Entertainment
Love Backrooms But New To Analog Horror? Here’s The Primer You’re Looking For
By Robert Scucci
| Published
A couple years ago, I fell into an analog horror rabbit hole and never looked back. When the original The Backrooms shorts were uploaded to YouTube, I was hooked on the strange subgenre that’s been made possible by countless young filmmakers who grew up online and have an intimidating grasp of genre blending, building out mythology with their audiences in real time, and posting their art straight to YouTube instead of taking more traditional paths.
Analog horror is punk rock, and it’s a movement that I’ve been rooting for since I became aware of it. Admittedly, I’m late to the party and have only begun to scratch the surface, but I’ve been obsessed with the subgenre long enough to point your attention toward the essentials, because the past is prologue.
My goal here is to put together an analog horror primer because the subgenre now has mainstream attention, and there will be plenty more where that came from. There are so many talking heads on YouTube and Instagram who are angered by the fact that people are comparing Backrooms to Skinamarink, but there’s one very important thing to take away from this: analog horror operates on a wide spectrum, using liminal space, “lost media,” and internet folklore to drive its storytelling.
Not all analog horror is created equal, so I’m going to break it down for you (in no particular order because these are wildly different and impossible to rank) so you know what kinds of flavors are out there if you enjoyed Backrooms but want to keep digging.
Skinamarink
Kyle Edward Ball’s Skinamarink is an endurance test at 100 minutes for the kind of story it’s trying to tell, but it’s an early feature-length experiment that introduces some of the visual language you’ll find throughout analog horror. Set in 1995, the film centers on two little kids, 6-year-old Kaylee (Dali Rose Tetreault) and 4-year-old Kevin (Lucas Paul). One night, while their parents are absent (you find out why later), all the doors and windows in their house disappear, and they only have each other and the glowing TV in the room to keep them company. They build forts in the living room and try to make the best of the situation, even though they hear menacing voices from upstairs that sound like disembodied versions of their parents.
Filmed in its entirety for $15,000 in Ball’s childhood home, Skinamarink is a slow-burn nightmare told through the perspective of frightened children. You see everything at their eye level, and the only lighting comes from either a nightlight or their glowing TV. You think you might see a face in the shadows, but it could all be in your head. It’s a picture-perfect representation of that nameless, endless fear you feel as a child when you’re left alone for the first time and hear strange noises. It’s fear without articulation, which is the most frightening thing of all.
While you need to be built differently to enjoy Skinamarink because it’s a challenging film, it’s a solid entry point for analog horror because it’s set in the ’90s and boasts the VHS aesthetic that most filmmakers in this wheelhouse latch onto. If you’re a millennial approaching middle age, Skinamarink is nostalgia for a simpler, pre-digital time, but also a reminder that existential dread transcends technology.
The Mandela Catalogue
Conceived by YouTuber Alex Kister during the COVID lockdowns, The Mandela Catalogue is the finest example of mixed-media use in analog horror. Taking place across the ’90s and early aughts, the story follows the fictional Wisconsin community of Mandela County, which has been plagued by doppelgangers known as Alternates who slowly replace people by driving them to suicide and then taking their form. There’s religious imagery everywhere, often presented through creepy lost media cartoons depicting the Archangel Gabriel, and there’s a healthy amount of found-footage filmmaking here too.
It’s not worth breaking down the character dynamics here because the web series gets quite convoluted, and it’s one of those things you’re better off experiencing for yourself. Through Emergency Broadcast Systems, computer screens, GPS devices, and camcorders, you’re slowly clued into how far gone the community has become, giving you reason to believe these Alternates have humanity outnumbered and the government has pretty much given up on intervening at this point.
The Mandela Catalogue is still going strong, and it’s very much a community experience. Most people heard about it through reaction videos, and the lore keeps building, with the most recent installment arriving this past March. Half the fun is discussing everything in the comments section, where people are surprisingly receptive to fan theories and turning literally everything into a meme.
No Through Road
Taking a more traditional found-footage approach, No Through Road has four installments that span several years, even though their collective runtime barely cracks 30 minutes. There’s really not much going on here, but it’s executed with such care and precision that I consider it one of the most frightening versions of the “kids with a video camera” setup the genre has to offer. It’s also worth noting that the series’ creator, Stephen Chamberlain, was just 17 years old when the first installment dropped.
No Through Road tells a simple story about a group of teenagers on a late-night drive who take a private access road that sends them into an unending time loop, where a masked man constantly torments them.
That’s pretty much the long and short of it, aside from one key detail that really sells it for me: we didn’t get a second installment until two and a half years after the first one, which was posted to YouTube as legitimate found footage. While it’s obvious that this was an art project, Chamberlain was smart enough to use the early days of YouTube to build out the lore. Like The Blair Witch Project had everybody believing it was real because the internet wasn’t what it is today, Chamberlain didn’t have that luxury and instead cloaked the whole thing in mystery by updating sparingly.
It’s kids being kids, experiencing a trauma sourced from some uncanny plane of existence, and then radio silence until Part 2 came out. From June 2009 to August 2012, we got four videos, and that’s it. You eventually learn how their relationships broke down between installments, but the wait between releases, coupled with online communities obsessing over every new development, certainly added to its allure when it was first making the rounds.
VCR Willie
A recent analog horror entry that’s still ongoing, Alexander Henderson’s (Alexanderthetitan) VCR Willie is found footage with an added layer of abstraction that makes the entire thing horrifying.
Aside from a quick explanation from Alexander, we’re presented with found footage taking place in an apartment that’s cursed by some sort of supernatural entity. According to Alex’s explanation, he woke up one day and found a Sony Handycam in his closet with a tape inside. He’s suggesting that whatever is on each tape is what he witnessed the during his dreams the night before; there’s no sign of him going out and filming any of the footage himself.
And what’s in the footage, you ask? Creepy, creepy people, all of whom live in Apartment #40. The footage suggests that these people know who Alex is, and he’s invited into their homes to help them deal with supernatural entities that, much like the ones seen in The Mandela Catalogue, are either doppelgangers or have taken over their hosts outright. The story isn’t told in chronological order, and we only see what Alex has access to through his tapes. What he does have access to, though, is terrifying.
