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⚡ Quick Take

• Ahead of The Vampire Lestat, Anne Rice Immortal Universe head Mark Johnson shared in an exclusive, “We are getting closer” to a Night Island series.
• This is the first positive update we’ve heard on Night Island so far.
• A Night Island series would make more sense now than ever, given how much more we know about Armand, Daniel Molloy, and their relationship in the Anne Rice Immortal Universe.

In 2023, AMC’s Anne Rice Immortal Universe shared an exciting new update. A Night Island series was in the works. At the time, the information we received didn’t promise this would be a show all about Devil’s Minion, that is Interview with the Vampire/The Vampire Lestat‘s Armand and Daniel Molloy. But Anne Rice fans know that Night Island is the name of the palatial complex featured in the book Queen of the Damned, which Armand and Daniel built together and played out many of their romantic, psychosexual, twisted, and adorable dramas. So, it would be silly, really, not to center them. Alas, 2023 was quite some time ago. And while Talamasca, the other Anne Rice Immortal Universe show announced alongside Night Island, has been released and canceled in these last years, we have not heard much, if any, news on the Armand and Daniel show. But during our conversation around The Vampire Lestat, Anne Rice Immortal Universe producer and head Mark Johnson offered us at least a POSITIVE, if still vague, status update.

AMCNight Island Is Getting “Closer” to Us

With a grin, Johnson shared of the Night Island series’ current state, “We’re getting closer.” And hey, at least that’s directional in the way we hope to hear. Johnson wouldn’t say much more than that, but as compared to the last time we heard about Night Island, in the fall of 2025, it sounds more promising. At that point, Johnson merely demurred, saying they had several books and projects in development and leaving it at that.

In many ways, though, it could be the perfect time for a Night Island series to arrive. As we mentioned, Talamasca ended up canceled late last year after a one-season run, leaving a vacancy in the lineup of the Anne Rice Immortal Universe. And, simultaneously, fans have never been more invested in the relationship between Armand and Daniel. Given the long canon history between them and the potential for Night Island to exist in both the past and the present storylines of the AMC series, it feels like there might be a lot to mine from giving the pair some screentime that’s all their own.

AMC

Recently, showrunner Rolin Jones shared that Luke Brandon Field, who perfectly plays young Daniel, would not be in The Vampire Lestat/Interview with the Vampire season three. But that he might be back for season four/”the future”—hinting at the idea that more past scenes of Daniel and Armand exist than we know of presently. In the meantime, Armand and Daniel’s present-day The Vampire Lestat storylines are inextricably bound together, given their relationship as Maker and Fledgling. Whether the Night Island series would center on Zaman and Field or Zaman and Bogosian, or preferably, all three—we know it would be a hit.

What Do We Already Know About the Anne Rice Immortal Universe Night Island Series?

To refresh everyone’s memories, here is the initial description of Night Island released by the AMC Anne Rice Immortal Universe. Night Island was said to be “a six-part series with ‘short-form’ episodes that will probably be about 10-15 minutes long. It will be written by Interview with the Vampire series writer Jonathan Ceniceroz. The story will follow human burglars who attempt to steal a valuable painting from the island. What they don’t realize is it’s home to a coven of the undead.”

AMC

At the time, AMC even released some Night Island key art, and Assad Zaman and Jonathan Ceniceroz both shared the image. Ceniceroz wrote in a now-deleted Instagram post, “Ikg fwd to sharing with you when the blood has dried… many new characters, a few bold choices… some expansions, contractions, amid a healthy dose of island weirdness and vampire hijinks we’ve come to love and respect…” Most likely, the series will have changed since then, but it does sound like the original version would also have been fun.

More About Armand and Daniel’s Island in Anne Rice’s Books

Additionally, we’d love to paint the picture of what a Night Island series might bring. Here’s a little bit of Night Island context from Anne Rice’s writings that we at Nerdist have shared before:

Many years into the relationship between Armand and Daniel, Armand decided to become “incalculably wealthy.” Using his knowledge of where old ships with treasure lay at the bottom of the ocean, he recruited Daniel, who now saw himself as “the Devil’s Minion,” to help him procure wealth. All while he was asleep during the day. With this fortune, Armand, with forged documents Daniel helped him create, purchased an island off the coast of Florida. Armand turned it into an entertainment and shopping paradise that came alive only after dark called The Night Island. (As Anne Rice shared, Night Island was “Armand’s own personal creation with its five dazzling glass stories of theaters, restaurants and shops.”)

Armand and Daniel lived at Night Island for years in the Vampire Chronicles. Daniel had everything he wanted from Armand, the finest clothes, the newest cars, all except the one thing he wanted most—to become a vampire himself. However, when Daniel’s life was in danger, on one of the many instances when he would run away from Armand, the 500-year-old vampire gave him what he wanted at last, and turned him. As Armand feared, however, making Daniel a vampire would only serve to drive a bigger wedge between them.

AMC

Of course, in the series, Daniel is already a vampire, although it is still fully possible that Night Island happened, but Armand simply removed the vision of it from Daniel’s memories. OR, Night Island COULD still happen, a refuge for Armand and Daniel that could come after the events of Queen of the Damned in the series. Like we said, in either case, we’re seated, and ready to party “from sunset ’til dawn.”

We could not imagine anything better than a series full of Armand and Daniel’s sometimes sweet snuggles and sometimes viciously petty spats.

It Could Be a Good Thing Night Island Has Been So Delayed

Ultimately, when Night Island was first announced, we had barely just met Armand in Interview with the Vampire, let alone understood his beautiful and complicated relationship with Daniel Molloy. Night Island would have been fun in 2023, but probably not half as meaningful. Although exploring Lestat is obviously central to the project of The Vampire Lestat, Armand and Daniel’s relationship is probably right up there in terms of importance. And so, more than ever, giving us Night Island now would make a lot of SENSE.

And hey, we are getting closer.

The Vampire Lestat airs at 9 pm ET/PT on AMC and AMC+. You can also read The Vampire Lestat by Anne Rice today as you wait for the next episode of the series to air.

Rotem Rusak is Editor-in-Chief of Nerdist. She is waiting for Armand and Daniel to finally get together so one of her canon ships can finally sail on The Vampire Lestat.

This post has affiliate links, which means we may earn advertising money if you buy something. This doesn’t cost you anything extra, we just have to give you the heads up for legal reasons. Click away!

