Screenwriting gets praised too casually when people only mean good dialogue or clever plot. A trilogy has a harder job. It has to make the first movie feel complete, give the second movie a real reason to exist, and make the third movie feel inevitable without seeming pre-planned to death.

These six trilogies are scary-good on the page. They know how to repeat an idea without making it stale, how to let a character change without betraying who they were, and how to make small choices echo across multiple films. The best part is that none of them teach the same lesson. Scroll down slowly if you want to find out how.

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‘Back to the Future Trilogy’ (1985–1990)

Image via Universal Pictures

Screenwriters should be forced to study the first Back to the Future before they are allowed to touch time travel. It is that clean. Marty McFly (Michael J. Fox) goes to 1955, accidentally disrupts his parents’ romance, and has to repair the event that makes his own life possible. That sounds complicated when summarized, yet the movie plays with almost ridiculous clarity because every problem has a visible consequence. The family photo fades. George McFly (Crispin Glover) must find courage. Lorraine (Lea Thompson) must redirect her attention. Doc Brown (Christopher Lloyd) needs enough information to send Marty home. The clock tower gives the whole story one deadline every viewer can understand.

The trilogy keeps using that same discipline without becoming a lazy copy of itself. Part II turns familiar events into a puzzle of timing, mistaken identities, alternate futures, and old choices creating new disasters. Part III goes to the Old West and finally gives Doc the temptation Marty has faced repeatedly: changing history for something personal. The scripts keep returning to bullies, names, accidents, family shame, vehicles, clocks, and public humiliation, but each return has a new purpose. That is the lesson. Repetition becomes satisfying when the meaning changes.

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‘The Vengeance Trilogy’ (2002–2005)

Image via CJ Entertainment.

Park Chan-wook’s three revenge films are a brutal screenwriting lesson in consequence. The stories are separate, yet each one attacks the same fantasy from a different direction: someone has been wronged, punishment feels necessary, and then the punishment starts destroying every simple feeling the audience brought into the movie.

Sympathy for Mr. Vengeance is almost cruel in how plainly it lays out cause and effect. Ryu (Shin Ha-kyun), bad luck, poverty, disability, illness, desperation, kidnapping, grief, and retaliation keep moving forward until nobody can claim control. Oldboy is written with more theatrical force, but the emotional trap is even tighter. Oh Dae-su (Choi Min-sik) thinks the question is who imprisoned him. The real question is why the answer was saved for him so carefully. That difference turns the mystery into a punishment designed around knowledge. Lady Vengeance changes the shape again. Geum-ja (Lee Young-ae) wants justice, image control, motherhood, public repentance, private fury, and maybe peace, and the script refuses to make those needs line up neatly. Across the trilogy, revenge never behaves the same way twice. It becomes accident, obsession, ritual, performance, and moral exhaustion.

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‘The Dark Knight Trilogy’ (2005–2012)

Image via Warner Bros.

The best writing choice in Batman Begins is that Bruce Wayne (Christian Bale) does not simply become Batman after trauma. The script makes him construct Batman through fear, discipline, theatricality, technology, class privilege, anger, and a need to give Gotham something larger than one damaged man. This is why Nolan’s Batman has the most substance in cinema behind him. Every mentor and ally tests a different part of that idea. Ra’s al Ghul (Liam Neeson) wants justice without mercy. Alfred (Michael Caine) wants Bruce alive. Rachel (Katie Holmes / Maggie Gyllenhaal) wants him to recognize the difference between symbol and excuse. Gordon (Gary Oldman) gives him a version of public service that still believes in decency.

The Dark Knight then puts that symbol under pressure from every side. Joker (Heath Ledger) understands stories better than most villains understand weapons. He attacks the city’s belief in order, Batman’s belief in rules, and Harvey Dent (Aaron Eckhart)’s belief in public goodness. That script is masterful because Gotham’s soul is argued through choices, not speeches alone: boats, hostages, lies, surveillance, burned money, corrupted hope. The Dark Knight Rises has blunt turns, yet its core idea completes the writing arc. Bruce has to stop treating death as proof of devotion. The trilogy’s screenwriting power comes from turning Batman into a question, then refusing an easy answer.

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‘The Lord of the Rings Trilogy’ (2001–2003)

Image via New Line Cinema

Adapting The Lord of the Rings for cinema could have become an endless pile of names, maps, histories, objects, kingdoms, and prophecies. The scripts survive because they keep asking one practical question: whose choice matters right now? That is why the trilogy stays emotionally legible even when the world keeps expanding. Frodo (Elijah Wood) carries the Ring, but Sam (Sean Astin) carries the emotional promise behind the quest. Aragorn (Viggo Mortensen) has royal blood, but the writing makes his hesitation personal before it becomes political. Boromir (Sean Bean)’s failure hurts because the script gives his fear and love for Gondor real dignity before the Ring exploits him.

The trilogy is full of smart compression. Tom Bombadil is gone, Arwen gets stronger dramatic placement, Faramir (David Wenham) is made more conflicted, and the separate storylines are arranged so each film has its own moral pressure. The Fellowship of the Ring is about accepting the burden. The Two Towers is about holding together while every group is tested. The Return of the King is about finishing the task after strength, innocence, and certainty have nearly run out. The screenwriting never lets scale replace character logic. Even the smallest mercy toward Gollum (Andy Serkis) becomes essential later, which is exactly how payoff should feel: surprising in the moment, obvious in hindsight.

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‘The Before Trilogy’ (1995–2013)

Image via Columbia Pictures

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The dangerous thing about The Before Trilogy is that the scripts have nowhere to hide. If Jesse (Ethan Hawke) and Céline (Julie Delpy) speak falsely for even a few minutes, the entire project collapses. Before Sunrise understands youth with painful accuracy: the flirtation disguised as philosophy, the performance of intelligence, the sudden honesty that appears after a joke, the way two strangers can feel brave because morning will end the risk. The first film is romantic because the conversation feels temporary, and temporary things make people reveal themselves faster.

Before Sunset is sharper, sadder, and more adult. Jesse and Céline have less time, more history, and more to lose by admitting what Vienna did to them. Every topic they touch — marriage, work, politics, sex, memory, disappointment — is really another way of asking whether they missed the life they were supposed to have together. Before Midnight is where the trilogy becomes almost frighteningly honest. The same verbal chemistry now includes resentment, tired parenting, sexual insecurity, old grudges, and the ugly satisfaction of knowing exactly which sentence will hurt. The screenwriting is great because the words age. The conversations still sound like Jesse and Céline, only with more damage inside them.

