Gladiator II star Joseph Quinn was amazed at the level of commitment and control that Ridley Scott had while making the sequel.

Legendary filmmaker Ridley Scott turns 87 this November, the same month he releases his latest movie, Gladiator II. Only twice in his career has he ever gone four years without making a picture. So, no, his passion for film isn’t even close to dwindling.

This something that Joseph Quinn – who plays Geta in Gladiator II – picked up on, noting quickly that Ridley Scott was a master on the set in the way he commanded and controlled both himself and everything around him. “Watching him negotiate these brutal shoot days… as you said, he’s not 32 anymore. But he conducts himself with such a vigor, and thirst, for life and also filmmaking, still—he just loves it, and that is very infectious. Working with him… I was never expecting to do that, obviously, and so I was incredibly grateful.”

One of the goals for Quinn, along with much of the rest of the cast, was to “be present” and give everything they possibly could. Through this – and the commitment of Ridley Scott – they could create a world in Gladiator II they hope wows audiences as much as it did in 2000. “Outside of making the film itself, it was a very rare experience as a human being to bare witness to ancient Rome. He built ancient Rome! Not a lot of people can do that—Ridley Scott can.” Quinn added, “He is a world builder. He creates these films that utterly transport you, and that is a very rare thing to be able to do.”

Last year’s Napoleon may not have landed as the sweeping epic Ridley Scott had hoped, but this fall’s Gladiator II – which, like Napoleon, has a similar Oscar-friendly release window – might be achieving that, as it has been said that the sequel has has some of the most grand action sequences ever captured.

Certainly such sequences were made possible with the wild budget, pegged at more than $300 million. As such, Gladiator II is yet another monumental gamble from Ridley Scott. But we – like many of our readers – have faith that he can do the story justice and won’t have us questioning if we are entertained. The trailer is set to

Are you looking forward to Gladiator II? Do you think the original has stood the test of time?

The Arkham Asylum TV series, which was in development for the Max streaming service, is no longer moving forward.

Per Variety, the Arkham Asylum TV series has been scrapped. The series, which was in development for Max, had been in the works for a number of years, with a handful of creatives coming and going.

When the series was announced four years ago, it initially didn’t focus on Arkham Asylum. Instead, it was supposed to revolve around the Gotham City Police Department. Terence Winter (Boardwalk Empire) was set to write and executive produce the spin-off of Matt Reeves’ The Batman, but Winter left the series due to creative differences. Joe Barton (The Lazarus Project) then boarded the series, only to leave as well when the focus shifted to Arkham Asylum. The studio then tapped Antonio Campos (The Staircase) to take over, but it seems that the series just wasn’t meant to be. However, an individual with knowledge of the situation did tell Variety that a new Arkham Asylum project could reemerge down the road.

Matt Reeves confirmed in 2022 that the GCPD series had evolved to focus more on Arkham Asylum. “The GCPD thing, that story has kind of evolved,” Reeves said. “We’re actually now moving more into the realm of exactly what would happen in the world of Arkham coming off our movie and some of the (villain) characters, again in their origins. Almost leaning into the idea of, it’s like a horror movie or like a haunted house that is Arkham. The idea of, the way that Gotham is a character in the movie, I really want Arkham to exist as a character so you’d go into this environment and encounter these characters in a way that feels really fresh. So in our work on Gotham, that story started to evolve and it started feeling like, ‘Wait, we should really lean into this.’ And that’s kind of where that’s gone.” The series was developed before James Gunn and Peter Safran took control of DC Studios, and Gunn later took to social media to say that while the project was still in the works, it would be a DCU show rather than a direct spin-off of The Batman.

Arkham Asylum may be locked away for now, but we do have a Batman-related TV series on the way with The Penguin. Set in the aftermath of the events of The Batman, the upcoming series finds Colin Farrell reprising his role as Oswald Cobblepot. The series will debut on Max on September 8th. As for The Batman Part II, the film is slated for an October 2, 2026 release.

Tonight! Join Kier Gomes on JoBlo Originals on YouTube (also on Rumble) for our latest Friday Night Flicks Live Stream at 8:00 PM EST / 5:00 PM PST.

The OFFICIAL JoBlo Originals’ Live Stream, Friday Night Flicks with Kier Gomes, is back! And now, there are more ways than ever to watch it! You can see the show on our JoBlo Originals channel (or via the embed above), and over on our RUMBLE channel – TONIGHT at 8pm ET/ 5pm PT.

