; the focus is still centrally on the Transformers themselves.

The Action in ‘Transformers: Prime’ Carries Real Weight and Tension

What truly separates Transformers: Prime from some of the other contemporary adaptations in the franchise is the genuine stakes and tension that permeate the show. The grimmer tone of the series is established within the first minutes of the show when Cliffjumper, a main member of Team Prime, is brutally killed by Starscream, a death that carries lasting effects for the remaining characters. While the series is ultimately a children’s show, this daring narrative choice is honestly quite jarring for its younger audience (this author’s 11-year-old self still recalls his unspeakable frustration at seeing his favorite Autobot killed off so soon). If this death weren’t startling enough, the Decepticons use Dark Energon to revive Cliffjumper into a mindless zombie, who they immediately let loose against his former allies. Arcee, Cliffjumper’s partner, is forced to deal with his death and resurrection, fighting through her grief in addition to being forced to fight her former friend.

Death in the Transformers universe isn’t new — in fact, the original Transformers: The Movie boldly killed off many beloved characters in one fell swoop — but Cliffjumper’s execution and resurrection storyline is one of the most viscerally gut-wrenching plot beats that the franchise has explored in its animated series. A recurring criticism of some of the newest animated Transformers series has been their tendency to be too childish. That’s certainly not the case here, as Transformers: Prime pushes the boundaries of maturity within its genre, making it an easier watch for returning and older audiences. The graveness with which the characters speak about the war on Cybertron, the genuine stakes in each fight; at one point, Starscream even captures and chains up a human character. Transformers: Prime has, without a doubt, some of the most grit of any adaptation in the franchise.

‘Transformers: Prime’ Explored the Complicated History Between Optimus Prime and Megatron

Much like Transformers One, one of the defining features of Transformers: Prime is its focus on the tragic relationship between Optimus Prime and Megatron. The two leaders are the quintessential figures in the Transformers franchise and have been locked in a seemingly endless war, but some adaptations neglect to address the foundational friendship that the two shared. Transformers: Prime explores this connection more earnestly, constantly depicting Prime’s hesitation at fighting his old friend.

The rivalry between the two imposing bots feels palpably personal; there is familiarity with how they speak to one another, adding emotional weight to the already heavy impact of their colossal fights. In later seasons, the series even introduces narrative beats that play with the dynamics of the two. At one point, Optimus loses his memory, reverting to his earlier identity as Orion Pax, which allows him to be manipulated by the deceitful Megatron. While every adaptation addresses this complicated relationship in its own way, there is a distinct tone that separates Transformers: Prime’s adaptation from all the rest.

Part of the lasting appeal of the Transformers franchise is the versatility of its different adaptations. If you want speaker-shaking action, look to the Bayverse; if you want a classic cartoon aesthetic, look to Transformers: Animated. But for a more personal story, one grounded in the interpersonal dynamics of the different characters, Transformers: Prime is deserving of a second look.

Transformers: Prime is streaming now on Netflix in the U.S.

Pop star Britney Spears was arrested in early March on suspicion of a DUI. Her friend and former assistant, Sean Phillip, has spoken up about her arrest, expressing concern that the “Oops!… I Did It Again” singer is not as free as she seems to be. Although Britney was released from her court-ordered conservatorship in November 2021, many fans are still concerned about the pop star’s well-being.

Britney Spears’ Former Assistant Breaks Silence On Her DUI Arrest

The “Toxic” singer’s former assistant, Sean Phillip, seemed to fuel the fires of fan concern on Wednesday, March 11, when he told Extra, “I think there are some people out to get her.”

“The timing is so off that she gets financial independence and then she’s arrested,” he said, referring to the recent sale of her music catalog for $200 million. “We all think it’s a push to put her back in a conservatorship, because guess what happened when the conservatorship stopped? People stopped getting money.”

“I don’t think she’s free. There’s still a care plan in place,” he added. “I personally don’t think she has access to all of her finances, but a lot of other people do. I don’t think it’s fair.”

Britney’s Former Assistant Says He Talked To Her After Her Arrest

Phillip, who has been friends with Britney since 2023, says that he spoke to her after she was arrested and released.