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‘The Three Colours Trilogy’ (1993–1994)

Image via mk2 Diffusion

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Three Colours is the screenwriting miracle here because it begins with concepts that could have turned painfully stiff: liberty, equality, fraternity. But the creators never ask characters to represent an idea neatly. They force the idea into private life and let it become messy. In Blue, for instance, Julie (Juliette Binoche) thinks freedom means cutting herself away from grief, music, memory, and other people. The script understands how tempting that is. It also understands how impossible it is when love has already shaped too much of a person’s life.

White is the strangest middle chapter in the best way. Equality becomes divorce, humiliation, money, revenge, sexual pride, immigration, and a man trying to recover power after being reduced to nothing. Karol (Zbigniew Zamachowski)’s plan is morally ugly, funny, sad, and completely human. Red then opens the trilogy into connection without forcing romance where it does not belong. Valentine (Irène Jacob) and the retired judge (Jean-Louis Trintignant) become one of cinema’s great written relationships because their bond grows through attention, listening, judgment, shame, and curiosity. The crossings between the films feel delicate, never gimmicky. The final convergence is bold, yet the emotions have already earned it. This is the top masterclass because every film stands alone, and the trilogy becomes richer once you understand how precisely the three parts speak to each other.

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Three Colors: Blue

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Release Date

September 8, 1993

Runtime

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98 minutes

Director

Krzysztof Kieślowski

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Writers

Krzysztof Piesiewicz

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Bold and the Beautiful hasn’t seen a whole lot of Sheila Carter (Kimberlin Brown) lately, but that is about to change because Deacon’s estranged wife is back on screen now and making bizarre divorce demands about Steffy Forrester (Jacqueline MacInnes Wood) giving her visitation to her son and grandson.

But also, Sheila’s going to follow Steffy and Finn Finnegan (Tanner Novlan) to Monaco and they’re all part of a big remote shoot that just taped in Monte Carlo. We’re going to talk about how this Monaco storyline could change everything for a lot of people.

Bold and the Beautiful: The Monaco Remote Shoot

So, we know that Brad Bell and a handful of the cast went to Monaco for the annual Monte Carlo Television Festival. And while there, as they often do, they filmed on the French Riviera. And we have seen some leaked behind-the-scenes footage and a couple of photos of some dramatic Sheila and Steffy action.

In addition to Sheila and Steffy, actresses Kimberlin Brown and Jacqueline MacInnes Wood, there was also Ridge Forrester (Thorsten Kaye) along with Brooke Logan (Katherine Kelly Lang) and of course Steffy’s husband Finn. He is very important to this Sheila redemption arc. So, that’s why he’s along.

Brad Bell Shared B&B Info

And in addition to the leaked footage, showrunner Brad Bell did an interview and gave away some more tidbits about the arc they filmed there. He revealed that they filmed at the beach in the morning and that involves some of the leaked footage of Finn and Steffy and Sheila. And then Brad Bell said they filmed at a church in the afternoon.

And he also said it’s a secret story that involves Steffy, Finn, Sheila, Ridge, and Brooke. The Ridge and Brooke part, I don’t know how that ties back to Sheila. But the beach scenes are the ones that seem most important, and those involve Steffy, her husband Finn, and his biological mother, aka stalker Sheila.

So, Brad Bell said something happens that is going to change their lives forever. And it sounds like something amazing happens, which is not what you usually think when you think of Sheila Carter. So, with them filming at a church, maybe Steffy and Finn renew their vows, or maybe Brooke and Ridge do.

Whatever the reason they’re there, it looks like Sheila follows Steffy and Finn out of California all the way across to Europe because there’s no way any of the people that are involved would invite Sheila to join them. So, she’s stalking them. The leaked footage shows Steffy confronting someone on the beach and it looks like Sheila based on the dialogue and the action and who we know was filming on the beach. So obviously Steffy will be horrified to see Sheila there in Monaco.

Bold and Beautiful: Sheila’s Redemption Arc

This may be part of her redemption story considering all the changes we’ve seen with her character. Remember when she found out Deacon Sharpe (Sean Kanan) was having an affair with Taylor Hayes (Rebecca Budig), everybody expected Sheila to go nuts. Her usual reaction would be to come totally unglued and try and kill Taylor. They even hinted at Sheila doing that in the scenes with the knife in Taylor’s bedroom and then her murdering that pizza with the pizza cutter in Taylor’s office and spraying pizza sauce around like blood. But Sheila never laid a hand or a blade on Taylor.

And considering how much Sheila loves Deacon, it’s surprising how much grace that Sheila has shown. She voluntarily moved out of Deacon’s little apartment they shared once he said he wanted to be with Taylor. And Sheila’s left them alone since until very recently. That was when she barged into Taylor’s office, caught her and Deacon making out. And even then, Sheila didn’t go berserk. Instead, she came to talk to Deacon and Taylor about signing the divorce papers.

Sheila’s Request on Bold and Beautiful

Sheila is not making any alimony demand. She’s not asking for half of Deacon’s restaurant. Instead, Sheila asked Taylor to advocate for her with Steffy and Finn because Sheila wants access to her family. She’s lost Deacon and Sheila wants a place in her son Finn and grandson Hayes Finnegan (Bryan David Garlick) lives.

And Sheila told Taylor that she wants supervised visits twice a month with Finn and Hayes. And it sounds reasonable enough until you remember that Sheila shot Steffy and Finn both and left them for dead. However, Sheila wants Taylor to convince Steffy and Finn that they don’t have to be afraid of her. And Sheila said that’s the least Taylor can do since she stole her husband, Deacon.

Bold and Beautiful: Taylor in a Terrible Position

And honestly, I think it was fairly reasonable of Sheila. So, Taylor said she would do her best, but I’m betting she really doesn’t want to bring this up to Steffy. But since Sheila’s not come after Taylor for stealing Deacon, that may go a long way to softening up Steffy on this topic in the long run, but not the short run. I mean, if anything was going to send Sheila over the edge, it would be Deacon having an affair with Taylor, who Sheila considered to be one of her best friends. And she felt extremely betrayed by Taylor, even more so than I think she did towards Deacon. But Sheila still didn’t really lash out at all.

