#a stunning twist that subverted the audience's expectations

[currymanganese]

[themovieblogonline]

The Running Man Remake: Glen Powell and Edgar Wright Team Up

Get ready to lace up your sneakers and run for your life—because The Running Man is making a comeback! This iconic story is getting a fresh new look, and it’s not just any remake. With Edgar Wright at the helm and Glen Powell leading the charge, this version promises to be a more faithful adaptation of Stephen King’s dystopian thriller. So, what can we expect from this high-octane reimagining? Let’s break it down. The Dream Team: Glen Powell and Edgar Wright First off, let’s talk about the dynamic duo behind this project. Glen Powell, fresh off the success of Twisters and Anyone but You, is set to star as Ben Richards. Powell’s star power has been on the rise, and it’s no surprise that he’s landed a role that could catapult him to even greater heights.Whether he’s charming audiences with his wit or kicking butt in a dystopian nightmare, Powell is proving he’s got the range to do it all. And then there’s Edgar Wright, the genius behind films like Baby Driver and Scott Pilgrim vs. the World. Wright’s signature style—fast-paced, quirky, and loaded with pop culture references—makes him the perfect choice to bring The Running Man back to life. With Wright directing and co-writing the script with Michael Bacall, you can bet this movie will be a wild ride from start to finish. A Faithful Adaptation of King’s Vision Now, let’s get into the nitty-gritty of what makes this remake different from the 1987 Schwarzenegger classic. According to insiders, this new version of The Running Man is going to be a more faithful adaptation of Stephen King’s novel. For those who might not be familiar, the original story is set in a dystopian America in 2025 (which, let’s be honest, is uncomfortably close). The plot centers on Ben Richards, a man desperate to save his gravely ill daughter. To do so, he enters a brutal reality show called The Running Man, where contestants are hunted by professional killers on live television. It’s like The Hunger Games meets Black Mirror, with a dash of ’80s grit thrown in for good measure. The 1987 film, while entertaining, took some creative liberties that strayed from King’s original vision. It turned the story into more of a straightforward action flick, which worked well for the era but didn’t fully capture the dark, satirical edge of the book. With Wright’s version, fans of the novel can expect a return to the source material’s intense, thought-provoking roots. This remake is aiming to be more than just a popcorn movie; it’s going to make you think—and maybe even squirm in your seat. Edgar Wright’s Vision: Expect the Unexpected When you hear Edgar Wright is directing, you know you’re in for something special. Wright has a knack for blending genres and creating films that are as visually stunning as they are entertaining. With The Running Man, we can expect a movie that’s not just a faithful adaptation, but also a fresh take on the dystopian genre. Wright’s style—sharp, witty, and always a little offbeat—is the perfect match for King’s dark and twisted story. If you’re a fan of Wright’s previous work, then you know this film is going to be anything but ordinary. But what exactly can we expect from Wright’s vision? For starters, you can bet there will be plenty of action, but don’t be surprised if it’s delivered with a twist. Wright loves to subvert expectations, so even if you think you know what’s coming, you’re probably wrong. This version of The Running Man is shaping up to be a thrilling, thought-provoking ride that’s as much about the spectacle as it is about the social commentary. The remake of The Running Man is shaping up to be one of the most anticipated films of the decade. With Glen Powell starring and Edgar Wright directing, this movie has all the ingredients for a hit. Whether you’re a fan of the original novel, the ’80s film, or just looking for a new dystopian thriller to sink your teeth into, this remake is one to watch. Stay tuned for more updates as production gets underway—because if there’s one thing we know for sure, it’s that The Running Man is going to be a run worth taking.

[deshbandhu]

Unexpected Movie Twists That Left Us Speechless

Movies often captivate us with their storytelling, but it's those unexpected twists that truly leave us speechless. Plot twists can redefine a narrative, leaving a lasting impression on audiences. In this article, we explore some of the most surprising and unforgettable twists in cinema history. For the latest on such thrilling revelations, make sure to follow Movie Masala News for updates on the freshest plot twists hitting the big screen.

The Art of the Plot Twist

Defining a Plot Twist

A plot twist is a sudden and unexpected change in the direction or outcome of a story. It can subvert the audience's expectations, revealing new dimensions to the characters and the plot. Whether it’s a shocking revelation, a character betrayal, or an unforeseen event, these twists are designed to surprise and engage viewers.

Importance of a Good Twist

A well-executed twist not only surprises but also enriches the storyline. It can elevate a movie from good to great, providing a new perspective on the narrative. Twists are often the most talked-about elements in films, sparking discussions and debates. For more insights into how plot twists impact movies, check out Movie Masala News, your go-to source for the latest in cinematic storytelling.

Iconic Plot Twists That Shocked Audiences

The Sixth Sense (1999)

In M. Night Shyamalan’s "The Sixth Sense," the twist that Dr. Malcolm Crowe (Bruce Willis) has been dead all along was a game-changer. This revelation redefined the narrative, turning a straightforward ghost story into a profound exploration of grief and redemption. The shock value of this twist has made it a staple in discussions about great movie surprises. Movie Masala News often revisits such iconic moments, analyzing their impact on audiences and the industry.

Fight Club (1999)

David Fincher's "Fight Club" left audiences reeling with the revelation that Tyler Durden (Brad Pitt) and the Narrator (Edward Norton) are the same person. This twist altered the entire narrative, transforming a story about an underground fight club into a psychological thriller about identity and mental illness. For the latest updates on films with mind-bending twists, Movie Masala News is a reliable source of information.

The Others (2001)

Alejandro Amenábar's "The Others" delivered a chilling twist when it was revealed that Grace (Nicole Kidman) and her children are the ghosts haunting their own house. This revelation turned a haunted house story on its head, providing a poignant commentary on denial and loss. Keep up with similar suspenseful twists in modern cinema by following Movie Masala News.

The Usual Suspects (1995)

Bryan Singer’s "The Usual Suspects" is renowned for its jaw-dropping twist: the meek Verbal Kint (Kevin Spacey) is revealed to be the infamous criminal mastermind Keyser Söze. This twist not only shocked audiences but also redefined the narrative, making viewers rethink every previous scene. For more on thrilling reveals like this, Movie Masala News offers in-depth analysis and commentary.

