TV & Beyond on 2025-06-30 03:00:00

TV & Beyond on 2025-06-30 03:00:00

Eastwood made the then-controversial decision to star in “Every Which Way but Loose” opposite a trained orangutan named Manis. The action-comedy saw him and his co-star travel across the United States in search of a woman Eastwood’s character has convinced himself is his soulmate — and wouldn’t you know it, the movie was a hit, spawning the 1980 sequel “Any Which Way You Can,” which saw Eastwood and his ape buddy team up once again. The sequel wasn’t quite as successful and took a drubbing from critics. But its star had already proven he could handle comedy with “Every Which Way but Loose,” which represented a big change of pace for an actor who’d started the decade playing rugged rogue cop Harry Callahan in “Dirty Harry.” Regardless of how the sequel performed, then, audiences had already responded favorably to Eastwood playing against type, and he thereafter dabbled in more lighthearted fare.

Unfortunately, not every comedy Eastwood fronted after that hinge moment in his career performed as well. Take 1989’s “Pink Cadillac,” in which the veteran star portrayed a bounty hunter with a proclivity for elaborate disguises. The action-comedy saw Eastwood re-team with “Any Which Way You Can” director Buddy Van Horn and, once again, the results weren’t great. Critics did not take kindly to the movie, though it did at least give us an undeniably funny scene in which the gruff Eastwood encounters a young Jim Carrey doing what the comedian does best.

Jim Carrey and Clint Eastwood’s brief on-screen collaborations

Jim Carrey and Clint Eastwood actually crossed paths for the first time in 1988’s “The Dead Pool,” one of the worst of the five “Dirty Harry” movies. In this final film in the franchise (unless you count the spiritual sequel “Gran Torino”), Carrey can be seen playing a heavy metal frontman whose most memorable scene involves lip-synching to “Welcome to the Jungle” in a music video homage to “The Exorcist” directed by Liam Neeson. (You might be starting to understand why the film was received so poorly.) Carrey doesn’t last long in the movie and doesn’t have any scenes with Eastwood, but he’d get another chance to work with the veteran star a year after “The Dead Pool” debuted.

In “Pink Cadillac” Eastwood’s Tommy Nowak tracks down Bernadette Peters’ Lou Ann McGuinn, who has skipped bail and absconded in the titular vehicle along with some money belonging to a group of white supremacists. He finds her in a casino and sits down at a table while a comedian performs on-stage in the background. That comedian is Carrey, who can even be heard delivering an early rendition of his now classic Ace Ventura line “Alrighty Then” in the film.

As Nowak and McGuinn chat, the camera cuts to Carrey doing his schtick, which, in this instance, is an Elvis tribute performed with his arms tucked inside his shirt. Eastwood scowling at Carrey prancing around on-stage is inarguably funny and seems to represent exactly how the actor would feel if he encountered Carrey’s antics in real life. It very much has the same energy as Tommy Lee Jones’ famous rebuke of Carrey during the filming of “Batman Forever,” in which he told the then-young star that he could not “sanction” his “buffoonery.” In this brief scene in “Pink Cadillac,” that’s pretty much what I imagine Eastwood is thinking. Sadly, the rest of the movie isn’t as funny.

We should have gotten a full Jim Carrey/Clint Eastwood team-up

“Pink Cadillac” was the third collaboration between Clint Eastwood and director Buddy Van Horn, who, aside from directing “Any Which Way You Can,” was also responsible for “The Dead Pool.” That’s not exactly the finest contribution to Eastwood’s celebrated oeuvre (though Carrey’s music video performance in the latter is one of the greatest “Dirty Harry” movie moments), but at least with his 1989 action-comedy the filmmaker had finally succeeded in bringing Eastwood and Jim Carrey together in a single scene. Otherwise, “Pink Cadillac” was mostly dismissed by critics, though some found it charming enough.

