Red Dead Redemption 2 is finally almost upon us, and Rockstar have celebrated by releasing a launch trailer. 

According to the quickly redacted statement from studio head Dan Houser, the team at Rockstar controversially pulled 100-hour weeks to get the game finished – including making “70 versions” of the trailer to make sure it was perfect. It seems like the least we can do is to watch the thing…

The official synopsis is out too, accompanying a trailer that tells us quite a bit about what to expect from the story missions:

“America, 1899. The end of the Wild West era has begun. After a robbery goes badly wrong in the western town of Blackwater, Arthur Morgan and the Van der Linde gang are forced to flee. With federal agents and the best bounty hunters in the nation massing on their heels, the gang must rob, steal and fight their way across the rugged heartland of America in order to survive. As deepening internal divisions threaten to tear the gang apart, Arthur must make a choice between his own ideals and loyalty to the gang who raised him.”

The real draw, of course, is going to be the game’s ridiculously gorgeous visuals, detailed character animations and endless sandbox interactivity – letting players fully immerse themselves in a playable cowboy film like some kind of non-evil Westworld. 

Check out Red Dead Redemption 2’s eye-watering gameplay videos and get yourself set for the game’s release on Playstation 4 and Xbox One next Friday, on October 26^th.

Red Dead Redemption 2 is finally almost upon us, and Rockstar have celebrated by releasing a launch trailer. 

According to the quickly redacted statement from studio head Dan Houser, the team at Rockstar controversially pulled 100-hour weeks to get the game finished – including making “70 versions” of the trailer to make sure it was perfect. It seems like the least we can do is to watch the thing…

The official synopsis is out too, accompanying a trailer that tells us quite a bit about what to expect from the story missions:

“America, 1899. The end of the Wild West era has begun. After a robbery goes badly wrong in the western town of Blackwater, Arthur Morgan and the Van der Linde gang are forced to flee. With federal agents and the best bounty hunters in the nation massing on their heels, the gang must rob, steal and fight their way across the rugged heartland of America in order to survive. As deepening internal divisions threaten to tear the gang apart, Arthur must make a choice between his own ideals and loyalty to the gang who raised him.”

The real draw, of course, is going to be the game’s ridiculously gorgeous visuals, detailed character animations and endless sandbox interactivity – letting players fully immerse themselves in a playable cowboy film like some kind of non-evil Westworld. 

Check out Red Dead Redemption 2’s eye-watering gameplay videos and get yourself set for the game’s release on Playstation 4 and Xbox One next Friday, on October 26^th.

Red Dead Redemption 2 is finally almost upon us, and Rockstar have celebrated by releasing a launch trailer. 

According to the quickly redacted statement from studio head Dan Houser, the team at Rockstar controversially pulled 100-hour weeks to get the game finished – including making “70 versions” of the trailer to make sure it was perfect. It seems like the least we can do is to watch the thing…

The official synopsis is out too, accompanying a trailer that tells us quite a bit about what to expect from the story missions:

“America, 1899. The end of the Wild West era has begun. After a robbery goes badly wrong in the western town of Blackwater, Arthur Morgan and the Van der Linde gang are forced to flee. With federal agents and the best bounty hunters in the nation massing on their heels, the gang must rob, steal and fight their way across the rugged heartland of America in order to survive. As deepening internal divisions threaten to tear the gang apart, Arthur must make a choice between his own ideals and loyalty to the gang who raised him.”

The real draw, of course, is going to be the game’s ridiculously gorgeous visuals, detailed character animations and endless sandbox interactivity – letting players fully immerse themselves in a playable cowboy film like some kind of non-evil Westworld. 

Check out Red Dead Redemption 2’s eye-watering gameplay videos and get yourself set for the game’s release on Playstation 4 and Xbox One next Friday, on October 26^th.

Red Dead Redemption 2 is finally almost upon us, and Rockstar have celebrated by releasing a launch trailer. 