Oldboy (2003)

In Park Chan-wook's "Oldboy," the protagonist Dae-su Oh (Choi Min-sik) discovers that his quest for revenge has been orchestrated to manipulate him into an incestuous relationship with his own daughter. This disturbing twist left audiences stunned, showcasing the power of revenge and manipulation. Movie Masala News regularly covers films that push boundaries with their unexpected turns.

How Twists Reshape Movies

Enhancing the Narrative

A great twist can add layers to a film, providing new insights and depth to the storyline. It can transform a seemingly simple plot into a complex and engaging narrative. For updates on movies with groundbreaking twists, Movie Masala News is an excellent resource.

Creating Memorable Moments

Twists often create the most memorable moments in movies. These surprises linger in the audience's mind, prompting discussions and analysis long after the credits roll. For those interested in memorable movie moments, Movie Masala News offers comprehensive coverage.

Influencing Future Films

Successful twists often influence the genre, inspiring filmmakers to explore new storytelling techniques. They can set trends, leading to a wave of films that attempt to replicate the surprise and impact of the original twist. Stay informed about such trends with Movie Masala News, which tracks the latest developments in cinema.

Crafting a Good Plot Twist

Foreshadowing

Effective plot twists are often subtly foreshadowed throughout the film. Clues are planted that, in hindsight, make the twist feel inevitable yet surprising. This technique enhances the twist's impact, making it feel both unexpected and logical.

Character Development

Twists that align with character development are often the most satisfying. They reveal new dimensions of characters, adding depth and complexity to their arcs. Movie Masala News frequently highlights films that excel in character-driven storytelling.

Avoiding Predictability

A successful twist should avoid predictability. It should be a genuine surprise that subverts expectations, keeping the audience engaged and intrigued. Movie Masala News provides insights into films that master the art of unpredictable storytelling.

Conclusion

Unexpected movie twists can elevate a film, creating unforgettable moments that leave audiences speechless. From shocking revelations to mind-bending turns, these twists enrich the narrative, adding depth and excitement. For the latest updates and analysis on such captivating plot twists, Movie Masala News is your ultimate source. Whether you’re a fan of classic surprises or looking for the next big twist, staying informed with Movie Masala News ensures you won't miss out on the most thrilling developments in cinema.

[paperanddice]

Gilded Devil

Gilded devils are exactly the sort of thing I personally love in devils. A being innately tied to some mortal experience or aspect that manipulates it into corrupting and destroying people. In this case, they are specifically tied to jewellery and coinage, metals and gemstones with value beyond their innate properties. Rarity, vanity and prestige dictate a gilded devil’s control, and it exists to use wealth to subvert mortal souls.

The gilded devil also has the usual devil nature, where the fight with it should come as its absolute last resort. Finding out of its very existence should be a challenge, and even when hunters identify its plans and make their move, dozens of tricked or bribed guards, mercenaries and monsters should provide a screen for the devil to disappear or twist the situation to its advantage. Social manipulation is the gilded devil’s life, buying friends and position to keep it safe and ingratiating those in power to it. Or simply never being recognized as the source of the problems, directing action through others at all times and using grand gifts to direct action.

Of course, these actions may let its foes think that it is no danger itself. However, filded devils are servitors of Mammon and as a type of devil unique to one of the archdevils, they exist on an unusual promotion line. No archdevil is going to allow their unique servitors to be a complete pushover, and while gilded devils may not be a grand power in Hell, they can be quite the dangerous threat to mortals that are not prepared for them. Incredible defenses, powerful magic to both escape and attack, and several powerful abilities that augment their power far more than its foes may expect all fill in the gilded devil’s tool kit.

On the defensive side, they resist magic and non-magical, non-silver weapons, plus have immunity and resistance to several of the more common damage types. Powerful saving throws in conjunction with magic resistance means that most spells that allow a save of any kind will be blunted or ignored, and they can use teleport once per day to simply flee an encounter that does not work to the devil’s advantage. They also have a capacity to devour mundane treasures to heal themselves, an action that will surely drive any player characters into a blind fury, so be very careful taking advantage of this in a way that the players can find out about it. Though it will make them hate the devil even more as it destroys their reward.

While their attacking prospects aren’t always the most damaging, scorn base metals is an ability that simply ignores any non-precious metal armor. Without magic, even the fighter’s expensive full plate is below the gilded devil’s notice as its weapon simply passes through without resistance. This may be a little more effort to track, having to ask your players what their AC is not taking into account certain types of armor, but the flavor and image of the ability is very fun and for a major boss it fits to have more complex abilities to make use of. Betrayal of riches is also fun, and the errata fixes some of the confusing wording with the ability, some of which was likely ported over from an earlier edition version of the devil. Any characters wearing mundane jewellery (which may have even been an indirect gift from the devil earlier) can find their treasure acting out against them, barbs digging into their skin and potentially causing far greater problems. A smart gilded devil will attempt to gift potential foes with precious necklaces that it can use to strangle and stun them if they turn on it.

The gilded devil is fantastic for a low level final boss, a tricky foe manipulating the situation so that the party have to untangle its machinations and figure out who the foe even is, and will struggle to overcome the devil’s defenses and fend off its attacks. At higher levels, the devil is less of a threat, as its defenses and attacks will be less powerful against a well equipped party, but they still present a very flavorful monster and encounter.

A gem merchant who has become an icon of her town has a secret. Seven years ago she made a pact with a gilded devil to gain the skill needed to surpass her rivals and the price she had to pay in return wasn’t her own soul. Not yet, at least. Instead, she has been distributing the devil’s “gifts” to many in positions of authority, spreading the network of people it can scry upon easily further and further, and just recently she was granted an audience with several members of the highest court in the country. The devil has arranged its gifts for each member of the court, which will grant it access to listen in upon the lives of high ranking officials, and her will to go along with the devil’s instructions finally gives out. Working through several groups to try and avoid it being tracked back to her, she hires members of a bandit group below the devil’s notice to attack and rob her of the jewellery, and hopefully eliminate the guards that are more loyal to the devil than her, so that she can find a way to disrupt its plans.

The stability of a nation’s economy comes from several gilded devils conjured up and tasked with monitoring and balancing it. Many levels of checks and balances are in place to try and ensure the devils can’t manipulate things to their own advantage, ensuring that the system works, but mortals never properly account for the pervasive evil and corrupting nature of Hell. Decades after the system has been put in place, nearly every official tasked with monitoring the devil’s actions have been bribed into complacency, content with their own growing pocketbooks as the devils make ready to replace the few remaining with patsies and begin truly pushing things out of balance. Already the earliest stages of this planning can be felt, as tax money is increasingly funneled into the treasuries of the wealthy and less is used to maintain security and infrastructure. Isolated settlements have been entirely abandoned by the government, aside from taxes being taken, and as monsters and bandits start moving in roads, dams and bridges fail.

