We use vendors that may also process your information to help provide our services. They say every time Samara Weaving belts out her one-of-a-kind scream in a horror film, an angel gets its wings. Or, as would be more accurate for the genre, a devil gets its horns. This was true in “Ready or Not,” the darkly, devilishly fun 2019 horror romp where Weaving played Grace, a working-class woman who marries into a wealthy family desperately maintaining their iron grip on money and power via a deal with the mysterious Mr. Le Bail, who, as it turns out, is the literal embodiment of Satan. Her aforementioned scream, in particular, remains an all-timer, feeling like it is exorcising a deep, primal fear just as it rattles you in your seat. Much as Grace had to battle her way through a nightmarish game of hide and seek where she must survive being hunted by her murderous new “family” until sunrise, Weaving was able to fight against most of that film's prevailing limitations and come out on the other side in one piece. Even when everything then went to bloody pieces all around her, resulting in a wonderfully gruesome and explosive gag of an ending, she held it all together. Related Stories ‘Pretty Lethal' Review: Ballerina Baddies Spin and Slit Throats in a Suspense Thriller That Skips Pivotal Narrative Beats See ‘Undertone' with Dolby Atmos, or You'll Miss Half the Horror One would think that another film that provided more of Weaving, her boundless charisma, sly humor, and shattering scream would be tough to fumble. Yet somehow “Ready or Not 2: Here I Come,” a surprisingly safe sequel that picks up right where its predecessor left off yet goes in disappointingly few new interesting directions of its own, manages to do plenty of fumbling. It's bigger and boasts a larger ensemble, including those played by Sarah Michelle Gellar, Shawn Hatosy, and, briefly, a delightful David Cronenberg, whom Weaving must again do battle with. While Weaving is sensational once more, managing to make the most of what little she has to work with through almost a sheer force of will, it's a film you'd rather just say “not” to, while sticking with the original. This line, which could have easily felt like a hacky, womp womp comedy moment, was given life via the wearied and deadpan manner with which the blood-covered Weaving delivered it, ensuring that it wrapped back around to being genuinely inspired. Such inspiration is profoundly lacking here as “Ready or Not 2” immediately finds itself awkwardly building off of this by showing Grace then passing out following this joke and being taken to a hospital. This second one doesn't do itself any favors by reminding us of the strengths that made its predecessor such a hit, but there is at least something effectively streamlined about how it drops these reminders into the opening. Alas, we then arrive at a hospital where everything grinds to a halt, and we get an exposition dump on everything that happened before this anyway. It's at the hospital where Grace is soon interrogated by a detective, who at first, looks almost like he's being played by Jemaine Clement (unfortunately, he isn't), reconnects with her estranged sister, Faith (Kathryn Newton), who she still had as her emergency contact, explains what it was that happened to her, and then gets roped back into the same cat-and-mouse game she just only barely survived. Much of this, save for a smattering of more darkly playful jokes, like one where we see how Cronenberg's bedridden patriarch can wield immediate power with a single phone call, or everything surrounding Elijah Wood's wacky little evil lawyer overseeing it all, proves oddly tiresome. Where “Ready or Not” pretty much got right down to the fun, “Ready or Not 2” does more stumbling about, punctuated with bloody explosions that don't quite hit as hard as they did the first time. That it treats the original film with a strange reference, including in one baffling scene where Grace dons her bloody wedding gown and yellow high-top shoes like she's a superhero suiting up for battle, just further strains credulity when it doesn't put in the same work to making a case for its own existence. Where “Ready or Not” felt genuinely fresh and fun in how it smashed together familiar genre elements, “Ready or Not 2” just rinses and repeats so much of it. It's not ever really scary or tense with the greatest fear you feel coming not from the film, but from its creators who seem to be averse to taking any real risks. It's still often fun to see Weaving cook, especially in how she'll underplay key scenes for comedic effect, but most of the film gets lost in the woods of the massive resort Grace and Faith must navigate. It cycles through the increasingly tiresome patterns of the duo running, getting caught, engaging in stiffly staged and shot fight sequences, and then running again while some expositional details about their estrangement get awkwardly teased out. Such places are pristine and beautiful, though also frighteningly artificial, often masking a simmering violence. All it ends up betraying is the film's painful lack of anything resembling audaciousness in either its technical or thematic elements. There just isn't much of anything here to hold onto save for Weaving's performance. The addition of Newton doesn't add any noteworthy bits other than superficial sibling bickering and a forced sentimentality the film doesn't earn. Weaving does get one moment towards the end where she's able to offer something a bit more layered with a choice nobody expected Grace to make, complicating what the entire film was all about. Alas, this comes far too late to leave much of an impression. Blood goes everywhere, but there is no real heart behind it. All you're left with is the echo of what was better before. “Ready or Not 2: Here I Come” premiered at the 2026 SXSW Film & TV Festival. Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. We use vendors that may also process your information to help provide our services.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter The actress talks Jessica's spoiler-filled arc and audience reactions: “I hope that people can enjoy my performance, even if they're frustrated or confused by the motive or the reveal.” In Scream 7, the answer is three killers — including Sidney Prescott's neighbor, Jessica Bowden, played by Anna Camp. Before Jessica's late-film reveal, her screen time is fairly limited. “It was everything that you saw in the initial script, minus the scene with Gale on the front porch,” she says, adding that the creative team debated how much of Jessica to show so they wouldn't “shine too bright of a light” on Ghostface. Kevin Williamson Says He Won't Return to Direct 'Scream 8' Teamsters Call on DOJ to Stop Paramount-Warner Bros. Merger: "We've Seen What Happens When Corporations Consolidate Power" Following the film's opening weekend success, Camp also addressed online backlash after posting that the “boycott didn't work,” referring to people protesting after Melissa Barrera was fired from the film over her social media posts about the Israel–Hamas war. Read on as Camp discusses the film's biggest spoilers, Jessica's motive, her intense fight scene with Sidney — and what's she's heard about Scream 8. At that point, did you