According to the quickly redacted statement from studio head Dan Houser, the team at Rockstar controversially pulled 100-hour weeks to get the game finished – including making “70 versions” of the trailer to make sure it was perfect. It seems like the least we can do is to watch the thing…

The official synopsis is out too, accompanying a trailer that tells us quite a bit about what to expect from the story missions:

“America, 1899. The end of the Wild West era has begun. After a robbery goes badly wrong in the western town of Blackwater, Arthur Morgan and the Van der Linde gang are forced to flee. With federal agents and the best bounty hunters in the nation massing on their heels, the gang must rob, steal and fight their way across the rugged heartland of America in order to survive. As deepening internal divisions threaten to tear the gang apart, Arthur must make a choice between his own ideals and loyalty to the gang who raised him.”

The real draw, of course, is going to be the game’s ridiculously gorgeous visuals, detailed character animations and endless sandbox interactivity – letting players fully immerse themselves in a playable cowboy film like some kind of non-evil Westworld. 

Check out Red Dead Redemption 2’s eye-watering gameplay videos and get yourself set for the game’s release on Playstation 4 and Xbox One next Friday, on October 26^th.

Netflix has announced that season 7 of Orange Is The New Black will be the last.

While it's long been suspected that the cast and crew have been aiming for seven seasons of the series - especially after the show was renewed for seasons 5-7 in one big chunk back in 2016 - but this confirmation has drawn a line under it for good.

In 2013, Orange Is The New Black became a smash for Netflix, one of its first original series to snag both critical acclaim and viewer numbers. The streaming service had had plenty of hits since, but OITNB is often considered the OG.

The show's stars appeared in an emotional video to call time on the series as the news broke...

“After seven seasons, it’s time to be released from prison," creator Jenji Kohan told Deadline. "I will miss all the badass ladies of Litchfield and the incredible crew we’ve worked with. My heart is orange but fade to black.”

More as we get it.

Orange Is The New Black season 7 release date

We're expecting the final season to arrive on Netflix in the summer of 2019.

Netflix has announced that season 7 of Orange Is The New Black will be the last.

While it's long been suspected that the cast and crew have been aiming for seven seasons of the series - especially after the show was renewed for seasons 5-7 in one big chunk back in 2016 - but this confirmation has drawn a line under it for good.

In 2013, Orange Is The New Black became a smash for Netflix, one of its first original series to snag both critical acclaim and viewer numbers. The streaming service had had plenty of hits since, but OITNB is often considered the OG.

The show's stars appeared in an emotional video to call time on the series as the news broke...

“After seven seasons, it’s time to be released from prison," creator Jenji Kohan told Deadline. "I will miss all the badass ladies of Litchfield and the incredible crew we’ve worked with. My heart is orange but fade to black.”

More as we get it.

Orange Is The New Black season 7 release date

We're expecting the final season to arrive on Netflix in the summer of 2019.

Netflix has announced that season 7 of Orange Is The New Black will be the last.

While it's long been suspected that the cast and crew have been aiming for seven seasons of the series - especially after the show was renewed for seasons 5-7 in one big chunk back in 2016 - but this confirmation has drawn a line under it for good.

In 2013, Orange Is The New Black became a smash for Netflix, one of its first original series to snag both critical acclaim and viewer numbers. The streaming service had had plenty of hits since, but OITNB is often considered the OG.

The show's stars appeared in an emotional video to call time on the series as the news broke...

“After seven seasons, it’s time to be released from prison," creator Jenji Kohan told Deadline. "I will miss all the badass ladies of Litchfield and the incredible crew we’ve worked with. My heart is orange but fade to black.”

More as we get it.

Orange Is The New Black season 7 release date

We're expecting the final season to arrive on Netflix in the summer of 2019.

This review contains spoilers.

8.6 Return To Murder House

Read Ron's review of the previous episode, Boy Wonder, here.

This review contains spoilers.