We already saw Steffy warming up a bit when Sheila saved Steffy from Luna Nozawa (Lisa Yamada) during that whole showdown at the beach house. You know, where Sheila lost another toe while saving Liam Spencer (Scott Clifton) and Steffy and others. And we saw things seemed friendlier when Sheila visited Liam while he was recovering from that brain issue. And of course, Sheila’s love for Luna kept ruining things with Deacon and others. But there was some real progress being made until Sheila found out Luna was alive because of Li Finnegan (Naomi Matsuda) and then she kept it a secret from everybody and then all that progress was lost.

Bold and Beautiful: Sheila Proves Herself to Steffy

But maybe Sheila can prove herself in another way. Aside from keeping her cool and not trying to kill Taylor for having an affair with Deacon, I’m betting whatever goes down in Monte Carlo proves to Steffy that Sheila really has changed and makes Steffy totally change her mind about Sheila or at least enough to let her in their lives on a probationary basis.

I suspect that Taylor’s going to talk to Steffy about Sheila’s supervised visitation request, which is kind of funny because Finn is a whole grown adult. So, does that mean another adult will be supervising Sheila’s time with her grown son Finn? Would Steffy be the one supervising? It’s not like they can bring in somebody else for that. But I’m sure when Taylor tells her that Steffy is going to say heck no, and that could be exactly why Sheila follows them to Monaco, she may want to plead her case in person to Steffy and Finn.

And Sheila may think it’ll be easier for them to speak with fewer distractions outside of Los Angeles. But of course, Steffy will be horrified to see that Sheila followed them on Bold and the Beautiful. And she may think that she’s there to cause problems. And it looks like Steffy spots Sheila and confronts her on the beach. She snatches something out of her hands. It looks almost like a scarf. Maybe she’s hiding and trying to, you know, go under the radar.

Bold and Beautiful: Sheila Saves SINN?

Brad Bell said they needed somebody to bring some trouble and they knew Sheila was the one to do it. There were also some behind-the-scenes photos of Sheila, Steffy, and Finn where the actors were going over lines. So, Sheila being there definitely is crossing lines, but I’m thinking Sheila may finally be truly changed and she gets the chance to prove it to Steffy with what happens in Monaco. I imagine that Sheila either saves Steffy or she saves Finn. Or if they go super duper soapy, maybe Sheila saves both Steffy and Finn.

Remember the last time they did a remote shoot over there, Ridge dived in and saved Brooke, who bounced right off of Nick Marone’s (Jack Wagner) boat. So, maybe Sheila will do something similar and we’ll swim out and save them from the undertow in the French Riviera. We’ll see. But everything changes in Monaco and Sheila may convince Steffy to give her a shot to be around Finn and Hayes.

Elliot Page is drawing attention after sharing new photos and videos from a boxing workout, with fans praising his muscular physique and dedication to fitness.

The actor, who has made boxing a key part of his routine, offered a glimpse into his training alongside coach Nolan Hanson while reflecting on the sport’s importance in his life.

Elliot Page’s physique showcase comes amid intense online debate over the actor’s casting in Christopher Nolan‘s upcoming adaptation of “The Odyssey.”

Page is earning praise from fans after sharing a glimpse of his fitness journey and the boxing training that has become a major part of his routine.

The actor recently posted a series of photos and videos on Instagram highlighting a workout session with New York boxing coach Nolan Hanson. In one image, Page posed alongside Hanson after training, while additional clips showed him working through a series of punches and drills inside the ring.

Accompanying the post, Page expressed gratitude for his coach, describing Hanson as a talented instructor and “brilliant teacher,” highlighting not only his ability to break down complex techniques but also his “strategic understanding of boxing and his thoughtful approach to the psychological side of the sport.”

The actor described training as an “essential” part of his life and encouraged others interested in boxing to give it a try, joking that they might become just as “hooked” on the sport as he is.

Fans Marvel At The Actor’s Boxing Physique After Backlash Over His Casting In ‘The Odyssey’

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The post quickly drew attention from followers, many of whom were stunned by Page’s athletic physique. Fans flooded the comments section with reactions, praising his dedication to training and physical transformation.

“BRO IS RIPPED,” one fan wrote, while another commented: “HOLY COW KING, you are absolute gym goals, congrats on what you’ve achieved!!!”

The praise for Page’s build comes amid harsh remarks over his casting in “The Odyssey,” alongside stars like Matt Damon, Zendaya, Lupita Nyong’o, Tom Holland, Charlize Theron and Anne Hathaway.

Most of the criticism was due to rumors claiming he would be playing the part of Achilles in the movie. At the time, social media was flooded with crude and transphobic comments attacking the actor.

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“The most famous warrior in all of history, not just Greek history, Achilles, is about to be played by a transgender woman in a brand new movie,” American TV host Rob Finnerty said in May, before proceeding to deadname the star, per The Tab.

The richest man in the world and X owner, Elon Musk, even joined the pile-on, commenting “Banger” in response to a post on his platform mocking Page.

All that internet fury ended up being for nothing as recent updates confirmed that Page is taking on the role of Sinon, who serves as a Greek warrior during the Trojan War.

Elliot Page Opens Up About His Love For Virtual Reality Workouts

Page has previously spoken about the role fitness plays in his life, particularly while traveling for work. In a 2023 interview with GQ, the “Juno” star revealed that he often relies on virtual reality workouts to stay active on the road.

“I bring that with me so then when I’m in a hotel, I can do it pretty much anywhere as long as there’s WiFi,” he said.

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Although he does not consider himself a traditional gym enthusiast, he said the interactive nature of virtual workouts makes staying active more enjoyable.

“I’m telling you, it’s a game changer. I can’t stress it enough,” he said. “I’ve gotten so many people hooked on this. I don’t know what I was doing before without it.”

Elliot Page Reflects On How Gender-Affirming Care Brought Him New Freedom: ‘The Joy I Feel In My Body’

For Page, his fitness journey has been about more than physical strength. He has also been open about what it means to finally feel comfortable in his own body.

Since coming out as transgender in 2020, the “X-Men” actor has spoken openly about the challenges he previously faced, particularly during the summer months. After undergoing gender-affirming top surgery, he shared a shirtless photo on social media in 2023 and reflected on how dramatically his relationship with his body had changed.

At the time, Page explained that “Dysphoria used to be especially rife in the summer,” especially during warmer weather, when hiding beneath layers of clothing became more challenging. He described the freedom of enjoying the sun without that burden as a feeling he never thought he would experience.

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“The joy I feel in my body. I am so grateful for what gender affirming care has allowed me, and I look forward to sharing more of my journey soon. #transjoy,” he wrote.

