Martin Scorsese Directed an Episode of Spielberg’s ‘Amazing Stories’ – Armessa Movie News


The Big Picture

  • Martin Scorsese’s episode of Amazing Stories, “Mirror, Mirror,” stands out as one of the few horror stories he tackled in his career.
  • The episode follows a famous horror author haunted by a ghoulish figure in his mirror, but it’s a pretty generic horror story with little impact.
  • Scorsese’s style is limited in the episode, as Amazing Stories had a rigid in-house style. Despite this, it’s still fun to see him collaborate with Spielberg.

Killers of the Flower Moon might be the most talked about movie in the world at the moment, but Martin Scorsese‘s career has had its quieter moments, too. He’s made small independent films like Who’s That Knocking at My Door, concert films like the inventive Rolling Stones project Shine a Light, and he’s even worked on TV shows —not too many, but some here and there over his multi-decade career. One of the most obscure series that he has worked on is Steven Spielberg’s Amazing Stories, an anthology show that the Jaws filmmaker wrangled many of the ’70s and ’80s most popular directors into working on. Folks like Robert Zemeckis, Joe Dante, Tobe Hooper, and even Clint Eastwood had a hand in it! Amazing Stories was a big deal at the time that it was airing, which is what makes it so strange that it has mostly been forgotten about these days.

Scorsese only worked on Amazing Stories for one episode, that being Season 1, Episode 19, “Mirror, Mirror.” The episode’s story came from Spielberg himself, but the final screenwriting credit is given to Joseph Minion. Interestingly enough, this is one of the few horror stories that the iconic filmmaker has tackled, with Cape Fear and Shutter Island being the two only others in his filmography. It also stands out in the greater Amazing Stories project in general, given that most episodes follow a drama or fantasy story. Scorsese’s contribution follows a famous horror author (Sam Waterston) who soon comes to find himself haunted by a ghoulish figure (Tim Robbins) in his mirror. It’s a pretty generic horror story with very little gut to it at all, hardly any Scorsese-isms, and a pretty tame finale that leaves little to no lasting impression. This isn’t really the filmmaker’s fault, though. If you watch multiple episodes, you’ll come to find that Amazing Stories appears to have a rigid in-house style for its artists. Still, little flashes of the mind behind Goodfellas come here and there… but they are rare.

Amazing Stories (1985)

Truly amazing, fantastical, funny, and odd, and sometimes scary, sad, and endearing stories are portrayed. Many famous actors, actresses, and directors made guest appearances.

Release Date
September 29, 1985

Charles Durning, Paul Bartel, Sharon Spelman, Douglas Seale

Anthology, Fantasy, Science Fiction, Comedy, Drama


Steven Spielberg, Joshua Brand, John Falsey

Steven Spielberg, Joshua Brand, John Falsey

Amblin Entertainment, Universal Television

Martin Scorsese Was an Odd Fit for Steven Spielberg’s TV Series, ‘Amazing Stories’

Steven Spielberg is shown in a promotional image for his 1980s TV anthology series, 'Amazing Stories.'
Image via NBC 

Supernatural horror, the Amblin tone, and Martin Scorsese aren’t exactly three things that you’d expect to go together. Well, not if all of their individual trademarks would be on display. Supernatural horror is exactly what it is — a form of the genre that centers around spooky ghosts or spirits, otherworldly phenomena, and the generally unexplainable. Amblin Entertainment, Steven Spielberg’s flagship company, is responsible for at least one or two of your favorite films. We’re talking about some of the best Spielberg movies like E.T. the Extra-Terrestrial, Close Encounters of the Third Kind, The Goonies, and Gremlins. By now, the director has broken the stereotype that all of his movies center around characters who look up into the sky in awe and wonder, but at the time that Amazing Stories was airing, Amblin wasn’t quite as diverse as it has come to be.

Then there’s Scorsese, who by March of 1986 (when “Mirror, Mirror” first aired) hadn’t stepped foot into the world of horror yet, nor had he directed anything closely resembling an Amblin film. Alice Doesn’t Live Here Anymore has a bit of that Spielberg-ian Americana, but that’s about it. This is the guy who was hot off of movies like Taxi Driver, Mean Streets, Raging Bull, and The King of Comedy, a few of the most cynical stories ever put to screen. He was even gearing up to start shooting The Last Temptation of Christ, which has got to take the award for the darkest portrayal of Jesus Christ ever put to film (that might change depending on how you read the ending of that film). That movie was so controversial that certain theaters were burned down for showing it.

So would you ever expect Scorsese to be the one to join the ranks of Steven Spielberg and Robert Zemeckis on an anthology show? No, but you probably wouldn’t expect Tobe Hooper either, and look at how that turned out! That’s not to say that Marty isn’t in the same tier of filmmaker as those previously stated (he actually just might be the greatest living director), but tonally, and by the standards of this show, he is an odd fit. If Scorsese was going to make an episode for Amazing Stories, it seems as if his only option would have been horror! After all, this definitely doesn’t feel like the right zone for a Paul Schrader-written Scorsese story.

Martin Scorsese Tackles Horror in His ‘Amazing Stories’ Episode “Mirror, Mirror”

Actor Sam Waterston in Amazing Stories episode Mirror, Mirror (1986)
Image via NBC

This Amazing Stories episode is an oddity in Scorsese’s otherwise impressive filmography. “Mirror, Mirror” is basically a 24-minute campfire story. It begins with a world-famous horror author, Jordan Manmouth, being interviewed about his work on The Dick Cavett Show (with Dick Cavett actually playing himself). Afterward, he goes home and turns a kid away from his doorstep, one he assumes is there to show him some of his own attempts at writing. Manmouth initially seems to be a genuinely nice guy while he’s talking to Dick Cavett, but he shows his true colors with the way he treats this kid. That night, Manmouth begins seeing a decrepit, eerie figure in the mirror. This thing slowly creeps up on the author, only for him to turn around and see that it isn’t really there. However, every time he looks in a mirror, the figure is there again, getting closer and closer every time.

The author panics every time he sees the figure in the mirror, leading to his mental state slowly deteriorating. Eventually, the figure catches up to him and starts choking him from behind. This is about what you’d expect from a monstrous figure who keeps going for Manmouth’s neck, so initially, the ending of the episode feels par for the course. Things get weird, however, when Manmouth is seen struggling in one shot, then the camera cuts to his girlfriend, then back to him, and he’s suddenly horribly disfigured and closely resembles the figure in the mirror. He stands up and hurls himself out of the window, ending his suffering once and for all. His disfigurement is the most random way for this episode to end and doesn’t feel earned at all. Manmouth was being choked to death, not sliced and diced! For an episode that already didn’t have much of any tension, this reveal offers up a bit of a laugh, then leaves your memory pretty quickly. It’s not the best.

The disjointed ending of “Mirror, Mirror” doesn’t feel like Scorsese’s fault, though. Amazing Stories had nothing on its contemporary anthology shows like Tales from the Darkside or Tales from the Crypt. Not only are Amazing Stories’ week-to-week episodes not as strong as those shows, but the horror in “Mirror, Mirror” isn’t even on par. That said, it’s not too far off. “Mirror, Mirror” does have that charming ’80s made-for-TV horror tone that loads of others rocked at the time, it just happens to be trapped within the confines of a cheesy series. The episode is by no means a miserable or unenjoyable watch, it’s just not that scary. You can still have fun with it!

Spielberg’s ‘Amazing Stories’ Rarely Let Its Directors Exercise Their Styles

Sadly, as someone who came to this episode excited to see Scorsese exercise his style in a 24-minute anthology horror story, this episode doesn’t have much to offer in that aspect. By and large, it plays like most other Amazing Stories releases. This show doesn’t have the flat cinematography of a sitcom or anything, but it also doesn’t exactly let its filmmakers shine. Scorsese only has a few seconds to exercise his creativity in this episode, at a moment when Manmouth is locking up his house. The edit brings on a quick-cut, rapid pace as he slams doors shut and races around his home to safety. For just a moment, “Mirror, Mirror” has that iconic Thelma Schoonmaker editing style that we all love so much.

