Long before George R.R. Martin began penning his high fantasy powerhouse, A Song of Ice and Fire, he wrote a Southern Gothic, gory standalone vampire book. Fevre Dream, published in 1982, is one of Martin’s earliest novels and has largely slipped under the nose of most Game of Thrones fans. A historical horror story set primarily in 1857 on steamboats cruising the Mississippi River, Fevre Dream is a forgotten classic in the beloved fantasy author’s oeuvre. Martin notably singled out Fevre Dream for a potential movie adaptation, calling it a “dream project” of his.

The plot of Fevre Dream is focalized through Abner Marsh, a down-on-his-luck riverboat captain who accepts an irresistible offer from the mysterious, wealthy, and pale-haired Joshua York. York, the transfixing aristocrat with very Targaryen-esque features, offers to finance a magnificent steamboat for Marsh to oversee. However, there is a nonnegotiable condition: Marsh must not inquire about his strange sun-avoiding sleep schedule or his strange band of equally pale traveling companions. Naturally, Marsh can’t honor that promise for long. He starts to ask questions and does some harmless rummaging through York’s room, setting the stage for a twisty descent into a rather unconventional vampire tale.

George R.R. Martin’s Historical Horror Runs Deep

Image via Poseiden Press

If there’s one thing that Martin is widely renowned for, it’s world-building. The second is his penchant for brutally memorable character deaths. Fevre Dream upholds both of these author associations and proves that Martin had a gift for bolstering his fantasy with the weight and texture of real historical horrors, long before he created Westeros. Being set in the antebellum South leading up to the Civil War, the horrors of chattel slavery are interwoven into Fevre Dream‘s supernatural premise. Martin recognizes that ships, including steamboats, were vessels of enslavement. The real-life violence of the time period is what really gives the narrative its teeth, horror-wise. Markedly, the introduction of supernatural villains in the Deep South setting is used not just for scares, but as a lens through which the institutionalized evil of the human world is called out.

In other words, Fevre Dream never glamorizes the plantation landscape, the muddy bayous, or the river itself. The pivotal port stop in New Orleans is described at length as a stifling, ill-fated place. Those expecting an Anne Rice-style New Orleans vampire romp will be thrown by Martin’s sobering reading of the city, where yellow fever is a rampant, widely feared foe. The setting is less a Gothic dreamscape and more an intricately researched backdrop befitting a work of historical fiction. Martin certainly doesn’t cut any descriptive corners, so do be warned: the first quarter of the novel is a bit slow, and heavy on steamboat particulars, before the supernatural lore is divulged and kicks the plot into high gear.

‘Fevre Dream’ Reinvented the Vampire Myth

Image via Avatar Press / Cover art by Rafa Lopez

The vampire genre has become increasingly crowded, populating serial television, YA fiction, and horror movies alike. To some degree, each iteration of vampire fiction actively comments on or chides the mythical baggage associated with this supernatural being. There’s always a scene of clarification where the vampire confirms or denies a checklist: coffins, garlic, holy water, mirrors? Comedically, in the popular teen vampire drama series, The Vampire Diaries, Damon Salvatore openly mocks the Twilight novels, asserting “I live in the real world, where vampires burn in the sun.” This self-referential quality of vampire fiction, drawing a line between the real and the fake supernatural, is now a genre convention. In Fevre Dream, Martin uses this convention to truly throw out the vampire rulebook, rather than to tweak its stipulations.

Stripping away the usual mystique of the undead predator, Martin’s vampire characters aren’t particularly troubled with the folkloric checklist because, as far as they’re concerned, that checklist doesn’t apply to them. Martin’s vampires don’t even refer to themselves as vampires; they’re dismissive of the term. In Fevre Dream, the pale band of men and women we meet through the eyes of Abner Marsh aren’t vampires exactly, but a separate species, whose biology gives them superhuman capacities and an appetite for blood (dubbed the “red thirst”). They are not immortal in the way the archetype has been popularized. These “vampires” are humanoids with their own history, legends, customs, and internal divisions, living not as reanimated corpses but as their own increasingly endangered species tracing back to the dawn of time.

George R.R. Martin’s Most Disturbing Villain Isn’t In Westeros

Image via Avatar Press

Fevre Dream introduces a truly no-holds-barred villain in Damon Julian, who is the most ancient “vampire” still alive. Damon Julian, which sounds a little too blatant a villain name, is purposefully heavy-handed, as it’s an alias rather satirically donned by a man who has had manifold names: Giles Lamont, Gilben d’Aquin, Philip Caine, Sergei Romanov. As Abner Marsh meets the eyes of the book’s big bad, “a thousand other men fall away, and behind each one was another, older and more horrible, layer on layer of them each more bestial than the last.” It’s an appropriate moniker for a villain whose entire identity is based around concealment and implacability.

Martin wastes little time in establishing Julian’s monstrosity in the novel. He lords over a plantation house, using humans as disposable tools to do his bidding. His big entrance onto the lavish steamboat to meet the idealistic vampire Joshua York is shockingly grotesque as he casually slays an infant at their dinner party. What’s especially distinctive about Julian as a villain is how little Martin tries to complicate or humanize him and his motives. In Game of Thrones, many of the characters who do morally reprehensible things are still offered redemption arcs or some glimpses of humanity and vulnerability. In Fevre Dream, there is no morally gray territory to explore with the antagonist. Martin writes a villain who is not merely mad or a victim of his superhuman inheritance. He is impassive, eerily tranquil, and fully at ease with the system of predation he chooses to operate within.

For all its differences from the world of Westeros, Fevre Dream bears many of the same markers that would eventually make Martin a high-fantasy legend. Power, politicking, fire and blood, morally complicated alliances, and some climactic action sequences all fuel the vampire narrative’s engine. Although Martin has had less luck heretofore with feature film adaptations of his work, Fevre Dream has the clearest potential voyage to the big screen. The project doesn’t need the Game of Thrones legacy to justify its existence, standing on its own as a strange, atmospheric, brutal, and historically grounded reinvention of the vampire story. Part period piece, action-adventure, and horror, Fevre Dream still has plenty of life left in it almost 45 years after its publication, plus a completed screenplay waiting in the wings. And if Martin gets his way, Guillermo Del Toro would be the director steering this dream adaptation to fruition.