The movie fared only slightly better than the 20% score for “Any Which Way You Can” on Rotten Tomatoes, with a 24% critic score based on 21 reviews. Roger Ebert found the movie dull and its tone uneven, writing, “There’s little that’s new in the material, and nobody seems to have asked whether the emotional charge of blatant racism belongs in a lightweight story like this — even if the racists are the villains.” Similarly, Caryn James of the New York Times described the film as “the laziest sort of action-comedy,” with “lumbering chase scenes, a dull-witted script, and the charmless pairing of Mr. Eastwood and Bernadette Peters.” If anything, it would have been better to team Eastwood with Carrey and let the two clash throughout — especially since one of Carrey’s best early impressions was of a “Dirty Harry”-era Eastwood.

Still, some were quite taken by “Pink Cadillac” with Jonathan Rosenbaum of the Chicago Reader seemingly having seen an entirely different movie. He wrote in his review, “As a deeply personal work about free-floating existential identities, this 1989 film has the kind of grit and feeling that few action-comedies can muster, with Eastwood and Peters interesting and unpredictable throughout.”

TV & Beyond on 2025-06-29 21:45:00

TV & Beyond on 2025-06-29 21:45:00

TV & Beyond on 2025-06-29 21:45:00

If you don’t recognize Danie Kaluuya from “Black Mirror,” you probably remember him from Jordan Peele’s blockbuster directorial debut “Get Out,” which changed the game by spawning a whole spate of social thrillers in its wake and even encouraging college professors to build courses around the film. Kaluuya plays Chris, a guy who visits his white girlfriend’s family home only to discover a house of unexpected horrors. So how did Peele find him?

It was ‘Black Mirror,’ Peele told Deadline in 2018 when he and Kaluuya discussed the film together. “I had this immediate feeling of, how is this guy so good and I haven’t seen his work before? The way I can best describe it is, he showed the full range of the two opposite sides of Chris. Different characters, different emotions. The character goes from being quiet, introspective, subdued, with a relatable sense of compliance to the system, and then by the end he explodes and is primal. In the ‘Black Mirror’ episode, he showed it in just monologue, this primal, frugal, passionate monologue that just feels like a Greek tragedy. And so I knew I needed somebody who could do both of those things, and either one of those, he does better than anyone else.”

Peele said that while he personally knew Kaluuya was the man for the role, he needed to bring him in to audition anyway, and he performed the now-famous “hypnosis scene.” According to Peele, it was unbelievable. “It was a beautiful moment, it was undeniable,” he recalled. “You could see he doesn’t do anything for the sake of doing something. His specificity in what he chooses to do, you could tell he was into some good, interesting s***. One of the things that really stood out to me was, he understood the risk of ‘Get Out’ and instead of it pushing him away, it drew him closer. I felt like we had this bond of like, holy s***, they’re going to let us make this movie? We’re going to do things you’re not supposed to do in this movie and it could go very wrong.”

The rest is literally cinematic history, and it’s safe to say that nothing went wrong once Peele and Kaluuya teamed up. Not only did the film score Oscar nominations for Kaluuya, the overall film, and nods for Peele for directing and writing (the latter of which he won in the Best Original Screenplay category), the actor and writer/director reunited in 2022 for “Nope” to create even more movie magic. It’s lucky, then, that Kaluuya booked this role in “Black Mirror,” or we may never have gotten his performance in “Get Out.”

TV & Beyond on 2025-06-29 21:30:00

TV & Beyond on 2025-06-29 21:30:00

“Squid Game” season 2 is both exciting and underwhelming, and the return of the show’s most disgusting storyline certainly belongs in the latter category. Throughout the season, the black market organ trader subplot comes across as a weird leftover from season 1, where it tied into Jun-ho’s island-infiltrating storyline and fell by the wayside when the Front Man (Lee Byung-hun) found out about it. The sophomore season’s revelation that the Front Man’s black-clad right hand officer (Park Hee-soon) runs the whole thing and has recruited a new batch of guards in his crime ring feels repetitive and unimportant, and seems to serve no purpose beyond giving masked guard Kang No-eul (Park Gyu-young) a chance to seem comparatively heroic. 