The post ‘We’re Getting Closer’ on NIGHT ISLAND, Says THE VAMPIRE LESTAT Head Mark Johnson (Exclusive) appeared first on Nerdist.

⚡ Quick Take

• Disclosure Day works as an entertaining sci-fi heist with a world-class Emily Blunt performance, but as a serious drama it’s empty and trite.

If you’re looking for an entertaining summer blockbuster, then Disclosure Day is the movie for you. It’s a good time at the theaters if you watch it for what it is and not what you thought it might be. Steven Spielberg’s latest works as a well-made, mindless sci-fi heist that is elevated by a handful of powerful sequences and an Oscar-worthy performance from Emily Blunt. But if you’re hoping to see a truly great movie with something interesting or insightful to say, look elsewhere. Disclosure Day has no new ideas and doesn’t do a very good job exploring the old ones it relies on.

Disclosure Day works best as a moviegoing experience when you realize it’s spiritually a popcorn flick with a giant budget. It (mostly) looks great and has real scope. Disclosure Day feels big even when it’s driving through mostly abandoned farmland in the Midwest. Unsurprisingly, the director who made dinosaurs look real in 1993 didn’t forget what a deer or raccoon looks like. There’s a narrative reason for those unnatural CGI animals. The real issue with the visuals and cinematography come in the last 20 minutes. The end of this movie features sequences that look laughably bad. They also contribute to the film’s lame conclusion.

The movie also has some fun sci-fi elements that it wisely doesn’t over explain. You know as much as you need to know about alien artifacts and nothing more. That approach helps the pacing while avoiding needless exposition. Ultimately, in terms of structure and storytelling, Disclosure Day has far more in common with movies like Enemy of the State or The Firm than most science fiction, even if it does resemble Spielberg’s War of the Worlds.

Universal Pictures

I love both of those movies and consider them top notch popcorn flicks, which are some of my favorite movie experiences. I don’t use that term or “B-movie” as pejoratives. The issue for Disclosure Day is that it certainly thinks it’s so much more than that. It wants you to view it as a deep, insightful, powerful drama.

It ain’t. At all.

It’s genuinely shocking just how little Disclosure Day has to say. Its biggest ideas feel trite at best and stolen at worst. There’s not a single new or interesting idea in this film. Its most prominent themes feel like they were lifted directly from Men in Black and Contact, two vastly superior movies that both do a much better job exploring the ideas Disclosure Day is apparently most interested in. I say apparently because screenwriter David Koepp’s script is sort of a sneaky disaster. It deals a lot with what the existence of aliens would mean for faith. It’s the idea the movie spends the most time on. And yet it still feels like an incomplete exploration with very little payoff.

Universal Pictures

The movie’s main idea, which is about co-existing and empathy, somehow feels like less than afterthought. It’s barely mentioned, let alone developed. How can I say an idea that’s barely present in a film is clearly its main theme? I can’t tell you without spoiling the ending, but I can tell you I didn’t know whether to laugh or groan when the credits rolled. It’s just….nothing. And, fair or not, I expected a whole lot more from a sci-fi movie made by the same director behind Close Encounters of the Third Kind, Jurassic Park, and Minority Report.

Instead of Disclosure Day giving me something to think about, all I could think was, “I’ve heard all of this before in better movies.” I’m not exaggerating when I say the iconic bench scene between Tommy Lee Jones and Will Smith in Men in Black, the one where they discuss how “a person is smart, people are dumb,” has far more heft and intellectual power than any equivalent idea or scene in Disclosure Day. (That’s not a knock on Men in Black, a perfect movie. I’m saying that one great scene bests the entirety of Disclosure Day‘s own attempts at deep thought.) Every exploration of faith and the concept of aliens existing in this movie was done with more care and thought by Contact.

Universal Pictures

Another big reason to only watch Disclosure Day as pure entertainment rather than a serious drama is because its plot is essentially nonsense. If you think critically about what happens for more than five seconds the whole thing falls apart. The more you reflect on this movie the more it becomes downright stupid. People with unfathomable power do (or do not do) obvious things because the plot needs that to happen. The result is many moments and plot points that feel entirely inauthentic. There are also a handful of scenes that are at best not earned and at worst clunky and awkward. On a few occasions, the dialogue also suddenly gets hammy. It reads as a desperate attempt to give the story a meaning it never comes close to offering.

When it ended my first thought was, “That was it? Why did they make that movie?” My next thought was—despite a dud of an ending that gets lamer the more you sit with it—“I’m far more interested in what happens next than what I just watched.” Disclosure Day feels like a subpar prequel to a far more interesting movie they forgot to make.

Universal Pictures

It might seem impossible I can be this harsh about a movie I found banal and empty yet still say it was generally entertaining, but it really does work as a well-crafted B-movie. It’s also buoyed by what might be the best performance of Emily Blunt’s career. She’s incredible as the weather woman for a local news cast who suddenly finds herself possessing unexplained gifts. Her Margaret Fairchild is in a far more interesting film than anyone else. She also has scenes so good and so emotional, I found myself on the verge of tears multiple times.

Margaret’s own story does fit into what the film is attempting to do say about being heard and understood. But her journey is far better than the bigger one she finds herself caught up in. It’s truly beautiful and profound and I wish it got even more focus than it did. The script just doesn’t fully appreciate what it’s doing with her. It also fumbles Margaret’s arc (along with everything else) in the end. But at least along the way Blunt, who is truly a powerhouse presence in the film, gives us a reason to keep watching all on her own. The problem is every time we leave Margaret, we go right back to the empty sci-fi heist. And that movie has little else to hold on to.

Universal Pictures

The rest of the cast is also really good, but the script simply doesn’t give them enough to do. Colin Firth gets a couple of great scenes as the primary villain Noah Scanlon, but it’s not nearly enough. I was desperate to get even more from his character. That was even more true of Josh O’Connor’s abnormally brilliant hacker Dr. Daniel Kellner. O’Connor is good. He’s just not asked to do much despite being the co-lead. The same is true of Colman Domingo’s Hugo, a character so underwritten it’s a testament to Domingo’s talent that Hugo doesn’t disappear into the background. He’s mostly walks around one same small room and talks while smiling.

Besides Blunt’s Margaret, the script really only gives Eve Hewson’s Jane a chance to shine. She’s the character who most struggles with her faith and whether or not to tell the world the truth about aliens. Then the movie bungles her story the same as it bungles everything else.