Hugh Jackman and Sutton Foster have been one of Hollywood’s most talked-about couples since their relationship was confirmed last year.

However, the Marvel star’s ex-wife of 27 years, Deborra-Lee Furness, is reportedly not convinced that their love story will have a fairy-tale ending, as she casts doubt on the longevity of their relationship.

The claim comes as Hugh Jackman and Sutton Foster continue to publicly display affection for each other, showing no signs of slowing down in their romance.

5

Reports have surfaced claiming that Furness isn’t particularly impressed with Jackman and Foster’s public show of love. The 70-year-old reportedly doesn’t believe the gestures are evidence of a genuine romance between the couple.

According to Globe Magazine, a source revealed that Furness sees the Broadway star as being “all about the cameras and putting on a show.”

She doesn’t buy into his “performative” displays of intimacy and believes the relationship is not some destined pairing that would last for eternity.

“She doesn’t see these big public displays as any sort of evidence that he’s madly in love. She says it’s just Hugh doing his usual over-the-top performative schtick,” the source notes.

The insider added that, “it’s going to take more than Hugh and Sutton singing love ballads to each other for her to believe this is the real deal or some match made in heaven that’s going to last forever.”

Deborra-Lee Furness And Hugh Jackman Were Married For Nearly Three Decades

5

Furness’ reported skepticism regarding the authenticity of Jackman and Foster’s relationship is given weight by her decades of experience with the actor.

The former couple was married for 27 years before they announced their separation in 2023 with a short statement, before officially divorcing in 2025.

Jackman and Furness first met as co-stars on the set of the Australian TV show Corelli in 1995, shortly after Jackman had left drama school.

According to People Magazine, the “The Greatest Showman” actor said, “I knew two weeks into meeting Deb that we were going to be together for the rest of our lives.” They eventually got married within a year of their meeting on April 11, 1996.

The pair would later adopt their son Oscar Maximilian in 2000 and daughter Ava Eliot in 2005 after struggling with miscarriages and IVF.

Writing on Twitter (now X), the actor called his ex-wife his “greatest gift.” He said at the time, “I believe in life we need to see and truly be seen by the most important people in our lives. Deb, from day one, we had that.”

He continued to say that “it only gets deeper. You and the kids are the greatest gift I will ever receive. I love you a gazillion times around the world.”

The Actor And Sutton Foster’s Public Displays Of Affection

5

Jackman and Foster’s romance has been marked by increasingly public displays of affection. They reportedly hit it off after they were cast in “The Music Man,” with sources claiming that the couple was already romantically involved around this time.

Regarding the affair rumors, an insider told Us Weekly in 2024 that “a lot of people on Broadway knew, and we kept it quiet because both of them are so nice and great people.”

“Everyone respected their privacy. But there was an affair and overlap,” the source added.

Their romance was finally confirmed in January 2025 when they were photographed holding hands at a dinner outing in Santa Monica.

The Couple Faced Backlash After Kissing During A Joint Performance

5

The relationship would become “Instagram Official” on November 25 when the actor shared a video of Foster performing at New York’s Café Carlyle, calling her “truly magical.”

On August 3, 2026, the couple performed a surprise duet of “A Million Dreams” from “The Greatest Showman” at a benefit gala in Ogunquit, Maine, which ended in an on-stage kiss.

The performance drew sharp criticism on social media for being “cringey,” with one commenter writing, per News 24, “This is beyond off-putting for both of them.”

Another said, “It’s not easy to watch,” and lamented the actor’s decision to end his 27-year marriage. Others called it “horrendous” and “off-key”. Some comments were warmer, with one fan saying, “Love them together. Life is short, people. They look happier than I see most couples.”

What Happens Next For Hugh Jackman And Sutton Foster

5

Jackman and Foster now face questions on whether their relationship can survive the allegations of an affair before ending their marriages and establishing a genuine love that can stand the test of time.

Furness reportedly believes that their relationship isn’t built to last as Foster “has her work cut out for her” because of how supposedly difficult it is to live with Jackman.

Other accounts, however, have described the couple as being “madly in love”, and it has been noted that they spend a significant amount of time together.

Currently, the couple has not shown any sign that they intend to end their romance anytime soon.

Currently climbing the Prime Video streaming charts is the simply titled horror-thriller Wrong Turn. Ostensibly a straight slasher flick from the description and poster art, it actually takes more risks than one may expect, with multiple twists and an end credits sequence that’s an essential part of the film. However, despite the growing number of eyes on it, many viewers may miss the fact that Mike P. Nelson’s gruesome 2021 blend of folk horror and cult thriller is actually a complete reinvention of a slasher series that dates all the way back to 2003.

Wrong Turn (2003) was a modest hit in theaters, earning $29 million, but really took on a life of its own on home media, where its throwback The Hills Have Eyes–style inbred splatter thrills found a new generation of fans — and spawned a seven-film series. Viewers taken by the bloody thrills of the 2021 film should absolutely see where the series began — and can, today, with it streaming free over on Plex.

The Original ‘Wrong Turn’ Is a Very Different Kind of Horror Film

Director Rob Schmidt’s 2003 slasher is part of the early 2000s studio-horror period when, for a time, it seemed like 1980s-style gore-for-gore’s-sake was making a comeback. And coming out the same year as Platinum Dunes’ stylish, grisly Texas Chain Saw Massacre remake and a year before Saw kicked off the so-called “torture porn” era, Wrong Turn itself was a throwback to an even less reputable slasher subgenre: inbred backwoods killers.

