Quentin Tarantino has given fans some amazing movies in his limited filmography. The fan-favorite director is known to deliver hard-hitting narratives with a healthy dose of blood and graphic violence on the side. While his movies get a lot of critical acclaim and fan adoration, they also often create controversy. Counted among his most divisive works is Django Unchained, starring the likes of Jamie Foxx and Leonardo DiCaprio, among other frequent collaborators.

Though the movie divided its audience, it indeed created an impact, garnering several Academy Awards nominations, and earning an 87% Rotten Tomatoes score from the critics and another 92% from fans. Set two years before the Civil War, we follow a slave, Django (Foxx), who finds himself accompanying an unorthodox German bounty hunter named Dr. King Schultz (Christoph Waltz) on a mission to capture the vicious Brittle brothers. Upon their mission’s success, Schultz frees Django, and together they hunt the South’s most-wanted criminals. Things take a turn when their travels take them to the infamous plantation where Django’s long-lost wife is still a slave.

It seems like fans are returning to the Spaghetti Western as it has emerged as the top feature on Hulu’s streaming charts, as per FlixPatrol. It is standing ahead of films like Tarot, The Mummy, Tin Soldier, Springsteen: Deliver Me From Nowhere, and more. Django Unchained is loved for its cinematography, screenplay, and strong performances from Foxx, Waltz, and DiCaprio. The feature also stars Kerry Washington, Samuel L. Jackson, Walton Goggins, Dennis Christopher, James Remar, Michael Parks, and Don Johnson in supporting roles.

What’s Controversial About ‘Django Unchained’?

Django Unchained faced criticism for its frequent use of racial slurs by DiCaprio’s character. Further, its graphic depiction of slavery revolted some viewers, but the ones who could stomach it often deem the film one of Tarantino’s best. While the movie’s story is straight-forward, it has even deeper themes that touch upon questions of justice, revenge, dehumanization, and slavery. The tough language and physical violence only reflect the times it’s set in. The film also marks Tarantino’s highest grossing movie, grossing $449 million against a $100 million budget. The director followed up the success of the feature with The Hateful Eight, which proved equally controversial but is considered underrated.

Meanwhile, Django Unchained is streaming on Hulu. You can check out the trailer above and stay tuned to Collider for more updates.

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Release Date

December 25, 2012

Runtime

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165 minutes

Producers

Bob Weinstein, Harvey Weinstein, James W. Skotchdopole, Michael Shamberg, Pilar Savone, Reginald Hudlin, Shannon McIntosh

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Late-night posts always hit a little different, and Chris Brown had the internet smiling after popping up online with his daughter Royalty in a moment nobody was expecting—but everybody loved. Without saying too much, the singer gave fans a quick glimpse into his offstage life that leaned way more wholesome than flashy. Let’s just say… dad duties were very much in effect.

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Chris Brown Shows Off Girl Dad Energy

In the early hours of Sunday morning, Chris Brown took to TikTok and shared a short but sweet clip showing him fully tapped into his girl dad energy. The video was captioned “Girl DAD activities,” and it showed Chris standing in front of the camera with one arm in the air, the other on his hip, slightly bent over while holding his stance.

As he hopped to his left, his daughter Royalty jumped into frame doing the exact same move. And, she was followed by what appeared to be her friends joining in right behind her. The moment felt playful, unscripted, and very much giving family fun. Chris kept the moves simple, clearly letting Royalty lead the way, while the girls matched his steps and filled the frame with energy.

Fans React To Breezy’s Dad Moment

Fans immediately ran to The Shade Room’s Instagram comments, and whew—things got a little spicy in there, chile. Some folks were praising Chris, saying he really is THAT dad and loving how present he looked with Royalty. Meanwhile, others couldn’t get over the fact that your friend’s dad could literally be Chris Breezy’s, while a few jokers slid in asking if he could be their daddy too.