So, what’s Kier going to talk about this time? Well, given that this week sees the release of Beverly Hills Cop: Axel F on Netflix, Kier is going all in on a series retrospective and will be ranking the movies (Axel F included). We’ll also be giving away a copy of the classic 1984 original on UHD Blu-ray disc! So, if you’ve checked out the film and you want to have your say, make sure to watch live tonight at 8ET/5PT. We’re very excited to get these livestream shows going, and as always, we need your support! We’ll also be talking about those Superman set pic leaks which have fans freaking out over how weird Green Lantern looks.

What else would you like to hear Kier weigh in on the Live Stream tonight? Let us know in the comments!

About the Author

Chris Bumbray began his career with JoBlo as the resident film critic (and James Bond expert) way back in 2007, and he has stuck around ever since, being named editor-in-chief in 2021. A voting member of the CCA and a Rotten Tomatoes-approved critic, you can also catch Chris discussing pop culture regularly on CTV News Channel.

For years, Awesome Art We’ve Found Around The Net has been about two things only – awesome art and the artists that create it. With that in mind, we thought why not take the first week of the month to showcase these awesome artists even more? Welcome to “Awesome Artist We’ve Found Around The Net.” In this column, we are focusing on one artist and the awesome art that they create, whether they be amateur, up and coming, or well established. The goal is to uncover these artists so even more people become familiar with them. We ask these artists a few questions to see their origins, influences, and more. If you are an awesome artist or know someone that should be featured, feel free to contact me at any time at [email protected] month we are very pleased to bring you the awesome art of…

Dave O’Flanagan

Dave O’Flanagan is a London-based Irish illustrator. His focus and passion is on the quiet moments in pop culture, the scenes between the scenes. He has produced work for the likes of Lucasfilm, Warner Bros., Marvel, Legendary and Amblin to name a few.

JOBLO: What got you started as an artist?
DAVE: I always loved to draw but the school system in 80’s Ireland was quite academic-centric (at least in my school) so I didn’t get to do art as a subject. I qualified as a lawyer in 2010, but had continued to sketch and scribble on Post-Its and notepads through schooling, college and then work. Around 2015, I discovered digital painting and was astounded by the notion of being able to draw on tablets (this makes me sound ancient). After a brief foray making painfully inept art through Adobe Illustrator, I got an iPad and an app called Paper, watched a half a million YouTube videos on painting, colour theory and digital painting and just started creating.

Who were some of your favorite artists growing up?
Obvious and somewhat cliché but Drew Struzan painted all of my favourite movie posters in the 80’s so I’ve always adored his work and his sensibilities as an artist. He also just seems like a lovely man. Add to that the likes of OG’s like Bob Peak, Roger Kastell, John Alvin and Tom Jung, who all had several posters that were absolute bangers that have since become totems of my youth. I was also very heavily inspired by a local artist from Cork, Ireland called James Barry. His work was very prominent in the Crawford Art Gallery in Cork and was largely responsible for my enduring love of oil painting.

Who do you really dig these days, follow on Instagram?
There are so many artists who have inspired and buoyed my belief, the likes of Matt Taylor, Ken Taylor, Gabz, Rory Kurtz, James Jean, Greg Ruth and Tony Stella are unbelievable artists and continue to be the high watermark for me. I could go on and on but also love the work of Nicholas Moegly, Dan Danger, Marc Aspinal, Matt Ferguson, Ben Turner, Sophie Bland and Mark Englert. The poster community is so strong that I find myself being inspired by so many artists every day.

What advice would you have for budding artists today?
I don’t think I have any particularly useful insight or advice on this because I still see myself as a budding artist, but I would say you’ve got to keep plugging yourself and your art, don’t be bashful. Keep knocking on doors and try not to sweat the rejection along the way. Try to surround yourself with things that inspire you, steep yourself in them, but remember to allow yourself to wallow a bit too, enjoy downtime, things will eventually click regardless.