Drawing on imagery from classics like The Final Terror, Deliverance, and Just Before Dawn, Schmidt made no bones about the film’s objective: throw a group of attractive, naive city-dwellers into the mountains of West Virginia, and have most of them graphically slaughtered by cackling maniacs. Wrong Turn had an ace up its sleeve, however, with its gruesome makeup and practical effects handled by the legendary Stan Winston (who also executive produced).

Winston’s genius work, even on a tight budget, results in a gritty physicality and thickness in the film’s gore sequences. Most memorable is a “half-decapitation” with the top of a woman’s head balancing on an axe embedded in a tree, while her body falls. Winston partner Shane Mahan explained in a Winston School video that budgetary limitations forced the FX whizzes to go back to the drawing board from animatronics and draw on a far simpler whip-pan technique popularized by James Cameron to get the gruesome scene looking just right. Everything from the makeup of the mountain men to the death scenes oozes with craft and care — something today’s CGI-laden action and horror distinctly lacks.

‘Wrong Turn’ 2021 Is a Fresh Take on Backwoods Horror

With original creator Alan McElroy returning to write, the 2021 film starts off with a good old bait-and-switch, lulling audiences into believing they’re about to get more of the same backwoods mutant mayhem. A mid-film twist, however, takes things to a darker, slightly more believable and contemporary place, as Jen (Charlotte Vega) and her friends find themselves captured by mask-wearing cultists who have created their own twisted utopia in the woods.

The film doesn’t skimp on the gore (highlights include a character blinded by a hot poker and a skull-crushing), but notably focuses more on tension, believable characters, and the growing horror of a desperate situation. And even more surprisingly, the film shifts gears yet again to focus on Matthew Modine, playing Jen’s father, as he searches for his missing daughter. What he finds, and where the film goes from there, deserve to be left unspoiled, but Wrong Turn (2021) does not skimp on surprises or macabre subject matter.

With the reboot performing so well on streaming, it would make sense if a sequel were in the works, but so far, nothing has been announced. However, Wrong Turn (2021) deserves credit as a complete, bold overhaul of a successful franchise — and one made by its original creator, no less. It’s a tense, professionally mounted thriller that takes a stab at a slightly more mainstream audience, while leaving none of its twisted roots behind. And over on Plex, the original splatter classic is still available to stream for free.

Advertisement

Release Date

February 26, 2021

Advertisement

Runtime

84 minutes

Director

Advertisement

Mike P. Nelson

Writers

Alan B. McElroy

Advertisement

Producers

Aaron Ryder, Brian J. Gilbert, Don Carmody, Erik Feig, Patrick Wachsberger, Robert Kulzer, Stan Winston, Sven Ebeling, Hagen Behring

Advertisement

• 

  Charlotte Vega

  Advertisement

  Chris Flynn

• 

  Adain Bradley

  Jessie Burlingame

  Advertisement
• 
• 

Advertisement

Advertisement

After three major projects were scuttled — including a third Wonder Woman movie, a Cleopatra epic, and a sequel to Red Notice — Gal Gadot appears to have pivoted to a smaller-scale project. Gadot was also the face of two significant misfires, the streaming tentpole Red Notice and the theatrical bomb Snow White. Her pivot comes on the heels of a similar shift in strategy executed by streamers. Netflix, in particular, has had exceptional success this year. The platform seemingly moved away from mega-budget projects such as Red Notice and concentrated on mid-budget genre movies instead. This has resulted in hits such as The Rip, War Machine, and the recently released The Last House. Gadot’s new movie, which marks her first headlining role since 2023’s Heart of Stone, is right around the corner.

Unlike Heart of Stone, which was released to poor reviews on Netflix three years ago, Gadot’s new film will debut on Prime Video. The streamer has also had success with mid-budget genre movies in recent months, with The Devil’s Mouth, Pretty Lethal, and The Bluff drawing strong viewership. Prime Video would hope to keep the streak going with Gadot’s new movie, which has been directed by the versatile Kevin Macdonald. A prolific documentary filmmaker, he’s best known for the Oscar-winning biopic The Last King of Scotland, and the star-studded political thriller State of Play.

Gal Gadot and Alan Ritchson Are Headlining Two Action Movies with Near-Identical Titles

Macdonald and Gadot’s new movie, an action-thriller, is The Runner. It shouldn’t be confused with Runner, which is an action movie starring Alan Ritchson and Owen Wilson, due out in theaters in the same month. Gadot’s movie follows a London-based attorney whose son is abducted by a mysterious man who sends her on a chase across the city. The premise makes the film sound like a cross between the Liam Neeson blockbuster Taken, and the 2002 thriller Phone Booth. In fact, Neeson himself starred in a movie with a similar premise a couple of years ago. It’s called Retribution, and it follows a man who must protect his two children after he receives a call warning him that his car will blow up with them in it if he tries to get out. The Runner also features Damian Lewis, and will be released on Prime Video on September 2. Later this year, Gadot will appear in Doug Liman‘s artificial intelligence-powered movie Bitcoin, also starring Casey Affleck and Pete Davidson. Stay tuned to Collider for more updates.

Advertisement

Advertisement

Release Date

September 2, 2026

Runtime

Advertisement

84 Minutes

Director

Kevin Macdonald

Advertisement

Advertisement

Advertisement

Advertisement

Jon Lucas and Scott Moore are a dynamic duo. They have a long history of churning out some of the wildest, funniest comedies in the past couple of decades, penning everything from The Hangover to Four Christmases and serving as both writers and directors for both Bad Moms movies, Office Christmas Party, Jexi, and more. Add in Emmy-nominated producer Suzanne Todd into the mix, whose resume includes the Oscar-nominated Memento, Ridley Scott’s G.I. Jane, and the Austin Powers films, and you have a truly unstoppable trio.

