Filmmaker Jeannot Szwarc earned directing credits on 80 different projects over the course of a career that spanned more than 50 years – but most movie fans will likely remember him as the director of the shark thriller sequel Jaws 2, the time travel romance Somewhere in Time, and/or the DC Comics adaptation Supergirl. Sadly, Szwarc is no longer with us, as his Somewhere in Time star Jane Seymour took to social media to confirm that he has passed away at the age of 85. Seymour wrote, “Today, we say goodbye to a true visionary. Jeannot Szwarc was not just a brilliant director but a kind and generous soul. He gifted us many timeless stories, including Somewhere in Time, a film that changed my life forever. May his memory be a blessing, and may his artistry live on in our hearts.“
Born in Paris on November 21, 1939, Szwarc graduated from Harvard University before getting his directing career started in the late 1960s by taking the helm of episodes of TV shows like Ironside, The Virginian, Alias Smith and Jones, and Marcus Welby, M.D., among others. In the ’70s, he continued directing for TV shows (Night Gallery, Columbo, The New Perry Mason, The Six Million Dollar Man, Kojack, The Rockford Files, Baretta) while also racking up credits on several TV movies, including Night of Terror, The Weekend Nun, and The Devil’s Daughter. His first theatrically released feature was the 1975 mutant cockroach horror movie Bug. That was followed by Jaws 2 in 1978. In the ’80s, he worked primarily on feature films – Somewhere in Time, Supergirl, Santa Claus: The Movie, etc. – but also made room in his schedule for TV work, including directing a couple TV movies and some episodes of The Twilight Zone.
As of the ’90s, he shifted back to working mostly in television. Over the last few decades, he directed Rockford Files TV movies and episodes of Boston Public, Ally McBeal, C.S.I.: Miami, The Practice, JAG, Numb3rs, Without a Trace, Heroes, Cold Case, Smallville, Fringe, Supernatural, Castle, Bones, Designated Survivor, Grey’s Anatomy, and more.
Swarz passed away on January 15th. Our sincere condolences go out to his family, friends, and fans.
A new year means new entries for the Marvel Cinematic Universe are on the way. First up will be Anthony Mackie taking center stage as the new Captain America in Captain America: Brave New World. The movie went into production in March of 2023, with filming lasting through June. But in December of ’23, another screenwriter was brought onto the project to write new material for reshoots, and those reshoots seemed to be quite substantial, lasting from May 2024 through November. We know that the story still involves the Serpent Society; in fact, the reshoots added Giancarlo Esposito into the mix as Sidewinder, the leader of the Serpent Society.
Marvel is now gearing up for their big film release since last year’s Deadpool & Wolverine with a final trailer and brand new posters for specific premium theater screens. This includes posters for IMAX, Dolby Theaters, 4DX theaters, Real D 3D screenings, Screen X theaters and a poster for Fandango ticket sales. These posters are playing up the big showdown between Captain America and Red Hulk. Check them out below!
Here’s the official information on Captain America: Brave New World, straight from Marvel: Anthony Mackie returns as the high-flying hero, who’s officially taken up the mantle of Captain America. Harrison Ford makes his Marvel Cinematic Universe debut as newly-elected U.S. President Thaddeus Ross, a role originated by the late William Hurt. Ross and Sam have a bit of a history: In his previous role as Secretary of State, Ross was responsible for arresting Sam and his fellow Avengers during the events of Captain America: Civil War. Now as president, Ross is eager to work with Sam, hoping to make Captain America an official military position. But that tentative alliance is jeopardized when Sam finds himself in the middle of an international incident, with friend and retired super-soldier Isaiah Bradley (Carl Lumbly) as the prime suspect. Sam’s investigation send him on a dangerous chase, and (leading to) a deadly showdown and a tease of the menacing Red Hulk. Danny Ramirez returns as former Air Force lieutenant Joaquin Torres, who’s picked up Sam’s old wings and taken on the role of Falcon. Tim Blake Nelson is also back as Samuel Sterns, AKA The Leader, appearing in the MCU for the first time since 2008’s The Incredible Hulk. New to the cast is Shira Haas, who joins as Ruth Bat-Seraph. A former Black Widow, Ruth is now a high-ranking U.S. government official who has the trust of President Ross. Giancarlo Esposito, Liv Tyler, and Xosha Roquemore also star. The film is directed by Julius Onah and produced by Kevin Feige and Nate Moore. Louis D’Esposito and Charles Newirth serve as executive producers. Malcolm Spellman, Dalan Musson, and Rob Edwards crafted the story for the film. Onah receives screenplay credit alongside Peter Glanz and Matthew Orton (Orton being the writer who was brought on for the reshoots).