For what I hoped and expected from one of cinema’s greatest directors, Disclosure Day is disappointing. Outside of Emily Blunt’s performance, it’s just not a good movie. At least not on its own terms. But if you treat it as entertainment it is a fun one.

Disclosure Day hits theaters on June 12.

Disclosure Day ⭐ (3 of 5)

Mikey Walsh is a staff writer at Nerdist. He wants to talk about the absurd end of this movie after you see it. You can follow him on Bluesky at @burgermike. And also anywhere someone is ranking the Targaryen kings.

The post DISCLOSURE DAY Is an Entertaining Sci-Fi Heist but a Drama With Nothing New To Say appeared first on Nerdist.

A World Cup referee from Somalia confirmed on Tuesday that US border patrol officials denied him entry into the country.

“I am very, very disappointed,” Omar Abdulkadir Artan, one of 52 referees chosen in April for the upcoming FIFA Men’s World Cup, told the New York Times. “I’m just simply a referee who’s trying to live his dream, the biggest dream of my life, to come to the World Cup.” 

Artan added that he “had the right papers” and “the right visa.” According to the Associated Press, the Somalia embassy in Kenya said it processed his travel visa to the US last week.

US border officials said on Monday that Artan would not take part in the soccer tournament. Artan would have been the first Somali referee to officiate a World Cup game and was named the men’s referee of the year by Africa’s soccer federation in 2025. 

According to a statement from the US Customs and Border Protection, Artan flew to Miami International Airport from Istanbul International Airport on Saturday. CBP inspected him “to verify information or determine admissibility” and was denied entry “due to vetting concerns.” 

The federal agency did not disclose what specific “vetting concerns” it found. 

A World Cup referee was denied entry on June 6 after arriving in Miami, a U.S. Customs and Border Protection spox confirms:

“On June 6, a Somali national arrived at Miami International Airport from Istanbul International Airport. During processing, the traveler underwent…

— Sophia Cai (@SophiaCai99) June 8, 2026

Artan told the New York Times that his immigration interview lasted for 11 hours. Afterward, he was put in a holding cell for several hours before being forced on a flight back to Istanbul.

Last June, the White House labeled Somalia as “a terrorist safe haven” with a government that “lacks command and control of its territory.” President Donald Trump has repeatedly hurled abuse at Somali immigrants, calling them “garbage” last December and using fraud cases in Minnesota involving them to justify cuts to social services like child care and the massive ICE raids in the state.

According to the Council on Foreign Relations, an American foreign policy and international relations nonprofit, the US gave 3,196 visas to travelers from Somalia between May 2024 and April 2025. In January 2025, Trump fully restricted people from Somalia from entering the US, noting national security and public safety concerns over “foreign terrorists.”

The CBP preventing Artan from refereeing at the World Cup is just one story in a series of US visa denials of national team players, staff, and other sports officials from making it to the tournament. As I wrote last week, according to Iran’s football federation chief, the players had not yet received their US visas. Since then, all of Iran’s players have received visas, but more than a dozen staff members—which can include coaches, medical professionals, and trainers—were rejected.

"The no-kill-switch kind of thing? It's increasingly becoming a requirement," says Neo4j CEO Emil Eifrem. This is one of the reasons behind the company's decision to buy GraphAware, an intelligence analysis software platform built on the graph database, which is positioning itself as an alternative to Palantir, the controversial US spy-tech biz. The purchase has been in the offing for a while, but the timing of the announcement was fortuitous for Neo4j. On the same day, the European Commission presented the European Technological Sovereignty Package, a set of measures to strengthen Europe's capacity in semiconductors, AI, cloud, and open source. It comes amid widespread concern over the dependence European companies and government agencies have on tech vendors subject to US law. Fears over a "kill switch" for US software were stoked in June 2025, when Microsoft admitted under oath in a French court that it couldn't guarantee digital sovereignty if American authorities demanded access to data held on Microsoft servers on foreign soil. An analysis of European dependence on US technology found that one major weakness – or "kill switch" – is Identity and Access Management (IAM), where the Redmond vendor's Entra ID is a near-monopoly with few alternatives. GraphAware has built an intelligence platform on top of the Neo4j database used by police and government agencies worldwide, and is positioned as a competitor to Palantir. Speaking to The Register, GraphAware CEO Michal Bachman explained that users need not be dependent on any third party to keep the software running as it is based on open architecture and open standards. The system is built on the Neo4j graph database, which operates on an open-core model, and customers build queries using the Cypher query language, which is very close to the open language GQL. "Nothing in the platform modifies the data in a proprietary way. So if you want to export it, you can export it," Bachman said. The database and intelligence stack can also be deployed on-premises or in a private cloud. "The customer is in full control over how it's deployed, where it's deployed, where the data is stored, it doesn't call home, and you can deploy in an air-gapped environment. You don't need internet access. Nothing, no one can turn it off," he said. Palantir is mostly run as SaaS in the public cloud, although its products can be run in the private cloud or on-prem. Its Gotham platform – which GraphAware competes with – is designed for defense, intelligence, and law enforcement agencies, helping operators connect the dots between disparate sources. In the UK, concerns about Palantir have been growing. Last week, lawmakers warned the spy-tech vendor's increasing presence in the public sector was an "unacceptable point of weakness" and urged the government to exercise the 2027 break clause in the controversial NHS Federated Data Platform contract, based on the Palantir Foundry system. Palantir's leadership seems willing to continue to stoke controversy. Last year, CEO Alex Karp said the founders planned to build a company that "could power the West to its obvious innate superiority." Earlier in the year, he claimed AI would mean Western economies don't need immigration. Speaking to The Register, Neo4j's Eifrem said the "cultural transformation" in technology and politics was another motivation for buying the GraphAware intelligence platform. "The trust in centralized institutions has been this one-way slope for decades – since the '70s – at least in the Western world. Then the internet comes around with social media and podcasts, creating decentralized media. Everyone gets a voice. Then on top of that, we have a counter-trend to the cancel culture thing; it's like the Overton window has expanded significantly." Whether that's good or bad, Eifrem said it was Neo4j's plan to offer a viable, more open alternative to Palantir, built on graph semantics well-suited to intelligence gathering. ®

Have you ever forced taxpayers to spend hundreds of thousands of dollars on security costs, shut down a massive chunk of the United States’ largest city, and inconvenienced tens of thousands of people, only to be booed mercilessly, take a televised nap, and ultimately jinx a professional sports team whose fans have been waiting more than 50 years to see them win a championship? Well…

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Apple may begin removing existing apps that it considers stale, low-value, or unable to attract users.