think you were going to be the only one or did you know that there would be two others in the film? He told me during the Zoom meeting that there were a couple of Ghostfaces. Who else in the cast knew you were Ghostface? I'm not sure who else got to read the entire script. It could have been everybody, or it could have just been a limited amount, I don't know. I've never been sent to an office in Beverly Hills and gone up in an elevator and then put into a room by myself with a watermark script, with the door closed, and then have them come in and take it away from me, immediately. You mentioned creating some of Jesscia's backstory yourself — what details did you imagine about her life before the events of the film? Those were the things that I really worked on. What it felt like to be in that relationship — and then what it means to transfer all of those feelings of love that she couldn't have in her own marriage onto this person that she had never met, Sidney Prescott, and how it became her outlet in a way, for her to have something to focus on. So that's where she put all of her energy and focus on getting Sidney to come back. In regards to her motive, what do you think Jessica truly wanted from Sidney? I think what she really wanted for her was to be the best that she could be. I think Jessica and her own really messed up distorted view of the world, knew Sidney was this final girl, this ultimate, real, true badass and hero. Jessica was like, I love this person so much, but I only really love them if they are at their peak selves, operating in this high functioning Ghostface, attacking final girl realm that she really was like, I'm going to do everything I can to get her back there, even if it means sacrificing my own life for my obsession. Did Kevin give you specific guidance on how Jessica's motivation should come across? She's completely unhinged in this moment, fierce and wild, animalistic. I remember him saying, “Do not hold back at all. I'll pull you back if I think you're going too far.” He truly gave me the freedom to leave it all out there that night when we were shooting that scene, and when a director gives you freedom like that, it just opens so many doors emotionally for an actor, because they feel like they have the freedom to try and fail and just be wacky and weird. Shooting that scene is one of the highlights of my entire career that I've ever gotten to have. Were there subtle clues you intentionally placed in your performance that viewers might notice on a rewatch? When I'm smacking Lucas [Asa Germann] in the beginning, and I'm just telling him to shut up. The smack was probably a little harder than a normal mom who didn't worry about what their son living or dying would do. That scene, I was just trying to really make it very easy and comfortable for her to talk to me because Jessica wanted all the time in the world that she could have with her. Even though that scene was very short in the film, as an actor, I'm trying to create a very safe, soothing, warm environment for the object of my obsession to share and be open with me, and to stay longer and perhaps get another coffee, like that's what I'm I'm planning on doing. So maybe you can see a little twinkle in my eye (Laughs.) if you go back and watch that scene. Your fight scene with Neve was pretty intense. Obviously we know which parts aren't real, but how much of that did you actually perform Vs. a stunt double? Obviously safely with a stunt coordinator there. There's the scene where she slams me up against the garage door and we're stabbing each other [with fake knives], and all of that is very real. Also, the final shots to my face, I did two takes of that, and I remember it was the second take, my neck really flipping back, and everybody rushing over to me and being like, “Oh my God, Anna, are you OK?” And I remember just saying, “Well, did it look OK?” They were like, “Yeah, it looks like you really got shot in the face.” And I thought, “Well, then you have to use that take, right?” And they're like, “Yeah, we got it. Was there ever talk about having a fight scene with Courteney Cox's Gale and Ghostface? I believe this is the only film in the franchise where we don't see them interact. I always love seeing Courteney Cox kick some butt with Ghostface. Yeah, at the same time, it was sad seeing how fragile she was based off of the brutal sequence from Scream VI. Especially when they're talking in the newsroom, and then she has to go over and take the pills. Your heart really goes out to Gale Weathers in those moments. Also, she's so funny in this movie, and her entrance is just one of the most iconic entrances of any character in any franchise I have ever seen. Would you come back for a flashback scene? It's hard to imagine Scream 8 won't happen. I know there's going to be a Scream 8. I've already heard people talking about it. I don't think Jessica is alive obviously. She could have a twin out there, right? So you've heard that Scream 8 is happening? Was she the Ghostface who killed your son? Like Ethan Embry and then the other actor playing the other Ghostface, they can lift people, they can do things. I'm not necessarily lifting people or doing these, but I do think that using the knife and slicing, is something my character could have accomplished. I'm gonna leave that up to the audience to decide which Ghostface did the son killing. You issued an apology for a statement that mentioned how the boycott didn't work. At the time of the tweet, what were you trying to express, and what would you like to clarify now, if anything? I've always been such a supporter for people standing up and fighting for what they believe in, and it was really never my intention to discredit that. At the time, I was just very thankful for the fans that were going out and making Scream 7 such a success and buying tickets because the cast and crew worked so so, so hard on this film, and it was only my intention to thank the fans that were going to see the movie. What made you decide it was important to apologize publicly? And I just wanted to clarify that in no way was it my intention to minimize or belittle anyone. Some fans have said they were confused by the final reveal and wished they had seen more of Jessica before the unmasking. What have you taken away from the audience's reactions to that moment? I've tried not to look at too much stuff because I worked so hard on that scene, and it was so important to me. I wanted the fans to be happy. What I felt when I read the script was, I just need a little more definition of my character in the beginning or the middle part of the film to help make that reveal pay off even more. And I did speak up for myself. I hope that people can enjoy my performance, despite being possibly frustrated by their confusion on the motive or the reveal. Scream 7 is now playing in movie theaters. Check out all of The Hollywood Reporter‘s coverage here, including interviews with Kevin Williamson, Michelle Randolph and Mckenna Grace. Sign up for THR news straight to your inbox every day A scoop-driven, insider view of Hollywood's genre and blockbuster movie landscape, led by Borys Kit and Aaron Couch. Subscribe for full access to The Hollywood Reporter Send us a tip using our anonymous form.

