Emily Watson, Mark Strong, Olivia Williams, and Travis Fimmel lead HBO’s ambitious prequel series to Denis Villeneuve’s acclaimed films.

Plot: From the expansive universe of Dune, created by acclaimed author Frank Herbert, and 10,000 years before the ascension of Paul Atreides, Dune: Prophecy follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fabled sect that will become known as the Bene Gesserit.

Review: Denis Villeneuve’s adaptation of Dune has proven that once considered unadaptable, Frank Herbert’s novels could make for critical and commercial successes in the right creative hands. With the first film nominated for Best Picture at the Academy Awards and Dune: Part Two destined for the same honor, the franchise’s future has never been more in the zeitgeist. Seizing the opportunity to explore other formats and media, Warner Bros and HBO have developed Dune: Prophecy. This prequel series explains the origins of the mystical sect seen in the films known as the Bene Gesserit. Chronicling the familiar Houses of Harkonnen, Atreides, and Corrino, Dune: Prophecy takes a cue from series like Game of Thrones to explore the palace intrigue of royal families, commoners rising through the ranks, backstabbing, and destiny to deepen the mythology of Dune beyond the planet of Arrakis.

Having seen four of the six episodes that comprise the first season of Dune: Prophecy, I am torn about how this series fits alongside the feature films. As far as plot elements, Dune: Prophecy shares a lot in common with the Games of Thrones prequel series House of the Dragon, as both series namecheck ancestors of characters from the main series while dramatizing events that are key to the events of the films set in the distant past. As fans of the Dune novels know, one hundred centuries before the first book, a war was waged between the humans and the thinking machines that were destroying them. Dune: Prophecy picks up one hundred and sixteen years after that war, The Butlerian Jihad, as House Corrino has taken control of the Imperium. Familiar Houses like Harkonnen and Atreides exist but are lesser compared to the major families. Much of this series is set at the seat of the Imperium, where Emperor Javicco Corrino (Mark Strong) rules alongside his consort, Empress Natalya (Jodhi May). Javicco is preparing his daughter, Princess Ynez (Sarah-Sofie Boussnina), for indoctrination into the Sisterhood of the Bene Gesserit and marriage to forge a bond with House Richese. This comes when soldier Desmond Hart (Travis Fimmel) returns from Arakkis with a message for the Emperor.

The first episode of Dune: Prophecy sets the foundation for how Reverend Mother Valya Harkonnen (Emily Watson) and her sister Tula (Olivia Williams) shape the next generation of Truthsayers to control the various Houses behind the scenes. We meet young Sisters, including Theodosia (Jade Anouka), Emeline (Aoife Hinds), Lila (Chloe Lea), and more, as they learn the ways of the Sisterhood while questioning the potentially dangerous leadership of Valya and Tula, which unfolds via flashbacks to how they gained control of the Bene Gesserit. We also see how a shocking event at the end of the premiere episode puts Emperor Javicco’s control at risk and how Desmond Hart plays a key role in what is to come. The atmosphere of the series feels more opulent than the setting of Arrakis, as the Emperor lives on Salusa Secundus, a planet briefly seen as training grounds for soldiers in the Dune films. On Salusa Secundus, we see the nightlife of the aristocracy, which involves nightclubs teeming with spice usage and lots of sex. We also visit each House’s home planet, ranging from forested (Atreides) to frozen (Harkonnen).

The lack of technology is seen briefly in a sequence showing the downfall of machines with robotics factoring into the plot. There are also connections to the Dune films as we see swordmasters using training shields, some shots of massive sandworms, and the mind-controlling skill known as The Voice by the Bene Gesserit. There are also references to elements from the sequel novel, Dune Messiah, that I will not spoil here as it is a major plot twist. Needless to say, there is a lot to unpack in this short season, and by the fourth episode, I am still unsure how they will pull it all together with just two chapters remaining. I can say that fans of the prequel novels by Brian Herbert and Kevin J. Andersen, both of whom are credited as executive producers on Dune: Prophecy, will find a lot of changes from the published books. Like HBO’s adaptations of George R.R. Martin’s novels, this series draws the books’ main timeline and plot points and includes many characters from them. It also has new creations that are original to this series and expand on elements from the thirteen prequel books.

Some of the elements of Dune: Prophecy are intriguing, such as the skill shown by Desmond Hart, which has no equivalent in the book series. The power hierarchy within the Imperium is interesting, but what we see inside The Sisterhood is far more interesting than the palace intrigue and political conversations between the established Houses we know by name and the multiple new families you have to try and keep straight. The Harkonnens are much different than the bald, powerful empire seen in the films, but knowing they are monsters makes it hard to root for them here. Equally, the similarities between this series and Game of Thrones purely from a structural standpoint make this series feel a bit derivative rather than an interesting foray deeper into the mythology of Dune. Travis Fimmel does some interesting work as the standalone character in the story, while Mark Strong feels like he is sleepwalking through his character. Emily Watson and Olivia Williams have an intriguing dynamic in their story arcs, but they do not have enough time to work together on screen.