The three of them have once again teamed up for their newest project, Spa Weekend, which follows in the tradition of several of their previous films by letting the women take center stage. The movie sees a group of four very different high school friends — sensible mom and lawyer Jane (Leslie Mann), underappreciated Sophie (Anna Faris), bitterly separated Coco (Michelle Buteau), and unfiltered Mel (Isla Fisher) — going on a relaxing trip for Jane’s birthday, only for increasingly wild situations and deep-seated wounds constantly threatening to make them more stressed out than ever.

Collider got the chance to speak to the creative team behind the movie. During the conversation, they discussed the challenges of shooting elaborate stunts, finding their incredible cast, bringing back the blooper reel, and more.

‘Spa Weekend’s Directors Talk the Unique Challenges and Perks of Filming in Australia

“We like our Aussies.”

Image via Black Bear

COLLIDER: First of all, congratulations.

JON LUCAS: Thank you. We enjoyed chatting with you on the carpet. That was fun.

Oh my gosh, thank you so much! I absolutely loved it. Of course, your lead cast is incredible, but I was also really struck by your supporting cast, especially the spa workers. I’m curious if you can talk about finding all of them.

LUCAS: Oh, right on. This is a great question. We haven’t gotten this question. We shot in Australia, so all the cast is Australian, outside of our lead four, and it was pretty simple. It’s just auditions. What’s interesting is that Australia has a lot of great actors, but they’re all over. The country’s enormous. There was a lot of, “We’re going to get these great actors,” but we were shooting on the Gold Coast, which is kind of far away. Anyway, there were people who were, like, 3,000 miles away who were “local Australians.” We’re like, “Oh, that’s going to be a bit of a trip for them to get to set.” [Laughs] But they were great. It’s probably one of the more comedy-oriented countries. People like comedy down there. They’re really a lighthearted culture, so finding comedic actors there was not hard.

SCOTT MOORE: It’s pretty great. All of them were super talented, like Erica and Dominic [Ona-Ariki]. Dominic had won a ton of awards, and it was weird to have this experience where you have someone who’s a day player behind the counter doing this, and then you’re driving down the street, and she’s on all these billboards. She’s in these two shows, and you’re like, “Wait, what is going on?”

SUZANNE TODD: She’s super Australian famous.

MOORE: Super famous, super talented, so it was a luxury to have so many talented people.

TODD: And obviously Isla and Adam are also Australians, so a wealth of riches there.

LUCAS: We like our Aussies.

We love the Aussies.

LUCAS: Yeah, they’re good eggs.

TODD: They really are a good time.

‘Spa Weekend’s Directors Discuss Filming Those Wild Stunts

“When I see a great stunt in a trailer, I’m like, ‘I gotta go see that movie.’”

Image via Black Bear

Advertisement

There were some pretty elaborate stunts in this movie, from the golf cart chase to the goats on the loose. How do you approach these huge moments of physical comedy as a director and then producer as well?

TODD: Jon and Scott hate those scenes. [Laughs]

LUCAS: I actually love them! They take a lot of work. When it’s the four women sitting around a table at a cafe, you’re like, “Oh, this is gonna be a great day. This is easy. [Sing-songs] Da da da da da da ta ta.” And then you’re like, “I got to jump a golf cart over a sand dune, and it’s got to land, and the people who own the beach are not really psyched about what you’re doing.” There are a lot of ins and outs, but I love that stuff. We always talk about it in terms of, like, there are some scenes that just have to go into a trailer. And those stunts, to me, are kind of what sells the movie. When I see a great stunt in a trailer, I’m like, “I gotta go see that movie.” There’s something about the appeal of that — “someone really went for it.”

MOORE: And some, like the golf cart, you really do a lot of previs, and you really think about, “How’s this gonna work?” Some of it, like the goats or the mud bath scene, you’re like, “Just put a ton of cameras in there, and just go. See what we get, and hopefully, it’ll be something.” I remember the mud bath scene because there’s no reset in that, right? So we shot the dialogue, and then we’re like, “Okay, we’re going to get one take of you guys cutting loose.” Thankfully, Michelle could do the whole movie in one take. She’s so talented, and so funny, and so creative that we were a little stressed out during that scene, but it turned out great because she’s awesome and so willing to play and do whatever.

LUCAS: I will say, one of the challenges of working with women — the only one — is hair. You can’t fuck up someone’s hair. If you mess up my hair, you wash the mud out, and you’re shooting five minutes later. Michelle has beautiful long hair, and you cannot mess that up.

TODD: Michelle’s was the toughest reset of all four.

LUCAS: It’s like a three-hour reset.

MOORE: Especially if you put mud in it.

LUCAS: So we’re like throwing mud around like, “Oh my god. How are we gonna do this?”

TODD: But I feel like we also had a little PTSD because we had some mud in a scene in Bad Moms Christmas. We had a different mud bath scene that was equally hard to crack the logistics of the mud. Mud is harder than you think — the movie version of mud.

LUCAS: It worked out, but to Scott’s point — largely because Michelle nailed it in one. If she hadn’t — if she wasn’t doing it the way she was doing it — it would have been a long day. It would have been really bad.

‘Spa Weekend’s Directors Are Bringing Back the Blooper Reel

“We did argue a bit about whether it’s hacky to have bloopers.”

Image via Black Bear

I feel like we’ve really lost the art of the blooper reel, so I was so excited to see that during the credits.

LUCAS: We’ve been talking a lot about the bloopers. Maybe it’s time to bring bloopers back.

I agree! Why do you think it’s gone away?

LUCAS: I think people see it as hacky, and they’re not wrong. It’s a little hacky. There’s a period where, like, every movie did it.

TODD: It was done a lot.

LUCAS: I think the first one I ever saw was like the Jackie Chan movies when I was a little kid, and he would, like, die. He’d, like, fall off a train, and you’re like, “Oh my god.” And then he’d pop up and be like, “Ha ha ha ha!”, and you’re like, “Is he okay? Have we lost Jackie?” I love that stuff. I think that stuff you watch when you’re a kid, you never really shake, do you know what I mean? It’s always in you. We did argue a bit about whether it’s hacky to have bloopers, and the answer is yes, it is hacky, but we love it.