Jimmy Donaldson, better known by his online persona MrBeast, is a household name in the digital entertainment sphere, or as the kids call it, the YouTubes. Born ON HIS BIRTHDAY May 7, 1998, in Wichita, Kansas, and raised in Greenville, North Carolina, MrBeast has grown from a curious teen dabbling in YouTube videos to a global icon known for his groundbreaking content and massive philanthropic efforts. His journey is a blend of awe-inspiring achievements, calculated risks, and controversies that shine a spotlight on the complexities of modern-day success.
MrBeast began his YouTube career in 2012, posting gaming videos, like everyone else at the time, and attempts at humorous content under the username “MrBeast6000.” These early uploads, ranging from Let’s Plays of Minecraft and Call of Duty to speculative commentary on YouTube personalities’ net worth, were far from the spectacle-driven productions he’s now famous for. His big break came in 2017, when he uploaded “Counting to 100,000,” a video that was as much a test of endurance as it was a statement about standing out in a crowded space. The stunt, which took him over 40 hours, went viral and set the tone for his future content: ambitious, unconventional, and impossible to ignore.
From counting large numbers to giving away millions, MrBeast’s content rapidly evolved. His decision to start giving away large sums of money—sometimes to strangers, sometimes to his friends, and often to those in need—struck a chord with viewers. By 2018, his brand of philanthropy had become his signature, earning him both a loyal audience and growing influence on YouTube.
MrBeast’s innovative style has inspired countless creators to emulate his success. From attention-grabbing challenges to philanthropy-driven content, his impact is seen in channels like Airrack, Ryan Trahan, and ZHC, who have built their own followings by taking cues from his formula. MrBeast’s influence is not limited to YouTube; his focus on over-the-top stunts and storytelling has created a ripple effect across other platforms, driving creators to think bigger and more creatively. He’s also openly mentored some up-and-coming YouTubers, offering tips on how to maximize engagement and audience retention, which has cemented his role as a community leader within the creator ecosystem.
Videos such as “I Gave $1,000,000 To Random People” and “Last To Leave Circle Wins $500,000” typify his mix of altruism and spectacle. These videos often blur the line between genuine charity and calculated content. Over the years, MrBeast has produced some truly unforgettable videos that define his career. His recreation of the popular Netflix series Squid Game was a landmark project, reportedly costing over $3.5 million to produce and garnering over 400 million views. This video not only showcased his ability to tap into trending cultural phenomena but also raised the bar for YouTube production quality. Similarly, his “Planting 20,000,000 Trees” video for #TeamTrees and “I Opened A Free Bank” pushed boundaries in terms of both scale and impact. These videos highlight his knack for creating content that resonates across demographics, balancing spectacle with heart.
While they undeniably help individuals and causes, they also rake in millions of views, leading some to question whether the philanthropy is primarily for profit. In the age of social media, where clicks equal dollars, MrBeast has arguably perfected a model where doing good is also very, very good business. He seems like a genuine guy who largely lives below his sizable means, but business is, as they say, a boomin’.
MrBeast’s philanthropic ventures are monumental in scale. In 2019, he co-launched the #TeamTrees campaign with former NASA engineer and fellow YouTuber Mark Rober, aiming to plant 20 million trees. The campaign surpassed its target, raising over $23 million—a testament to his ability to mobilize his audience for a cause. Similarly, in 2021, he spearheaded #TeamSeas to remove 30 million pounds of trash from oceans, rivers, and beaches, again exceeding the goal.
But here’s where the debate intensifies: Are these campaigns altruistic at their core, or are they profit-driven initiatives disguised as goodwill?
Consider the parallels to major corporations that engage in philanthropy for the sake of positive PR. For example, brands like TOMS Shoes or Patagonia position themselves as socially conscious to bolster consumer loyalty. Similarly, MrBeast’s acts of charity—while undeniably impactful—feed directly into his content machine. Every donation video garners millions of views, which translate to ad revenue and sponsorships that likely replenish the initial outlay many times over. And then there are slightly less overt approaches, like major companies maximizing tax incentives and endearing themselves to consumers and employees through charitable efforts.