8.6 Return To Murder House

Read Ron's review of the previous episode, Boy Wonder, here.

This review contains spoilers.

8.6 Return To Murder House

Read Ron's review of the previous episode, Boy Wonder, here.

La Llorona has been a part of Mexican folklore for centuries. Legend has it that a woman called Maria once drowned her two children in a river and then instantly regretted it. She paced around crying about it for the rest of her life, refusing to eat, until she died – eventually returning as a vengeful banshee who steals other people’s kids. 

If you ever hear the sad sound of “The Weeping Woman”, you’re doomed forever. Luckily, it seems like you’re safe to watch a video about her, which is good news since the first proper trailer for The Curse Of La Llorona has arrived. We already got a very, very brief teaser a few months ago, but this is  our first chance of actually seeing any of the film - including one brilliantly terrifying scene involving two kids, a locked car and a gnarly looking old demon witch woman. 

Directed by Michael Chaves the film is being produced by James Wan, dipping out of his Conjurer-verse for the first time in years. Also producing alongside Wan is Emile Gladstone and Gary Dauberman, who were part of the team behind It.  

The Curse of La Llorona stars Linda Cardellini as a social worker in 1970s LA who starts investigating a missing child case and ends up running afoul of supernatural forces. Patricia Velasquez (The Mummy), Raymond Cruz (Better Call Saul) and Sean Patrick Thomas (Barbershop: Back in Business) also star.  

The Curse Of La Llorona will be a feature debut for Chaves, who won Shriekfest’s Best Super Short Film in 2016 for The Maiden, which you can watch in full online (and you definitely should).

Check out the disturbing new poster below and stay tuned for more on The Curse Of La Llorona as we get it before the film opens next April.

La Llorona has been a part of Mexican folklore for centuries. Legend has it that a woman called Maria once drowned her two children in a river and then instantly regretted it. She paced around crying about it for the rest of her life, refusing to eat, until she died – eventually returning as a vengeful banshee who steals other people’s kids. 

If you ever hear the sad sound of “The Weeping Woman”, you’re doomed forever. Luckily, it seems like you’re safe to watch a video about her, which is good news since the first proper trailer for The Curse Of La Llorona has arrived. We already got a very, very brief teaser a few months ago, but this is  our first chance of actually seeing any of the film - including one brilliantly terrifying scene involving two kids, a locked car and a gnarly looking old demon witch woman. 

Directed by Michael Chaves the film is being produced by James Wan, dipping out of his Conjurer-verse for the first time in years. Also producing alongside Wan is Emile Gladstone and Gary Dauberman, who were part of the team behind It.  

The Curse of La Llorona stars Linda Cardellini as a social worker in 1970s LA who starts investigating a missing child case and ends up running afoul of supernatural forces. Patricia Velasquez (The Mummy), Raymond Cruz (Better Call Saul) and Sean Patrick Thomas (Barbershop: Back in Business) also star.  

The Curse Of La Llorona will be a feature debut for Chaves, who won Shriekfest’s Best Super Short Film in 2016 for The Maiden, which you can watch in full online (and you definitely should).

Check out the disturbing new poster below and stay tuned for more on The Curse Of La Llorona as we get it before the film opens next April.

La Llorona has been a part of Mexican folklore for centuries. Legend has it that a woman called Maria once drowned her two children in a river and then instantly regretted it. She paced around crying about it for the rest of her life, refusing to eat, until she died – eventually returning as a vengeful banshee who steals other people’s kids. 

If you ever hear the sad sound of “The Weeping Woman”, you’re doomed forever. Luckily, it seems like you’re safe to watch a video about her, which is good news since the first proper trailer for The Curse Of La Llorona has arrived. We already got a very, very brief teaser a few months ago, but this is  our first chance of actually seeing any of the film - including one brilliantly terrifying scene involving two kids, a locked car and a gnarly looking old demon witch woman. 