Fortunately, this changes in season 3, where we find out that “Squid Game” has been playing the long game all along. Here, No-eul uses the organ traders’ established method for transporting wounded patients to rescue Player 246 (Lee Jin-wook), the father of the sick kid No-eul connected with while working as a mascot in season 2. 

Squid Game took an entire season to set up the organ trade storyline’s big payoff

In season 1, several Squid Game guards pad their income by only wounding some of the players they’re supposed to kill and taking them to a secret basement, where the medically-trained Player 111 (Yoo Sung-joo) removes their viable innards for black market organ trade. The storyline is a gruesome looking glass that allows the viewers to catch a glimpse behind the smoke and mirrors of the game. It factors naturally into Jun-ho’s adventures on the island, and is immediately (and violently) removed from the playing field after it serves its narrative purpose. This makes it surprising and somewhat frustrating to find out that a new bunch of traffickers have taken over in season 2, especially since they bring so little to the table.

All that organ harvesting, however, suddenly becomes massively important when season 3 kicks off. It turns out that the large amount of attention “Squid Game” gave to this side plot in season 2 was meant to familiarize the viewer with the exact way the current trafficking operation works and what No-eul’s relationship to them is. When “Squid Game” season 3 kicks off, everything is in place, so she’s able to easily “join” the black market ring after wounding 246 and convince one of the corrupt guards to take her to the surgery hideout in order to rescue the poor guy before the harvesting begins. 

Just like that, what seemed like a pointless holdover storyline suddenly becomes a key plot point that offers an escape route from the island, and elevates both No-eul and 246 as characters. It’s an impressive home stretch resurrection for a storyline that utterly failed to hold its own against the terrifying games of “Squid Game” season 2. 

TV & Beyond on 2025-06-29 21:20:00

TV & Beyond on 2025-06-29 21:20:00

of 2010’s “The Ward,” a mental hospital thriller starring Amber Heard. It also came after a long hiatus in Carpenter’s filmmaking career, as he hadn’t released a film since “Ghosts of Mars” in 2001. His only directorial gigs in the interim were two episodes of the “Masters of Horror” anthology project, released in 2005 and 2006. Carpenter was no longer prolific … and he seemed to like it that way. He often mentioned in interviews that he was content to compose music at home and while away the hours with video games. He once expressed happiness that so many of his films had been remade (“Halloween,” “Assault on Precinct 13,” “The Thing,” and “The Fog”) as he receives a paycheck for doing absolutely no work. Carpenter is a refreshingly unpretentious filmmaker. 

“The Ward,” rather bafflingly, came and went in 2010 without much fanfare. Despite Carpenter’s status as one of the most celebrated horror directors of his generation, most people ignored “The Ward,” leaving it to exit theaters swiftly. The film only made $5.3 million on its $10 million budget, and it has stayed kind of obscure; it’s not currently available to stream on any of the major commercial services (although one can see it on Kanopy and Pluto TV). 

In the film, Heard plays Kirsten, a young woman who has been committed to a mental institution in 1966 because of a bout of amnesia. She is told many things about how she was previously a patient there, but Kristen cannot trust anyone. Kristen is hypnotized and has visions of a girl, a mysterious figure with long blonde hair. Is this person from her past? Is it her? Is it a ghost? The mysteries of “The Ward” will eventually be revealed. 

What we can say for sure is that the mysterious girl, named Alice, is played by Sydney Sweeney, now one of Hollywood’s current preeminent “It” girls. 

