By Chris Snellgrove
| Published 1 minute ago

Ronald D. Moore’s Battlestar Galactica reboot has a well-earned reputation for being a very serious show. Sure, there are moments of levity here and there, but the series never loses its endlessly grim dark tone.

That’s understandable, of course: the show follows the last surviving members of the human race as they flee from extinction at the hands of relentless robot killers. When your TV show is about a slow-rolling apocalypse set in space, there’s not much room (even in the vacuum) for jokes and laughter.

However, Moore has a pretty quirky sense of humor. If you look closely enough, you can find some hilariously off-kilter references to other media that are sure to make you laugh.

In the episode “Litmus,” for example, has a scene in which brilliant, egocentric scientist Gaius Baltar is threatened by the version of Six that lives in his head. As viewers, we’re supposed to take the threat very, very seriously. But that’s hard to do once you realize that she is quoting the Incredible Hulk right to the man’s face!

The Incredible Six

This bizarre Battlestar Galactica tale will require a bit of frakkin’ context. In the show, there are multiple versions of Six, the statuesque Cylon played to sexy perfection by Tricia Helfer. The most mysterious version is one that lives inside Baltar’s head: it frequently talks to him and offers surprising advice from time to time.

In “Litmus,” for example, Baltar decides to destroy the Cylon detector because he thinks it has made him a target. When she learns of his plan, though, Six tells the scientist, “You’re gonna complete the project, like I told you.”

To this, a defiant Baltar says, “Really. Will I? Or what?” A visibly angry Six then gets in his face to utter something quite intimidating. “Don’t make me angry, Gaius. You wouldn’t like me when I’m angry.” At least, the line is delivered in an intimidating way.

It’s tough for audiences to be scared, though, once they realize the hilarious truth. Six is inexplicably quoting a line made famous by Bill Bixby when he played the titular lead of the Incredible Hulk TV show. Later, Mark Ruffalo would do a callback to this line in Avengers, when he tells Captain America, “That’s my secret, Cap. I’m always angry.”

A Marvel Of A Woman

So, what’s a goofy line from a goofier Marvel show doing in Battlestar Galactica? Nobody knows for sure, but it seems a safe bet that Ronald D. Moore or others on his staff were big fans of the old Incredible Hulk TV show. That’s because we get at least two more homages to this classic television line.

In “Six Degrees of Separation,” Six repeats the “don’t make me angry” part when she threatens Baltar again. Later, in “Collaborators,” there’s a bizarre dream sequence where Sx says, “Don’t make me angry,” only for Adama to complete the quote: “You wouldn’t like her when she’s angry.”

There you have it, you frakkin’ toasters: Battlestar Galactica might be a fairly serious show, but it’s filled with silly homages to the goofiest line in Marvel history. Of course, what makes this tale even stranger is that, canonically, the events of this sci-fi show take place long before the advent of our own modern civilization.

That means that Tricia Helfer’s character isn’t actually quoting the Incredible Hulk. She might (given that this “Head Six” version is seemingly immortal) be the one who inspired Bill Bixby to say it in the first place!

Stassi Schroeder is one of the many “Vanderpump Rules” alums that remains in good graces with Lisa Vanderpump. This is so much the case that during a recent episode of the Hulu show, “Vanderpump Villa,” Schroeder defended the 65-year-old businesswoman after Scheana Shay slammed her in her 2025 memoir.

Now, during a recent podcast appearance, Shay responded, claiming that Schroeder was supposed to return to “VPR” but ultimately refused.

Shay took to her “Scheananigans with Scheana Shay” podcast in May 2026 to react to the clips of Schroeder blasting her in order to defend Vanderpump. Notably, she recalled that Schroeder was asked to return to “VPR” for the show’s 12th season. However, she turned it down.

According to Shay, “I feel like I have a bit of a level of understanding with her because it wasn’t too long ago we were at a birthday party.” She went on to set the scene, saying it was during filming for season two of “The Valley,” on which Shay appeared as a friend of the show.

She went on, “Vanderpump Rules… we still think it’s coming back for season 12, and Jeremiah [perhaps a producer] was talking to Stassi, and they were trying to get her back. Cause we were thinking [there] might be one final season.”

Scheana Says Stassi Didn’t Return to ‘VPR’ Due To Lisa Vanderpump

She went on to discuss some of the other cast before saying, “Stassi and I were in a good place then. And so we’re at this birthday party, and I was like, ‘Okay, so like what do you think? Is it a name-your-price [situation]? Like, would you come back?”

