Nicolas Cage excels in the ambitious but disjointed Spider-Noir

In his mixed review of Batman Returns, Roger Ebert declared that costumed crime-fighters and films like Double Indemnity could never work intertwined. "No matter how hard you try,” Ebert explained, “Superheroes and film noir don’t go together; the very essence of noir is that there are no more heroes.” Showrunners Oren Uziel and Steve Lightfoot clearly didn't get that memo before embarking on the new TV show Spider-Noir. This entire show is a noir pastiche right down to explicit homages to The Lady in Shanghai and Gilda. It also stars a guy in a Spider-Man suit fighting crime.

Ebert was right to an extent. Superheroes and noir storytelling make for odd bedfellows. Spider-Noir (based on the comics character co-created by David Hine and Fabrice Sapolsky) is a janky creation often struggling to cohesively fuse its disparate creative influences. Sometimes, the proceedings can’t shake off feeling like a fan-film. However, there are distinctive charms here you couldn’t just get from rewatching The Big Sleep.

Taking place in early 1930s New York, with both the Great Depression and prohibition taking their toll on everyone, private investigator Ben Reilly (Nicolas Cage) is looking out for number one. This super-powered guy used to fight crime under the costumed alias The Spider. However, after he failed to save his wife's life, he hung up that mantle and caring about anyone. Now he just takes whatever paying gigs and booze he can get his hands on. Who cares if crime boss Silvermane (Brendan Gleeson) is tearing the city apart?

However, the emergence of super-powered individuals like Flint Marko (Jack Huston) and the alluring spell of nightclub singer Cat Hardy (Li Jun Li) turn Reilly’s world upside down. With the aid of reporter Robbie Robertson (Lamorne Morris) and another investigator, Janet (Karen Rodriguez), Reilly reluctantly begins putting the fedora and mask on again once more. If this was a CBS procedural from 2006, these events would kickstart Reilly investigating a new crime each week. He’d be like Columbo or Charlie from Poker Face, except he shoots webs and crawls up walls.

Unfortunately, Uziel, Lightfoot, and the other writers frustratingly adhere to the modern streaming approach of treating eight-episode-long seasons as lengthy movies. Other comic book shows (like Watchmen or WandaVision) cleverly differentiated one episode from another, like focusing on just one character or unique sitcom aesthetics per outing. Here, episodes blur together and Reilly’s central character arc gets padded out. When will the madness of not letting television function like television end?

Across these eight 40-45-minute-long episodes, though, there are plenty of showcases for Nicolas Cage’s immense acting talents. I presume the Spider-Noir team convinced him to headline a TV show for the first time simply by assuring him he could do Peter Lorre and Edward G. Robinson impressions at different intervals throughout the season. Those delightful digressions epitomize how Spider-Noir constantly lets Nicolas Cage take the sort of quintessentially big acting swings only he can do. A sixth episode bit focused on his jagged and bizarre body movements, he even flings himself to a wall briefly) especially captures this Wild at Heart leading man’s gift for unforgettable physicality.

Spider-Noir works spotlighting Cage echoing old-school movie stars. Unexpectedly, the more conventional superhero fight scenes are also entertaining highlights. A fourth episode skirmish between the titular lead and electricity-spewing Dirk Leydon/Megawatt (Andrew Lewis Caldell), for instance, features creative action beats specific to their respective superpowers (like Megawatt making use of a phone booth). Directors like Nzingha Stewart realize these showdowns with solidly cohesive camerawork and editing, especially compared to the choppy filmmaking in, say, Iron Fist.

How does Spider-Noir balance super-powered beings fighting in New York’s streets with an aesthetic harkening back to Raymond Chandler? Messily! But, to the show’s credit, Uziel, Lightfoot, and company also imbue Spider-Noir with other pre-1960 cultural influences like EC Comics and vintage monster movies. There are tons of Dr. Jekyll and Mr. Hyde or Frankenstein anytime Flint Marko/Sandman (Jack Huston) laments about how he’s “a monster.” These eight episodes are a smorgasbord of vintage genre story influences, which inevitably leaves the proceedings feeling scattered.

It does, however, ensure Spider-Noir consistently keeps your attention and, unlike other comic book TV shows, demonstrates a willingness to get weird. While the Inhumans program stripped the titular leads of all their heightened qualities, this show has no problem featuring beasties chomping on Ben Reilly’s arm or making sure the titular lead dons his costume long before the final episode rolls around. That confidence is admirable, ditto the willingness to mimic staples of silent cinema like an iris transition. Even at its messiest, Spider-Noir has creative chutzpah.

It doesn’t hurt that the supporting cast channels Cage’s enthusiasm for this vintage material. Li Jun Li, though underserved by some messy writing, absorbingly embodies the classic femme fatale archetype. Meanwhile, Lamorne Morris is terrific basically headlining his own show depicting Robbie Robertson navigating New York for stories that could get him his Daily Bugle job back. Arguably the show's breakout star is Karen Rodriguez, who compellingly goes toe-to-toe with Reilly at the drop of a hat. She's got moxie evoking classic leading ladies while still injecting Janet with plenty of fresh idiosyncrasies.

Unfortunately, despite getting some talented actors to play them, Spider-Noir’s villains are its weakest part. Not even a legend like Brendan Gleeson can make Silvermane anything more than just Temu Wilson Fisk. There’s shockingly little specificity to this character, a far cry from classic noir baddies played by Charles Laughton or Lionel Barrymore, who were just dripping with personality. Silvermane, meanwhile, just delivers interchangeable monologues about violence driving the world while inhabiting equally indistinguishable lavish locales. Even after eight lengthy episodes, Silvermane remains a generic, shrug-worthy mobster baddie.

Flint Marko is also underwhelming as a complicated foe. Part of that comes from Huston’s miscalculated performance. Unlike Cage, he can’t sell externalized anguish well. It doesn’t help that the writing wringing sad monologues out of Sandman always comes across as unintentionally humorous. Thankfully, Andrew Lewis Caldwell is a delight as Megawatt, an aspiring stage actor turned villain. He's having such a pronounced ball in the role and radiates energy whenever he’s on-screen. Unfortunately, his entertaining maximalism only highlights how other Spider-Noir foes, like Silvermane, are a slog.

The erratically successful villain epitomizes Spider-Noir as a show engaging in constant, sometimes frustrating, tug-of-war. It’s a noir homage also paying tribute to a barrage of other pre-1960 genre storytelling influences. The scripts yearn to get audiences invested in its characters yet struggle to flesh out many of these players beyond classic nori archetypes. Then there’s the innate problem with having a show where Not Phillip Marlowe also engages in big superhero movie-friendly fight scenes. Like Ebert said, noirs and superhero fare are odd bedfellows.

Still, all those colliding creative instincts combined with unapologetically goofy (complimentary) comic book material does yield some fleetingly entertaining fruit. Having Nicolas Cage around anchoring the proceedings certainly doesn’t hurt. While other superhero TV shows attempt to tone down the weirdness of their source material (hello Arrow and Iron Fist!), Cage embraces the material’s innate absurdity with gusto. That’s not enough to fully erase either Spider-Noir’s disjointed nature or its frustrating pacing. This leading man’s commitment, though, ensures Spider-Noir, even in its weakest moments, always goes down swinging. 

Hyperspace Hoopla Could Save Star Wars

I've begun to think that nostalgia is a coping mechanism. Existence is pain. Being alive is often just endless anguish, as concerns over how to pay rent, mental health issues, and other problems dominate our brains. Rarely is there a passage in life devoid of turmoil. Childhood angst eventually gives way to adulthood ennui. However, we can control the past in our brains. We can zero in on a song, a movie, a TV Show, anything that brought us happy feelings and declare it emblematic of "happier" bygone days. When you're existing in the tumultuous present, it's impossible to contort it into something inherently happy. 

Memories, though, can be shaped and altered. We can convince ourselves that 80s music, for instance, was the "greatest" and emblematic of that era being superior. The past is so overwhelming and scary that clinging to nostalgia is often a way of making it bearable. 

The psychology behind this is understandable even if the byproducts of that process are immensely toxic. The 80s, for instance, may have delivered a few songs you connect to fond High School memories. It was also an era housing the AIDS genocide of queer people or President Ronald Reagan normalizing anti-Black rhetoric. We have to confront the messy pain of existence, the small joys that make the present worth living, and the bursts of happiness driving a desire to create a better tomorrow. Becoming calcified in a funhouse mirror vision of yesterday won't make the present and future better. 

This is all a very heavy way of saying: I swear to God, any positive feelings I express here towards Hyperspace Hoopla are not just because "it existed in 2013, therefore it's better than 2026 art." Just like Yoda actually being a wise and powerful Jedi when Luke encounters the "kooky" hermit on Dagobah, there's more going on here than just pining for abandoned Disney World attractions.

What The Kriff is Hyperspace Hoopla?

Hyperspace Hoopla was established in 2008 as part of Star Wars Weekends, an annual event that Disney's Hollywood Studios hosted in Florida's Walt Disney World theme park. This weekend, special walkaround characters, guests, parades, and other events would take place, all themed to that galaxy far, far away. It took over a decade of Star Wars Weekends before Hyperspace Hoopla was created. However, these performances are now some of the most enduringly memorable of this defunct Disney World staple.