It’s mostly just people staring through your soul and hiding behind objects that are far too small for them, as if they’re not yet familiar with the dimensions of their new bodies, but for some reason it’s completely unnerving. Imagine coming home and seeing somebody who looks like a member of your family standing behind an open kitchen cabinet as if they’re hiding from you while laughing quietly, and they genuinely think you can’t see them. It’s the constant feeling of being watched, and never feeling safe, that makes VCR Willie such an effective effort.
Kepther E
“Kept Here,” stylized as Kepther E, falls into what’s known as the Alternate Reality Game (ARG) subgenre, making it a little more complicated than typical found-footage horror. It was so shocking at the time of its release that it was removed from the internet, but has since been restored through The Internet Archive and various YouTube compilations.
While it initially seems like a mass upload of unrelated found-footage content, you’ll find clues in the upload names that help you piece everything together chronologically (some people have uploaded them in order), and you’ll gradually start to understand what’s actually at stake.
Kepther E is mostly told from the perspective of a troubled teen named Alex, who’s often influenced to do terrible things by his unseen friend, Kevin. The tone and shooting style change depending on the upload prefix attached to each video, but they all lead to the same horrifying place: an abandoned house where it’s implied people are being held captive and tortured, as if it’s all part of some grand cinematic experiment that hasn’t yet been completed.
As each camera source pushes the narrative forward, we learn how everybody is connected, and it’s not for the faint of heart. I haven’t watched this series since I last wrote about it, and I still hear some of those distant screams in my head because they sound so genuine that it’s hard to shake them from your memory.
Indistinct Chatter
Falling into the “lost media” wheelhouse, Indistinct Chatter is a stop-motion experience created by YouTuber KrainagrzybowTV. The whole thing plays out like a bad fever dream, the kind you have when you fall asleep in front of the television and the line between your consciousness and subconsciousness starts to blur. Nothing seems real, but it feels like it’s all calling out to you.
Indistinct Chatter exists in that uncanny valley where you want to believe everything you’re seeing, but you know it’s all an illusion. I can’t say there’s really a point to this one beyond conjuring up the same kinds of memories that films like Skinamarink try to make you experience again as an adult. There’s nothing outright scary here, but there’s a nameless dread lurking around every corner, making you wonder if you’re watching somebody else’s dreams that you’re not supposed to see.
It’s really breezy too, clocking in at just over 30 minutes. Before I get to my last recommendation, I’m going to stop here for a second and tell you that if you’re not built for this one, you definitely won’t be built for the next one.
Buffet Infinity
I watched 2025’s Buffet Infinity for the first time last week because it only recently started making the rounds on digital, and I have not stopped thinking about it since. Buffet Infinity is reminiscent of, and openly inspired by, another analog horror web series known as Local 58, but it completely does its own thing. Local 58 tells its story through public access broadcasts, but the horror comes from the fact that WCLV-TV is repeatedly hijacked by supernatural entities trying to use media to manipulate the population into doing terrible things, including committing suicide.
Buffet Infinity pushes this kind of storytelling to its absolute extreme with a premise involving a sinkhole, a death cult, and a sentient restaurant of unknown origin that’s constantly expanding and consuming the surrounding community. It’s 100 minutes of the kind of public access commercials you used to see on local cable during the late ’90s and early aughts.
While watching 100 minutes of commercials sounds exhausting (and it is), what happens next is what makes this such an effective piece of analog horror. The actors in each commercial, whether they’re representing a law firm, insurance company, or pawn shop, all become vaguely aware of the titular restaurant’s presence and influence. They’re speaking in an almost coded language, trying to warn you about what’s happening.
Meanwhile, Buffet Infinity keeps growing, gets into scraps with rival businesses, and becomes increasingly unhinged until the whole thing boils over into a cosmic horror so all-consuming that you need to walk it off for a good minute.
Plenty More Where That Came From
Listen, there’s plenty more where that came from, and I’ve only begun to scratch the surface. The thing about analog horror is that it has so many different flavors that you can’t lump it into a single category. I hope this primer points you in the right direction and shows you some of the common themes that run throughout the subgenre.
Analog horror specializes in liminal space, found footage, lost media, and our fear of the unknown. It’s been largely produced by kids on YouTube who know what they want to see but haven’t found it anywhere else. It’s the future of horror, and Backrooms has proven just how effective it can be at capturing an audience’s imagination and, more importantly, their undivided attention. It’s low-budget, doesn’t follow any known conventions, and every time I think I’ve seen it all, something from this wheelhouse blows me away and leaves me hungry for more.
Hopefully, this primer sets you in the right direction. Try to keep up, though, because I think we’re going to continue seeing some really great content come from the most unassuming places.
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Ever since the German The Adventures of Prince Achmed in 1926, animated movies have changed cinema for the better. Animation is a medium unlike any other, capable of expanding the limits of artists’ imagination by granting them a space to push visual boundaries. The creativity and freedom allowed by animation hold a strong connection with fantasy, a genre that’s all about making magic feel believable.
As a medium tailor-made for its demands, fantasy has often recurred to animation to tell its stories. The genres often achieve their greatest iterations together, from timeless classics like Disney’s Pinocchio to modern masterpieces like Puss in Boots: The Last Wish; from beautifully hand-drawn movies to fully CG-animated efforts; from the simple and subtle to the sprawlingly epic. These are the best fantasy movies from animation, stunning triumphs of thought and execution.
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‘Ne Zha 2’ (2025)
There are box office hits that seem to come out of nowhere, and then there’s the Chinese animated fantasy film Ne Zha 2. It’s the direct sequel to 2019’s Ne Zha, a movie with immensely respectable box office numbers; but how it managed to join the ranks of history’s few films that have made over $2 billion dollars worldwide is one of the most impressive financial success stories in cinema’s recent history.
It’s the highest-grossing animated film and the highest-grossing non-English language film for a reason. Visually impressive, endearingly funny and charming, and with a frenetically paced and surprisingly dense plot, it’s pure fantasy spectacle that fans of the genre are bound to enjoy. Clocking in at nearly two and a half hours, there’s no shortage of fun to be had here.