Shay continued, “She was like, ‘Honestly, Scheana, I can’t do it. I will never sit down and have a conversation with Lisa Vanderpump.’ And I was like, ‘Really?’ And she goes, ‘That’s what it would be. It would be me coming back to the show, and I have to have a sit-down [with Lisa] like I did season three or four … And I’ll never do that.’”

After that, she reacted to her fellow “VPR” alum appearing on another Vanderpump show. According to her, “So then imagine my shock when I hear she’s going on ‘Vanderpump Villa.’”

She added, “You do what you gotta do to get your bag, get your show picked up, all of that. Respect. Honestly, [I] might have done the same thing.”

Elsewhere in the episode, Shay denied slamming Vanderpump in her book, saying that she “spoke very highly of Lisa. I have had so much respect for Lisa as a businesswoman. As a mother.”

Fans Are Not On Scheana Shay’s Side

Fans reacted to this section of Shay’s podcast, with many expressing negative opinions about what she said regarding Schroeder. One person wrote, on X, “Scheana is really such a pick me. She wants to be the center of attention for everything. Go find Sandoval, how’d that work out for you?”

Another person said, “She’s pissed that everyone has moved on to bigger things, but she hasn’t.” Someone else related to Schroeder, writing, “I wouldn’t go back to a show I was fired from either.”

Lastly, a different Bravo fan stated, “At this point, Scheana just needs to keep her mouth shut. She just digs a hole for herself every time she speaks.”

Scheana Previously Called Out Stassi

Shay appeared on Page Six’s Virtual Reality Tea in 2025. While on the show, one of the hosts asked how she felt about Schroeder joining “Vanderpump Villa,” which was announced in 2024. She said in the clip, “I mean, it made sense because, you know, she had a development deal with Hulu. So, trying to get her own show, I feel like that’s a part of the deal.”

However, she went on to describe Schroeder’s casting as “shocking,” noting that her former costar did not want to speak with Vanderpump on camera.

Stassi Has A New Show

Scheana mentioned in her podcast that Schroeder’s appearance on “Vanderpump Villa” was done in part to “get [her] show picked up.” She also mentioned her former co-star having a development deal with Hulu. Now, according to Deadline, Schroeder will headline her own show, “House of Stassi,” on Hulu and Freeform.

In addition to Schroeder, “House of Stassi” will feature Katie Maloney, Beau Clark, Kristina Kelly, Taylor Strecker, Georgianna Aubin, Rob Evors, and Taylor “Teddy” Donohue.

The first two episodes of the series will premiere on Freeform on July 29, before the full season, then stream on Hulu and Disney+ starting the following day.

Kim Kardashian is dropping major hints about her upcoming appearance at the 2026 Met Gala, leaving fans eager for a first look at her ensemble. 

The reality star took to social media to engage with her followers, sparking intense curiosity about which designer she will represent on fashion’s biggest night. 

In the past, the reality TV star has drawn heavy criticism for her Met Gala looks, particularly when she wore Marilyn Monroe’s iconic gown. 

On the eve of the 2026 Met Gala, Kim Kardashian’s interactive responses on X sent her fanbase into a frenzy of speculation. 

When a nostalgic fan asked for a hint regarding her designer choice for old time’s sake, the SKIMS founder offered a playful response, writing, “Hmmm, I don’t think you will be able to guess.”

In addition to the mystery surrounding her gown, Kim provided a few more concrete details regarding her beauty direction for the evening. Responding to a question about whether she would be sporting colorful or nude makeup, she confirmed that fans can expect “more neutral bronze tones” for her red carpet look. 

While her makeup plans seem settled, the identity of the person or house behind her dress remains a tightly guarded secret, ensuring all eyes will be on her as she arrives at the Metropolitan Museum of Art.

How Fans Reacted To Kim Kardashian’s Cryptic Fashion Hints

While Kim’s hints about her bronze makeup and mysterious designer choice left many curious, her followers were quick to share their theories and concerns. One fan humorously questioned if she was literally wearing the brand “Guess” based on her playful reply. 

Others focused on her famous silhouette, with one user predicting that whatever she wears will surely emphasize a “very tiny waist.” 

One fan suggested that the businesswoman may end up wearing Princess Diana’s iconic revenge dress. “Girl, if you wear the revenge dress, we’re going to have an argument,” the fan wrote. 

Meanwhile, some followers explicitly warned against another headline-grabbing stunt similar to when she wore Marilyn Monroe’s iconic gown.

“We just hope your stylist isn’t stupid enough to make you get so much negative attention and make you wear the Marilyn dress,” another fan commented. 