This isn’t to downplay the good Jimmy’s done. If anything, MrBeast’s model is refreshingly transparent. He openly acknowledges that the revenue generated from his videos funds more ambitious projects. It’s a feedback loop of giving that works for everyone involved—especially him.
MrBeast’s ventures aren’t limited to YouTube. In December 2020, he launched MrBeast Burger, a virtual restaurant brand operating through ghost kitchens. Customers could order via an app, and the brand exploded in popularity, opening at hundreds of locations across the U.S. However, this venture hasn’t been without its problems.
In 2023, Donaldson filed a $100 million lawsuit against Virtual Dining Concepts (VDC), the company responsible for managing MrBeast Burger. He alleged that VDC’s failure to maintain quality standards damaged his brand and reputation. In response, VDC countersued, claiming that Donaldson’s public criticism of the brand’s quality constituted breach of contract and defamation. Donaldson had taken to social media to call out the poor quality of the burgers being delivered under his name, accusing VDC of prioritizing profits over customer satisfaction. The ongoing legal battle highlights the challenges of managing a brand at such a massive scale, especially when your name is synonymous with perfection in the eyes of some fans. It seems like the brand is in a very slow decline.
Another significant legal challenge surfaced in 2024, tied to the production of his Amazon Prime series, “Beast Games.” Marketed as a high-stakes game show with a $5 million grand prize, the show faced backlash when allegations of unsafe working conditions emerged. Contestants reported issues ranging from inadequate resources to medical emergencies due to the extreme nature of the challenges. Critics argued that the production was rushed and chaotic, prioritizing spectacle over safety. While Donaldson’s team responded by emphasizing their commitment to contestant welfare, the controversy underscored the difficulties of scaling his unique content style to a traditional TV format. For Jimmy’s part, he has called the accusations largely fake news.
The show saw high initial viewership numbers, bolstered by MrBeast’s immense popularity, that quickly tapered off. Criticisms centered around the games being basic and shallow for a supposed game show. It could also have been an issue of timing. It’s harder to watch people backstab each other for a chance at millions, when you don’t know if you’ll be able to able to pay your rent that month.
These legal and logistical hurdles are compounded by the pressure of maintaining his image as the “nice guy” of YouTube. MrBeast’s empire involves hundreds of employees, dozens of brand deals, and a relentless content schedule. Mistakes are inevitable, but in the court of public opinion, every misstep is magnified. Whether it’s a lawsuit or allegations of workplace discontent, the stakes are higher when you’re seen as the gold standard of internet philanthropy.
As of January 2025, MrBeast’s main YouTube channel boasts over 336 million subscribers. His influence extends beyond YouTube, with ventures like Feastables—his line of chocolate bars—and his philanthropy-focused channel, Beast Philanthropy, which donates 100% of its revenue to charitable causes. Despite controversies, his popularity remains largely intact, a testament to his ability to connect with audiences.
Beyond his main channel, MrBeast has diversified his content with several spin-offs. Channels like MrBeast Gaming, MrBeast Reacts, and Beast Philanthropy cater to niche audiences while maintaining his overarching brand ethos. MrBeast Gaming, for instance, capitalizes on the gaming community with massive in-game challenges and giveaways, while Beast Philanthropy focuses exclusively on charitable endeavors, showcasing the real-world impact of his generosity. Each of these channels has millions of subscribers, proving that his appeal extends far beyond a single type of content. This multi-channel strategy not only strengthens his empire but also ensures a steady stream of engagement from various audience segments.
Looking ahead, the challenges he faces are as monumental as his achievements. Scaling his operations while maintaining authenticity will be a delicate balancing act. Legal battles and production controversies have already shown that even someone as meticulous as MrBeast can’t control every variable in his sprawling empire. Yet, his ability to adapt and innovate suggests he’s far from finished rewriting the rules of entertainment and philanthropy.
MrBeast’s fame has recently transcended the digital world, as he’s dipped his toes into Hollywood’s vibrant animation scene. His blink-and-you’ll-miss-it cameo in Kung Fu Panda 4 served as a selling point for the massive hit film. He staged a fake FaceTime auction with Jack Black to promote it to his 64 million Instagram followers. They even spent the time and money to animate his goofy-ass smile onto Panda Pig. This wasn’t his first foray into voice work. He was busy in 2023, when he lent his voice to Teenage Mutant Ninja Turtles: Mutant Mayhem, Migration, and Under the Boardwalk. His roles in these films demonstrate his versatility and appeal.
