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Waiting on Pins & Needles For This New Episode!!!

Published
February 25, 2026
12:00 PM PST

The journey of Daredevil: Born Again could probably be series of its own. It has been a bumpy rollercoaster to say the least. From the 18-epsiode initial order to the cameos in No Way Home, She-Hulk and Echo, to the creative overhaul midway through filming. But it’s finally a reality. Daredevil: Born Again is welcome return for our blind vigilante and Kingpin. The show is created by Dario Scardapane, Chris Ord and Matt Corman and stars Charlie Cox, Vincent D’Onofrio who reprise their roles from the original Netflix series.

The series sbut istarts strong, with a pretty impactful first couple episodes. Right from the opening episode, it catches you off guard with its brutal violence and bold story decisions, setting up what initially feels like a dark, gritty, and layered street-level saga. It leans into, or at least tries to, everything that made Daredevil a fan favorite—complex characters, grounded stakes, and a world that thrives in the shadows of the MCU rather than under its spotlight. However, as the season progresses, the cracks start to show, and the series struggles under the weight of its own ambitions.

One of the biggest issues is the sheer number of characters and subplots fighting for attention. The show introduces multiple new faces, and side stories, but none of them get the time they need to breathe. Characters go in and out at convenience and we barely see some of the major ones. Instead of a tight, focused narrative that we expected to revolve around Matt and Wilson’s conflict, we linger in unnecessary places. As a result, we rarely get to see them face off, which is disappointing. We also don’t get to see Fisk get his hands dirty, which makes sense now that he’s the mayor.

(L-R) Daredevil/Matt Murdock (Charlie Cox) and Kingpin/Wilson Fisk (Vincent D’Onofrio) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2024 MARVEL.

The series ends up juggling too much, making it feel cluttered and unfocused. This directly impacts Matt’s arc, which feels oddly inconsistent. The Daredevil we get here gets more and more stranger from the one we have known and loved with each episode. His journey is nowhere near as compelling as it was in the original Netflix series, and it definitely had the potential to thanks to the bright first few episodes. Also at times, it feels like the show isn’t quite sure what to do with him. In episode 5, we take him on a very wired little adventure that just felt like it was forced to accomodate a cameo.

By the time we get a glimpse of the Matt Murdock we’ve been waiting for, the season is already wrapping up, leaving much to be desired. That said, the show still delivers in some key areas. The action remains top-notch, with well-choreographed fight sequences that remind you why Daredevil has some of the best combat in the superhero genre. The performances are also excellent, as expected, with Charlie Cox slipping back into the role effortlessly. Vincent D’Onofrio and Jon Bernthal also return like they never left.

Michael Gandolfini was the standout among the new cast members. His character was very charming and likeable. He instantly finds chemistry with D’Onofrio, and they’re setting him up almost like a protege to Fisk. The part that was surprisingly most engaging was the way Vanessa and Wilson’s relationship. It was handled very carefully and respectfully, and takes interesting turns. Ayelet Zurer is so good as Vanessa and thank god they brought her back. Jon Bernthal also steals the show as always with his brief appearance as The Punisher.

(L-R) Karen Page (Deborah Ann Woll), Daredevil/Matt Murdock (Charlie Cox) and Foggy Nelson (Elden Henson) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2024 MARVEL.

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There are also some solid twists along the way, and the show occasionally finds moments of brilliance that hint at its potential. But if Born Again continues down this path, it risks becoming yet another property that bends under the pressure of fitting into the wider MCU instead of standing on its own. The biggest mistake that Dario Scardapane made is keeping the 6 episodes that were shot proir to the creative overhaul. The episodes that were shot after he come are by far the best episodes and the difference is quite apparent.