We use vendors that may also process your information to help provide our services. Razor blades and pointe shoes prove pretty lethal in Vicky Jewson's bloody and blistered ballet thriller, which finds a dysfunctional ballerina troupe fighting for survival after a run-in with a deadly Hungarian mob. Streaming on Prime Video later this month, “Pretty Lethal” couldn't have come at a better time, given all the drama and discourse surrounding Timothée Chalamet's controversial remarks on the cultural value of ballet and opera relative to mainstream art forms, which earned pointed responses from both worlds. While the film, written by former ballerina Kate Freund, is far from a critique on the material decline of the live arts, it clearly gestures towards a shrewd observation Chalamet and his particular brand of sleaze might easily dismiss: the body, and therefore ballet, as a vessel of cinematic storytelling — a visceral physical language turning into an audiovisual one. For hardcore fans of the genre and ballet alike, it's basically a treasure trove, regardless of whether it cannot reference other ballets past “The Nutcracker,” regardless of whether all the hijinks miss a beat or stop short of depth. Related Stories See ‘Undertone' with Dolby Atmos, or You'll Miss Half the Horror ‘The Sun Never Sets' Review: A Career-Best Dakota Fanning Navigates Dueling Love Triangles in Joe Swanberg's Delightful Alaskan Romance The five Los Angeles-based prima ballerinas — played by Maddie Ziegler, Lana Condor, Avantika, Millicent Simmonds, and Iris Apatow — have been preparing all their lives to debut at the National Theatre in Budapest, which could change the course of their careers. Especially for those who aren't as lucky to have a head start in life, like the left-out Bones (Ziegler), who wouldn't be able to compete without the sponsorship of the mother of spoiled brat and bully Princess (Condor). “Ballet is a rich bitch sport,” as Bones puts it, perhaps the same point the “Marty Supreme” star is trying to make, albeit conceitedly. Fretting over the dance of their lives, they have to steel themselves for something far worse. Opting to keep out of the forest, they take shelter in a dingy roadside inn run by Uma Thurman's Devora Kasimer, a fallen ballet prodigy, and her henchmen. As the ballerinas hatch a plan to come out of their predicament alive, bodies begin to drop dead. “Pretty Lethal” is fundamentally a movement movie, featuring a C+C Music Factory needle drop early on — one that is deeply attuned to swapping men for women in the realm of action cinema. At times, the film is tolerably grotesque body horror or an acid trip movie filled with Bible verse reciting, as Avantika plays the moral, religious North Star; at others, it's an outright revenge tale, particularly as the sparse plot pivots to Devora, who is out to settle an old score with Michael Culkin's Lothar Marcovic, a cruel crime lord. A vindictive pursuit that ends rather predictably, as we scan the routine, but are never allowed to behold the dance in its full glory. Ziegler, meanwhile, is already fantastic as the only character with survival instinct, at least initially, at which point I thought it would tip “Pretty Lethal” into a final girl movie. Close-ups on framed photographs depicting Devora's younger, more graceful self offer less a sense of history than ambient suspense. If anything, backstories here are neatly left to the imagination. Likewise, the dreary inn, through Zsuzsa Kismarty-Lechner and Charlotte Pearson's production design, is emblematic of Devora's faded dream — a space where “The Nutcracker” somehow never ends. Choreographed to stunning and outrageous effect, this might just be the most death-dealing dress rehearsal you'll ever come across. Despite the contrivance, Jewson makes fascinating theater out of this, flipping the archetypal image of the ballerina, and therefore femininity, on its head and rendering it as a kind of weapon, forged by years of putting up with enormous pain, against a world beset by patriarchal violence. The quintet spins, stretches, and slits throats, combining grace and discipline in what one might call “ballet-fu,” perhaps a new genre to invest in. Framing ballet as a source of high-octane action is incredibly inventive, but “Pretty Lethal” remains a standard suspense thriller, a work that is ultimately kneecapped by a writing that renders the deeper textures of the characters largely gestural, only meant to drive the proceedings onward with sheer force. Glimpses into past lives, including that of Bones, are hardly given any attention past suggestive pathos or plainly stating them up top that before the final dance graces us to hammer home the film's feminist message, “Pretty Lethal” has already, totally, worn us down. In this way, Jewson's vision is quite fatal. “Pretty Lethal” premiered at the 2026 SXSW Film and TV Festival. Subscribe here to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter The documentary from Shakiba Adil and Elina Hirvonen, premiering at CPH:DOX in Copenhagen, features clandestinely shot mobile phone footage and shows "the power of art to keep hope and humanism alive." In Taliban-controlled Afghanistan, where women are denied the right to study, work, or speak freely, a group of young women risk their lives to form a secret reading circle And inspired by Anne Frank's experiences in 1940s Amsterdam, they start to write their own diaries. Now, they are sharing it with the world in The Secret Reading Club of Kabul, a documentary directed by Shakiba Adil and Elina Hirvonen and partially filmed by the women themselves. How 'Arctic Link' Brings the Internet, and Digital Change, to Life on an Epic Scale 'Whispers in May' Blends Doc and Improv Into a Magical Journey From Girlhood to Womanhood “We experience with shocking clarity what is at stake when the Taliban storms a hidden school or arrests young girls for practicing martial arts,” the festival website highlights about the doc. The story is interwoven with insight into director Adil's own journey. Notes the festival: “After being forced to flee her homeland twice, she has now dedicated her film to the new generation facing the same oppression she herself has endured.” The Secret Reading Club of Kabul was produced by Marko Talli, Johanna Raita and Pauliina Piipponen. Cinematography was handled by Jarkko Virtanen, while the editor is Annukka Lilja. How did you two first meet?Adil We met here in Finland when I was working on another project in Afghanistan with young people, which was funded by the Foreign Ministry of Finland. And Elina was working on the same project. I was producing this workshop, and she helped with content for it. And there were these rumors of the Taliban taking over cities. I never thought that the Taliban taking over Kabul would ever become a reality again. Their time has passed, so much has been invested, and there is now a proper government, I thought. It was all my colleagues and people I knew, especially women with whom I had worked, female journalists in Afghanistan. When my niece came back from school, I saw she had been crying, so I asked her why. Hirvonen I remember texting Shakiba asking, “Do you know how to get out?” And she had no idea. We knew that the Taliban was going door to door and killing people, especially if you'd been collaborating with foreigners. And we knew that Shakiba would be a target because of her work and her history as a journalist, the first woman on TV and a women's rights activist. We finally managed to get her on a list, and she was evacuated. How did you find the young women we get to follow in The Secret Reading Club of Kabul? And in the book club, there were many girls who were ready to take part, but we chose the ones who were more outspoken and had something to say. What security measures did you use for filming to protect the young women and their identities beyond using names in the film that are not their real names?Hirvonen Security-wise, we had a security professional helping us, because it was our main priority to make sure that the film would not become [too much of a] risk for the girls. Of course, you can never be 100 percent sure, but we wanted to take every measure possible to not put them at risk. Adil No matter how careful you are, risk still exists. It was something that I remember Shakiba recommended to them as something that might resonate with them. Adil Long ago, when I came to Finland, the book was given to me by a Finnish friend. As a young girl in Afghanistan, I had always wondered: “Does the world know what we are going through?” I thought that we were alone. I thought we were the only ones who experienced this and that nobody would understand. I just got the feeling someone else had experienced the same thing as me and knew how it feels to be inside your home, not