One Instagram user @dominiquechinn said, “Love seeing dads be great dads and enjoying life with their kids ❤️”

This Instagram user @melaninn_tee added, “I love himmmm ❤️. He a great daddy . I bet he’d be a greater daddy to me too 😂😭😭😭🤣”

And, Instagram user @mstbm731 wrote, “Imagine being a lil girl & your friends dad is CHRIS🔥🙌🏾🔥🙌🏾🥰🥰🥰”

While Instagram user @theevanmonet commented, “He’s my dad too“

Then Instagram user @droppsofhoney added, “To be a Kid again 😍 I miss that!! 😂😂 I didn’t really want to grow up, I lied 🤣”

Finally, Instagram user @honey1x shared, “You can tell he a really cool dad😩❤️❤️❤️”

Breezy Brings Father-Son Goals To The Red Carpet

Chris Brown proved once again that he’s all about family as he hit the red carpet at the 68th Annual Grammy Awards with his son, Aeko. The father-son duo brought serious style and major father-son goals. It wasn’t just about the fashion—the moment reminded fans that Chris is always present in his kids’ lives, showing up for them in style and making memories that scream #DadGoals. Breezy and Aeko’s red carpet appearance proved once again that when it comes to fatherhood, Chris doesn’t just talk the talk—he walks it out, and brings a whole vibe with him.

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Horror fans have long since debated what the true “birth” of the slasher subgenre was. While the notion of an unstoppable villain of unrelenting strength can be traced to the Universal monster films of the 1930s and ‘40s, Alfred Hitchcock’s Psycho and the holiday horror classic Black Christmas were also highly influential. The Texas Chain Saw Massacre may be remembered as the film that kicked off the slasher craze because it felt authentic in a way that previous horrors hadn’t. While part of that was due to the misleading advertising campaign that claimed that it was based on a true story, it was mainly because director Tobe Hooper sensed the anxiety that had shaped the American public in the 1970s. In a period of history where the violence of the Vietnam War and the scandals of the Richard Nixon administration were prominent within viewers’ minds, a bluntly ruthless killer whose existence had been kept secret felt much more plausible.

The Texas Chain Saw Massacre was subjected to significant controversy; the film narrowly avoided an X-Rating from the MPAA, and still managed to be banned in many parts of the world. The Texas Chain Saw Massacre was a surprising hit because of its small budget, and divided critics on whether it should be considered exploitation. Even though it came a year after The Exorcist was a major Oscar player, The Texas Chain Saw Massacre was grounded in reality, and thus became more traumatizing. While it inspired a franchise that continues to this day, The Texas Chain Saw Massacre captured feelings of fear so primal that its legacy has become impeccable.

‘The Texas Chain Saw Massacre’ Was Shockingly Brutal and Disturbingly Vivid

Although Hooper was a clever editor who deceived audiences into thinking that they had seen more violence than what was actually onscreen, The Texas Chain Saw Massacre depicted death in an uncinematic way that wasn’t sensationalized or anticipated by obvious musical cues. The brutal butchering and slaughter of the four teenagers who join Sally (Marilyn Burns) on a trip through West Texas is conducted with the same lack of sentiment as a household task, a prospect all the more frightening because of the maternal quality of Leatherface (Gunnar Hansen) himself. That the character’s face was concealed, and that the backstory was subjected to tall tales and local legends, reflected a fear of the unknown that the rest of the film committed to. The fear that Sally feels is that she and her friends are trapped in the middle of nowhere, and cannot be in contact with the authorities or anyone else who might have been able to help. It’s when humanity is left to itself, freed from the rules of law, that people resort to their most crude behavior.

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The depiction of Leatherface helped to shape characters like Michael Myers and Jason Voorhees because it was scarier to have a villain who could not be reasoned with or explained. That Leatherface merely views his victims as flesh to be sliced up didn’t just remove the possibility that Sally could outsmart him, but became a clever analogy to the treatment of animals by the meatpacking industry, as The Texas Chain Saw Massacre has been widely celebrated by vegetarians. Sally became the quintessential “final girl,” a trope that horror films continue to emulate, but she was not entirely a toothless hero. The film’s iconic final shot, in which Sally laughs at the sheer absurdity of her survival, nearly suggested that she needed a touch of Leatherface’s madness to protect herself.

‘The Texas Chain Saw Massacre’ Was a Phenomenon Impossible To Replicate

The Texas Chain Saw Massacre simply didn’t look or feel like any other horror film because of its atmospheric use of daylight, the grimy depiction of slaughterhouses and impoverished communities, the minimal use of music, and the incorporation of radio audio that pointed to a larger history involving the killings. The evil in The Texas Chain Saw Massacre came from within society because Leatherface represented a forgotten dark side of the American dream, in which people had been left to fend for themselves and survive amidst the wreckage. There was something shocking about seeing real gas stations and run-down factories that was scarier than anything within a replicated sound stage ever could have been; as is the case with many classic horror films, the restrictions that Hooper was under ended up forcing him to be more creative.