Unfortunately, that moment comes and goes pretty quickly. By and large, this episode doesn’t feel any different than the stories that many other filmmakers have directed for anthology horror TV shows. If you missed the opening card that said “Directed by Martin Scorsese”, believe me, you wouldn’t have guessed it. It doesn’t have very much style, and it isn’t all that scary, but it does feel straight out of the book of Tales from the Crypt and Tales from the Darkside, so at least we have that! Who doesn’t love those shows? Scorsese might have just wanted to work with his buddy Steven Spielberg (and make a quick buck), and who can blame the guy?

Martin Scorsese Is a Master of Many Genres, Including Horror

Leonardo DiCaprio clutches a deceased Michelle Williams in a dream during Martin Scorsese's 'Shutter Island'
Image via Paramount Pictures

We all know that no matter what genre Scorsese tackles, he’ll probably be able to do so masterfully. They might not have known it in 1986, but these days, we’re well aware that Scorsese can go down the horror route if he chooses to. Cape Fear, for example, toggles on and off between horror and thriller, but no matter which avenue it takes, it’s still terrifying (with one of Robert De Niro‘s most underrated performances, as well). Then, there’s Shutter Island, Scorsese’s most direct feature-length effort in the horror genre. The movie has elements of noir and mystery, but it’s also clearly inspired by loads of pre-70s supernatural and gothic horror movies, even though it isn’t inherently supernatural or gothic itself. Scorsese can do scary all he wants, he just doesn’t choose to do so often.

The story for “Mirror, Mirror” actually had the potential to be Scorsese’s most straightforward effort in horror, and had it not been for the restraints of 1980s TV or the schmaltzy, cheesy, rigid nature of Amazing Stories, maybe Scorsese could have flexed on us a bit more. While Martin Scorsese’s contribution to Amazing Stories might not have been the most… “amazing” episode of TV ever, it is fun to think that he and Spielberg got to collaborate on another project. Thankfully, since then, we’ve been able to see what Scorsese is truly capable of in horror, and are continuing to enjoy new releases from him to this day.

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‘Loki’ Season 2 Episode 5 Recap – Armessa Movie News


Editor’s Note: The following contains spoilers for Season 2 Episode 5 of Loki.

The Big Picture

  • Loki Season 2 Episode 5 explores a post-TVA existence and follows Loki’s journey to save the TVA and reunite with his friends.
  • The episode delves into Loki’s growth and development as a character, showcasing his independence and emotional connections with the other TVA agents.
  • Loki’s ability to time slip becomes a central plot point as he encounters his friends in different timelines, leading to a pivotal moment in his quest to rewrite the story.

With the TVA destroyed, Loki Season 2 Episode 5, “Science/Fiction,” looks at an existence without the TVA. Loki (Tom Hiddleston) manages to be the only person who survives the meltdown of the Temporal Loom and must get the gang back together in order to try and save the TVA and restore life as we know it. Directed by Justin Benson and Aaron Moorhead and written by Eric Martin, there’s a lot to take away from this week’s episode. We finally get to see Mobius (Owen Wilson) on his jet ski, we learn about the lives that the other TVA agents had, and Loki discovers a way to control his ability to time slip. In the penultimate episode, we do a lot of jumping around across timelines and across universes, but the episode actually hinges on the most major growth we’ve seen in Loki’s character since we first met him back in 2011 in Thor.


Loki, the God of Mischief, steps out of his brother’s shadow to embark on an adventure that takes place after the events of “Avengers: Endgame.”

‘Loki’ Puts Us at the Heart of the Story in Episode 5

It might seem silly for me to say that I’m glad a show titled Loki is actually about Loki, but considering recent showings from the MCU (and Disney+) with their television shows, it feels like these shows serve more as a launching board for other projects. So it’s been nice watching Loki and watching a show so dedicated to exploring the growth and development of its titular character. When it was announced that Loki would be getting his own show a few years back based around a variant of Loki who stole the time stone during The Avengers, many fans worried that we would lose what made Loki so great. He had all that development through Thor: The Dark World and Thor: Ragnarok, not to mention the handful of other MCU movies where he played a significant role, and he was going to lose it?

It’s good to know that despite losing that version of Loki, the one from Loki is somehow infinitely better. He’s no longer simply attached to his brother or his family; he’s his own person, and we have watched him evolve in front of our eyes. So it doesn’t feel out of left field or cheesy when Loki says that he wants to save the TVA because he wants his friends back. We’ve watched him develop close friendships with the other agents at the TVA and become invested in their lives. That emotional beat feels entirely earned.

What Happens in ‘Loki’ Season 2 Episode 5?

Alcatraz in 1962 from Loki Season 2 Episode 5
Image via Disney+

The episode kicks off with Loki on his own at the TVA. Everyone is gone and the TVA has kicked into fail-safe mode. Searching for anyone, Loki begins to time-slip again. This time, he isn’t just time slipping within the TVA. As the TVA turns into spaghetti, he time-slips away and next appears in 1962 in a branched timeline near Alcatraz. Here, he finds Casey (Eugene Cordero) — except this is not the Casey we know, this is Frank, a career criminal currently trying to escape Alcatraz with his fellow prisoners. Throughout the episode, Loki is pulled through time and space, but where he ends up is not random; instead, he appears at the location of each of his friends. He sees B-15 (Wunmi Mosaku), who is now a doctor named Dr. Willis in 2012 New York. He sees O.B. (Ke Huy Quan), who is an author/scientist named A.D. Doug in 1994 Pasadena. And he finds Mobius, now named Don, at a jet ski shop in 2022 Cleveland.

Out of all of them, O.B. seems the least surprised when Loki sits him down and tells him about the TVA and everything that’s happened to them. Maybe it’s because he’s a science fiction author, maybe it’s because he teaches theoretical physics at Caltech. Regardless, O.B. deduces that the time slipping must be attached to Loki and what he wants. Although the TVA is gone, Loki does time slip to a time theater like the one we saw him in in Season 1, which suggests that in some capacity the TVA is still around. O.B. decides that they need to assemble everyone in that room together to get their group temporal aura so they can transport back to that spot in time and space. He’s given the TVA guidebook by Loki to build a tempad, but before Loki can say anything else, he time slips to Cleveland.

Owen Wilson as Mobius in Loki Season 2 Episode 5
Image via Disney+

Loki approaches Mobius, who has no idea who he is and is initially apprehensive of him until O.B. appears through a time door from his homemade tempad. Mobius, in this universe, is a single dad to two sons and has a seemingly comfortable life selling jet skis. But Loki convinces him that he should help because all of existence is in danger, including the lives of his children. After some persuading, Mobius agrees to go with them, and Loki and O.B. assemble the rest of the team before going to collect Sylvie (Sophia Di Martino).

Returning back to the McDonald’s in 1982, Loki approaches Sylvie, ready to give her his speech about the TVA — but unlike the other variants, Sylvie remembers him and has all of her memories intact. Rather than go with him back to the group, she takes him out for a drink. There, at the bar, they return to their previous argument, the one they’ve been having all season: Free will or control? Loki is determined to save the TVA and is baffled by Sylvie’s selfishness for wanting her own life.

To this, Sylvie agrees: she is selfish. She wants a life, she wants to live. “What’s wrong with wanting something, Loki?” she asks him. Knowing that the rest of the group have their own lives on their own timelines, Sylvie is content to let them stay there. They were never given a choice to join the TVA, but Loki disagrees and says that agents like Mobius called the TVA their purpose, and he should be given a chance to choose between the branched timeline life and his life at the TVA.

But after all of this, after Sylvie prods Loki for a true answer, Loki reveals that he wants the TVA back because he wants his friends back. He doesn’t want to be alone, and, in his own way, this is him being selfish as well. Loki isn’t doing this to save existence; at a very base level, he doesn’t know where he belongs without the TVA, which has been his struggle since the very beginning of his story. Long before the TVA was even a thought in Kevin Feige‘s mind, Loki was a kid pulled from his home and raised by a conquerer. He has never truly belonged anywhere.

Image via Disney+

When Sylvie rejects Loki’s offer to join up with the other agents, she tells him that they must all write their own stories now and leaves him at the bar. Bereft and confused about what to do next, Loki returns to O.B. and the gang uncertain of how to proceed. Meanwhile, Sylvie visits a record shop and puts on The Velvet Underground‘s “Oh! Sweet Nuthin’,” which is a fitting soundtrack to the end of her world. Everything around her slowly spaghettifies, and realizing that everything has fallen apart, she uses He Who Remains’ tempad to go to Loki.