“She said, ‘I’m OK, I’m OK,’” in a text message, he claimed. He also addressed their long friendship, saying they had lost touch for several years after their conservatorship but had recently reconnected.

“It’s been 20 years since we were seriously hanging out, and it’s just been, like, nice. Just send each other funny stuff and just, you know, just, ‘I miss you, I miss you, I miss you,’” he explained. He described their interactions as “funny conversations and joy.”

Britney Spears’ Former Assistant Used To Spend Time With Her Children

Phillip also explained how he used to hang out with Britney and her two sons, Sean Preston, now 20, and Jayden James, now 19.

“We used to go out together, just us and the kids,” he said. “Nobody else. We would go to the zoo, we do things, we just go do things, and there was never a problem.”

In reference to her court hearing on May 4, Phillip added, “I encourage her to speak for herself because she can squash everything in a second.”

Inside Britney Spears’ DUI Arrest

On March 4, the 44-year-old “Criminal” singer was arrested near her home in Ventura County, California, “on suspicion of driving under the influence of a combination of alcohol and drugs,” according to a press release from the California Highway Patrol. She was taken into custody and booked but released on Thursday morning.

The day after her arrest, her rep released a statement, calling her arrest “an unfortunate incident that is completely inexcusable.” The statement went on to say:

Britney’s Loved Ones Want Her To Make Amends With Her Father

In the week following her DUI arrest, a Los Angeles associate who has regular contact with her friend group and her family exclusively told Page Six that Britney is “antagonized” by the thought of reconnecting with her father, Jamie Spears, even though her family is encouraging her to do so.

“Even the boys have gotten back into their grandad’s life after some tough times,” an insider shared. “They would welcome a united family despite all the years of drama.”

However, another source noted that Britney feels “long-term hatred” towards her father and has no plans to reconnect. The insider went on to say, “Sadly, she will always view her father as a villain because of how she felt trapped and controlled within the conservatorship.”

In related news, the Ventura County Sheriff’s Office recently revealed that it will not release her mugshot.

Published Mar 12, 2026, 7:01 AM EDT

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Veteran actor Mickey Rourke has released a statement following his eviction from a rental property. The Hollywood star addressed the situation after a judge ruled in favor of his landlord, offering his side of the situation and justifying not paying rent.

Mickey Rourke Shared His Reasons For Not Paying Rent

On March 11, Rourke released a statement that addressed his eviction from his LA rental, explaining his reasons for withholding the rent he owed his landlord.

According to the actor, per TMZ, the home, located on Drexel Avenue in Los Angeles, was in a state of disrepair and not fit to live in. He claimed he attempted to have the issues fixed multiple times, but the problems remained.

“There were ongoing rodent issues that required multiple visits but were never fully resolved, and the bathroom and plumbing frequently did not work,” Rourke claimed, adding that “basic maintenance” wasn’t done in the home.

A Judge Ruled In His Landlord’s Favor

In December 2025, Rourke’s landlord, Eric T. Goldie, filed an eviction complaint against the actor for failing to pay $59,100 in back rent.

As previously reported by The Blast, a California judge ruled in favor of Rourke’s landlord, Eric T. Goldie, on March 9. It was a default judgment, which likely means Rourke didn’t appear in court to defend himself or respond to the case in a timely manner.

The judge terminated Rourke’s rental agreement, and Goldie was granted possession of the property. In accordance with the ruling, Rourke no longer had a right to stay on the property. However, the order was only for possession of the home and did not include financial damages.

The Actor Moved Out Of His Rental Before The Ruling

After Goldie’s court filing in December, Rourke was given the option to pay the rent he owed or vacate the premises within three days.

In January, a U-Haul truck was spotted outside his home as he was getting ready to move out. According to reports, Rourke, along with his dog, have since been living in a West Hollywood Hotel while looking for a new residence.

As the 73-year-old actor said in his statement, “Withholding rent was not a decision I made lightly. I simply could not continue paying for an apartment that was in such poor condition after so many attempts to have these issues corrected.”

As of writing, Goldie has not responded to Rourke’s claims about the “poor condition” of the property.

Mickey Rourke Rejected GoFundMe Money

In January, a GoFundMe was launched with a goal of $100,000 for Rourke. The page, which has since been taken down, noted it was for the actor’s “urgent situation: the threat of eviction from his home.”