There are countless filmmakers who cite The Texas Chain Saw Massacre as one of the best within the genre, including Zach Creggar, Quentin Tarantino, Ridley Scott, and Bill Hader. The original The Texas Chain Saw Massacre was so perfect that the franchise it inspired could never fully live up to expectations; Hooper’s sequel, The Texas Chainsaw Massacre 2, is a masterpiece in its own right because it subverted formula by satirizing the derivative nature of slasher films, but every other installment within the series has been disappointing. That being said, it’s not just other slasher films like Halloween and Friday the 13th that drew from what Hooper did; the ‘70s saw a rise in media interest within serial killers, and more films began to focus on the psychology of their unspeakable crimes due to speculation on the connection between The Texas Chain Saw Massacre and Ed Gein. While many classic horror films should be considered for what they meant during their initial window of release, The Texas Chain Saw Massacre needs no context to be as scary as ever.

The Texas Chain Saw Massacre is available to stream on Netflix in the U.S.

A few years ago, it seemed impossible that a new season of Euphoria would ever make it back to the small screen. The show was one of HBO’s biggest breakout hits of the last few years, and it turned several of its regulars, like Sydney Sweeney, Zendaya, and Jacob Elordi, into massive breakout stars. However, despite several bumps in the road, it’s now been confirmed that the third season of Euphoria will premiere this April. After HBO released the first trailer for Euphoria Season 3 a few weeks ago, fans have begun rewatching the show, which has pushed it back to the top of HBO Max streaming charts.

Although there was a three-year gap between the first and second seasons of Euphoria, almost no time passed on-screen. This isn’t the case with the second and third seasons, though, which will experience a five-year time jump. Not only are most of the core characters no longer in high school, but they’re also out of college and pursuing other careers. Plot specifics about Euphoria Season 3 are being kept under wraps, but it has been confirmed that Jules (Hunter Schafer) will be a sex worker, and Nate (Jacob Elordi) and Cassie (Sydney Sweeney) have entered a relationship.

Euphoria was written and created for TV by Sam Levinson, who is also the primary director on the show. Levinson has worked on other projects for HBO, including The Idol, which was panned by critics and audiences and canceled after one controversial season. Around the same time as Euphoria Season 2, he also wrote the script for Deep Water, the erotic thriller starring Ben Affleck and Ana de Armas that’s streaming on Hulu.

Will There Be a Fourth Season of ‘Euphoria’?

It’s far too early to predict whether there will be a fourth season of Euphoria or if the show will end at Season 3. It took quite a while to get Season 3 into production and ready for the small screen, which certainly could hinder HBO from greenlighting a potential fourth season. The show is expected to be a massive streaming juggernaut during its third season, and if ratings demand another season, HBO could push hard for Season 4. Working around the busy schedules of its budding stars will certainly make things more difficult, though.

Catch up on the first two seasons of Euphoria on HBO Max, and stay tuned to Collider for more streaming updates.

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Release Date

June 16, 2019

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HBO

Showrunner

Sam Levinson

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Directors

Jennifer Morrison, Augustine Frizzell

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A handful of 21st-century war movies usually dominate the conversation: Black Hawk Down, The Hurt Locker, Inglourious Basterds, Dunkirk. However, these obviously only scratch the surface of what the genre has to offer. There are countless compelling, lesser-known war movies from the last quarter-century that are worth seeking out.

The titles on this list span a range of styles and tones, all offering something of value to the ever-increasing war genre, whether that’s realism, insightful social commentary, great acting, or simply tense action set pieces. The best of them are defined by psychological realism and intellectual honesty, making them worthy of far more attention than they get.

10

‘Kajaki’ (2014)

Image via Alchemy Releasing

“Don’t move. Don’t even breathe.” This one didn’t get that much attention (it made only $34,000 at the box office), but it’s very solid. Kajaki (aka Kilo Two Bravo) recounts a true story from the war in Afghanistan, focusing on a British Army patrol stationed near the Kajaki Dam in Helmand Province. When one soldier accidentally steps on a landmine, the mission shifts instantly from routine patrol to desperate survival exercise. Further attempts to help trigger additional mines, and the group becomes trapped. The terrain around them is lethal. Enemy movement could spell doom.