Daredevil:Born Again does a great job of expanding the street-level side of the MCU while offering the gritty and dark storytelling that Marvel rarely delivers. It starts off strong, embracing the violence and brutality that made the original show so beloved, but it ultimately loses focus under the weight of too many characters and scattered subplots. it still delivers thrilling action, strong performances, and sets the foundations for something that could be great in future seasons. Even if you can’t get on board with the storytelling, you’ll enjoy seeing our beloved characters back doing what they do best.

Daredevil: Born Again premieres with its first 2 episodes on March 4 on Disney+. 

General Hospital spoilers for March 2 – 6, 2026 talk about Valentin Cassadine (James Patrick Stuart) getting more desperate and Laura Spencer (Genie Francis) being cornered and not liking what happens.

As we always do on early edition day, we start with what’s happening the rest of this week. Then we’re going to dive into what is coming next week.

General Hospital Spoilers: Chase Floored & Brook Lynn Adamant

On Wednesday, February 25th, it is the last day of sweeps, by the way. So, we’ll have some big action happening. Harrison Chase (Josh Swickard) is faced with a very tough choice. It shouldn’t be a tough choice, though, honestly. Brook Lynn Quartermaine (Amanda Setton) gave Harrison Chase an ultimatum on Tuesday about expanding their family.

On Wednesday, Chase is going to ask Brook Lynn if she’s really telling him that they can’t adopt until he lets this Michael Corinthos (Rory Gibson) and Willow Tait (Katelyn MacMullen) thing go. And yeah, I think Brook Lynn is going to reiterate that that is what’s going on.

GH Spoilers: Emma Returns and Cody Motivates Molly

Gio Palmieri (Giovanni Mazza) gets wonderful news and I think that it is Emma Scorpio-Drake (Brayden Bruner) is definitely confirmed to be coming back. It’s going to happen soon. Plus, Cody Bell (Josh Kelly) is there to motivate Molly Lansing-Davis (Kristen Vaganos), and Cody is telling Molly that if she’s holding back because of Cody, that would be a real shame.

Obviously, this is about publishing Molly’s book. So, it looks like Cody read all of the book. Now, Cody is a big fan of Molly’s writing, and Cody wants Molly to go for it, and they’re reunited. Things are looking good. Also, Dante Falconeri (Dominic Zamprogna) approaches Elizabeth Webber (Rebecca Herbst) and tells Elizabeth he needs a favor. Is this about the Michael case or is this something about the kids? You know, we’ll see.

Carly Corinthos Spencer (Laura Wright) has a big update for Valentin about their plot against Jack Brennan (Chris McKenna), which is going nowhere fast as we’ve seen. Carly tells Valentin they have a complication and I’m guessing Carly is going to share all the stuff that Lucas Jones (Van Hansis) told Carly and growing fears about Britt Westbourne (Kelly Thiebaud) and Jack and all of it.

Jason Morgan and Britt Westbourne Face Immediate Danger on General Hospital

Jason Morgan (Steve Burton) and Britt discuss their options and Jason tells Britt Westbourne that Ross Cullum (Andrew Hawkes) is on to them. So, that means danger for Jason immediately. And then if Britt isn’t working at capacity and meeting deadlines, that’s danger for Britt, too. Honestly, when Britt gets this mystery device done, this cold fusion thing, I’m sure Britt is going to be dead meat also. They’ll probably just cut Britt off the medication.

Elsewhere, Lucas tells his Aunt Ava Jerome (Maura West) she needs to stay away from Jenz Sidwell (Carlo Rota) before she gets in any deeper. And I’m guessing Ava is going to tell Lucas what Ava has told others that warned Ava about Sidwell. And it’s that Ava can handle herself. But Ava is not exactly the badass mobster used to be. And I don’t think Ava will heed warning, I really doubt she will.

Sidwell Plays Hardball and the Port Charles Election Heat Up on GH

On Thursday, February 26, Sidwell decides to play hard ball. Now, this could be about Deception because Sidwell was not happy when Tracy Quartermaine (Jane Elliot) was saying that they were going to audit Sidwell’s shipments because we know Sidwell is smuggling stuff in with the cosmetic ingredients.