As noted by NBC News, it was created by Liya-Joelle Jones, who is the assistant of Kimberly Hines, Rourke’s manager. The blurb noted that they had the actor’s “full permission” for the fundraiser.

However, Rourke denied the claim on Instagram, saying he was confused about the GoFundMe. “I’d rather, if I needed money, I wouldn’t ask for no f-cking charity. I’d rather stick a gun up my a-s and pull the trigger,” he exclaimed.

Rourke added that he wouldn’t use “outside sources” and said the GoFundMe campaign was embarrassing and something he wouldn’t do. He then urged his followers not to donate.

Mickey Rourke’s Manager Clarifies GoFundMe Issue

In January, Hines did an interview with The Hollywood Reporter to clarify Rourke’s reaction to the GoFundMe account.

As she told the outlet, they presented the idea to the actor, saying some people wanted to help him, to which he responded, “OK, great.” However, Hines believes Rourke misunderstood how he would be helped. “I don’t think he understood, and now it’s taken on this media frenzy, and he flipped out,” Hines said.

Hines also offered her insight into the rental property, saying that it was “uninhabitable.” Rourke had been living there for more than a decade, and Goldie had only bought the property less than two years ago. Rourke’s manager also said the landlord raised the rent to $7,000 from $5,200.

As for why Rourke is financially strained, Hines explained that the actor doesn’t live in moderation. “He either has a lot or has nothing,” she said, adding that Rourke was a generous person who has “given a lot of his money away to people, to friends.”

Bravo star Caroline Stanbury has insisted that she feels “safer” leaving the U.S. to return home to Dubai amid the Iran War.

“I mean, I just want to put it into perspective as well, actually,” Stanbury, 49, told PageSix’s “Virtual Reali-Tea” podcast in an interview recorded on Friday, March 6. “This is quite interesting. There were 600 missiles, 500 drones intercepted and I was in Austin on the 1st of March, 24 hours before the mass shooting — so in all of this war so far, we have had three deaths.”

International reports suggest that six people have been killed and 122 have been wounded in the United Arab Emirates since the Iran War began on February 28.

“I think there were 14 people injured in Austin and I’m not sure how many people died. [Four people died and 15 were killed in the Austin bar attack.] And there’s been two other shootings since then in America,” Stanbury noted in her latest podcast interview. “So let’s just put it in perspective. I still feel safer there than I do in most European or American cities right now.”

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When it comes to competing on the latest season of The Traitors, Caroline Stanbury says there’s one person all her fellow contestants feared above the rest. “I tried my best,” Caroline exclusively told Us Weekly of her attempts to get to know castmate Donna Kelce, mom of Travis Kelce and Jason Kelce, while attending BravoCon […]

The Traitors season 4 star revealed on March 1 that she was stranded in Los Angeles while her twin sons, Zack and Aaron, were at home in Dubai. (Stanbury shares the twins and daughter Yasmin with her ex-husband Cem Habib. She married her current husband, Sergio Carrallo, in 2021.)

“Thank you so much for all the amazing messages I am getting — I am currently in L.A, which is not ideal because my sons are in Dubai,” Stanbury revealed in a video on her Instagram Story. “But they are safe and I feel very comfortable with where they are and they feel very comfortable. Obviously, I would like to get back as soon as I can but that’s not possible right now.”

Since then, Stanbury confirmed to the “Virtual Reali-Tea” podcast that Habib has been staying with the twins.

“Again, I have two 16-year-old boys and, obviously, I know the severity of the situation but thank god, being teenagers, they’re like, ‘Mom, calm down. We’re fine, stay over there,’” she said. “So it wasn’t like they were in this giant disaster zone and having a heart attack while I was sitting over here in L.A.”

Stanbury now plans to return to Dubai once direct flights from L.A. to the region resume on March 15. The Ladies of London alum considered trying to make her way home by flying into Doha, Qatar, only to discover that the trip would come with its own challenges.

“The flights are the flights,” she explained. “I can get to Doha now on another airline but if I get to Doha, the airspace there is closed. So I’d rather stay put and wait it out. It’s only another week.”

Stanbury moved from London to Dubai when then-husband Habib was offered a job in the United Arab Emirates in 2016. She later starred on two seasons of The Real Housewives of Dubai before Bravo paused the series in 2024.