Directed by Michael Chaves the film is being produced by James Wan, dipping out of his Conjurer-verse for the first time in years. Also producing alongside Wan is Emile Gladstone and Gary Dauberman, who were part of the team behind It.  

The Curse of La Llorona stars Linda Cardellini as a social worker in 1970s LA who starts investigating a missing child case and ends up running afoul of supernatural forces. Patricia Velasquez (The Mummy), Raymond Cruz (Better Call Saul) and Sean Patrick Thomas (Barbershop: Back in Business) also star.  

The Curse Of La Llorona will be a feature debut for Chaves, who won Shriekfest’s Best Super Short Film in 2016 for The Maiden, which you can watch in full online (and you definitely should).

Check out the disturbing new poster below and stay tuned for more on The Curse Of La Llorona as we get it before the film opens next April.

La Llorona has been a part of Mexican folklore for centuries. Legend has it that a woman called Maria once drowned her two children in a river and then instantly regretted it. She paced around crying about it for the rest of her life, refusing to eat, until she died – eventually returning as a vengeful banshee who steals other people’s kids. 

If you ever hear the sad sound of “The Weeping Woman”, you’re doomed forever. Luckily, it seems like you’re safe to watch a video about her, which is good news since the first proper trailer for The Curse Of La Llorona has arrived. We already got a very, very brief teaser a few months ago, but this is  our first chance of actually seeing any of the film - including one brilliantly terrifying scene involving two kids, a locked car and a gnarly looking old demon witch woman. 

Directed by Michael Chaves the film is being produced by James Wan, dipping out of his Conjurer-verse for the first time in years. Also producing alongside Wan is Emile Gladstone and Gary Dauberman, who were part of the team behind It.  

The Curse of La Llorona stars Linda Cardellini as a social worker in 1970s LA who starts investigating a missing child case and ends up running afoul of supernatural forces. Patricia Velasquez (The Mummy), Raymond Cruz (Better Call Saul) and Sean Patrick Thomas (Barbershop: Back in Business) also star.  

The Curse Of La Llorona will be a feature debut for Chaves, who won Shriekfest’s Best Super Short Film in 2016 for The Maiden, which you can watch in full online (and you definitely should).

Check out the disturbing new poster below and stay tuned for more on The Curse Of La Llorona as we get it before the film opens next April.

This review contains spoilers.

3.2 Fortune And Men's Eyes

Leading up to this season, the cast and crew of Riverdale has made it a point to state that, despite the arrival of cults and Gargoyle Kings and mysterious teens who can apparently inflict seizures upon their classmates, that the show is not getting supernatural.

Uh huh, sure you aren't.

Even if sister series Chilling Adventures of Sabrina weren't debuting next Friday, it wouldn't be difficult to refute this claim. But given tonight's developments, it seems impossible.

Let's begin with the the new big bad of the season, the Gargoyle King. Tonight Betty and Jughead found themselves face-to-blood-coated-face with this mysterious creature who is, almost certainly, not just Ethel in a costume on stilts. The more we learn about Gryphons & Gargoyles, the more it seems that the game is the Jack Chick Dark Dungeons tract come violently to life. Seemingly played only by Riverdale's outsiders, the RPG causes players to fully immerse themselves in it with deadly results.

There's something that is intoxicating about watching Betty and Veronica try to solve mysteries together, a feeling that is taken to the nth degree when said mysteries take place in a Lost-ian hatch. Lily Reinhart and Cole Sprouse are typically excellent in these sort of scenes, and they have adapted to the increasingly ridiculous (in the best way, mind you) plots that the show keeps throwing at them with aplomb.

We also learned tonight that the Riverdale adults - including the much-hated Hiram Lodge - united in their youth to bury a secret about the game (something we will see in full in two weeks, in the flashback episode The Midnight Club). So, can playing the game conjure the Gargoyle King and his bloodlust into existence? If so, how is this not supernatural exactly?