Sydney Sweeney plays the girl in dreamlike flashbacks in John Carpenter’s The Ward

Sweeney, of course, has recently risen to prominence through her performance as Cassie on the hit series “Euphoria,” but she has continued to work in mega-hits like “Anyone But You,” the biography “Reality,” and the satanic thriller “Immaculate,” which she also produced. Sweeney is also a savvy businesswoman, hustling constantly to be the spokesperson for a wide variety of consumer products, from bikinis to drinks to soap. She is one of the most visible actors of her generation (she’s only 27), and is often cited as one of the most beautiful. 

Sweeney has been acting professionally since 2009 (when she was 12), appearing in the feature film “ZMD: Zombies of Mass Destruction” and the TV series “Heroes.” “The Ward” was one of her earliest credits, playing, it will eventually be revealed, the younger version of a character named Alice (Mika Boorem), only glimpsed in flashbacks. Sweeney didn’t have much to do in “The Ward,” but it’s astonishing that she appeared alongside multiple other notable ingénues; in addition to Heard and Boorem, Mamie Gummer and Danielle Panabaker also appeared. 

It’s difficult to talk about the story of “The Ward” without giving away its giant twist. The general setup is that Heard’s character is locked in an asylum with several other young women who all have wild, outsize personalities. They are all being stalked by a grotesque monster-woman (Jillian Kramer) who seems hellbent on killing them one by one. Kristen is also seeing the ghost of a former resident of the asylum (Boorem), as well as flashbacks to her youth. Sweeney’s presence is a hint as to the true nature of the asylum’s conspiracy. She has scenes of being chained up in a basement, mouthing the words “Help me.” It’s all very chilling. 

One can find photos online of Carpenter posing in photos with the superstar-to-be. Critics weren’t terribly kind to “The Ward” (it has a 33% approval rating on Rotten Tomatoes based on 72 reviews), but it’s actually pretty good (if a little predictable). Check it out.

TV & Beyond on 2025-06-29 21:10:00

TV & Beyond on 2025-06-29 21:10:00

via Christopher Nolan’s “Batman Begins.” In the two decades since that film was released, the character has been revised several times in film and television, such as Matt Reeves’ “The Batman” with Robert Pattinson.

However, in the comics, the character is regularly changed in more dramatic ways. DC Comics has written the Caped Crusader as Owlman, the villainous crime lord of Earth 3 and the gun-toting Batman Thomas Wayne, who took up the mantle in a world where Bruce Wayne died in the alley that night. Sometimes he’s depicted as a hero flung eons into the past or future, turning him into a prehistoric barbarian or an immortal crimefighter. Despite these variations, however, it’s quite rare that DC changes Batman’s powers — or, rather, his lack of powers. When they do, they often can’t help but turn him into a dangerously overpowered superhuman to be feared by anyone who stands in his way.

Here are the most powerful alternate versions of Batman, ranked.

Darkfather

Since the “Dark Knights Metal” event in 2017, it’s become next to impossible to discuss powerful alternate versions of Batman without getting into the Dark Knights themselves. The multiversal variants of Bruce Wayne hail from the so-called “Dark Multiverse,” which contain countless doomed universes born of the worst things Batman has ever done.

One of these “Dark” variants of Batman is the Darkfather, a version of Bruce Wayne who has embraced the truth of Anti-Life. This granted him an appearance similar to that of Darkseid and seemingly enhanced physical capabilities similar to a New God. At first glance, and given the general narrative conceit of “Dark Knights Metal” and its sequel “Death Metal” (which were both basically written around introducing versions of Batman wielding the powers of various heroes and villains from the DC Universe), it would be easy to assume that the Darkfather would be just as, if not more powerful than Darkseid.

However, this doesn’t seem to be the case. Though he boasts enough superhuman might to subdue Wonder Woman, he’s ultimately dispatched by a single punch from Superman. Still, a New God Batman is stronger than most other variants we’ve seen in the comics, so he just barely makes it onto our list.