This post is updated throughout the day to reflect the latest incidents. It was last updated at 8:01 a.m.

Here’s what’s happening on Santa Cruz County roads this morning…

▼︎ new incidents

Road incidents as of 8 a.m. on June 9

• A traffic hazard was reported at Daubenbiss Avenue and Soquel Drive in Soquel at 7:01 a.m. today. Several vehicles, including a white Toyota Prius, gray Ford Escape and black Dodge Ram, were parked in a way that caused a hazard. A construction crew tried to find the owners by knocking on doors in the neighborhood. If they couldn’t find the owners, authorities planned to tow the vehicles.
   
• A person was seen pretending to jump in front of a car, causing a traffic hazard at Graham Hill Road and Tanglewood Trail north of Santa Cruz. This was reported today.
   
• A traffic hazard was reported at Capitola Road Extension and Soquel Avenue in Live Oak area at 7:56 a.m. today. An object was sticking into the road, causing drivers to move into oncoming traffic.
   
• South Highway 1 at Park Avenue in Capitola is facing closures for roadwork. The closure is expected to end on Aug. 19.
   
• Highway 9 at Cascade Avenue in Brookdale has one-way traffic due to ongoing work. This closure is expected to last until Aug. 31.
   
• There will be alternating lane closures on Highway 9 at Pool Drive in Boulder Creek because of bridge work. This is scheduled to continue until April 30, 2027.
   
• A lane on westbound Highway 152 at Clifford Drive/Ohlone Parkway in Watsonville is closed for asphalt paving. The closure is expected to last until July 3.
   
• The California Highway Patrol helped Caltrans with repaving work on eastbound Highway 152 between Green Valley Rd and Ohlone Parkway in Watsonville. The #2 lane was to be closed for maintenance from 8:30 a.m. to 4 p.m. today.
   

Disclosure: Traffic incidents are partially generated by artificial intelligence. We are constantly working to improve the accuracy and quality of our AI-generated content. However, there may still be errors or inaccuracies. If you have any questions or concerns, please contact us.

The post Tuesday morning traffic: Multiple road closures, hazards and lane blocks reported appeared first on Lookout Santa Cruz.

While iOS 27 isn't bringing major changes, it's still got many small features that could improve everyday usage for iPhone users.

Republican Sen. Ted Cruz of Texas was on Fox News to deliver his version of a smear campaign against Democratic Senate candidate James Talarico. “I gotta say, if you were making a list of a thousand adjectives to describe this guy, ‘masculine’ would not be one of them,” Cruz said. “I mean, this guy, if a stiff breeze came by, it would blow him over like a feather. This is also a guy who—his…

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⚡ Quick Take

• Yes, Masters of the Uninverse crashed out hard at the box office. But here’s why we may not have seen the last of He-Man and friends.

Despite an atomic level of hype online in the months leading up to its premiere, Amazon MGM Studios’ Masters of the Universe live-action film crashed hard at the box office on its opening weekend, making a mere $29 million domestically. This happened despite getting largely positive critical and fan reviews. Amazon MGM Studios (and Mattel) poured a ton of money into creating awareness for the film, with huge drone shows, TikToks, and a metric ton of product tie-ins. All of this was topped off by a huge premiere at Hollywood’s Chinese Theater, where a massive Castle Grayskull facade was built for just one night. So, what went wrong with the Travis Knight sci-fi/fantasy film? Why couldn’t it connect, despite the hype? And is this the final nail in the coffin of this 44-year-old franchise? We don’t think it is over yet.

Amazon MGM Studios

The conventional wisdom going into this was that MOTU, as a brand, was for a very specific audience. And the exit demographics for this weekend show that to be the case, with the largest demographic consisting of men ages 45-54. That’s just not a demographic that rushes out to see movies on opening weekend in big numbers, or at all. Gen X (and even elder Millennials) are content with waiting for streaming, as Gen Z is now the largest moviegoing demographic. And Gen Z has next to no awareness of MOTU as a brand, except perhaps as memes online. Those going this weekend under 18? A meager 11%. And they have movies out right now made by them and for them, like Obsession and Backrooms. They’re not flocking to grandpa’s IP. MOTU becoming a box office hit was always an uphill battle.

Mattel

That’s not to say all “old IPs” are all just for old people. Batman was a fifty-year-old property when it set box office records in 1989. Marvel heroes had been around for fifty years when the MCU exploded. TMNT recently did well too, and that’s just about as geriatric an IP as He-Man. So what’s the difference? All of those others were brands that never died. Thanks to cartoons, toys, or comics, they stayed in the public consciousness. MOTU lasted from 1982 to 1987, flamed out hard, and all future attempts to come back strong fizzled out. It thrives now as a nostalgia brand for older collectors. So why should younger audiences even care? And without younger crowds, it’s nearly impossible to have a box office hit. The olds usually stay home.

Amazon MGM Studios

As we stated two years ago, MOTU should have always been a streaming series or movie. Netflix was producing a MOTU film for its service just a few years back. A MOTU movie such as this one would have likely cleaned up in the 2000s, when Gen X was still young enough to be a prime moviegoing audience, and taking their young kids to see things like Transformers. Those same Xers would have eaten MOTU up this year as a streaming movie. The people who want this movie are very happy to stay on their couch, unless the movie is a must-see event. And MOTU just was not that. This is likely why Amazon MGM decided to skip Henry Cavill’s $100 million Voltron from going to theaters.

RELATED ARTICLE

How MASTERS OF THE UNIVERSE Lore Evolved Over 40 Years

So what becomes of MOTU next? Should Mattel give up all attempts at making the brand relevant and just keep selling high-end replicas of older toys to its AARP-ready audience? Maybe. But Amazon, which still has the rights, should think outside the box. The movie may not have a promising box office, but the word of mouth on it is good. You’re unlikely to see many bad things said by those who have seen it on social media. There seems to be an overwhelming feeling of “pleasantly surprised.” They should simply read the tea leaves on the non-theatrical future of MOTU, and release the film to Prime Video now. Don’t wait two or three months. Do it in three weeks. Drop it while the film is still in the conversation. And if the streaming numbers are good, then pivot. Let MOTU become a streaming franchise.