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‘Flow’ (2024)
The third-ever non-English language film to win the Best Animated Feature Academy Award, the Latvian post-apocalyptic movie Flow is one of the best movie masterpieces of 2024. Despite its shoestring budget and having been animated entirely on the free and open-source software Blender, it’s still one of the most impressive animated movies of the 2020s so far.
Its visual style is delectably charming and dances around its limitations with ease, but what really makes Flow special is how much heart it has. There are minimal attempts here at anthropomorphizing these animals in any significant way. Rather, Flow‘s magic comes from watching a regular cat travel with other regular animals through this gorgeous, fantastical world ravaged by climate change.
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‘The Secret of Kells’ (2009)
Nowadays, the Irish Cartoon Saloon is well known as an outstanding animation studio celebrating Irish culture and folklore through excellent films. Back in 2009, they were an up-and-coming new studio with a debut that took the world by storm. The Secret of Kells follows a young boy from a Medieval town beckoned to adventure when a master illuminator arrives with an ancient book, one brimming with secret wisdom and powers.
Tomm Moore’s beautiful The Secret of Kells is nothing short of one of the best Irish films of all time. The almost fully hand-drawn animation, while deceptively simple, is absolutely gorgeous; its depiction of Irish mythology makes it compelling for international audiences of all ages, and its love for the source material is nearly palpable in every scene.
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‘Mad God’ (2021)
Simply looking at stills from Mad God is an unsettling experience, but even that isn’t enough preparation for the unforgettable journey that is actually watching the film. A surrealist horror fantasy film following an assassin’s trip through a hellscape of tortured souls and wretched monstrosities, the movie is constantly one-upping itself in testing how much grotesque imagery viewers will be able to take.
Written and directed by Phil Tippett, a master puppeteer and VFX specialist involved in films of the caliber of Jurassic Park and RoboCop, Mad God is a genuinely terrifying fantasy extravaganza with some of the most immersive stop-motion animation of the 21st century. For those with the stomach for it, it’s an absolute must-see.
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‘The Night Is Short, Walk On Girl’ (2017)
Not many people have heard about Masaaki Yuasa‘s rom-com anime The Night Is Short, Walk On Girl, which only makes it even more of a must-see. It’s one of those forgotten animated movies that are still perfect, an ambitious and inventively surrealistic little gem that feels like the work of an artist in full control of their craft.
Though some may point to The Night Is Short, Walk On Girl as one of those films that favor style over substance, the style is the substance here. The movie is a true creative tornado in every sense of the metaphor, a whirlwind of aesthetics and artistic directions that blend together unexpectedly well throughout the whole thing.
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‘Song of the Sea’ (2014)
After Kells, Cartoon Saloon’s next animated feature was another Tomm Moore masterpiece. Song of the Sea is one of the best family movies of the 2010s as a whole, one of those perfect animated movies that nobody remembers anymore. Its blend of hand-drawn and computer-generated animation has aged like fine wine, making it one of the most visually delightful animated films ever produced outside of Hollywood.
But while its delightful tone and rich visuals may be its two biggest strengths, Song of the Sea also boasts plenty of narrative depth and complexity to satisfy the whole family. Soaked in elements of Irish folklore and with a sweet story bolstered by a phenomenal voice cast, it’s Irish animation at its most exquisite.
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‘Coco’ (2017)
In preparation for Coco, the dedicated team of artists behind the movie reportedly did extensive research to get Día de Muertos, one of the traditions that define Mexican culture, right. The result is one of Pixar’s best films, about a kid dreaming of becoming a musician who’s transported to the Land of the Dead, where he intends to look for his mysterious great-great-grandfather, a legendary singer.
Coco is a beautiful celebration of family love, traditions, and Mexican culture. The Land of the Dead is a beautifully complex, realized fantasy world both visually and in terms of its mechanics, making for the perfect location for this story to take place in. Tender, funny, and just the right amount of heartbreaking, Coco is yet another masterpiece from Pixar.
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‘Son of the White Mare’ (1981)
Over the years, but particularly in the 20th century, Hungarian animation has built up a reputation for incomparable excellence, and yet, it’s a criminally underrated industry by most movie fans. Perhaps the most famous Hungarian animated feature is Son of the White Mare, a dreamlike adventure about three powerful brothers who set out into the Underworld in an effort to save three princesses and reclaim their ancestors’ lost kingdom.
Based on an ancient Hungarian folk myth, Marcell Jankovics‘ masterpiece has unique experimental animation and an engrossing aesthetic, which really make the entertaining story pop. It may be one of the weirdest animated movies ever made, but that’s precisely one of the main sources of its charm since it makes its richly intricate story much more exciting to absorb and analyze.
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‘Kiki’s Delivery Service’ (1989)
Since the late ’70s, Hayao Miyazaki started steadily building up his name as the undisputed master of anime cinema, a title which he undoubtedly holds today. Most particularly, he’s interested in exploring the magic of fantasy through the endless possibilities of animation. Kiki’s Delivery Service, one of his best works ever, holds such an exploration. It’s the story of Kiki, a young witch trying to fit into a new community during her mandatory year of independent life.
Kiki is a delightful protagonist to follow. Resourceful and creative but also headstrong and a bit rough around the edges, she’s one of the most charming, funniest, and relatable characters in Studio Ghibli’s library. Kiki’s Delivery Service is a beautifully heartwarming depiction of teens’ search for identity, told through the enchanting allegory of a young witch trying to find her place in a world of magic.
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‘Sleeping Beauty’ (1959)
One of Walt Disney‘s most magical classics, Sleeping Beauty is about a princess cursed by a malevolent fairy; only a prince can break the spell with the help of three good fairies. Directed by a dedicated team of four, it’s the kind of classical tale of magic and heroism that only old Walt Disney Productions could have been able to deliver.