able to do things that you want to do as a young girl. I sent it to so many women in Afghanistan. I tried to Google it and find a PDF or something. I said: “Please read this and write down whatever you feel.” And [one girl who] read it then decided to create the book club. We hear one mentioning how she doesn't even want to be a woman anymore, doesn't want to live in Afghanistan anymore and how she is starting to doubt her religion, all because of the Taliban. I was incredibly moved by how they opened their world completely, on the outside, but also in terms of what happened to them on the inside. All these talented women wanted to be in the film. They want to be seen as the human beings they are, not as something that the Taliban tries to make them. But when these women show the whole world their inside and outside, you can relate because they're human beings, and they are not that different. Adil I was also amazed by their braveness. There is a shot in the film where [one of the women] is walking between all these men. That was one of the first pieces of footage we received, and when I watched that, I was shaking. They are not scared to face the Taliban. And their attitude is that they never give up. In the film, you see many times how their courses or classes are closed down by the Taliban, but they find another way to continue. And they are using art as a form of resistance. At least for these women, this is actually a concrete thing, filming and writing as a form of resistance. What is your hope for The Secret Reading Club of Kabul? We want the international community to come together and say that you cannot treat people like this. Basically, our hope is that the voices of Afghan women can not be ignored anymore. Our dream is that the film will bring the international community together to say that this needs to stop. Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

Nicole Kidman is paying an emotional tribute to her late mother. Reijn read the statement aloud on Kidman's behalf during what would have been the star's acceptance speech for best actress for her role in “Babygirl.” Kidman wrote that she found out shortly after flying into Venice that her “beautiful, brave mother” had just passed. I am beyond grateful that I get to say her name to all of you through Halina,” Reijn continued, reading Kidman's statement. A couple of years later, as Kidman reflected on her mother's birthday in a March 2026 post, fellow celebrities and friends flooded the comments with messages of love and support. Always in my heart Mumma 💕” wrote Kidman in the caption of her Instagram post that included an old photo of the actress smiling with her mother. Mariska Hargitay, best known for her role as Olivia Benson on “Law & Order: Special Victims Unit” wrote, “❤️❤️❤️” “Special Ops: Lioness” actress Laysla De Oliveira commented, “🥹❤️” Tony-winning Broadway actress and singer Kristin Chenoweth, best known for originating the role of Glinda in the musical “Wicked,” added, “Beautiful.” Following the passing of their mother, Kidman and her sister, Antonia Kidman, thanked fans in a joint Instagram post on Sept. 12, 2024, which featured old photos of their mother and family. “My sister and I along with our family want to thank you for the outpouring of love and kindness we have felt this week,” the sisters wrote. “Every message we have received from those who loved and admired our Mother has meant more to us than we will ever be able to express. Janelle Ann Kidman worked as a nursing instructor for most of her life, according to Women's Weekly. Go here and check the boxnext to EntertainmentNow Save my name, email, and website in this browser for the next time I comment.

Ian Purnell looked to imbue his CPH:DOX-premiering debut feature about a remote corner of Alaska getting connected with a "sensual" quality: "We were often talking about what kind of animal something could be." Imagine a remote corner of Alaska finally getting connected to the internet, and you can witness it! If so, are you wondering what this change will mean for the islanders? Filmmaker Ian Purnell has you covered on both fronts with his debut feature Arctic Link, a documentary of epic proportions in more ways than one. Remember how we mentioned that the doc was epic? 'Whispers in May' Blends Doc and Improv Into a Magical Journey From Girlhood to Womanhood 'Boyfriend on Demand' Stars Jisoo and In-guk Seo Break Down Their New Netflix K-Drama If you need more evidence of the project's scale, let's just mention that the filmmaker worked on it for about 10 years. I wanted to understand this infrastructure that usually remains unseen, and I knew I could only approach it emotionally rather than purely technologically.”Produced by Franziska Sonder, Arctic Link features cinematography by Marie Zahir. The editor is Chris Wright, while sound and music come courtesy of Tobias Koch. It actually kicks off with a stat that may surprise you: 99 percent of internet traffic is going through submarine cables. In a conversation about Arctic Link, Purnell shared with THR how he approached bringing the internet to life in visual and audio ways, the challenge and joy of the doc's scale, and what he wants to do next. Was Arctic Link really a decade in the making? “So, gaining access required a huge amount of patience,” the director concludes, requiring him and cinematographer Zahir to stay “extremely flexible.” “It was very important just to be present there and make connections in the village,” Purnell tells THR. “It went quite quickly once we were there, but the preparation beforehand was very difficult.” Purnell didn't even need to force the subject. It is a different kind of awareness that a lot of us don't have, because you don't see this ship that brings you the internet in front of you. I didn't want to force my concept on them: ‘Now, talk about the internet!' So, I was glad that this was just a natural topic of discussion, because they saw it right in front of them, coming towards them.” His conversations with cinematographer Zahir took on elements of zoological discussions. “We really tried to make inanimate infrastructure feel alive by portraying the cable like a snake, for example,” Purnell explains. “We were often talking about what kind of animal something could be, such as a whale. How can we make this physical stuff feel more alive? “The challenge was to make a film about something that is invisible and create an imagery for it,” Purnell tells THR. Different people who have a connection to it have to use their own imagination, so that creates a multitude of stories.” Given the epic scale of Arctic Link, you would think Purnell may want to go small next. “What fascinates me is the image of a black hole, because it's something that is not possible to capture in an image. But whether it is the internet or astronomy, I'm really interested in all these signals and waves. Sign up for THR news straight to your inbox every day

Queen Camilla privately told a friend that Meghan Markle had “brainwashed” Prince Harry amid the royal family's feud, according to a bombshell new book. The glamorous wedding in Windsor was followed by a Mediterranean honeymoon, but behind palace walls, the honeymoon period was already over. A tense showdown between Harry and his older brother Prince William reportedly spiraled out of control, with Markle snapping at her brother-in-law during the confrontation. “If you don't mind, get your finger out of my face,” the “Suits” actress allegedly shot back at William during the explosive exchange, according to Bower. William reportedly already warned his younger brother that the whirlwind romance was moving too fast, Bower reported, citing sources. “It's gone too quickly,” he reportedly told Harry about his relationship with Markle. Bower also claimed the Duke and Duchess of Sussex felt lingering resentment about their place in the royal pecking order — forever destined to be “spares” rather than heirs. Bower's commentary has long crossed the line from criticism into fixation,” a spokesperson said. In 2020, Harry and Markle stepped down as senior working royals and left the UK, launching what critics called an all-out media offensive against the monarchy. From their explosive 2021 interview with Oprah Winfrey to Harry's tell-all memoir “Spare” in 2023, the couple repeatedly aired grievances about palace life. Harry could extend an olive branch by inviting his father, King Charles, to open the 2027 Invictus Games in Birmingham, according to The Sun. Meanwhile, Markle is dealing with fresh headaches of her own. Last week, Page Six exclusively revealed that Netflix ended its partnership with her lifestyle brand As Ever. An industry insider told Page Six the collaboration no longer made sense after her planned series “With Love, Markle” failed to move forward.