Hyperspace Hoopla was a song and dance show typically involving hosts Snig and Oopla guiding audiences through a barrage of familiar Star Wars characters dancing to peppy pop tunes. The 2011 version of Hyperspace Hoopla, for instance, saw Emperor Palpatine showing up to explain that, for Dark Side users, the word "yo" "gives us street cred", Darth Maul dancing to AC/DC's "Back in Black," Jango and Boba Fett sharing the stage together, an Ewok rocking Slash's hair, Darth Vader getting funky to Metallica' "Enter Sandman," and even Oopla quoting Palpatine's "you smell like feet wrapped in burn leathery bacon" quip from Robot Chicken. It's a cross between a fever dream, a Ready Player One-style menagerie of pop culture references, and somewhat par for the course for theme park entertainment.

The entire Hyperspace Hoopla conceit was centered around the "novelty" of watching Star Wars characters singing and dancing along to familiar pop tunes. Once Disney bought Star Wars and planned to make the property inescapable at its theme parks (why confine it just to one weekend?), Star Wars Weekends were dead in the water. Hyperspace Hoopla, which did its final show in 2013 (just months after Disney bought Lucasfilm), was no longer a priority for the Mouse House. Lucasfilm's new owners were emphasizing "brand integrity" above all else. It was time to take Star Wars seriously again, a proposition that also ensured the death of Seth Green's Star Wars: Detours show. In trying to re-establish this universe as one a new generation of kids could get invested in, sillier takes on Star Wars in Detours and Hyperspace Hoopla were jettisoned. Considering Star Wars was synonymous with endless mocking "I don't like sand" memes in the early 2000s, that might not have been the worst idea in the world.

Cut to 2026, though, and everyone takes Star Wars too damn seriously. Disney and Lucasfilm treat the live-action reappearances of random side characters from The Clone Wars as reverently as possible. There's a constant emphasis on "we're doing this for the fans" or slow-motion behind-the-scenes footage set to actors wistfully talking about how much Rotta the Hutt means to them. Meanwhile, Star Wars fandom has somehow gotten even more toxic. Many corners of this fandom have ended up embodying the worst possible versions of nostalgia as they cling to a perception that Disney warped a franchise full of toyetic characters into something "impure." Trying anything new in Star Wars will immediately incur the internet's ire.

Disney no longer has a problem with people not viewing Star Wars seriously. They have the opposite problem: it's all too buttoned-up and glum. Trying anything new is sacrilegious. Meanwhile, characters who originated in Cartoon Network/Disney XD programming are now treated with off-putting veneration. No wonder younger people would rather jump into the more appealing, colorful worlds of various anime programs like One Piece.

Hyperspace Hoopla Could Bring Swinging Fun To All Star Wars Era

Maybe the answer to countering that perception lies in Hyperspace Hoopla. A little over a decade since The Force Awakens debuted, Disney can finally let its hair down when it comes to Star Wars. It's time for something ridiculous that reminds people Star Wars is a franchise aimed at children, that's housed Bea Arthur singing to Mos Eisley Cantina patrons or Wilford Brimley chatting with Ewoks. Not everything has to be all serious all the time. Letting the Star Wars characters dance to Britney Spears, Kendrick Lamar, or Charli XCX could be an over-the-top reminder of that reality. 

Plus, in the 12 years since Hyperspace Hoopla went off to that great Bantha field in the sky, the Star Wars saga has introduced a few new characters these shows could utilize. In her excellent video breaking down the faults of the Forces of Destiny toyline/short films, Jenny Nicholson lamented that, in the interest of maintaining "contuinity," none of the women highlighted in these dolls/shorts could interact. Jyn Erso and Ahsoka Tano, for example, could never rub shoulders with Leia. That problem wouldn't be an issue with Hyperspace Hoopla, which has to throw continuity to the wind so that Jango Fett can shake ass to "WAP".

It could be fun to see all kinds of new Disney-era Star Wars characters, and old favorites, rub shoulders and do something silly together. The Acolyte's Osha and Mae could have a fun dance number with Rey and Fennec Shand to 100 gecs "Dumbest Girl Alive." Perhaps it's time for Darth Maul, Orson Krennic, and Syril Karn to engage in some homoerotic dancing to Lil Nax X's "Industry Baby." Anyone got any great tunes that could unite Wat Tambor, Max Rebo, and Constable Zuvio?  Porgs! My beloved Porgs also must be there! The possibilities are endless. Emphasizing all these characters wouldn't just be fun in making sure the new Hyperspace Hoopla offered sights beyond what its original incarnation delivered.

This could also help unite Star Wars fans, as fans of all corners of the franchise (from the Prequel Trilogy to the Filoni-era shows to the Sequel Trilogy) gather to see their favorite characters engage in outsized song-and-dance routines. Communal art experiences are vital for bringing people from all walks of life together. So much Star Wars media (like The Rise of Skywalker) seems poised to cater towards just toxic corners of this fandom through the isolating realm of streaming television. Hyperspace Hoopla bringing a wide range of Star Wars fans together and homaging all eras of the franchise, though, could be a balm for that problem. "This will begin to make things right," to quote the opening line of The Force Awakens.

Granted, there could be some major problems ingrained into reviving Hyperspace Hoopla. For one thing, 2020s pop music has some deeply terrible artists that I don't want to see come anywhere near Star Wars. Please, do load up the Megan Thee Stallion, Cardi B, Sabrina Carpenter, SZA, Haim, Chappell Roan, Ethel Caine, Bad Bunny, and various K-Pop legends in terms of modern chart-toppers. However, just because they're popular on the Billboard charts or TikTok trends doesn't grant them automatic access to Hyperspace Hoopla. Morgan Wallen, Tate McRae, Benson Boone, Drake, Ella Langley, Jelly Roll, get that shit out of here. This is a stupid show at Disney World, but it shouldn't be a platform for toxic personalities. 

Hyperspace Hoopla also shouldn't just be a place to shill for or promote new Disney+ Star Wars materials. This should be a place where the Unidentified Hologram Circus from the Star Wars Holiday Special and Bix from Andor live in harmony. This should be a grab-bag of characters from all eras of Star Wars combine to give people song-and-dance routines nobody asked for (complimentary). It shouldn't be just a place where Mando waxes poetic on how cool the new heroes of Ahsoka season two are. Yes, this is a Disney theme park show, meaning promotional impulses are ingrained into the production's Midichlorians, er, bloodstream. However, that doesn't mean a new Hyperspace Hoopla incarnation couldn't at least try to avoid such impulses.

Against All Odds, Hyperspace Hoopla Could Be...A New Hope

I never saw Hyperspace Hoopla in person. My only exposure to it is through videos of these performances that people have uploaded to YouTube. These time capsules provide a striking reminder of how much cynicism and corporate exploitation has permeated the Star Wars brand since the very Luke Skywalker Kenner toy hit store shelves. Obvious problems abound in any one of these performances, right down to the really grating jokes to the obvious song choices. To be quite honest, the show's treatment of women characters is also...not great. Leia dances around in her slave bikini outfit (a garb she was forced to wear at the hands of a slimy sexual predator) while Padme's de facto outfit is her mid-riff-baring Attack of the Clones Geonosis colosseum attire. Skimpiness does not equal "not feminist" or "bad women representation," obviously. 

Those costumes being the only real options for lady Star Wars characters in this show, while also having them dance to Outkast singing "Shake it! Shake it!" in "Hey Ya" just comes off as weird. Not to mention unimaginative! Why can't these gals from a galaxy far, far away do something more? The default role for women in dance numbers is to be subservient to men and blow kisses at male performers. Let's get some more specific choreography out here and distinctive tunes for Leia and Ahsoka Tano to dance to.

Still, even with all these faults bouncing around the proceedings, Hyperspace Hoopla "makes no damn sense...compels me, though", to quote a wise Benoit Blanc. Maybe it's the inherent surrealness of seeing C-3PO lead a "Harlem Shake" performance. Perhaps it's just the absence of similarly goofy Star Wars material at the theme parks or wider Disney machine. A part of this Hyperspace Hoopla affection must stem from nostalgia, always forcing us to look through the past with rose-colored glasses. Yesteryear's torment will suffocate us if we don't make it bearable. 

Above all else, deploying Star Wars characters for pop music cringiness and displays of talented live dancing sure seems like a welcome respite to this franchise's current state. Rigid homages to Filoni-spearheaded cartoons? Get that out of here. Let's get back to having fun with these characters, especially with the vast expansion of canonical characters the Disney Star Wars era has delivered. A new and improved version of Hyperspace Hoopla that takes more risks on music choices (bring on the 100 gecs and Death Grips!) and demonstrates more imagination with how women are portrayed could be a riot. 

In its ideal form, Hyperspace Hoopla could remind Star Wars geeks everywhere that this saga is supposed to be fun. This is all silly nonsense. "The brand integrity days are over," as Florence+The Machine might say. Now it's time for the days of Sebulba and General Grievous twerking to "Thot Shit." Having such hopes for a revamped vision of Hyperspace Hoopla isn't about clinging to the past. It's about improving on the past and creating something new that maybe help Star Wars stave off some of its current woes.

15 Years Ago, The Muppets Began Delivering the Best Parody Trailers Ever

A The Muppets scene involving Rowlf, the best Muppet. I love his ears when they flop around!!

We all know how typical American movie trailers operate. A terrific early 2010s YouTube video played on this familiarity through memorably breaking down the specifics of blockbuster movie trailers. Such staples have remained shockingly consistent in the years since this video's debut. Just watch the Masters of the Universe or Supergirl trailers and tell me this YouTube video isn't still relevant.

This rigid formulaic approach to movie trailers makes it such a welcome treat when movie marketers switch things up by delivering trailers that totally upend expectations. Just in the last two years, the "Boots" 28 Years Later teaser, that initial Weapons teaser, or that memorably meta Love That Remains trailer have proven you can make a modern movie trailer look like anything. Unfortunately, with corporate consolidation, increased creative timidity, and so many other problems plaguing the American film industry, these trailers are few and far between. Great trailers are an artfrom unto themselves. You wouldn't know that, though, if you just watched the trailers inspiring that early 2010s YouTube parody video.