Director Anna Foerster (Westworld, Outlander) helmed the first episode and the final two, with John Cameron (Severance) helming the second episode and Richard J. Lewis (Westworld) helming episodes three and four. None of these three directors are anywhere close to the visual grandeur of what Denis Villeneuve brought to the Dune films, making Dune: Prophecy feel smaller than the films that bring viewers to this story. Alison Schapker (Fringe, Lost, Westworld) serves as showrunner after co-creating the series with Diane Ademu-John (The Haunting of Bly Manor), and the pair manages to give the female characters their due in a show that previously carried the subtitle The Sisterhood. Scott Z. Burns and Dune co-screenwriter Jon Spaihts are credited as executive producers, while Villeneuve is not. Volker Bertelmann (All Quiet on the Western Front) does not come close to Hans Zimmer’s memorable score but does lend some gravitas to the series.

Dune: Prophecy is a well-made series with high production values and a solid cast of veterans and newcomers, but it cannot help but feel like a replica of Game of Thrones set in outer space. With a limited run of episodes for the first season, I expected more from this series, which spends each episode too heavily reliant on characters talking to each other rather than providing a compelling argument for telling this story rather than other periods from the ten thousand years before Paul Atreides arrived on Arrakis. Frank Herbert’s novels were not shy from sexual content and focused heavily on conversations about political action rather than actual action, so Dune: Prophecy does not stray far from the source material. However, audiences flocked to HBO’s Game of Thrones because it was compelling, interesting, and a unique world to visit with characters to root for. While Dune: Prophecy certainly has the potential to achieve the first two, none of these characters are worth caring about. If you loved the Dune movies, this is worth watching to learn more background instead of reading thousands of pages, but it is not nearly as interesting or entertaining as the feature films.

Dune: Prophecy premieres on November 17th on HBO.

Kevin Costner learned about how John Dutton turned out in the new episode of Yellowstone but has little interest in seeing it.

SPOILERS: This article will contain spoilers for the newest episodes of Yellowstone, particularly the fate of Kevin Costner’s John Dutton.

With the release of the second half of season five of Yellowstone, fans finally learned what became of John Dutton following the seemingly endless disputes between portrayer Kevin Costner and the suits. Even if you haven’t had a chance to see the premiere episode, it seems like everybody now knows. But one who hasn’t exactly learned — not firsthand, anyway — was Costner himself. As he revealed on The Michael Smerconish Program (via Deadline), “I didn’t see it. I heard it’s a suicide, so that doesn’t make me want to rush to go see it.”

Kevin Costner went on to elaborate as to what went down behind the scenes of Yellowstone and why he was ultimately written out. “I didn’t really have to leave anything behind. There were the gaps that were there. There was contractual things that would allow for both things to be done, but because both things were contractual, you had to make room for the other thing. There was room, but it was difficult for them to keep their schedule. It seemed to be, it was just too difficult for them to do it. There was the time there, what happened, you can deal with it. But no one, I didn’t leave. I didn’t quit the show. Okay? I had made a contract to do all three. There was a contract in place to do all three. And within about an eight-month period, two more different kind of contracts were being negotiated. Not at my request, but at their request to try to do things.” Costner said that once things went too far, he knew he had to ride off into the sunset.

At a certain point – and much longer than learning about the fate of John Dutton – Kevin Costner said he would return to Yellowstone if the circumstances worked out. With Dutton being killed off, it’s a guarantee now that this won’t happen. On the bright side, it did let him explore the western genre in a more epic form, further developing his Horizon saga.

How do you feel about the way John Dutton was killed off on Yellowstone? Was it a cheap end for Costner’s character or did it work?

Netflix and Amblin start their collaboration with the new thriller from Jaume Collet-Serra which releases this Christmas.

It’s the most wonderful time of the year. Except for one particular TSA agent. Netflix has just released the trailer for Carry-On. Carry-On is an upcoming feature film directed by Jaume Collet-Serra (Jungle Cruise, Black Adam) and starring Taron Egerton (Rocketman, Kingsman: The Golden Circle). TJ Fixman wrote the script’s first draft, with Michael Green responsible for the most recent polish. Dylan Clark (The Batman) is producing. Carry-On is the first production of the overall deal between Netflix and Amblin.

The film also stars Sofia Carson, Danielle Deadwyler, Logan Marshall-Green, Dean Norris, Sinqua Walls and Jason Bateman. The cast will also include Gil Perez- Abraham, Tonatiuh, Curtiss Cook, Joe Williamson and Josh Brener. The plot logline reads, “A young TSA agent fights to outsmart a mysterious traveler who blackmails him into letting a dangerous package slip onto a Christmas Eve flight.” Collet-Serra is no stranger to a suspense-filled thriller in the airline setting as the director had also helmed the Liam Neeson airplane actioner Non-Stop.