MOORE: We just had so much good stuff that we couldn’t not share it with the audience.

LUCAS: Those girls breaking? I mean, there’s so much stuff. And frankly, there’s some stuff that we didn’t put in the bloopers, or we put it in originally, and they were just too disgusting or crazy. I can think of two moments.

TODD: Not to really just talk about Isla.

LUCAS: [Laughs] Why do you think Isla? Why would you say Isla’s name? We’re like, “This is hilarious. The crowd is gonna eat this up.” You get all the way through your movie, you’ve worked so hard on the movie, and you get to the end of the test screening, and there’s one joke at the very end that they’re like, “No, that’s not okay. I want to take my mom to this movie, and I can’t do that if [this is in there].” You do find that, even though the bloopers are pretty fun and a little more outrageous than the movie, there are lines. There are certain things that audiences are just like, “Dude, come on — let us drive home in peace.”

Can you share them with the class, or is this sworn to secrecy?

TODD: We call these movies lightly R-rated, right? We’re staying away from the harder R-rated.

LUCAS: Find me outside. I’ll tell you all the stuff we can, but I cannot do it on camera.

I feel like the bloopers also showed that there was a lot of improv in this movie. Do you feel like you hire actors who are naturally skilled at improv?

LUCAS: Yes, 100%.

Okay, I didn’t know if it was a coincidence or if you looked for that.

MOORE: We love working with actresses or actors who can riff, who have comedic timing, who can generate comedy, and who can ad lib. Because there’s nothing better than that. It feels real. It feels funny. And we tend to shoot the script once — we’re like, “Let’s just put it on camera” — and then we allot time for them to riff, and run, and dodge, and weave, and do whatever magic it is that they do. That’s often where you get the best stuff.

LUCAS: We were just writers for like 10 or 15 years before we started directing, and when we made that transition, a lot of directors told us, “When writers become directors, they’re often so excited that they finally get to be in charge that they’re like, ‘You have to say it exactly. I wrote a period, and you gave that a semicolon.’” And actors are like, “What is going on?” So we really didn’t want to be the directors who were obsessed with their own writing. All the best jokes in all of our movies — I’m not saying this to be humble — literally are [improvised]. We started with something we had, so it wasn’t like we weren’t part of it. But often the best stuff is like, we had this idea, and then someone came in, either put a spin on the ball, or added something entirely, or said it in their own little weird way that makes it funny. We’re especially conscious of not being too precious with the words.

‘Spa Weekend’s Directors on the Movies That Scarred Them for Life

“Please don’t watch it.”

One of my favorite moments in this movie is when Jane walks in on her young kids watching Pulp Fiction. Is there a movie you remember watching way too young that either scarred you or inspired you?

LUCAS: Everyone does, by the way. Every single human on Earth, especially nowadays, has seen something where you’re like, “Why was I allowed? Who thought I was allowed to watch that?” I saw Hot Dog. You’re too young. You’re very young. Do you know the movie Hot Dog?

I don’t. I’ll look it up after.

LUCAS: No, don’t. Please don’t watch it. Hot Dog is a very ‘80s skiing movie. It’s a sex comedy, and everyone just has sex. It’s one of those very ‘80s…I’m not sure there’s even a plot. Maybe there’s a ski race at the end to give yourself a third act. It is just sex, and I watched it when I was, like, seven because I was like, “Oh, skiing.” And my parents are like, “Go ahead — enjoy Hot Dog.” And I was like, “[gasps] Oh, is this what adult life is like? Is everyone just fucking?” The whole movie is just like sex. That was one of those movies where I don’t remember anything about it other than the second I got out, I was like, “I should not be watching this.” That’s why Pulp Fiction was perfect because that’s, to me, the most ‘you really don’t want your kids to watch this.’ Your children should not watch the Gimp. They’re not ready for that yet.

MOORE: I’m glad you flagged that scene because it’s one of my favorite shots: the kids’ faces, right when she comes in, their eyes are like, “What is going on?”

TODD: Mine would definitely be a scary movie from when I was young — maybe Halloween or something. There was a guy with a knife, and then all I could think the whole night was that the guy was outside my window. I was up for days, terrified.

LUCAS: Premature horror. When you’re not ready for horror, and you’re too young.

TODD: No, because, of course, I thought it was real. I was too young to watch that. I was like, “Oh, there are guys with a knife outside my window.”

‘Spa Weekend’s Directors Reveal the Scene They Had to Cut

“Audiences were like, ‘This is not funny.’”

Image via Black Bear

There is so much editing and shaping of a movie that happens with the writing, then the filming, and then the editing. What is the biggest change from the first draft of the script to what we see in the final cut?

TODD: There are three versions of a movie: there’s the version they write, and then you shoot it, and everything changes, and then you take everything that was shot, and you go into the cutting room, and everything changes probably as much again. It’s almost three completely different things. Especially in comedy, as [Jon] pointed out, we always try to build the time for the girls at the end to have improv. And the guys, in addition to the script that they write, they write an entire book of what we call alts, which are at the ready. You have the funny version, and then you have 17 other funny versions. There’s so much material from where you started with the script to when you get into the cutting room that it’s just about this finesse of what joke leads into the next joke playing bigger. It’s probably more complicated an editorial than people think.

MOORE: We make these movies for the audience. We love test screening because you’re like, “Okay, let’s see what jokes are working and what jokes aren’t working.” It’s not like, “I love that joke, so I’m gonna put it in the movie.” There was actually a whole scene that we shot at a funeral, which we thought was hilarious — it was sort of dark and weird — and audiences were like, “This is not funny.”

LUCAS: The first note on that test screening was like, “The funeral scene isn’t funny.” I’m like, “Look at that sentence. Of course, it isn’t! What were you thinking?”