So, it could be about that or about the Marco Rios (Adrian Anchondo) and Britt issue that Sidwell is dealing with because Marco wants to protect Lucas and Marco has no idea that Sidwell is ready to kill Lucas at any moment. So, we’re going to have some father and son tension on General Hospital.

Laura gets the ball rolling with a press conference and this should be Laura giving Alexis Davis (Nancy Lee Grahn) Laura’s endorsement to replace Drew Cain Quartermaine (Cameron Mathison) in the special election. Alexis is going to be excited. Molly was cheering Alexis. Everybody’s excited, but there’s a wrinkle.

Alexis is going to get a shock on Thursday and this may be when she finds out that Willow intends to take over Drew’s seat. So, Nina Reeves (Cynthia Watros) might be arranging PR and a press conference of Nina’s own so Willow can announce she is running to take over for Drew.

Willow may say she has Drew’s blessing. Something Alexis can’t say, but it’s a lie anyway. And Dr. Isaiah Gannon (Sawandi Wilson) is going to approach Trina Robinson (Tabyana Ali), and I’m sure it’s to discuss Portia Robinson (Brook Kerr). And I wonder if Trina is going to be civil with Isaiah.

General Hospital Spoilers: Sonny and Jason Investigate the Penthouse Bombing

Meanwhile, Sonny Corinthos (Maurice Benard) and Jason catch up. Lots to talk about. Primarily Sidwell and Cullum because they’re ow a problem for Sonny and Jason both. As I suspected back when it happened, Sidwell is at least partially to blame for that penthouse bombing. If you remember, Sidwell literally had a glass of champagne in his hand.

And he skipped out to the balcony to watch across the harbor into Port Charles when the penthouse blew up. Now, they didn’t show the explosion Jenz Sidwell, but the timing of it was the same day, the same hour. So, now to me this looks like confirmation since Cullum is involved and may have been the one to have his people set the bomb, but Cullum is working with Sidwell and has been all along.

GH Spoilers: Willow Tait’s Dark Agenda and Laura’s Blackmail Nightmare

Friday, February 27th, Laura has to exercise some self-control. And that’s probably because she gets a visit from sleazy Ezra Boyle (Daniel Cosgrove). And Laura is not going to be happy to see Ezra. I’m guessing Ezra is going to tell Laura she has to withdraw her endorsement for Alexis and endorse Willow instead because Sidwell wants Willow to have Drew’s seat, not Alexis.

Speaking of help, Liesl Obrecht (Kathleen Gati) wants Britt’s assistance. And I bet it’s about reuniting Nathan West (Ryan Paevey) and Maxie Jones (Kirsten Storms). And I don’t think Liesl is going to listen to Nathan saying he is fine that Maxie chose Damian Spinelli (Bradford Anderson).

I just hope Dr. O doesn’t backslide into any evil antics. Also, Willow makes a promise to herself. And it may be about getting all her goals done: destroying Michael, punishing Drew Cain, becoming a congresswoman, getting full custody of her kids, and getting away with literal attempted murder.

General Hospital Weekly Spoilers March 2nd Through the 6th

The week of March 2nd through the 6th, we’re going to see Sonny and DA Justine Turner (Nazneen Contactor) fledgling romance continuing to simmer. The question is whether Justine is playing Sonny, which was Ric’s concern, my concern, too. I’m sure it’s going to be Jason’s concern.

At this point, Justine may not be sure who’s playing who because Justine I think, does have some conflicted feelings where Sonny is concerned. Meanwhile, Molly and Cody enjoy their reunion, and Emma is back in Port Charles soon to reunite with Gio.

We’re also going to get some more Anna Devane (Finola Hughes) scenes. So, they had Finola Hughes film a bunch of scenes ahead of time so Finola could have this long break she wanted, but still be on air now and then as the storyline demanded.