Amazon MGM

There’s some indication that Amazon MGM Studios is already doing this. After the disappointing first weekend, Amazon MGM’s domestic distribution chief Kevin Wilson said: “Travis Knight and the entire cast and filmmaking team have delivered something truly special, and this opening is exactly the kind of critical first moment that validates our holistic distribution strategy—building awareness and engagement that will carry well beyond the theatrical window.”

Now, he could just be trying to save face in front of the shareholders. Or, the theatrical release of MOTU was a test run to see if it could work in theaters. But the true success or failure would always depend on its streaming numbers. And movies with theatrical releases tend to draw larger viewership, as they are seen as “real” movies more. This is likely why MOTU ended up getting a theatrical window at all.

Amazon MGM

Amazon MGM Studios is not like other Hollywood studios. They’re dabbling in theatrical now with some success, like Project Hail Mary. But streaming is still where their bread is buttered. And nothing is keeping MOTU from being a streaming franchise. None of its stars are so big and famous that they can’t appear in a streaming project. (Most come from TV.)

Only Jared Leto might see himself as too famous for a streaming franchise. (He’s not, but he probably thinks he is.) And any other decent actor can play Skeletor, and few would know the difference. Amazon should make the most of its investment and simply switch gears. Treat the theatrical release as an extended reintroduction to the brand, take the box office bruises, and reimagine things for streaming. Because we’d sure like to see that She-Ra tease pay off somewhere, even if it’s not on the big screen.

The post Does MASTERS OF THE UNIVERSE Have a Future, Or Is It DOA? appeared first on Nerdist.

Apple is expanding its App Bundles feature to allow developers to partner with one another on discounted subscription packages.

⚡ Quick Take

• The Interview with the Vampire season two finale gave fans a Daniel/Armand pairing straight from Anne Rice’s novels. Here, we provide context about the Devil’s Minion pairing from the books.
• Armand and Daniel’s relationship features in “The Story of Daniel, the Devil’s Minion, or the Boy from Interview with the Vampire” from Queen of the Damned.
• AMC’s Interview with the Vampire and The Vampire Lestat series continue to adapt the pair’s tale.

The finale of Interview with the Vampire season two had quite the twist, as a flash forward showed the audience that the Vampire Armand (Assad Zaman) had turned the reporter Daniel Molloy (Eric Bogosian) into a vampire, some time before or after published his interviews with Louis and Armand as a book. We don’t know exactly how and when this happened. It seems to be an act committed more out of spite towards Daniel than love. However, Armand making Daniel a vampire on Interview with the Vampire does have its origins in Anne Rice’s Vampire Chronicles series of novels.

AMC

In the novels, Daniel Molloy doesn’t even have a proper name until the third novel in Rice’s series, The Queen of the Damned. In the 1976 novel Interview with the Vampire, the young reporter was simply referred to as “the Boy.” At the end of that first novel, he ran off, with Louis’ tapes in tow, hoping to find Lestat. In book two, The Vampire Lestat, we find out that the boy had the recordings transcribed and published as the book Interview with the Vampire. A recently reemerged Lestat discovered that his name and much of his life was put on public display for mortals, passed off as fiction. Yet we never learned what became of the young reporter until Rice’s third novel.

“The Story of Daniel, the Devil’s Minion, or the Boy from Interview with the Vampire“ from Queen of the Damned

In 1988’s Queen of the Damned, we learned in Part 1, Chapter 4, a chapter called “The Story of Daniel, the Devil’s Minion, or the Boy from Interview with the Vampire” that the anonymous boy went searching for Lestat after his fateful interview with Louis in San Francisco in 1973. We also now had a proper name for him—Daniel Molloy. Lestat was slumbering at the time of Daniel’s search, and he didn’t find the undead French aristocrat. Instead, the Vampire Armand finds Daniel while he searches for Lestat, during a time when Armand made New Orleans his home. No other vampires lived there, as Lestat had long ago gone to sleep. Armand had “cleaned out” the city of any younger vampires. No one else dared to call New Orleans home at this time, as it was Armand’s territory.

AMC

Scanning Daniel’s thoughts upon encountering him, Armand discovered this young mortal boy knew his name, and his true vampiric nature, and became fascinated. He began stalking him, and no matter what city or country Daniel ran to, Armand would find him. At first, he casually threatened to kill him if he ever published his book. Yet he continued to allow him to live for his own amusement. Then something unexpected happened. After years of cat and mouse, Armand came to actually love the mortal Daniel. Even so, he constantly refused to give him the Dark Gift, no matter how much he begged.

Daniel, Armand, and the Night Island

Many years into their relationship, Armand decided to become “incalculably wealthy.” Using his knowledge of where old ships with treasure lay at the bottom of the ocean, he recruited Daniel, who now saw himself as “the Devil’s Minion,” to help him procure wealth. All while he was asleep during the day. With this fortune, Armand, with forged documents Daniel helped him create, purchased an island off the coast of Florida. Armand turned it into an entertainment and shopping paradise that came alive only after dark called The Night Island.

Armand and Daniel lived at Night Island for years in the Vampire Chronicles. Daniel had everything he wanted from Armand, the finest clothes, the newest cars, all except the one thing he wanted most—to become a vampire himself. However, when Daniel’s life was in danger, on one of the many instances when he would run away from Armand, the 500-year-old vampire gave him what he wanted at last, and turned him. As Armand feared, however, making Daniel a vampire would only serve to drive a bigger wedge between them.

Daniel and Armand in AMC’s Interview with the Vampire AMC

All we know from the AMC Interview with the Vampire series is that sometime after Daniel reveals to Louis the truth about Armand, and how he planned to let his Paris coven execute him along with Claudia, he turns Daniel into a vampire out of spite. (Or so Louis says.) But when did this happen? We don’t know yet. Do Interview with the Vampire‘s Daniel and Armand engage in a relationship similar to the one they had in the books? There doesn’t seem enough time for that intense love/hate relationship to have happened offscreen. Unless there is one further wrinkle to Daniel and Armand’s story that Interview with the Vampire is waiting to spring on us.

We know from episode five of season two of the series, that Armand encountered Daniel back in 1973, interrupting Louis almost killing Daniel. Not only encountered him, but very nearly killed him, and erased his memories of the event. Yet he clearly had a fascination with Daniel, and Interview with the Vampire leaves space for the possibility that the pair had a relationship decades ago. One that Armand then wiped from Daniel’s mind. After all, there is a limited series AMC announced called The Night Island. Could this series, at least in part, involve Interview with the Vampire‘s Armand and Daniel and their relationship?