In 2011, though, a Disney legacy sequel, of all things, delivered one of the most creative, entertaining, and distinctive series of trailers for any modern American movie. On this day, 15 years ago, the very first of this film's various parody trailers began screening exclusivley in theaters with Pirates of the Caribbean: On Stranger Tides. Kermit the Frog, Miss Piggy, Gonzo, and all their Muppety friends hadn't been seen in movie theaters for over a decade. The various parody trailers heralding the arrival of The Muppets, though, signaled their return in style. Hollywood hasn't really tried mimicking these parody trailers in the last 15 years, which just makes these marketing materials for The Muppets extra special.

That Very First Muppets Teaser

It's May 20, 2011. You're seated for Pirates of the Caribbean: On Stranger Tides. The trailers are winding down with the titles Disney is choosing to promote on this blockbuster. The first of these trailers is... a Jason Segel/Amy Adams romantic-comedy? Everything about this teaser, from the character's dialogue to the trailer narrator to even the sound effects, says this is a production cut from the same mold as fellow 2011 rom-com's Friends With Benefits, and Something Borrowed. The inspired use of "You Only Get What You Give" really solidifies that audiences must be witnessing a glimpse at the latest Robert Luketic directorial effort.

Then the narrator begins announcing the cast. "Jason Segel." "Amy Adams." "Kermit...the Frog." After also announcing Miss Piggy's presence, Segel grinds the teaser to a halt to ask, "are there Muppets in this movie?" This parody trailer (titled Green With Envy online) then culminates in a montage emphasizing Muppety montage and unveiling the film's title. It's an incredibly fun trailer showing remarkable attention to detail in replicating rom-com trailers. Oh, how fun it must've been to be in a crowded auditorium of people, most totally unaware a new Muppet feature was on the horizon, gradually realizing what this teaser actually was.

Even better, the Green With Envy teaser's rom-com parody carried on the Muppet tradition of zany pop culture pastiches. Never forget Muppet Show staples like Pigs in Space or Veterinarian's Hospital that spoofed Star Trek and daytime soap operas, respectively. One of my favorite supporting Muppet Show players, Uncle Deadly, was introduced as The Phantom of the Muppet Show, an obvious Phantom of the Opera nod. The Rowlf-hosted special Dog City, meanwhile, was heavily indebted to noir films. The Muppets have always lampooned pre-existing art, but not at all in a stupid "look! thing you recognize!" fashion like Aaron Seltzer and Jason Freidberg.

Instead, they build upon pre-existing pop culture staples and archetypes to create gags that work for everyone, regardless of their pop culture knowledge. The Green With Envy teaser, works as a funny short where lovey-dovey material dovetails into Muppet madness even if you're too young to have ever seen a rom-com trailer. With just this first parody trailer, The Muppets established creativity and wit that lived up to the legacy of these characters. Better yet, though, the parody trailers weren't over. Throughout summer 2011, Disney kept dropping further parody trailers skewering hot 2011 titles. Most memorably, the iconic Girl With the Dragon Tattoo teaser spawned a hysterical Muppets parody. This trailer, known as Pig With the Froggy Tattoo, was inspired in its take on the original teaser's music. To boot, Froggy Tattoo delivered with fun gags (like pointing out the trailer's editor hiding as an extra in a large dance scene) that ensured you could laugh with this trailer even if you didn't know Lisbeth Salander from Katniss Everdeen.

Why Didn't Hollywood Mimic This Marketing Approach?

The Muppets marketing team wasn't just doing these parody trailers out of a desire to flip the script on standard American movie marketing techniques. This and other Muppets marketing elements, like the Muppets Fan-A-Thon videos, were intended to exploit the then-booming Facebook and YouTube viral video space. In an age where "Chocolate Rain" was becoming more popular than an average movie trailer, Disney's marketing team opted to go in a new direction. The hope was that people would share these videos all across the biggest social media platforms and get some extra hype going for Disney's big Thanksgiving 2011 release. Plus, if Kermit and pals were seen as "old", what better way to make them relevant than with Facebook-ready viral videos?

Whatever the impetus behind these parody trailers, they were delightful and an incredibly unique creation in the 2011 cinematic landscape. Unfortunately, they've remained a frustrating anomaly in the years since. The Muppets didn't inspire a slew of further motion pictures to take risks with creative trailers nad marketing materials. Even its own sequel, Muppets Most Wanted, only did parodies with TV spots lampooning tweets and "For Your Consideration" ads. Otherwise, the Most Wanted trailers were standard in structure and content. Other motion pictures, meanwhile, eschewed further norm-shattering promotional tactics.

Part of that was because The Muppets directly preceded the "nerd blockbuster" wave. When trailers dropped for new Marvel, DC, or Star Wars projects, studio executives assumed that fans wanted to see actual footage from the proper movie filtered through a reverent tone. The Comic-Con crowd would tar and feather Kevin Feige if he delivered a Captain America: Civil War trailer that was, say, just a parody of the Big Short trailer. Thus, behind-the-scenes featurettes where people on-set ran in slow-motion and talked about how "this one's for the fans" were in. Wackier and more unorthodox trailers were out. 

The decline of the big screen comedy (the perfect genre for these kinds of marketing tactics) also ensured that those Muppets parody trailers from 2011 didn't spawn a bunch of imitators. The Austin Powers: The Spy Who Shagged Me teaser that initially seemed to tee up the return of Darth Vader before revealing Dr. Evil, for instance, could only have worked for a silly comedy. Ditto the Dirty Rotten Scoundrels teaser or those bizarre live-action Bee Movie teasers. Those Muppets trailers were following in the footsteps of countless creative comedy movie trailers that used the innate silliness of this genre to try something different in the "coming attractions" section. When studios began backing away from big-screen comedies, such trailers became basically non-existent.

Even if they didn't spawn further marketing risk-taking in the 2010s, The Muppets still delivered some gloriously fun teaser trailers. Speaking as a Muppet fan, the effort and creativity going into these materials remains enduringly moving because they show people actually caring about Kermit and the gang. For much of the 2000s, the Muppets were stuck in a bleak era. Characters like Rowlf and Gonzo were now only good for hawking Pizza Hut or headlining abysmal TV movies like The Muppets' Wizard of Oz. Characters once epitomizing inventive and chaotic comedy were now Madison Avenue shills. At least in the 50s, when Jim Henson's Wilkins and Wontkins were coffee spokespeople (see below), there was plenty of hysterical puppet murder to make the commercials go down smoothly. Now, the Muppets were just hollow vessels for whatever brand paid to use them.

These Muppets teaser trailers, though, indicated that artists hadn't given up on giving these characters genuinely witty material to inhabit. They were good for more than just tired Tin-Man nipple jokes or Denny's commercials. They could make people laugh once more and (provided you were an unsuspecting moviegoer in an opening night On Stranger Tides screening) even surprise them. After so many years of creative stasis, hope had risen once more for the Muppets. What a terrific precursor to the excellent 2011 movie that reminded us all "Life's a Happy Song" while reaffirming the entertainment and value of these characters. Happy 15th anniversary to the start of these parody trailers, which heralded a new era of Muppety joys.

I Can't Stop Thinking About This One Amazing Blue Heron Scene (SPOILERS)

 MASSIVE SPOILERS AHEAD FOR BLUE HERON

Surrendering is a hard thing for people to do. I genuinely think that's the biggest barrier between many people and experiencing unorthodox art. We're conditioned to always treat the world with suspicion. Anything odd is to be feared and deemed potentially dangerous. Thus, when folks are watching films and things take a turn for the formally unexpected, there can be an impulse to throw one's hands up and submit to cynicism. "Why are they singing?" "Why is everything so weird?" "Why are the characters doing that? That isn't logical!" These are the phrases one can utilize when confronted with something new or initially inexplicable. I swear, I'm not saying any of this from a high horse, I've been guilty of that in the past, too. 

However, art that dares to upend expectations and do something unexpected should be treasured, not react with aloofness. The sensation of not knowing what's going on or why things are happening can be scary. But relinquish yourself to the art. Do not react to the unprecedented with cynicism, but rather curiosity.  Surrender to your lack of control or knowledge. You'll discover great art in the process, including Blue Heron.

In this miracle movie from writer/director Sophy Ramvari, Sasha (Amy Zimmer as an adult, Eylul Given as a child) is constantly looking for answers or clarity on her tormented older brother Jeremy (Edik Beddoes). Eventually, her quest leads her to take a ferry and then drive to her childhood home (where Blue Heron's first half took place). Utterly riveted in my Angelika Dallas seat, I was convinced I knew what was happening next. Sasha was about to pull a "The House That Built Me" and return to her adolescent domicile. She'd wander around the space, probably inhabited by a new family, and see if any answers come to her while wandering the familiar halls.

Instead, Sasha gets to her childhood home's door, rings the front doorbell...and is greeted by her Father (Ádám Tompa) as he looked in the sequences set in Sasha's childhood. Adult Sasha introduces herself as a social worker and asks if she can come in. In an unexpected turn, Romvari is recreating an earlier Blue Heron scene where a social worker talked with Sasha's family, but now grown-up Sasha is playing this outside visitor. It took me a moment to realize what was going on and what a glorious experience that was. Romvari doesn't use ham-fisted narration or expository dialogue to clarify what's happening. That would disrupt the realism of the characters. Instead, Blue Heron maintains its understated dialogue approach and lets audiences come to epiphanies over what's going on in their own time.