Danny Morgan (Asher Jared Antonyzyn) and Charlotte Cassadine (Bluesy Burke) keep on with their teen cousin romance. Willow and Alexis may be battling it out, but it might be over before it starts if Laura is forced to withdraw her endorsement for Alexis and jump over to team Willow.

Desperate Moves for Drew Cain and Harrison Chase on General Hospital

I wonder if Alexis may tell Laura that Willow shot Drew if that happens. But the problem is Laura is being blackmailed very effectively by Sidwell. So, Laura doesn’t have a lot of choice. Meanwhile, Isaiah and Portia look to the future and Drew desperately wants to be saved from Willow.

Drew will try again soon and succeed with actually communicating with somebody. Also, Lucas is playing a very dangerous game that may get him burned.  Jordan Ashford (Tanisha Harper) and Curtis Ashford (Donnell Turner) are also looking ahead. Plus, Chase stands to lose everything because of Willow and his need to get revenge on Michael.

I think Chase will cave to Brook Lynn’s ultimatum, but then just can’t stick to it. I think Chase just can’t stop. Also, Obrecht won’t stop her plan to reunite Nathan and Maxie, and Valentin and Carly have to find a new approach.

By Robert Scucci
| Published 9 seconds ago

In every single one of his movies, Neil Breen portrays a tragic hero with godlike powers who takes it upon himself to save the world from itself through mystical, inexplicable abilities that more often than not make no sense. 2016’s Pass Thru clings to this formula and makes for an entertaining watch for fans of outsider filmmaking.

While most Breeniacs like myself would point to 2005’s Double Down and 2012’s Fateful Findings as his finest works, Pass Thru is not without its charm. But be warned, because it’s also one of Breen’s most disjointed pieces in his entire filmography, and that’s saying a lot.

“The message is simply too powerful to be captured on film.”

Here, we have an ominous floating red dot that serves no real purpose, a tiger that occasionally shows up in the Nevada desert for reasons never explained, and cans of beans littering the landscape. Corrupt insurance, bank, and media “presidents” openly lay out their plans to be corrupt and immoral, but Neil Breen’s Thgil (light spelled backwards), an extraterrestrial AI lifeform sent to Earth to make it a better place, is here to save the day.

It’s No Double Down, But We’ll Take It

Like most Breen joints, Pass Thru is rife with sprawling desert shots, ramshackle sound design, and preachy monologues about the state of the world and how Neil Breen, wearing his finest Canadian tuxedo, is the only being in existence who can usher in a new age of enlightenment. Self-satisfaction aside, we get a mess of a story that begins with a group of nameless immigrants packed into the back of a truck and carted off to an undisclosed location by enforcers who are supposed to round them up and send them back to the countries they escaped from.

Through Breen’s narrations, we learn that he’s an AI lifeform from a far-off galaxy sent to Earth specifically to eliminate 300 million “bad people” through a great cleansing. The problem is that in his human form, he becomes a heroin addict who sleeps in garbage when he’s not eating canned food in his trailer home. He befriends Amanda (Kathy Corpus) and her niece, Kim (Chaize Macklin), who are reluctant to stay with him in his trailer even though he claims to be “the future,” after thoroughly rounding up his garbage to make his home more welcoming.

Meanwhile, a boy astronomer (Abraham Rodriguez), two girl astronomers (Taylor Sydney and Taylor Johnson), and their wheelchair-bound professor (James D. Smith) head out to the desert in search of a glowing red dot that looks like a broken pixel on your screen, but appears with purpose despite that purpose never being properly spelled out.

Somehow, all of these separate storylines converge when Thgil takes over a news broadcast to let the entire human race know how primitive they are, and again when he shows up at a mansion to tell various government officials and industry presidents that they’re corrupt. Shortly thereafter, CGI explosions burn in the background as Neil Breen walks away from the wreckage without ever looking back.