Then there's the arrival of seizure groupie Evelyn Evernever (these names, sigh). Tonight marked Zoé De Grand Maison's arrival as the character and so far all we know about her is that she is the daughter of The Farm's leader, Edgar, and was in close proximity to both Betty and Ethel when they suffered their seizures. This is a series that showcased Carrie: The Musical after all, so let's not rule out telekinesis.

Before we get into the other big doings in tonight's jam-packed instalment, let's take a second and address the Kevin/Moose storyline. Given the forward-thinking nature of the show's writers in general (and the CW's current Open to All campaign), I hope that Moose's shame about being closeted isn't a storyline that goes on for too long.

Riverdale is better than this, and while teens struggling with coming out is still obviously a major issue in 2018, it's hard to watch the same show that championed Love, Simon spin its wheels when it comes to having an LGBTQ character embracing his truth.

And then there's Archie. Sweet, dumb, always half-naked Archie. A major part of the enjoyment that comes from watching this show results from seeing how the writers will give the character an idea that makes perfect sense for who we know him to be, yet no one even remotely rational would consider. Tonight's big idea: throwing a football game to unite all the prisoners!

Archie and Fred must've watched The Longest Yard together a few times (and you just know it was the Adam Sandler remake), because otherwise this plan makes not one lick of sense. There's our boy, speaking of "the highs and lows of high school football" with a straight face. Yet somewhere in middle America someone sheds a tear and vows to do a rewatch of Friday Night Lights...

This does serve the purpose of enabling tonight's left-field musical perfomance of Jailhouse Rock, which is interupted briefly by Hiram's arrival to remind Veronica that she and Archie will never be together and blah blah and oh man it would be great if the Gargoyle King would just eat this dude already.

And remember, Varchie aside, so far this season's true endgame is in fact the Gargoyle King - so much so that Dr. Curdle II goes out of his way to tell viewers that it wasn't the murder of Jason Blossom or the crimes of the Black Hood that were "the true face of evil" but good ol' GK. Always subtle, that Riverdale.

Tonight's episode was an odd duck, setting things into high gear while taking its good sweet old time with other storylines. Let's face it, the writers are going to have a challenge with keeping viewers invested in Veronica's speakeasy or Archie's Chuck Palahniuk worship when there's a bona fide monster running around Fox Forest. (Archie needs to get out or prison and involved in the Gargoyle King/Farm stuff ASAP, or else he'll be sidelined again from the most interesting action a la the first season).

Overall though, this instalment, like the best episodes of Riverdale, had enough fascinating developments and WTF moments to make the wait until next week feel interminable.

Read Chris' review of the previous episode, Labor Day, here.

This review contains spoilers.

3.2 Fortune And Men's Eyes

Leading up to this season, the cast and crew of Riverdale has made it a point to state that, despite the arrival of cults and Gargoyle Kings and mysterious teens who can apparently inflict seizures upon their classmates, that the show is not getting supernatural.

Uh huh, sure you aren't.

Even if sister series Chilling Adventures of Sabrina weren't debuting next Friday, it wouldn't be difficult to refute this claim. But given tonight's developments, it seems impossible.

Let's begin with the the new big bad of the season, the Gargoyle King. Tonight Betty and Jughead found themselves face-to-blood-coated-face with this mysterious creature who is, almost certainly, not just Ethel in a costume on stilts. The more we learn about Gryphons & Gargoyles, the more it seems that the game is the Jack Chick Dark Dungeons tract come violently to life. Seemingly played only by Riverdale's outsiders, the RPG causes players to fully immerse themselves in it with deadly results.

There's something that is intoxicating about watching Betty and Veronica try to solve mysteries together, a feeling that is taken to the nth degree when said mysteries take place in a Lost-ian hatch. Lily Reinhart and Cole Sprouse are typically excellent in these sort of scenes, and they have adapted to the increasingly ridiculous (in the best way, mind you) plots that the show keeps throwing at them with aplomb.