Maleficent is arguably the most intimidating animated Disney villain; Aurora is one of the most beloved Disney princesses; and all the side characters are every bit as memorable. Elegant colors populate the screen, aggrandizing both the thrilling action scenes and the moving moments of emotion. All in all, Sleeping Beauty is a deeply endearing reminder that fairy tales can win over the hearts of any audience member, no matter their age.
Taylor Swift nearly crossed paths with Scooter Braun and his girlfriend, Sydney Sweeney, while attending Game 4 of the NBA Finals.
The “I Knew It, I Knew You” singer, 36, was seated courtside with her close friends Alana and Este Haim — all wearing custom Knicks gear — at Madison Square Garden on Wednesday, June 10, as the Knicks once again took on the San Antonio Spurs.
Swift and her friends were shown on the ABC broadcast cheering loudly throughout the game, though it’s not clear whether they knew how close they were to Braun, 44, and Euphoria star Sweeney, 28.
Footage shared by Entertainment Tonight revealed that Braun and his girlfriend were seated only a few rows behind Swift and her friends — albeit separated by a barricade.
Wednesday’s Knicks game may be the closest Swift and Braun have been to one another since their business dispute erupted in 2019. At that time, Braun acquired Swift’s master recordings from her former record label, Big Machine, for a reported $330 million.
Swift publicly opposed the sale and later commenced re-recording some of her classic albums to retain a sense of creative ownership over the material.
Amidst a very public feud between the two, Braun sold the rights of Swift’s masters to Shamrock Capital for $300 million in November 2020. Nearly five years later, Swift excitedly announced that she’d regained the rights to her original recordings.
“I’m trying to gather my thoughts into something coherent, but right now my mind is just a slideshow,” she wrote on her website in May 2025. “A flashback sequence of all the times I daydreamed about, wished for, and pined away for a chance to get to tell you this news. All the times I was thiiiiiiiis close, reaching out for it, only for it to fall through. I almost stopped thinking it could ever happen, after 20 years of having the carrot dangled and then yanked away. But that’s all in the past now.”
Este Haim, Taylor Swift, and Mariska Hargitay attend Game Four of the 2026 NBA Finals. Al Bello/Getty Images
Swift announced, “I’ve been bursting into tears of joy at random intervals ever since I found out that this is really happening. I really get to say these words: All of the music I’ve ever made… now belongs… to me.”
The singer-songwriter later shared on her fiancé Travis Kelce’s podcast in August 2025 that she genuinely did burst into tears when she confirmed the purchase.
“I knock on the door, he’s playing video games and I’m trying to say it in a normal way … he, like, puts his headset down … and I think he thought something was wrong,” Swift remembered. “You come up and I go, ‘I got all my music back and I just absolutely started heaving crying.”
Swift went on, “[I] dropped, had no power in my legs to support myself. This changed my life. I can’t believe it still.”
At the time, Braun told TMZ that he simply “wish[ed] everybody the best” when he was asked about Swift regaining control of her musical catalog.
Scooter Braun thinks it’s time to lay his drama with Taylor Swift to rest. Braun, 43, spoke out about the Max and Discover+ docuseries Taylor Swift vs. Scooter Braun: Bad Blood at the Bloomberg Screentime event in Los Angeles on Thursday, October 10, revealing that he hadn’t initially planned on watching the two-part series about […]
More recently, Braun admitted on the Suzy Weiss’ “Second Thought” podcast in May that he resented the way he was depicted in the dispute with Swift.
“[I] went from being like, loved and appreciated for over a decade to literally a villain the next night. I don’t want to go into that, but I will say something that will really sum it up that I don’t know if I’ve ever really said,” Braun said. “I don’t know Taylor Swift. I think I’ve met her in my life three times.”
The music mogul went on, “I have never had a substantial conversation with her in my life. I one time got invited to a private party by her. She told me she had the utmost respect for me. I told her I had the most respect for her. You don’t spend $300 million buying a label that she’s on unless you’re excited at the opportunity to work with her.”
Meanwhile, Swift’s courtside appearance at Madison Square Garden for Game 4 of the NBA Finals was also intriguing because she’s rumored to be tying the knot with Kelce, 36, at the “world’s most famous arena” later this year.
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When it comes to everyday wardrobe staples, Ashley Iaconetti isn’t convinced you need to spend a fortune. In fact, the Real House of Rhode Island star swears by an affordable Amazon favorite that starts at just $10 and has become her everyday uniform. The high-waisted leggings feature tummy control, deep side pockets and a soft, stretchy fabric designed to move with you throughout the day.
After testing countless athleisure brands over the years, Iaconetti realized these budget-friendly leggings consistently outperform some of the pricier options in her closet.
“One of the biggest misconceptions is that people need to spend over $100 for a good pair of leggings or yoga pants,” she told Us Weekly. “I promise you that some of the ones that are $40 and under are my very favorites.”
Get the No Nonsense Every Day Pocket Legging for $10 (originally $20) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
What feature sold Iaconetti immediately? The pockets. The leggings are designed with drop-in side pockets large enough to hold a phone, keys or other essentials, making them ideal for busy days on the go.
If there’s anyone we trust to give Us the rundown on the latest and greatest Amazon finds, it’s Real Housewives of Beverly Hills star Kyle Richards. For years, she’s been a pro at sharing her top picks during her livestreams, pointing us toward tons of gems in those virtual chats — like these best-selling leggings, which are […]
“I have thought that maybe I should throw out all of my athleisure if they don’t have pockets because pockets are so crucial to my life,” she said. “I need my phone on me at all times. I love having a podcast going while I clean the house, and if I’m running errands, I love to just go in without a purse.”
Another reason she’s a fan is the flattering fit. The leggings feature a wide, supportive waistband that smooths and hugs without digging in, plus a high-rise silhouette that enhances your natural shape. The breathable four-way stretch fabric also helps keep you comfortable whether you’re lounging, traveling or tackling your to-do list.
“I love a high-waisted yoga pant,” Iaconetti admitted. “It makes my tummy look pretty tiny and flat. It’s stretchy, but it still holds form.” She added that, unlike some leggings she’s tried, these don’t leave uncomfortable seams etched into her skin by the end of the day.