From here, Sasha's quiet exploration of yesteryear is magnificently realized. In one extended single-take, Sasha (only seen via her hands) sees and gently holds Miss Mousey, her favorite childhood stuffed animal. Then, grown-up Sasha comes into the room where her adolescent self is watching TV with her three siblings (including Jeremy). The two Sashas sit together for a moment before the older member of the duo whispers something into the child's ear. Much like Sasha's expression as she holds Miss Mousey again, what's whispered here is kept away from the audience. That ambiguity works on multiple levels, including mirroring how concrete answers are often elusive when navigating our memories of the past.

After that, the scene concludes with Father and Mother (Iringó Réti) sitting down to talk with Sasha/the social worker about Jeremy and their struggles as parents. Finally, in this segment, Sasha can converse with her parents, a moment she could only hear through a closed door as a child. As the sequence ends, the lines between the past and present blur. At the end of this exchange between parents and social worker, adult Sasha begins relaying to her parents what will happen in the future. They will try to help Jeremy, but "you will lose yourselves." Shortly after, the camera cuts to Sasha watching this conversation from afar, with recurring cuts between young and old Sasha, depending on the shots. 

This fateful day, when a social worker first firmly urged Jeremy to live in another home, is so rooted in Sasha's mind that it feels like it's happening right now. The past is the present when it comes to trauma.

This reality is vividly and distinctively rendered through this mesmerizing sequence that collides two points in time. The way such tremendously tear-inducing material is executed through the quietest material (like a grown woman softly picking up a familiar stuffed animal) is staggering. Best of all, this unforgettable Blue Heron scene didn't hold my hand. Instead, it capsized my expectations and gave me imagery I could never have dreamed of. Huzzah for movies that show faith in audiences and exhibit such potent filmmaking. This is the sort of artistry that makes Blue Heron such a towering and achingly powerful work.

What Are The Five Biggest Summers Ever At The Domestic Box Office?

If these musically inclined teenagers are to be believed, it is indeed "summertime"

Blake Shelton's a terrible musician. 

Christ, he's just awful. 

If you hate your ears and want to eradicate your hearing, may I suggest you pop in "Boys 'Round Here" and listen to his rapping. By the third time he utters "chew tobacco, chew tobacco, spit", you'll want to claw your own eyes out even though music isn't a visual medium. However, credit where credit is due, this stain on music did kick off his career with a genuinely good tune. His first single, "Austin," is a great little narrative song that spins a moving web of a woman calling up her ex-lover's answering machine, which tells callers, "P.S. if this is Austin/I still love you." 

Shelton's modern works have been hillbily kafabe aimed at the eardrums of upper-class people. "Austin" demonstrates a level of emotional vulnerability, not to mention narratively satisfying lyrics, that his subsequent songs haven't come close to matching. It's always hard to recapture the magic of your greatest exploits. 

Just ask the summer box office. While the weaker summer box office hauls of the 2020s haven't been as bad as Shelton's "Hell Right" or "Honey Bee," they've also struggled to live up to the biggest summer box office grosses in history. These particular summers are the "Austin's" that seasons like summer 2026 are always trying to emulate. But what are these summer domestic box office hauls (which consist of money made from May 1 to Labor Day in a given year) that reign supreme? What have been the biggest summers in history at the domestic box office? Journey with me and let's explore the five biggest summer moviegoing seasons at the domestic box office. Who knows, maybe some further country music commentary will even creep its way into the proceedings.

5. 2011 ($4.402 billion)

2011 was a rough year for the domestic box office. The first few months of the year were especially dire, as that year's January and February lacked the early breakout hits that lifted those same months in 2009 and 2010. Gone were Taken, Valentine's Day, and The Book of Eli, in their place were The Roommate, The Rite, and Hall Pass. Reuters would later dub 2011 "a deadly year" in terms of its box office performance, which makes it all the more surprising to remember that summer 2011 was the fifth biggest summer ever at the box office. 

You can chalk that feat up to Hollywood just cramming the season full of weekly massive tentpoles. No wonder Jon Favreau (director of that summer's Cowboys & Aliens) called this scheduling "a bloodbath", as titles like Transformers: Dark of the Moon, Harry Potter and the Deathly Hallows: Part 2, and Captain America: The First Avenger all opened within a single four-week span. To boot, August, normally a month Hollywood usually abandons, was hopping thanks to hits like Rise of the Planet of the Apes and The Help. It's a bit surprising people found enough time between endless re-listens of "Dirt Road Anthem," "Take a Back Road," and "Old Alabama" to check out so many movies in theaters that summer. However, that's just what happened with summer 2011's jam-packed slate. If you want an illustration of how more major theatrical releases always help the marketplace, just look at how much better summer 2011 performed compared to the year's first three, utterly empty few months.

4. 2018 ($4.412 billion)

A year before Florida Georgia Line's penultimate album unfurled onto store shelves, the summer 2018 box office was thriving. Avengers: Infinity War technically began its historic run a week before summer 2018 began, which means that this summer's proper victor was Incredibles 2 (which temporarily became the biggest animated movie ever domestically). New Jurassic World, Deadpool, Mission: Impossible, and Hotel Transylvania adventures also littered the season and brought in plenty of moolah. This was yet another season demonstrating that a properly lucrative summer box office landscape cannot thrive on May and June blockbusters alone. August 2018 brought plenty of major moneymakers to the table, including Crazy Rich Asians, The Meg, and even Christopher Robin.

Here's an eerie portrait of how much Disney was now dominating the cinematic landscape circa. 2018: ten years earlier, in summer 2008, the Mouse House only released two of the season's 12 biggest movies. A decade later, that number had doubled to four and one other film amongst summer 2018's top 12 (Deadpool 2) came from a studio Disney was in the process of buying. That corporate domination has now ballooned to also include Paramount potentially gobbling up Warner Bros. and beloved studios like 20th Century Fox being shells of their former selves. Back in summer 2018, A.K.A. the summer of Gotti, the box office vibes were as upbeat as the tone in the George Jones song "Finally Friday." "Let the good times roll," as Jones once crooned, presumably before he sat down to watch Mamma Mia! Here We Go Again.

3. 2015 ($4.476 billion)

Dinosaurs ruled the planet millions of years ago. For the summer of 2015, though, these prehistoric beasties were also on top once more. Jurassic World was by far the biggest movie of the summer with $647.37 million. Already, one can see Hollywood's consolidation and reliance on fewer, bigger titles taking place this season. Summer 2015 only produced 12 movies that grossed $100+ million domestically, compared to 15 in 2009 and a whopping 17 in 2008. The top films were the ones picking up a lot of the slack, which included four mega-titles making $300+ million each domestically. Rather than unleashing many movies making $100-120 million each, Hollywood was pinning more and more of its hopes on titles cracking $200+ million a piece.

As priorities shifted, though, the raw summertime grosses remained hearty. Non-sequels even made up five of this summer's 12 biggest movies, including Inside Out and Straight Outta Compton. This massive summer proved integral to making 2015 the first year in history to hit $11+ billion at the annual domestic box office. Why, the movies were almost as popular this summer as Craig Morgan's "Redneck Yacht Club." I've never thought about it before, but what a class-based nightmare that social gathering would be. Lots of white people with strong opinions on people of color and gays, all insisting they're simple country folk while rocking enough money to own a yacht. Just throw me into the jaws of the Indominus Rex right now. Anyway, moving all of our brains over to more cheerful waters, summer 2015, even with a more limited slate of new movies, still managed to hit some major financial highs. 

At the time, 2015 even delivered the second biggest summer box office haul ever, though it would soon relinquish that title to...

2. 2016 ($4.491 billion)

Sometime in the late 1960s, Merle Haggard put pen to paper (or fingertips to keyboard) and translated his own experiences in prison into the song "Mama Tried." A tune full of lamenting, it was infused with the kind of regret Hollywood was NOT feeling as summer 2016 was winding down.  Unfortunately, this was a summer that seemed to suggest the studios' shifting towards only tentpole sequels all the time could produce incredibly lucrative results. Captain America: Civil War and Suicide Squad were the two biggest live-action movies of the summer, and each grossed $300+ million domestically. Finding Dory was the season's champ and finally dethroned Shrek 2 after 12 years as the biggest animated movie ever in North America with its $486 million domestic cume. The Secret Life of Pets was the third biggest title of the season with $368.6 milion. 

In a startling reflection of how the divie between the "haves" and "have nots" was growing, Jason Bourne rounded out the top five that summer with "only" $162.43 million. Just six years earlier, in summer 2010, the fifth biggest movie of the summer (Despicable Me) cracked $250+ million domestically. Hollywood executives thought relying on fewer and fewer reliable moneymakers was a dream come true...but what happens when those "moneymaker" franchises start producing bombs like The Marvels and The Flash? That and the summer's deluge of bloated box office bombs producing more massive money-losers than a typical summer season (howdy Independence Day: Resurgence, Alice Through the Looking Glass, Teenage Mutant Ninja Turtles: Out of the Shadows, Ben-Hur, and The BFG) should've given the studios some perspective that a $180+ million budget isn't enough to produce an automatic hit.

Still, experiencing the second biggest summer ever domestically was the kind of event that clouded judgment. The season's massive box office haul, which was also aided by original comedy hits like Central Intelligence and Bad Moms, signaled a victory of sorts for Hollywood's new cinema priorities. It also suggested that the big screen still held plenty of appeal even as Netflix was beginning to ramp up its original television offerings (don't forget, Stranger Things premiered this summer). No wonder movie theater owners and studio executives weren't channeling the mood of Merle Haggard writing "Mama Tried."