The executive producers on the project include Holly Bario, Brian Williams, Jaume Collet-Serra, Seth William Meier and Scott Greenberg.

Egerton describes his character, “He’s pretty noble and selfless. He has all the qualities of an archetypal hero underneath the lack of direction.” He expounds, “He’s unhappy at work at the airport and feeling flat and dejected about it. He’s also just found out his girlfriend is pregnant. So, he feels pressure to be a responsible father and provider, but I think he also feels a deep lack of fulfillment. So when he’s put in this terrible situation, he has a huge occasion to rise to.”

Collet-Serra adds, “Ethan is a relatively ordinary person thrust into an extraordinary situation, and how he adapts and grows to save his loved ones over the course of the film ends up making him pretty extraordinary, even though what he discovers is that being extraordinary is actually just being himself.”

Carry-On starts boarding on Netflix on December 13. What did you think of the trailer? Let us know by leaving a comment below.

About the Author

E.J. is a News Editor at JoBlo, as well as a Video Editor, Writer, and Narrator for some of the movie retrospectives on our JoBlo Originals YouTube channel, including Reel Action, Revisited and some of the Top 10 lists. He is a graduate of the film program at Missouri Western State University with concentrations in performance, writing, editing and directing.

The MCU head would convey that even though it looks like the studio might’ve given up on the project after many stalls, the movie is still in the works.

There have been some exciting reveals coming out of D23 Brazil this past weekend. Most notably, Marvel Studios would release new trailers for the upcoming movies in the MCU slate — Captain America: Brave New World and Thunderbolts*. Captain America: Brave New World would give fans an even more extended look at Harrison Ford’s President Ross as he turns into the Red Hulk. And the Thunderbolts* trailer would show off more of the dynamic between the team as the new look featured a good chunk of a chase scene, where our anti-heroes are being pursued by mysterious military vehicles, and Bucky Barnes comes to their rescue. Deadline is now reporting that MCU head Kevin Feige has teased some additional information from this past weekend. He tells the Brazilian website Omelete that despite the news of the Blade reboot being taken off their calendar, the studio is still “committed” to the project. Feige explained,

We love the character, we love Mahershala’s version of him. And rest assured: whenever we change direction with a project, or are still trying to figure out how it fits into our schedule, we let the public know. You’re up to date on what’s going on. But I can tell you that the character will be coming to the MCU.”

Additionally, with the premiere of the Disney+ series Agatha All Along, many were wondering about the whereabouts of Scarlet Witch. Feige would also cryptically address this matter as he say, “Since then (Agatha), there have been a lot of questions about Wanda on fans’ minds… So all I can say is that we’re excited to find out when and how the Scarlet Witch might return.” He would also confirm that there are no current plans to bring Miles Morales’ Spider-Man into the MCU, but he does say, “I hope that, shortly after that (Beyond the Spider-Verse), he can enter the MCU in live-action.”

There may be extra multiverse branch projects brewing at the studio as well, since Ryan Reynolds claimed that Marvel has been obsessed with Channing Tatum’s Gambit since his appearance in Deadpool & Wolverine. Reynolds would explain, “I honestly don’t know what goes on behind closed doors in the bookkeeping sessions at Marvel, but I do know that they’re obsessed with him in that role. It’s kind of like the same situation I went through. Once you show that it works well, that’s really what they need. Sometimes they just need to see it in action.”

About the Author

E.J. is a News Editor at JoBlo, as well as a Video Editor, Writer, and Narrator for some of the movie retrospectives on our JoBlo Originals YouTube channel, including Reel Action, Revisited and some of the Top 10 lists. He is a graduate of the film program at Missouri Western State University with concentrations in performance, writing, editing and directing.

A new Disney+ promo features footage from Alien: Earth, Daredevil: Born Again, Star Wars: Skeleton Crew, and more

The Alien franchise is set to continue on the small screen with an “FX on Hulu” TV series called Alien: Earth, from Fargo creator Noah Hawley. The show began filming in Thailand last year, then had to halt production after a month due to the actors strike. Filming resumed earlier this year and wrapped a few months ago – and now the first footage has been unveiled! This footage can be seen in the embed above, a video Disney+ released to celebrate five years of their streaming service and to give a preview of the shows that will be reaching Disney+ and “Hulu on Disney+” in the next year (so Alien: Earth could be described as an “FX on Hulu on Disney+” project), as Hulu is streaming in the Disney+ app for Bundle subscribers in the United States.