We also learned tonight that the Riverdale adults - including the much-hated Hiram Lodge - united in their youth to bury a secret about the game (something we will see in full in two weeks, in the flashback episode The Midnight Club). So, can playing the game conjure the Gargoyle King and his bloodlust into existence? If so, how is this not supernatural exactly?

Then there's the arrival of seizure groupie Evelyn Evernever (these names, sigh). Tonight marked Zoé De Grand Maison's arrival as the character and so far all we know about her is that she is the daughter of The Farm's leader, Edgar, and was in close proximity to both Betty and Ethel when they suffered their seizures. This is a series that showcased Carrie: The Musical after all, so let's not rule out telekinesis.

Before we get into the other big doings in tonight's jam-packed instalment, let's take a second and address the Kevin/Moose storyline. Given the forward-thinking nature of the show's writers in general (and the CW's current Open to All campaign), I hope that Moose's shame about being closeted isn't a storyline that goes on for too long.

Riverdale is better than this, and while teens struggling with coming out is still obviously a major issue in 2018, it's hard to watch the same show that championed Love, Simon spin its wheels when it comes to having an LGBTQ character embracing his truth.

And then there's Archie. Sweet, dumb, always half-naked Archie. A major part of the enjoyment that comes from watching this show results from seeing how the writers will give the character an idea that makes perfect sense for who we know him to be, yet no one even remotely rational would consider. Tonight's big idea: throwing a football game to unite all the prisoners!

Archie and Fred must've watched The Longest Yard together a few times (and you just know it was the Adam Sandler remake), because otherwise this plan makes not one lick of sense. There's our boy, speaking of "the highs and lows of high school football" with a straight face. Yet somewhere in middle America someone sheds a tear and vows to do a rewatch of Friday Night Lights...

This does serve the purpose of enabling tonight's left-field musical perfomance of Jailhouse Rock, which is interupted briefly by Hiram's arrival to remind Veronica that she and Archie will never be together and blah blah and oh man it would be great if the Gargoyle King would just eat this dude already.

And remember, Varchie aside, so far this season's true endgame is in fact the Gargoyle King - so much so that Dr. Curdle II goes out of his way to tell viewers that it wasn't the murder of Jason Blossom or the crimes of the Black Hood that were "the true face of evil" but good ol' GK. Always subtle, that Riverdale.

Tonight's episode was an odd duck, setting things into high gear while taking its good sweet old time with other storylines. Let's face it, the writers are going to have a challenge with keeping viewers invested in Veronica's speakeasy or Archie's Chuck Palahniuk worship when there's a bona fide monster running around Fox Forest. (Archie needs to get out or prison and involved in the Gargoyle King/Farm stuff ASAP, or else he'll be sidelined again from the most interesting action a la the first season).

Overall though, this instalment, like the best episodes of Riverdale, had enough fascinating developments and WTF moments to make the wait until next week feel interminable.

Read Chris' review of the previous episode, Labor Day, here.

This review contains spoilers.

3.2 Fortune And Men's Eyes

Leading up to this season, the cast and crew of Riverdale has made it a point to state that, despite the arrival of cults and Gargoyle Kings and mysterious teens who can apparently inflict seizures upon their classmates, that the show is not getting supernatural.

Uh huh, sure you aren't.

Even if sister series Chilling Adventures of Sabrina weren't debuting next Friday, it wouldn't be difficult to refute this claim. But given tonight's developments, it seems impossible.

Let's begin with the the new big bad of the season, the Gargoyle King. Tonight Betty and Jughead found themselves face-to-blood-coated-face with this mysterious creature who is, almost certainly, not just Ethel in a costume on stilts. The more we learn about Gryphons & Gargoyles, the more it seems that the game is the Jack Chick Dark Dungeons tract come violently to life. Seemingly played only by Riverdale's outsiders, the RPG causes players to fully immerse themselves in it with deadly results.