TODD: It wasn’t a funny funeral — it was funny things that happened at a funeral that were funny to us, but it didn’t seem as funny in screenings.

MOORE: Test screenings are important because we want to know what people think of the movie, and it was very clear that they did not like that scene.

TODD: They didn’t want to laugh at the funeral.

LUCAS: I’m always jealous when directors do these things, and they’re like, “I’m cutting in my head the whole time. I know the whole movie while I’m shooting.” I’m like, “That’s so cool. That would be so nice. I don’t do that.” [Laughs] We shoot everything, and we really hope there’s a movie in there at the end. I think that’s the difference between comedy and most other genres. I think in other genres, you kind of do have to know every beat, because there’s not as much room, but the tone of the comedy in this movie can get broader or more dramedyish, depending on how you cut it. There are lots of different zones — the comedy world is pretty wide — and which jokes and takes really affect it. So I never know. I exude confidence on set like, “We got this,” but in my head I’m like, “I don’t know. I think we got it. I don’t know. We’ll find out in like six months.”

Spa Weekend is now in theaters.

Advertisement

Release Date

August 21, 2026

Advertisement

Runtime

97 minutes

Director

Advertisement

Scott Moore, Jon Lucas

Advertisement

Advertisement

Advertisement

The fantasy genre has always been pretty popular in the world of literature, and saw a major surge in the 1980s and ’90s with the rise of tabletop RPGs. Previously, it was only seen as something “for nerds,” but it has lately become much more mainstream. It feels like fantasy novels are about a dime a dozen nowadays, because there are a ton of new ones coming out each and every month. It’s impossible to keep up with them all.

Though some amazing fantasy books have come out over the course of the genre’s history, there have been some extra special ones released just over the last 20 years. This might be a small time frame, yet it has seen some revolutionary works of fantasy, some of which have even received screen adaptations. Whichever subgenre you like best, these are some of the best fantasy novels that have come out over the last 20 years.

10

‘Children of Blood and Bone’ (2018)

Image via Henry Holt Books for Young Readers

Children of Blood and Bone is the first in a YA trilogy by Tomi Adeyemi. Taking inspiration from her Nigerian heritage, the story is set in a fantastical world inspired by West Africa, where an oppressive empire has separated people into two classes: the Kosidán majority and the Divîners. The Divîners were formerly a race of magic-users and are recognizable by their stark-white hair. However, the empire somehow disrupted the source of their magic, leaving the Divîners unable to access it.

In the midst of political turmoil, a young Divîner girl named Zélie teams up with the Kosidán princess, Amari, on a quest across the land of Orïsha to restore magic to her people. The magic system in this book is simple, but very easy to digest, and the story actually plays upon a lot of real-life issues that Adeyemi feels passionately about. It’s got a really fresh and interesting setting, a good message behind it, and it’s easy to access for youths and adults alike. While not the best book of the last 20 years, it has found a sizable following and has done very well with critics. Fans will be glad to know that Children of Blood and Bone is set to receive a movie adaptation very, very soon.

9

‘The Name of the Wind’ (2007)

Image via Gollancz

The Name of the Wind is the first book in Patrick Rothfuss‘ The Kingkiller Chronicle duology. Though it was initially planned as a trilogy, it has been 15 years since the second book came out, so the third is unlikely to be released any time soon, if at all. The book opens up with the introduction of Kvothe, an innkeeper who was quite a famed figure in his youth. He recounts his story to a Chronicler, talking about why he became famous and how he is to blame for the terrible things to come.

The book switches between third-person “present day” sequences and first-person flashbacks, though flashbacks make up the majority of it. Kvothe tells the story of how he began life as part of the Edema Ruh, a travelling group of entertainers, and how he came to study at the University, where he learned magic. The book includes enough mysteries to string the reader along and keep them hanging on every word. Not only is it adventurous, but it sets up a lot of questions and teases the answers. It hooks people really easily. It’s unfortunate that those answers may never come.

8

‘The Blade Itself’ (2006)

Image via Gollancz

Joe Abercrombie‘s The Blade Itself belongs to the grimdark subgenre. Grimdark fantasy is basically any fantasy (typically high fantasy) where basically nothing is good. People are manipulative, selfish, or rude, and the world is constantly in a state of war. It’s a genre that exposes the worst of humanity, even if it takes place in a completely fictional world.

This book is the first in a trilogy, and the first in a shared universe, as well. The story is primarily about three major empires at war with each other on two fronts, with three key figures caught in the middle of it all. They offer different perspectives of the conflict, and their stories begin separately from each other, though they do eventually intersect. If you like gore, grittiness, or the most depraved parts of human nature, this is a great fantasy book you should totally check out.

7

‘Prince of Thorns’ (2011)

Image via Harper Voyager/Mark Lawrence

Prince of Thorns, written by Mark Lawrence, is set in the Rhineland region of Europe, centuries after a nuclear war destroyed the planet and reverted the world back to the Dark Ages. What remains of humanity comes in the form of the Broken Empire, a group of approximately 100 kingdoms and realms sprawling across Europe, Western and Southern Asia, and Northern Africa. In the midst of it all is Prince Jorg Ancrath, a 14-year-old who is a self-described sociopath. He leads a band of mercenaries across the ruined landscape, trying to escape his father’s legacy.

Jorg Ancrath is objectively a horrible person. At just 14, he is morally bankrupt and utterly reprehensible, yet he is so much fun to read. Written in a first-person perspective, the book allows audiences to really see his thought process, showing his deep trauma and how little he cares for anyone other than himself. The first in a trilogy, this book isn’t even all that long, and is pretty average in terms of novel length. Still, it’s perfectly paced and worth every word. It’s dark, gritty, completely messed up, but so enjoyable, all at the same time.