Of course, Alien: Earth isn’t the only show featured in this promo video. We also get a look at FX’s The Bear (Season 4), Andor (Season 2, streaming April 22nd), Hulu’s Chad Powers, Marvel Television’s Daredevil: Born Again (streaming March 4th), Hulu’s Good American Family (formerly known as Orphan), Goosebumps: The Vanishing (streaming January 10th on Disney+ and Hulu), Marvel Television’s Ironheart (streaming June 24th), Hulu’s Paradise, Percy Jackson and the Olympians (Season 2), Star Wars: Skeleton Crew (streaming December 3, 2024), and Hulu’s The Handmaid’s Tale (Season 6).

One of the first things we heard about the Alien TV series – and one of the most surprising things about it – is that it will be set on Earth (thus the title), a couple of decades before the events of the first movie. FX chairman John Landgraf has said the show will take place “right near the end of this century.” According to Deadline, the setting puts it “a few years before Prometheus,” which Hawley has previously said he has chosen not to acknowledge. Hawley decided to set the show on Earth because “The alien stories are always trapped… Trapped in a prison, trapped in a space ship. I thought it would be interesting to open it up a little bit so that the stakes of ‘What happens if you can’t contain it?’ are more immediate.“ Variety noted that the Alien TV series will “explore the formation of the Weyland-Yutani Corporation and the race to create android life.”

Alien: Earth has the following synopsis: When a mysterious space vessel crash-lands on Earth, a young woman (Sydney Chandler) and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet’s greatest threat.

Chandler’s Alien character is the meta-human Wendy, who has the body of an adult, but the brain and consciousness of a child. Her co-stars include Essie Davis (The Babadook) as Dame Silvia, Alex Lawther (The End of the F*cking World) as a soldier named CJ, Samuel Blenkin (Black Mirror) as a CEO named Boy Kavalier, Adarsh Gourav (The White Tiger) as a character named Slightly, Kit Young (Shadow and Bone) as a character called Tootles, and Timothy Olyphant (Justified) Kirsh, a synth who acts as a mentor and trainer for Wendy. Babou Ceesay (Guerrilla), Jonathan Ajayi (Wonder Woman 1984), Erana James (The Wilds), Lily Newmark (Sex Education), Diêm Camille (Washington Black), Adrian Edmondson (The Young Ones), Moe Bar-El (The Peripheral), and David Rysdahl (Fargo season 5) are in the cast as well, but no details have been revealed about their characters. Sandra Yi Sencindiver of Foundation will be playing “a senior member of the Weyland-Yutani Corporation” in multiple episodes, and her role could be expanded as the series continues.

What did you think of the Alien: Earth footage featured in the Disney+ promo, and of the footage from other shows? Let us know by leaving a comment below.

John C. Reilly, Natasha Lyonne, and Jim Gaffigan lend voices to the animated short from producer Alfonso Cuaron.

Plot: Moon is a curious young owl who unexpectedly finds himself stuck in a Christmas tree destined for Rockefeller Plaza. In his attempts to escape the bustling city, Moon befriends a lost little girl named Luna. Together, they embark on a heartwarming adventure, discovering the magic of the holiday season and forming an unlikely bond as they journey back home to their parents.

Review: Alfonso Cuaron is as adventurous a director as a producer. While his name has been big this year thanks to the masterpiece that is the Apple TV+ series Disclaimer, Cuaron has lent his backing to the third short film in a trilogy for Disney+. Following 2022’s Le Pupille and last year’s The Shepherd, Cuaron enlists director David Lowery to wrap the Christmas-themed collection of shorts with An Almost Christmas Story. Boasting a distinct look and the vocal talents of John C. Reilly, Natasha Lyonne, and Jim Gaffigan, An Almost Christmas Story is a beautiful fable that clocks in at less than thirty minutes but is packed with enough heart to fill a full-length feature.

Based on a story by Alfonso Cuaron and Jack Thorne, An Almost Christmas Story follows a young owl named Moon, a troublemaking little bird. Voiced by Cary Christopher, Moon is an impressionable youngster who causes mischief despite his best intentions, much to the chagrin of his father, Papa Owl (Jim Gaffigan). When Moon causes damage to their home in the forest, Papa goes off to find a new nest, leaving Moon to look after his little sister. But, when Moon gets stuck in a tree headed to New York City, he must figure out how to get home. While in the city, Moon meets a dog named Dave (Alex Ross Perry), a pigeon named Pat (Natasha Lyonne), and some others voiced by Phil Rosenthal, Mamoudou Athie, and Gianna Joseph.

Moon also meets a young girl named Luna (Estrella Madrigal) with whom he forges a bond. The two explore some of New York and try to help each other find their way home. Along the way, they encounter a folk singer, voiced by John C. Reilly, who imparts a message for the holidays that connects directly with Moon and Luna. Over a very short time, the owl and child realize something about what Christmas means with a message that is less tied to the titular holiday than it is to the entirety of the Yuletide season. Some beautiful moments showcasing an animated New York landscape and a couple of intriguing sequences give this short a boost of action.