1. 2013 ($4.754 billion)

I don't think the world will ever see a summer moviegoing season as big as summer 2013. For one thing, this season's $4.754 billion haul is just so strikingly ahead of all other seasons (it's $263 million higher than summer 2016, the second biggest summer ever in raw dollars). 2019, the last "normal" before COVID wrecked shop, made $430 million less than this season*. It's just going to be hard to recreate the circumstances that made summer 2013 so immensely powerful, including the scheduling that delivered one mega-hit after another on a weekly basis. If Jon Favreau thought summer 2011 was packed, hoo boy, summer 2013 was a whirlwind. Iron Man 3, The Great Gatsby, Star Trek Into Darkness, The Hangover: Part III, and Fast & Furious 6 alone all dropped within the first four weeks of May 2013. That was the summer kick-off!

Iron Man 3 (the only movie of the summer to make $400+ million domestically) was easily the season's victor, but the wealth was surprisingly spread out all across this entire moviegoing landscape. A whopping 19 summer 2013 movies cracked $100+ million domestically, nine of which were either completely original works or non-sequels based on source material that had never been adapted into movies before. Sure, new Iron Man, Superman, and Despicable Me movies reigned supreme this season. However, The Heat and The Conjuring outgrossing The Lone Ranger and The Smurfs 2 made it clear that ideas that resonate with viewers are more important than familiar brand names and excessive scope.

The wide array of projects and genres available on the big screen fueled summer 2013 to massive historic box office heights. Given that the major studios are hesitant to release movies like This Is The End or The Heat these days, it's doubtful summer 2013's historic box office haul can ever be replicated. Making $4.7 billion in a single summer happens when tons of new movies are in play, not just Iron Man 3 and Star Trek Into Darkness. Even Blue Sky's Epic (whose $107.45 million 2013 gross would be $152.31 million in 2026 dollars) is the kind of box office performer the marketplace needs more of now (it'd be a shame if Epic's animation studio got destroyed by a major conglomerate).

I've sometimes said 2014 was the final year for a certain era of Hollywood (The Hollywood Reporter recently said something similar, albeit in relation to TV ratings). Last year without Netflix making and distributing original movies. The final year (until the end of the decade) without an MCU movie grossing $800+ million worldwide. The final year without a new annual Star Wars movie until 2020. Lots of massive changes were on the horizon for Hollywood that would really arrive in 2015. Summer 2013, then, was, in hindsight, a bit of a "one last big bash" before the status quo's upending. Comedies were still massive. Original films made up nearly half of summer 2013's $100+ million grossers. Major new releases dropped nearly every week. Those elements would quickly become scarcer, but in summer 2013, they felt like an inherent part of America's cinematic tapestry.

No wonder summer 2013, the summer box office's equivalent to "Austin," was so massive in raw box office numbers that it doesn't feel like any subsequent summer moviegoing season will ever dethrone it. Summer 2026 is off to a rollicking start thanks to The Devil Wears Prada 2 and Michael, but even this season will need a miracle to come anywhere close to $4.7 billion. It's hard to top your highest of highs. Just ask Blake Shelton. Hey, at least none of the subsequent summer box office hauls have been as embarrassing as "Boys 'Round Here."

* = If Avengers: Endgame had stuck to its original May 3, 2019 release date and grossed the $474 million it made in April 2019 in summer 2019 instead, that alone would've been enough to make summer 2019 the biggest summer ever.

If I Go Will They Miss Me Is A Sweeping Yet Intimate Achievement

Typically, American movies define something as "epic" if it's physically towering in scale. A gigantic robot heading for a city, for instance. A musical number involving hundreds of dancing extras. An action sequence where on person beats up so many hired goons. In real life, though, the most momentous things are incredibly intimate. A small trinket reminding you of a loved one. A scent that suddenly takes you back to being eight years old in your parents' living room. A song that everyone knows, yet it sounds like it was written just for you. If I Go Will They Miss Me, Walter Thompson-Hernández's incredible feature-length directorial debut, is an ode to those tiny, impactful moments of existence. Such moments are realized through immense visual and sonic showmanship. Emotional significance can materialize anywhere. If I Go Will They Miss Me's sumptuous filmmaking vividly reflects that.

In Watts, Los Angeles, there lives Lil Ant (Bodhi Dell) and his family, mother Lotzita (Danielle Brooks), sister Jenn (Bre-Z), and his father Big Ant (J. Alphonse Nicholson), who just got out of prison. Lil Ant is an artistically inclined youngster who loves drawing, creating crafts, and viewing his parents as figures from Greek mythology. Unfortunately, he also struggles with getting any meaningful connection with his father. Big Ant, who spends much of his days working on his father's ranch and sneaking away to a mistress, just can't get invested in his firstborn son. This complicated family life is filtered through recurring doses of magical realism, including a barrage of young people in white shirts that only Lil and Big Ant can see.

One early image immediately solidified that If I Go Will They Miss Me was going to be an all-time great movie in my book. As Lil Ant is regaling viewers with stories about the important people in his life, he begins waxing poetic about his father's teenage years. The camera then cuts to an old-timey television set with the distant figures of young Big Ant and his two friends on the monitor. As the camera pulls back, the television is revealed to be outside on some train tracks. The shot continues from there, though, and it's two men proceed to pick up the television and move it off-screen. Turns out this device didn't even have a monitor inside. Young Big Ant and pals were visible through the void created by the device's absent screen.

This creative visual is a fantastic way of establishing the past (older technology=flashback) and, via the distance between teenage Big Ant and the camera, communicating how removed Lil Ant is from his father. This child only has stories painting a remote portrait of Big Ant. Plus, it's just an incredibly smart image to watch constantly evolve. Such impactful and idiosyncratic visuals Walter Thompson-Hernández's direction and Michael Fernandez's cinematography. Many of them echo this TV-based image in capturing events through a removed lens. Mirrors, for instance, are used for capturing many especially tortured moments in Lil Ant's house. Other times, the camera will pull back to evocatively frame people like Big Ant or Lotzita, only partially visible through barely opened doors.

If I Go Will They Miss Me's imagery also thrives on deeply moving beauty coated in years of lived-in experience and wistfulness. Just look at the sudden cut to Big Ant and Lotzita in their wedding day outfits. As they stare into the camera, covered in radiant attire, Thompson-Hernández's camera exudes immense poignancy and genuine affection. It feels like the viewer is gazing into the wedding photos of dear loved ones. This flashback's lucious atmosphere vibrantly communicates, without a word ever being spoken, why Lotzita remains loyal to her husband. There was love here. Their wedding day was defined by joy, not obligation. Memories of that joy compel her to keep going in this relationship. Such immense character-based insightfulness and beauty come impressively naturally to If I Go Will They Miss Me.

Lil Ant's everyday world in Watts, Los Angeles, is filtered through similar dreamlike, caring means. The latter quality means Thompson-Hernández lingers on even the smallest moments of everyday existence here, like Lotzita boisterously playing Mahjong with relatives, Big Ant chatting with co-workers, or a tender mother/son hug. If I Go Will They Miss Me is a marvel to watch, especially when paired up with the sweeping original score from Malcolm Parsons. Leaning heavily on transportive violin playing and classical instruments, Parsons delivers various original compositions that match the majestic visuals. It's no wonder Lil Ant is briefly depicted watching a Fantasia segment, since If I Go Will They Miss Me has a similar love for merging classical-sounding music with outstanding images.

 

This absorbingly intimate production also excels phenomenally showcasing sublime acting. Like the cast members of other features rooted in everyday reality like Bicycle Thieves, the If I Go Will They Miss Me actors immediately register asd tangibly authentic. They're not Glenn Close in Hillbilly Elegy straining to do a caricature of working-class life. Danielle Brooks, for instance, is outstanding portraying Lozita. Any moment where her character is emotionally vulnerable with her children had me getting choked up. A quiet sequence where Lozita smokes and talks with her sister in the bathroom, though, also shows how Brooks can flourish in this role even when she isn't acting against Lil Ant. In this interaction, Brooks movingly captures Lozita's indecision over where she should go next with her life. There's a jagged uncertainty here that's as relatable as it is riveting.

J. Alphonse Nicholson, though, proves a breakout star with his work as Big Ant. There's a moment midway through the film where Nicholson portrays his character stumbling onto the elaborate wings and horse Lil Ant's made for his class. Curious and impressed by the artistry, Big Ant puts the wings on his hands, smiles, and then playfully flaps them. Momentarily, the sequence will go in a darker direction. In this moment, though, I couldn't tear my eyes away from Nicholson's heartbreakingly beautiful portrayal of a man finally letting his guard down. All throughout this feature, Nicholson delivers such specific and perceptive glimpses into Big Ant's mind. In weaker hands, Big Ant could've just been an off-putting, aloof father figure. J. Alphonse Nicholson, meanwhile, always makes the character's complex humanity tangible, even in his most repellent moments.

The richly detailed approach defining Nicholson's work extends to the entirety of If I Go Will They Miss Me. Even the sound design is remarkable, with the constant roar of airplanes and the distant hum of an ice cream van lending such texture to the area Lil Ant and his family call home. All that artistry means writer/director Walter Thompson-Hernández has delivered a motion picture that at once feels like wandering through a dream, soaking in childhood memories, and observing neo-realism cinema. That sounds paradoxical on paper, but isn't that what life is? Existence is many contradictions hastily strung together. Cinema should recognize that. Cinema should embrace that. Artists should create melodically sweeping and visually sumptuous odes to that reality, just like If I Go Will They Miss Me.