With Sylvie there, the group can finally collect everyone’s temporal aura and go back to that specific place in time — except it’s too late. Slowly, each of the characters spaghettify in front of Loki. The whole world disappears into strands of temporal spaghetti and it’s at this moment that he time slips and jumps right back to moments before. Realizing he is now getting a handle on his time slipping, Loki knows what he has to do to rewrite the story. He goes back to the point in time right before someone goes through the blast doors. Is it before Mobius goes to pull him out of the timeline in Episode 1, or is it before Victor Timely (Jonathan Majors) goes out onto the platform in Episode 4? Only time will tell.

Stream Loki Season 2 on Disney+ in the U.S.

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Loki Season 2 Episode 5’s Secret Post-Credits Breaks Endgame’s Unique MCU Record – Armessa Movie News


Warning: This post contains SPOILERS for Loki season 2 episode 5


  • Loki season 2 episode 5 delivers a unique post-credits scene that pokes fun at the audience and references a deep Marvel cut.
  • This is the second time in the Marvel Cinematic Universe that an audio-only post-credits scene has been used instead of a traditional stinger.
  • The “loser” message in the post-credits scene not only mocks viewers but also ties into Loki’s destiny as a loser, showcasing his resilience and determination to keep trying.

Loki season 2 episode 5 post-credits scene is a near-unique example in the Marvel Cinematic Universe after 32 movies and 9 different TV series. After dropping a post-credits scene at the end of the first episode in season 2, Tom Hiddleston’s flagship Disney+ show randomly dropped in the season’s second stinger, with a twist.

Loki Season 2 Episode 5 Post-Credits Scene Explained

After the credits roll on Loki season 2 episode 5, with Loki’s game-changing new superpower revealed, and his plan to save the Temporal Loom, the TVA, and all existence unveiled, a stinger calls back to one of the show’s deepest Marvel cuts. In an audio only post-credits gag, a voice shouts “you died, insert a coin, LOSER!” Out of context, it means very little, but Loki season 2 episode 5 set up the joke earlier in the episode.

After Loki brings together OB, Casey, Mobius and B-15 to undo the destruction of the Temporal Loom, he tries to recruit Sylvie, who rejects his offer, but takes him to a bar to invite him to explore exactly why he wants to save the TVA. The opening shot in the bar shows a Zaniac! arcade game, clearly adapted from the same movie Brad Wolfe (Rafael Casal) starred in when he returned to the timeline in episode 2. The audio stinger that forms Loki season 2 episode 5’s post-credits scene is the Game Over message from the same arcade machine.

Why Loki Season 2 Episode 5’s Post-Credits Scene Works So Well

Intriguingly, Loki‘s audio-only post-credits scene is the first time there’s ever been a vocal track played in place of a true stinger, but it’s not the first time the MCU has used an audio post-credits scene. The first time, notably, was at the end of Avengers: Endgame, when the sound of Iron Man forging the Mark 1 armor was played as a touching tribute to Robert Downey Jr’s fallen hero.

In place of a tribute to a dead MCU hero, Loki’s newest post-credits scene instead pokes fun at the audience, playing on the concept of Game Over message culture in video games, and the very idea of waiting until the end of the credits (insulting us all as “losers” for doing so. But also, the “loser” message is a loaded one: Loki confirmed – in a mantra repeated in season 2 episode 5 – that Lokis are destined to lose. The hidden meaning here is that despite dying (and almost dying multiple times), Loki didn’t give up: he may be a loser (and embrace the fact), but a Game Over message is just another opportunity to try again.

New episodes of Loki stream every Thursday on Disney+

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Here’s How ‘A Haunting in Venice’ Differs From the ‘Poirot’ TV Episode – Armessa Movie News


The Big Picture

  • A Haunting in Venice is a supernatural thriller based on an Agatha Christie novel, following Kenneth Branagh’s Hercule Poirot as he solves three different murders.
  • The TV episode of Agatha Christie’s Poirot closely follows the original novel, with Hercule Poirot investigating the murder of a young girl at a Halloween party.
  • The TV version is a darker and more accurate adaptation than the movie, with two murderers and a disturbing twist of revelations that endangers young teens in the village.

A Haunting in Venice, which has just hit VOD and Hulu, updated the Agatha Christie novel for a supernatural thriller where an old palazzo brings together friends, enemies, and a Belgian detective to face secrets that are darker than the surrounding shadows. Like with the previous Kenneth Branagh-centric adaptations, there is another version out there that you can watch to compare. ITV’s long-running Agatha Christie’s Poirot adapted every story with the Belgian sleuth for 13 seasons, including Hallowe’en Party which A Haunting in Venice is based on. While the movie’s gothic horror refreshes the novel’s traditional mystery, this former take on Christie’s novel is sinister for a different reason.

A Haunting in Venice

In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.

Release Date
September 15, 2023

Kenneth Branagh

Kelly Reilly, Michelle Yeoh, Jamie Dornan, Kenneth Branagh


103 minutes

Main Genre

What Happens in the ‘Agatha Christie’s Poirot’ Episode?

A Haunting in Venice escalates the intensity of the murder mystery to keep audiences on edge. In this TV episode from 2010, there are no ghosts and a chandelier doesn’t smash to the floor like in one of the movie’s best jump scares. But there is a dark and stormy night and what happens on the small screen follows closely the pages of the original 1969 book. The services of Hercule Poirot (David Suchet) are urgently requested by old friend and mystery author Ariadne Oliver (Zoë Wanamaker), who was at the Halloween party that ended on a nasty treat-turned-trick: thirteen-year-old Joyce Reynolds (Macy Nyman) is found face down in an apple-bobbing tub. Poirot obliges, traveling to Woodleigh Common to uncover that Joyce’s case of foul play is not the only mysterious demise in this village’s history.

“Hallowe’en Party” opens with a great display of the Halloween spirit as a heavy rainstorm pelts the home of the rigid Rowena Drake (Deborah Findlay). Outside the estate, lit jack-o’ lanterns are posted around; inside, the spooky, October vibe continues amidst a children’s party. The local kids are creepy, having a great time by playing a strange (and real) game where they quickly snatch raisins that are on fire, singing out, “Snip, snap, dragon!” Then there’s Joyce, who has death on the mind.

“I saw a murder once!” she exclaims halfway through the festivities, whipping her head around to see the eyes that shift onto her after she blurts out the statement. Not everyone believes her, of course, Joyce has a big mouth and is an attention seeker — but someone feels threatened by this mention of “murder.” While the rest of the kids are in another room, Joyce is drowned in the apple-bobbing bucket and her innocent bumblebee costume is left soaked. A Haunting in Venice aged up the victim. The character changed into Michelle Yeoh’s medium who is after monetary fame, but this is not what “Hallowe’en Party” does, sticking to the book for a more accurate, unsettling watch. Branagh’s detective nearly dies while apple-bobbing, while little Joyce in this version isn’t so lucky.

‘Agatha Christie’s Poirot’ Is a Closer Adaptation Than ‘A Haunting in Venice’

The older seasons of Poirot were sunnier, in tone and visuals. By Season 12, in which “Hallowe’en Party” aired, the tone and visuals are gloomier and isolating. David Suchet’s portrayal of Hercule Poirot is beloved for a reason; the actor was meticulous in perfecting mannerisms to match what is read in Christie’s writing. On the small screen, Poirot is colder in later seasons, having seen the worst of people, but his deduction skills are as well-defined as ever. He is confident Joyce’s murder has to do with the last words she said aloud: “I saw a murder once.” Characters question how important previous deaths to the town could be, but Poirot knows, “old sins cast long shadows.” The girl’s death won’t be the last body to be discovered because as the story goes on, young teens are murdered or endangered due to these “sins.”