SuperBat

Many stories throughout the DC multiverse have explored what Batman might do with Kryptonian powers, but this combination has never been quite as strong as it is within the pages of a Rebirth-era issue of “Batman/Superman: World’s Finest.” In a short arc that takes place chronologically toward the beginning of Batman and Superman’s friendship, the two came up against a magical demon called Nezha who was uniquely capable of attacking their biggest individual weaknesses (Superman’s being any form of magic and Batman’s being anyone who isn’t a scary clown or trivia emcee).

Things get even worse when Nezha uses his powers of possession to take over the minds of other superheroes, including the Green Lantern Hal Jordan. In this brainwashed state, however, Hal’s will is weakened just enough for the combined will of Batman and Superman to lure his ring away — and when we say combined, we mean really combined. The ring fuses this dynamic duo into one being with all the physical gifts of a Kryptonian and all the intellectual prowess of a traumatized rich orphan, as well as some limited Green Lantern construct-building ability.

All jokes aside, a true combination of Superman, Batman, and a Green Lantern ring could be a nearly unstoppable force for justice. The only reason SuperBat is so far down on this list is that, at least in the form we’ve seen thus far, it can only exist for an extremely short amount of time before the ring’s power is completely exhausted.

Vampire Batman

Given their shared affinity for bats, there’s arguably no adversary more perfect for Batman than the original bat man himself, Count Dracula. The two have actually fought each other numerous times in various continuities depicted in comics, TV shows, and even two movies you’ve probably never seen. For our purposes, however, we’re going to focus on one trilogy of comics that not only follows the darkest and most epic encounters between these caped masters of the night but sees Batman himself transformed into a true creature of the night.

In the 1991 DC Elseworlds graphic novel “Batman & Dracula: Red Rain,” Bruce Wayne finds himself powerless to stop a horde of vampires who have descended on Gotham in secret to feed on the city’s most vulnerable at night. He is thus turned into a vampire himself, giving him the strength he needs to kill his enemies — including Dracula. This act of murder forces Bruce Wayne to cross a threshold that literally and symbolically turns him to a monster for good, condemning him to an eternal afterlife of insatiable bloodlust (during which he murders most of his rogues gallery) until he ultimately chooses to end his life.

It’s a particularly bleak story that impressively explores the dark corners of the human psyche through tragedy and violence, giving it a classically gothic tone (if you haven’t read the trilogy yet, it’s one of the best “Batman” comics you need to read). As for this vampire variant of Batman, he is all but unstoppable and unkillable, and he could have wiped out all of Gotham City with relative ease had he not stepped into the sun before it was too late. Had we seen him take on the wider DC Universe, he might even be several places higher on this list.

The Drowned

On the gender-swapped world of Earth -11, Bryce Wayne is not a superhero, but she’s a serial killer who targets anyone with super powers indiscriminately. She does this to avenge the murder of her one true love, Sylvester Kyle (the Catman of Earth -11). Her final enemy on this bloody quest turns out to be Aquawoman, who, in this reality, had never revealed the existence of herself or Atlantis. Her fight with Batwoman evolves quickly into all out war between Atlantis and the Surface World, with Aquawoman eventually using her powers to drag all of Gotham City underwater. The undeterred Bryce simply uses advanced technological and scientific bio-augments to transform herself into a superpowered aquatic being. Further, after killing Aquawoman personally, she steals her enemy’s trident of power.

Like all of the Dark Knights mentioned on this list from here on, this Batwoman — self-christened “The Drowned” — possesses all the physical and mental capabilities of the Batman we know, in addition to her ill-gotten supernatural gifts. The Drowned specifically can manipulate water and infect and control the minds of certain enemies (effectively turning them into aqua-zombies with superpowers). She also possesses superhuman physical capabilities.

The Red Death

Like the Drowned, Red Death is traumatized by loss and represents the main Bruce Wayne’s biggest fears — particularly the fear of losing his family. On Earth -52, Bruce has not only lost both of his parents but all of his children, each of whom were presumably killed because of their activities as Batman’s sidekick. Because he seemingly can’t stop those closest to him from dying in the present, he becomes obsessed with the idea of traveling back in time to prevent the deaths of all of his loved ones.