A gilded devil has defected from Hell. Its initial contact with Celestia was ambushed and killed by several more powerful devils, forcing the gilded devil to flee through a portal and seek refuge anywhere possible. Without a plan or allies, the devil tries to bribe a group of powerful adventurers into protecting it, falling back on some of its old patterns and routines in a desperate bid to survive. If the people it finds are sympathetic and helpful, providing more incentive for the devil to maintain its turn, it could manage to complete its redemption and provide invaluable insight into Hell’s existence and plans that could aid all manner of plans against the devils. If, however, it gets rewarded for bribery, cruelty and other activities it has used for its entire existence in the pursuit of evil, it may backslide, selling out those who seek to redeem it or simply becoming a free agent, trying to perform a task of corruption large enough to allow it to return to Hell.

[swshadowcouncil]

“Predictable” Is Not A Four-Letter Word

Well, looks like it’s that time again. That’s right: it’s time to talk about our good friend, Subverted Expectations™.(WARNING: Game of Thrones spoilers below the jump)

Hey, who’s super excited for the upcoming Benioff and Weiss Star Wars trilogy now?

I’m alluding, of course, to the latest episode of HBO’s Game of Thrones, in which, after an 8-season-long journey learning to own her own power, master her fate, lead armies, free slaves, and reclaim her family’s place on the Iron Throne, Daenerys Targaryen evidently got just a wee bit too much girl power and decided to become…bad? I guess? Boy, who could have foretold such a stunning subversion of expectations?

(I mean, a woman gaining power, being gradually resented by the men around her for her ascent, and eventually being viewed as a megalomaniacal villainess who needs to be taken down a peg is kind of the opposite of a subversion, it’s actually pretty much what happens to most women in power, fictional, or non-fictional, but I digress)

Fan response, needless to say, has been…mixed. Generally, folks seem to be unhappy with this course of events, given that, aside from some allusions to “Targaryen Madness” throughout the series, the buildup to Dany’s heel turn has been widely seen as rushed and somewhat arbitrary. True, she’s suffered a lot in the past few episodes, but the series has also put quite a lot of effort into making Dany a sympathetic character. Complicated, yes, and flawed, as most GoT protagonists are, but still heroic and generally good. Even as a conqueror, she holds her armies to a code of conduct, shows sympathy to the downtrodden, and overall seems to want to be a good, ethical ruler even after she’s taken the Iron Throne. So, uh….what gives?

Those of us who were Star Wars fans during the release and aftermath of The Last Jedi will recognize this feeling all too well. And, much like with TLJ, the backlash itself spawned a backlash. “Actually,” declared the internet masses, “It’s good that Rian Johnson subverted our expectations. To follow through on what Abrams set up would have been obvious and boring. The whole point of storytelling is to be unexpected!” But if this is the case, why did so many people walk away from TLJ, or this past episode of GoT, feeling so unsatisfied? And why, for god’s sake, do we find ourselves constantly having this argument any time a new piece of media comes to an end?

The internet certainly provides many examples of the attitude that objection to an incongruous shock ending is somehow weak, entitled, emotional, and juvenile. There’s a sense that true fans of a franchise are tough enough to absorb an unsatisfying ending, that they actually find satisfaction from the dissatisfaction, and that to want an ending that ties up loose ends and closes character arcs (dare I say, even happily, at times) is to want one’s hand held, or to be incapable of handling nuance or bittersweetness. “Life isn’t always happy!” the internet masses cry. “Life doesn’t always make sense! Life is disappointing too! Deal with it!” But stories aren’t vegetables we’re supposed to choke down before we can leave the dinner table. The purpose of storytelling, for adults, at least, is not just to condescendingly remind the viewer that bad things happen sometimes, and force them to suck it up. Which, of course, isn’t to say that all endings have to be neat and happy, either–there are stories with dark endings that are deeply satisfying (Breaking Bad) and ones with happy endings that are deeply unsatisfying (How I Met Your Mother). There are even stories with subtle, unclear endings that still feel logical and satisfying to many viewers, albeit not all. The ending of The Sopranos, for instance was famously controversial for its ambiguity, but even this ending was tied to themes and concepts planted earlier in the series, and several perfectly cogent arguments have been written to explain this quite persuasively.

But what satisfying endings tend to have in common, that unsatisfying ones don’t, is a feeling of appropriateness and completeness. Most fans who hated the finale of How I Met Your Mother did so not because they resented that it was “happy,” but because they felt it was a 180-degree turn from the arcs of all the characters and storylines up until the last few minutes of the last episode. Conversely, people didn’t love Breaking Bad’s ending because it was “difficult” or “dark,” they loved it because it was a believable, complete, fitting ending to the story that had come before (funny enough, I would wager that more people guessed the ending of Breaking Bad than guessed the ending of How I Met Your Mother, though that’s neither here nor there). But in the current cultural environment, a person can gain quite a bit of attention for boasting that unlike those blubbering fake fans, they LIKED that this ending didn’t conclude the arcs that had built for years, didn’t pick up dropped plot threads, didn’t allow protagonists to learn anything or achieve their goals, and so on and so forth. That they, by virtue of some unspecified quality, didn’t NEED an ending like that in order to enjoy what they were watching. Do I believe people who say this? Well, maybe. Human opinions are varied, and I don’t allege some conspiracy where everyone secretly hates the same things I hate. Nonetheless, I often find a degree of disingenuousness in these statements. A good ending can be obvious, unexpected, happy, sad, or even ambiguous–but more often than not, what makes it good is that it is satisfying. And loving an ending because it is unsatisfying, because it gives the audience nothing it wants, runs counter to this instinct, like it or not.