Also, try to surround yourself with support, with greatness, with good people, whatever works. I’ve had lots of help from people I love along the way, my wife Kaitlin (a more naturally talented artist than me) has always been an excellent sounding board and critic for me. She’s always the one to say ‘when will this be finished for you?’ when I’ve gone over the 150 hour mark on a painting/poster and between you and me, she’s the one person I want to love each final piece. I’ve also had unbelievable support from good friends of mine, Cameron Lowe (an excellent motion graphics and animation guru) and Kevin Wilson (aka Ape Meets Girl) who have shaped and guided me through the earliest paintings to more recent work.

What should we be looking out for from you in the future?
I’ve got a few things going at the moment that I’m really excited about. I’ve got an awesome ‘bucket list’ opportunity that I can’t talk about yet; a new Dune Part One poster releasing through Bottleneck Gallery soon; and a Big Lebowski poster releasing through Vice Press gallery later in the year. I’m also working with Moor-Art Gallery in the UK on something special for Thought Bubble in November.

Being a fansite, we have to ask you…What are some of your favorite movies/TV shows of all time?
I could go on forever on my favourite movies but Jaws is always at the top and the rest oscillate around the place. If I had to pin my colours to the mast I would say Jaws, Alien, Fargo, ET, Blade Runner, The Princess Bride, There Will Be Blood and more recently Oppenheimer. Cillian Murphy is a fellow Corkman and I’ve never been so proud of Cork as I was watching that movie and his Oscar acceptance that followed. Favourite TV show of all time is Breaking Bad followed a close second by Mad Men. I’ve watched the whole of Breaking Bad over four times and Mad Men three, a bit obsessive, but I think they represent the pinnacle of modern TV.

Scroll down to check out some of our favorite art pieces from Dave as we continue to follow his journey across his Website and social media hubs: Instagram / X / Poster Spy / Shop

2001: A Space Odyssey

Aliens

The Big Lebowski

Blade Runner

Blade Runner 2049

Dark Art Of Cinema

Eternal Sunshine of the Spotless Mind

Freddie Mercury

Guardians of the Galaxy

Halloween

Heat

Indiana Jones and the Temple of Doom

Jaws

Nina Simone

Phantom Thread

Rey Skywalker

Robin ’66

Scream

The Silence of The Lambs

Three Billboards Outside Ebbing Missouri

True Romance

The X-Files

In honor of Beverly Hills Cop: Axel F hitting Netflix, we rank all of the Beverly Hills Cop movies from best to worst!

At long last, Beverly Hills Cop: Axel F, the fourth film in the franchise (and the first in thirty years) is out, with it streaming on Netflix. We’ve certainly done our fair share of coverage for the movie here on the site, with me being lucky enough to interview Eddie Murphy and much of the cast while also attending the premiere in Beverly Hills. But how does the film stack up as far as the rest of the franchise goes? Of course, that can mean only one thing – it’s time for our Beverly Hills Cop Movies Ranked list! This time, we’re doing from worst to best, so buckle up! And – while you’re at it check out our LiveStream from last night, where our host, Kier Gomes, did his own rankings!

Beverly Hills Cop III (1994):

Not only is this the worst Beverly Hills Cop movie, but the third entry into the franchise briefly put Eddie Murphy’s career into deep freeze. The comedy is dialled down in a perhaps misguided attempt to turn Murphy into a more traditional hero. At the same time, the action is escalated, which isn’t a terrible idea – but the execution is a disaster. If you’re trying to make a more serious action flick, why set the movie at a Disneyland knock-off with mascots, show tunes, and tons (too many) cutesy celebrity cameos (including George Lucas)? It didn’t help that John Landis lacked the style of either Martin Brest or Tony Scott and had to deal with a star who didn’t want to be funny anymore.

Making matters even worse was that producers Don Simpson and Jerry Bruckheimer were no longer involved with the franchise, as they would have no doubt served as the voice of reason on set. I like to think Simpson and Bruckheimer would have killed the bad choices, such as the orchestral version of Axel F on the soundtrack. But it’s not all bad. The first ten minutes of the movie are actually quite good, with franchise mainstay Inspector Todd getting a powerful death scene and its followed by a really cool car chase, with a ’91 Dodge Stealth going to pieces while Axel is driving it and INXS’s “Keep the Peace” filling the soundtrack. But, from then on, it’s all downhill. That said, 3 is the only instalment of the series I’d quantify as bad, even if it is still somewhat watchable. 