"Lesbians Love Cereal" - A Lisa Laman Poem Performance

Six days ago, on April 24, 2026, I once again performed an original piece of poetry that I wrote at a Sapphic Storytellers meeting. I'm so grateful and honored for the chance to read aloud this poem that I dearly cherish. Below is a video of me performing it, I'd be honored if you gave it a watch!

An Ode To Anne Hathaway's Oddball Indie Movie Era

For all intents and purposes, Anne Hathaway's The Devil Wears Prada 2 star turn is her "comeback" movie. Typing out those words already makes my soul ache because Hathaway's talents haven't wavered, and she's done nothing to necessitate a comeback. However, Hathaway herself has openly talked about how studio executives refused to cast her in features after her Oscar win. Meanwhile, Hollywood (after 2013-ish) stopped making the kind of mid-budget movies Hathaway used to regularly anchor. Thus, Devil Wears Prada 2 is her first appearance in a major studio theatrical release since Ocean's 8 in 2018. Technically, Devil Wears Prada 2 qualifies as a "comeback" for somebody whose never gone away.

For one thing, Hathaway spent some parts of the last eight years, like so many actors, dipping her toes into prestige television, namely anchoring the Apple TV miniseries WeCrashed and showing up on two Modern Love episodes. Something that deserves recognition, though, is that Hathaway embraced a slew of oddball indie movies in the years between her last traditional big-screen star vehicle (September 2015's The Intern) and Devil Wears Prada 2. David Lowery's offbeat Mother Mary dropping one week before Devil Wears Prada 2 is a perfect bit of synchonicity. As Hathaway returns to anchoring major studio theatrical films, Mother Mary put a bow on her era of admirably unusual indie features.

Monstrously Good Indie Movie Performances

To promote the January 2019 movie Serenity, Anne Hathaway took to social media to post about the film and how it was destined to spark some discussions and controversy. Specifically, she declared:

"Matthew and I are learning our film Serenity isn’t easily broken down into sound bites. I really like movies like that, but just in case I am in the minority, here are some reasons why I think you should see it: I find Serenity to be a thrilling, ambitious, violent, spiritual, erotic, charged, dark, damning, contradictory, maddening, lushly intelligent film from the brilliant mind of Steven Knight. It asks a lot of the audience. It exists outside cut-and-dry, black-and-white moralizing, beyond the realm of “thumbs up” and “thumbs down,” “it sucked,” “it was bad-ass,” etc. It will need some analysis and conversation after. Good. Serenity is a sexy, surreal, modern noir for grown ups who are into things that don’t come standard. If that sounds like you, I hope you’ll consider giving us your time and attention. Thanks for listening xx"

That desire to anchor movies that "will need some analysis and conversation after" speaks to the kind of motion pictures Hathaway anchored from 2016 to Lowery's Mother Mary. The first of these was Colossal, a movie where Hathaway portrayed a weary, messy woman who discovers she's capable of controlling the movements of a monster attacking Seoul, South Korea. Given how often Hathaway's been cast to play prim-and-perfect archetypes in projects like Ella Enchanted, watching Colossal is an extraordinary reminder that she's also gifted at portraying jagged everyday individuals. When she's portraying Colossal's Gloria forlorn in a bar or communicating profound pain with just a facial expression, it doesn't come off as a polished actor delivering a simulacrum of ordinary humanity. 

Hathaway instead melts right into Gloria. With this film, she's tasked with portraying a woman who starts out the runtime jaded, detached, eager to just drink away her worries. As she realizes the gravity of this monster situation (as well as the abusive man hiding in plain sight), she gradually depicts Gloria reawakening to the wider world. It's a character arc Hathaway handles with finesse and fascinatingly messy humanity. Right from the start, she exudes a palpable weariness consuming Gloria. This quality makes it apparent why this character is so content to just be a spectator to life. Meanwhile, Hathaway's strengths with inhabiting a realistically imperfect human being make it extra gripping to see Gloria navigate both her monstrous alter-ego and the abusive relationship she's trapped in.

Colossal isn't just one of 2017's more criminally underrated performances. It also showcases a deeply impressive Anne Hathaway performance that provides a richly human anchor for this high-concept story about abusive relationships and "monsters." From there, Hathaway kept on taking unusual, auteur-driven works, like 2019's Dark Waters. In that Todd Haynes directorial effort, which follows Mark Ruffalo's Rob Billot taking on the corrupt company DuPont, Hathaway is often playing the typical "wife" role in a biopic. However, anytime she gets to deliver a monologue or have the camera linger on her, she instantly commands your attention. Better yet, this movie ensured she worked with one of the best English-language filmmakers of our time. Please don't let this be the last time Anne Hathaway and Todd Haynes collaborate.

Right at the start of 2019, Hathaway embraced the femme fatale archetype for Serenity, the movie that launched the aforementioned social media post. Here, Hathaway plays Karen, a woman who asks her former husband, Baker Dill (Matthew McConaughey), to kill her current lover, the toxic Frank Zariakas (Jason Clarke). Writer/director Steven Knight's Serenity is a deranged creation. This is a feature that starts as a seaside noir homage before metamorphosing into a Truman Show/Minecraft hybrid with unspoken incestuous overtones. In other words, this is not the kind of movie Oscar-winning performers are encouraged or pigeonholed into doing.

Taking this boondoggle on was a massive gamble on Anne Hathaway's part, and that alone deserves kudos. The fact that she commits wholeheartedly to the role is a cherry on top. Even when she's just asked to constantly say sentences ending in the word "daddy" to Clarke's character, Hathaway is fully alert and gung-ho. She can't save Serenity from its worst impulses or disjointed nature. However, she does embody the admirably gonzo nature of the proceedings. Off the grid from major studio films, Hathaway wasn't looking to just rehash roles she'd played before. Serenity was as far from The Princess Diaries and Bride Wars as you could get. That opened up exciting new possibilities for her as an artist, even in deeply flawed productions like this one.

Not Even The 2020s Could Stop Hathaway's Indie Cinema Streak

When the world shut down in March 2020, everything ground to a halt. COVID-19 had flipped the tables on the status quo. Everyone was stuck indoors, unsure what the future would bring. Under these circumstances, Hathaway reunited with Serenity screenwriter Steven Knight to headline Locked Down, a heist film set in London during a COVID lockdown. The independently produced film (which Warner Bros. Pictures eventually acquired and released to HBO Max) is terrible, despite starring Hathaway and Chiwetel Ejiofor. It's a thinly sketched movie that doesn't offer Hathaway anything remotely resembling a character to play. Still, this Brokeback Mountain veteran anchoring an indie film during 2020 demonstrated her resilient dedication to smaller-scale movies.

Not even a global pandemic could stop Hathaway from anchoring tinier features made off the grid. She'd return to the big screen with writer/director James Gray's 2022 quasi-autobiographical film Armageddon Time. Playing mother Esther Graff to adolescent protagonist Paul (Banks Repeta), Hathaway's gift for immediately registering as a real human being is perfect for this grounded, gritty drama. She honestly does circles around her co-star, Jeremy Strong (who plays her character's husband). Strong can't resist going for big displays of "SCREAMING!" and grand externalized gestures to sell his characters. Hathaway, meanwhile, conjures up Esther's psychologically tormented personality with understated means. 

Unfortunately, Armageddon Time's third act sidelines Esther (who's deeply distraught after her father passes). Hathaway barely factors into the final 45-ish minutes of the project. This tragically speaks to how, even here, Hathaway couldn't evade the frustrating gender norms for women in American cinema. Indie films are supposed to be the refuge of artists, the place where you eschew major studio standards and traditional narrative impulses. Unfortunately, Hathaway's Armageddon Time character's minimal screentime echoes traditional cinematic urges to relegate mothers and women characters to the background. She deserved better than that, especially since she was delivering one of the film's better performances.

In 2023, Hathaway delivered supporting turns in Eileen (which came SO CLOSE to being gay, "we were so close to greatness," as Orson Krennic once said) and She Came to Me. The latter comedy was a miscalculated endeavor that left Hathaway with not much to do, despite her fantastic comic instincts seemingly being perfectly tailored for something emulating a farce. After that, Hathaway's indie career seemed to be at an end as she began preparing for a return to mainstream work. Her 2024 Amazon streaming film The Idea of You proved a big enough viewership hit that Amazon MGM Studios asked her and Idea of You director Michael Showalter to make the theatrically-released Coleen Hoover adaptation Verity. In early 2024, meanwhile, Hathaway began filming this summer's dinosaur blockbuster The End of Oak Street. Mainstream Hollywood was finally realizing it should do more with Hathaway than The Witches.

Just a week before The Devil Wears Prada 2 inevitably blows up the box office, though, Hathaway headlined one more oddball indie movie. David Lowery's Mother Mary sees Hathaway playing the titular pop star in need of both a dress and some closure of losing her former best friend (played by Michaela Coel). Hathaway's gift for haunted facial expressions and aching, raw depictions of lived-in torment are exquisitely utilized here. Just her standing with those haunted eyes while mournfully clutching one of her arms vividly suggests Mary's been through the psychological wringer. Any set pieces where Hathaway portrays Mary as a pop star icon, meanwhile, are just sweeping. Her voice! Her on-stage charisma! She's so magnificently transportive!

Absolutely crushing these wildly disparate sides of Mary's psyche speaks to Anne Hathaway's range and talent. It's also the kind of performance that might not be possible in a major studio work. Mother Mary is rife with tonal shifts, ambiguous definitions of reality, and imagery that inevitably confounds as many as it enchants. It's not a guaranteed moneymaker or critical darling by any means. Yet Anne Hathaway took this and other offbeat projects (like Colossal) on and gave them every ounce of her talent. 