Leopold (Jude Hill) in A Haunting in Venice is a sweet, if not bizarre child, revealed in the end to have the intelligence to blackmail the movie’s killer into sending money which the boy hopes could help his mentally unwell father. In the Poirot episode, Leopold (Richard Breislin) is a teen slightly older than Joyce, who is also his sister. He witnessed her murder and instead of going to the police, he keeps it a secret by accepting money. If it needs to be said, Leopold is not so sweet (or bizarre) in this version; he is uncaring over the loss of Joyce, a sibling he couldn’t stand. Poirot notices a gold watch on the boy’s wrist during an encounter, which the detective suspects was bought with the bribed cash. Within days of Joyce’s death, Leopold’s body floats at the surface of a nearby pond, drowned for knowing too much of what happened at the Halloween party; by the episode’s end, another child’s life is at risk due to a disturbing twist of revelations.

The TV Version of ‘Hallowe’en Party’ Has Two Killers

Georgia King in Agatha Christie's Poirot Episode Halloween Party
Image Via ITV

Unlike the 2023 movie’s single killer in Rowena Drake (Kelly Reilly) and her motive to cover up her Munchausen syndrome by proxy, the TV version has two murderers. One of them is drifter and gardener Michael Garfield (Julian Rhind-Tutt), who overlooks the greenery on Rowena’s estate. Out in public, Michael and Rowena passionately dislike each other, except Poirot deduces correctly they are passionate, secret lovers. For the past years, this duo has murdered their way to keep the estate and a large sum of money. There really was a murder a young girl saw, but it wasn’t Joyce, she took credit after hearing it from best friend Miranda (Mary Higgins).

Miranda saw Michael Garfield disposing of a body and was manipulated by him into believing it was part of a pagan human sacrifice. Woodleigh Common may not be the pagan-loving Summerisle like in The Wicker Man, but there is plenty of death and brainwashing even without the burning effigy. What’s more disturbing is that Poirot uncovers that Michael is the girl’s father from a hushed-up affair. Miranda doesn’t know this, but Michael has always known, yet, it doesn’t matter that the two are parent and child. He realizes she knows too much and preps her to be the next so-called human sacrifice. Miranda has since believed Joyce and Leopold were killed to keep beauty alive in the world, or so Michael tells her, and he almost forces her to drink from a poisoned chalice before Poirot rushes in with the police. That leaves the other killer, Rowena, to be unveiled.

The ‘Agatha Christie’s Poirot’ Episode Is Much Darker Than Kenneth Branagh’s Horror Movie

David Suchet and Zoe Wanamaker in Agatha Christie's Poirot
Image Via ITV

Rowena kills without remorse to protect a future with Michael, who merely stays with her because of her fortune. On the night of the Halloween party, she finds Joyce alone and questions her about the murder she talked about seeing. Rowena takes on the role of a cheery host just long enough to persuade the girl into bobbing for the last apple in the tub, when Joyce sticks her head in the water, she’s a goner. Later, Rowena has Michael drown Leopold and when they meet up, Michael gifts her the gold watch the teen bought himself with the killers’ bribe. “Do you still have the receipt?” he asks as Rowena embraces him and lets out a giddy laugh. Upon Poirot revealing the culprits, Rowena latches onto the fact that Miranda is Michael’s secret daughter and the older woman sees red, lashing out at the girl, hands ready for another kill until the police arrest her. These lovers are two rotten characters who are brought to justice, but only after they have left behind a body count.

A Haunting in Venice locks its characters up in a haunted house for a scare-fest. Meanwhile, this TV version uses subtle creepy elements to keep the late October spirit alive when the episode heads into daytime sleuthing. Poirot wishes to learn the town gossip from the nosy, old woman Mrs. Goodbody (Paola Dionisotti), who ominously mentions another method to knowing what goes on around her. “I sees things all the time. Sometimes with me eyes, sometimes in the leaves,” she mutters. Tea leaves to be exact, and Mrs. Goodbody adds that poor, dead Joyce might have used tea leaves to “see” the murder the girl spoke of.

Poirot doesn’t hide a distaste for the scary stories he hears on the radio, he has seen enough of humanity’s wickedness as he tells Ariadne in the final minutes: “Poirot, he was right, huh? Halloween is not the time for the telling of the stories macabre, but to light the candles for the dead.” A Haunting in Venice is a breezy adaptation to watch, with a quicker pace to get the mystery going. It may jolt you with jump scares while playing it safe with the victims. In the Poirot episode, the mystery is drawn out with better-placed clues and explanations when it is time to wrap up the whodunit’s solution. Without a supernatural-like atmosphere, this adaptation is a dark one where children’s lives are endangered in a village that becomes, as Poirot states, “a slaughterhouse.”

A Haunting in Venice is now streaming on Hulu.

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‘Gen V’s Latest Episode Connects to Homelander’s Most Ruthless Moment – Armessa Movie News


Editor’s Note: The following contains spoilers for Gen V Season 1, Episode 7.

The Big Picture

  • In a major plot twist, Marie and Jordan discover that Indira Shetty’s husband and daughter died in Transoceanic Flight 37, hinting at a deeper connection to The Boys.
  • Homelander’s involvement in the crash of Transoceanic Flight 37 could come back to haunt him as incriminating information becomes public, potentially worsening his already negative public image.
  • The death of Indira Shetty and the revelation about her family’s fate will likely have significant consequences, with Marie, Jordan, and Emma showing a determination to seek justice and not let it slide.

This week’s episode of Gen V, “Sick,” brought some major developments and reveals about the series’ plot in this first season. In their investigation into The Woods, Marie Moreau (Jaz Sinclair) and Jordan Li (London Thor/Derek Luh) sneak into Dean Indira Shetty’s (Shelley Conn) office at Godolkin University while she is away meeting Cate (Maddie Phillips) to see what they can find on her — a lot more than they initially intended, as it turns out.

Shortly before Dr. Edison Cardosa (Marco Pigossi) enters the office and starts muttering to himself about “increasing the viral infection rate” (referring to the Supe-killing virus he developed for Shetty), Marie finds a physical file revealing that one Paul Shetty and Lily Shetty — Indira’s husband and daughter — died in Transoceanic Flight 37. The official story about this incident is that the airplane was hijacked by terrorists and fell into the Atlantic Ocean, but Shetty keeping a whole file dedicated to the event implies that there’s actually more about it. In fact, we actually saw the whole incident take place back in The Boys Season 1, but that was such a long time ago, it’s not surprising if anyone’s memory needs to be refreshed.

Gen V

From the world of “The Boys” comes “Gen V,” which explores the first generation of superheroes to know that their super powers are from Compound V. These heroes put their physical and moral boundaries to the test competing for the school’s top ranking.

Jaz Sinclair, Chance Perdomo, Maddie Phillips

Action, Adventure, Comedy


What Happened With Transoceanic Flight 37 on ‘The Boys’?

The incident we’re talking about occurs in Season 1, Episode 4, “The Female of the Species,” and, although still early, The Boys was already showing it meant business with storylines such as the bill about Supes being allowed into the military via a contract with Vought. The whole issue is naturally controversial, but, as Vought is never willing to take a loss, VP Madelyn Stillwell (Elizabeth Shue) decides to take action when an opportunity presents itself. When she catches wind of an airplane that was hijacked over the Atlantic Ocean, she immediately decides to send Homelander (Antony Starr) and Queen Maeve (Dominique McElligott) to intercept it.

During the whole impromptu briefing for the mission, Homelander has a blasé attitude, looking almost as if he doesn’t want to accept it, but Stillwell emphasizes how important it would be before any actual complaints can be made. Technically, the plane is over international waters, but a successful rescue would mean Vought’s bill would easily pass in Congress. Unfortunately, though, no one planned how to actually perform the rescue, which is a recipe for disaster in a delicate situation such as this one.

The rescue actually starts pretty well. Maeve opens one of the aircraft’s doors from the outside, immediately pulling one of them outside, too. As she walks the aisle inside the passengers’ cabin, Homelander also boards the plane and kills the hijacker who is facing Maeve. Instantly relieved, the passengers burst into applause for the two heroes, who move into the cockpit. There, the last terrorist kills the captain and is killed by Homelander immediately afterward. The only problem is that, in doing so, Homelander actually lasered the aircraft control panel, making it impossible to fly (and land) the plane.

Maeve still tries to figure out a way for them to finish the rescue, but Homelander refuses, arguing that he can’t carry the airplane as he has no physical support and that he couldn’t carry the passengers out of the plane to safety as that would mean going back and forth 123 times. All throughout the scene, he’s just as blasé as he was during the briefing and is so unconcerned with the outcome of the mission, that he starts to walk out while claiming the passengers would be okay. Maeve desperately tries to convince him to take at least some of the people to safety, but he refuses. Once it becomes clear to the passengers that they are going to be left to die, Homelander threatens to laser them and then offers Maeve the chance not to die with them.