AMC+Devil’s Minion in The Vampire Lestat

For now, all we know is that when asked to describe what lives between Armand and Daniel, Eric Bogosian, who plays Daniel Molloy shared, “I feel that Armand’s love for Daniel is like when a kid has a stuffed animal, and he drags it around with him for like years until it has one button, and a hole for an eye. And he loves that little stuffed animal. So, it’s as romantic as that can be.” Well, we’ll take it!

Additionally, in a recent tease for the upcoming series, Armand’s actor Assad Zaman, revealed he’d be saying the following line to Daniel Molloy. “Love between vampires can be one thing… Or it can be many things.” But whether that line is discussing the love between Armand and Daniel the the love between other vampires, we don’t yet know.

I FAINTED I SCREAMED I CRIED pic.twitter.com/2VyJyBAkvk

— emme | 3 DAYS TILL YSPSFAGSIL (@danielsjournals) May 11, 2026

The human brain cannot begin to anticipate which lines from #TheVampireLestat will take up residence in its every crevice. pic.twitter.com/vabPUDrQBC

— The Vampire Lestat (@AMCsAnneRice) May 11, 2026

Ultimately, there are lots of ways this story could go for Daniel and Armand, and we’re eager to see how Interview with the Vampire tackles this fan-favorite pairing going forward.

Originally published July 1, 2024.

The post The Book Inspirations Behind the Armand/Daniel Vampiric Pairing in INTERVIEW WITH THE VAMPIRE (And What ‘Devil’s Minion’ Really Means) appeared first on Nerdist.

Apple will now recommend apps based on your downloads and behavior.

The Document Foundation has taken a swing at Euro-Office, accusing the self-described sovereign productivity suite of doing Microsoft's content lock-in strategy a favor while wrapping itself in the language of European digital independence. The attack came from Italo Vignoli, a founding member of The Document Foundation, who published an open letter on Monday, just hours before after Euro-Office 1.0 debuted as what its backers describe as a "truly open" and sovereign alternative to Microsoft Office. "In recent days you will have read various articles announcing the arrival of Euro-Office, which is being 'marketed' as the first open-source office suite developed in Europe," he wrote. "We feel compelled — reluctantly, since open source should rest on transparency, not deception — to correct this claim.” According to Vignoli, that title belongs to OpenOffice.org, released in 2001 from Sun Microsystems' StarOffice codebase, followed by LibreOffice in 2010. His argument is that Euro-Office is the latest entrant in a market Europe helped create, not the pioneer its marketing suggests. The dispute is the latest chapter in a sovereignty spat that has been brewing since April, when German cloud outfit Nextcloud and hosting giant Ionos unveiled Euro-Office, a fork of the OnlyOffice productivity suite pitched at organizations seeking European-controlled alternatives to US software vendors. The launch immediately drew criticism from OnlyOffice's original developer, who objected to the fork and its branding. Now LibreOffice has joined the pile-on. Vignoli argues that genuine digital sovereignty depends on the use of the Open Document Format (ODF), the ISO-standardized format championed by LibreOffice and other open source office suites. However, Euro-Office defaults to Microsoft's Office Open XML (OOXML) format, which remains the dominant format across corporate desktops despite years of complaints from open source advocates. "Euro-Office defaults to the fully proprietary OOXML document format, developed and controlled solely by Microsoft," Vignoli wrote. "This makes it a de facto ally of Microsoft in its content lock-in strategy, with control remaining firmly in Redmond and far from Europe. The project's backers have presented Euro-Office as a European answer to concerns about dependence on American software providers and cloud platforms, part of a broader push for digital sovereignty that is gathering momentum across the continent. In the Document Foundation's view, there's not much sovereignty in swapping Microsoft Office for a suite that still defaults to Microsoft's document format. “The announcement … strengthens Microsoft’s strategy against European Digital Sovereignty, or, if you prefer, against the freedom of European users to control and manage their own content,” Vignoli said. A spokesperson for Euro-Office's creators told The Register: "We agree that proprietary file formats are a serious hinderance to digital sovereignty. We thus need to free users who are stuck using these formats, and enable them to work with an open office platform. This will allow organizations to transition to open document formats like ODF." "Euro-Office will focus development efforts on improving ODF support. Ultimately, ODF should be the standard - not OOXM, and we will work towards that." ®

⚡ Quick Take

• Elle’s teaser trailer is here, giving us our first look at the Legally Blonde prequel series. And you know what we like it!

“On this perfect day,” we finally get our first look at Elle as the Legally Blonde prequel series releases its first trailer. And honestly, it’s giving us some pretty good vibes. We didn’t really know what to expect from this series, and we’re not sure we totally require it, but it does seem to understand Legally Blonde. From its nostalgic soundtrack to its very Legally Blonde-esque record scratch when things take a turn for “the worst,” we really feel the spiritual energy of the movie we love so much return to us. You can watch the Elle trailer below.

It’s all going perfectly for Elle in this Legally Blonde prequel series trailer. Her world is pink and full of sunshine. But then it all gets flipped on its head when she and her family have to move to… Seattle!!!! THE HORROR OF IT ALL. WILL THE TRAGEDIES NEVER END?

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Horror Director Oz Perkins’ Role as LEGALLY BLONDE’s Dorky David Will Always Have a Place in Our Hearts

Elle is suddenly feeling very blonde in a world of rainy days, earth tones, and grown-out roots. But what’s a girl to do? Get support from Bruiser Woods and get out there. The time has come to show that pink IS a personality and Elle can do anything, even learn how to “speak Seattle.” The synopsis for Elle released with the trailer shares, “Season One of Elle follows Elle Woods before she was a fish-out-of-water at Harvard. We meet her in 1995 as a fish in the tumultuous waters of high school where she encounters tricky friendships, forbidden romance, and questionable fashion choices. Through it all, Elle uses her family as a touchstone, and forms an even tighter bond to her mother, proving that they can get through anything life throws their way as long as they have each other. With each challenge she faces, Elle grows closer to the Elle Woods we know and love today.“

As they say, we love you, Elle! And truly hope this sequel series is able to capture the real magic of the original movie. In addition to the Elle trailer, here are a few more details about the Legally Blonde prequel series:

Created by Laura Kittrell (High School, Insecure), Elle is co-showrun and executive produced by Kittrell and Caroline Dries. Reese Witherspoon, Lauren Neustadter, Amanda Brown and Marc Platt also serve as executive producers. Jason Moore (Pitch Perfect) directed the first two episodes of Season One, and also serves as an executive producer. Bryan J. Raber and Asmita Paranjape serve as producers. Josie Craven and Jen Regan serve as supervising producers.