Hathaway anchoring so many major theatrical movies this year and beyond (including being The Odyssey's leading lady) is a cause for celebration. However, let it never be said she was just twiddling her thumbs in the last decade or so. On the contrary, when major studios closed doors in Hathaway's face, she opened up windows to exciting roles that expanded and reinforced her chops. Apparently, Anne Hathaway is "into things that don’t come standard" and by God did she give audiences that with her exciting era of oddball indie cinema performances.

Summer 2026 Box Office Predictions

We Bought a Zoo 2 looks weird

"Summertime, and the livin' is easy," so sang Ella Fitzgerald all those years ago. That truth is rearing its head once more as the summer moviegoing season approaches. For the first time in the 2020s (exempting 2023, when Barbenheimer, a second Spider-Verse movie, and Guardians of the Galaxy Vol. 3 were all on the agenda), this feels like the first summer moviegoing season of the decade that's really bringing the heat. There's a wider array of titles available each week (heck, August 2026 will bring a new weekly big-screen comedy), several films this summer aren't just aimed at nostalgic men, and opportunities for major sleeper hits clearly exist (c'mon, I Love Boosters).

Most importantly, the 2026 domestic box office has been on a hot streak even before the first weekend of May officially kicks off the summer moviegoing season. Project Hail Mary, Hoppers, The Super Mario Galaxy Movie, Michael, plenty of movies have excelled this year. That momentum looks like it will continue into the hottest moviegoing season of any year. What films will dominate that season? That's what I'm here to predict today. As I try to do every year, I've listed below my predictions for the ten biggest movies of the summer at the domestic box office (ranked from tenth to first).

Each film has an explanation for why I think it'll perform a certain way as well as predictions for its domestic opening weekends and domestic final grosses. It's time to get down to business and explore what could be a massive summertime for movie theaters. Let's kick things off by looking at my prediction for summer 2026's tenth-biggest movie, which comes from the architect of the modern summer blockbuster...

10. Disclosure Day

Believe it or not, it's been a long while since director Steven Spielberg had a summertime box office hit that wasn't the fourth Indiana Jones adventure. Hell, even back in 2002, when Minority Report grossed a respectable grossed a solid $132 million (the 17th biggest movie of the year domestically), that was considered a mild disappointment. If future Lisa Laman came back in time to tell me that this got knocked out of the summer top ten by newer youth-skewing movies like The Backrooms or One Night Only, I'd believe you. The big advantage Spielberg's Disclosure Day has, though, is Universal Pictures. This studio has gotten quite adept at selling big budget blockbusters, and they've done a great job so far with prominent, memorable trailers and posters. Super 8 got to $35.4 million on opening weekend 15 years ago. IMAX ticket prices and years of inflation should get Disclosure Day to a slightly higher debut.

Opening Weekend Prediction: $41 million 

Domestic Gross Prediction: $125 million

9. Scary Movie 6

The trailer's got a transphobic joke and looks like dogshit visually. Also, it has all the goods to become a legacy sequel hit. It's actually been a while since the Scary Movie saga was back in theaters, the promotional campaign is riding the coattails of 2025 hits like Sinners and especially Weapons, it'll undoubtedly get a strong third weekend boost from Father's Day celebrations. Three of the original Scary Movie installments got to $40+ million domestic bows before we even take inflation into account. Expect this one to follow in the same vicinity and, hey, maybe even give the theatrical comedy movie a bit of a boost. If only they could've done all that without the "they/them" jokes and cancel culture moaning...

Opening Weekend Prediction: $49 million

Domestic Gross Prediction: $135 million

8. Moana

Two 2025 movies suggest very different outcomes for the live-action Moana remake at the box office. Both of these films were PG-rated titles that had trailers full of imagery people derided as hideous and an eyesore. The first of those is A Minecraft Movie. All those pre-release complaints were nothing compared to the allure of seeing a Minecraft film adaptation as well as Jack Black's appeal. Then there's Snow White and its hideous Seven Dwarfs. That feature couldn't overcome the pervasive hostility directed at its drab and off-putting visuals.

On the one hand, Moana has way more name recognition with today's kids than Snow White. On the other hand, Dwayne Johnson circa. 2026 is no Jack Black and, most damningly, this isn't a novel film. A Minecraft Movie was the first time Creepers and Minecraft Villagers appeared in a movie. The Moana trailers make it clear this is just the 2016 animated film again, but with less color. At least The Lion King and The Little Mermaid arrived decades after the original animated films to offset their inherently familair narratives. Even the youngest kids who can't stop singing "How Far I'll Go" may just opt to stay home and watch the original. There's probably enough gas in the Moana tank to keep this from totally capsizing like Snow White, but there's also enough problems here (including opening in between Minions and The Odyssey) to suggest a Minecraft-sized surprise rebound is not on the horizon.

Opening Weekend Prediction: $60 million

Domestic Gross Prediction: $145 million

7. Supergirl

Given that we just had a Superman movie last summer, another motion picture focusing on a Krypton-originating superhero like Supergirl isn't going to have immense novelty to the general public. Additionally, Supergirl's marketing is emphasizing a darker, more anarchic tone that could be less appealing while its late June 2026 date means it'll have to contend with so many July 2026 juggernauts like The Odyssey and Spider-Man. On the other hand, audiences really warmed to Superman, and the Supergirl marketing has effectively given the titular lead some relatable impulses (she wants to save her doggie!) that potential audiences can latch onto. There's also no other major action films over 4th of July weekend this year, so if Supergirl scores some good word of mouth it should still do fine. If Black Adam could get to $67 million on opening weekend, Supergirl should be able to debut a smidge higher. It'd be guaranteed the biggest domestic opening ever, though, if Comet the Super-Horse was appearing in this project...

Opening Weekend Prediction: $74 million

Domestic Gross Prediction: $183 million

6. The Mandalorian and Grogu

This is the biggest question mark of the summer. Can the first theatrical Star Wars movie in seven years prove lucrative and profitable? Right now, signs point to "not really." The marketing for this feature has been largely uninspired. More urgently, it doesn't look especially accessible to the general public given that it's rooted in a Disney+ show and its key "new" characters (Rotta the Hutt and Embo) are all Clone Wars veterans. Even the movie's imagery looks indistinguishable from the Mandalorian show, a bizarre element that means people will likely mistake it for a streaming show when they see TV ads for it. Perhaps the final six or so weeks of Disney's marketing campaign will push this one to bigger numbers. For now, expect this to perform largely like Solo: A Star Wars Story, which also debuted over Memorial Day weekend in 2018.

Opening Weekend Prediction: $85 million

Domestic Gross Prediction: $200 million

5. The Devil Wears Prada 2

It's cool that this year's summer kick-off movie is not a Marvel movie or even an action film, but rather The Devil Wears Prada 2. This new Anne Hathaway/Meryl Streep title should also have a domestic haul outgrossing past summer kick-off titles like Thunderbolts* and The Amazing Spider-Man 2. Disney/20th Century Studios has applied the same "absence makes the heart grow fonder" approach for this sequel that the Mouse House usually reserves for animated movies. That lengthy wait for more Devil Wears Prada should work like gangbusters in making this a must-see movie for friend groups across the country. Few hits look as surefire this summer as The Devil Wears Prada 2. The first movie opened to $27.53 million over its three-day opening weekend. Expect this sequel to more than triple that debut in its summer kick-off opening weekend.

Opening Weekend Prediction: $86 million

Domestic Gross Prediction: $235 million

4. Minions and Monsters

Minions and Monsters apparently had especially strong recognition and social media buzz amongst this year's Super Bowl ads, beating all other movie commercials at the game by a massive margin. Those little yellow freaks remain incredibly popular, as seen by Despicable Me 4 amassing a gargantuan $972 million worldwide. Every post-2010 Despicable Me and Minions installment has grossed $336-370 million without fail in North America (save for 2017's Despicable Me 3). Even with this one's 1920s setting and lack of the three Minion leads of the last two Minions movies, it's doubtful this money-printing machine will end anytime soon. I'll even go a bit more pessimistic and suggest this one ends up being the lowest-grossing Minions installment ever in North America, yet that would still be more than enough to catapult it to being one of the summer's biggest movies.

Three-Day Opening Weekend Prediction: $72 million

Domestic Gross Prediction: $310 million

3. Toy Story 5

I'm torn on Toy Story 5. On the one hand, the Toy Story name is still beloved across generations and the planet. Disney's also gotten super skilled at launching animated movie sequels that cater to kids but also nostalgic adults. However, I'm not sure there's as much novelty in a fifth Toy Story movie as there is in, say, the first Zootopia movie in a decade. Toy Story 3 and 4 each made more than the last and $410+ million domestically alone. I'm seeing a bit of a decrease from those two movies, given that a post-1999 Toy Story sequel is no longer an inherently special prospect. Plus, Minions opens in theaters 13 days into its theatrical run, so it'll have way more family movie competition to face than Toy Story 4 (which basically had the 4th of July holiday weekend all to itself when it came to families). Still, Buzz and Woody have anchored four beloved moneymakers. Don't expect that streak to suddenly collapse here.

Opening Weekend Prediction: $104 million

Domestic Gross Prediction: $335 million

2. The Odyssey

Three years ago, Oppenheimer delivered a mighty box office run that shattered all pre-release expectations and gave director Christopher Nolan his biggest non-Dark Knight movie ever at the box office. After conquering multiplexes and the Best Picture Oscar, Nolan's back with a star-studded take on The Odyssey. This fantasy epic cost a pretty penny to make ($250 million versus Oppenheimer's $100 million), but that's a moot point given that it should be a massive box office performer. Everyone knows this story, yet there hasn't been a definitive modern Odyssey movie, a great balancing act that gives Nolan's latest brand name recognition and scarce-based specialness. Given that this is an action film with lots of splashy special effects and (presumably) a PG-13 rating, opening above both Oppenheimer and $100 million should be a cinch. Once more, the summer box office belongs to Nolan.