MrBeast’s story is one of contrasts. He’s a philanthropist who profits from giving, a YouTube star who’s redefining traditional media, and a businessman navigating the pitfalls of rapid expansion. Whether you view him as a modern-day Robin Hood or a savvy capitalist who’s mastered the art of monetized altruism, there’s no denying his impact. And as he continues to push boundaries, the world will be watching—clicking, liking, and debating every step of the way.
Here’s one story you can’t make up about Dick Turpin: his show is dead. Despite a successful and acclaimed first season on Apple TV+, The Completely Made-Up Adventures of Dick Turpin won’t be returning for a sophomore outing. And according to reports, there’s one man to pin it on: the star of the series, Noel Fielding.
As it stands, Noel Fielding – who plays the titular character and truly broke out as part of The Mighty Boosh troupe – is at the center for why The Completely Made-Up Adventures of Dick Turpin won’t press on. As reports claim, Fielding didn’t return after the holiday break in production and headed for France, with a rep for the actor coyly stating, “One of the main cast members who has not been well is not recovered enough to complete the filming.” As vague as that is, everything has been pointing directly to Fielding, who evidently ditched the production around three quarters of the way in.
That leaves The Completely Made-Up Adventures of Dick Turpin in a tailspin, with the cast and crew seeing what we can imagine will be no future for the show that they have put so much time and effort into. Considering that “millions of pounds” went into the making of season two, there could be legal ramifications as well.
And then there is the matter of Noel Fielding. It’s a bad move to ditch a production at any point, but we do hope he is OK healthwise. If so, there’s also now the question as to where that leaves him with game show Never Mind the Buzzcocks and competition series The Great British Bake Off.
In The Completely Made-Up Adventures of Dick Turpin, the character “sets out on a journey of wildly absurd escapades when he’s made the reluctant leader of a band of outlaws — and tasked with outwitting corrupt lawman and self-appointed thief-taker Jonathan Wilde. In this irreverent retelling set in the 18th century, Turpin is the most famous but least likely of highway robbers, whose success is defined mostly by his charm, showmanship and great hair. Together with his gang of lovable rogues, Turpin rides the highs and lows of his new endeavors, including a brush with celebrity, all whilst trying to escape the clutches of the thief-taker.”
Apple TV+ has been kind of a secret home to amazing shows. While Ted Lasso took off and Severance has made it known it’s an Emmy presence for the foreseeable future, there are so many others that are killing it: Shrinking, The Morning Show, Silo, Slow Horses, etc. And, really, there was no reason not to put The Completely Made-Up Adventures of Dick Turpin in the conversation. It’s just too bad we’ll likely never see how far it could have gone…
It’s time for another episode of the WTF Happened to This Horror Movie? video series, and with this one we’re celebrating the 30th anniversary of the serial killer thriller Se7en (watch it HERE)! To hear all about it, check out the video embedded above.
Directed by David Fincher from a screenplay by Andrew Kevin Walker, Se7en – or Seven, if you prefer – has the following synopsis: When retiring police Detective William Somerset (Morgan Freeman) tackles a final case with the aid of newly transferred David Mills (Brad Pitt), they discover a number of elaborate and grizzly murders. They soon realize they are dealing with a serial killer (Kevin Spacey) who is targeting people he thinks represent one of the seven deadly sins. Somerset also befriends Mills’ wife, Tracy (Gwyneth Paltrow), who is pregnant and afraid to raise her child in the crime-riddled city.
This is what the WTF Happened to This Horror Movie series is all about: Hollywood has had its fair share of historically troubled productions. Whether it was casting changes, actor deaths, fired directors, in-production rewrites, constant delays, budget cuts or studio edits, these films had every intention to be a blockbuster, but were beset with unforeseen disasters. Sometimes huge hits, sometimes box office bombs. Either way, we have to ask: WTF Happened To This Horror Movie?
The Se7en episode of WTF Happened to This Horror Movie? was Written, Narrated, and Edited by Tyler Nichols, Produced by Lance Vlcek and John Fallon, and Executive Produced by Berge Garabedian.
A couple of the previous episodes of the show can be seen below. To see more, head over to our JoBlo Horror Originals YouTube channel – and subscribe while you’re there!
Are you a fan of Se7en? Check out the What Happened to This Horror Movie? episode, then let us know by leaving a comment below.
PLOT: Two rogue spies go off-grid, marry, and come under attack at their remote cabin hideaway by various intel agencies seeking a stolen hard drive.