Rumors Grow Over Princess Diana’s Iconic Gown

While fans continue to speculate over Kim’s fashion choices for this year’s event, rumors are intensifying, suggesting that the reality star has set her sights on the famous “Revenge Dress” once worn by Princess Diana. 

This iconic black gown, designed by Christina Stambolian, became a global sensation in 1994 when the late Princess wore it following public admissions of infidelity by the then-Prince of Wales. 

According to The Daily Mail, speculation regarding this potential fashion choice grew after comments on “Good Morning Britain” suggested Kim was hiring the historic frock for the night. 

However, the news sparked immediate backlash on social media. Many remembered the 2022 controversy when Kim wore Marilyn Monroe’s “Happy Birthday Mr. President” dress and was accused of causing permanent damage to the priceless item.

A Look At Kim Kardashian’s Legacy of Bold Fashion Risks

While the potential for a “revenge dress” moment dominates the current news cycle, Kim’s history at the event suggests she is more than capable of creating a viral sensation without relying on historical artifacts. 

Over the years, she has transformed from a guest to a definitive force on the red carpet, consistently choosing outfits that spark global debate and redefine fashion boundaries. 

Her appearance in 2024 showed a more refined side of her style, featuring a romantic look with a structured corset and delicate lace that felt both sophisticated and modern.

This softer approach was a departure from her 2023 choice, where she wore a custom gown crafted entirely from thousands of pearls, as reported by The Blast. 

In 2021, she shocked fans by hiding her famous face with her head-to-toe black ensemble, while her 2019 “wet look” dress was a technical marvel that created the illusion of water dripping from her body. 

The Met Gala Has Some Strict And Surprising Rules

Kim’s history of taking massive risks perfectly aligns with the high standards of the event, which is famous for its rigid and often surprising set of expectations. While the gala appears to be a carefree party for the elite, it is actually governed by a strict code of conduct that even the most famous guests must follow. 

According to The Blast, one of the most significant requirements for attendees is a total ban on cell phones once they enter the museum. 

Additionally, guests have almost no control over where they sit; seating charts are meticulously planned months ahead to encourage conversation between strangers. Furthermore, having the money for a ticket does not guarantee entry, as Anna Wintour must personally approve every guest.

If you love the vibrant, resort-ready vibe of Lilly Pulitzer, get ready because you can channel that same look for less than you’d expect. Right now, Walmart is full of colorful, feel-good dresses that bring the same playful energy, from bold prints to breezy silhouettes that were practically made for sunny days.

These easy, throw-on styles are perfect for everything on your calendar, whether you’re heading to brunch, packing for a getaway or just want to brighten up your everyday wardrobe. Think lightweight fabrics, flattering fits and eye-catching patterns that instantly make an outfit feel styled. Trust Us, no one will guess these chic finds start at just $13.

13 Lilly Pulitzer-Style Dresses at Walmart, From $13

1. Smocked and Sweet: This smocked midi dress is pure warm-weather charm. The stretchy bodice creates a comfortable, flexible fit, and the tiered skirt brings easy, floaty movement that feels so put together.

2. Everyday Floral Favorite: This floral T-shirt midi dress is the definition of effortless. The relaxed silhouette drapes beautifully. Plus, the soft, breathable fabric makes it an easy choice for everything from errands to weekend plans.

3. Boho Bell Beauty: This V-neck bell-sleeve maxi dress delivers that care-free, boho vibe in the best way. The tiered skirt flows with every step, and the wrap-style front adds a flattering touch that feels elevated without trying.

4. Garden Party Maxi: This puff-sleeve floral maxi dress is made for sunny days. The high elastic waist creates a flattering shape. We love the way the vibrant print feels so ready for a tropical resort.

5. Ditsy Mini Moment: This smocked floral mini dress is all about the details. The ruffle trim along the neckline and sleeves adds a delicate finish to the playful, flattering fit-and-flare silhouette.

Related: Skip the Spree — This Coastal Style Dress Is All It Takes to Feel Rich

With three kids under seven, my daily uniform is basically comfy‑chic on repeat. And while my soft tees and stretchy shorts are always calling my name, I feel better when I slip into something that’s intentional, beautiful and luxe-looking — like this 100% cotton smocked dress I’ve been obsessed with lately. Smocked dresses have been […]

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6. Polished and Pretty Midi: This square-neck belted midi dress feels effortlessly refined. The structured neckline adds polish, and the adjustable belt lets you define your shape just the way you like.

7. Puff-Sleeve Classic: This cotton puff-sleeve mini dress brings a timeless feel with a hint of sweetness. The tie-waist belt cinches things in, but the ruffle hem keeps the look soft and feminine.