Elliot Page Reflects On Growing Up Queer And Feeling Isolated

That sense of self-acceptance has also shaped Page’s advocacy work. While promoting the documentary “Second Nature” in April, the actor reflected on growing up queer and the importance of visibility and representation.

Directed by filmmaker Drew Denny, the documentary explores same-sex behavior and gender diversity throughout the animal kingdom, challenging assumptions that such traits are unusual in nature.

The actor said he was drawn to the project because it examines information that has often been overlooked or excluded from mainstream education. He noted that many LGBTQ+ young people grow up feeling isolated because they rarely see themselves reflected in the stories and lessons they encounter.

Reflecting on his own childhood, Page recalled feeling alone and believing there was something wrong with him, emotions he said are common among queer people navigating stigma, censorship and a lack of representation.

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“And I think that sense of growing up as a queer kid and feeling alone — ’cause you feel like you are alone, even, of course, in retrospect, you’re not — you weren’t. You feel excluded, you feel like something’s wrong with you,” he said.

Page added that expanding conversations around gender and sexuality can help challenge narrow ideas about the natural world and encourage a broader understanding of diversity, both in nature and in human experience.

Young and the Restless huge news recently broke that head writer Josh Griffith is out at the CBS soap. As of now, Y&R is searching for his replacement while fans are celebrating his exit. I have not seen anybody on soap social media who is sad that this guy is out at Y&R.

In light of this major news, we’re going to talk about some changes that fans really want to see on Y&R when the new head writer starts to work.

Young and the Restless: Josh Griffith’s Exit and Viewer Concerns

Now, what we’ve heard is that their goal is to have the new writer in place for their material to start when Season 54 begins airing this October. Now, CBS claims it was Josh Griffith’s decision to leave, but I think there might be some nuance to that. We will likely never know if he was offered the chance to resign before the network took action. You know how that goes. Ratings are lackluster and fan criticism honestly seems to be at an all-time high under Josh Griffith and it gets worse by the day until we found out he was leaving and then it was a party.

So, now let’s talk about the fans’ wish list. We keep an eye on the comments here and on soap social media. So, let’s get into what people are saying they would like to see more of and less of when the new writer takes over now that Josh Griffith is headed out the door at last.

Young and the Restless: Fan Demands for Change

Let’s start with the most egregious thing on Y&R over the past few months. Way too much sexual assault. They brought back Matt Clark (Roger Howarth), a serial rapist, which is awful. Actor Roger Howarth is great. Love him. However, Matt walking free with no consequences is really tone-deaf.

On top of that, Victor Newman (Eric Braeden) paid Patty Williams (Stacy Haiduk) to kidnap and sexually assault Jack Abbott (Peter Bergman). And if that wasn’t enough, Josh Griffith decided, “Hey, let’s do it again.” And Patty’s forced her way into Jack’s life and is trying to force her way into his bed again. And now Josh Griffith called Phyllis Summers’ (Michelle Stafford) upcoming romance with serial assaulter Matt “delicious.” That’s the word he used to describe a rapist romance. Delicious. So, lots less of that, please. And less of Victor paying people to rape others.

Young & Restless: Kidnappings Excessive and Tiresome

Another thing fans would like to see so much less of are kidnappings. So many kidnappings. Cameron Kirsten (Linden Ashby) kidnapped Faith Newman (Reylynn Caster). We had Jordan kidnap Harrison Abbott (Redding Munsel) and Jordan kidnapped Sharon Newman (Sharon Case) and stuck her in a sewer.

Crazy Martin Laurent (Christopher Cousins) kidnapped Sharon and Phyllis and tormented them. Plus, more recently, Mariah Copeland (Camryn Grimes) kidnapped Dominic Chancellor Winters (Ethan Ray Clark). And then Victor had Patty kidnap Jack and now Patty had Diane Jenkins (Susan Walters) kidnapped. Fans would love it if the kidnappings could stop or maybe taper off to one a year, save them for, you know, special occasions.

Victor Always Winning — Y&R Fans Are Over It

Here’s another one. Fans are tired of seeing Victor Newman win in every situation. Fans are annoyed that he keeps doing all of these awful things to his family and to others, and he never faces backlash, never any consequences, even when Eric Braeden’s character does blatantly criminal things. There’s also the endless vendetta Victor has against Jack. It’s enough already. At this point, the rivalry is tired. It feels forced. And sometimes Victor’s antics are fun. Like when Victor locked Jordan in a cell and made her drink cheap vodka and eat Brussels sprouts. I liked that.

Phyllis Overused — Too Much Y&R Screen Time

Here’s another one. Fans agree we don’t need Phyllis on every episode. I like Michelle Stafford. I liked her on General Hospital too. However, a lot of fans were ticked off that the first thing Josh Griffith did when he took over as head writer in 2019 was to fire Gina Tognoni and brought back Michelle Stafford instead. And he did it in a really insulting way, as if firing her wasn’t bad enough. Josh Griffith said he was bringing back classic faces and returning to what made the show great. That was a low-key insult. And he definitely missed the mark on making the show great. We all know that.

Lots of fans were not happy with the Phyllis recast. And now the character is getting just way too much screen time. In the 20 episodes that aired in May 2026, Michelle Stafford was in 18 of them, followed by criminal serial assaulter Matt Clark, who had 17 out of 20 episodes. And yes, we all know each writer has their pets as fans call them, and it often frustrates viewers, but it would be nice to have some balance. It would be great if front-burner storylines weren’t always centered on the same people over and over.

Need for Younger Characters and Storylines on Young and the Restless

And that leads into the next concern fans have, and again, it relates to what characters are getting storylines. Young and the Restless doesn’t look so young or so restless anymore. It’s nice to honor your vets, but you can’t keep a show going when you lean mostly into your characters who are in their 70s and 80s, like Eric Braeden and Peter Bergman (actor), Melody Thomas Scott (actress), and others.

And I love them all. Lauren Fenmore (Tracey Bregman), Diane, Phyllis, and Michael Baldwin (Christian Leblanc) are in their 60s. Sienna Bacall (Tamara Braun), Nick Newman (Joshua Morrow), and Sharon are in their 50s. And we’ve got Chelsea Lawson (Melissa Claire Egan), Victoria Newman (Amelia Heinle), Billy Abbott (Jason Thompson), Cane Ashby (Billy Flynn), Daniel Romalotti (Michael Graziadei), Holden Novak (Nathan Owens), and Nate Hastings (Sean Dominic) all in their 40s. Holden’s got a baby face, but he’s in his 40s.