REVIEW: Two spies get married and their bosses aren’t happy about it. Whether it’s Mr. and Mrs. Smith or… well, that’s really the major one, this trope has been tested in the world of cinema and the results can be quite fun. But any tried and true story needs interesting execution to really stand out. Especially with so many films released on a weekly basis. Unfortunately, Alarum would rather meander through moments than excite in any unique or fun way. And the story feels like a mishmash of several other, better films.
Alarum follows Joe and Laura, two spies who have been off the grid for five years. They’ve been living a happily married life but all that changes when a plane crashes in the woods nearby. They find themselves in the wrong place at the wrong time and other agencies are desperate to recover the hard drive in the crashed plane. There are standoffs, betrayals, and everything else you would expect from an action film. While repetition isn’t a dealbreaker, especially within the action genre, the execution needs to be top-notch to overcome any generalities.
I’m just not sure I’m convinced that Scott Eastwood is an action lead. I’ve never had a problem with him when he appears as a side character that sometimes doesn’t make it but as a lead, there’s something that just doesn’t click here. He’s not serious enough in moments when he needs to be and his attempts at levity come across as misguided. I can’t tell if they were trying for a Ryan Reynolds-type performance, but it doesn’t work. I liked his interactions with Willa Fitzgerald but that’s because she’s absolutely incredible and could probably have chemistry with a piece of wood. But she gets the short end of the stick in terms of screentime between the two spies.
Mike Colter is having the time of his life and he brings the only tension in the film. He’s such a loose cannon, that the screen comes alive when he’s around. I needed a full movie just based around him causing chaos. I’m sure most expected Sylvester Stallone to be taking more of a backseat here, and don’t get me wrong, he does. But he still has more to do than I expected. It’s a pretty basic part and Stallone doesn’t have a scene partner most of the time, so I’m sure his role was shot very quickly. Even still, he leaves an impact on the film, though I’m sure Stallone fans will be disappointed by his limited screen time.
There are good ideas at play but the execution leaves a lot to be desired. The cinematography can look good one moment but then the blocking is stilted and makes things feel unnatural. I think the key to a good gunfight is making it feel chaotic yet everything always feels contained here. Not to mention the number of times that someone fully exposed their own body to get a shot off made my head start to spin. The action just doesn’t work in any way and, in an era where even TV can have decent shootouts, this is just inexcusable. Alarum feels like multiple spy tropes all rolled into one. There were many times when I felt like they had just aped an idea from a recent Mission: Impossible movie. This isn’t a bad thing in theory, but the execution leaves plenty to be desired as it just has you thinking about better, more accomplished films.
ALARUM will be in Theaters, On Digital and On Demand January 17, 2025.
Just as Barbie was getting great buzz, it was announced that Greta Gerwig would be helming an adaptation of The Chronicle of Narnia for Netflix. The streamer has been eyeing this epic adaptation to be one of their releases for Christmas in 2026. There has been talk that Gerwig would naturally be hoping for her new film to have a theatrical release. Perhaps it was when Barbie became the juggernaut hit of 2023 that influenced their decision, but Netflix is now giving Gerwig what she wished for. Sort of.
According to Deadline, Netflix is now set to release Gerwig’s Narnia adaptation in IMAX globally for Thanksgiving on November 26, 2026. However, the movie would be released in a limited two-week window before ultimately streaming on the platform on Christmas Day. This plan is similar to when Rian Johnson’s Glass Onion: A Knives Out Mystery was given a short theater run before streaming on Christmas of 2022. Glass Onion would actually go on to outperform other theater releases in its limited screenings.
Actor Jason Issacs may have let it slip that the book that Gerwig is adapting will be The Magician’s Nephew, which is a prequel. Issacs would say, “I loved all the Narnia books as a kid. When Peter was told he wouldn’t be coming back, I understood something devastating about mortality. I picked this one because Greta Gerwig is about to make a film of it, which I can’t wait to see.“
Netflix acquired the rights to C.S. Lewis’ series of Narnia novels way back in 2018. There are seven novels in the series: The Lion, the Witch and the Wardrobe; Prince Caspian: The Return to Narnia, The Voyage of the Dawn Treader, The Silver Chair, The Horse and His Boy, The Magician’s Nephew, and The Last Battle. The first four books have received multiple television adaptations over the decades since they were published in the 1950s. Walden Media made two big screen adaptations with Disney. The first, Chronicles of Narnia: The Lion, The Witch and the Wardrobe, was an enormous hit in 2005, grossing over $745 million worldwide, but the 2008 sequel Prince Caspian, made significantly less, $419 million. So Walden Media had to go to Fox to get a third movie made, 2010’s The Voyage of the Dawn Treader. That one made about as much as Prince Caspian.