To do so, however, he needs to harness the power of the Speed Force, which is currently tied to its usual steward Barry Allen, aka The Flash. Using the stolen powers of the Rogues, Batman defeats The Flash, permanently freezes him in place, then straps him to the hood of a Batmobile outfitted with machinery from the cosmic treadmill. When he puts the pedal to the Death Metal, Bruce disintegrates Barry and makes himself one with the Speed Force, becoming the murderous vigilante speedster known as the Red Death. (Readers may recognize Red Death from the disastrous final season of the CW series “The Flash.”)

The combination of the Speed Force makes Batman’s usual skills lethal, and conversely, Batman is able to take advantage of the Speed Force in ways Barry couldn’t, such as learning to project energy that can instantly age someone to death. His only weakness is the faint consciousness of Barry himself, who is seemingly trapped in Bruce’s head to helplessly plead with him to return to sanity.

The Dawnbreaker

Batman has been gifted and/or cursed with several different rings of power over the past two decades. In the “Blackest Night” event, he was turned into a zombified Black Lantern and later revived as a fully-powered White Lantern. He has also proven himself worthy of the fearsome Yellow Lantern Ring of the Sinestro Corps at least twice (once in a 2005 issue of “Green Lantern” and again during the “Forever Evil” New 52 event). He’s also donned the ring of the Green Lantern several times — in one universe, this led to an era of darkness unlike anything the Green Lantern Corps has ever seen.

Unlike other Dark Knights, the Bruce Wayne of Earth -32 never became Batman. Instead, having chosen to chase down his parents’ killer immediately after their murder, Bruce’s will was so strong from such a young age that he was chosen to be the Green Lantern of Earth. However, the vengeful child’s will was ultimately so strong that he was able to overpower the constraints of the ring, unlocking its lethal capabilities and turning him into the most powerful member of the corps. He definitively proved this by overpowering every member of the Green Lantern Corps soon after they discovered he was murdering any criminal or cop (including Jim Gordon) who opposed his “justice.”

The Murder Machine

On Earth -44, the defining loss of Bruce Wayne’s life is that of his butler Alfred Pennyworth, who is brutally beaten to death by Batman’s worst enemies late into the hero’s career. Overcome by guilt and grief, Bruce enlists the help of his fellow Justice League member Cyborg to help create an autonomous artificial intelligence that will honor Alfred’s legacy of service. Together, they create the Alfred Protocol, an A.I. capable of operating a vast network of nanites to construct innumerable physical bodies that resembled Bruce’s late father figure.

The Alfred Protocol is driven by a single goal: Prevent Bruce from being harmed ever again. To do so, it executes every villain in Batman’s rogues gallery, including those imprisoned in Arkham Asylum, before returning to what it deems to be the last remaining threat to Bruce’s life: Bruce himself. Using the nanites, the Alfred Protocol traps Bruce in a suit of armor that slowly strips him of all humanity — as well as his flesh, bones, and emotions. He is now the Murder Machine, an unfeeling robotic creature capable of taking out his world’s Justice League. In a technologically-driven world, the Murder Machine’s mastery of technological manipulation (including the abilities to commandeer and transform any piece of technology on Earth at a given moment) makes him almost omnipotent.

The Merciless

The Dark Knights may possess some god-like powers, but only one of them is truly a god. The Merciless (the Bruce Wayne of Earth -32) was born at the end of a devastating war between Wonder Woman and Ares (the god of war, seen on-screen in the 2017 “Wonder Woman” movie). Batman fights with Wonder Woman during this time, the two eventually falling deeply in love and, ultimately, taking Ares down.