While many action films before have featured strong leading women, director Vicky Jewson takes on the genre through a darkly comedic, emotionally wrought female lens in Pretty Lethal, which premiered tonight at SXSW. In the Kate Freund-penned film, five young ballerinas and their coach head to a showcase in Budapest, only to get stranded in a remote area hundreds of miles from the city when their bus breaks down. Taking refuge at a nearby inn, the group is welcomed by the establishment's owner Devora (Uma Thurman), a former ballerina herself who had to give up on her dreams when a leg injury abruptly halted her career at a young age. When one of their own is killed by Pasha (Tamás Szabó Sipos), the dancers must overcome their differences and work together to get out alive. With Thurman leaving no crumbs in her performance as the revenge-seeking matriarch of criminals, she is complimented by a talented ensemble of young actresses. As Bones, Maddie Ziegler plays a talented dancer whose tough attitude conflicts with the “rich bitch sport” of ballet. While their insulting jabs at each other make for good laughs, their arc as teammates learning to work together is what gives the film its heart. Being that Chloe is deaf, she often has to depend on Zoe to give her dance cues and interpret for her. While that dependence puts them at odds early on, they eventually find their groove while taking on a mansion full of criminal henchmen. Meanwhile, Avantika is the comedic standout as Bible-thumper Grace, who has no trouble taking down full grown men while tripping on drugs throughout much of the film, providing endless levity to the most dire of scenarios. In Pretty Lethal, Jewson manages to walk that line of gritty dark action, a la John Wick and Tarantino's entire toxically masculine oeuvre, balanced with unapologetic laughs and an emotionally satisfying story of sisterhood. It's proof positive that the boys club of Hollywood's go-to action directors is long overdue for a shakeup. Title: Pretty LethalFestival: SXSW (Headliner)Distributor: Amazon MGM StudiosRelease date: March 25, 2026Director: Vicky JewsonScreenwriter: Kate FreundCast: Iris Apatow, Lana Condor, Millicent Simmonds, Avantika, Maddie Ziegler, Uma ThurmanRunning time: 1 hr 28 mins Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

Boy George has a little bit of advice for Chappell Roan after the “Pink Pony Club” singer went viral for confronting a group of photographers. A video of the singer was widely circulated on social media this week, in which she asked photographers to leave her alone and to “stop following me” and “harassing me.” Taking to social media, Boy George wrote, “It's probably not helpful but I have been doing this fame thing for a while and you learn slowly and painfully that you don't get a free pass once you turn yourself into a bird of paradise.” yes, it's annoying at times but so is being ignored and told [you're] a ‘has-been. Life is always now and I think Chappell looks great but cheer up girl. The world is at your feet stop kicking it! It's probably not helpful but I have been doing this fame thing for a while and you learn slowly and painfully that you don't get a free pass once you turn yourself into a bird of paradise. This is not the first time Chappell Roan sets her boundaries with photographers. While on the red carpet for Netflix‘s Olivia Rodrigo: GUTS World Tour concert documentary, the singer walked up to a photographer and demanded an apology. “You were so disrespectful to me at the Grammys. I remember, you were so rude to me. And I deserve an apology for that,” said Roan in the clip. Chappell Roan has previously opened up on social media about her need to “draw lines and set boundaries” after encountering “predatory behavior disguised as ‘superfan' behavior” from some of her “creepy” followers. Get our Breaking News Alerts and Keep your inbox happy. I don't know why it always feels like she has an axe to grind — considering she's had a pretty charmed career thus far. For someone who doesn't want attention she sure chose a weird profession. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

We use vendors that may also process your information to help provide our services. First, the BAIT: a weird genre pick, and why we're exploring its specific niche right now. The way some people speak about it online, you'd think Black horror cinema was invented in 2017 when Jordan Peele made “Get Out.” In reality, that's not the first film to use horror as a medium for social issues, and while the genre has long been predominantly (read: tragically) white, there have been movies that uses terror as a vehicle for exploring questions of otherness and identity for decades. Related Stories See ‘Undertone' with Dolby Atmos, or You'll Miss Half the Horror ‘The Sun Never Sets' Review: A Career-Best Dakota Fanning Navigates Dueling Love Triangles in Joe Swanberg's Delightful Alaskan Romance On the heels of “Sinners” incredible cultural success, and unprecedented awards recognition for director Ryan Coogler, Oscars weekend is the perfect time to revisit one of cinema's most misunderstood classics: “Ganja & Hess.” This 1973 cult favorite also uses vampire tropes to tell a story about Black identity. But where “Sinners” is a thrilling blockbuster, this hazy romance offers something far weirder. It's dreamlike art piece that filters fear, Blaxploitation, and list into one beguiling, slippery vision. In 1972, independent filmmaker and theater director Bill Gunn was approached by the production company Kelly-Jordan Enterprises with an offer to make a Black vampire movie for $350,000. The producers were new and inexperienced, and as a consequence, Gunn was able to film the movie with an extraordinary level of artistic freedom. He aimed to use genre conventions