To use one example of a satisfying ending (albeit not a true ending, since it comes in the middle installment of a trilogy), Darth Vader’s revelation that he is Luke Skywalker’s father has gone down as one of the greatest plot twists in cinema history. Indeed, if you didn’t know that a mystery like this was building, you’d never think to put the pieces together–the ominous references to Luke having “too much of his father in him” or having “much anger…like his father,” the Chekhov’s gun of Anakin’s murder that goes unaddressed throughout A New Hope, and so on. But this twist is somewhat unique in that much of the buildup to it was done retroactively. During the writing of A New Hope, there was no plan for Vader to be Luke’s father–instead, the decision was the result of looking back at what the story had built, and following it to a coherent, unexpected, yet somehow totally natural conclusion that set up compelling stakes for the subsequent chapter. That is why the Vader twist works–it wasn’t chosen purely so the audience couldn’t guess the ending of the film, it was chosen because that was a compelling direction for the story to go, because it complicated and heightened the stakes, and because it deepened the existing text through unexpected means. In other words, arguably the greatest movie twist in history wasn’t great just because it was hard to guess, it was great because of the emotional impact of looking backwards and realizing how well it fit into the framework that was already in place despite the twist being unexpected. The surprise on its own is only a surprise; the surprise filling in the blanks of the story so effectively is what makes it sublime.

So why, then, do we find ourselves sucked into a maelstrom of hot takes every time we say we dislike a shock-value ending? And why does this trend seem to have gotten so much worse in recent years?

Well, it should come as a surprise to nobody that fandom culture to begin with is notorious for the ways in which elitism, gatekeeping, and all-around dick-measuring feature in its social interactions. Anybody who’s spent time in a major fandom has undoubtedly encountered this bizarre form of competitiveness, whether it’s being quizzed by strangers on their knowledge of canon or listening to boasts of “I was into it before it was cool” that would make a Brooklyn vinyl store owner blush. What has changed in recent years is the increased integration of the larger internet into these fandoms, shifting fan discussions from the confines of in-person hangouts or small online chat rooms, into massive public forums such as Tumblr and Reddit. Suddenly, said dick-measuring is not only happening for a far larger audience (including the general public, not just hardcore fans), but likes, reblogs, gold, and upvotes actually give fans a metric by which they can “win” or “lose” these competitions, further incentivizing them as a go-to mode of interaction among fans.

Now, with longform franchises, such as Star Wars, Marvel, and Game of Thrones, this who-is-the-nerdiest-of-them-all dynamic runs headlong into another common form of fan interaction; that is, speculation. When fans of a certain TV show or film series gather together, it’s only logical that one of the main topics of discussion is what they think might happen to their favorite characters next. These two dynamics in conjunction with one another form a fertile breeding ground for the almost gladiatorial style of fan speculation we see in most major forums nowadays. One person theorizes about a certain future plot line and receives a shower of upvotes, likes, favorites, and so on. Another comes back with a biting critique, and is given even more praise. Eventually, what might otherwise be a simple discussion becomes an outright competition, complete with points and ranking systems to keep track of who is “winning.”

This paradigm, in turn, incentivizes a very specific style of speculation. If I begin telling you a story about a girl named Cinderella who lives with her wicked stepmother and two wicked stepsisters, who asks to go to the prince’s ball, and leaves a shoe behind on the steps of the palace, your inevitable prediction that the story will end with a shoe fitting and a royal wedding may be correct, but it’s hardly cause for bragging. Of course you could predict how the story would end, because the ending was obvious. However, if I gave subtle clues in my story that the ending would go a different way, and you were the only one to predict that in this version, Cinderella was actually a vampire the whole time, and the story would end with her turning all the other characters into vampires, you could get praise for your attention to detail and ability to pick up on clues others had missed in this (absolutely bonkers) adaptation of Cinderella. Those of us who have followed the Star Wars online fandom since the release of The Force Awakens will recognize this pattern of behavior, especially in the areas of Snoke’s identity and Rey’s parentage. Though most agreed immediately on the heels of TFA that Rey was heavily implied to be Luke Skywalker’s daughter (or possibly Han and Leia’s), it only took a few weeks for the tide to shift to increasingly fantastical theories. First, the relatively mundane theories that she was a Palpatine or a Kenobi, then the slightly more perplexing suggestions that she was a Lars or Naberrie, and eventually theories that she was an immaculately conceived Force baby, or a clone, or a reincarnation of Padme Amidala.

The simplest explanation for this progression is just that people get bored of talking about obvious theories and want to mix things up with more unusual “what if” scenarios. But it’s hard to ignore the way that the competitive nature of social media fandom fosters this paradigm as well. Like someone betting on horse races, the lower the odds, the higher the reward and the sweeter the victory. Guessing that Rey is Luke Skywalker’s daughter, immediately after The Force Awakens, would be like guessing that the story of Cinderella ends with a wedding–yes, you’re likely right, but so is any schlub off the street who watched the movie once and made an idle guess. However, if you guess that Rey is the reincarnation of Padme Amidala, conceived through the Force, and you’re right, you may well be treated as some sort of prophet. Cue the showers of fake internet points.

I should be clear here–I don’t think there is anything wrong with wanting to guess the right answer to a mystery, or come up with a particularly clever solution to a problem that nobody else has thought of before. To the contrary, these are very normal human desires, ones that anyone who follows my writing knows that I myself engage in. The problem is, again, that this incentive to up the stakes of speculation with increasingly nonsensical, out-of-left-field proposals, purely to outdo others, makes it so that cohesive storytelling without shock value is stigmatized in fandom discussions. Which, of course, makes it harder to call content out for being unsatisfying without being accused of being childish, unsophisticated, or foolish. And so, we wind up in a self-perpetuating cycle. When we set up a paradigm where guessing the plot of a story is a competition, any predictable, reasonable, ho-hum answer becomes “too easy.” We expect content creators to structure their stories to make our guessing games harder, because after all, what’s the point of consuming media if the sweetness of “victory” is undercut by a simple, obvious answer? And if setting up these unexpected endings comes at the expense of a satisfying story, the response from many fans is “so be it.”

Which brings us to an even more pressing issue: the actual impact this discourse has on media itself. Content creators are praised by this subset of fans for creating endings that viewers didn’t expect, because, as established, this style of writing enriches the “game” that they play with one another in various forums. Consequently, fans begin to assume it is in longform media writers’ best interest to structure stories this way–to build a story that seems as though it will go one way, only to pull a U-turn at the last minute just to ensure nobody guessed the ending. Fan discourse, in other words, is normalizing bait-and-switching as a core pillar of storytelling, rather than one of many techniques writers can use to build a compelling story. And, as more people who came of age in the internet era grow up to become content creators themselves, I fear that this recent spate of shock-value media is going to become more of a trend than an aberration. Much has been said about the internet creating political echo chambers, but so too can it create artistic ones–and without dissenting opinions at the table, those reverberations will only get stronger.