Give Other Generations More Screentime

It’s great to have vets. You don’t want them gone or anything. Fans don’t want them gone, but the new head writer needs to put young back into Young and the Restless and focus on younger characters in their 40s and younger.

There’s some in their 30s. Sally Spectra (Courtney Hope), Adam Newman (Mark Grossman), Devon Hamilton (Bryton James), Abby Newman (Melissa Ordway), Tessa Porter (Cait Fairbanks), Audra Charles (Zuleyka Silver), Noah Newman (Lucas Adams), Mariah Copeland, and Kyle Abbott (Michael Mealor), but we don’t see all of them regularly. And the only one in their 20s is Claire Grace Newman (Hayley Erin).

So, this is something that other soaps do much better. On General Hospital, they bring in new hires, usually in their late 20s, early 30s for the steamy, romantic stuff. Days has an active teen/young 20s scene. Bold and the Beautiful has been bringing in young blood as well, and the younger ones on Y&R don’t get as much screen time as the vets.

Underutilized Talent on Y&R

So, another fan complaint is not using the talent they have. Fans would like to see more of Adam, but in a meaningful way with a front-burner storyline of his own. Sharon never gets her own storyline. She’s almost a prop in most scenes. And Mariah and Tessa have evaporated altogether. So fans would like to see more action and age up Billy and Victoria’s kids. Recast Faith and bring her back. Bring in Lily Winters’ (Christel Khalil) twins, age them up a bit, have a whole 20s set. They could also age up Johnny, Connor, and Christian to create a teen scene and then hire some young female characters as part of that teen scene.

Romance and Chemistry — Severely Lacking

And last but not least, one of the reasons we watch soaps obviously is for the romance. And we don’t get a lot of that on Young and the Restless. They have teased a Nick and Sharon reunion for literally the past couple of years without delivering. For heat, we get Sally and Billy sometimes and Holden and Claire doing some sexy stuff now and then, but we don’t get a lot of affection and romance and we get very little steam.

They’re wasting Audra who’s super hot and Nate, he’s a sizzling hunk. No action there. Neither of them have been dating in way too long. Yet, we’ve got Diane trying to flirt her way out of captivity with that creepy Dr. Markham. And Patty is lusting over Jack every day. But we don’t have, you know, the super sexy younger set. And I appreciate mature romance. I do. But you also need to balance it.

Young and the Restless: What the New Head Writer Should Be

So, what I really hope is that they bring in somebody new to replace Josh Griffith. Usually soap writers rotate from show to show and so you get the same kind of stuff over and over. Josh Griffith himself has written at Young and the Restless, General Hospital, Days of our Lives, One Life to Live, and several other cancelled soaps. And I’ve seen some fans mentioning Ron Carlivati, but honestly, no. He’s another that’s been around the block too much and was shown the door at Days recently.

It might be interesting to see them bring in a younger writer, somebody from outside soaps, but that has experience writing for TV, somebody with an eye for romance, drama, some edge, so we don’t get the same old recycled storylines that soaps are known for.

Thinking outside the box, I’d love to see a woman as the head writer, somebody younger, like Kourtney Kang, maybe. She’s in her 30s. She’s written for Fresh Off the Boat, How I Met Your Mother, and she did a Doogie Howser reboot that was set in Hawaii with a female lead. She has a whole different sensibility, and I think that’s what they need.

By Robert Scucci
| Published 19 seconds ago

In Back to the Future, Marty McFly steals music from Chuck Berry, assuring everybody that their kids are going to love it. 2022’s LOLA steals this joke from Back to the Future, but this time we get a big band rendition of The Kinks’ “You Really Got Me.” That could sound like lazy writing, but now that I think about it, it’s actually kind of brilliant.

The whole movie takes place in 1940s London, as World War 2 continues to escalate. Thanks to the titular device, a television set that can play broadcasts from the future, our protagonists may actually be aware of Back to the Future, and want to have their own moment paying homage to something nobody else knows exists.

It’s not all fun and games in LOLA, though, because we learn how dangerous precognition can actually be when you can simply turn on a TV and see how much the future changes once you start calling the shots. One day you’re stealing somebody’s intellectual property before they’re even known for it (or as I call it, “reverse plagiarism”), and the next you’re relaying military strategy to government officials, wondering if you could use the device to win the war with minimal casualties.

While I’ll admit that LOLA’s time travel logic is hard to wrap your head around, it wins some serious points as a period piece. If you didn’t know better and caught it on TV without any context, you might actually think it was a production from the 40s or 50s.

A New Way To Channel Surf

LOLA centers on two orphaned sisters named Thom (Emma Appleton) and Mars (Stefanie Martini), who live alone in the remote English countryside. Always the tinkerer, Thom realizes she’s created a time machine of sorts, but it’s not the kind that can transport physical matter. This particular time machine is a TV set that can watch broadcasts from the future, and the sisters mostly use it to discover new music. This is how Mars discovers David Bowie, and probably how Thom learns about The Kinks.

The sisters don’t use the device for much else until the threat of invasion breaks out around them, when they realize they can warn civilians about incoming raids, potentially saving thousands of lives. When discovered by the military, Thom and Mars are confronted by Lieutenant Sebastian Holloway (Rory Fleck Byrne), who, with the help of his superior, Cobcroft (Aaron Monaghan), grants them access to military frequencies.

Right away, we see the positive impact Thom and Mars have on the war. German strikes are intercepted, and countless casualties are prevented thanks to their LOLA device. But suddenly, David Bowie no longer exists, and Mars is horrified to learn that fascist pop sensation Reginald Watson (Shaun Boylan) is dominating the airwaves.

Making matters worse, when Mars and Lieutenant Holloway become romantically involved, Thom begins alienating them, often spending long stretches of time with her TV time machine, altering the future in ways that are irreversible and horrifying.

Brilliantly Shot

I’m not going to get too bogged down with the time travel semantics in LOLA because it sticks to its own internal logic, and it does it well. It doesn’t overexplain the causality chain, so you’re allowed to just sit back and watch how the characters cope with the kind of responsibility that’s been bestowed upon them.

What’s far more interesting is how LOLA was shot. It’s a strange mix of found footage and conventional filmmaking, shot entirely in black and white. While I would love to see how well this movie pops in full color, it’s better this way because of how archival footage is used. We get real shots of people in the streets, along with wartime footage from the 40s, all of which integrates seamlessly into the storytelling.