However, Ares’ powers had been increased thanks to a magical helmet, which Bruce takes for himself in a moment of arrogance, believing that appointing himself as the new god of war was the only way to ensure warfare would finally be morally just. Though he was successful in absorbing all the powers of the supercharged Ares, he also absorbed Ares’ code of ethics, leading him to “realize” that the only code to live by is victory alone.

His instincts were so corrupted that, when Wonder Woman awoke from unconsciousness to see that Bruce had taken the helmet for himself, he killed her to stop her from taking it from him. After that point, no hero, villain, or god could withstand his wrath.

Castle Bat

Gotham City is easily the most iconic location in DC Comics. Whether rendered as the muted, Chicago-esque metropolis seen in Christopher Nolan’s “Dark Knight” trilogy or as the colorfully terrifying gothic carnival seen in the Tim Burton films, Gotham often feels like a character in and of itself. In “Dark Knights Metal,” however, that was actually, literally true.

In one of the negative earths of the Dark Multiverse, Bruce Wayne aged out of crime fighting and passed the mantle of Batman down to his son, Damian — who was, apparently, a pretty disappointing crimefighter. Bruce thought so, at least, and he was so distressed by Damian’s work that he set in motion a plan to take back his job, despite his advanced years. If getting fired by his own Bat-dad isn’t bad enough, Bruce murders Damian as part of an old sacrificial ritual that will allow Bruce to become one with the city of Gotham.

As a result Bruce is enveloped by the city and able to manipulate every inch of it at will — he can even turn it into a large, anthropomorphic Bat-city capable of taking on the entire Justice League with ease. It’s difficult to even conceptualize exactly how powerful “Castle Bat” is, especially since he was only taken down because Lex Luthor happened to have access to the city-harvesting technology of Brainiac. But clearly, he’s powerful enough to be close to the top of this list.

Devastator

Speaking of Lex Luthor, he’s likely the character that comes to mind for most comics fans when they think about Superman’s greatest villains. While he’s certainly up there, however, it’s easy to forget that his most dangerous adversary is arguably Doomsday, the Kryptonian monster that killed “Superman” in one of his best comic book stories ever.

Wealthy, brilliant, and buoyed by advanced tech, Bruce Wayne already has everything he could possibly gain from Luthor on Earth -1. So when the Superman of that Earth goes rogue and murders Lois Lane, he borrows the skills of Superman’s other big bad and turns himself into a Doomsday-like creature known as the Devastator. In this form, Batman overpowers Superman in an instant and kills him with a single infectious breath — before going on the customary mindless murder rampage expected of all the other Dark Knights.

Devastator possesses all the powers of the original Doomsday, including his unique ability to adapt to any situation in order to survive and kill his adversaries. In terms of raw physical strength and durability, this power alone easily makes him one of the most dangerous Batman variants.

Bat-Mobius

Finally, we can get out of the world of the Dark Knights and the Dark Multiverse and tip our caps to a Batman from a more mainstream reality — in fact, for most of the 2010s, he was from the mainstream reality (kind of).

Reboots are complicated but, suffice it to say, for a literal hot second, the Batman of the New 52 Prime Earth was one of the most powerful beings in the entire universe. This came about during the “Darkseid War” event, which (to put it as simply as possible) dredged up a whole bunch of New God nonsense that eventually led to Batman commandeering a chair of absolute knowledge forged by Mobius the Anti-Monitor. This seat is usually occupied by the New God Metron, but Bruce was able to steal it, after Wonder Woman dragged him off of it with her Lasso of Truth.

While sitting on the chair, Batman is omniscient and as close to being omnipotent as one can be without gaining reality manipulation powers. He can know anything (including the identity of the Joker and the ultimate secret of his universe — that it’s secretly controlled by Doctor Manhattan), can be anywhere, and, in theory, can prevent any crime from taking place. The only limit is that the chair itself has a will of its own which, if subverted, can cause the chair to inflict damage upon its user. After realizing this, Batman is liberated from its control by Hal Jordan.