Perhaps most surprising is that Iaconetti doesn’t even wear these bottoms primarily for workouts.
“These are definitely more of a lifestyle legging for me,” she said. “I wear them with sweatshirts, sports bras, crop tops or a big baggy band tee. Sometimes I think they look better than jeans because they hug the butt and show off the waist better.”
The best part, according to Iaconetti, is that they wash well, retain their shape and don’t shrink. “They hold you in and make me feel like my body shows curves in the right way when I’m wearing them.”
If you’re looking for a comfortable, flattering pair of leggings that won’t blow your budget, Iaconetti’s favorite Amazon find is definitely worth adding to your cart. At this price, grab more than one color before they sell out!
Get the No Nonsense Every Day Pocket Legging for $10 (originally $20) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more leggings and athleisure essentials here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
Justin Hartley is in development on a new TV show while still leading his hit series Tracker, which has been going through its own changes.
Deadline reported that ABC is working on a TV adaptation of Isabella Maldonado‘s novel A Forgotten Kill. Hartley, 49, will executive produce through his overall deal at 20th Television while Diana Son will write and executive produce the project alongside fellow EPs Ken Olin and Maldonado.
A Forgotten Kill, which was released in 2024, is centered on ex–Army Ranger Dani Vega. According to the official synopsis, Dani is “a Nuyorican from the Lower East Side and dauntless FBI agent whose specialty is breaking codes and detecting patterns.”
The description continued: “As part of a task force, Dani is partnered with NYPD Detective Mark Flint. Their clashing styles give them an edge in solving crimes and expose an undeniable chemistry, but Dani is haunted by a secret: a family tragedy in her past that comes back to put her career and life at risk.”
When it comes to breaking TV records, there is no denying that Justin Hartley knows what America wants — just look at his hit show Tracker. Based on Jeffery Deaver‘s novel The Never Game, Tracker follows a survivalist named Colter (Hartley) who travels the country helping people and law enforcement tackle a variety of mysteries. […]
A Forgotten Kill is the second novel in Maldonado’s FBI Special Agent Daniela Vega Series, which follows A Killer’s Game and came before A Killer’s Code.
Hartley will balance A Forgotten Kill with CBS’ hit series Tracker. Based on Jeffery Deaver’s novel The Never Game, Tracker follows Hartley’s Colter around the country as he helps to find missing people and solve mysterious cases. After spending three seasons filming in Vancouver, news broke in May that Tracker was awarded $48 million on $129 million in qualified expenditures, prompting its move.
Tracker is 20th Television’s biggest series to be brought back to California with the help of a tax credit. Before that, Prime Video’s Fallout moved from New York to Los Angeles, while Dan Fogelman’s upcoming NFL drama, The Land, was given a $42.8 million tax credit.
Justin Hartley on ‘Tracker.’ Sergei Bachlakov/CBS
“I’m proud of what we built in Vancouver. I’m also very excited we’re bringing Tracker to L.A.,” Hartley said in a statement at the time. “I’m looking forward to continuing to tell these stories alongside the new, fresh places we’ll be heading to next. Most importantly, I want to thank the fans for showing up for us every step of the way. We couldn’t do this without you.”
TV shows can earn an additional 5 percent tax credit bonus — on top of the 35 percent base credit — for qualified expenditures incurred outside the 30-mile zone that covers the Greater Los Angeles area and surrounding communities, according to Deadline.
Tax credits for relocation are being awarded to shows for their projected outsized economic effect, with jobs being created for Los Angeles-based crews and local businesses being boosted by returning production.
“Location is a huge part of the storytelling on Tracker,” showrunner Elwood Reid told Deadline. “We’re so grateful to the crew and people of Vancouver who made the first three seasons of this hit drama possible, and are simultaneously thrilled to be able to kick off the fourth season of Tracker by filming in Los Angeles, thanks to the tax incentive program that supports bringing production back to California.”
Harley recently broke his silence on the shakeup.
“In terms of tone and character, I don’t think it’ll impact the show at all,” Hartley told The Wrap on Monday, May 25. “Our show is a road show. Our character goes from town to town across the United States of America and meets people from all different walks of life and helps them out. These strangers become kind of his family in a way.”
The actor expressed excitement about making the move to Los Angeles.
“To be able to shoot in a different place that gives us different landscapes, we’re able to go to places — New York, D.C., the desert, Texas, the beach,” Hartley noted. “It just opens up our world in terms of landscape, which is such a big character of our show.”
Despite the shift, Hartley expressed gratitude for the show’s time in Canada.
“We built a really great, wonderful show and we did it in Vancouver for the first three years. Just, inevitably, as things go, the show has to evolve,” he added. “We’re not really interested in doing something just for the sake of doing it. I want to push the envelope and I want it to be something different, so we’re excited about it. It’s going to be very good for the show and for the audience.”
By Chris Snellgrove
| Published
Most actors relish the challenge of playing a villain, the kind that audiences absolutely love to hate. However, some performers do their job a little too well and become something else: the kind of villain that makes audiences say, “wait, I can fix him.” A great example of this is Loki, a one-note Thor villain that Tom Hiddleston transformed into the most charismatic baddie of the Marvel Cinematic Universe. Audiences loved him so much that he just kept coming back, first as the Big Bad of The Avengers and later as big brother Thor’s fiercest frenemy in Thor: Ragnarok.
Heck, Hiddleston’s Loki was so popular that he transcended death: the character was killed off in Avengers: Infinity War and then resurrected in Avengers: Endgame before headlining his own TV series on Disney+. In tracing Loki’s slow arc from supervillain to reluctant hero, many Marvel fans have compared this bad guy to Q, the godlike chaos agent of Star Trek: The Next Generation. Like Loki, Q had his own slow-burning transformation from the ultimate villain to the most unexpected hero. In an ironic twist, however, one of Trek’s best writers resisted humanizing Q because she wanted him to be more like the nefarious Loki of Norse mythology.
