In a previous article I penned a worrying set of numbers. Los Angeles shoot days plunged to 19,694 in 2025. These are the lowest levels outside the pandemic year. That is down from over 36,000 in 2022. Soundstage occupancy is stuck in the low 60s after years of...
Hollywood celebrity activism officially crossed another line this week — and this time, it wasn’t vague rhetoric or a sloppy metaphor. It was explicit, reckless, and disturbingly casual. During an interview with Variety at the Sundance Film Festival, Giancarlo...
For a show that once prided itself on emotional stakes, clear consequences, and a willingness to put its characters through the wringer, the Stranger Things ending lands with a dull thud. Not because it was quiet. Not because it was sentimental. But because it refused—again and again—to actually commit.
For years, Hollywood executives insisted audiences were the problem. Viewers were told they were behind the times, resistant to progress, or simply misunderstanding what creators were trying to say. When films failed, the blame was rarely placed on the product itself. Instead, it was shifted onto the audience. “A small but vocal minority” was their favorite refrain.
2025 put an end to that narrative.
For decades, a perennial holiday debate has echoed through internet forums, office parties, and family gatherings: Is Die Hard a Christmas movie? Despite the ritualistic enthusiasm with which some defend its “holiday classic” status, the evidence tells a different story.
Every December, Hollywood insists it still “gets” Christmas. The industry releases a handful of holiday films, floods streaming platforms with seasonal content, and assures audiences that the spirit of the season is alive and well.
Harbro has managed to do what Rita Repulsa and Lord Zedd’s combined might never could—destroy the Power Rangers.
I love a good story and good art. Please don’t take me to a poorly written movie or show. I may annoy you as I tear it apart the whole time. Sorry, to my friends who have experienced this…
So when a studio loves their craft, I can’t get enough of it. There’s something about how characters and beauty can truly touch the soul. Such has been the case with Clair Obscur: Expedition 33. And for its millions of other fans, there is no surprise it won so many gaming awards, including Game of the Year. Let’s dive into why there couldn’t be a better game to win.
Tis the season to be jingling and all that fa-la-la-la-lah-ing is in there somewhere, too. We all treasure these times of family, feasting, ending one year and renewing the promise of the next new one, and no matter our particular faith, creed, or traditions, it is a good bet that more family photos are taken, more recipes exchanged, more laughter heard and more loving embraces enjoyed now that at any other time of the year.
For those of you who follow entertainment news religiously, nothing in this article should surprise you.
For those of you who, like me, had only really heard about AI and movies as a sort of nebulous, “someday in the future” concept … holy guacamole, the future is now (almost).
If you ever needed a case study into why outlets like TheGamer, Polygon, and Kotaku keep cutting staff while gamers turn elsewhere for actual coverage, their latest lecture-piece about “queer couples” in Marvel Rivals is all the proof you need.
For months, online speculation has circulated that Netflix would swoop into the Warner Bros. bidding war, take control of DC, and somehow resurrect Zack Snyder’s original failed superhero universe. It’s a dramatic idea, the kind of rumor that lights up social media and generates clicks. But it runs into one tiny problem: the same company supposedly planning a Snyder cinematic renaissance is also shutting down Snyder projects left and right. If anything, the pattern forming at Netflix looks far more like Zack Snyder being canceled than Zack Snyder being restored in any meaningful way.
For years now, Hollywood has tried to convince us that Thanksgiving is outdated — a relic, a punchline, or worse, a problem to be “re-imagined.” Modern studio culture has replaced family gatherings with forced messages, rewritten traditions, and holiday films more focused on social lectures than actual connection. And yet, when you strip away the noise and look around your own table, you’ll find something Hollywood can’t manufacture, can’t monetize, and can’t politically spin this Thanksgiving: family.