8. Easy Breezy Maxi: This strappy cotton maxi dress is made for long, sunny days. The gathered empire waist gives shape to the flowy, tiered skirt. You’ll reach for it again and again!

9. Flirty Tiered Mini: This tie-front tiered mini dress leans into a playful, flirty vibe. The adjustable straps and smocked back help create a comfortable fit, and the layered skirt adds movement with every step.

10. Under-$15 Favorite: This smocked bodice midi dress looks way more expensive than its $13 price tag. The stretchy top hugs comfortably before flowing into a pleated A-line skirt, making it look extremely polished.

11. Statement Detail Midi: This sleeveless U-ring midi dress adds a modern twist to a classic silhouette. The ruched front detail draws the eye. Linen-blend fabric keeps it light and breathable, and totally matches the elevated resortwear vibe.

12. Lace-Trim Charm: This border-print mini dress feels effortlessly feminine. The lace-trim neckline and tie-cuff sleeves add delicate detail to the breezy A-line shape.

13. Crochet Darling: This crochet mini dress brings a soft, vintage-inspired feel to your wardrobe. Scalloped edges and intricate trim give it texture, and though it’s pretty, it’s also practical, thanks to the fully lined design.

Related: 17 Resort-Ready Staples From Amazon That Are *Actually* Worth It

You’ve booked the trip, blocked the calendar and now you’re staring at a closet full of clothes that feel wrong for poolside lunches and sunset dinners. The pieces from a few seasons back don’t quite fit the vibe, but you’re not about to drop a paycheck on a vacation wardrobe you’ll wear for one week. […]

The Jurassic Park franchise built its legacy on spectacle, but its best modern installment succeeds by doing something the more recent Jurassic World films keep avoiding. That difference becomes impossible to ignore once you watch Jurassic World: Camp Cretaceous. The Netflix series fixes a core problem that has defined the franchise for years, and it does so while quietly setting a new benchmark for the series. With a 92% critics score on Rotten Tomatoes, it stands as the highest-rated entry in the entire franchise, surpassing even the original film.

While the films continue to escalate in scale, destruction, and visual intensity, the series commits to something far more foundational. It gives its characters the time and space to evolve. That focus changes everything. It reshapes tension, strengthens emotional stakes, and finally makes the survival of these characters feel like it matters beyond the next action set piece. The dinosaurs still impress. The difference is that now, so do the people running from them.

The Movies Prioritize Scale Over Character Growth

Image via Universal Pictures

From Jurassic World onward, the franchise has leaned harder into escalation. Bigger parks, bigger threats, and bigger consequences. Each installment pushes further into chaos, but that constant expansion comes at a cost. The human element struggles to keep up. Characters, like Chris Pratt’s Owen, often enter the story with clear archetypes and leave without meaningful transformation. Their roles stay fixed even as the world around them collapses. The films deliver momentum, but they rarely build lasting emotional investment because the characters do not meaningfully change in response to what they experience.

That approach works in short bursts. It creates immediate tension and delivers crowd-pleasing moments. Over time, though, it limits the impact of the story. When characters remain static, survival stops feeling like an obligation. The franchise did not always operate this way. The original Jurassic Park grounds its spectacle in perspective and lets its characters react, process, and adjust. That grounding gives the danger weight. As the series expanded, that balance shifted. The films became faster, louder, and more focused on escalation than evolution.

‘Camp Cretaceous’ Builds Its Story Around Change

Camp Cretaceous takes the opposite approach. Instead of treating characters as vehicles for action, it treats action as a catalyst for change. Across multiple seasons, the series tracks how its core group of teenagers adapts to survival. Fear shifts into resilience, trust fractures and rebuilds, and leadership emerges in unexpected places in ways the characters in the more recent films are never given the chance to. Every major event leaves a mark, and those marks are carried forward into future decisions. That long-form structure gives the show an advantage the films rarely use. Time allows consequences to matter. Characters make mistakes that shape who they become later. Relationships evolve under pressure instead of resetting between set pieces. The result creates continuity in both emotion and behavior.

This is where the series quietly outperforms the films. It understands that survival stories only work when survival changes the people living through them. Dinosaurs create danger, but human characters create meaning. The show prioritizes both, and that balance makes its stakes feel sharper and more personal.