There's something that is intoxicating about watching Betty and Veronica try to solve mysteries together, a feeling that is taken to the nth degree when said mysteries take place in a Lost-ian hatch. Lily Reinhart and Cole Sprouse are typically excellent in these sort of scenes, and they have adapted to the increasingly ridiculous (in the best way, mind you) plots that the show keeps throwing at them with aplomb.

We also learned tonight that the Riverdale adults - including the much-hated Hiram Lodge - united in their youth to bury a secret about the game (something we will see in full in two weeks, in the flashback episode The Midnight Club). So, can playing the game conjure the Gargoyle King and his bloodlust into existence? If so, how is this not supernatural exactly?

Then there's the arrival of seizure groupie Evelyn Evernever (these names, sigh). Tonight marked Zoé De Grand Maison's arrival as the character and so far all we know about her is that she is the daughter of The Farm's leader, Edgar, and was in close proximity to both Betty and Ethel when they suffered their seizures. This is a series that showcased Carrie: The Musical after all, so let's not rule out telekinesis.

Before we get into the other big doings in tonight's jam-packed instalment, let's take a second and address the Kevin/Moose storyline. Given the forward-thinking nature of the show's writers in general (and the CW's current Open to All campaign), I hope that Moose's shame about being closeted isn't a storyline that goes on for too long.

Riverdale is better than this, and while teens struggling with coming out is still obviously a major issue in 2018, it's hard to watch the same show that championed Love, Simon spin its wheels when it comes to having an LGBTQ character embracing his truth.

And then there's Archie. Sweet, dumb, always half-naked Archie. A major part of the enjoyment that comes from watching this show results from seeing how the writers will give the character an idea that makes perfect sense for who we know him to be, yet no one even remotely rational would consider. Tonight's big idea: throwing a football game to unite all the prisoners!

Archie and Fred must've watched The Longest Yard together a few times (and you just know it was the Adam Sandler remake), because otherwise this plan makes not one lick of sense. There's our boy, speaking of "the highs and lows of high school football" with a straight face. Yet somewhere in middle America someone sheds a tear and vows to do a rewatch of Friday Night Lights...

This does serve the purpose of enabling tonight's left-field musical perfomance of Jailhouse Rock, which is interupted briefly by Hiram's arrival to remind Veronica that she and Archie will never be together and blah blah and oh man it would be great if the Gargoyle King would just eat this dude already.

And remember, Varchie aside, so far this season's true endgame is in fact the Gargoyle King - so much so that Dr. Curdle II goes out of his way to tell viewers that it wasn't the murder of Jason Blossom or the crimes of the Black Hood that were "the true face of evil" but good ol' GK. Always subtle, that Riverdale.

Tonight's episode was an odd duck, setting things into high gear while taking its good sweet old time with other storylines. Let's face it, the writers are going to have a challenge with keeping viewers invested in Veronica's speakeasy or Archie's Chuck Palahniuk worship when there's a bona fide monster running around Fox Forest. (Archie needs to get out or prison and involved in the Gargoyle King/Farm stuff ASAP, or else he'll be sidelined again from the most interesting action a la the first season).

Overall though, this instalment, like the best episodes of Riverdale, had enough fascinating developments and WTF moments to make the wait until next week feel interminable.

Read Chris' review of the previous episode, Labor Day, here.

You gotta hand it to The CW: the network is committed to its reimaginings of popular properties, from the comic book world to the literary one. It's been a few years since Beauty And The Beast was on the CW's schedule, which means it may be time for a different show based on classic literary material to make it onto the rotation...

According to Variety, The CW is currently developing a TV series based on the Oscar Wilde novel The Picture Of Dorian Gray, which is about an ever-youthful and ever-beautiful young man named Dorian Gray whose portrait becomes increasingly hideous as he himself becomes mean, cruel, and bitter. The portrait becomes a record of the sins, as Dorian Gray's youthful, beautiful facade obscures the terrible human underneath.