Right On Q
Originally, Q was created as a matter of convenience. When Star Trek creator Gene Roddenberry needed to stretch the first episode of The Next Generation into a two-parter, he created Q, a godlike alien that could easily overpower the entire Enterprise crew with his fantastic powers. Q was very important to Roddenberry: not only did he name the character after a fan, but he ignored the objections of former Original Series writers who insisted this “new” villain was just a reskinned Trelane, the bad guy who clashed swords with Captain Kirk in “The Squire of Gothos.”
Since he is a cosmic trickster figure, fans have compared Q to Loki (the mythic Norse figure later adapted into a Marvel comics villain) from the very beginning. Later, though, things would come full circle. By the time Loki became a major player in the MCU, fans kept comparing him to Q!
Keeping It Loki
Loki became a major player in the Marvel Cinematic Universe. He was originally written as a standard-issue villain in the first Thor movie, but Loki actor Tom Hiddleston added a remarkable amount of nuance and charisma to the role. Correspondingly, he served as the headline villain in The Avengers and then a reluctant hero in Thor: The Dark World and Thor: Ragnarok. Fans were sad to see him killed by Thanos in Avengers: Infinity War, but a version of him escaped the timestream in Avengers: Endgame. After that, Loki had his own TV series that chronicled his transformation from cosmic trickster to full-blown hero.
Once Hiddleston’s Loki became a franchise mainstay, MCU fans began comparing him to Q. To be clear, nobody involved with Marvel has ever confirmed that their version of Loki was inspired by this iconic Star Trek villain. Why the constant comparisons? Both characters are godlike tricksters whose chief pleasure in life is messing with mortals. Each has traveled the cosmos and traveled to alternate realities. Finally, each had an unexpected transformation from villain to hero. Loki went from trying to rule humanity to saving humanity in every possible timeline. In “Deja Q,” Q began to soften, eventually becoming a character who would help save all of humanity in (wait for it) multiple timelines!
Everything Comes Full Circle
Weirdly enough, this roller coaster ride has one more loop, and it’s a doozy. The reason that Q began to soften in “Deja Q” is that he was stripped of his powers; he learned enough about humanity to try to sacrifice himself for the Enterprise crew, an act so noble that the Q Continuum restored his powers. However, according to Captain’s Logs: The Unauthorized Complete Trek Voyages, TNG staff writer Melinda Snodgrass wanted the character to stay mean because of a certain Norse deity.
“I always think of Q as Loki. He’s chaos. Maury Hurley always thought Q was here to teach us a lesson, to guide and instruct us,” she said. “I can understand that to some extent, but I really see him as a mischief maker. He really just wants to foul Picard’s head.” How’s that for chaos? One of TNG’s best writers hated humanizing Q because she wanted him to be more like the ruthless Loki. However, when the MCU made Loki a main character, they humanized him so much that fans constantly compare him to Q!
Sadly, I can’t give you the awesome cosmic powers wielded by either Q or Loki, and I can’t burden you with glorious purpose. However, I can do the next best thing: just like that, you have been burdened with glorious trivia.
Entertainment
2 Years Later, James McAvoy’s Twisted Horror Thriller Is Finally Finding the Audience It Deserves
James McAvoy is among the most interesting actors we have around. When he started with features like Atonement and Wanted, the audience felt we had another heartthrob on the horizon, but then the actor made some brilliant choices, like M. Night Shyamalan’s Split and Glass, wherein he played a man with 23 distinct personalities, or playing a chaotic detective in Irvine Welsh‘s Filth. The actor has also portrayed a younger version of fan-favorite Professor X in Fox’s X-Men movies and Mr. Tumnus in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, making him a versatile actor who fits any genre easily.
McAvoy brings genuine sincerity and a lot of intensity to each role, which makes him stand out. Among such roles is Paddy, a sinister yet charming patriarch in James Watkins’ psychological horror thriller Speak No Evil. Watkins is well known for features like Daniel Radcliffe’s The Woman in Black, the Kelly Riley-starring Eden Lake, and will soon bring DC’s Clayface to the big screen. So, when the actor and director collaborated on the remake of the acclaimed Danish feature, the result was chilling.
Despite being a remake, Watkins’ vision and McAvoy’s performance make Speak No Evil a universally acclaimed film. It made $77.2 million at the box office on a $15 million budget, owing to its incredible performances and a thrilling plot. McAvoy gained praise for making Paddy an unpredictable psychopath who seamlessly switched between a warm, magnetic friend and a bully. To many, his menacing physical portrayal was akin to Split. The film got matching 83% scores from fans and critics on Rotten Tomatoes.
‘Speak No Evil’ Is a Late-Night Favorite
Seems like fans are returning to witness its brilliance as Speak No Evil is back on Netflix’s top 10 charts, as per FlixPatrol. The film resurrected on a list dominated by Netflix originals like Office Romance, The Marked Woman, Swapped, Ladies First, and more. Set in Italy, Speak No Evil follows an American family — Ben (Scoot McNairy), Louise Dalton (Mackenzie Davis), and their anxious daughter — who meet Paddy, his wife Ciara (Aisling Franciosi), and their mute son Ant (Dan Hough). Things take a turn when Paddy invites the family to his remote farmhouse for a weekend getaway. However, what begins as a dream holiday quickly unravels into a living nightmare.
Check out Speak No Evil on Netflix and stay tuned to Collider for more such updates.
- Release Date
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September 13, 2024
- Runtime
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110 Minutes
- Director
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James Watkins
Steven Spielberg is one of Hollywood’s most celebrated filmmakers, known for directing some of the most iconic films in his decades-long career. Despite his extensive success and numerous accolades, the director has revealed that he was repeatedly rejected from directing James Bond movies, something that he strongly wanted to do at one point. Now, Spielberg is sharing how he would respond if he were approached to direct a James Bond film.
In an episode of “The Rest is Entertainment” podcast, Steven Spielberg sat down with Richard Osman and Marina Hyde to talk about his latest movie, “Disclosure Day,” as well as answer some fan questions.
One asked, “Were you ever approached to make a Bond film? Do you have any regrets about not doing that?” Spielberg made it clear that he was never approached to direct a Bond film. Instead, he was the one who approached the late Albert “Cubby” Broccoli, the James Bond franchise’s lead producer.