The Season One cast includes Lexi Minetree as Elle Woods, June Diane Raphael as Elle’s mother Eva, and Tom Everett Scott as her father Wyatt, alongside Jacob Moskovitz, Gabrielle Policano, Chandler Kinney, Zac Looker, and Amy Pietz. Recurring cast members include Jessica Belkin, Danielle Chand, Matt Oberg, Chloe Wepper, Logan Shroyer, Sharon Taylor, David Burtka, Brad Harder, Kayla Maisonet, Lisa Yamada, and James Van Der Beek.

Prime VideoPrime Video

Elle premieres on July 1 and streams on Prime Video.

Originally published on June 9.

The post ELLE Trailer Captures LEGALLY BLONDE Energy Perfectly appeared first on Nerdist.

Sandstone's Series A was led by Lightspeed Partners, with participation from Sequoia.

Enola Holmes is back on the case and dealing with some big personal and professional questions in yet another film. Millie Bobby Brown returns in the trailer for Enola Holmes 3 as we see her titular character prepare for her big wedding day. She’s set to marry her love, Earnest Augustus of the House of Tewkesbury, but she’s not so sure about giving up her infamous last name. While pondering the ramifications of marriage, things get even spicier in Malta when she learns that her sleuth brother Sherlock is missing. 

Well, that’s quite the news to get on the morning of your wedding. We are pretty sure that plans will be cancelled as Enola tries to bring her brother home. She says that a Holmes would not disappear under any circumstances without leaving clues, which means she will be chasing clever breadcrumbs to lead her to Sherlock.

Netflix

Who would ever think to kidnap him? Why would they do that? And how long will it take Enola to track him down? Of course, the Enola Holmes 3 trailer doesn’t give answers to those questions, but fans won’t have to wait long for answers. The third film of this Netflix franchise will premiere on July 1.

The post ENOLA HOLMES 3 Trailer Teases Sherlock’s Kidnapping and a Wedding appeared first on Nerdist.

Research by AppSec biz Checkmarx finds that 70 percent of developers believe AI-generated code has more vulnerabilities, and 30 percent knowingly ship vulnerable code into production. The report is based on responses from 2,350 global developers, CISOs, and AppSec managers, and follows similar annual surveys since 2023. The number of respondents is 54 percent higher this year than last, and the increased sample size may account for a somewhat surprising statistic: the reported proportion of AI-generated production code has slightly declined, from 54 percent to 49 percent, though this is still a high figure. Production applications are also built on an open source foundation, according to the report, accounting for 59 percent of the code. These are self-reported estimates, but a lot of open source code is buried in node_modules or other library locations and it is not always secure, whether because of hard-pressed maintainers struggling to keep up with AI-discovered vulnerabilities, or malicious packages smuggled into popular package repositories such as npm and PyPI. The consequence is that software development is riskier than ever, with issues extending beyond vulnerable code to credential-stealing malware, yet the Checkmarx survey appears to show resignation, with 93 percent of respondents reporting one or more security breaches as a result of vulnerable applications – though last year the figure was 98 percent. Reasons given include pressure to deploy quickly, vulnerabilities being too difficult to fix, and reliance on other controls to pick up the pieces. "Risk is normalized," says Checkmarx in its report. The security of AI-generated code is a hot topic, particularly since, among these respondents, it accounts for around 50 percent of what is written. 70 percent report "significantly more vulnerabilities with AI-generated code," suggesting that AI is even worse than humans when it comes to overlooking security issues. It is a complex situation. AI is trained on existing code, primarily public code, which has its share of vulnerabilities that may then be replicated. The AI wave has also delivered new tools for analyzing and remediating vulnerabilities. A study last year by computer scientists from the University of Central Florida and Birzeit University in Palestine looked at how code security varied between different programming languages (Java, Python, C, and C++) and LLMs, and which vulnerabilities are most prevalent. The findings showed significant variations, with C code tending to have the most security issues, and Python the fewest, though the researchers acknowledge that LLMs are evolving rapidly and that the research is a "time-stamped view." One of the issues is that LLMs "underutilize modern language and compiler features, often favoring outdated practices over more secure alternatives." The likely reason is the prevalence of such practices in the training data. A key question is whether developers can eliminate vulnerabilities using tooling, including old-style static analysis and newer AI-driven options. According to Checkmarx, they could but often do not. "The tools do the work, but organizations lack in translating this into process," the company reports. As Veracode has also reported, AI assistance is driving up the pace of development and security practices cannot keep up. The Checkmarx researchers state: "AI code volume correlates directly with vulnerable code deployment, which correlates directly with breach frequency." Specifically, "organizations where 81-100 percent of code is AI-generated ship vulnerable code at 3.4x the rate of those at 1-20 percent adoption" – a high price to pay for accelerated development. ®

Poor Sam Bankman-Fried. The disgraced crypto mogul has been dropping hints to President Donald Trump forever, letting it be known that he would very much pretty please like to be pardoned. Now, he’s out and proud about his official request to have the corrupt crypto president wipe his corrupt crypto conviction away. Bankman-Fried began floating this almost immediately after Trump won in 2024…

Source

The first Scary Movie is an undeniable 21st-century cultural touchstone. It is a shamelessly raunchy, endlessly quotable (and crucially, gif-able) horror parody of ’90s slasher films like Scream and I Know What You Did Last Summer, and the film’s now-iconic characters and singular sense of humor came courtesy of the Wayans Family. If Scream was, in its own right, a self-aware sendup of ’90s slashers, Scary Movie was an Inception-level, fourth-wall-breaking parody firing with the precision accuracy of a shotgun.

26 years later, the Scary Movie franchise has continued to evolve and transform in parallel with the genre it parodies: from the teen slashers of the ’90s to the gore-heavy ‘torture-porn’ of Saw in the early 2000s and the Paranormal Activity supernatural found-footage boom of the 2010s. The franchise itself has developed its own internal mythos and behind-the-scenes shuffles, with key creatives and stars moving in and out between installments. The Wayans Family departed the franchise after Scary Movie 2, while stars Anna Faris (Cindy Campbell) and Regina Hall (Brenda Meeks) hung on until Scary Movie 5. 