During a February 2025 appearance on Vicki Gunvalson’s “My Friend, My Soulmate, My Podcast,” Stanbury suggested that Real Housewives stars “never really know” about their future in the Bravoverse.

“Everyone always tells you, ‘Don’t rely on Housewives,’ and so I think that’s really important. It’s something I learned from [Ladies of London]. It can be taken, it can go at any time,” she acknowledged. “I don’t think a lot of people saw us being paused, which, we’re ‘paused,’ not ‘cancelled.’”

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Pumpkin’s Risqué Move to OnlyFans Is Not For Me!!!

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March 12, 2026
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By Chris Snellgrove
| Published 35 seconds ago

There’s an old, somewhat controversial statement about creative works often attributed to Pablo Picasso: “good artists copy, great artists steal.” The quote often ruffles the feathers of creative types because it seemingly glorifies the act of stealing from someone else’s ideas. However, the greatest sci-fi franchise ever created has been engaging in this practice for over 60 years.

The first Star Trek show was originally conceived of as “Wagon Train to the stars,” which meant it would take the style and sensibility of Western TV shows and adapt them to a sci-fi setting. Subsequent spinoffs adopted this same mentality and, inevitably enough, some of Trek’s best episodes ended up cannibalizing the best episodes of previous shows. For example, the writer of the fan-favorite Voyager episode “Projections” admitted that he created this seemingly original tale by mashing together two different episodes of Star Trek: The Next Generation.

If You Glitch Him, Does He Not Bleed?

“Projections” is a Voyager episode with a very fascinating concept: after an attack on the ship, the holographic Doctor discovers that he is flesh and blood. As the episode unfolds, he starts to believe that he is actually a human being and that the rest of the crew are actually holograms. Thanks to a surprise appearance from minor TNG character Barclay, the Doctor is convinced he must destroy the ship in order to end the holographic program he is stuck inside. However, he realizes far too late that he is actually stuck on the holodeck, and listening to Barclay’s destructive orders will actually delete his own program.

This Voyager episode was written by Brannon Braga, the rockstar writer who helped transform The Next Generation into must-see TV. He was so well-versed in that earlier Star Trek show that he wasn’t afraid to borrow heavily from it when he was writing Voyager episodes. In an old interview with Star Trek Monthly, he admitted that the plot of “Projections” is a mashup of the plots from two very different THG episodes: “The Measure of a Man” and “Frame of Mind.”

Mixing And Matching Star Trek Stories

“The Measure of a Man” is, of course, the iconic TNG episode in which Lieutenant Commander Data had to prove in court that he was a sentient being rather than Starfleet property. Meanwhile, “Frame of Mind” (which Braga also wrote) has Riker trapped in an asylum after the completion of a recent covert mission. He has trouble telling what’s real and what is not, eventually discovering that he was captured by enemies during the mission, and all of the mind games he was experiencing were a side effect of these aliens probing his mind for Federation secrets. 

How does combining the plots from these two TNG episodes add up to Voyager’s “Projections?” Like Data in “The Measure of a Man,” the Doctor must prove that he is exactly who and what he thinks he is. But there’s an interesting inversion here: the artificial Data had to prove he had the same rights as humans like Riker and Picard, whereas the Doctor had to prove that he was completely artificial and not a flesh-and-blood human being.

The Ultimate Story Synthesis

The parallels between “Projections” and “Frame of Mind” are even easier to see: in each episode, the primary character had to decide which version of reality was authentic. The Doctor had to figure out whether he was actually an Emergency Medical Hologram or Lewis Zimmerman, the human scientist who created the EMH in his image. Riker, meanwhile, had to figure out if he was actually the first officer of the Federation flagship Enterprise or a crazy man trapped within an alien asylum.

Brannon Braga was the first to admit that “Projections” wasn’t the most original story because it mashed up the stories from two earlier Next Generation episodes. Nonetheless, he managed to synthesize two older stories into something that felt both fresh and innovative. The result was an episode that has thrilled fans for decades due to its cool concept, vaulting ambition, and pitch-perfect acting.