The ‘Jurassic’ Franchise Works Best When Its Characters Do

Image via Netflix

The success of Camp Cretaceous highlights something the films keep circling without fully committing to. The Jurassic formula does not need to be reinvented, it needs to be rebalanced. Spectacle has never been the problem, because the franchise consistently delivers some of the most recognizable imagery in blockbuster filmmaking. The issue is what happens around that spectacle. When characters remain static, even the most impressive sequences lose impact over time. The Netflix series proves that the solution is not scaling back the dinosaurs or the action, it is investing in the people experiencing them. Give characters room to grow, and the danger feels more immediate. Let relationships evolve, and every close call carries more weight. Build continuity across decisions, and survival starts to mean something beyond the moment. That is what the movies keep missing: not scale, ambition, or even originality. They are missing meaningful character evolution. And until the films start treating character growth as essential instead of optional, the franchise will keep delivering bigger moments without ever making them hit harder.

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Release Date

2020 – 2022

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Netflix

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Showrunner

Scott Kreamer

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  Kausar Mohammed

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  Yasmina ‘Yaz’ Fadoula (voice)

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  Sean Giambrone

  Ben Pincus (voice)

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The Simpsons Movie 2 is slated for next year. Can you believe it? This is exciting for fans of The Simpsons, and yet one can’t help but have concerns, too. The Simpsons Movie came out all the way back in 2007, and it’s not often sequels that arrive so long after the original are good. Even the first movie didn’t quite reach the comedic and dramatic heights of the beloved show in its prime, but even being as fun as the 2007 movie would be impressive at this point. Along with such unavoidable issues as the cast’s inevitable voice changes, many fewer choices for original storylines after 37 seasons, and certain characters no longer appearing on the sitcom, there are definitely some obstacles to overcome for this sequel to live up to its franchise.

This is far from a simple task, but hey—it’s not impossible! Meanwhile, the prospect of a Simpsons movie makes you wonder how certain episodes could have played on the big screen if the team had embraced the movie format in the ’90s. “Who Shot Mr. Burns” shows the writers could handle a longer narrative as early as Season 6, but that does work best as a two-parter. It would be fascinating to watch Homer hallucinate from chilis à la “The Mysterious Voyage of Our Homer,” like an irreverent Fantasia, but that would be way too niche to draw a wide theatrical crowd. Some of the series’ most memorable storylines, however, do seem like they could have been stretched out to fit a commercially viable feature film. They would need action, unique settings, high-stakes, narratives that foster meaningful character arcs, and obviously some room to goof around. When you take a closer look, some episodes might have even been improved with a longer runtime. The following episodes aren’t the only ones, but they may be the best examples of squandered opportunities at cinema gold (or cinema yellow, if you will).

“Bart on the Road”

Season 7, Episode 20

Image via FOX

The first film showed the family on a road trip for a little while, so why couldn’t the whole thing be a road movie? An underrated gem from Season 7, “Bart on the Road” would serve as an excellent vehicle (pun intended) for a feature-length narrative. Having Milhouse (Pamela Hayden), Martin (Russi Taylor), Nelson (Nancy Cartwright), and Bart (Cartwright) as the main group might have been a little off-beat, but in the refreshing way you might expect from the big screen.

Imagine all the places these kids could go and the shenanigans they would get into. The plot line where Bart gets a job as a flight attendant is definitely fun, so what if the three other boys got jobs in the hopes of finally getting home without getting caught? Meanwhile, the whole dynamic with Lisa (Yeardley Smith) and Homer (Dan Castellaneta) developing a closer bond would be a terrific storyline to explore further. Plenty of room for action, pathos, and parodies here.

“Deep Space Homer”

Season 5, Episode 15

Image via FOX

“Deep Space Homer” is pretty overrated, but that doesn’t mean its premise couldn’t be re-worked into a dazzling zero-gravity screenplay. After all, The Simpsons in space? That certainly sounds like a movie, and Homer munching on floating potato chips would do wonders in the theater. But a few things would have to change, and the first would be Barney (Dan Castellaneta). The character just feels overused when he’s in a larger role.

Also, this may sound weird to say about a Simpsons plot thread, but NASA taking Homer into space sounds way too implausible to suspend disbelief. It would feel more believable if a space program with no bona fides whatsoever sent Homer into space instead. Mr. Burns (Harry Shearer) could easily fill that role, since he’s rich enough to do almost anything and evil enough to have his own reasons for exploring space without anyone else’s authority. Like traveling through space, the writers could go in as many directions as they could with this premise.

“Bart’s Comet”

Season 6, Episode 14

Image via FOX

Unlike South Park, The Simpsons usually doesn’t have exaggerated large-scale conflicts where the town, the country, or the world is in imminent danger. However, a notable exception would be Season 6’s “Bart’s Comet,” which sees Bart discover a comet that’s headed straight for Springfield. The attempts to stop it are futile, and even make it impossible to leave town. All funny stuff, creating a scenario where everyone just accepts their fate.