Beverly Hills Cop: Axel F (2024):

I loved Axel F as a nostalgic, throwback sequel. In fairness to the film, it’s hard to recapture lightning in a bottle the way the first two films did, as those movies hit the zeitgeist at a time when Eddie’s career was exploding in popularity, turning him into a superstar on the level of Elvis Presley. Yet, the movie does feature a very engaged Murphy dropping F-bombs galore while also allowing for the return of many old pals, such as Judge Reinhold and John Ashton & Paul Reiser, who were both MIA from the third film.

Beverly Hills Cop II (1987):

No one expected the first Beverly Hills Cop movie to be such a smash, but it became the highest-grossing comedy of all time and the most profitable movie of 1984 (beating out Ghostbusters). It elevated Murphy to superstar status, and the sequel was set up to be a much bigger film than the last one. The OG director, Martin Brest, was busy doing Midnight Run (an excellent film in its own right), so Tony Scott, who was coming off Simpson/ Bruckheimer’s Top Gun, was brought in. The result is a slicker, more-action-driven instalment of the series. Everything about it is bigger, from the sunglasses to the set-pieces, and beyond. At the time, some critics scoffed at how polished it was, but over time, the neon-soaked visuals have given it a strong cult following. It had a memorable henchwoman in Brigitte Nielsen, and the movie hugely influenced Axel F director Mark Molloy perhaps more than any other film in the franchise. Some of the most iconic elements people associate with this franchise were introduced here, such as Axel’s famous Detroit Lions letterman jacket, and the Bob Seger tune “Shakedown” (the iconic singer’s only number 1 on the Billboard Chart). It also has the famous Playboy Mansion scene (“Hef!”), while Harold Faltermeyer’s score is (arguably) even better here than it was in the first film.

Beverly Hills Cop (1984): 

Of course, nothing beats the original Martin Brest movie. Famously conceived as a vehicle for Sylvester Stallone, the film was given a comedy overhaul when Eddie Murphy came on board, and the result was nothing short of iconic. In addition to Murphy’s Axel F, the film also benefits from one of the most iconic soundtracks of the eighties, with songs like Glenn Frey’s “The Heat Is On”, The Pointer Sisters’ “Neutron Dance,” and, of course, Harold Faltermeyer’s score, with the theme, “Axel F” one of the most memorable theme songs of all time, being right up there with the James Bond Theme.

What are your Beverly Hills Cop movie rankings? Let us know in the comments!

Despicable Me 4 is a smash while MaXXXine breaks franchise records at the holiday weekend box office.

The weekend numbers are starting to roll in (via Deadline), and Despicable Me 4 is on track for a terrific $120 million 5-day opening, with a $72 million weekend gross, which is about what we predicted earlier this week. It’s looking to open in the same range as Despicable Me 3, although it’s going to wind up with a softer opening than Minions: The Rise of Gru, which opened to a huge $107 million 3-day weekend in 2022. Whatever the case, the franchise is still a big moneymaker for Illumination, and it’s the second smash animated movie of the summer after Pixar’s Inside Out 2. That runaway hit sequel is on track for $33.1 million this weekend, with it passing half a billion bucks at the domestic box office earlier this week. 

Coming in third is A Quiet Place: Day One, which took about a 59% dip week to week, with a second weekend north of $20 million in the cards. Meanwhile, Ti West’s MaXXXine is on track for an $8 million weekend, which is significantly higher than the openings for the two previous films, X and Pearl. In fact, MaXXXine might make more in a single weekend than the last film, Pearl, did in its entire run. 

So, what about Kevin Costner’s passion project, Horizon? Well, the news isn’t very good. After a soft opening, all involved hoped the film would show some legs at the box office, but sadly, the results seem somewhat mixed on that front. It looks like it will finish in sixth place with a $5.9 million weekend and a 47% drop. While anything under a 50% drop nowadays is considered decent, it can’t be denied that the film looks like it will top out at just over $30 million domestically, which is low for an epic western. Hopefully, the sequel, due in August, will do a lot better. 

What are you going to see this weekend? Let us know in the comments!

The Fantasia Film Festival is right around the corner, and here are five of the big premieres we can’t wait to see!

Film festivals provide the opportunity to experience a wealth of incredible films that few people have heard of yet. With trailers often spoiling way too much in an effort to sell the film to an apathetic audience, going in blind is a luxury few can afford. This is why I encourage you to check out your local film festival and support independent filmmaking. Every year around July I start getting antsy because I know that Fantasia Film Festival is just around the corner. In years past we’ve seen some absolutely stellar entries. Hell, last year’s Red Rooms is still one of my favorite films of the decade and it’s yet it’s still under many people’s radar.