John C. Reilly performs the songs in the short as his folk singer character works as both a part of the story and a narrator. The songs written for An Almost Christmas Story are called “It’s Christmas Today” and “The Spirit of Christmas” and both are traditional sounding while also feeling new. Reilly has always been passionate about music, and his voice adds a nice touch to the already sweet short film. Reilly’s songs are accented by a nice score by Daniel Hart. It helps that all voice actors here deliver subdued performances without one going too broad. Jim Gaffigan is subtle as the concerned father owl, while Natasha Lyonne and Phil Rosenthal have their trademark New York accents on full display without venturing into being too cliche.

What stands out in this twenty-one-minute short is the unique animation style that looks like wood carvings come to life. The close-ups of the various animals appear almost to be homemade decorations that come to life, with the background characters looking like two-dimensional cutouts used to fill in the scenery. Jack Thorne (Harry Potter and the Cursed Child, Enola Holmes) and director David Lowery wrote the script. Lowery has made some films for Disney, including 2016’s Pete’s Dragon and 2023’s Peter Pan & Wendy. The filmmaker has also created unique films ranging from Ain’t Them Bodies Saints and A Ghost Story to the acclaimed The Green Knight. Lowery has an eye for ethereal and haunting visuals, which in An Almost Christmas Story gives the film an other-worldly feel that is also very familiar and comforting.

An Almost Christmas Story is a beautiful little film that feels like a hand-carved ornament you would put on your tree this December. It is intricate and delicate but rich with emotion and feeling. Many feature-length films struggle to imbue the audience with the warmth I felt watching An Almost Christmas Story. As a companion to Le Pupille and The Shepherd, An Almost Christmas Story is my favorite of the three and a shoo-in for consideration during the award season. It’s worth checking out even if you are not in the holiday spirit.

An Almost Christmas Story premieres on November 15th on Disney+.

Denzel Washington is jumping into new kinds of roles for the latter part of his career and he reveals that it may include joining the MCU.

Denzel Washington is jumping into more franchises these days. He would complete his trilogy of Equalizer films, which would feature the first sequels of his career and he will be starring in the upcoming Gladiator II, which is being hyped up as a grand-scale action epic. In his review of the film, our Chris Bumbray said, “Washington, playing a rare villain, seems like he’s having the time of his life as the constantly scheming former slave. Yet, Washington never makes him a cartoon character, with him kind of the other side of the coin compared to Richard Harris’s Marcus Areulius in the first film, with the two sharing a vision for a new Rome, even if the latter’s is more apocalyptic.” According to The Hollywood Reporter, Washington casually dropped that he is also planning to join the MCU for Black Panther 3.

While doing press for Gladiator II, Washington told the Today Show in Australia that “at this point in my career, I’m only interested in working with the best, I don’t know how many more films I will make, probably not that many. I want to do things that I haven’t done.” He, then, continued to mention the projects he has on his waiting list, including returning to the theatre for Othello, “I played Othello at 22, I’m now going to play it at 70. After that, I’m playing Hannibal. After that, I’ve been talking with Steve McQueen about a film. After that, Ryan Coogler is writing a part for me in the next Black Panther.“

Marvel has not yet confirmed when they will move forward with the third film in the Black Panther series, and according to Denzel, that movie comes after three other projects. MCU head Kevin Feige hadn’t revealed anything about that film, but recently teased that Blade is still being worked on at Marvel Studios as he explained, “We love the character, we love Mahershala’s version of him. And rest assured: whenever we change direction with a project, or are still trying to figure out how it fits into our schedule, we let the public know. You’re up to date on what’s going on. But I can tell you that the character will be coming to the MCU.”

About the Author

E.J. is a News Editor at JoBlo, as well as a Video Editor, Writer, and Narrator for some of the movie retrospectives on our JoBlo Originals YouTube channel, including Reel Action, Revisited and some of the Top 10 lists. He is a graduate of the film program at Missouri Western State University with concentrations in performance, writing, editing and directing.

So it’s spooky time, and instead of doing something productive like making a Flukeman costume, we’ve taken a dive back into The X-Files—specifically the ‘Monsters of the Week’ episodes. Sure, everyone talks about the alien conspiracy, and don’t get me wrong, I love digging into the mythology arc as much as anyone. But what about the ones that still keep us up at night? Whether it’s from the hellish nightmares or those 3 a.m. ‘what is my existence?’ thoughts, these episodes have a way of sticking with you. You’ve been waiting for more so let’s go reignite those childhood fears…or joys.