‘Gen V’ Hints at Homelander’s Demise on ‘The Boys’

As the episode ends, Homelander and Maeve watch the wreckage of the airplane drift to shore. Being the opportunistic media person that he is, Homelander declares on a live news broadcast covering the disaster that he and Maeve reached the aircraft three minutes after it crashed into the ocean because they were “not in the chain of command,” and that NORAD decided to scramble F-16s instead of calling Vought. That’s the last we heard about the situation on The Boys, but now it has become a point of interest again in Gen V, through Marie and Jordan’s discovery. There’s just one problem with that, Indira Shetty dies at the end of this week’s episode of Gen V, compelled by Cate’s orders. She was shaping up to be the series’ main villain and, after Marie and Jordan discovered her reasons — though she is definitely not in the right to propose a genocide of the Supes — at least her motivations were compelling to the audience. So now the question remains: what will be done with the information that Shetty’s husband and daughter died in Transoceanic Flight 37?

It’s not publicly known that Homelander and Queen Maeve actually boarded the plane before it crashed. Homelander is directly responsible for the crash, as he blew up the flight controls and fled without providing help. Right now, he’s about to be trialed for murder after killing a protester in The Boys Season 3 finale, but if this kind of incriminating information should become public, it would make for an even worse case against him, and we know Homelander doesn’t take it well when the public opinion is against him. We know Grace Mallory (Laila Robins) knows about Homelander’s involvement in the Transoceanic Flight 37 crash, though it’s not revealed how. But Shetty’s death is bound to be made public soon and, with it, she will either be publicly crowned as a champion of young Supes by Vought or turned into a terrorist if her intentions go public. Right now, Godolkin University has a lot of public attention, and the reaction Marie, Jordan, and Emma had to Shetty’s death is a hint that they will not likely let it slide. As twisted as Shetty’s endgame was, no one deserves to die the way she did, and her family deserves justice for the way they died, too.

Gen V is available for streaming exclusively on Prime Video in the U.S.

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Rick & Morty Season 7 Episode 3 Recap: 10 Most Hilarious Moments – Armessa Movie News


WARNING! This article contains SPOILERS for Rick & Morty season 7, episode 3!


  • Rick and Morty
    season 7 breaks away from its established formula, focusing on supporting characters like Mr. Poopybutthole and Jerry in hilarious and silly adventures.

  • The Loch Ness monster’s fate in episode 3 showcases the show’s humor through the contrast between Rick’s reaction and the President’s surreal description.
  • Unity’s comeback in season 7 brings back a central character from a previous episode, providing a fitting and humorous storyline while satirizing US politics.

While Rick and Morty season 7, episode 3 is a more emotionally charged adventure than the rest of the outing’s stories so far, this didn’t stop the episode from providing some classic gags. Rick and Morty season 7’s episodes started strong with an entry focused on, of all people, the supporting star Mr. Poopybutthole. Even though recent seasons of the series had reduced Mr. Poopybutthole’s role to little more than a recurring joke, Rick and Morty season 7, episode 1, “How Poopy Got His Poop Back,” managed to center an entire episode around the character’s relationship with Rick.

This proved thatRick and Morty season 7 wasn’t going to stick with the show’s established formula, which was reaffirmed by the next outing of the series. Season 7, episode 2, “The Jerrick Trap,” saw Jerry and Rick pair up in an adventure that finally leveled the playing field between the duo and allowed both characters to shine in a supremely silly, fun story. However, the title of the following episode promised something a little more serious, and the series delivered. Rick and Morty season 7, episode 3, “Air Force Wong,” brought back Rick’s therapist Dr. Wong in an outing that was both poignant and hilarious, providing plenty of funny moments throughout.

Related: Rick & Morty: The Characters Vs. The Cast

10 The Loch Ness Monster’s Fate In Rick & Morty

According to the President, the Loch Ness monster was transported to Lake Erie where her bones were replaced with titanium before she was then bitten by numerous werewolves, giving the US a perfect anti-submarine weapon. However, the President then noted that the Soviets used a leprechaun to turn the Loch Ness monster’s bones to silver, thus seemingly killing her. Like many of the funniest moments in Rick and Morty season 7, episode 2, what made this gag work was the contrast between Rick’s nonplused reaction and the increasingly surreal events the president described.

9 Mr. Stabby’s Show

Rick watches television in an alien hospital during Rick and Morty Interdimensional Cable 2

Before Rick was called away for another mission, he and Morty kicked back and watched some TV. Since they still have access to that old Rick and Morty staple, interdimensional cable, the show they landed on was Mr. Stabby. The series appeared to consist of an alien with swords for limbs taking questions from the audience and inevitably killing them in the process. Understandably, this prompted Rick to wonder why anyone would get tickets to this show.

8 The President Assembles A Crack Team

The President soon called Rick up and demanded that he help him with another mission. This time, the President brought reinforcements. However, his so-called “crack team” consisted of an alien who “might” be able to tell the future, a rock monster, and a sentient fridge. While Rick and Morty season 7 made the unassuming Gene into a hero years after his series debut, the show wasn’t able to pull off the same trick with these unlikely experts. Shortly after they attacked Virginia with the President, every member of the President’s crack team was almost immediately overpowered.

7 Unity’s Rick & Morty Season 7 Comeback

Although Christina Hendricks’ Unity hasn’t been seen since Rick and Morty season 2, episode 3, “Auto Erotic Assimilation,” the hive mind was central to the story of “Air Force Wong.” It turned out that Unity had been trying to talk to Rick for some time since she heard about his attempts to track down Rick Prime as she was worried about his mental health. The idea that Unity took over the entire state of Virginia just to talk to Rick was priceless, while Rick and Morty successfully revived this earlier story with a fitting comeback for Unity.

6 The President Threatens To Send 4000 Warheads

The president of the US laughs in an evil way in Rick and Morty

The President’s fight with Unity saw him threaten to send 4000 warheads to her ship, about “3000 of which will turn out to work.” This brutal dig at the US’s military overspending was then underlined when the President promised to call China after this attack, implying that the country’s stronger military would be an even bigger threat to Unity. However, this wasn’t the only satirical jab at US politicians in “Air Force Wong.”

5 The President’s Approval Rating Plan

Rick fights with the President in Rick and Morty

When the President realized that Unity had left Earth behind, but her brainwashed followers still functioned as a collective hive mind, he immediately tried to cynically take advantage of this. The President subsequently turned Unity’s followers into his most ardent supporters. While a group of mindless, uncritical followers is something many politicians would love to accrue, this gag felt particularly pointed since the President’s desire to improve his standing came from his bottomless need for approval.

4 “We Met. She Was Me For A Second”

Dr Wong in her office in Rick and Morty

While many of Rick and Morty season 7, episode 1’s best jokes were inspired moments of anarchic cartoon violence, “Air Force Wong” took things down a notch. There was still plenty of gross-out humor, but one of the episode’s best gags came when Rick introduced Unity and his therapist in person. Ever unflappable, an unfazed Dr. Wong noted that the pair had already met when Wong was assimilated into Unity’s hive mind, noting that Unity briefly inhabited her body before moving on with the conversation.

3 Rick’s Group Discount

Rick and Morty eating spaghetti

After Unity, Wong, and Rick finally converted all the President’s followers to Unity’s hive mind, Wong noted that this had been a most unconventional therapy session. Rick then asked whether the therapist did group discounts, grinning at his own joke as the huge crowd stood in silence. Humbled, Rick changed his mind and told Wong to send the bill to the White House. This gag proved that Justin Roiland’s exit and formula changes might be just what Rick and Morty season 7 needed as the show prioritized these small, silly moments of character-based humor amidst all the outlandish sci-fi antics.

2 Rick’s Answering Machine Messages

When Rick returned home to the Smith house, he sat and listened to the voice messages that Unity sent him before she assimilated Virginia. Rick gradually became more slumped and hopeless as he realized that his ex really had reached out to him out of concern, while he had ignored this bid for connection. This led him to adopt a pose that mirrored his sullen aspect at the end of “Auto Erotic Assimilation,” until a call from David Miscavige came through praising Rick for defending Scientology, flipping the scene’s mood in an instant.