That’s the great thing about film festivals in general but Fantasia has the ability to bring about this feeling more often than not. Because their selection is always absolutely killer. From Elijah Wood’s Bookworm, to RKSS’s Wake Up, there’s sure to be many films that take audiences by surprise and give us some new favorites. So let’s take a look at 5 Horror Films we’re looking forward to seeing the most at Fantasia Film Festival 2024.

Cuckoo:

Serving as the Montreal Premiere for the film, this may just be the most intriguing film of the festival circuit. Limited on information, it’s clear this features absolute powerhouse performances from Hunter Shafer and Dan Stevens. I’m going into this one with as little as possible and I cannot wait. The buzz for this one is out of this world and Tilman Singer may be a force to be reckoned with.

Azrael:

Samara Weaving seems to be a staple of the horror genre and I’m certainly not complaining. Azrael follows a society without speech, which sacrifices people in order to appease the Gods. The trope of “blonde girl covered in blood” provides an incredible visual and this one is likely to be on the slower side with its lack of dialogue. But I can’t wait to see how much tension the filmmakers are able to make from the silence.

Witchboard:

Chuck Russell’s mark on the genre could have ended with Dream Warriors and The Blob and he would be an absolute legend. But the fact that he’s returning to the genre after all these years makes me giddy as a schoolgirl. The Ouija board is a fun source for horror and, despite its multiple trends, it still feels underutilized. Hopefully, the Witchboard will change things up and bring about a whole new level of stakes.

The Beast Within:

Whose to say if Kit Harington sticks around the horror genre (I still fondly remember the so-bad-it’s-good film Silent Hill: Revelation) but he’s got me intrigued with his werewolf film. The werewolf story allows for some really interesting character studies and I always love the practical effects involved in creature features. Whether they go the more subdued route is anyone’s guess but I’m expecting something classy from this.

Shelby Oaks:

I’ll be honest, this is closer to wanting to watch a car wreck than actually thinking this is a good movie. The rumor is that Flanagan was brought on to salvage it in the edit but who knows if that’s true or not. At this point, Flanagan doesn’t tend to attach his names to stuff willy-nilly, so I suspect that whatever was wrong with it, has been figured out. There have been plenty of instances where a workprint doesn’t work and then some editor comes along and saves it. Maybe this is one of those scenarios. I think any of us who are in the Youtube space, hoping to break out into film are looking at Stuckman as inspiration. Here’s hoping he pulls it off!

What are you most looking forward to at Fantasia? Any films you want to make sure we cover? Both myself and Chris Bumbray will be covering the festival and can’t wait to dive into these incredible horror titles.

Director Ti West says it’s going to take a perfect storm for the horror genre to be more represented at the Oscars.

The horror genre is in yet another renaissance – so much so that the term “elevated horror” had to be introduced as a way for non-genre fans to cope with the fact that, yes, maybe they do like horror films. But we still probably shouldn’t expect them to be featured at the Academy Awards alongside the usual fare, no matter how seriously they are being taken in 2024. But X series director Ti West has hope that one day this could change, seeing the Oscars becoming more receptive to the horror genre with just the right timing.

Speaking with The Hollywood Reporter, Ti West said that it’s possible that horror could be better represented at the Oscars, provided there is full support. “It depends on the movie, it depends on the campaign. It’s complicated. It’s something that I have never experienced, but it’s not as simple as someone being good in a movie and then they get a nomination. It’s a more dense industry-oriented thing than that. So it’s just a matter of the right performance at the right time and with the right campaign. It’s a whole bunch of work, frankly, to be on the trail for something like that.”

West also noted that, yes, it is extremely rare for horror to be on the Oscars stage, name-checking The Silence of the Lambs, The Sixth Sense and Jordan Peele, whose Get Out is the most recent horror film nominated for Best Picture. (A lot of people wouldn’t even categorize the first two as horror, instead opting to label them as thrillers for whatever reason.) West himself said that, on the acting front, Mia Goth should have been up for Best Actress for Pearl. As for West’s own potential for breaking that Best Picture barrier, it’s probably safe to say that the divisive MaXXXine (heck, even our own critics can’t agree on this one!) won’t be another one to do it…

We could all name several horror films throughout history that deserved more Oscars recognition, but by and large, there’s no denying that the AMPAS has been ignorant to their impact. Outside of the occasional nomination here and there, there was a short tribute to the genre at the Academy Awards way back in 2010. Gee, thanks for the support!