Since 1929, the Academy of Motion Picture Arts and Sciences (AMPAS) has been rewarding what it considers the best cinematic offerings of a given year with what are now known as the Oscars. These have become the most prestigious and coveted awards not just in Hollywood, but in the entire film industry. However, that doesn’t mean that every Oscar-winning film is great. In fact, some aren’t even good.

Even though more often than not, films that are rewarded with an Academy Award are serviceable, at the very least, there are more than a few Oscar winners that range from lackluster to absolutely abysmal. From modern failed blockbusters to some of the pretentious slop that the Academy loved to reward back in the ’30s, when they were still finding their footing, these are the worst of the worst when it comes to Oscar winners.

15

‘Disraeli’ (1929)

Won: Best Leading Actor (George Arliss)

Image via Warner Bros. Pictures

At the third Academy Awards in 1930, George Arliss became the first-ever actor to win an Oscar for a remake, as well as for reprising a role. He did so for playing British Prime Minister Benjamin Disraeli in Disraeli, a remake of the 1921 silent film of the same title, itself an adaptation of a Broadway play.

Disraeli was hugely praised upon release, but almost 100 years later, it has aged rather poorly. Arliss is admittedly fantastic in this early talkie, but nothing else holds up. The actors talk, sure, but they’re not really saying anything of value, and the story is about as by-the-numbers as biopics get. There’s historical significance in this picture, but that’s about it.

14

‘The Golden Compass’ (2007)

Won: Best Visual Effects

Image via New Line Cinema

Philip Pullman‘s His Dark Materials novel series is amazing, so it deserved a movie adaptation far better than whatever The Golden Compass was. But aside from being a terrible adaptation that waters down the source material’s every complex theme and story beat, this is also a pretty bad movie overall, no matter how you slice it.

The movie’s visuals are phenomenal and definitely deserving of their Best Visual Effects Oscar. That’s a relief, because visuals are all that The Golden Compass has going for it. The movie has no bite, no heat, and none of the boldness that makes the books it was based on iconic. It tries to do too much, yet it also has nothing to offer.

13

‘The Wolfman’ (2010)

Won: Best Makeup

Image via Universal Pictures

Back during Hollywood’s Golden Age, Universal Pictures ruled the horror genre with its now-iconic monster pictures. Years later, they’ve repeatedly tried—and often failed—to re-capture that same magic. One of their most notorious failures was 2010’s The Wolfman, a movie with a troubled production that unsurprisingly resulted in a fittingly disappointing film.

The visual effects are fantastic, and the makeup was definitely deserving of its Oscar victory, but the film itself is no good. There’s no true horror or even suspense here, but rather a tone so bland and an atmosphere so lacking that it almost feels like an achievement. It’s by no means an atrocious werewolf movie, but it’s also definitely not among the best.

12

‘One Night of Love’ (1934)

Won: Best Music (Scoring) and Best Sound Recording

A romantic musical set in the opera world, One Night of Love has none of the complexity or entertainment value of an actual opera. Though its audio recording system was so groundbreaking that it earned Columbia Pictures an Academy Scientific and Technical Award, the film has overall aged like milk.

There’s some beautiful singing, and the movie’s historical importance on the technical side is undeniable, but One Night of Love has very little to offer modern audiences. It’s incredibly clichéd, its character dynamics are disturbing at best, and the story lacks anything that would make anyone not get bored to death nowadays.

11

‘The Iron Lady’ (2011)

Won: Best Leading Actress (Meryl Streep) and Best Makeup

Image via 20th Century Studios

Margaret Thatcher is, to say the least, one of the most divisive — if not downright despised — public figures in British history, so it probably wasn’t the best idea to make a film that celebrated her as a flawed hero. Nevertheless, that’s precisely what The Iron Lady went ahead and did. It’s a biopic about an elderly Thatcher talking to the imagined presence of her recently-deceased husband, grappling with his death while scenes from her past life intervene.

The movie ended up winning two Academy Awards. One for its makeup work (a well-deserved victory, frankly), and the other for Meryl Streep‘s performance as Thatcher (a much less deserving win). What, from the premise alone, could have ended up being one of the most unique biopics of the 2010s instead ended up doing the blandest, least politically critical job it possibly could have. Its Oscar wins weren’t travesties, all things considered, but they also don’t make it any better a film.