as a metaphor for very human addictions with the blood thirst that drives his hero (Duane Jones) threatening allegorical ruin. That interpretation is obvious and effective as “Ganja & Hess” portrays the vampiric turn of anthropologist Dr. Hess Green (Jones, already horror icon for his 1968 performance in George Romero's “Night of the Living Dead”). After a first murderous high, Green spends the rest of the film chasing that euphoria through a recognizable 20th century America braced for inevitable collapse. Hess is turned not by another vampire (you'll notice the word “vampire” is never actually said in the film), but by his crazed assistant George Meda (Gunn in a sharp and layered cameo). The attack grants him immortality and an unquenchable taste for blood. But when Meda's wife Ganja (Marlene Clark) arrives at Green's mansion looking for her husband, Hess turns her in a way that's tender, ceremonial, and violent. From that simple premise, “Ganja & Hess” unspools several ideas about identity, lived experience, and religious or ancestral guilt. There's a lot to digest emotionally and intellectually thanks to Gunn's arthouse style, but the director isn't preachy about the themes he's wrestling with. “Ganja & Hess” played at the Cannes Film Festival Critics Week in 1973 to mostly positive reviews from French publications, but it faced a tepid reception and weak box office in America. (Editor's note: “Blood Couple,” as it's known, is not currently streaming.) Gunn would make only one other movie, 1980's “Personal Problems,” before dying just shy of a decade later at the age 54 from encephalitis. “Ganja & Hess” (1973) is streaming through VOD and the Criterion Channel. But with “Sinners” up for 16 nominations, Coogler's victory — or lack thereof — tells a much bigger story. When “Black Panther” made history at the Academy Awards in 2019, Coogler wasn't nominated for Best Director. Now he's up against Paul Thomas Anderson's masterpiece “One Battle After Another” in several races that are too close to call. A fiendishly horny ode to toe rings and double-breasted suits (not to mention “grape jelly, hominy grits, and extension cords”), Gunn's timeless tone experiment from 1973 is as potent a monster movie as ever. It's also groovy enough to drill glitter straight into your bones, with “Ganja & Hess” already cemented as essential genre viewing on most cinephilic starting guides. And yet, reframed through Coogler's dark Southern Gothic triumph, Gunn's vision takes on new life as a critical foundation for a corner of the film world that remains broadly unmatched in its soulful specificity. I'll never turn down a chance to see Duane Jones in anything, but his performance here is so far removed from his Romero days that the actor almost feels like the lucky passenger to the larger-than-life cynicism of Hess. Its glossy sheen and period aesthetics make for a mesmeric cinematic trip, leaving behind hazy emotional portraits that remain just far enough out of reach to be haunting. Scares don't have to manufacture dread when the world we're crawling through is already hellish. “Ganja & Hess” is available on streaming platforms including Kino Film Collection. Read more installments of After Dark, IndieWire's midnight movie rewatch club: We use vendors that may also process your information to help provide our services.

Olivia Munn said the best advice she got from Shannen Doherty during her cancer battle was to be as assertive as possible. Munn and Doherty developed a close relationship just months before the “Beverly Hills, 90210” actress passed away from her own long battle with breast cancer that had metastasized to her bones and brain. “She said to me having gone through this … she said just be so aggressive,” Munn told the audience during Los Angeles Magazine's The L.A. Woman Luncheon at the Beverly Hilton Hotel Friday. There's no place in my mind and my energy to think about how things are unfair,” she said in conversation with the magazine's editor Jasmin Rosemberg. During the luncheon, where Munn, 45, was honored as Woman of The Year, she detailed her breast cancer journey and urged women to take the Tyrer-Cuzick breast cancer risk assessment test, a tool that helps calculate a woman's 5-year and lifetime risk of developing the disease. She recalled having a clear mammogram and ultrasound, which is commonly given to women with dense breasts, in January 2023, as well as a zero percent on her genetic mutation test. She went to get an MRI just months later in April and learned she had Luminal B breast cancer, a fast-moving form of cancer, in both breasts. I would not shy away from confrontation,” she told the crowd, which included Jennie Garth, Corinne Foxx, Jane Seymour and her close friend, Jessica St. Clair. By clicking above you agree to the Terms of Use and Privacy Policy. She said when she got to the other side, she realized, “I'm so much stronger the more vulnerable I am and I'm able to carry that with me every day.” The “Newsroom” star concluded, “We really don't know our courage and bravery until it's put to test and now I know that I have it in me. Munn — who shares two children, Malcolm, 4, and Méi, 1, with husband John Mulaney — is currently working with Sen. Mark Kelly to try and get something passed to include the lifetime risk assessment test as standard care for every woman. Munn previously thanked Doherty for helping her through her battle during Hollywood Creative Alliance's Astra TV Awards in June 2025. When Doherty died in July 2024, Munn mourned the loss of her friend, writing on social media, “Just a couple of months ago, she asked how I was doing and if she could do anything for me. True to form, Shannen was offering me her support even though she was in the final stage of fighting this horrific disease.”