It’s a war movie confined to a single, white-knuckle location. There are no firefights, no strategic victories, and no ideological speeches. Instead, the film focuses on pain management, improvised problem-solving, and psychological strain. The camera stays close, emphasizing sweat, fear, and exhaustion. The actors (particularly David Elliot) all rise to the occasion with restrained, believable performances.

9

‘The Siege of Jadotville’ (2016)

Image via Netflix

“We are not here to die. We are here to hold.” The Siege of Jadotville is another war movie closely based on actual events. Specifically, it dramatizes the real-life 1961 standoff during the Congo Crisis, where a small Irish UN battalion (led by Jamie Dornan‘s Patrick Quinlan) found itself surrounded by vastly superior Katangese forces. Cut off from reinforcements and political support, the soldiers must defend their position through cohesion and desperate ingenuity, discipline, and tactical intelligence.

The movie has a classic siege narrative structure, but unusually sharp themes of bureaucratic neglect and institutional indifference. Ammunition dwindles, communications fail, and moral clarity becomes dangerously abstract. In contrast to the deceitful, politically higher-ups, the soldiers on the ground are real professionals: methodical, cautious, and deeply aware of their limitations. While the dialogue is occasionally a little stiff, the movie compensates with tense drama and nail-biting set pieces.

8

‘’71’ (2014)

Image via StudioCanal

“Just survive the night.” ’71 follows a young British soldier (Jack O’Connell) accidentally separated from his unit during riots in Belfast at the height of the Troubles. Stranded overnight in hostile territory, he must navigate a labyrinth of sectarian violence, paramilitary factions, and covert intelligence operations, all while trying to avoid capture or death. The plot functions like a chase film driven by confusion. The protagonist doesn’t understand the political landscape he’s trapped in, and neither does the audience, deliberately so.

War is sheer disorientation here. Alliances shift constantly, and danger comes from every direction. There are no clear villains, no comforting moral frameworks. Everyone is compromised, exhausted, and acting out of partial information. The eye of the storm is O’Connell’s strong lead performance. Those who only know him from his brilliant villain performances in Sinners and 28 Years Later: The Bone Temple ought to check this movie out.

7

‘Lebanon’ (2009)

Image via Metrodome Distribution

“I can’t see anything.” Lebanon is set almost entirely inside a single Israeli tank during the 1982 Lebanon War. Within that pressure cooker, four inexperienced soldiers attempt to survive their first mission, as mechanical failures, miscommunication, and mounting panic turn a routine operation into a psychological nightmare. The movie places us up close to them in their vehicle. The audience sees the outside world only through the tank’s gun sight, reducing civilians, enemies, and destruction to fragmented, horrifying glimpses.

This approach renders the war as pure sensory overload. Sweat, noise, and terror dominate. Claustrophobia is the reigning mood, as the armored vehicle increasingly feels less like a refuge and more like a tomb. This approach won the film a lot of critical acclaim, including a Golden Lion award at the Venice International Film Festival. Nevertheless, Lebanon was somewhat controversial in Israel itself for its seemingly overly negative vision of military service.

6

‘Defiance’ (2008)

Image via Paramount Pictures

“We choose to live.” Drawing on real events, Defiance tells the story of Jewish brothers (played by Daniel Craig and Liev Schreiber) who escape Nazi-occupied Eastern Europe and form a forest-based resistance community. They build shelters, secure food, and protect civilians while under constant threat. The narrative balances moments of action with long stretches of hardship, argument, and moral compromise. Leadership becomes a burden, not a reward, as the brothers must decide who to protect, who to exclude, and how much violence survival demands.

Defiance didn’t receive all that much attention on release, and reviews were fairly mixed, with some critics finding it a little heavy-handed and others calling out some historical inaccuracies. While it’s certainly not perfect, it’s definitely better than its detractors make out. Edward Zick‘s direction is clear and sturdy, and the performances by Craig and Schreiber do most of the heavy lifting.

5

‘The Keeping Room’ (2014)

Image via Drafthouse Films

“There are things worse than death.” The Keeping Room is set during the final days of the American Civil War, far from the battlefield and deep in its moral fallout. The story follows two Southern sisters (Brit Marling and Hailee Steinfeld) and a slave (Muna Otaru) left alone on a remote farm while the men are away fighting. When two rogue Union soldiers (Sam Worthington and Kyle Soller) arrive seeking shelter, the encounter quickly turns into a deadly standoff.