Not One Of The Classics, But A Departure Point

While Pass Thru is distinctly a Neil Breen film, it pales in comparison to its predecessor, Fateful Findings. That film is rooted in corporate espionage, government secrets, and dozens of laptops getting destroyed as our hero vows to expose the corruption running rampant in this world.

All the same trappings of self-importance and disgust with the modern world are still there, but Pass Thru fails to stick the landing because there are simply too many moving parts. For a film that people like me actively seek out because it’s so laughably terrible in every conceivable way, there’s a distinct lack of charm here, and I can’t quite put my finger on what’s missing.

If Neil Breen were a musician, Pass Thru would be his departure album. He’s been to the desert and to far-off galaxies by bending space and time as we know it on multiple occasions. This is the last film he shoots primarily on location before becoming a master of the green screen with films like Twisted Pair and Cade: The Tortured Crossing, so what we’re seeing here feels like an artificially intelligent being struggling to reach his final form through conventional means. The message is simply too powerful to be captured on film. At least that’s the narrative I’m going with. 

If you’re a fan of Neil Breen’s work, Pass Thru is essential viewing. Just know that it’s not his finest hour. To witness what Breen calls a “visionary, revolutionary film which pushes the human species to the limits of controversial, thought-provoking actions,” you can learn more about it on his website.

The Oscars are the most prestigious awards in cinema and a celebration of the craft at its absolute best, designed to recognize and commend the most illustrious achievements across every discipline of the medium. However, the passage of time isn’t always so kind, and for all the acclaimed and timeless masterpieces that won Best Picture, there have also been plenty of Oscars dished out for titles that are pretty difficult to endure today.

It’s not to say these films are innately bad. Rather, we must observe how greatly society has changed over the past 100 years, and how movies that were once regarded as being the peak of cinematic artistry have dwindled even as some of their contemporaries have endured. From hits of early Hollywood that haven’t held up from a technical standpoint to mid-century melodramas and musicals that flaunt a frightfully outdated set of social values, and even to some more modern misfires that have quickly become questionable selections, these Best Picture winners have not stood the test of time well at all.

10

‘The Broadway Melody’ (1929)

Image via MGM

A product of its era, The Broadway Melody is undeniably an important film in the history of the Oscars. It marks the first sound movie to ever win Best Picture and one of the first pictures to ever use Technicolor. Its pioneering ambition is commendable and impressive even when revisited today. Other elements haven’t aged quite so gracefully, with everything from its technical execution to its narrative, characters, and performances, and even its musical numbers being difficult to connect with now.

Its inconsistent sound mixing is its most distracting pitfall. It is an understandable complication of being one of the first “talkies,” but it still distances the viewer from the story at important beats. Furthermore, the weak and clichéd melodrama clashes unnaturally with its cheesy acting, a fact that only amplifies the shallow nature of its narrative and the outdated social values the film depicts. In essence, The Broadway Melody is an impressive product of its time, but it is still a product of its time, and its storytelling style, thematic interests, and clunky execution hold little to enrapture audiences almost a century on from its release.

9

‘American Beauty’ (1999)

Image via DreamWorks SKG

The most obvious reason for American Beauty aging poorly may be Kevin Spacey’s well-publicized fall from grace, which makes any effort to watch him portray a lecherous character particularly unpleasant. Still, that certainly isn’t the only reason why the 1999 Best Picture winner has dwindled over the years. It follows a middle-aged man leading a seemingly idyllic suburban lifestyle as he backslides into depression, a misery that isn’t helped by his newfound yearning for his teenage daughter’s friend.