Bad Blood- Season 5, ep 12: I’ve got a thing for unreliable narrators, especially when both Mulder and Scully are on storytelling duty. Bad Blood is classic Vince Gilligan, mixing absurdity with just enough Halloween flavor to make the list. And it kicks off with one of the best openings in the series: Mulder stakes what he’s sure is a vampire, only for Scully to poke around, reveal the fake fangs, and leave Mulder mid-“Oh shi…”—an unforgettable start to a totally bonkers episode. Originally, Gilligan had planned for an Unsolved Mysteries crossover featuring Robert Stack and two no-name Mulder and Scully stand-ins, but when that idea got shelved, he turned to The Dick Van Dyke Show’s “The Night the Roof Fell” for inspiration, delivering the classic “two sides of the story”—X-Files style.

Every scene is packed with comedy: Mulder kicking a trashcan, Scully craving pizza mid-autopsy, Mulder fumbling with slides and making priceless expressions, and that memorable back-and-forth on the magic fingers motel bed. And we can’t skip Mulder’s insistence he did not sing the Shaft theme (even though we know better). Mulder’s convinced he’s chasing a real vampire, while Scully’s version has her watching Mulder trip over his own biases at every turn. Then we have Luke Wilson’s Sheriff Hartwell full of true Texas twang, who’s either impossibly smooth or a bucktoothed bumpkin, depending on whose story you believe.

In Mulder’s account, he’s all charm and quiet reserve, while Scully comes across as the hardcore, no-nonsense one—like she’s the one packing all the machismo. But at its core, Bad Blood isn’t about vampires; it’s about Mulder and Scully’s partnership and how they each view each other—and their bizarre world—in very different, yet very telling, ways.

Field Trip- Season 6, ep 21: There’s a heightened anxiety in Field Trip that messes with your sense of reality. When the Lone Gunmen start acting sketchy and Scully’s suddenly filling Mulder’s shoes in the conspiracy theory department, you know something’s gone seriously sideways. I was transfixed the entire time, even though I felt like my brain needed a break from the mental gymnastics.

We’ve got everything: tripping in a field, yellow digestive goo, hallucinogenic mushrooms—Mother Nature at her best. The whole episode feels like one long fever dream, complete with Mulder and Scully questioning their own sanity. And just when you think they’ve escaped the madness, holding hands as they drive away, you remember: humongous fungus among us. Yep, that’s a true story. Look up an old Popular Science article titled “Humungous Fungus Among Us”—it’s about a mushroom that covers about a third of Oregon.

What really makes this episode stand out is Scully pulling a Mulder move with some next-level abductive reasoning. Usually, it’s Mulder making the wild connections, but this time, Scully pieces together the facts—giant mushrooms, hallucinogenic fungi, and plants with a taste for human snacks—leading her to a nightmare conclusion: they’re trapped underground, tripping hard, and slowly being digested. Written by John Shiban and Vince Gilligan from a story by Frank Spotnitz, it’s got everything—tension, unpredictability, and a creeping sense of ‘what is real anymore?’

For some fans, this episode is the last truly great X-Files installment, marking the end of an era. This is also a reminder that I really don’t think mushrooms would be a good trip for me.

Clyde Buckman’s Final Repose- Season 3, ep 4: This should have been on our first list. This is one of those episodes that messes with you in all the right ways, blending the bleakness of fate with the grim comedy only Darin Morgan could pull off. When Clyde, a life insurance salesman who can predict how people will die, reluctantly lets Mulder and Scully into his world, it’s like stepping into an even darker corner of The X-Files. Peter Boyle’s portrayal nails the quiet exhaustion of a man resigned to his fate—someone who’s using his “gift” not to help but to scrape by, selling life insurance, of all things. He’s not here to outwit death; he’s just trying to keep himself sane. And in one of the most memorable moments with Mulder, he deadpans, “You know, there are worse ways to go, but I can’t think of a more undignified one than autoerotic asphyxiation.” We’ve seen Mulder’s closet.

The episode throws us everything from Mulder’s misplaced excitement about Clyde’s abilities to Scully’s struggle to rationalize the whole ordeal. It’s unsettling to watch Mulder so eager for supernatural proof while Clyde’s “gift” is an anchor, pulling him deeper into cynicism and despair. And then, of course, there’s Yappi, the “celebrity psychic” who brings the whole theme of truth and spectacle into focus. Yappi’s antics are absurd, but next to Clyde, he highlights just how little people want to face reality. I’ve never been more frustrated watching these so-called detectives fall for it, no matter how desperate they are for answers. I was right there with Mulder.

Watching Clyde drift along with this so-called gift, it’s easy to see why his story ends the way it does. He’s burdened by seeing the end of everyone’s story—over and over—until it becomes too much. Boyle’s performance captures the inevitability, a quiet peace in Clyde’s final choice, as if to say that not all answers are wrapped in meaning; some are just… sad truths, plain and simple. The episode’s mix of tragedy and dark comedy leaves you wondering about fate, free will, and, for just a moment, if you’d even want to know how you’re going to go.