The director said he had always wanted to direct a Bond film since seeing 1962’s “Dr. No,” and after the success of “Jaws” in 1975, he approached the producer. “I called Cubby Broccoli after ‘Jaws’ and volunteered. I said, ‘If you need a director, I would love to direct one.’ And he said no,” Spielberg revealed.
The Director Attempted To Strike A Deal With Cubby Broccoli
That wasn’t the last time Spielberg was rejected. Years later, Broccoli contacted Spielberg and asked for a favor. After the release of his 1977 sci-fi movie “Close Encounters of the Third Kind,” Broccoli asked for his permission to use the famous five-note sequence that was played throughout the film. The producer wanted to use the notes for “Moonraker,” the James Bond film released in 1979.
Spielberg used that opportunity to offer a proposal to the producer. “I said, ‘I’ll make you a deal. I’ll give you permission to use the five notes if you let me direct a Bond film.’ And he said no.” Despite not agreeing to his proposed deal, the director still allowed Broccoli to use the sequence.
“So they consistently turned me down. He never explained why he wasn’t letting me into the Bond family,” Spielberg said.
Steven Spielberg Confided In George Lucas
Spielberg confided in his fellow filmmaker and friend, George Lucas, after facing another rejection from Broccoli in 1977. The two were in Hawaii after the release of “Star Wars: A New Hope,” and upon hearing the director’s woes, Lucas said he had “something better” for Spielberg.
Lucas then told him about a character he conceived named Indiana Smith (later changed to Jones), an archaeology professor and daring treasure hunter. The Indiana Jones franchise has since had five feature-length films, four of which Spielberg directed. He served as executive producer for the fifth installment.
“He told me the premise of the Indiana Jones series, and that’s how I got that job. So if they ever asked me to make a Bond film now, my answer would be, ‘You can’t afford me,’” Spielberg said in jest.
James Bond Wasn’t The Only Franchise The Director Was Interested In
The acclaimed director is also a gamer, as his son, Max, revealed in 2024. According to Max, Spielberg loves the first-person shooter video game series “Call of Duty” and plays it on a computer using a keyboard and mouse. “He loves gaming. He’s the one that got me into it. He plays games. He’s a big PC gamer and so that’s kind of our bonding point as well,” Max shared.
In 2015, Activision Blizzard, the company behind the “CoD” franchise, launched a film and TV division to make a live-action “Call of Duty” cinematic universe. While the first attempt was scrapped, the project was resurrected in partnership with Paramount, and a movie is in the works.
Spielberg reportedly wanted to direct the film, but Paramount and Activision turned him down because he wanted complete control over production and marketing. Instead, Pete Berg was chosen to helm the project, which is scheduled for release in 2028.
Steven Spielberg’s Illustrious Career
Spielberg is regarded as one of the most influential filmmakers, with a career spanning more than five decades. Throughout the years, the director has directed some of the most iconic films across different genres, including “E.T. the Extra-Terrestrial,” “Jurassic Park,” “Schindler’s List,” and “The Color Purple,” just to name a few.
He has earned three Academy Awards, including two for Best Director for “Schindler’s List” and “Saving Private Ryan,” and one for Best Picture for “Schindler’s List.”
Spielberg’s latest project, “Disclosure Day,” a sci-fi film starring Emily Blunt and Josh O’Connor, will be released in U.S. theaters on June 12.
By Chris Snellgrove
| Published
Every fandom has its wildly polarizing figures. In Star Trek, for example, many fans revere William Shatner as an acting legend, but others see him as an egomaniac who’d phaser his costars in the back if it meant getting an extra minute or two of screentime. In Doctor Who, very few of the actors are quite as polarizing (not counting John Barrowman and his alleged problematic sexploits onset), but the same can’t be said about the showrunners. When the show goes off the rails, the fandom tends to blame the man at the top, which is why Chris Chibnall gets so much heat for Jodie Whittaker’s subpar seasons as the Doctor.
Historically, Russell T. Davies was one of the most beloved showrunners. He was in charge during the first four seasons of the 2005 Doctor Who revival, essentially turning this venerable ‘60s franchise into something hip and sexy enough to win over younger fans. But Davies became significantly more controversial when he returned to Doctor Who nearly two decades later, and his run was canceled after two bad seasons that barely anyone watched. That was bad enough, but fans are now ready to take out their pitchforks because Davies took to Instagram and confirmed that he had been lying about working on a Christmas special, which was, seemingly, also a complete fabrication!
A Timey Wimey Rise And Fall
Once upon a time, Russell T. Davies’ return to Doctor Who was hailed as a return of the king. The original series had fizzled out in 1989, and an attempt to bring it back as a made-for-TV movie in the ‘90s was dead on arrival. Davies was the showrunner for the 2005 reboot, which was an unqualified success: with exciting stories and beloved actors like David Tennant, NuWho filled the sci-fi TV void that was left by the early cancellation of Star Trek: Enterprise. He eventually left the franchise, leaving it in the capable hands of Steven Moffat, a showrunner who added a distinctly movie-like feel to almost every episode.
When Moffatt left the franchise in 2017, the series got a new showrunner: veteran Doctor Who writer Chris Chibnall. Unfortunately, things went downhill, as fans were divided on new Doctor actor Jodie Whittaker and controversial changes to franchise lore. Eventually, the BBC threw a Hail Mary, partnering with Disney and bringing back Russell T. Davies as showrunner. Sadly, the new show failed to gain much of a viewership and was canceled after two seasons. Davies previously mentioned writing a script for an upcoming Christmas episode that fans hoped would tie everything together. Incredibly, though, Davies hopped onto Instagram to verify that he made up the Christmas special and had never written anything for it!
Everything Falls Apart
While Russell T. Davies’ Instagram post was long-winded, it got to the point relatively quickly. He verified that he was saying “GOODBYE” to Doctor Who and that the BBC is “putting the show out to tender.” After that, Davies clarified that “there won’t be a Christmas Special–we only cooked that up to guarantee a future when no one knew what would happen, but now we do know, there’s no need for it.” Following on the heels of that rather stunning admission about the Christmas Special, he added, “For the record: there was no script, I never wrote it, and no actor was ever approached to play the next Doctor.”