6

‘The Lies of Locke Lamora’ (2006)

Image via Bantam Spectra

The Lies of Locke Lamora, written by Scott Lynch, is the first novel in the Gentleman Bastard sequence. It’s a sort of urban fantasy rather than an epic fantasy adventure. The setting is the fictitious city of Camorr, which resembles Venice with its weaving canals and elaborate architecture. The plot unfolds into two storylines: the first is set in the “present,” where a crew known as the Gentleman Bastards take on a new threat in Camorr’s criminal underworld. The other storyline is mostly about the history of Camorr and its dark underbelly.

This book in particular was a massive hit for urban fantasy fans, as were its sequels, but you just can’t beat the original. It’s such a great story because, unlike many of the other books on this list, it isn’t about large-scale wars of empires or resurrected forms of magic or ancient threats from millennia ago; it’s just an Ocean’s Eleven-style adventure through a dark and layered world.

5

‘Between Two Fires’ (2012)

Image via Ace

Advertisement

Between Two Fires is a low fantasy novel set in France during the Hundred Years’ War and the Bubonic Plague. As you can imagine, this means the streets are riddled with corpses, and there’s a general aura of misery that hangs thick over everyone and everything. The fantasy aspect comes in the form of demons, which prowl the French countryside, as if everything else going on weren’t bad enough.

In the midst of one of the darkest periods of France’s history, a lone knight saves a young girl from a fate worse than death. Directionless in life, the knight decides to see the girl to safety, evading and battling demons in the process. This horror/fantasy/historical fiction hybrid is one of the bleakest stories out there, but it’s absolutely brilliant at the same time. Christopher Buehlman really knocked it out of the park with this one.

4

‘A Memory of Light’ (2014)

Image via Tor Fantasy

Advertisement

A Memory of Light is the final book in the enormous The Wheel of Time saga, coming in as the 14th entry. This is also one of the longest ones at well over 1,000 pages. The series was primarily written by Robert Jordan, beginning all the way back in the 1990s. Unfortunately, Jordan died at a relatively young age due to a heart attack following the release of the 11th book, prompting fellow author Brandon Sanderson to take over. While Sanderson did technically write the book, much of the credit is given to Jordan, provided he had the original notes and had already outlined the book in meticulous detail long before his passing.

The most remarkable part about this book is the chapter titled “The Last Battle,” which goes on non-stop for over 200 pages. It’s a huge feat to tackle, but a rewarding and exhilarating experience. It’s so exciting that it’s easy to lose track of time while reading it, to the point that before you know it, the chapter is over and the sun has set. Every part of the complex plot comes together, and it leaves off with a bittersweet ending that fans loved. It’s the best book in the Wheel of Time series and easily one of the best books of the 2010s.

3

‘The Crippled God’ (2011)

Image via Tor Fantasy

Advertisement

The Crippled God is the tenth and final installment in Malazan: Book of the Fallen, the main sequence of a massive literary universe kickstarted by Canadian author Steven Erikson. Malazan is a big hit in the fantasy fandom, though books one and 10 of the series are generally considered its strongest points. It can be daunting for some people due to how much lore is behind the series, but most fans are perfectly fine with this.

The story of the series is about the Malazan Empire, and about how it rapidly expanded to cover an entire continent. Now, they’re setting their sights on another continent. That’s the extremely short version of the story, anyway. As far as conclusions go, this one is absolutely epic. It’s rife with massive battle sequences, the kind that no TV or movie adaptation could ever hope to capture. It’s perfectly written and very cinematic.

2

‘A Dance with Dragons’ (2011)

Image via Bantam Spectra

Advertisement

A Dance with Dragons is the fifth and final book in the unfinished A Song of Ice and Fire series, which, of course, became the massive television phenomenon, Game of Thrones. Though there were two sequels planned to wrap up the series, it’s been 15 years, and George R. R. Martin is still dragging his feet, so it’s unlikely fans will ever see the literary conclusion. In any event, this book is absolutely fantastic. Sure, it has some weaker parts, and no, it’s not as good as the others in the series, but it’s the only one that actually came out in the last 20 years, save for its previous installment, A Feast for Crows. The latter is considered the low point of the series, though, so that certainly wasn’t going to make the list.

Like the prior installments, this book is about a civil war in Westeros, where nine royal families are competing for a throne, all while a primal threat from centuries ago is quietly building up strength in the North. This book is pretty large, at about 900-1,100 pages depending on which format you get it in. Still though, it was a marked improvement over the book that came before it in both scale and story, and it definitely earns a spot as being one of the best fantasy books of the last 20 years.

1

‘Oathbringer’ (2017)

Image via Tor Fantasy

Advertisement

Oathbringer is the third book in the ongoing The Stormlight Archive series by Brandon Sanderson. The series is part of Sanderson’s shared literary universe known as the Cosmere. Basically, each stand-alone or series in the Cosmere is set on a different planet within the same galaxy. Each planet has its own unique magic system. This monstrous tome of nearly 1,300 pages is set on the barren world of Roshar, which is constantly bombarded with hurricane-like events known as highstorms. There is little to no plant life, and any animals are typically crustaceous, even on land.

The overall story of the series concerns a war between the crustaceous race of humanoids called the Singers and humanity, with the stakes being extinction. Each side has resurrected an ancient and lost form of magic to use to their advantage. Each book in the series also features flashback sequences from one character per novel, with this one focusing on the backstory of military leader Dalinar Kholin. There are tons of epic battles in this book, profound moments of moral wisdom, excellent character development, and some quippy humour, too. This is one of Sanderson’s finest efforts, and a real jewel in the crown of the Cosmere as a whole.

At one point, Bob Odenkirk decided he was no longer content just being the slimiest lawyer on television and the world’s most deplorable conman, he wanted to become John Wick. Well, it’s nice to have dreams, right? And he was good at it! Who knew? Nobody proved that Saul Goodman could absolutely kick your ass, turning the Better Call Saul star into one of action’s most unlikely leading men. If you thought Nobody was it, think again.