Humbug- Season 2, ep 20: What happens in Florida stays in Florida, especially in the very real town of Gibsonton—a place where freak shows go to retire. If you grew up watching MTV in the ‘90s, you might remember the Jim Rose Circus, the eccentric sideshow that opened for bands like NIN and Lollapalooza. Rose even made his way to Ozzfest ‘99, though I didn’t make it until 2001. When Darin Morgan joined The X-Files writing team, his brother Glen told him to write an episode about sideshow performers, and that’s where Humbug was born. Morgan watched a tape of the Jim Rose Circus and cast Rose and The Enigma. Rose himself makes an appearance, and honestly, the guy looks and sounds a lot like John Darnielle—who, coincidentally, has become one of my personal inspirations as a Horror writer and lyricist for The Mountain Goats. It gets better though. They brought in Michael J. Anderson from Twin Peaks and Vincent Schiavelli, one of the best character actors of all time. Rose is pretty badass in this as well which makes me wonder why we didn’t cast him in anything else.

As Mulder and Scully navigate the strange world of sideshow performers, you get all the creepy bits you’d expect: The Enigma devouring a live fish (yes, that really happened), the funhouse scene that still haunts me, and Scully’s memorable tour of the Museum of Oddities. Not to mention the fact that “Humbug” literally means trick, which feels fitting for an episode where nothing is quite what it seems. And then there’s Gillian Anderson, who actually ate a real cricket on set.

The blend of humor and horror here is peak Darin Morgan. Mulder and Scully are the real outsiders in this episode, wandering through a world as foreign to them as it is to us. With lines like “Imagine going your whole life looking like that,” Morgan takes what could have been a simple freak show episode and turns it into something far more introspective, all while keeping us on edge with eerie moments like that funhouse scene. In the end, Humbug isn’t just about sideshow performers—it’s about how we define normalcy and the lines society draws between the “freaks” and the rest of us.

The Host- Season 2, ep 2: This episode doesn’t crack my top ten, but let’s be real—the nightmare factor is still burned in our brains. If you were a kid watching The Host, midnight bathroom trips turned into full on panic attacks, and porta-potties? Nope.

Even though it’s not my favorite episode, this thing had a hold on every 10-12-year-old who dared to watch. Squeeze and Home might be at the top of my scared the shit out of me list, but ask any fan what messed with them, and Flukeman’s name pops up without fail. This monster was just terrifying. It took six hours initially to get Darin Morgan in the Flukeman suit, and at one point he had to wear it for 20 hours straight. Because of this Morgan would have to just relieve himself in the costume—like an astronaut. It’s a rite of passage for all X-Files writers.

Now, let’s add to the horror: you’ve got the construction worker puking up a flatworm in the shower—a scene that leaves you with a phantom lump in your own throat. And Mulder? He’s back on his existential rant, talking about quitting, which, knowing Skinner’s true allegiance, is a little maddening in retrospect. Quitting the X-Files or closing down the X-Files becomes routine as well. Skinner’s the “friend in the FBI,” but he’s not that friend…yet. And let’s not forget Mulder’s suspect briefing—let’s tell Skinner about the giant blood sucking worm. Not to mention the Flukeman itself is basically a Chernobyl soup experiment gone wrong.

And also, what’s with the whole “institutionalize Flukeman” plan? As Mulder put it, “It’s not a man; it’s a monster.” This episode tried to handle the impossible, from arrest warrants to institutions, as if a radioactive sewer mutant has a social security number.

So here we are, we’ve reached the end. There’s something special about Monsters of the Week episodes. They let us take a break from the sprawling conspiracies and just bask in the thrill (or horror) of the unknown, reminding us why we fell for this show in the first place. So who knows? Maybe we’ll revisit a few more of these cases in the new year. Until then, just remember—trust no one.

A couple previous episodes of Horror TV Shows We Miss can be seen below. If you’d like to see more, and check out the other shows we have to offer, head over to the JoBlo Horror Originals YouTube channel – and subscribe while you’re there!

Ryan Kruger, director of the new Street Trash, considers his film to be a sequel to the 1987 original rather than a remake of it

Last Updated on November 13, 2024

Last year, it was announced that the 1987 cult classic horror comedy Street Trash (buy it HERE) would be getting a remake from Ryan Kruger, the director of the 2020 body horror film Fried Barry! Kruger’s take on the concept, which moves the story from Brooklyn to South Africa, is now ready to make its way out into the world, as Cineverse holds the North American distribution rights and they’re planning to give the film a VOD release on November 19th. It will then reach the Screambox streaming service sometime in December. With the release date swiftly approaching, Kruger sat down for an interview with our friends at Bloody Disgusting – and during this conversation, he revealed that he considers the new Street Trash to be a sequel to the original movie, not a remake of it.

The original Street Trash was directed by J. Michael Muro from a screenplay by Roy Frumkes. Fourteen years ago, Frumkes said he was working on the script for Street Trash 2… but that sequel never made it into production. Thankfully, Muro and Frumkes are both involved with the remake. They served as executive producers alongside Bad Dragon and Vinegar Syndrome.