When I looked up the credits to see who was playing Hitler and Churchill because they looked like their identical twins, I was shocked to find out I was just watching real-life footage folded into this fiction to sell the illusion.

LOLA is a tight, 79-minute sci-fi thriller that has so much fun with its set and sound design. It feels like a piece of lost media in the best possible way, like writer-director Andrew Legge was actively working in the 50s, and this was his sci-fi revisionist history film about the previous decade. As of this writing, you can stream it for free on Tubi, and if you’re a fan of time travel paradoxes and classic rock, this one’s just begging to be watched.

Action stars Tom Cruise and Jason Statham have only shared one onscreen appearance. It was in the classic 2004 Michael Mann thriller Collateral, when Statham’s character bumps into Cruise’s hitman, Vincent, at the airport. The scene was interpreted as a reference to Statham’s longtime Transporter character, Frank Martin. Since then, Statham and Cruise have both established themselves as big-screen action heroes, with Cruise starring in multiple installments of the Mission: Impossible franchise as Ethan Hunt. Meanwhile, Statham’s action movie roles are too numerous to mention. However, the actor’s turn as the villain of the Fast & Furious franchise in Furious 7 cemented his action movie icon status, and with both actors dominating the genre for so long, they need to star in a movie together!

Jason Statham Became One of Hollywood’s Biggest Action Stars

After cutting his teeth in memorable crime comedies from Guy Ritchie, such as Lock, Stock and Two Smoking Barrels and Snatch, Statham quietly built up his action movie cred throughout the 2000s and 2010s. Statham truly broke out as an action star with the 2002 Louis Leterrier film, The Transporter, which became a hit and launched a franchise for the actor. Statham would continue action hero roles with other hit movies throughout the decade, including the 2003 blockbuster, The Italian Job, Transporter 2, and Transporter 3.

Statham maintained his success well into the next decade, as he’d star opposite Sylvester Stallone in the global hit action franchise, The Expendables, with the sequel bringing together such luminary genre staples as Stallone, Bruce Willis, Arnold Schwarzenegger, the late Chuck Norris, Jet Li, Dolph Lundgren, and Jean-Claude Van Damme. Additionally, Statham proved to be a multi-talented and versatile actor, demonstrating a sense of humor by starring in the irreverent comedy Spy, opposite Melissa McCarthy, where he riffs on his own popular big-screen persona. Statham’s role in Spy proves that his incredible presence and unique charisma translate to multiple genres, including comedies. However, Statham rose to another level when he joined another blockbuster franchise in 2015.

‘Furious 7’ Changed Jason Statham’s Career Forever

After being teased in the mid-credits scene in Fast & Furious 6, Jason Statham officially joined the cast of the Fast & Furious franchise in Furious 7, appearing as the formidable Deckard Shaw. Shaw was out for revenge against Dominic Toretto (Vin Diesel) and his “family” after they took out and horribly injured Shaw’s brother, Owen Shaw (Luke Evans), in the previous movie. It was revealed that Shaw was also the individual responsible for the “death” of Han Seoul-oh (Sung Kang) way back in The Fast and the Furious: Tokyo Drift. Statham and Diesel delivered an incredible rivalry in the movie, which was crackling with machismo energy, and Deckard Shaw became one of the best villains in the franchise to date.

Because Statham’s arrival helped inject fresh energy into the franchise, Furious 7 became the franchise’s highest-grossing movie in history, earning more than $353 million domestically and over $1.5 billion worldwide. The franchise basically peaked with Statham’s official Fast & Furious debut, providing an epic confrontation between Statham and Diesel’s characters. Shaw proved so popular that the character became a franchise mainstay, joining the team in the later movies and receiving his own spin-off feature, Fast & Furious Presents: Hobbs & Shaw. With his stardom rising after appearing in Furious 7, Statham effectively proved he could go toe to toe with other big box office titans such as Dwayne Johnson, Diesel, Idris Elba, and other A-listers. But there’s still one huge A-lister against whom Statham hasn’t had a starring role in the same movie: Tom Cruise.

Tom Cruise Needs Jason Statham as His Next Co-Star

Image via Universal Pictures

We’ve had many great action movies starring Cruise and Statham, but we’ve never seen that singular great movie that puts their charisma together for the entire experience. True, they shared one brief scene in Collateral back in 2004, but that was only a small tease of what Cruise and Statham could do if they played off one another on the big screen. Statham and Cruise are both born movie stars, so the magic they could create if they starred opposite one another is electric.

Both actors are so charismatic that they would likely bring out the best in each other if they shared scenes and dialogue in an action-heavy plot. It wouldn’t be surprising if they were rivals or bitter enemies in a theatrical pairing. However, a movie that pits them together as unlikely partners, using the buddy movie trope, would also be a lot of fun. Statham and Cruise are both incredibly capable talents who can display pathos, gravitas, and introspection with their roles, so they could easily handle more serious and dramatic moments as well. It would also be interesting to see how Statham and Cruise interact during more emotionally serious narrative moments. Whether they’re enemies, reluctant allies, or rival spies, it’s surprising Hollywood has waited this long to pair two of modern action cinema’s biggest stars. It’s a movie that practically sells itself.

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Birthdate

July 26, 1967

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Birthplace

London, England, UK

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Years before being cast on Love Island USA, Tierra “Titi” Davis was accused of threatening a girl in high school who she apparently believed was romantically involved with an ex-boyfriend.

According to court documents obtained by Us Weekly on Tuesday, June 30, a woman named Shayla Woodard filed a restraining order against Davis all the way back in 2018, claiming she was physically assaulted on October 2 of that year.

“She threatened to shoot me with a gun the next time she saw me,” Woodard claimed in the court documents. “I live with my mom and my baby brother, and this is who I am with most often. They could be struck with a stray bullet in the line of fire.”

Woodard said she didn’t know Davis personally and described her as a “friend of a former classmate of mine from another school.”

She claimed the alleged harassment occurred in September and October 2018 before things got physical.

“[I was] hit multiple times in face, arms and upper body,” Woodard claimed in court documents before sharing other alleged elements of harassment. “Threatening phone calls, Instagram messages, texts, Snapchat messages. … I could not concentrate.”

As for what led to the conflict, Woodard suspected that it may have been over a guy.

“I know her ex-boyfriend (they are no longer dating) but he and I are not dating even though that’s what she suspects,” she claimed in court documents. “She started harassing me by phone earlier that day on 10/2/18 …. where she kept asking me where I went to school. …She was going to come find me.”