From here, the movie plays out as a tense chamber piece, stripping war down to its aftershocks. It treats armed conflict as something that corrodes from the edges inward, reaching even those who never pick up a weapon. In this, The Keeping Room seems to channel Don Siegel‘s classic film The Beguiled, but with a leaner, meaner, more violent edge. There are some narrative stumbles, to be sure, but the storytelling is economical, and the lead actresses are strong.

4

‘City of Life and Death’ (2009)

Image via High Fliers Films

“We are all human.” City of Life and Death depicts the Nanjing Massacre during the Second Sino-Japanese War, focusing on civilians, soldiers, and occupiers trapped inside a city descending into atrocity. This incident is widely regarded as among the most horrific episodes of World War II, which is truly saying something. Rather than centering a single hero, the plot interweaves multiple perspectives, including Chinese civilians and conflicted Japanese soldiers.

The narrative is episodic and relentless. Scenes of survival, brutality, and moral collapse accumulate rather than resolve, creating an overwhelming sense of historical weight. The black-and-white cinematography drains the images of spectacle, forcing attention onto faces, bodies, and acts of cruelty stripped of cinematic comfort. That said, no movie could do justice to the terrible truth of this chapter in history, though City of Life and Death makes a worthy attempt. This is important, serious filmmaking.

3

‘Black Book’ (2006)

Image via Metro Tartan Distribution

“War turns us all into liars.” Not to be confused with the hilarious British comedy series, Black Book is a powerful war thriller directed by Paul Verhoeven. It revolves around a Jewish singer (Carice van Houten) who survives a massacre and becomes involved with the Dutch resistance during World War II. Using her identity as both camouflage and weapon, she infiltrates Nazi ranks, navigating espionage, betrayal, and shifting loyalties as the war drags on. The character is well-written, compelling and real, and van Houten is terrific in the role.

The plot moves fluidly between thriller, melodrama, and moral inquiry. Alliances prove unstable, and the line between resistance and complicity blurs repeatedly. Even after liberation, the film refuses closure, showing how violence mutates rather than disappears. While occasionally a little melodramatic, Black Book remains fundamentally engaging throughout, never growing ponderous or becoming a dry history lesson.

2

‘U-571’ (2000)

“One mistake down here means we all die.” U-571 follows an American submarine crew tasked with capturing a German Enigma machine during World War II. When their mission goes catastrophically wrong, they find themselves trapped inside a damaged enemy submarine, hunted by German forces while struggling to stay alive underwater. Lieutenant Andrew Tyler (Matthew McConaughey) attempts to salvage the terrible situation, racing to repair the vessel’s damage and ward off their enemies.

Paying major homage to Das Boot, the movie uses its submarine setting to compress time and space, making every error feel fatal. The plot emphasizes procedural tension: every decision affects oxygen levels, hull integrity, and crew survival. There is little room for sentiment, only calculation under pressure. While a few characters are a little underwritten and some critics quibbled with the historical accuracy, the sheer tension and suspense of U-571 will appeal to a certain kind of viewer.

1

‘Waltz with Bashir’ (2008)

Image via Sony Pictures Classics

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“I don’t remember anything.” Waltz with Bashir is an animated documentary exploring a filmmaker’s attempt to recover suppressed memories from his time as a soldier during the 1982 Lebanon War. It’s a psychological investigation rather than a historical one. As he interviews former comrades, fragments of memory surface, revealing complicity, denial, and trauma connected to the Sabra and Shatila massacre. Recollections prove unreliable, shaped by fear and self-protection.

The aesthetics complement this approach perfectly. The bold and heavy animation allows subjective experience to take precedence over factual reconstruction, making trauma visible rather than abstract. It also helps soften the edges of certain scenes, making them digestible rather than simply overwhelming. This approach was bold, innovative, and visually striking, but it also stirred some controversy. Afterwards, director Ari Folman would go on to more narratively ambitious projects like The Congress and Where Is Anne Frank, but, in many ways, Waltz with Bashir remains his defining achievement.

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The very first villain that the crew of the USS Enterprise ever faced, in “The Man Trap,” the first episode of Star Trek: The Original Series, didn’t even appear to be one, but, at least to Dr. McCoy (DeForest Kelley), looked like his old flame Nancy Crater (Jeanne Bal), where Captain Kirk (William Shatner) and Crewman Darnell (Michael Zaslow) see a slightly older Nancy and a completely different woman altogether, respectively. Only it turns out ol’ Nancy is actually a shapeshifting, vampiric creature, one who feeds off of the salt in living beings (and officially kicks off the disposable red-shirt trope).