But with Marlon, Shawn, Keenen Ivory and Craig Wayans (alongside Rick Alvarez) returning to write the sixth Scary Movie film (simply titled Scary Movie), director Michael Tiddes back at the helm, and the (much-needed) return of Faris and Hall, Scary Movie (2026) is a welcome return to form that course-corrects in a customarily self-aware, fourth wall-breaking fashion. Taking aim at so-called “elevated horror” films like Get Out, Longlegs, and Smile, the film delivers a crop of new horror (and wider film industry) parodies at its familiar breakneck pace. 

RELATED ARTICLEMelissa Joan Hart Was Supposed to Play Cindy in SCARY MOVIEMake no mistake, a return to the Wayans’ crude, distinctly 2000s sense of humor isn’t going to win over any already reticent viewers. (Especially with the film clocking in at an hour and 45 minutes, a solid 20 minutes longer than every other installment.) And when the gags fall flat, they really fall flat. But when the Wayans take aim at specific characters, films, or genre trends rather than falling back on sex and/or gross-out humor, Scary Movie delivers on its promise of crowd-pleasing, no-holds-barred, “everyone is a potential target (even ourselves)” parody.Echoing the plot of Scream 5 (which was similarly styled as simply “Scream”), Scary Movie follows the moody, drug-addicted Sara (Olivia Rose Keegan), whose mother Cindy is now a paranoid shut-in a la Final Destination: Bloodlines. When her little sister Tuesday (Savannah Lee Nassif) is attacked by a familiar masked maniac, Sara and her definitely-not-the-killer boyfriend Jack (Cameron Scott Roberts) turn to Cindy for help, who in turn reunites her old group of friends when she realizes Ghostface is making a reboot-sequel hybrid. Scary Movie’s insistence on dragging the entirety of the original cast into 2026 leaves some characters feeling like arbitrary inclusions. Gail Hailstorm (Cheri Oteri) and Sheriff Doofy (Dave Sheridan) are particularly dead weight. They are characters that, yes, were key players in the fifth Scream, but the deeply unfunny writing and performances offer nothing in terms of comedic substance. Paramount Pictures Characters that fall into similarly familiar, predictable comedic territory are Tuesday’s crop of high school friends (all corresponding to the new young Scream cast). Strangely, there’s no mention is made of Mikey Madison’s Amber, with the film instead opting to riff on Sonia Ammar’s (forgettable) Liv via Ruby Snowber’s Elle, as a bizarrely one-note nymphomaniac whose role culminates (pun intended) in a cartoonishly raunchy and overlong sex scene.Dylan Minnette’s Wes is a similarly strange, arguably unmemorable character to riff, but he nonetheless serves as one of three characters the film uses to make fun of identity politics and the LGBTQ+ community. Played by nonbinary actor Benny Zielke, Wes is reimagined as a trans teen named Jess whose dad continually misgenders him in attempts to be a supportive parent. It’s lazy, unspecific, and doesn’t have anything to do with the film it’s parodying. It is just the kind of tired, anti-woke humor that’s become seemingly part and parcel for comics over a certain age. The same writing habits also rear their ugly head (though, admittedly, in a manner motivated by the source material) with the Mindy Meeks-Martin parody character (played here by Sydney Park but originally portrayed by nonbinary actor Jasmin Savoy Brown), “Dei,” who angrily corrects an onlooker about their pronouns mid-stabbing. The pronoun jokes are repetitive, tiresome, and dead on arrival, but thankfully, these are minor characters who are killed almost as quickly as they’re introduced.Paramount PicturesInstead, we follow the “core four” from the original Scary Movie. Brenda (now rocking a Ma-inspired bowl cut and mother to the Meeks twins) is mostly sidelined, but played with boundless charm by a pitch-perfect Regina Hall, who (alongside Anna Faris) continues to be the franchise’s saving comic grace. Shawn Wayans’ Gay Ray is also back, blending the worst of the script’s lazy comedic writing with the Elle, Dei, and Jess characters to create a predictably predatory and bizarrely outdated trope. More than any other character in the franchise, Gay Ray feels *most* like an unnecessary remnant of a bygone era whose narrative and comedic contributions don’t justify his continued presence in the franchise. On the other side of the coin, though, stoners are perpetually green subject matter. Marlon Wayans’ Shorty Meeks slots remarkably well into the hyper-online, perpetually smoke-filled, highly-reactive world of Twitch live streaming. The character may have been introduced 26 years ago, but there’s nothing desperate or “how do you do, fellow kids” about seeing him on a stream with Kai Cenat or fantasizing about a foursome with the K-Pop Demon Hunters.  It’s in those moments of bizarre hyperspecificity—an animated musical parody blending two of the 2020’s most beloved kids films, Gail taking The Substance and giving birth to one of the White Chicks, Cindy getting a full-fledged John Wick fight sequence against a Matrix-esque army of Ghostfaces—where the Wayans’ writing is the strongest. No matter the genre, no matter the release date, no film is safe from a one-liner or a fourth-wall break. There’s somehow a Project Hail Mary sight gag, despite the films being released just months apart. Perhaps more than any other franchise entry, Scary Movie feels like as much of a sendup of Hollywood as it is horror. The opening sequence parodies the Scream VI opener with Samara Weaving, yes, but it’s mostly an Oscars-centric One Battle After Another gag, opting for industry commentary out of the gate. This trend continues into the third act killer reveal, which acknowledges the real-life ousting of the Wayans family from the franchise in favor of Anthony Anderson, who serves as the twist villain in a stroke of meta, self-deprecating humor. Scary Movie ends with the original stars killing off the younger generation for fear of being usurped. It is a satisfactory, appropriately self-aware ending, but one that begins to feel decidedly pointed when considered in conjunction with the film’s vitriol towards its young queer characters and staunch insistence on shoehorning in Gay Ray. Undeniably, though, this is a crowd-pleasing comedy that moves at a breakneck pace, delivering on its promise of parodying the latest decade of horror films with the Scary Movie franchise’s signature blend of crude humor, meta commentary, and (for better or worse) all of the Wayans Brothers’ stylistic quirks back in full force. It may be overlong, bizarrely fumbling through what should’ve been slam dunk parodies like Sinners and M3GAN, but when Scary Movie is funny, it’s really funny, and the return of the original cast and creatives ensures a welcome return to form for a crowd-pleasing franchise. Scary Movie ⭐ (2.5 of 5)

The post SCARY MOVIE Is a Mixed Bag of Crude Humor and Meta Commentary (Review) appeared first on Nerdist.