Although a temporary restraining order was granted, the case was later dismissed by a judge in December 2018 who looked at evidence presented by both sides. (TMZ was first to report the news.)

Us has reached out to Peacock for comment.

Davis entered season 8 of Love Island USA earlier this month as part of Casa Amor. The contestant — who described herself as a nanny, model and dancer — formed a strong connection with KC Chapman, who was previously coupled up with OG Islander Aniya Harvey.

When Chapman chose to pursue Davis instead of Harvey, many cast members expressed their disappointment at the match.

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Davis, however, stood up for her new man and told some of the islanders, “You can pipe down, I’m Titi!”

Keep watching the drama unfold when new episodes of Love Island USA are released six days a week — except for Wednesdays — on Peacock at 9 p.m. ET.

Join Us Weekly and Bracketology.tv in our first-ever Love Island USA fantasy league! This is your chance to predict who you think will win Season 8 and rank the Islanders weekly based on how confident you are that they will survive the next elimination. You will be playing against our editors, get access to exclusive content and have the chance to win fun prizes. Sign up for free today!

Dave Portnoy is revisiting one of the biggest podcast controversies in internet history, and according to the Barstool Sports founder, there’s a major piece of the story fans never heard. During a recent interview, Portnoy looked back at the explosive 2020 breakup between “Call Her Daddy” hosts Alex Cooper and Sofia Franklyn, revealing new details about the behind-the-scenes negotiations that nearly brought the wildly successful podcast to an abrupt end. According to Dave Portnoy, what unfolded behind closed doors was far more complicated than the public realized.

At the height of the dispute, Cooper and Franklyn halted production on “Call Her Daddy” despite still being under contract with Barstool Sports. The standoff quickly became one of the most talked-about media stories of 2020, with fans closely following every twist in the battle over ownership, contracts, and creative control.

Dave Portnoy told TMZ Live that he attempted to resolve the situation by presenting what he considered one of the most generous offers Barstool had ever made. According to the Barstool founder, the proposal included higher compensation, a shorter contract term, and a path toward eventual ownership of the podcast. The offer was designed to address many of the concerns Cooper and Franklyn had raised during negotiations.

Portnoy Claims A More Alarming Proposal Emerged During Negotiations

While discussing the fallout, Portnoy revealed what he described as the most surprising moment of the entire saga. According to him, after Cooper and Barstool began working toward a resolution, she later disclosed that there had allegedly been discussions about using toxic workplace allegations as a way to escape the existing contract. Portnoy said the revelation caught him completely off guard and remains one of the most shocking details he remembers from the dispute.

The Barstool founder did not provide additional specifics about the alleged conversations, but said the information immediately stopped him in his tracks.

The ‘Call Her Daddy’ Breakup Changed The Podcast Industry

The public split between Cooper and Franklyn became a defining moment in podcasting and influencer culture. After the partnership unraveled, Cooper remained with Barstool and continued hosting “Call Her Daddy” solo before eventually taking the show to new heights. She later signed a reported $125 million, three-year deal with SiriusXM, cementing herself as one of the most successful podcasters in the industry.

Franklyn, meanwhile, launched her own independent show, “Sofia with an F,” and built a solo brand following the breakup. And years later, the feud remains one of the most dissected creator disputes in digital media.

Alex Cooper Is No Stranger To Public Creator Feuds

Portnoy’s comments come as Cooper has recently found herself involved in another high-profile falling-out in the influencer world. In 2023, Cooper launched the Unwell Network, a media company aimed at younger audiences. One of the network’s first major signings was social media star Alix Earle, who debuted her podcast “Hot Mess with Alix Earle” shortly afterward.

The partnership appeared successful on the surface, but things changed in early 2025 when Unwell dropped Earle and her podcast. While Cooper initially stated the split was amicable and that Earle retained full ownership of her intellectual property, tensions later spilled into public view.

Alex Cooper And Alix Earle’s Dispute Played Out Online

The disagreement escalated when Earle began interacting with social media posts that criticized Cooper and the Unwell Network. Things reached another level when Earle reposted a TikTok that compared Cooper to an “ambulance chaser” and the “grim reaper,” accusing the podcast star of “profiting off of women’s heartaches.”

Cooper eventually addressed the situation publicly, calling on Earle to express any issues directly rather than through indirect social media activity.

Portnoy’s latest comments arrive as he promotes his newly released book, “Cancel Me If You Can,” which chronicles many of the controversies and business battles that have defined his career. And judging by his latest revelations, the “Call Her Daddy” breakup remains one of the stories he’s still eager to discuss.

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No matter the medium, there is something inherently charming and fascinating about science fiction that makes it a highlight of just about every art form. While many people immediately think of great sci-fi blockbusters as some of the best that the genre has to offer, there are actually a wide array of masterful sci-fi video games that tell even greater stories with more vast, intricate worlds.

While it’s arguable whether these games are greater than the absolute best blockbusters, they overwhelmingly stand head and toes above the average movie that only grazes the potential of the genre. These games, however, bring sci-fi to its absolute limits in terms of compelling player experience, delving into intricate worlds with great characters and unmatched immersion. For many gamers, these titles are some of the absolute best sci-fi experiences across all forms of media.

‘Doom’ (2016)

Image via Bethesda Softworks

The Doom franchise has always had an impactful niche, being one of the first truly great first-person shooters and having an instantly compelling world to get the player invested. Simply playing as a ruthless space marine fighting off against legions of undead and demons is the type of concept that provides untold amounts of fun and high-energy glory for players. While many games in the Doom franchise revel in the glory of their gameplay, the initial reboot game from 2016 is arguably the best in this regard.

The major innovation that makes Doom so compelling and more high-energy is the “Glory Kill” mechanic, incentivizing players to be aggressive in their playstyle and chain kills, being rewarded for fast, frantic gameplay. It gives the game a distinct identity, revitalizing the franchise in its success and elevating the stature of Doom into the modern age.

‘Star Wars: Knights of the Old Republic’ (2003)

Image via BioWare

While Star Wars has stood for decades as the face of exceptional sci-fi blockbusters in film, it has also achieved great success in other mediums. In the world of Star Wars video games, however, Star Wars: Knights of the Old Republic is the undeniable king, telling a vast sci-fi RPG experience with a story that even rivals the best that the films have to offer.