What do you think it will take for horror to get more attention at the Oscars? When do you think we’ll get another from the genre up for Best Picture?

LEGO will release a Jaws set this summer depicting the showdown between Brody, Quint and Hooper vs. the shark.

You’re gonna need a bigger display case. LEGO has unveiled an incredible-looking Jaws set that recreates one of the film’s most iconic moments: when Brody, Quint and Hooper come face to face with the killer shark aboard the Orca. Sorry, no mini Narragansetts included.

The LEGO Jaws clocks in at 1,497 pieces and is designed to be displayed in a way that few sets like it are, as it comes on a stand with Chief Brody’s famous “You’re gonna need a bigger boat” line. It, too, has a length of 23” and a height of 14”. The price tag is, thankfully, significantly lower than what Quint wants to kill the shark: $149.99. For that, you get the boat, the figures, the whole damn thing.

As per the official website, “The set features the Orca LEGO boat model, which has a detailed cabin with a removable roof, an adjustable boom and rigging, plus lots of iconic accessories. It can be placed on a brick-built seawater base with the Jaws LEGO shark model attacking the boat.” The minifigures also have accessories such as a fishing rod, a camera and a spear. The roof of the Orca even detaches so you can recreate the USS Indianapolis scene…provided you draw little scars on the minifigures.

Jaws is one of the greatest films ever so it’s absolutely amazing that LEGO has decided to move forward with this set, which actually started under their LEGO Ideas banner, which lets users submit ideas in hopes of gaining 10,000 supporters, the marker indicating it could actually be produced for sale. This particular set was designed by Johnny Campbell, who went to great lengths to nail every detail. “I actually freeze-framed Jaws as I watched it so that I could catch a glimpse of the finer details taking notes as I went along.”

The LEGO Jaws set hits shelves on August 4th so you can have it completed in time for next year’s 50th anniversary.

Will you be picking up the LEGO Jaws set? What has been your favorite movie-related set so far? Let us know below!

Madame Web co-star Emma Roberts remains loyal to the movie, suggesting it never stood a chance against the internet.

Sony’s set take of the Spider-Man property was meant to be a web-slingin’ smash from the studio, bringing elements that the MCU didn’t — it even had its own acronym: the SSU. But this hasn’t quite panned out as intended, with one particular entry, Madame Web, proving to be a colossal disaster. And while it holds an 11% Rotten Tomatoes critics score, a still lousy 57% audience score and a 5/10 from our own Chris Bumbray, the movie has its small legion of defenders. Take star Emma Roberts, for example, who maintains that the internet may have been responsible for ruining any hope for the movie.

On Madame Web, Roberts said that she remains enthusiastic about it despite the loudness of naysayers. “I personally really loved Madame Web. I really enjoyed the movie. I thought everyone in it was great. The director, S.J. Clarkson, I think did an amazing job. She’s the reason I wanted to do that movie. If it wasn’t for internet culture and everything being made into a joke, I think that the reception would’ve been different. And that’s what bums me out about a lot of stuff, even stuff that I’ve done, is people just make such a joke out of everything now.”

Emma Roberts also maintains that there’s just no predicting what will stick with viewers, whether it’s Madame Web or not. “Things work; things don’t work. Everyone to act like they can predict if they’re going to work or they’re not. And the truth is, you can’t. Things do badly, and then they blow up later on TikTok. Things do well, but then you watch them, and you’re like, ‘This did well?’ There is no secret. It’s about doing something goodish and it hitting at the right time. Everything else is like a wish and a prayer. I’m not intimidated by failure, and I’m not intimidated by people having negative thoughts about something.”

Emma Roberts, for what it’s worth, doesn’t share the same Madame Web sentiments as everybody else in the cast, as lead Dakota Johnson has been quite outspoken on the movie — or at least her own casting — saying it’s just not her style of flick. And based on the reception, it wasn’t quite anybody else’s, either…

What did you think of Madame Web? Do you think it will find a proper audience someday? Share your thoughts below!