“Let's go!” yelled Ready or Not 2: Here I Come star Kathryn Newton before the lights went down at tonight's world SXSW premiere. And Newton kept the crowd going with screams and laughs through tonight's screening, sitting right behind her co-star Shawn Hatosy. Franchise star Samara Weaving was a no-show as she's expecting her first baby back in LA, however, sequel's additional star, Sarah Michelle Gellar represented her with a handheld face mask cutout (check out our junket interview above where we spoke with Weaving who told us “I couldn't prep for any stunts because my back was out”). Weaving, clad in a magenta pink gown, recorded a video message to fans, which ran at the start of the film. Also, she posed for a photo with Newton in front of the Sunset Blvd billboard on Wednesday. The key to survival during a Ready or Not production is to stay fit the entire time as an Olympics of blood-filled chase and fight scenes unfold. RELATED: Samara Weaving On Her Gory SXSW '26 Double-Feature, Unexpected ‘Scream Queen' Status & “Quiet Dreams” Of Doing Improv: “I Was A Scaredy-Cat Growing Up” Weaving, for one, was told that her backstory was that of a lone wolf who grew up in foster care. In fact, Murphy and Busick wrote a post-credits scene, which the filmmakers were unable to shoot due to budget restrictions. What makes a Ready or Not 2 movie special? “Everyone gathers around the monitor when Sam and Kathryn are about to get shot with a blood cannon,” he said. “There's nothing more clever than the truth, and we're getting splattered with goo, no matter what. Those reactions were real and honest, it's just better. “I didn't get blood-splattered,” responded Elijah Wood. There was one moment during the movie when Newton was splattered with blood in a pattern that yielded such a great take, Radio Silence had to recreate it on her face the next production day for consistency. RELATED: ‘Ready Or Not 2: Here I Come' Review: Samara Weaving Provides Bloody Good Time In Radio Silence's Sequel — SXSW During our interview with Weaving and Newton back in LA, we asked about their thoughts for a threequel. “I thought it would be funny if we do a completely different genre like a rom-com and it's about two sisters who meet two brothers — miscommunication drama and there's no blood at all, and we piss off everyone.” Ready or Not 2: Here I Come from Searchlight Pictures comes out next Friday, March 20. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

A new drama about love, resilience and transformation is set to hit Paramount+ tomorrow, March 14. Paramount+ notes that the series is Sheridan's most intimate work to date. After the six-episode run wraps up in a few weeks, it likely won't be long before “The Madison” is back on our screens; a second season has already been filmed. New episodes of “The Madison” will likely drop on Paramount+ at 3:01 a.m. “The Madison” is exclusive to Paramount+ and will not air on CBS or any other cable network. The ad-supported Essential plan costs $8.99/month, while the ad-free Premium plan (which comes with Showtime titles and live CBS) costs $13.99/month. This article was written by Angela Tricarico, Commerce Streaming Reporter for the New York Post, Page Six, and Decider. Angela keeps readers up to date with information on how to watch all of your favorite reality TV shows and movies on each streaming service. Not only does Angela test and compare the streaming services she writes about to ensure readers are getting the best prices, but she's also a superfan specializing in the intersection of shopping, tech, sports, celebrities and pop culture. Prior to joining The Post in 2023, she wrote about streaming and consumer tech at Insider Reviews

In the grand scheme of things that Donald Trump has meddled with since being re-elected to the American presidency back in 2024, his efforts to fidget listlessly with The Kennedy Center have been less impactful than many. Which is to say: Sure, he's vandalized the building's front, gutted its board and replaced it with cronies, and provoked numerous boycotts from a variety of big-name performers who will no longer have anything to do with what was once the most prestigious venue in the American performing arts. But at least nobody's actually died, and that is turning out to be a depressingly high bar, in 2026, for many of Trump's policy initiatives to clear. Now—as the Center prepares to shut down for two years of the classiest renovations humanly imaginable after Trump's big “America's 250th Birthday” celebration (and its attendant White House UFC bouts) slam their way through the nation's capitol on July 4—Trump has announced his intent to swap out the puppets he uses to control this particular playhouse. Specifically, the president went on his Truth Social screeching platform on Friday to announce that he was setting aside current president Ric Grenell, who took the job after Trump seized control of the Center's board in the earliest weeks of his second presidency, and replacing him with current vice president of operations Matt Floca. (CNN does note that Trump hasn't been happy about publicity surrounding the reno, though, so it's possible we're seeing that rarest of things: Trump filtering his attitude toward someone for public consumption.) It is, honestly, about as measured a posting as you're likely to see while scanning the 8 million ads and memes that pop up on the site we occasionally use to check in how the guy with control over all our nukes is feeling on any given day; at the very least, Trump's post about Grenell doesn't involve professional wrestling language being employed while talking about the bombing of a foreign nation, or shots of Wii Sports attached to drone strike footage, and thus can be read as something of a new standard for presidential decorum. Grenell has been a stalwart of the Trump school of Kennedy Center management, which is to say that he's spent his tenure in the job loudly denying that anything's wrong, calling artists criticizing the Center liars, and using the term “fake news” on something approaching a daily basis. Tragically, there's only so far that this level of imitation-as-flattery can take you, though, and Grenell will now be departing the gig. Recommended for You1Bradley Cooper might just go ahead and DIY that Margot Robbie Ocean's Eleven prequel2The Pitt and its doctors turn sour in a clunkier hour3SXSW has moved on, but mumblecore preserves its legacy4Spider-Man 2's hospital horror show swung from test shoot to final cut5Will Forte and D'Arcy Carden team up in the funny, bloody Sunny Nights

Danica McKellar is showing up for her former “Dancing with the Stars” partner Val Chmerkovskiy. The “Great American Family” and former “Hallmark” actress, who was partnered with Chmerkovskiy during Season 18, recently went to see him during this year's “Dancing With The Stars Tour.” Following a record breaking 34th season, the 2026 tour kicked off on Jan. 22 in Akron, Ohio. Along with Chmerkovskiy, the other pros on the tour include Witney Carson, Brandon Armstrong, Alan Bersten, Jenna Johnson, Daniella Karagach, Pasha Pashkov, Ezra Sosa, Britt Stewart, Hailey Bills, and Emma Slater, who McKellar also gave a shoutout to. Over a photo of the stage where Chmerkovskiy and Slater were dancing together, McKellar wrote, “The @dwtstourofficial is such a fun show – highly recommend if it's coming to a city near you! This isn't the first time McKellar has supported her former “DWTS” family. Back in February 2025, McKellar posted a carousel of photos from backstage at the Grande Ole Opry during that year's tour, including photos with Slater and pro Gleb Savchenko. She also included a video where Savchenko surprised the actress by bringing her on stage. Turns out there were a few of us DWTS alums, so they thought it would be fun if *we* were the audience members that got pulled on stage. Of course I was *totally* unprepared and the kinds of moves they had us dance do *not* come naturally to me – but it was a blast!” wrote McKellar in the caption of her post. “It's a show you don't want to miss! And hey, you might even end up on stage.” McKellar shared a carousel of photos from her time on “DWTS” while celebrating the show's 20th anniversary, including a group shot of her and fellow “Great American Family” actress Candace Cameron Bure, who also competed in Season 18 with her partner Mark Ballas. And having @tombergeron there (as a guest judge) felt like the old times – it was emotional seeing him announced! She continued, “So glad I could bring my mom as well! Immediately after being eliminated, McKellar was asked how she would sum up her experience. “It's been absolutely amazing,” she said at the time. We had some fascinating conversations, and you know, it's been a blast.” McKellar went on to thank Chmerkovskiy for everything he taught her. Save my name, email, and website in this browser for the next time I comment.