With the scramble to get into Flanders’ bunker, there is a psychological focus on this that reminds us of one of The Twilight Zone‘s most intriguing conflicts. Insulating Springfield from the rest of the world, this story of impending doom could mirror The Simpsons Movie‘s societal breakdown—only accelerated and tense with the hope that they’ll figure out a way to stop it. The episode resolves amusingly enough, but maybe the movie would have done something that gives the characters more agency.

“Mr. Lisa Goes to Washington”

Season 3, Episode 2

Image via FOX

Admittedly, “Mr. Lisa Goes to Washington” is already such a masterful entry that the prospect of changing anything about it feels a bit like heresy. But this is all hypothetical anyway. Lisa doing so well in an essay contest that she gets to recite a speech in Washington D.C. is an excellent excuse for a fresh setting that’s just begging for political satire.

Corruption is represented by a single politician and lobbyist about to destroy a forest. But what if there were more, and what if the stakes were higher? The contest could be taking place during the general election race, for instance, and Lisa could be at the heart of a Watergate-esque scandal. That montage of people at the end who quickly learn about Lisa’s speech and promptly oust that corrupt congressman from power is incredibly swift, so that process could be longer and more complex. Meanwhile, the other Simpsons don’t do much here, so they could have subplots and arcs of their own.

“Boy-Scoutz ‘n the Hood”

Season 5, Episode 8

Image via FOX

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Season 5’s “Boy-Scoutz ‘n the Hood” could make a great story about chaos in the wilderness: two different sets of people in two different parts of the woods. When Homer and Flanders go down one path while Ernest Borgnine‘s group head down another, they encounter totally different problems. With one group lost at sea and another in constant backwoods danger, this conflict could last weeks.

Which would provide enough time for the campers’ families to realize they’re missing and start searching for them. Since there’s nothing for Marge (Julie Kavner) and Lisa to do in that episode, they can go on their own journey to help look for the lost campers. In the meantime, that hilariously random location for that unsuccessful Krusty Burger can be merely one pit-stop on Homer’s journey home. Best of all, the writers would have to appeal to a mass audience and therefore give poor Borgnine and those campers a happy ending. The current one just doesn’t feel right.

“The Springfield Files”

Season 8, Episode 10

Image via FOX

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Season 8’s “The Springfield Files” is one of The Simpsons‘s greatest mysteries. It doesn’t even have a subplot, as there is so much emphasis on the green alien that Homer supposedly encountered in the woods. After he and Bart capture the creature on video, Homer sparks a cultural phenomenon in Springfield. With all the conspiracy theories about governments covering up the existence of aliens for a long time, this could definitely be explored further in a movie.

The FBI coming to help investigate can further complicate things. Maybe they help, maybe they make things worse, maybe they have an ulterior motive. If they believe the alien theory is real and try to cover up the story, lots can be done there. Various subplots can arise from this, and Homer can have more of a character arc than the episode allows. For instance, he could become so obsessed with re-discovering or capturing the alien that he becomes isolated from his family. In any case, the eerie atmosphere and endless movie references would shore up whatever the creative team decided to do.

“Kamp Krusty”

Season 4, Episode 1

Image via FOX

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Season 4’s classic debut, “Kamp Krusty” was such a promising setting for a film that executive producer James L. Brooks actually wanted to make it into the first Simpsons movie. So, how did that not happen? Well, there were scheduling issues, and the writers somehow didn’t think they could come up with enough material for this. But if they had been pressed to think about it more, “Kamp Krusty” the film could have been a masterpiece.

Bart’s psychological descent is one of the things that makes this episode shine, and that process could be more gradual in a screenplay. Also, his takeover of the camp could last for a longer period before Krusty’s (Dan Castellaneta) arrival—during which the young Simpson’s fractured psyche could ironically lead him to be just as tyrannical as his predecessors. The Apocalypse Now allusions could abound here, and Lisa’s escape attempts could be expanded upon as well. Maybe Krusty hears about the uprising before the news does, and has to clandestinely restore the camp before the end of summer to save his reputation. So much potential here.

“You Only Move Twice”

Season 8, Episode 2

Image via FOX

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Many fans would say “You Only Move Twice” is perfect as is, and sure, they’re not wrong. But when you think about it, this actually could have been an incredible premise for a film. The Simpsons leave Springfield and move away for a new start—sound familiar? But Cypress Creek would be a better payoff than Alaska. Imagine another hour of Albert Brooks‘ hilarious dialogue as supervillain Hank Scorpio, instead of his amusing but inferior turn as the head of the EPA. Imagine another hour of James Bond parodies!