1 Mr. Stabby’s Post-Credits Cameo

Rick yelling at Beth in ABCs of Beth on Rick and Morty.

The first post-credits scene in Rick and Morty season 7 was a bizarre non-sequitur involving a rampaging lawnmower, so it seemed like “Air Force Wong” would have a hard time topping this gag. However, the episode managed to outdo this with a post-credits interview with Mr. Stabby. During this tense conversation, a late-night host revealed that Mr. Stabby’s show was somehow responsible for thousands of deaths, prompting the Rick and Morty supporting star to reply that all publicity was good publicity.

  • Rick and Morty Poster

    Rick and Morty

    Release Date:

    Spencer Grammer, Justin Roiland, Kari Wahlgren, Chris Parnell, Sarah Chalke

    Animation, Adventure, Comedy


    Rick and Morty is an adventure/Sci-Fi animated series that follows the intergalactic, inter-dimensional adventures of super-genius Rick Sanchez and his less-than-average grandson Morty Smith. Rick’s daughter, Beth, his granddaughter, Summer, and his hated stepson, Jerry, also take center stage more often than not. Hailing from creators Justin Roiland and Dan Harmon, the series blends comedy with science fiction as a way of exploring a wide variety of themes aimed at an adult audience.

    Story By:
    Dan Harmon, Justin Roiland, Tom Kauffman

    Dan Harmon, Justin Roiland, Tom Kauffman, Eric Acosta

    Cartoon Network

    Streaming Sevice:

    Rick and Morty

    Dan Harmon, Ryan Ridley, Lee Hardcastle

    Dan Harmon

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1 Brutal Bojack Horseman Season 1 Episode Put The Show On Its Dark Path – Armessa Movie News



  • “The Telescope” episode of Bojack Horseman was a turning point for the show, showcasing its unique blend of dark storyline and flawed characters.
  • Bojack Horseman’s early episodes suffered from mean-spiritedness and cutaway gags, making it appear like a ripoff of Family Guy.
  • The episode revealed that Bojack’s betrayal of his former friend Herb set the course for his self-destructive behavior and inability to learn from his mistakes.

Despite Bojack Horseman being considered one of the best cartoons of the 2010s, it wasn’t until the eighth episode of its first season, “The Telescope,” that the show finally figured out what it was. Beforehand, Bojack Horseman was not considered bad, but it hadn’t done much of anything to make itself stand out compared to other adult cartoons. That all changed when “The Telescope” was released, which provided the blueprint for what makes Bojack Horseman recognized as one of Netflix’s best original TV shows.

While it isn’t Bojack Horseman‘s best episode, it was the show’s first episode that proved what made it special. Leading up to “The Telescope,” Bojack Horseman appeared to be a show all about a has-been celebrity desperately trying to reclaim the glory days he had back in the 90s. Once “The Telescope” aired, however, the episode set the course for the dark journey ahead for the titular character.

Why Bojack Horseman Stumbled Out Of the Gate

Because it didn’t start too great, Bojack Horseman‘s first season is considered the weakest of the six that were released on Netflix. The show’s problems, in the beginning, can be attributed to Bojack knowingly being an ass to everyone while being proud of it too. The show also relied on cutaway gags quite a bit in its first few episodes. Bojack’s mean-spiritedness as a character, combined with how the show executed its comedy, made it feel like a Family Guy ripoff in the beginning. While not bad early on, its biggest sin was not proving to be anything special to start.

Before “The Telescope” aired, Bojack Horseman‘s earlier episodes clued viewers into the extent of Bojack’s sinister and self-destructive ways, like sabotaging Todd’s rock opera to keep him from moving out. The show also sent some deep messages, like Bojack telling Diane that she shouldn’t seek closure from her family because of how toxic they are. Bojack Horseman showed signs of improvement over the course of its first seven episodes, but “The Telescope” proved to be the moment the show demonstrated why it was special.

How Bojack Horseman Season 1’s “The Telescope” Changed Everything

Herb Kazzaz in a printed shirt sitting at a table across BoJack who wears a printed sweater

While Bojack Horseman had been slowly improving as a show, “The Telescope” was the show’s first golden episode because it was the first to fully humanize Bojack while also making it clear that he’s genuinely an awful person. The episode details Bojack’s backstory on who he was before he got famous, how fame changed him for the worse, and how stabbing his former friend Herb Kazzazz in the back all those years ago still affected him.

The episode revealed that Herb was the reason Bojack got famous. Being the showrunner of Horsin’ Around, Herb gave Bojack his big break when he demanded his best friend be the show’s lead. However, once Herb was outed in Hollywood for being gay – a major no-no in the nineties – Bojack was left with a choice (or so he thought): either stick up for his best friend or keep his celebrity status. Bojack chose the latter. While betraying Herb proved to be one of the times in which Bojack showed he was the true villain of Bojack Horseman, his motive to do so was understandable because, like anyone else, he desired fame.

Bojack always thought choosing not to have Herb’s back was why his former best friend held a grudge 20 years later, but upon trying to get Herb’s forgiveness, he realized that wasn’t why Herb hated his guts. After Herb refused to forgive him, he explained that his resentment towards Bojack stemmed from Bojack cutting off all ties when Herb needed him the most – which Herb didn’t think would happen – and didn’t bother to contact him until he conveniently discovered that Herb was dying. More importantly, Bojack didn’t apologize for Herb’s sake. He apologized in hopes of ridding himself of his guilt for what he did.

For that reason, Herb’s feelings were more than justified. Just because Bojack returned to his life to make amends doesn’t absolve him of how badly he hurt Herb all those years ago. Better yet, Bojack could have done what he did to Herb and still could have tried to keep in touch with him regardless. Better yet, even if Herb chose not to forgive Bojack, Bojack could have accepted that and still tried to rekindle their friendship before Herb’s death. Bojack refusing to do that proved that visiting Herb was all about his ego.

That is why “The Telescope” stands as the moment that Bojack Horseman made itself stand out. While Bojack’s heart may have been in the right place, and it was brave of him to talk to Herb again all those years later, his choice to cut Herb out of his life and then lash out when Herb didn’t forgive him showed both how horrible of a person he is and how human he is at the same time for the first time.

Bojack Never Learned From His Mistake With Herb

Because Bojack both grew up on television and starred in the most innocent, family-friendly sitcom in Horsin’ Around, where all conflicts are wrapped up in 22 minutes, he expected Herb to forgive him partially because that’s how it typically goes in a sitcom. But reality would manifest itself in the ugliest of ways. Especially since, on top of refusing to forgive Bojack, Herb called out his former friend for who he truly is.

After getting into a tussle over a telescope, the last thing Herb says to Bojack is, You know what your problem is? You want to think of yourself as the good guy! Well, I know you better than anyone, and I can tell you that you’re not! In fact, you’d probably sleep a lot better at night if you just admitted to yourself that you’re a selfish, g****** coward who takes whatever he wants and doesn’t give a s*** about who he hurts! That’s you! That’s Bojack Horseman!

Herb proved to be on the money about Bojack shortly after that. During their drive home, Bojack forcefully kisses Diane, who is engaged to Bojack’s rival, Mr. Peanutbutter. By nonconsensually kissing Diane, Bojack shows both his selfishness and his self-destructiveness through his lack of respect for Diane and Mr. Peanutbutter’s relationship. Even if it didn’t ruin their relationship in the end, it still proved to be one of the worst things Bojack had ever done in the show.

Bojack refusing to accept the reality of the situation and then indulging his self-destructive ways once he did became a running theme throughout the show. When Diane’s tell-all biography book about Bojack bruises his ego, he initially fires her despite the book being exactly what he wanted. When Bojack travels down to New Mexico to go see Charlotte, the one who got away, not only does she reject him, but he nearly sleeps with her teenage daughter Penny. When Bojack has alienated everyone in season 3, he goes on a long bender with Sarah Lynn, which ends with her death.