So, am I advocating that people fearlessly defend “predictable” storytelling in its common connotation of “boring” and “unoriginal?” Of course not. But even if a story isn’t predictable, an audience member with a keen eye, a good instinct, and some time and attention, should in theory be able to predict it. It shows that the writer has put thought into foreshadowing, thematic congruence, consistency of character and motivation, and overall cohesion. Great, surprising endings are not created by building false decoys of these things. Instead, they’re created by rendering them subtly, slipping them in under the audience’s nose so they’re not aware of a surprise building; or sprinkling in deceptively contradicting information so the audience has to struggle to reconcile these conflicts in their minds. To expand upon a metaphor from our own HypersonicHarpist, a good storyteller–like a good magician–may disguise what they are doing with sleight of hand and misdirection, but ultimately they don’t stop mid-act, set down the hat and wand, and then pull a rabbit out of a nearby air duct vent instead. Put quite simply, we are hard-wired to want stories that leave us feeling satisfied. And the beauty is, we all have different ideas of what that looks like–that’s where good, productive discussion comes in.

But when we let disingenuous, performative internet groupthink make us doubt our instincts that something is amiss, for fear of appearing uncultured or childish, we do ourselves and our media a disservice. Bad-faith criticisms of “predictable” story arcs have poisoned fan discourse to the point where even genuine appreciation for certain shocking endings are drowned out in the cacophony of hot takes. And until more people begin to honestly admit it when they don’t see the Emperor’s new clothes, discussions on media will remain that way. As fans in the age of the internet, we have unprecedented voice and access to content creators, and more tools at our disposal to create content ourselves than any generation before us. Now more than ever, the way we talk about media guides media. It’s up to each of us to make sure we have a voice in that conversation.

[aion-rsa]

Great Pretender Season 2 Review (Spoiler-Free)

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This Great Pretender season 2 review contains no spoilers.

There’s absolutely nothing like being left in a dumbfounded stupor after a multi-stage con has been properly executed. Stories that revolve around conmen and grifters operate with a very specific kind of jubilation and when they’re done right there is no greater high. A perfectly planned con is no different than an immaculate magic trick or an effective third act twist. As much as cons involve the stealing of something valuable, they’re even more concerned with an understanding of human nature. 

Great Pretender’s previous episodes have set a very high standard for this series’ ability to tell layered stories that know how to trick and delight the audience with a revolving door of plot twists. Great Pretender season 2, “Wizard of Far East,” truly goes for broke and continues to use intricate cons as insightful character studies into deeply flawed and lost individuals. Great Pretender’s stakes have never held more weight. This time around it’s not a drug ring or an expensive piece of art that’s on the line, but human lives. 

Great Pretender’s first 13 installments were divided into three separate con jobs. For season 2 (which is what Netflix is classifying this batch of episodes as), one case is spread across nine episodes. This offers less variety than the previously shorter cases, but the series finds an important topic that justifies this extended length. There’s been a satisfying sense of schadenfreude as Makoto “Edamame” Edamura, Laurent Thierry, and the rest of their band of misfit manipulators con corrupt individuals and bring them to justice, but this new case specifically plays into that antipathy. 

Edamame is sent to Vietnam and Shanghai and finds himself in the middle of a human trafficking ring that auction off children to the rich and affluent. It’s surprising to see Great Pretender explore such mature subject matter and highlight a dark corner of the criminal underworld that’s often ignored. It unfortunately feels prescient in a way that the previous cases haven’t and it works as a powerful catalyst for all of the characters involved. Human trafficking also brings Edamame’s story full circle in a strange way since he’s previously teased that his father’s arrest involved human trafficking suspicions.  

Edamame has devoted a lot of grief to the loss of his mother, but this focus on human trafficking brings his father to the forefront in a fascinating way. Great Pretender has been interested in the question of whether people can fundamentally change or not and it digs even deeper into that idea as Edamame’s life runs parallel to that of his father and if he’s doomed to face a similar fate in life. Great Pretender has filled Edamame’s backstory with endearing quirks and painful confrontations, but these new episodes really put him through the gauntlet and he matures in some significant way. Edamame has to really examine if Laurent and company are a positive influence or if they’re making him sink deeper into a dark life that he won’t be able to escape. Laurent also gets expanded on in some very enlightening ways that help illustrate how he’s become so disaffected in life.

It’s very entertaining to watch Edamame and the rest of the team slot themselves into fitting roles as they attempt to dismantle a corrupt company and its vast web of clientele. Great Pretender has never traded in simplicity, but even by those standards “Wizard of Far East” operates like an ouroboros of grifting where double-crosses multiply into quadruple-crosses. This grift culminates in such an extravagant way that it makes The Sting or Matchstick Men seem lazy in comparison. A less carefully planned version of this would come across as cheap, but every moment here is earned and a testament to the tightly plotted nature of these episodes. 

“Wizard of Far East” also plays even better on second viewing since you get to be in on these schemes and know where they’re headed. Great Pretender indulges in many tropes of the genre, but it never shows its hand or loses itself in exposition. This story knows how to subvert expectations and pull off major surprises that are satisfying both in terms of narrative and on an emotional level. This is consistent right up until the end, which sets up an even more ambitious con for next season that could have ramifications for the entire world if it comes to fruition.

Great Pretender features a brilliant narrative, but it’s also aesthetically a triumph. Wit Studio is one of the hardest working animation studios in the industry and they’re most widely recognized for their exhaustive work on Attack on Titan. Great Pretender is obviously much less driven by sprawling action scenes, but the animation here stands out with how it breaks the rules of color palettes and conventional character models. So many scenes are kaleidoscopic explosions that are just stunning to take in. The backgrounds and environments become as engaging as the schemes that are getting pulled off. The music also perfectly captures both the show’s manic madcap energy and the tender and introspective turns that the episodes take.

Great Pretender should be mandatory viewing for anyone who appreciates strong, meticulously plotted storytelling. The episodes tap into the right blend of mystery, action, and comedy while these realistic characters gain even more depth. The series is an impressive display of what can be accomplished in an anime, but Great Pretender will even connect with people who aren’t big fans of animation. It’s encouraging to see anime tackle increasingly morally complex material and it looks like next season is ready to go even further. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

At this point, Laurent and company could announce that they’re going to steal the moon and I’d believe that it’s possible.