Fans were salty about Davies’ admissions for several different reasons. First, he had claimed to be writing the script in December of 2025, a claim that had seemingly been backed up by Doctor Who composer Murray Gold. Taking his Instagram post at face value, we can’t help but wonder why Davies was comfortable just straight-up lying to fans about this Christmas special. Even more incredibly, it seems he is saying that the special was never in any level of active development and was simply announced as a last-ditch attempt to keep the franchise alive.
Adding insult to injury, no script development and no attempt to cast a new lead means that even Davies (the man in charge!) had no idea how to wrap up the cliffhanger in which Ncuti Gatwa’s Doctor somehow regenerated into the body of Billie Piper’s Rose Tyler, a former Companion. When the episode aired, some cynical fans thought that bringing this sexy, beloved actor back was a last-ditch attempt to save the show. Now, that theory seems accurate, given that Rose was apparently plonked back into the franchise with no real idea of how to use her character. Now, that will be a problem for another showrunner, assuming that Doctor Who ever comes back.
The Crankiest Doctor Is Now Validated
Amid the hate spurred on by Russell T. Davies’ Instagram posts, more and more Doctor Who fans came to a simple conclusion: Christopher Eccleston was right! Eccleston played the Doctor for the first season of the 2005 revival; when fans asked why he left the show, the actor responded that he had concerns about how the crew was treated and that he was told to ignore these concerns. After leaving, he claimed that he had lost all trust in Davies. More recently, when Eccleston was asked at a fan convention what it would take for him to return to Doctor Who, he bluntly responded, “Sack Russell T Davies…and I’ll come back.”
For a long time, it was easy to dismiss some of Eccleston’s claims as sour grapes. Now, though, Davies returned to Doctor Who only to run it into the ground, and on his way out, he gloated about lying to fans about a Christmas special that will never come to be. In the rest of his Instagram post, he alternates between being weirdly defensive and mildly snarky. Now, it seems increasingly clear that Eccleston was right about the other man. However, we’re left with one silver lining: with Davies now sacked, Eccleston is one step closer to returning to the franchise that made him a household name!
By Chris Snellgrove
| Published
Star Trek: The Next Generation brought back some of the most famous bad guys from The Original Series, including the Klingons and the Romulans. This beloved spinoff also introduced some memorable new villains, including the Cardassians, the Nausicaans, and the Borg. While all of those new baddies resonated with fans, none struck a chord with the fandom quite as much as Q, the godlike being played by John de Lancie. He appeared in both the very first and very last episode of The Next Generation and several episodes in between, and he was always the perfect chaos agent to get under Captain Picard’s skin.
Over time, Q became less of a villain and more of an antagonistic ally: by the end of TNG, he was helping Picard to literally save all of humanity. Originally, though, he was written to be a recurring Big Bad, a kind of ultimate foe who can’t be overcome by advanced Starfleet technology. When did he begin his transformation from evil villain to the unexpected savior of mankind? It all started with “Deja Q,” an episode where Q was written to be a manipulator who merely lied about losing his powers. But Gene Roddenberry insisted he actually lose his powers, causing the former villain to discover humanity he didn’t even know he had.
Naked And Afraid
“Deja Q” is the memorable Next Generation episode in which Q shows up on the Enterprise, completely naked. He reveals that the Q Continuum decided to punish him for because he frequently torments lesser beings; subsequently, they stripped all of his powers, effectively leaving him at the mercy of previous alien victims such as the Calamarain. They attack Q when he is adjusting to life as a human, and he freaks out when he sees how the aliens hurt his new buddy, Data. Q tries to sacrifice himself to the Calamarain so the Enterprise crew would be safe, and his altruistic behavior is rewarded when the Q Continuum give him his powers back.
It’s a very heartwarming episode that quite literally humanizes Q, who was, up to this point, the scariest villain in Star Trek: The Next Generation. As recorded in Captains’ Logs: The Unauthorized Complete Trek Voyages, “Deja Q” was originally written as an episode where Q was lying about losing his powers. Showrunner Michael Piller said that Q spun “a whole story about how we were about to come into a war with the Klingons,” with the big reveal being that the godlike being “was just playing with us and pulling our strings just so that he could make himself a hero, become an officer and prove his value.”
Til Death Do Them Part
Such an elaborate ruse would be perfectly in line with the mustache-twirling villain that we saw in earlier episodes like “Encounter at Farpoint” and “Hide and Q.” So, why did the plot for “Deja Q” change so dramatically? This was because Star Trek creator Gene Roddenberry decided to effectively redeem TNG’s most iconic villain. According to Piller, Roddenberry “threw cold water” on him and the other producers with a very straightforward storytelling note: “If you’re going to do a story–Godlike and brought to Earth–then do it. Do a story about what it’s like to lose everything that you are and having to discover your own Humanity.”
It turned out to be great advice, and “Deja Q” became one of the best episodes of the entire series. This humanization of Q set up some important later arcs for the character, including him helping Picard save humanity in the TNG finale “All Good Things.” The godlike being also returned in Picard Season 2 to help give his oldest frenemy some closure. Sadly, Roddenberry didn’t live to see any of this; he died in October 1991, one year after the original broadcast of “Deja Q.” Fortunately, he had time before his death to help redeem his favorite villain, one named for a passionate Star Trek fan.
Obviously, Gene Roddenberry wasn’t a perfect storyteller, and some of the Season 1 TNT episodes under his tenure were pretty bad (“Code of Honor,” anyone?). But he always had good instincts when it came to his characters. He knew how to write Q as one of the greatest and most menacing villains in television history, but he also knew exactly when and how to transform that bad guy into one of Star Trek’s most unexpected heroes. He also gets the coolest hero-to-villain glow-up, ever. After all, how many do-gooders have you seen that have their own mariachi band?
Entertainment
The cast of “Who's the Boss?”: See Tony Danza, Alyssa Milano, and their costars, then and now
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Danza and Milano led this warmhearted ABC sitcom across eight seasons.
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