Written by Ryan Kruger and James C. Williamson, the Street Trash remake follows a group of homeless misfits as they fight for survival when they discover a plot to exterminate every homeless person in the city. Variety assured that this new take on the concept “stays true to the original plot — which chronicles the disgusting decay of New York wanderers after ingesting bottles of toxic alcohol — but expounds the gore to create a metaphor for something much larger.”

Kruger also stars in the film alongside Sean Cameron Michael (The Mummy), Donna Cormack-Thomson (Catch Me a Killer), Joe Vaz (Good Omens), Lloyd Martinez Newkirk (Fried Barry), Shuraigh Meyer (The Umbrella Men), Gary Green (Fried Barry), and Warrick Grier (Dredd).

When the project was first announced, Kruger provided the following statement: “Our reimagining of Street Trash takes place in Cape Town, South Africa where the growing divide between rich and poor has changed the world as we know it. I was a huge fan of the original Street Trash when I was a kid, and I couldn’t be more thrilled to introduce a whole new generation to the melted gonzo goodness that made the original such a classic. While our reimagining features new, exciting plot elements that give the film many bizarre twists and turns, the core of the film lies with our diverse and unique cast of characters. As a director, I am very character centric and I can’t wait to see our strange and hilarious ensemble on screen together as they navigate the hostile streets of Cape Town. Our version of Street Trash will be raw, hilarious, packed with vibrant characters and multi-colored explosions of gooey greatness.“

Fans of the Shudder series The Last Drive-In with Joe Bob Briggs might point out the fact that Fried Barry and the original Street Trash have both been screened on that show – and it’s no coincidence, as the Street Trash remake is being produced by The Last Drive-In producers Justin Martell and Matt Manjourides of Not the Funeral Home. Cineverse’s Chris McGurk, Brandon Hill, Brad Miska, and Yolanda Macias also serve as executive producers. Production in South Africa was handled by Protagonist Studios and Stage Five Films.

Kruger told Bloody Disgusting, “It’s in the same world as the 1987 original film. We actually mention stuff from the original film. So for me, it’s always been more of a sequel. For the original fans, it’s actually a sequel. For a new audience it can be a standalone film.” While he was making the movie, he endeavored to make it as ’80s as possible, using old school prosthetics (and multi-colored goo) for the gore sequences and shooting on 35mm film.

Are you looking forward to the new Street Trash, and are you glad to hear that the director considers it to be a sequel rather than a remake? Let us know by leaving a comment below.

New posters have been released that highlight the new characters of James Mangold’s Bob Dylan biopic, which includes Boyd Holbrook as Johnny Cash.

Last Updated on November 13, 2024

James Mangold’s A Complete Unknown not only explores Bob Dylan’s life, but also the notable people who surrounded him. Names like Joan Baez, Johnny Cash and Pete Seeger are included in the story and Mangold has a cast of actors worth promoting. ScreenRant now reveals on their social media the new character posters for the characters from A Complete Unknown, which includes a new incarnation of Johhny Cash after Mangold already covered his story in Walk the Line with Joaquin Phoenix in the role.

A Complete Unknown, which stars Timothée Chalamet, Edward Norton, Elle Fanning and Monica Barbaro. The film also co-stars Boyd Holbrook, Dan Fogler, Norbert Leo Butz and Scoot McNairy, with the studio also giving it a December 25th wide release. Given how well Chalamet’s Wonka did during the holiday season last year, the studio is likely hoping that lightning will strike twice. The date also gives is peak visibility during award season.

Here’s the official synopsis: “Set in the influential New York music scene of the early 60s, A Complete Unknown follows 19-year-old Minnesota musician Bob Dylan’s (Timothée Chalamet) meteoric rise as a folk singer to concert halls and the top of the charts – his songs and mystique becoming a worldwide sensation – culminating in his groundbreaking electric rock and roll performance at the Newport Folk Festival in 1965.”

James Mangold directs from a screenplay written by him and Jay Cocks, who is known for working with Martin Scorsese on projects such as Gangs of New York and Silence. Producers on the film include Range’s Fred Berger, The Picture Company’s Alex Heineman, Veritas Entertainment Group’s Peter Jaysen, Bob Bookman, Alan Gasmer, Bob Dylan’s longtime representative Jeff Rosen, Chalamet, and Mangold via his Turnpike Films. Michael Bederman, Brian Kavanaugh-Jones, and Andrew Rona are on board as executive producers.

Mangold recently talked about the setting of the film, saying,  “It’s such an amazing time in American culture, and the story of Bob’s — a young, 19-year-old Bob Dylan coming to New York with two dollars in his pocket and becoming a worldwide sensation within three years…First being embraced into a family of folk music in New York and of course kind of outrunning him at a certain point as his star rises so beyond belief.”