If Gerwig is indeed making The Magician’s Nephew, the description of the book’s story reads, “Narnia… a land frozen in eternal winter… a country waiting to be set free. On a daring quest to save a life, two friends are hurled into another world, where an evil sorceress seeks to enslave them. But then the lion Aslan’s song weaves itself into the fabric of a new land, a land that will be known as Narnia. And in Narnia, all things are possible.”
Joan Plowright, the heralded actress of stage and screen who was also the widow to Laurence Olivier, has passed away. Dame Joan Plowright was 95.
A native of Lincolnshire, England, Joan Plowright – who studied at the famed Bristol Old Vic Theatre School – first made her London stage debut in the mid-’50s. Soon after, she was working alongside Laurence Olivier, then already a well-established icon of the stage and screen himself, having combined these talents in an almost unprecedented way with Henry V and Hamlet. (He was also fresh off of his divorce from Vivien Leigh.)
The month after Joan Plowright married Olivier, she won the Tony Award for Best Actress in a Play for A Taste of Honey. Plowright remained committed to the stage, steadily appearing in productions into the early ‘90s. Some key productions include The Crucible; Uncle Vanya; Three Sisters; Saturday, Sunday, Monday; Who’s Afraid of Virginia Woolf?; and The House of Bernarda Alba.
Even still, Joan Plowright was quite prominent on the screen, too. She earned a BAFTA nomination early on for Most Promising Newcomer for The Entertainer, later earning another nod for Best Supporting Actress for Equus. She would work with Barry Levinson in Avalon, play a charming opposite to Walter Matthau in Dennis the Menace and turn up in The Spiderwick Chronicles. The most acclaim she received, however, came with 1991’s Enchanted April, for which she earned her Academy Award and Golden Globe nominations. She would win the latter and again win a statue for television movie Stalin, a role that also landed her an Emmy nomination.
In a statement via BBC, Plowright’s surviving family members wrote, “It is with great sadness that the family of Dame Joan Plowright, the Lady Olivier, inform you that she passed away peacefully on January 16 2025 surrounded by her family at Denville Hall aged 95. She enjoyed a long and illustrious career across theatre, film and TV over seven decades until blindness made her retire. She cherished her last 10 years in Sussex with constant visits from friends and family, filled with much laughter and fond memories.”
Leave your condolences for the great Dame Joan Plowright in the comments section below.
Horror buffs and the perennially online will no doubt recall the now-infamous cast photo from 2017 which was supposed to herald the dawn of Universal’s “Dark Universe”. Featuring four of the biggest names in Hollywood at the time (and Sofia Boutella), the cursed image endures as a memento mori of the studio’s ambitious plans to unite its classic monster movies under a single blockbuster umbrella. Following The Mummy’s rude reawakening later that year, the project was hastily shelved, destined never to see the light of day.
Three years later, however, Universal teamed up with Blumhouse – a production company renowned for making mass-appeal, high-concept horror on the cheap – and Australian director Leigh Whannell to revive one of the OG monster squad. Putting a modern twist on HG Wells’ ‘The Invisible Man’ by revealing the real monster to be toxic masculinity, Whannell’s 2020 film of the same name signalled a shift toward a more independent-minded, filmmaker-driven approach. So, can Whannell do for the Wolf Man what he did for his stealthy stablemate?
First off, it’s worth noting that Wolf Man 2025 bears no relation whatsoever to Universal’s last ill-fated attempt at bringing this particular beast back to life on the big screen: 2010’s The Wolfman, which is, by every conceivable measure, a diabolical movie. You know, aside from the obvious fact that it’s also about a man who gets bitten by, and subsequently turns into, a wolf.
This is not your typical gothic werewolf tale, then, but a dour domestic drama in wolf’s clothing. Set primarily in the dense pine forests of the Pacific Northwest, Whannell’s film owes more to John Landis’ An American Werewolf in London, Mike Nichols’ Wolf and Neil Marshall’s Dog Soldiers than anything the great Lon Chaney Jr put his name to. Indeed, there’s more than a hint of Griffin Dunne about Wolf Man star Christopher Abbott here.