While the story’s premise can be seen as problematic, American Beauty does a reasonable job at executing it with a sense of melancholic earnestness that doesn’t treat Lester’s (Spacey) obsession as healthy or acceptable. However, its focus on the pitfalls of upper-middle-class life is narrow-minded, with the edges of Lester’s story littered with shallow caricatures. The story itself exudes a sense of self-indulgent pretentiousness that now, more so than ever, simply doesn’t resonate with the masses. Its satirical tone still has some bite, but it comments on a dated idea of societal angst. Given that 1999 also saw the release of such films as Magnolia, Eyes Wide Shut, Fight Club, and The Matrix, American Beauty’s Best Picture win is particularly difficult to stomach today.

8

‘The Great Ziegfeld’ (1936)

Image via MGM

Like many of the other earlier Best Picture winners that have aged less gracefully, The Great Ziegfeld is an astonishing feat of production, especially for its time. Alas, its longevity is burdened by its shallow thematic impact and archaic storytelling. In the case of the three-time Oscar winner, it also serves as an overly glamorous and inauthentic biopic about Florenz Ziegfeld Jr., an American Broadway impresario who was a key figure in the field throughout the early part of the 20th century.

Produced with heavy input from Ziegfeld’s widow, Billie Burke, The Great Ziegfeld strays away from the more ruthless and immoral aspects of Ziegfeld’s (William Powell) life to instead present a rollicking musical drama highlighting his rampant rise through the 1920s, along with a love-triangle intrigue. It isn’t enough to sustain the film’s gargantuan three-hour runtime, ensuring The Great Ziegfeld has dwindled over time as a historically inaccurate and blunted biographical musical executed in a manner that simply doesn’t resonate with today’s viewers.

7

‘Cavalcade’ (1933)

Image via 20th Century Studios

Adapting a stage play to the screen is always a difficult task. Even modern movies that undertake such a venture often struggle to find the right balance between honoring the style and story of the original form and using the tools uniquely available to cinema to produce a spectacle befitting of the big screen. 1933’s Cavalcade suffers as a picture that is simply a static and stagnant recreation of Noel Coward’s 1931 play, bereft of cinematic ambition.

Told with paper-thin characters and an archaic vigor for old-world values, Cavalcade follows two London-based couples—the aristocratic Marryots and the working-class Bridges family—as they react to the changing times. It features historical events, including the Boer War, Queen Victoria’s death, the sinking of the Titanic, and the outbreak of WWI, that rattle the lifestyle they know. Like many old movies, it feels forced and overly exaggerated when viewed today, substituting quiet drama for heavy-handed dialogue and over-the-top performances that take what is an interesting story of societal change and strip it of all narrative cohesion and thematic impact. It won Best Picture as well as Best Direction and Best Art Direction at the 6th Academy Awards ceremony.

6

‘The Greatest Show on Earth’ (1952)

Image via Paramount Pictures

It is quite interesting how, while the Best Picture winners from the 1940s have aged immaculately, a lot of the major titles of the ’50s have grown grating over the decades. The Greatest Show on Earth is a perfect example of why. Following the ensemble of a traveling circus as they reckon with the postwar economy, the Cecil B. DeMille picture is bloated and rife with overexaggerated melodrama, weak plotting, and characters that aren’t interesting or nuanced enough to account for the 155-minute runtime.

It was even considered a controversial Best Picture selection by the Academy, given it was competing against such classics as High Noon, The Quiet Man, and even Singin’ in the Rain, which didn’t even garner a nomination. Frequently rated among the weakest Best Picture winners in Oscar history, The Greatest Show on Earth has only diminished over time, becoming an infamous blight on the Academy Awards and an arduous watch today.

5

‘Green Book’ (2016)

Image via Universal Pictures

Marking what is the most infamous Best Picture winner in the past 20 years, Green Book has become much maligned as a movie that never should have won the award in the first place. The biographical drama aims to dissect racism as it follows acclaimed jazz pianist Dr. Donald Shirley (Mahershala Ali) on his tour in the South in the 1960s, accompanied by his driver and bodyguard, Tony Lip (Viggo Mortensen), a hard-edged bouncer from the Bronx.