Normal is officially charting on HBO Max after arriving on the platform on August 14. The 91-minute action thriller reunites Odenkirk with Nobody writer and John Wick creator Derek Kolstad, while Kill List and Free Fire filmmaker Ben Wheatley directs. And at roughly an hour and a half, it doesn’t exactly overstay its welcome. It’s Odenkirk, a small town hiding something nasty, the creator of John Wick and the director of Free Fire smashing everything together for a wild ride.

For Sheriff Ulysses (Odenkirk), his provisional posting to the quaint Midwestern town of Normal was meant to be a welcome respite from both his marital woes and recent moral injuries in the line of duty. But when a botched bank robbery interrupts the municipality’s tranquil pace, a dark secret is inadvertently exposed, and Ulysses soon discovers that the town (and its mayor, played by Henry Winkler) is anything but its namesake.

Who Stars in ‘Normal’?

The similarities to Nobody are hardly accidental. Odenkirk co-wrote Normal alongside Kolstad, who wrote the original John Wick and created the franchise before going on to write Nobody. Wheatley brings his own taste for chaotic violence to the director’s chair, resulting in a movie Rotten Tomatoes describes as delivering “over-the-top carnage.”

Normal also features Lena Headey (Game of Thrones) as Moira, Ryan Allen (Between) as Deputy Blaine Anderson, Billy MacLellan (Nobody) as Deputy Mike Nelson, Reena Jolly (SkyMed) as Lori, Brendan Fletcher (The Revenant) as Keith, Peter Shinkoda (Daredevil) as Joe, Jess McLeod (One of Us Is Lying) as Alex, and Derek Barnes as James.

Critics have largely enjoyed Odenkirk’s latest excursion into action territory. Normal currently holds a 77% Tomatometer score on Rotten Tomatoes alongside a 76% verified audience score, with the critical consensus praising Odenkirk’s “gruff yet playful presence” and Wheatley’s commitment to ridiculous, bloody entertainment.

Normal is streaming now on HBO Max.

Advertisement

Release Date

April 16, 2026

Advertisement

Runtime

91 minutes

Advertisement

Advertisement

Advertisement

Reality star Lisa Vanderpump has turned the Las Vegas Strip into her own glamorous playground, bringing her signature mix of over-the-top design, cocktails, dining, and nightlife to Sin City. 

From lavish restaurants and pink and purple-hued lounges to her growing hospitality empire, The Vegas Files takes a look at five “Vanderpumped” places where you can experience the “RHOBH” alum’s unmistaken Vegas aesthetic. 

In March 2019, Vanderpump opened her first location in Sin City – Vanderpump Cocktail Garden at Caesars Palace. 

This spot really brings Vanderpump’s signature brand of glamour into the spotlight. The garden-inspired lounge blends dramatic lighting, lush greenery, and a feeling that you’ve stepped right into Vanderpump’s world. 

Advertisement

The menu offers Instagram-worthy cocktails and small bites, shareable plates, and desserts you won’t soon forget. 

Located inside Caesars Palace near the entrance to The Forum Shops at Caesars Palace, it’s the perfect first stop before doing some shopping and gambling, or last stop to unwind with a cocktail in hand. 

For more information, visit the website.

Vanderpump à Paris At Paris Las Vegas

4

Vanderpump à Paris opened inside Paris Las Vegas in April 2022. A visit to this spot will transport you from the Las Vegas Strip to a Parisian courtyard. This destination offers a romantic ambiance with signature cocktails, elevated French-inspired bites, and a sexier version of the City of Light. 

Designed to relax with a cocktail in hand, it’s the perfect spot to begin your Vegas adventures, or a great spot to end the day after exploring the area. 

Advertisement

Visit the website for more information.

Pinky’s By Vanderpump At Flamingo Las Vegas

4

Pinky’s by Vanderpump opened its doors inside Flamingo Las Vegas in December 2024. 

This “Vanderpumped” spot puts a glamorous spin on classic Vegas style at the Flamingo, blending the resort’s vintage history with the reality star’s style and flair. 

The restaurant and cocktail lounge surrounds guests with Art Deco-inspired design, lush green tones, and an atmosphere that’s equal parts sophisticated and theatrical. 

With creative cocktails, indulgent bites, and a lively terrace overlooking the world-famous Las Vegas Strip, Pinky’s is serving the kind of glitz and glam that Vanderpump is known for. 

Advertisement

Find more information on the website.

Gigolo Bar Inside The Reality Star’s New Hotel

4

Her newest bar, located inside her brand new hotel, has a unique name that fans immediately recognize. When The Blast spoke exclusively with Vanderpump a few months back, she explained the name and how she landed on it for her hotel’s bar. 

“I think people are surprised when they walk through the hotel, they see Gigolo Bar, which is also a nod to Giggy, my little dog who’s the head of the Vanderpump Dog Foundation that’s saved thousands of dogs, so people have a special place in their heart for that little guy,” she told The Blast. “When I pitched the idea of that bar, I said, ‘I’d like to call the bar in the lobby Gigolo,’ they were like, ‘Okay, so we’re gonna call it after male sex workers?’ I said, ‘No, after a dog.’ They went, ‘Oh it feels so much better now.’ People are loving that bar and it’s very curated and the drinks are all very special.” 

The ‘RHOBH’ Alum’s First Ever Hotel

4

Vanderpump’s newest Vegas venture is her first hotel. During a recent appearance at Customer Contact Week in Las Vegas, she joked about her business ventures.

“A lot of people have been in my bars and drank with me, had dinner at my restaurant and ate with me, so in a way I feel we’ve been dating for a long time,” she told the crowd. “And now you get to sleep with me.” 

The hotel is her 40th venue. She transformed The Cromwell into the Vanderpump Hotel, and while doing that, filmed a reality show called, “Vanderpump Rules: Lisa Las Vegas” which is set to air sometime later this year. 

Advertisement

Learn more and book your stay on the website.

Be sure to check out The Blast’s social media pages to see a reel of Vanderpump’s Vegas locations.