Opening Weekend Prediction: $131 million

Domestic Gross Prediction: $425 million

1. Spider-Man: Brand New Day

Audiences have been chilly to the latest Marvel Cinematic Universe movies, but Spider-Man titles are a whole different breed of blockbuster cinema. People absolutely adore seeing this web-crawler on the big screen, as seen by the last four Spider-Man movies (animated and live-action) securing either A or A+ CinemaScore grades. Expect that love for Spidey to continue at the end of the summer when Spider-Man: Brand New Day drops. No Way Home got so many more people in love with Tom Holland's take on the character, while this particular superhero hasn't been overexposed or diluted via the streaming shows. Plus, the presence of The Punisher and The Hulk should give it something new compared to past MCU Spider-Man solo movies. 

It feels...off to predict Brand New Day will top the summer 2026 box office. A new Spider-Man reigning supreme feels a bit too traditional given that unexpected movies (Barbie, Top Gun: Maverick, Inside Out 2) have taken the summer box office crown domestically in the 2020s. Maybe something else on this list pops off and topples the web-crawler. For now, though, I'm having a hard time picturing anything else surpassing this motion picture in North America. If it falls 42% from Spider-Man: No Way Home's domestic gross, it still gets to roughly $470 million domestically. That sounds about right for this title, which should have no trouble keeping the good financial times rolling for the Spider-Man saga. Watch this space, though, if Spa Weekend or something breaks out and dominates the summer 2026 box office.

Opening Weekend Prediction: $165 million

Domestic Gross Prediction: $475 million

Lisa Laman FINALLY Found An AMC Location She Likes

I don't like fascism. I ain't a fan of Burger King's crummy food. And I certainly don't like AMC Theatres locations.

Perhaps that AMC distaste is based around a silly sense of "hometown" pride. I grew up in the Plano/Allen, TX area where the only nearby theaters were Cinemark locales. AMC multiplexes existed, but you had to drive 30-45 minutes to get to the ones in Dallas and Frisco. Meanwhile, Front Row Joe, the XD auditoriums, and Cinemark Legacy's Charlie Chaplin statue were all less than 10 minutes from my house. I grew up on Cinemark, which always projected films efficiently with no technological hassle and constantly delivered the yummiest popcorn imaginable. 

That didn't mean I turned up my nose at the chance to visit Studio Movie Grill, iPic, Moviehouse Eatery, Alamo Drafthouse's, or other nearby theaters. However, Cinemark was king. Perhaps that loyalty and familiarity informed my AMC disdain.

Still, doing some Googling, it's clear others feel passionately about AMC being the worst. David Ehlrich repeatedly used AMC as a go-to reference to the nadir of cinematic experiences in his recent IndieWire piece about Alamo Drafthouse's dismal modern form. Surely all these people couldn't have had the same Cinemark-centric upbringing as me! Perhaps they've also endured the bad theatrical experiences I've encountered in my time at AMC locations. Like the time I saw Evil Dead Rise and they kept the lights on for the first half of the feature (who needs darkness for a horror film?). Or when I saw The Wedding Banquet last year, and the audio in the theater made it sound tinny and distant. Don't forget when I saw Hoppers in IMAX a month ago, and the lights remained on for the first five minutes (including the looming, vibrantly bright IMAX logo on one of the side walls).

It's not just technical shortcomings that have informed my AMC hostility. It's also food. Only get pre-packaged candy at an AMC location, good Christ. For some reason, this is the one theater chain on the planet that can't make edible popcorn. A reliably yummy treat at the Angelika Dallas, Texas Theatre, or any other big screen location is cardboard at an AMC theater. Meanwhile, I still have nightmares about innocently chomping on AMC chicken fingers during my IMAX Star Trek Into Darkness screening...only to then spend the next day vomiting the "delicacy" up.

Let me be clear, by the way: any of the employees I've encountered at AMC locations have been the nicest people, doing their best and hardest to make the theatrical experience work. These shortcomings are because of bad corporate decisions or the employees being handed faulty food/equipment. Working-class AMC employees are not why I have hostility towards this theater chain. There's greater external dark magic at work within these cinematic domiciles.

However, I must come clean and eat crow when the time calls for it. I finally found an AMC location I like. Yes, Lisa Laman was enamored with an AMC multiplex. It must be the end times.

To watch the new Tamil-language historical drama Neelira on the big screen, my best buddy and I traveled to the one Texas movie theater playing this project: AMC Grapevine 30. Established in 1997, this theater might hold the record for most auditoriums in a single theater in the North Texas area. It's got so many screens that, when we went, they were still playing The Bride!, even though Warner Bros. has stopped tracking that film's box office numbers. Upon entering this location, it was immediately clear that this theater had a spaciousness and vibrant color palette that eludes other nearby AMC locations, like the AMC Northpark. The vastly distant rooftop made this space feel instantly roomy, a great ambiance to walk into.

Even better, though, is that there's a specific atmosphere to the AMC Grapevine. Everything inside is outer space themed! Specifically, it's rooted in a mid-20th-century Jetsons/Buzz Lightyear vision of the cosmos. Colors abound, everything is a little chunky-looking, and the floors are often draped with fuzzy rockets/planets carpeting that wouldn't be out of place in a pizza joint. Yellow is a dominant color throughout the location, while places like a toppings station have cutesy cosmic-themed names. Tiny blue planets (complete with adorable spiraling wiring holding them up) adorned with various white numbers indicate which auditorium you're next to. I've never been in an AMC that looks like this. Heck, I've never seen a movie theater that commits to this old-school cosmic ambiance.

Look at those cute spirals holding up the "planets"! And all those colors!

Maintaining that specificity even as the AMC Grapevine has embraced some modern accentuations (like those Coke Freestyle machines in the concession area) does wonders for the place. It just looks so inviting. Compare these decorative details to the Studio Movie Grill on North Central Expressway in Dallas. Inside this place, everything is so sparsely detailed. White backgrounds litter the entrance space, as do generic couches and a routine-looking bar area. A friend of mine remarked that it looked like an airport lounge, and that's totally it. Nothing about it screams "movie theater" or fun showmanship. God forbid a place making its money showing Sinners and Project Hail Mary have any dynamism in its architecture.

Meanwhile, the AMC Grapevine 30 feels very much like a space specifically put aside for spectacle and fun. The cosmic theming and bright colors are so unlike the typical movie-theater ambience (especially in the modern world) that they suggest anything is possible. What a fantastic mirror of how endlessly varied cinema is as an artistic medium. There's even charm in the deeply lived-in aura exuded through this place that has existed for 29 years. Everything still functions nicely and doesn't feel remotely delipidated. Instead, the AMC Grapevine 30's age excitingly makes it feel like you're stepping into something historic. You're now watching movies in a space that's housed everything from The Emperor's New Groove to Get Out. It's the best kind of time capsule that makes the past come alive rather than calcifying the present in constrictive nostalgia.

This theater's also shockingly easy to navigate despite its massive size, another major win for the complex. Easy-to-find and read signs help visitors navigate which of the 30 auditoriums they're visiting today, while splatterings of bright colors on the walls and fun cardboard standees littering the hallways make it a joy to just walk around the complex. The latter element was pretty much a given at any movie theater I went to as a kid. Nowadays, even places that used to be bursting with theater standees, like the Cinemark 16 in Allen, have largely eschewed these entities. How lovely to see these standees enduring at the AMC Grapveine, another visual signifier that you're in a movie theater, not an airport bar.

Even the auditoriums themselves are nicely done. Me and my friend were situated in one of the auditoriums that didn't have recliners, but that's fine by me. I care more about the projection and quality of the film itself than any gigantic recliner seat. Granted, this Grapevine auditorium wasn't extraordinary or deeply specific in design. I'm sure the projectors were (like the other AMC locations I've been to) nowhere near as crisp as the projector quality at the Texas Theatre. However, it got the job done, and inside there were (albeit more muted) red and yellow colors littering the walls to extend the locations primary visual aesthetic.

Look at that seating!

When I ventured into the women's restroom, I was greeted with another surprise: a cushy couch-ish area that looked like one half of a restaurant booth shaped like a quesadilla slice. I'd never seen something like this inside a movie theater bathroom before. What a lovely place to sit if the lines get too long or even just to collect your thoughts. That little sofa isn't something I'd expect to find in a restroom, but that just made its presence all the more welcome. This idiosyncratic touch cemented that the AMC Grapevine was a special place, right down to how its 30 screens offered up so many different kinds of cinematic experiences. You can see the biggest blockbusters here AND obscure Tamil-language releases.

Perhaps on another day something would've gone so horribly wrong that the AMC Grapevine would've incurred my ire rather than my affection. But on this day of seeing Neelira on the big screen, the theater not only worked like a charm, but its interior also dazzled me. Just gazing down any hallway of this place filled my eyes with hues of blue, silver, yellow, and light green, among other colors. Vibrancy and fun abounded in this realm, in sharp contrast to the drabness often plaguing the interiors of other AMC locations. Committing to specificity-drenched decor and pizzazz got even cantankerous me charmed by an AMC.

I still didn't touch the popcorn, though (besides nibbling a few kernels from my friend's bucket). I don't trust any AMC, not even this one, to do popcorn right enough to justify spending $11+.