For what it’s worth, Green Book does present a beautiful real-life friendship, a wonderfully acted feel-good tale of cultural differences overcome by the simple sincerity of human connection. However, its observations on racism and its ramifications are vague, short-sighted, and sometimes plain wrong, with many criticizing it as a movie that offers comfort when it should be critical and confronting. The fact that it was heralded as being a triumphant dismantling of bigotry and hate despite its relatively tame handling of such issues has seen it become a divisive film as well as a Best Picture winner that highlights the safe stagnancy that sometimes undermines the Academy Awards.

4

‘Around the World in 80 Days’ (1956)

Image via United Artists

Based on Jules Verne’s 1872 novel of the same name, Around the World in 80 Days was the big winner at the 29th Academy Awards, winning five Oscars in total, including Best Picture, a feat that saw it triumph over fellow nominees like The King and I and Giant, while classics like The Searchers didn’t even get a nod. With its globe-trotting story and its monumental 175-minute runtime, it is easy to see why the Verne adaptation was celebrated as a significant achievement in cinema, but its sensibilities and pacing are far more at home in the 1950s than they are in today’s world.

Its depiction of foreign cultures is uninspired to say the least, resorting to stereotypical and misleading simplicities, and even featuring Shirley MacLaine as an Indian princess. However, perhaps even more grating than its politically incorrect display is its dated pacing, with its agonizingly slow narrative progression relying heavily on celebrity cameos to keep the audience invested. It may have worked a charm in 1956, but the audacious fantasy Best Picture winner simply doesn’t have the same allure in 2026.

3

‘Gigi’ (1958)

Image via Metro-Goldwyn-Mayer

Released as a lavish and light-hearted musical comedy in 1958, Gigi is widely regarded as a naïve and unnerving byproduct of a bygone era. It’s an incredibly awkward watch in today’s world, given its archaic perspective on gender dynamics and the sexualization of young women. Following the tentative and blooming romance between a Parisian playboy and a still-maturing teenager, the film was celebrated as a vivacious visual spectacle epitomizing the splendor of musical cinema.

While its production value remains an impressive feat, the nine-time Oscar winner has otherwise aged abysmally. Its central relationship between the “in-training” Gigi (Leslie Caron) and the far older and promiscuous Gaston (Louis Jourdan) isn’t only squeamish and predatory in its premise, but it is executed with a cheerfulness and charm that is, today, ill-suited to the subject matter. The inclusion of songs like “Thank Heaven for Little Girls,” the treatment of women as commodities to be chased, and even the nature of the storytelling certainly haven’t helped it stand the test of time either. Gigi is an uncomfortable relic of an era of chauvinism.

2

‘Crash’ (2004)

A movie that capitalized on the sorrow, confusion, grief, and trauma felt across America in the wake of 9/11, Crash exudes a certain self-importance with its mighty themes of prejudice, human nature, and social stratification. Alas, its scope is far too shallow and comforting to do anything of substance with such ideas. Transpiring in a time when Americans are still reeling from the events of September 11, it follows several interconnected stories of racial tension and social misunderstanding involving deeply flawed characters striving to do their best, even as they make horrific snap judgments.

Heavy-handed, simplistic, and propelling a white savior narrative that is frankly uninspired in its plot beats and progress, Crash is one of the more egregious examples of Oscar-bait cinema audiences have been bombarded with this century. It preys on the lingering cultural heartache of 9/11 while delivering moralizing and condescending tales that reduce America’s issues of systemic racism and societal belligerence to a series of individual flaws. Controversially, it upset the highly fancied Brokeback Mountain for Best Picture, an error in judgment that will stand as one of the Academy’s most confounding misfires for many years to come.