He plays Blake, a doting father and passive-aggressive husband who is determined to be a better family man than his own emotionally distant and overbearing dad ever was. To this end, Whannell and co-writer Corbett Tuck, though evidently well-versed in the tropes of this specific horror subgenre, are chiefly concerned with using werewolf lore as a metaphor for becoming the thing you hate most. Frankly, it’s a bit on the nose.
Returning to the scene of his childhood trauma, Blake whisks wife Charlotte (Julia Garner) and daughter Ginger (Matilda Firth) away from their comfortable life in San Francisco to his father’s isolated farmhouse in rural Oregon, where a local legend tells of a strange and dangerous creature lurking in the woods. But before they even reach the farm, all hell breaks loose. Suddenly, Blake is forced to reckon with the brutal realisation that his promise to Ginger – that he will always keep her safe – may come back to bite him – or, more accurately, her.
The violent ambush that instantly derails the family’s quiet getaway is genuinely nerve-racking – Whannell proving himself adept at crafting an effective, not to mention expensive-looking, set piece – but it’s also the moment when the film’s bite starts to weaken. With the emotional stakes having been spelled out in giant, razor-sharp claw marks, all that’s left to do is squirm at Blake’s slow, agonising change and wait for the inevitable to happen.
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The ongoing feud between Justin Baldoni and Blake Lively has reached new levels, with the actor filing a $400 million lawsuit against Lively and her husband, Ryan Reynolds. Among the many complaints stated in the suit is that Reynolds based the character of Nicepool in Deadpool & Wolverine off of Baldoni in a deliberate attempt to mock the actor. But is there any legitimacy to the claim?
Sources told THR that while the character of Nicepool was created well before Baldoni and Lively had a falling out, the scenes weren’t filmed until near the end of principal photography. “It was all added post-strike,” said one knowledgeable source. Following the conclusion of the SAG-AFTRA strike, Deadpool & Wolverine wrapped up in January 2024. This coincided with a heated meeting between Baldoni, Reynolds, Lively, and producer Jamey Heath.
While speaking on the Deadpool & Wolverine audio commentary, director Shawn Levy noted that the work on Nicepool’s costume was completed before they had even decided on Deadpool’s new outfit. The shooting script also contained nothing which would have implied that Baldoni was an inspiration. “He’s immaculate. He wears a Deadpool suit with no mask,” reads the script’s character description. “The suit looks like Yves Saint Laurent himself slummed it and designed a Marvel film. The man’s about twenty-percent more muscular and after a pretty healthy session in Lola, looks like a younger RYAN REYNOLDS in his prime before his looks were ravaged by four children and ten side hustles. The man’s a goddamn angel.“
It’s clear that Nicepool was in the picture well before Baldoni and Lively started butting heads on It Ends With Us, but the conflict could have inspired some of the character’s dialogue. “We will never know. We can only speculate,” said the source. “But some of the things he says, looking back, are pointed at Justin Baldoni.“
During his introduction in the film, Nicepool says, “In here, everybody calls me Nicepool. Oh my goodness, wait ’till you see Ladypool. She is gorgeous. She just had a baby too, and you can’t even tell.” Deadpool says, “I don’t think you can say that,” to which Nicepool responds, “That’s okay, I identify as a feminist.” The dialogue may reference Baldoni’s behaviour on the set of It Ends With Us, where he’s accused of sexually harassing and fat-shaming Lively’s post-partum body.
Baldoni’s lawyer, Bryan Freedman, recently sent a litigation hold letter to Marvel Studios president Kevin Feige and Disney CEO Bob Iger, demanding that the studio “preserve evidence” related to the character of Nicepool, including:
Any and all documents relating to the development of the “Nicepool” character in Deadpool & Wolverine, including without limitation all documents and communications relating to the development, writing, and filming of storylines and scenes featuring “Nicepool’
Any and all documents relating to or reflecting any deliberate attempt to link the character of “Nicepool” to Justin Baldoni
Any and all documents relating to or reflecting a deliberate attempt to mock, harass, ridicule, intimidate, or bully Baldoni through the character of “Nicepool”
The letter also asks for “all documents and communications relating to complaints of sexual or other harassment asserted against Ryan Reynolds by any person.” During an appearance on The Megyn Kelly Show, Freedman said that he plans to sue Ryan Reynolds and Blake Lively “into oblivion.”
