Andy Muschietti’s The Flash is a movie with real heart — but every time the conversation comes up, he can’t stop defending the one part everyone knows failed: the visuals. No one doubts his passion or the performances that carried the film, but the CGI was a mess then, and it’s even harder to ignore now. Pride’s one thing. Denial’s another.
Sora 2 and the End of Copyright Control
OpenAI’s Sora 2 isn’t a creative breakthrough—it’s a calculated flood. By releasing an endless stream of copyright-blurring AI videos, the company isn’t challenging Hollywood’s rules so much as burying them. The strategy is simple: overwhelm the system, exhaust enforcement, and redefine ownership by default.
How Hideo Kojima Learned to Stop Worrying and Love the Algorithm
Hideo Kojima, the man who once warned us about the dangers of algorithmic control, now calls artificial intelligence a “friend.” It’s not a sellout—it’s evolution. In a year when Hollywood’s fear of AI is finally cooling, Kojima’s new stance signals that the conversation has moved beyond panic. He’s not rejecting the future; he’s learning how to shape it.
Jim Carrey’s Jetsons Reboot Sounds Like a Future Nobody Asked For
Jim Carrey, The Jetsons, Colin Trevorrow, Warner Bros, Warner Bros Pictures, Hanna-Barbera, Hollywood Reboots, Nostalgia, Retro Futurism, Meet the Robinsons, AI in Film, Jurassic World, Movie Industry, Sci-Fi Comedy, Pop Culture, Film Commentary, Hollywood After Dark,
The Last Great Movie Poster Artist Has Left Us
Drew Struzan wasn’t just a movie poster artist — he was the brush behind our imagination. From Star Wars to Indiana Jones, Back to the Future, and The Thing, his work captured the heart of adventure and defined what movie magic looked like for generations. His passing marks the end of an era when posters were more than promotion — they were portals to our dreams.
The Biggest Threat to the DCU Right Now Is James Gunn’s Mouth
James Gunn has built his brand on being the straight-talking, fan-friendly filmmaker who tells it like it is. But after the Peacemaker finale and his constant attempts to control the DCU narrative, that honesty is starting to look more like ego. He’s overhyping, underdelivering, and arguing with fans when he should be letting the work speak for itself. The best thing James Gunn could do right now? Stop talking.
Tilly Norwood: Star of Tomorrow or Just a Pitch Deck in Drag?
Hollywood’s latest experiment is an AI “actress” named Tilly Norwood — hyped as the first digital starlet who could rival human talent. But beyond the headlines, her résumé is a two-minute sketch with six words of dialogue. AI has a future in film, especially in VFX, but right now Tilly looks less like a breakthrough and more like a pitch designed to impress investors.
ABC Pulled Kimmel to Protect Nexstar’s Merger, Not Audiences
ABC’s decision to pull Jimmy Kimmel Live! indefinitely isn’t about “standards” or “sensitivity.” It’s about power. It’s about Donald Trump’s fragile ego, corporate greed, and a media empire that would rather protect mergers than defend free speech. Jimmy Kimmel didn’t celebrate Charlie Kirk’s death—he did what he’s been doing since 2015: calling out MAGA hypocrisy. For that, he’s been gagged. And ABC, Disney, Nexstar, and Sinclair all rolled over without a fight.
Why Matt Reeves’ Expanding Batman Saga Needs to Merge With James Gunn’s DCU
Matt Reeves is busy expanding his Gotham empire with The Batman Part II, The Penguin season two, and more villain spinoffs. James Gunn insists it’ll never touch the DCU, but the math doesn’t add up. Audiences want clarity, executives want streamlining, and Gunn already cracked the multiverse door with Peacemaker. Sooner or later, these worlds are colliding — the only question is whether it happens on Reeves’ and Gunn’s terms, or in a boardroom mandate.
Sinners Is More Tarantino Fairy Tale Than Southern Gothic Horror
Ryan Coogler’s Sinners is being sold as a horror film, but let’s not kid ourselves — it isn’t. Horror is supposed to terrify, to drip with dread, to make you feel unsafe. Sinners never gets there. The vampires are polite, the finale swerves into a Tarantino-style shootout with the KKK, and along the way the script spends more time joking about oral sex than it does building fear. Domestically, it’s a box office hit with nearly $280 million, but overseas it fizzled. Because here’s the truth: Sinners isn’t horror. It’s a gothic-flavored drama that mistakes style and sex talk for scares.
Hollywood After Dark 