This prequel to the entire franchise sets itself apart from the actual films by delving more into the mythos and the continuous struggle between Jedi and Sith, with the player traveling across the galaxy, customizing their character, and choosing whether to journey down the path of the Light Side or the Dark Side. It features a lot of the classic strengths of Bioware RPGs, combining them with the glory and passion of Star Wars worldbuilding to create one of the best RPGs of the 2000s.

‘Titanfall 2’ (2016)

Image via Respawn Entertainment

While the original Titanfall was an effective concept with a well enough execution on the concept of a massive multiplayer shooter where players engage in futuristic mech combat, Titanfall 2 acts as the fully realized height of the concept. It builds upon the strengths of the first game to a point of near-perfection, adding a wildly entertaining single-player campaign while further delivering on the same competitive multiplayer greatness.

The game focused much more on heightened movement and a sprawling world that help it stand out among its sci-fi first-person shooter peers, leaving players deeply invested in its world as they pilot mechs into the height of combat. It also helps that its core PvP gameplay loop is some of the most satisfying and effective gameplay that first-person gaming has to offer, with layers of depth and exceptional passion oozing out of every aspect of the gameplay.

‘Outer Wilds’ (2019)

Image via Mobius Digital

While the sci-fi genre is often associated with massively sprawling budgets and AAA gaming, there are also many exceptional indie games that capture the vast scale and limitless possibilities of the genre; Outer Wilds is easily the best in this regard. This exceptional indie game sees the player exploring a planetary system that is stuck in a 22-minute time loop, resetting after the sun goes supernova and destroys the entire system. Through repeated attempts, it becomes up to the player to investigate the alien ruins to discover the cause of the time loop and how to stop the supernova.

Through its simple yet immediately engaging premise, Outer Wilds does an exceptional job of hooking the audience and keeping them captivated, with effective puzzles slowly revealing more truths as to the nature of this doom-fated solar system. It has had a lasting impact on those who experience it, utilizing the strengths of sci-fi and space exploration to create a true work of art only possible in the realm of video games.

‘Half-Life 2’ (2004)

Image via Valve

The original Half-Life was already a massively celebrated icon of first-person shooters and immersive sci-fi storytelling, but Half-Life 2 amplifies the strengths of the original to create what was a generational leap forward for the video game industry as a whole. With exceptional worldbuilding, control over the player at all times and even during cutscenes, and a physics engine that encourages interactions with the environment, first-person games were never the same after Half-Life 2.

This prominent Valve sequel has stood as one of the company’s greatest games ever since its release, with the dynamic combination of a ruthless dystopian world and high-tech sci-fi technology creating a timeless classic first-person experience. The game has a substantial legacy that has stood long after its release, often considered one of the most important technological advancements for the industry and one of the best games of the era.

‘Halo: Combat Evolved’ (2001)

Image via Microsoft

Xbox wouldn’t be nearly the titan that it is today without the success and impact of Halo, with Halo: Combat Evolved still holding a special place in the hearts of many gamers. Whether it’s the exceptional single-player campaign where Master Chief faces off against the Covenant in a fight for humanity, or the endlessly entertaining multiplayer modes, Halo: Combat Evolved has been one of the faces of sci-fi gaming ever since its release.

Even as the franchise has had a myriad of subsequent releases and growth over the years, there’s something special and full of charm about the original game that continues to make it such an icon of not just gaming, but the sci-fi genre as a whole. It features some of the most intricate and recognizable characters and locations in shooter game history, with its prominent world playing a major part in its continued legacy and recognition.

‘Metroid Prime’ (2002)

Image via Nintendo

The defining sci-fi franchise from Nintendo, Metroid Prime proved to be one of the all-time greatest jumps to 3D for a franchise, taking the vast exploration and alien threats of the Metroid franchise and giving them a new coat of paint in this first-person action-adventure masterpiece. This exceptional GameCube game was one of the greatest system sellers for the console, standing toe-to-toe with the other sci-fi masterpieces of the era with a perfect balance of action, puzzle solving, and an expansive world.

The game is much more action-packed and mature compared to the traditional Nintendo experience, yet it still has the same passion and labor of love that make so many Nintendo games genre-defining classics. Metroid Prime is the type of exceptional masterpiece that other adventure games find massive inspiration from, pushing the medium forward with pitch-perfect execution in every regard.

‘Mass Effect 2’ (2010)

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Mass Effect 2 arguably accomplishes one of the greatest feats in sci-fi video game storytelling, featuring one of the most impressive and vast branches of possible stories, with no two playthroughs ever feeling the same. With so many memorable characters to interact with, as well as building off of the growth and decision-making of the previous game, Mass Effect 2 is the definitive masterclass of character and passion within a video game story.

The game has stood as one of the quintessential sci-fi video game masterpieces ever since its release, creating a sprawling, highly engaging action RPG experience from beginning to end. It almost had an indirect adverse effect on the rest of the franchise, as no subsequent entry has even come close to the impact and exceptional feel that Mass Effect 2 has from beginning to end.

‘BioShock’ (2007)

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The perfect example of a vast, original dystopian world in video games, BioShock and its exceptional exploration of monolithic utopian thinkers in the city of Rapture make for one of the most artistically rich and powerful video game narratives, especially for the era in which it was released. BioShock features great variety in its gameplay, with high-octane action, terrifying tense-fueled moments, and intricate puzzles coming together to create one of the most original gaming experiences of the Xbox 360/PS3 era.

Even after a complete trilogy of BioShock games, the mixture of timely social messaging and intricate storytelling still makes the film a celebrated achievement for gaming culture. It’s the undeniable height of sci-fi dystopian storytelling, telling a story that rivals the very best sci-fi movies in its stature and has one of the most emotionally touching endings in video game history.

‘Portal 2’ (2011)

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It takes a lot to follow up a game that was already considered one of the best games of the generation, yet Portal 2 expands and improves upon the already perfect strengths of Portal to create the definitive puzzle game masterpiece. With new puzzle elements, overwhelming characters and charm at each moment, and a deeper examination into the world as a whole, Portal 2 is the perfect video game sequel from which all other sequels should find inspiration.

The game’s amazing writing isn’t just better than most other video games, but rivals the very best sci-fi movies with its masterful pacing and overwhelming passion. Characters like GLaDOS, Wheatley, and Cave Johnson are among the most memorable and charming in video game history, with their dialogue adding so much character to the masterfully concocted portal-based puzzles that fuel the game. Portal 2 is a perfect puzzle game that consistently delivers amazing sci-fi greatness.