Even when Bojack started getting better as a person, he still couldn’t help himself. Even while making amends with everyone, his self-destructive ways came out again when he was confronted with everything he had done, particularly letting Sarah Lynn die to cover his tracks. Doing so led to an attempted suicide instead of accepting the public turning on him. Bojack earnestly tried to get better, but had a hard time realizing that getting better would lead to more obstacles and would revert back to self-sabotage.

The Lasting Impact Of “The Telescope”

BoJack Horseman in the bathroom

There were much harsher episodes throughout the course of Bojack Horseman. In fact, despite how horribly things ended between Herb and Bojack in “The Telescope,” it’s still not considered one of Bojack Horseman‘s saddest episode endings. However, the show made it clear that Bojack’s decision to choose fame over his friendship with Herb set the course for every bad choice he made from there on out.

To achieve his dream of success in Hollywoo, Bojack would go on to repress his conscience, leading to bad choice after bad choice. It was only after his heyday was over that Bojack even tried to better himself as a person. While portraying his depression makes Bojack one of the TV characters who accurately portray mental illness, which is why viewers relate so well to him, Bojack also had to confront the demons he created after betraying Herb back in the nineties to keep his fame.

And the worst part was he learned that it was all for nothing in the end. After Bojack was “canceled” for what he had done, he discovered from TV executive Angela Diaz that when she convinced him to turn his back on Herb, it was all a bluff, meaning Bojack threatening to walk to keep Herb on the show would have worked. Because Bojack always wondered how his life would have turned out had he stood up for Herb then, it shatters him knowing that it actually was an option. But it didn’t matter because Bojack would never get a do-over.

Bojack’s arc in the show was his understanding that life doesn’t give anyone do-overs. Bojack could only live with his choices, whether he liked them or not. In the end, Bojack Horseman showed that though Bojack truly was capable of changing for the better, it also made it a point that he had to face the consequences for his choices, which all started when he fruitlessly tried to patch things up on “The Telescope.”

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Doctor Who’s Scariest Episode From David Tennant Era Addressed By Writer 14 Years Later – Armessa Movie News



  • “The Waters of Mars” remains one of the scariest Doctor Who episodes to date, with viewers appreciating its intensity.
  • The writer, Phil Ford, was encouraged to make a scary Doctor Who episode as long as it didn’t traumatize or scar children.
  • The episode stands out not only for its terrifying monsters but also for how it pushes the Tenth Doctor to his breaking point, showcasing the negative impact of his actions on the universe.

Doctor Who writer Phil Ford opens up about “The Waters of Mars” fourteen years later and reveals why David Tennant’s penultimate Tenth Doctor story remains one of the show’s scariest episodes to date. The 2009 special starred Tennant as the Doctor, alongside Eternals‘ Gemma Chan, Dune‘s Shanon Duncan-Brewster, and Andor‘s Joplin Sibtain as member of the crew on the first Human colony on Mars. In “The Waters of Mars,” the Doctor arrives at the doomed Bowie Base One, forcing him to question what he can do as a time traveler.

While Tennant’s return is imminent for Doctor Who‘s 60th-anniversary specials, Ford sat down with to reflect on his contribution to the actor’s initial run and why it features one of the Tenth Doctor’s most terrifying moments. When discussing what makes the show scary for audiences young and old, the writer stated that many viewers had spoken to him about their appreciation for “The Waters of Mars” before citing it as a personal favorite and explaining how showrunner Russell T Davies aided him in achieving a perfect level of terror for young audiences. Check out Ford’s full explanation below:

“I’m not so sure that it’s moved away from that so much, I have no doubt that there will be another Doctor Who story coming down the road that will be every bit as scary, if not more than The Waters of Mars. I think scaring kids is what I’ve always enjoyed doing! Whether it’s in Doctor Who or Sarah Jane [Adventures]… I think Russell put it to me a long time ago that it’s OK to scare kids, what you don’t want to do is terrify them and scar them!

I’ve met at conventions an awful lot of kids that admitted they were scared by The Waters of Mars, but not so much to traumatise them! They loved it because it’s scary.

The Waters of Mars, from my point of view, was always going to be scary because that’s what I like to do. I think the team around Doctor Who then and now is just so good at what it does, I think we all have confidence in each other in knowing just how far we can go.

And certainly, whenever I went too far, I knew Russell was going to pull me up on something… my memory of Russell is not so much hauling me back on The Waters of Mars, but on other episodes, him pushing me harder to make things even scarier and even bleaker in some cases! Which is just wonderful, because he has this amazing opinion – and talent to back it up – that really there is no story you can’t tell for kids. It’s just a question of how you tell that story.”

What Makes “The Waters of Mars” David Tennant’s Most Scary Doctor Who Story

Tennant’s initial Doctor Who tenure had no shortage of standout terrifying episodes that still rank high among the franchise’s darkest moments. These episodes range from the Weeping Angels’ terrifying debut in “Blink,” the unstoppable mimicking menace of “Midnight”‘s still an unseen entity, and the gradually worsening bleak what-if scenarios of Donna’s alternate timeline in “Turn Left”. Despite these story moments, “The Waters of Mars” stands out as the already-overpowering Flood virus is superseded in scariness towards the end by the Tenth Doctor himself, as the show’s main hero loses himself.

After grappling with his role in the universe, the Tenth Doctor casts aside every lesson he learned and changes history by saving them, declaring himself as the sole being who could change the Laws of Time. Left with the knowledge that these events should have never happened and would impact her loved ones’ fates, Bowie Base One’s captain, Adelaide Brook (Duncan), sacrifices herself despite the Doctor rescuing her, leaving him emotionally shattered. “The Water of Mars” isn’t just a scary Doctor Who story because of its monsters, but for how far the Doctor falls, as well as showing the negative impact his actions can have on the universe should he ever give in to his darker sides.

While the following adventure, “The End of Time,” may overshadow Tennant’s other 2009 Doctor Who specials, “The Waters of Mars” stands out for how far it pushes the show’s leading character. Rather than relying on monsters, the Tenth Doctor going too far leaves a greater impact by breaking the hero and twisting him into a barely recognizable figure. As such, it is understandable why Ford and viewers continue to rate the Tenth Doctor’s penultimate adventure as one of the character’s darkest stories.


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‘Loki’ Season 2 Episode 4 Recap: Total Temporal Meltdown! – Armessa Movie News


Editor’s note: The below contains spoilers for Loki Season 2, Episode 4.

The Big Picture

  • Episode 4 of Loki Season 2 reveals that Ravonna’s memory was wiped by He Who Remains after he betrayed her and took over the TVA.
  • The conversation between Loki and Sylvie at the Automat delves into the philosophical question of whether it’s better to play god or let chaos reign.
  • The episode ends with the complete destruction of the Temporal Loom and uncertainty at the TVA, leaving many questions unanswered and the future of the characters uncertain.

As we head toward the finale of Season 2, Loki delivers some startling discoveries and the entire TVA is on the brink of total destruction in Episode 4, “Heart of the TVA.” Directed by Justin Benson and Aaron Moorhead and written by Eric Martin and Katharyn Blair, Episode 4 reveals the truth of Ravonna’s (Gugu Mbatha-Raw) past, brings the whole cast back to the TVA, and the characters finally have some difficult conversations that have been brewing since the beginning of the season.

Particularly, we see the in-person conversation that Ravonna and He Who Remains (Jonathan Majors) have right after they take over the TVA and we learn that although Renslayer was working with He Who Remains, he betrayed her and rather than have her rule alongside him, he wiped her memory completely. Another scene we return to is from the first episode when Loki (Tom Hiddleston) jumps into the future and sees Sylvie (Sophia Di Martino) in the TVA right before he is pruned and saved from his time-slipping dilemma. This is the moment that galvanizes Loki into seeking out Sylvie, and now we know that the whole reason Sylvie is even at the TVA is because Loki went to go seek her out. It’s… kind of a confusing time paradox. The episode is jam-packed full of these big moments, making it one of the most eventful installments of Season 2. Ultimately, it ends with complete destruction and uncertainty.


Loki, the God of Mischief, steps out of his brother’s shadow to embark on an adventure that takes place after the events of “Avengers: Endgame.”

