Discovery, meanwhile, came out in the streaming era, where that kind of evolution just doesn’t happen. If anything, the opposite happened: on a surface-level, you’d be forgiven for thinking the show was in a state of constant evolution given how frequently and dramatically it changed its core concept: going from a prequel to a show set in the far future, for instance. But on a deeper level, the same storytelling and writing pitfalls persisted no matter how many new coats of paint were used.

I would suggest that Cregger’s follow-up, Weapons, is him trying to reverse engineer an even more successful movie by having multiple swerves throughout the entire thing. The whole film does follow one story, in which an entire classroom of children save for one shockingly disappear into the night, running out of their homes with seemingly no explanation, and throwing the entire community into turmoil.

When Fantastic Four was released in 2005, nobody knew what to do with superhero movies. It  is probably best understood as a mainstream studio’s attempt to capitalise on their recent unexpected success without quite understanding the catalysts of their popularity.

The gravitational pull of Cruise’s star power and the enticing spectacle of watching him do his big stunts warped the franchise into being predominantly about those two things — Cruise and his stunts.

Long-running horror franchises are either defined by their reinvention or lack thereof. To watch the series in order is to witness a distinct evolution. From Bride of Chucky onwards, the series moves away from the familiar trappings of 80s slasher cinema into a much more distinctly queer text.

The cultural consensus couldn’t be defeated: Sinners was the movie of the moment. It shouldn’t have been nearly as much of a surprise.

“Deceptive” is sort of the operative word when it comes to Theroux — the question of how much of his bemused, questioning affect is legitimate, and how much of it is him playing up for the camera. This is what makes Theroux the perfect documentarian for a topic like this — his straightforwardness in approaching a subject cuts through the mire and arrives at a crystal clear center.

On March 21, 2025, Disney’s live-action remake of Snow White was released in theaters. Beset by controversy and bad press, the film ended up having an expectedly tepid performance at the box office. But according to Disney executives, the source of all the film’s woes could be placed at the feet of one person and one person only: Rachel Zegler, who tweeted her support for Palestine.