10

‘The Nutty Professor’ (1996)

Won: Best Makeup

Image via Universal Pictures

Eddie Murphy was one of the biggest comedic stars of ’80s cinema, which made it even sadder when the quality of his work started to fall off during the mid-’90s. By the time The Nutty Professor came around, it was clear that something about the actor’s career choices had changed. It’s about an overweight yet good-hearted professor who takes a special chemical that turns him into the slim but obnoxious Buddy Love.

All in all, Murphy does a pretty solid job with the material he’s given, getting to play a surprising number of characters in all sorts of impressive makeup and prosthetics. It was precisely a Best Makeup award that the film ended up getting, and although some might consider this one of the least-liked Oscar wins purely because it makes it so that such a bafflingly childish and silly movie can be called “Oscar-winning,” the makeup is something that definitely can’t be criticized.

9

‘Earthquake’ (1974)

Won: Best Sound and Special Achievement Award for Visual Effects

Image via Universal Pictures

One of the worst disaster movies of the 20th century, Earthquake is a huge ensemble film featuring actors of the stature of Charlton Heston, Ava Gardner, and George Kennedy. It’s a dark comedy about various interconnected stories of people struggling to survive when an earthquake of unimaginable magnitude hits Los Angeles.

The sets are great, and the visual effects (which earned the movie a Special Achievement Oscar) are even better, but technical excellence is pretty much the only thing that Earthquake has going for it. There’s not much charm in watching these huge stars playing clichéd characters walking around destroyed sets, servicing a horribly melodramatic narrative. Everything is one-note, which immediately renders the stakes pointless.

8

‘Army of the Dead’ (2021)

Won: Oscars Fan Favorite

Image via Netflix

For the 2022 Oscars, the Academy introduced a Fan Favorite category where fans could vote on social media for their favorite film of the year. The fact that the category never came back (and perhaps never will) is pretty telling. The winner ended up being Zack Snyder‘s Army of the Dead, a zombie heist film where, following a zombie outbreak in Las Vegas, a group of mercenaries ventures into the quarantine zone to pull off the greatest robbery in history.

Zack Snyder definitely has worse movies, but that doesn’t at all mean that Army of the Dead is anything less than mediocre. Terribly overlong, lacking in creativity, and an attack on the senses with its CGI-heavy action, it has plenty of fun moments and cool genre twists going for it, but the cons somewhat outweigh the pros. There was more than enough backlash against the Fan Favorite category, making Army of the Dead an Oscar winner, that the Academy canceled the category for 2023.

7

‘In Old Arizona’ (1928)

Won: Best Leading Actor (Warner Baxter)

Image via Fox Film Corporation

The second-ever Academy Awards had plenty of questionable winners, but few have aged worse than the Western drama In Old Arizona. It’s about a charming, happy-go-lucky bandit from Arizona playing cat-and-mouse with the sheriff that’s trying to catch him, all while he romances a local beauty. The movie’s sole Oscar win came for Warner Baxter’s brownface performance as the protagonist, the Mexican outlaw Cisco Kid.

According to Letterboxd, this is one of the worst movies that have ever won an Academy Award. Aside from Baxter’s campy performance aging like milk, In Old Arizona presents pretty much all the problems that a lot of early talkies had: It can’t quite figure out how to execute its genre with sound, the acting is a cringey relic of the past, and everything about the story feels fake and over-the-top.

6

‘Cavalcade’ (1933)

Won: Best Picture, Best Director (Frank Lloyd), and Best Art Direction

Image via 20th Century Studios

As the Academy was just figuring out the Oscars’ rules and what kinds of artistic merit they wanted to reward, the ’30s had more than a few Oscar winners that were, to be kind, quite bad. This includes Best Picture recipients like Cavalcade, a drama portraying the triumphs and tragedies of two English families from different social classes between 1899 and 1933.

One of the worst Best Picture winners of all time, Cavalcade is painfully boring, uncomfortably mawkish, and really poorly paced and written. There is some merit in its cast, its visuals (it also won Art Direction), and even in Frank Lloyd‘s direction here and there (he won Best Director), but the themes are so infantilizing and on-the-nose, the drama is so exaggerated, and the characters are so uninteresting that all of its strengths pale in comparison to its weaknesses.