Ever since, the Star Trek franchise has had more than its share of memorable villains: the Gorn, the Borg, and, of course, the legendary Khan Noonien Singh (Ricardo Montalban). Q (John de Lancie), who plagued the crew of the USS Enterprise (NCC-1701-D) throughout Star Trek: The Next Generation, is another, although he is more scoundrel than outright villain. But the franchise’s best, and most sinister, villain is from Star Trek: Deep Space Nine: Gul Dukat (Marc Alaimo). And it’s not even close.

‘Star Trek: Deep Space Nine’s Dukat Checks All the Boxes

Dukat is the primary antagonist of the series, appearing in both the first and last episodes, and in 35 out of 176 episodes in total. You simply don’t get mileage out of a villain like that, without falling into parody, unless the villain is imposing, charismatic, and, most importantly, unpredictable. And Dukat checks all the boxes, and more. He’s a large, imposing figure, devoid of color and free of any softness in his visage to speak of, commanding attention from those in the series and from the audience, through disarming charm and chilling terror alike.

Prior to the events of “Emissary,” the series’ first episode, Dukat, a Cardassian, held the title of Legate, akin to Admiral, and stood as the head of the tyrannical government that oversaw their occupation of the planet Bajor and commander of Terok Nor, a Cardassian space station hovering above Bajor. However, after the Bajorans forced the evacuation of Cardassian forces from Bajor, he is not only demoted to Gul (Captain), but cedes Tarok Nor to the Federation, who dub the station Deep Space Nine. Dukat takes the evacuation personally, not the first time challenges to his narcissism dictate his reactions — his obsessive need to change Sisko’s (Avery Brooks) disdain of him into respect is a perfect example.

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He’s blackmailed the crew of Deep Space Nine, attempting to use the impending self-destruction of the station to gain approval for a Cardassian garrison to be placed on board, a means of reestablishing a Cardassian military presence on the station, eventually allowing for him to regain control. While it didn’t work then, his alignment with the Dominion, and subsequent leadership of it, allowed Dukat to recapture Deep Space Nine, effectively starting the Dominion War, in “Call to Arms.” And, while possessed by a Pah-wraith, he kills beloved character Jadzia Dax (Terry Farrell) in “Tears of the Prophets,” and aims to kill his own daughter, Tora Ziyal (Cyia Batten) in “Indescretion.” Those acts alone earn Dukat the dubious honor of one of Star Trek‘s great villains.

‘Star Trek: Deep Space Nine’s Dukat Is Complex

It’s what sends him to the top of the list that cements Dukat’s status. While entirely self-serving, Dukat has often done “good” things, showing a depth of character that goes beyond the black hat, making him unpredictable and deeply nuanced. He allied himself with Sisko, going behind the back of the Cardassian Central Command to assist in finding the truth behind the bombing of a Cardassian transport, uncovering a conspiracy involving the Maquis and their leader, a rogue Federation officer, in “The Maquis.” He teams up with Major Kira Nerys (Nana Visitor) to take out a Klingon ship that destroyed a Cardassian outpost, before going on a one-man attack against the Klingons. And, instead of killing his daughter, he spares her life, being overcome with affection, and takes her home despite her being a disgraced half-Cardassian/half-Bajoran, standing by his decision, despite it ultimately costing him everything he has.

Yet his most sinister and villainous trait is in believing himself to be a hero. This is revealed in Season 6’s “Waltz,” when Sisko and Dukat find themselves stranded together on a deserted planet. As they talk, he explains that, as leader of the occupying Cardassians on Bajor, he was benevolent and had nothing but goodwill for his people. Yes, Bajorans died under his tyranny, but not as many as under his predecessors, somehow justifying in his own twisted mind that it counts as kindness. He wants Sisko — again — to respect him, but Sisko calls him out for his hypocrisy. Dukat loses it, admitting that he was wrong and should have killed all the Bajorans, who lacked the respect to know how good they had it under him, not even erecting any statues in his honor to recognize his actions. A villain who can’t, or won’t, recognize he’s a villain is the mark of the truly chilling and sinister. As far as true villainy goes, there’s no keeping up with this Cardassian.