1

‘Cimarron’ (1931)

Image via RKO Radio Pictures

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A sweeping epic that unfolds over 40 years, no one can fault Cimarron’s ambition and visual majesty, but its lethargic story and rampant insensitivities ensure that it is a movie that simply no longer has any narrative appeal. When she is dragged to Osage, Oklahoma, in the late 1880s at the behest of her husband, ambitious newspaperman Yancey Cravat (Richard Dix), Sabra (Irene Dunne) finds herself struggling to manage her inherited editorial duties while acclimatizing to a community where civilization is far from established. The couple is repeatedly separated and reunited over the ensuing decades as Oklahoma rapidly evolves.

Featuring belittling stereotypes of Native Americans, African Americans, and Jews while focusing on a supposedly triumphant tale of a white man’s burden to bring civility to the hostile and simple-minded natives, Cimarron oscillates between being boring banality and piercing controversy. It was ultimately awarded Best Picture because of the magnitude of its production and the epic ambition of its execution, but it has come to be widely viewed as the worst Best Picture winner of all time.

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Published
February 25, 2026
10:39 AM PST

The Thunder Buddies are about to graduate from high school this year with the release of Ted Season 2. Before John Bennett (Max Burkholder) and his titular stuffed best friend (Seth MacFarlane) are thrust into the world of adulthood for the first time, though, they have to hold one last epic rager to toast their senior year with the level of debauchery they deserve. Most excitingly, however, is that everyone’s invited. Collider is partnering with Peacock to announce that, in celebration of the return of the MacFarlane-created sitcom on March 5, The Gutter in the Lower East Side in New York City is getting a Ted-themed makeover for one weekend only for a massive house party.

Ted and John’s “Mind in the Gutter Party” will wind back the clock to the early 1990s, when Ted was forced to attend school with John and navigate the trials of growing up at the bottom of the social ladder. As such, the bar and bowling alley will be imbued with the era’s aesthetic and covered in easter eggs paying homage to the Bennett family. It also promises plenty of “delights and debauchery” alike, from Ted-themed bowling to nostalgic throwbacks, classic games, exclusive clips from the second season, and much more that will only be revealed when attendees arrive. The only thing that could make such a party more accurate to MacFarlane’s crass bear is if it were taking place in Massachusetts.

Peacock has teamed with MacFarlane’s Fuzzy Door Productions to make this house party happen, with help from NVE Experience Agency. This isn’t NVE’s first time warping viewers back to the 90s, as they also helped with the Ted series premiere back in 2024. They’ve also applied their touch to activations for a wide range of other shows, from Peacemaker Season 2 to Ryan Murphy‘s Grotesquerie. Fans 18 and older will be able to enter the “Mind in the Gutter Party” at The Gutter LES for free on a first-come, first-served basis from 4 p.m. to 7 p.m. on Friday, March 6, and 1 p.m. to 7 p.m. on Saturday, March 7, while ages 21 and older can stay thereafter until 1 a.m.

What Does Season 2 of ‘Ted’ Hold for the Bennett Family?

Ted Season 2 begins in roughly the same spot the acclaimed series started, with John Bennett still awkward and unpopular and trying to navigate high school life with a little help from his best bud Ted. Only now, time has flown, and the end of senior year is fast approaching. With so much still left unaccomplished, the duo sets out to make the most out of what little time they have left by making more mistakes, smoking more weed, and indulging in some new activities, like Dungeons & Dragons, before they become fully-fledged adults. The rest of the Bennett family will be along for the ride too, including John’s strict, blue-collar father Matty (Scott Grimes), his remarkably sweet, caring mother Susan (Alanna Ubach), and his outspoken liberal cousin, Blaire (Giorgia Whigham).

Return to the Bennett household when all eight episodes of Ted Season 2 arrive on Peacockon March 5, then live it up like it’s the 90s at Ted and John’s Mind in the Gutter Party” at The Gutter LES in New York City on March 6 and 7.

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Release Date

2024 – 2024-00-00

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Network

Peacock

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  Penny Johnson Jerald

  Principal

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  Seth MacFarlane

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  Ted (voice)

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  Max Burkholder

  John Bennett

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