Great Pretender season 2 premieres Nov. 25 on Netflix

The post Great Pretender Season 2 Review (Spoiler-Free) appeared first on Den of Geek.

from Den of Geek https://ift.tt/3976poa

[niiqhtmare]

i. overview

Species: Vampyr

Full Name: UTP

Birthday & Age: UTP, 125+

Rank: UTP

Occupation: UTP at Six Crown Studios

Neighborhood: up to you or UTP, # bed(s) bath(s) - lives with UTP.

Residency Status: UTP

Sexual Orientation: UTP

ii. personality

+ trait, trait, trait, & clever.

- clandestine, trait, trait, & trait.

iii.  about the species

vampyr is a preternatural being, commonly believed to be a reanimated corpse, which consumes the blood of sleeping persons at night, thralls, and other victims. undead, diseased people who have been predominantly hated, hunted, and misunderstood by the living. whether they consider themselves cursed or blessed, or whether they have given into their animalistic instincts or have sought to find a way to fit the norm, vampyrs are nonetheless considered abominations. the origins are obscured by misinformation and the past forgotten but many of their kin have select deities they worship close to the nocturnal affinity. hekate, anubis, ceres, gods who require blood of their patrons. still, they are species are old enough that not even the eldest of the community can remember their proper origins.

iv.  the past

May 29, 1913. Paris. The Rite of Spring — a ballet that triggered a riot.  

Ballet is typically thought of as harmonious, graceful, and refined. The first performance of Igor Stravinsky's “The Rite of Spring,” audience members were left stunned. Murmurs gave way to outrage that drowned out the orchestra. Fights were started and arrests were made. The world was on edge, standing on the precipice of a world war and ushering in the modern age, and they were truly captivated by the tension of it all.

They were there. They’ve always been there — found at the intersection of creativity (in all of its forms) and such unnerving beauty it has spun legends. There was something so visceral as the world broke out into such a reaction over the rejection of the expected beauty, romance, and elegance so intrinsic to the genre. In their long lost youth, at a fonder point of time, the public had been so passionate about classical music - and the arts, at length - that they were willing to riot at a performance. Their fascination has not wavered over a century as they continue in their quest for beauty and intrigue, but thrive on twisting and subverting it to their own standards.

v.  the current

There is a longing for a busier life, but there is a novelty to be found in the more mundane. The world underestimates them. Their curiosity has bloomed along with a ravenous penchant to partake in all things creative. They have watched ‘modern’ become ‘classic’ over numerous decades, yet they are still at the forefront ready to push things further. There is an intrigue in the touch of chaotic neutrality they have been found to possess, but they have perfected the art of shrouding it in utter subtlety. Their heart still beats in a violent yearning to be consumed by all encompassing passion, sparked within themselves and others. The irony of what they have been tasked with by The Dominion is not lost on them ⁠— to continue to conceal the supernatural. Oh, but the riots that would ensue just might sway them otherwise!

vi. connections

✗ SIX CROWN STUDIOS - The company has enticed them in their endeavor to push boundaries, though they push against many things that have the audacity to try to hold them back. There are undertones within the studio to seek out the radical and the different. THE NUANCE has a passion project of curating profiles on individuals that challenge the fetters of social constructs, but they have happily become a chameleon of sorts. A large focus of the studio is flirting with the world of the supernatural and ultimately exposing it. THE DOMINION has tasked them with misdirection ⁠— offering a few anomalies to poke through while concealing the rest with sleight of hand. Should they be tempted to let things go awry, other species will certainly be the first to fall.

✗ THE BON VIVANT -  They are THE BON VIVANT’S Right Hand holds quite an amusing secret. Unbeknownst to him, they are hiding in plain sight. They are of the vampyric sort. They lurk outside of the shadows of society and have mastered the art of fading into the background, yet are attention seeking in more subtle ways. THE NUANCE is walking and guarding a fine line. They exist entirely in a grey area and wield a paintbrush to paint things one shade darker when they decide. They are there to let some things slip while disguising others as the world isn’t ready for the veil between realms to be stripped away. They find the ignorance of humans both amusing and endearing. The Studio has come so close to exposing it all and they are there to prevent total chaos all under the guise of helping THE BON VIVANT. Should it all go belly up, they’ll be there to document it all going down in flames.

✗ THE INQUISITIVE -  The BON VIVANT has tried in vain to conjure up some semblance of The Three Musketeers. THE NUANCE and THE INQUISITIVE play nice enough though rarely seek out each other’s company when THE BON VIVANT isn’t around. THE INQUISITIVE is the most earnest believer out of them all, but THE NUANCE has mastered the art of misdirection. There is suspicion and thin smiles amidst the forced pleasantries but neither are inclined to make waves, though causing ripples of amusement is another story.

Their face claim is UTP and they’re currently OPEN FOR AUDITIONS.

Suggested faceclaims: Ezra Miller, Brigette Lundy-Paine, Quintessa Swindell.

[ramajmedia]

Alfred Hitchcock Presents: 5 Best & 5 Worst Episodes, According To IMDb

Good Evening. Besides Rod Serling’s Twilight Zone, there was one other profoundly clever anthology hit starring a charismatic host. The Master of Suspense himself, Alfred Hitchcock decided to bring his wry, dark humor to television. However, the stories themselves were generally pretty stark, frequently dealing in murder, suicide, rape, and other crimes. They were small slices of sharply written suspense, rather than Serling’s sci-fi meditations on morality.

RELATED: The 10 Most Bingeworthy Anthology TV Series, Ranked

Although, they did incorporate a witty sense of irony, great performances, and clever twists. Hitchcock only directed a handful, and didn’t write his own material. But he consistently provided charming intros and outros, accompanied by an iconic theme song and brilliant comedy. Here’s how fans rated the highs and lows of this 50’s thriller anthology.

10 Worst: Sylvia - 6.4

In this episode, a rich father worries that his daughter Sylvia may commit suicide after purchasing a gun. However, she has threatened to kill her ex-husband Peter if he doesn’t take her back. It’s basically a narrative game of Russian Roulette, wondering who will end up dead after all.

Unfortunately, there’s an obvious issue with the casting, which is very distracting. The father and daughter are too close in age, and the latter has a totally different accent. It’s quite strange. The story itself is ultimately somewhat rote, and worse, moves like molasses. Also, the weaker performances simply aren’t up to the task of carrying essentially unsympathetic characters.