And consider this: Homer’s the only one in the family who really does something. Marge has zilch to do around the house (which is the gag, but still), Bart has no influence in the remedial class, and Lisa just gets ill. It’s concise enough for the show, but it also means they could have had much more complicated conflicts and interesting character arcs in a feature-length film. This combination of large-scale action and intimate moments of home-sickness could have struck the perfect balance of spectacle, humor, and heart that the ultimate Simpsons movie would need.

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The Simpsons

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Release Date

December 17, 1989

Network

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FOX

Directors

Steven Dean Moore, Mark Kirkland, Rob Oliver, Michael Polcino, Mike B. Anderson, Chris Clements, Wes Archer, Timothy Bailey, Lance Kramer, Nancy Kruse, Matthew Faughnan, Chuck Sheetz, Rich Moore, Jeffrey Lynch, Pete Michels, Susie Dietter, Raymond S. Persi, Carlos Baeza, Dominic Polcino, Lauren MacMullan, Michael Marcantel, Neil Affleck, Swinton O. Scott III, Jennifer Moeller

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  Homer Simpson / Abe Simpson / Barney Gumble / Krusty (voice)

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  Julie Kavner

  Marge Simpson / Patty Bouvier / Selma Bouvier (voice)

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Running Point‘s second season has seen an impressive increase in audience size, and its success is evident in its having now reached over 25 million hours viewed (in total) on Netflix, according to the streamer. This growth has affected the tempo of the show and allowed it to establish a pattern for itself, a velocity that works for a nicely patterned series that knows how to build on this momentum.

The first season was a very fast-paced workplace comedy set in a professional basketball organization, largely thanks to Kate Hudson‘s portrayal of Isla Gordon. The second season has maintained the same base as season one while adjusting the storyline’s overall direction. In addition to being funny, the overall story is becoming more structured, character arcs are getting stronger, and the show is developing a clearer direction. The outcome of these changes has been an overall better-prepared, more mature second season with sharper comedy and deeper character development.

‘Running Point’ Expands Its Core Premise Without Losing Focus

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While the show’s premise is set against the backdrop of professional sports, it places more emphasis on how the team’s internal workings affect one another than on the actual athletic action. The core theme of season two is the shift from Isla proving her capability to maintaining her authority as an owner. Isla is now an owner, managing expectations for continued success while contending with the competing interests of her extended family and the organization as a whole.

This change gives the writers the ability to develop more realistic, relatable conflicts because the gravity of your decisions as a leader has a much greater impact on the overall organization (and on the series) than it did in the previous season. The added ability to create a series of events that extend beyond individual episodes has significantly assisted the writers in developing the story for Season 2.

The Ensemble Cast Strengthens the Series’ Identity

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While Hudson remains the focal point, Season 2 places greater emphasis on its ensemble. The series has improved by giving the supporting characters fully developed arcs, making it feel like a more even playing field. Ali (Brenda Song) now has her own ambitions and frustrations to pursue in this year’s series, and as a result, she becomes an integral part of several storylines that help develop her character. The added development for Jackie (Fabrizio Guido) and Ness (Scott MacArthur) also helps the series build both comedic and narrative momentum throughout the season.

Cam’s (Justin Theroux) expanded presence in the Gordon household has created a new source of tension/volatility within the family unit, with his presence on-screen providing consistent tension throughout the entire season, thereby adding to the dysfunctionality aspect of the show’s primary narrative source(s) of conflict.

The addition of newcomer Ray Romano (as Coach Norm Stinson) to the supporting cast has brought another layer of tonal complexity to the ensemble. Norm’s storyline has been seamlessly integrated into the overall narrative without disrupting the series’ pacing.

Season 2 Finds a Better Balance Between Comedy and Character

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Season two focuses on situational comedy and the fast-paced dialogue typically associated with Running Point. However, what is most notable about season two is the connection between the comedy and the character development. Comedy is more frequently connected to the characters themselves and their motivations than ever before, rather than being separate moments of comedy. The result is that both the comedy and the storytelling have a greater impact on the audience as a whole, creating a more unified experience throughout the series.

There is also a deeper emotional connection between the characters, particularly around work-related issues and personal relationships. Isla’s place in a male-dominated industry has continued to affect her decision-making and interactions with others throughout the season, creating a subtle yet very effective tension. The combination of these aspects has been executed without affecting the series’ pace, making it more accessible while adding more depth than the previous season.