The Batman Who Laughs (The Darkest Knight)

The Batman Who Laughs quickly became one of the most popular new characters of the DC Rebirth era by (checking our notes here) smushing together two of the most iconic characters in the history of fiction and then jamming him into every story and merchandising opportunity possible. (You’re not running around Fortnite dressed up as City Boy or Red Lantern Vladimir Sokov. Just saying.) He had become ubiquitous by the end of the original “Dark Knights Metal,” so when the sequel rolled around, the only thing left to do with the character was to kill him. First, however, he’d need to become a god.

As a quick refresher, the Batman Who Laughs is a version of Bruce Wayne created by the Joker in one of his most vile acts yet. Having goaded Batman into killing him, the Joker’s corpse releases a toxin that transforms Bruce into an insane criminal mastermind with a sort of unpredictable genius that allows him to take over his entire world. Fast forward past “Dark Knights Metal” to “Death Metal,” this Batman is ready to attempt total multiversal domination once more, this time by having his brain transplanted into the body of a version of Bruce Wayne from another earth who gained the omnipotence of Doctor Manhattan.

With this power, The Batman Who Laughs is untouchable, a cosmic being capable of creating and reshaping worlds according to his whims. Few entities in the DC Universe could face this version of Batman, more than earning him the title of the Darkest Knight.

TV & Beyond on 2025-06-29 21:00:00

TV & Beyond on 2025-06-29 21:00:00

by | Jun 29, 2025 | TV & Beyond Articles

Letterboxd, Hiddleston was asked about his four favorite films, and coincidentally, one of them was a King adaptation. The actor, who is playing the lead role in Mike Flanagan’s Stephen King adaptation “The Life of Chuck,” mentioned a film that is sure to evoke some tears from audience members (not me, though — I’m tough as nails). It’s a movie that features warm beer, Rita Hayworth, and a rock that has no earthly business in a Maine hayfield.

Hiddleston’s last entry was Frank Darabont’s 1994 film, “The Shawshank Redemption.” He admitted, “I have thought about that film. It has inspired me so many times. It’s a film I return to. It made a big dent in my heart and soul when I was young, and it’s continued to do that.”

He’s not alone. Even after over 30 years, the emotional draw of “The Shawshank Redemption” is the reason it still holds the number one spot among the greatest movies of all time according to IMDb, despite its initial reception when it first bombed in theaters. Of course, it gained a second life upon video release and is guaranteed to be found on at least one TV channel on Earth at any time (well, it feels like it). But what is it about Darabont’s masterpiece that Hiddleston loves? Coincidentally, it’s the same core elements that “The Life of Chuck” possesses.

Hiddleston adores The Shawshank Redemption for its look at ‘the freedom of the human spirit’

When breaking down the prison movie that meant so much to him, Hiddleston praised the performances, which are now monumental entries in the catalog of not just King adaptations, but movie history as a whole. “‘The Shawshank Redemption’ is a meditation on friendship and the freedom of the human spirit. The performances are perfect, especially those of Morgan Freeman and Tim Robbins. It’s quite astonishing, and it only gets more astonishing the older I get.”

Naturally, many other viewers feel the same way. Even Stephen King himself has deemed “The Shawshank Redemption” one of the best films adapted from his works, just ahead of “Misery” and behind “Stand By Me.” It’s also interesting that despite King and Flanagan both being mainstays in the world of horror, the author and “The Life of Chuck” director’s best works aren’t always tales that shiver the spine, but tug at the heart. 

Looking ahead, Flanagan has more King collaborations on the way. The “Midnight Mass” showrunner has a TV adaptation of “Carrie” that will surely be compared to Brian De Palma’s classic film iteration, followed by his long-awaited take on “The Dark Tower” series, which will hopefully replace the not-so-great live-action reputation of Roland Deschain aka The Gunslinger and his quest to reach the tower. Let’s hope it’s worth the trip.