9 Best: Man With A Problem - 8.4

This is a story about a man on a ledge, and the skilled officer aiming to help him down. But the backstory slowly weaves an intriguing tapestry of secret truths behind the encounter. It achieves superb suspense by gradually revealing the mystery of the motivations piece by piece.

The episode boasts some deft direction, and compelling performances. The actual premise of the story results in a very clever and rewarding twist. But the episode works throughout because the false pretense is just as engaging as the hidden reality. It’s pure Hitchcock, making it clear why he eventually entrusted Psycho to his television team.

8 Worst: O Youth And Beauty! - 6.3

In this episode, a middle-aged former athlete struggles with drinking and depression at his local Country Club. The performances are pretty impressive throughout, and Gary Merrill actually conjures some degree of sympathy for his protagonist. Of course, it’s ridiculous that the character’s name is literally “Cash.”

RELATED: 10 Best Horror Anthologies

That is shamelessly on the nose. And overall, the story is somewhat of a chore, with all that self-pity. The man has more money than some, a wife, and a child. This story is merely a lesson—Cash pays dearly for attempting to relive the old days. It’s a slow, dreary episode that just doesn’t generate the typical intrigue.

7 Best: Road Hog - 8.5

Once again, we revisit a well-motivated, sympathetic and clever plan of revenge. The episode begins with a mean-spirited salesman, which is actually an odd conceit. How would he make a living? Either way, he doesn’t much care for people passing him on the road.

The salesman delays a truck behind him, resulting in the death of an injured child. This catalyst serves up some fantastic intrigue, and when revenge is served well, it’s guiltily satisfying. This episode digs into the darkest impulses of humanity, regarding selfishness, grief and cruelty. It almost feels like an urban legend—carried by gifted actors, and great pacing.

6 Worst: The Hidden Thing - 6.1

This is quite a weaker entry, which is a shame, because the striking premise had enormous potential. In this episode, a man’s fiancée is randomly killed by a hit-and-run. The protagonist, Dana, is unable to recall any identifying information of the culprit. He’s ridden with guilt, until a complete stranger pesters Dana with promises of a memory recall solution.

It’s a brilliant premise, but the acting doesn’t support it. And even worse, the ending offers no resolution regarding the stranger, which is very strange. Usually, this show deliberately goes out of its way to summon a clever, unexpected answer. Sadly, the satisfaction of mysteries is defined by their solutions.

5 Best: The Glass Eye - 8.5

Jessica Tandy is probably best known for Driving Miss Daisy. But she also collaborated with Hitchcock in one of his most iconic films, The Birds. And before that, she delivered an absolutely stellar performance in this stunning episode, as a lonely old spinster. She pines for a traveling ventriloquist, but all is not as it seems.

RELATED: 10 Best Netflix Original Horror TV Shows

It’s a considerably poignant lesson about isolation, which older people can be no stranger to. But the episode also has an aura of tense, supernatural mystery about it. The story manipulates your familiarity with horror to subvert expectations. And at the same time, the tragic twist also warns how desperation and fantasy can lead to harmful, regretful ends.

4 Worst: Appointment At Eleven - 5.9

This dull episode is about a young man suffering an emotional breakdown at a couple bars. The promise is that something terrible will happen at eleven o’ clock, but the twist isn’t rewarding enough. There’s no sense of mystery, and the protagonist just doesn’t deliver a strong enough performance to carry consistent outbursts.

Such behavior can really get out of hand among lesser actors, and so it does. All of the actions are nonsensical until the big reveal. Per Hitchcock himself, the best suspense is generated when the audience knows more than the characters. Perhaps if we were informed, rather than leaving the end a mystery, the story would have played better.

3 Best: Man From The South - 8.7

This episode is headlined by two exceedingly iconic actors—Steve McQueen and Peter Lorre. The latter was actually in Hitchcock’s original The Man Who Knew Too Much. Both actors deliver convincing, engaging performances. McQueen’s character hits it off with a woman at a casino, played by his real-life wife.

RELATED: American Horror Story: 10 Biggest Twists & Reveals, Ranked

Their chemistry is correspondingly organic. Then, Peter Lorre does his “thing”, making an unsettling gamble—a convertible for a finger. All McQueen has to do is light his cigarette lighter ten times straight. The stakes are pretty high, and Lorre preys on the victim’s attempts to impress his new girl. It’s a simple premise, but appropriately morbid, suspenseful, and well-performed.

2 Worst: The Children Of Alda Nuova - 5.8

This episode was set in Italy, which was a strange decision. The show clearly didn’t have the budget for it, with unconvincing sets and actors. In this episode, a wanted criminal takes refuge in a small Italian city and meets his comeuppance. Consequently, the protagonist is totally unlikeable throughout, and we end up urgently waiting for his demise.

That doesn’t create any form of suspense since we need to be invested for that element. The signature twist is absent, as well, which is equally disappointing. The episode simply plods through, as if disinterested in its own story.

1 Best: The Right Kind Of House - 8.7

Interestingly enough, the highest-rated episode of the show is hinged on a mystery. Why does an old house-owner ask such an unreasonable price for her home? When someone is finally willing to pay up, the dark history of the residence is gradually revealed. Given that a murder occurred there, over a great sum of stolen money, the twist is somewhat telegraphed.

However, it also allows us to comprehend the chess match the main characters are playing with each other. The episode moves quickly, and the cast is fantastic. It essentially encapsulates everything desired of the show—crime, wicked people, revenge, deceit, and stellar acting. Not to mention, Hitchcock’s monologues are brilliant, as usual.