Release Date
June 9, 2021

Tom Hiddleston, Owen Wilson, Gugu Mbatha-Raw, Richard E. Grant

Main Genre

‘Loki’ Season 2 Episode 4 Makes Us Very Suspicious About O.B.’s Real Identity

Image via Disney+

While O.B. (Ke Huy Quan) has been a delightful new addition to Season 2, Episode 4 finally pairs him up with Victor Timely (Majors). Bringing Timely back to the TVA, Loki and Mobius (Owen Wilson) take him to O.B. to see if Victor’s temporal aura can solve the Temporal Loom problem. In a “chicken and the egg” moment, the two characters are starstruck by each other. Victor has spent his life idolizing O.B., who wrote the TVA manual, and O.B. has been inspired by the historical figure of Victor Timely, who he says would have been bigger than Einstein if he’d had the resources. While it’s a delight to see the two actors playing off each other in the scene, it also brings to mind a question that I’ve had for a while: just how involved is O.B. in everything happening at the TVA?

If O.B. inspired Victor, who inspired O.B. in return, is there a possibility that O.B. could himself be a Kang variant? I know that that’s an insane thing to say, but we already know from the show that variants can look and act very different from each other. Loki is a prime example of this. Not only does Sylvie exist, but all the Loki variants are proof that a variant doesn’t have to look identical (or even be the same species, looking at you Alligator Loki). With so much knowledge of the TVA and an unwiped memory, is it possible that O.B. is merely another Kang variant in waiting? We already know that He Who Remains wiped everyone’s memories after winning the Time War, including Ravonna’s, and that people are being subjected to regular mindwipes. O.B.’s friendly attitude and non-threatening persona (thanks in part to Ke Huy Quan’s performance) could easily be a misdirect.

‘Loki’ Season 2 Episode 4 Asks, “Is It OK to Play God?”

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In a heartfelt conversation at the Automat, Loki and Sylvie finally start to chip away at the complicated points of view they have on what to do with the TVA. It’s one of the most compelling scenes that looks closely at Loki’s development as a character and addresses one of the core issues that Season 1 ended on. Is it better to control the chaos and play god if it means saving lives? Or is it better to let chaos reign and take the good along with the bad? It’s a philosophical question with no real right answer.

In the scene, Loki reminisces about the events of the first Thor movie. He says that he once viewed softness as a weakness, a sentiment that Sylvie echoes, telling him, “Soft gets you killed.” But Loki quickly points out that in sparing Victor’s life, they are able to save and spare more lives. Sylvie’s mercy — softness — is instrumental in saving the timeline. Wwhile Sylvie is eager to just burn everything down and start from scratch, Loki correctly points out that trying to fix what is already broken is hard, but it’s also necessary.

It’s a discussion that makes sense from both sides of the table. Sylvie, who has been endlessly hunted and pursued by the TVA, obviously only sees the bad, like Dox (Kate Dickie) pruning all the timelines. Loki, who has been working alongside Mobius and B-15 (Wunmi Mosaku), has seen the capacity for good that the people at the TVA have. They’re victims of the TVA themselves, having been plucked out of time with their memories completely wiped to become employees. At the end of the day, it seems that both Sylvie and Loki might still end up doing what He Who Remains wanted them to do all along: play god. Their diametric difference is a strength that they have and can help them look after the branches of the timeline so that they can keep order. As Loki says, you can’t just give people free will and walk away. They have to be protected.

What Happens in ‘Loki’ Season 2 Episode 4?

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Ravonna Renslayer and Miss Minutes (Tara Strong) have been convenient allies, but after being kicked through a time door to the End of Time, Miss Minutes reveals the truth about Ravonna’s past to her. Showing her the events of centuries (or even millennia) past, Ravonna sees herself speaking to He Who Remains and learns that although she held a position of power in the TVA before as a judge, she was meant to be one of its leaders. She was not just an important figure in the war, she was the commander of He Who Remains’ armies. In fact, the phrase, “For All Time, Always,” comes directly from her conversation with He Who Remains. But, after winning the war, He Who Remains went on to wipe the memories of everyone who helped him, including Ravonna, robbing her of the power to rule beside him. Realizing that He Who Remains has used them both, the two partner up to go after the TVA.

Meanwhile, at the TVA, Victor arrives and is immediately brought to O.B. in R&A. The two have their fanboy moment, each surprised to meet the man who has had such an impact on their creations. There’s some technical jargon being thrown around about the Temporal Loom, but basically, it needs to be fixed and Victor just happens to have the device that will help them succeed before the TVA implodes. Unfortunately, the radiation out near the Loom is now much worse than when Mobius went out there before. Remember the skin melting? Yeah, that almost seems like a guarantee. And what’s life without skin?

While O.B. and Timely try to figure out a solution, Mobius casually suggests that they go get some pie, which makes Sylvie explode in anger at his flippancy. She points out, much like X-5 (Rafael Casal), that he hasn’t even looked into his own life or timeline. He doesn’t have a connection to the branched timelines out there, and he seems to actively be evading it. Mobius’ past and his origins is something that has had us scratching our heads since the very beginning and with all the emphasis being placed on it in the last few episodes, it seems that we will be getting our answer very soon.

Image via Disney+

Sylvie ends up at the Automat, which marks the second time that people seem to inexplicably end up there, which is one time too many not to make me suspicious. There, she and Loki have a discussion about how to handle the TVA, and as I stated before, it’s a discussion where there doesn’t seem to be a right or wrong. On one hand, it does seem like burning it all down and starting over might just be what they need to do. There are so many loose threads and the system is so corrupted. But on the other hand, preserving what has been set in place could provide longer and more stable change as opposed to completely razing everything. Sylvie seems reluctant to lead the TVA in any capacity, and in many ways, she is truly chaos embodied, and when she points out that she doesn’t want to play god, Loki reminds her, “We are gods.”

In the TVA, Gamble (Liz Carr) convinces B-15 to talk to Dox and her men and try to change her opinion. Gamble reveals that it was B-15’s impassioned speech that changed her mind on how to deal with the timelines, and she can inspire Dox in the same way. Speaking to Dox, B-15 does her best to try and appeal to Dox and convince them to fight for them again, especially with Renslayer on the way. But Dox doesn’t get to take B-15 up on her offer, because when Ravonna arrives she tries to bring Dox and her men onto her side to fight for her. Dox correctly recognizes that Ravonna is only after power and refuses to stand with her.

All of her men stand behind her except X-5, who sides with Ravonna. We know that he wants to return to his life on the timeline. It’s also clear that he and Dox have a closer relationship than they let on. She calls him Bradley and asks him if life on the timeline was really that good. He isn’t able to answer her and instead cowers when Ravonna puts all the people into a time cube and crushes them to death with Miss Minutes watching on with a slightly concerning, joyful smile on her face.

Miss Minutes in Loki
Image via Disney+

The three of them then go after Victor, who they grab after X-5 prunes D-90 (Neil Ellice). Then, Miss Minutes takes control of the system, stopping the other team’s efforts to fix the TVA. It’s in this scene where Sylvie becomes trapped in the elevator, and as she pries open the doors she sees the Loki of the past (from Episode 1) right before Loki from Episode 4 prunes him and sends him back to his point in the timeline. The ringing phone from Episode 1 is revealed to be a call from O.B., who tells Loki and Sylvie that the only way to take Miss Minutes offline is to reboot the system — which means they lose the safety system, which means Loki and Sylvie will get to use their magic. Finally!

With the system down, Loki and Sylvie act quickly to get Victor back. Sylvie enchants X-5 and gets him to prune Ravonna. They grab Victor and run back to the Loom as it is on the brink of destruction. Scanning his temporal aura, the blast doors finally open, and Victor decides to be the one to launch his multiplier MacGuffin into the Loom. He puts on the suit that Mobius donned in Episode 1 and tells himself, “Time to be brave.” It’s a huge heroic moment that is instantly undercut when he steps out of the doors onto the platform and is turned into spaghetti by the radiation. With their last hope gone, Loki and the team simply have to watch as the Loom totally destabilizes and implodes.

It’s a wild way to end an episode with just two weeks left to wrap everything up. Will we ever find out the truth about Mobius’ past? Are we ever going to learn about O.B.’s origins? Will we see Ravonna again? Will we see Victor again? Everything seems uncertain as Loki takes a late pivot in the season and throws us back into the unknown with this twist ending. Time will tell if their gamble will pay off.

New episodes of Loki premiere Thursdays on Disney+.

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