The Series’ Growth Aligns With Its Rising Viewership

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The increase to 25.2 million hours viewed reflects the series’ improved execution. Running Point benefits from a structure that supports consistent engagement, with tightly paced episodes and interconnected storylines that encourage continued viewing. Its blend of workplace comedy and family drama remains accessible, while the added depth in Season 2 gives audiences a stronger reason to stay invested. The series does not attempt to shift genres or significantly alter its format. Instead, it refines its existing strengths.

Running Point may not prioritize realism in its portrayal of professional basketball, but its focus on character dynamics and organizational chaos continues to resonate. Season 2 demonstrates a clearer understanding of those strengths, resulting in a more cohesive and engaging series. As it continues to grow its audience, the show’s upward trajectory suggests it is well-positioned to maintain its momentum.

Today, California-born ska punk band Sublime is remembered as one of the most defining—and most influential—acts of the genre. Headed by singer-songwriter Bradley Nowell, the band helped define the sound of the 1990s and even maintained close relationships with other blossoming acts of the decade such as No Doubt, Slightly Stoopid, The Butthole Surfers, and The Minutemen.

While the band had been prolific since its inception in 1988, its most popular song to date was released after Nowell’s untimely death. Indeed, “Santeria” remains a crowd favorite to generations of listeners, with its irreverent lyrics and catchy guitar riff. Nowell, unfortunately, never had the chance to witness the song’s popularity, nor did his bandmates anticipate that the track would double as a tribute.

Sublime’s Rapid Success Was Tempered By Tragic Consequences

Sublime was formed in 1988 by Nowell, Eric Wilson, and Bud Gaugh. The group’s sound initially skewed toward garage punk, but the members gradually infused elements of reggae and ska into their work. This original combination set them apart, gave their music a distinct Southern California sound (they were based in Long Beach, California), and set a template for the genre for decades to come.

Who’s Your Perfect Classic Rock Band?

After finding their original sound, Sublime released their debut, 40 Oz. to Freedom, in 1992, finding moderate commercial success (as well as controversy for their song “Date Rape”) along with a strong cult following. The album also spurred a record deal with MCA, enabling Sublime’s second album, Robbin’ the Hood, to be released in 1994. But in spite of how successful the band appeared, all was not well among its members: Nowell was quickly developing a heroin addiction that often left him unable to continue live performances. While the singer made ardent efforts to quit—particularly before the birth of his son—he ultimately overdosed on May 25, 1996, just two months before the release of the band’s third album, Sublime.

“Santeria” Epitomized Sublime’s Signature Sound and Took Ska Mainstream

Sublime was the band’s most commercially successful album, marked by successful singles like “What I Got,” “Wrong Way,” “Doin’ Time,” and, of course, “Santeria.” The latter, in particular, is one of the band’s signature songs. The track gets its name from the Afro-Cuban religion, Santería, and its lyrics are filled with Chicano slang such as “Sancho” and “Heina.” While Nowell was white, these elements read more as nods to diversity and cultural appreciation than appropriation. Furthermore, the single’s rhythms were inspired by Jamaican reggae, though its bass line and guitar riff were lifted from the Robbin’ the Hood deep-cut “Lincoln Highway Dub.”

However, the joy of Sublime’s success was tempered by Nowell’s death—even more so because Gaugh woke from his own drug-induced stupor to find Nowell’s corpse lying beside him on that fateful day in May. In a gesture of love, grief, and appreciation, the video heavily features Nowell’s beloved Dalmatian, Lou Dog, in the video, along with Nowell’s widow, Troy Dendekker, who he married just a week before his death. Finally, and most poignantly, the video includes stock footage of Nowell himself as an angelic presence singing, playing music, and watching over the loved ones who survived him.

During its time, “Santeria” was a crossover hit, peaking at number three on the Billboard US Alternative Airplay chart and number 43 on Hot 100 Airplay. It also did well abroad, charting in Canada while it received gold, silver, and six-time platinum certifications in Brazil, the United Kingdom, and New Zealand, respectively. Its renown has only grown since then, with the song finding its way onto popular movie soundtracks and countless playlists defining the 1990s.

In many ways, “Santeria” perfectly epitomizes Sublime’s musical style: Global, genre-defying, and tongue-in-cheek yet unexpectedly sincere, “Santeria” is just as much a summer anthem as it was when it first came out. In fact, it’s hard to even discuss Sublime without acknowledging “Santeria,” its beloved status, and its role in thrusting ska into mainstream music. One can only wish that Nowell had survived to see the song’s success.