NEXT: The 10 Best Historical Cameos In Once Upon A Time… In Hollywood

source https://screenrant.com/alfred-hitchcock-presents-best-worst-episodes-imdb/

[themovieblogonline]

The Running Man Remake: Glen Powell and Edgar Wright Team Up

Get ready to lace up your sneakers and run for your life—because The Running Man is making a comeback! This iconic story is getting a fresh new look, and it’s not just any remake. With Edgar Wright at the helm and Glen Powell leading the charge, this version promises to be a more faithful adaptation of Stephen King’s dystopian thriller. So, what can we expect from this high-octane reimagining? Let’s break it down. The Dream Team: Glen Powell and Edgar Wright First off, let’s talk about the dynamic duo behind this project. Glen Powell, fresh off the success of Twisters and Anyone but You, is set to star as Ben Richards. Powell’s star power has been on the rise, and it’s no surprise that he’s landed a role that could catapult him to even greater heights.Whether he’s charming audiences with his wit or kicking butt in a dystopian nightmare, Powell is proving he’s got the range to do it all. And then there’s Edgar Wright, the genius behind films like Baby Driver and Scott Pilgrim vs. the World. Wright’s signature style—fast-paced, quirky, and loaded with pop culture references—makes him the perfect choice to bring The Running Man back to life. With Wright directing and co-writing the script with Michael Bacall, you can bet this movie will be a wild ride from start to finish. A Faithful Adaptation of King’s Vision Now, let’s get into the nitty-gritty of what makes this remake different from the 1987 Schwarzenegger classic. According to insiders, this new version of The Running Man is going to be a more faithful adaptation of Stephen King’s novel. For those who might not be familiar, the original story is set in a dystopian America in 2025 (which, let’s be honest, is uncomfortably close). The plot centers on Ben Richards, a man desperate to save his gravely ill daughter. To do so, he enters a brutal reality show called The Running Man, where contestants are hunted by professional killers on live television. It’s like The Hunger Games meets Black Mirror, with a dash of ’80s grit thrown in for good measure. The 1987 film, while entertaining, took some creative liberties that strayed from King’s original vision. It turned the story into more of a straightforward action flick, which worked well for the era but didn’t fully capture the dark, satirical edge of the book. With Wright’s version, fans of the novel can expect a return to the source material’s intense, thought-provoking roots. This remake is aiming to be more than just a popcorn movie; it’s going to make you think—and maybe even squirm in your seat. Edgar Wright’s Vision: Expect the Unexpected When you hear Edgar Wright is directing, you know you’re in for something special. Wright has a knack for blending genres and creating films that are as visually stunning as they are entertaining. With The Running Man, we can expect a movie that’s not just a faithful adaptation, but also a fresh take on the dystopian genre. Wright’s style—sharp, witty, and always a little offbeat—is the perfect match for King’s dark and twisted story. If you’re a fan of Wright’s previous work, then you know this film is going to be anything but ordinary. But what exactly can we expect from Wright’s vision? For starters, you can bet there will be plenty of action, but don’t be surprised if it’s delivered with a twist. Wright loves to subvert expectations, so even if you think you know what’s coming, you’re probably wrong. This version of The Running Man is shaping up to be a thrilling, thought-provoking ride that’s as much about the spectacle as it is about the social commentary. The remake of The Running Man is shaping up to be one of the most anticipated films of the decade. With Glen Powell starring and Edgar Wright directing, this movie has all the ingredients for a hit. Whether you’re a fan of the original novel, the ’80s film, or just looking for a new dystopian thriller to sink your teeth into, this remake is one to watch. Stay tuned for more updates as production gets underway—because if there’s one thing we know for sure, it’s that The Running Man is going to be a run worth taking.

[themovieblogonline]

The Running Man Remake: Glen Powell and Edgar Wright Team Up

Get ready to lace up your sneakers and run for your life—because The Running Man is making a comeback! This iconic story is getting a fresh new look, and it’s not just any remake. With Edgar Wright at the helm and Glen Powell leading the charge, this version promises to be a more faithful adaptation of Stephen King’s dystopian thriller. So, what can we expect from this high-octane reimagining? Let’s break it down. The Dream Team: Glen Powell and Edgar Wright First off, let’s talk about the dynamic duo behind this project. Glen Powell, fresh off the success of Twisters and Anyone but You, is set to star as Ben Richards. Powell’s star power has been on the rise, and it’s no surprise that he’s landed a role that could catapult him to even greater heights.Whether he’s charming audiences with his wit or kicking butt in a dystopian nightmare, Powell is proving he’s got the range to do it all. And then there’s Edgar Wright, the genius behind films like Baby Driver and Scott Pilgrim vs. the World. Wright’s signature style—fast-paced, quirky, and loaded with pop culture references—makes him the perfect choice to bring The Running Man back to life. With Wright directing and co-writing the script with Michael Bacall, you can bet this movie will be a wild ride from start to finish. A Faithful Adaptation of King’s Vision Now, let’s get into the nitty-gritty of what makes this remake different from the 1987 Schwarzenegger classic. According to insiders, this new version of The Running Man is going to be a more faithful adaptation of Stephen King’s novel. For those who might not be familiar, the original story is set in a dystopian America in 2025 (which, let’s be honest, is uncomfortably close). The plot centers on Ben Richards, a man desperate to save his gravely ill daughter. To do so, he enters a brutal reality show called The Running Man, where contestants are hunted by professional killers on live television. It’s like The Hunger Games meets Black Mirror, with a dash of ’80s grit thrown in for good measure. The 1987 film, while entertaining, took some creative liberties that strayed from King’s original vision. It turned the story into more of a straightforward action flick, which worked well for the era but didn’t fully capture the dark, satirical edge of the book. With Wright’s version, fans of the novel can expect a return to the source material’s intense, thought-provoking roots. This remake is aiming to be more than just a popcorn movie; it’s going to make you think—and maybe even squirm in your seat. Edgar Wright’s Vision: Expect the Unexpected When you hear Edgar Wright is directing, you know you’re in for something special. Wright has a knack for blending genres and creating films that are as visually stunning as they are entertaining. With The Running Man, we can expect a movie that’s not just a faithful adaptation, but also a fresh take on the dystopian genre. Wright’s style—sharp, witty, and always a little offbeat—is the perfect match for King’s dark and twisted story. If you’re a fan of Wright’s previous work, then you know this film is going to be anything but ordinary. But what exactly can we expect from Wright’s vision? For starters, you can bet there will be plenty of action, but don’t be surprised if it’s delivered with a twist. Wright loves to subvert expectations, so even if you think you know what’s coming, you’re probably wrong. This version of The Running Man is shaping up to be a thrilling, thought-provoking ride that’s as much about the spectacle as it is about the social commentary. The remake of The Running Man is shaping up to be one of the most anticipated films of the decade. With Glen Powell starring and Edgar Wright directing, this movie has all the ingredients for a hit. Whether you’re a fan of the original novel, the ’80s film, or just looking for a new dystopian thriller to sink your teeth into, this remake is one to watch. Stay tuned for more updates as production gets underway—because if there’s one thing we know for sure, it’s that The Running Man is going to be a run worth taking.