The CEO of Palantir said that artificial intelligence—the technology billionaires keep shoving down our throats even though no one's asked for it—is more powerful than anyone even understands and has the ability to take away economic and political power from “highly educated, often female voters, who vote mostly Democrat” while giving more power to working-class men. On Thursday, Palantir CEO Alex Karp spoke with CNBC and, between saying “disrupt” and “disruption” no less than 2,359 times, declared that AI will—drum roll—disrupt society by ripping it to shreds and potentially allowing anyone (or any political party) interested in sidelining smart women who vote Democrat to do exactly that. Every single day, I wake up more and more grateful that all these awesome rich men are in charge of everything. “This technology disrupts humanities-trained—largely Democratic—voters, and makes their economic power less. “And so these disruptions are gonna disrupt every aspect of our society. I understand that, as a brilliant woman who votes Democrat because I believe in women's bodily autonomy and reject the idea that drag queens are child-hunting demons (among other things), I'm probably not the person these titans of industry are trying to come to an agreement with, but still, I'd love to add my two cents: What I think we should do with this technology is…destroy it. Palantir CEO Alex Karp: “This technology disrupts humanity's train, largely Democratic voters, and makes their economic power less, and increases the economic power of vocationally trained, working class, often male voters. In past interviews, Karp has said that smart people who go to college and major in the liberal arts are going to get fucked by the AI revolution. But mostly, this interview sounded like a direct plea to Trump to pretty please give Palantir even more billion-dollar government contracts—on top of the billion-dollar contracts they already have that are helping the administration wage war and (probably) surveil Americans—and Palantir will help ensure the defeat of the GOP's biggest fear: women with a brain. Recommended for You1Bradley Cooper might just go ahead and DIY that Margot Robbie Ocean's Eleven prequel2The Pitt and its doctors turn sour in a clunkier hour3SXSW has moved on, but mumblecore preserves its legacy4Spider-Man 2's hospital horror show swung from test shoot to final cut5Will Forte and D'Arcy Carden team up in the funny, bloody Sunny Nights

To see the parting shot of directors Matt Bettinelli-Olpin and Tyler Gillett's 2019 comedy-horror romp Ready Or Not revisited at the start of its sequel, Ready Or Not 2: Here I Come, is to know disappointment, however mild. It's an indelible image in Weaving's career as a horror star. Even if there's a logical real-life conclusion to the moment—even if EMTs chauffeuring Grace, bloodsoaked and spent, to the closest hospital in Ready Or Not 2‘s opening scene makes sense—its effect is retroactive buzzkill. Telling Detective Bassett (Grant Nickalls), or frankly anyone, the truth seems like wasted effort. Nonetheless, when Grace's younger sister, Faith (Kathryn Newton), shows up, she helpfully recaps the first movie despite years of estrangement from one another. Bettinelli-Olpin and Gillett, working from a script by returning writers Guy Busick and R. Christopher Murphy, rob Faith of any opportunity to digest Grace's story: Another visitor, Bill Wilkinson (Kevin Durand), storms into the facility in a coked-up frenzy, hellbent on killing Grace. The Le Domases belonged to a cabal of likeminded sickos, and by beating them at their own game, Grace has unknowingly set off a domino chain that's culminated in said sickos, represented by Ursula (Sarah Michelle Gellar) and Titus Danforth (Shawn Hatosy), Ignacio El Caido (Néstor Carbonell), Wan Chen Xing (Olivia Cheng), and Madhu Rajan (Varun Saranga), deploying her as prey in another hunt at another palatial mansion, with Faith thrown into proceedings as a bonus. Like any game, Ready Or Not 2: Here I Come comes with a rulebook. Le Bail, the families' infernal benefactor and ruthless gamemaker, Elijah Wood so crisply delineates the competition's structure and guidelines as to make underworld legalese compelling. Bettinelli-Olpin and Gillett have done terrific work over the years building up an acting stable in the post-anthology stretch of their careers: note the overlap between Ready Or Not 2: Here I Come and Abigail, which featured both Newton and Durand in supporting roles. Maybe that's why the film's setup is such a deflating bummer. Weaving is great at expressing helpless surrender and whiteknuckle petrification, but her movies tend to pay off her raw terror with unhinged ferocity and brute-force indignance at having been imperiled in the first place. The effect of her performances is cathartic, frequently hysterical, and key to Ready Or Not 2: Here I Come‘s success. Their sororal friction undergirds the drama in Ready Or Not 2: Here I Come and provides a quiet rebuke of trauma horror, in which supernatural goings-on coincidentally dovetail with protagonists' lifelong emotional baggage, spurring confrontations with both. If they reunited under normal circumstances rather than under pain of death, Grace and Faith would have the exact same beef with each other and get into the exact same arguments; the families' game only inconveniences their reconciliation instead of lubricating it. Whether the critique is intended or not, it lands, and gives grounding to the thoroughly ungrounded plot without polluting Bettinelli-Olpin and Gillett's macabre comic atmosphere. They're happier dousing their cast with red dye and corn syrup; if they had to pick a game to play for Le Bail, it'd probably be something out of Double Dare. Directors: Matt Bettinelli-Olpin, Tyler Gillett Writer: Guy Busick, R. Christopher Murphy Starring: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Elijah Wood, Nestor Carbonell, Olivia Cheng, Varun Saranga, David Cronenberg, Kevin Durand Release Date: March 20, 2026 Recommended for You1Bradley Cooper might just go ahead and DIY that Margot Robbie Ocean's Eleven prequel2The Pitt and its doctors turn sour in a clunkier hour3SXSW has moved on, but mumblecore preserves its legacy4Spider-Man 2's hospital horror show swung from test shoot to final cut5Will Forte and D'Arcy Carden team up in the funny, bloody Sunny Nights