Sadly, The CW's adaptation will not be a straight adaptation (we still miss Penny Dreadful's Dorian Gray adaptation), but rather "a comedic spin on the classic story." Dorian, as it is currently called, will follow a woman who made a deal with the devil 50 years prior to remain young. She has spent the past five decades living a life of selfishness, largely without consequence. When the series starts, the downsides of living young forever (wait... this seems to go against The CW brand) begin to rear their ugly head, and Dorian decides she is ready to physically age and emotionally mature. First, however, she has to make amends for her past.

Dorian is being developed by writer and executive producer Marisa Coughlan, who is mostly known for her acting work. Coughlan has appeared in Super Troopers and Space Station 76. On the writing side, her project Lost And Found went to pilot at ABC, and she has contributed scripts for projects Pushing and That’s Wonderful.

You gotta hand it to The CW: the network is committed to its reimaginings of popular properties, from the comic book world to the literary one. It's been a few years since Beauty And The Beast was on the CW's schedule, which means it may be time for a different show based on classic literary material to make it onto the rotation...

According to Variety, The CW is currently developing a TV series based on the Oscar Wilde novel The Picture Of Dorian Gray, which is about an ever-youthful and ever-beautiful young man named Dorian Gray whose portrait becomes increasingly hideous as he himself becomes mean, cruel, and bitter. The portrait becomes a record of the sins, as Dorian Gray's youthful, beautiful facade obscures the terrible human underneath.

Sadly, The CW's adaptation will not be a straight adaptation (we still miss Penny Dreadful's Dorian Gray adaptation), but rather "a comedic spin on the classic story." Dorian, as it is currently called, will follow a woman who made a deal with the devil 50 years prior to remain young. She has spent the past five decades living a life of selfishness, largely without consequence. When the series starts, the downsides of living young forever (wait... this seems to go against The CW brand) begin to rear their ugly head, and Dorian decides she is ready to physically age and emotionally mature. First, however, she has to make amends for her past.

Dorian is being developed by writer and executive producer Marisa Coughlan, who is mostly known for her acting work. Coughlan has appeared in Super Troopers and Space Station 76. On the writing side, her project Lost And Found went to pilot at ABC, and she has contributed scripts for projects Pushing and That’s Wonderful.

You gotta hand it to The CW: the network is committed to its reimaginings of popular properties, from the comic book world to the literary one. It's been a few years since Beauty And The Beast was on the CW's schedule, which means it may be time for a different show based on classic literary material to make it onto the rotation...

According to Variety, The CW is currently developing a TV series based on the Oscar Wilde novel The Picture Of Dorian Gray, which is about an ever-youthful and ever-beautiful young man named Dorian Gray whose portrait becomes increasingly hideous as he himself becomes mean, cruel, and bitter. The portrait becomes a record of the sins, as Dorian Gray's youthful, beautiful facade obscures the terrible human underneath.

Sadly, The CW's adaptation will not be a straight adaptation (we still miss Penny Dreadful's Dorian Gray adaptation), but rather "a comedic spin on the classic story." Dorian, as it is currently called, will follow a woman who made a deal with the devil 50 years prior to remain young. She has spent the past five decades living a life of selfishness, largely without consequence. When the series starts, the downsides of living young forever (wait... this seems to go against The CW brand) begin to rear their ugly head, and Dorian decides she is ready to physically age and emotionally mature. First, however, she has to make amends for her past.

Dorian is being developed by writer and executive producer Marisa Coughlan, who is mostly known for her acting work. Coughlan has appeared in Super Troopers and Space Station 76. On the writing side, her project Lost And Found went to pilot at ABC, and she has contributed scripts for projects Pushing and That’s Wonderful.

Television is known as a writers' medium, but that doesn't mean the director isn't a vital contributor to the creation of an on-screen television world. This is especially true when one director has the chance to direct every episode of a TV season, which is normally not the case in the traditional TV model.

This is the case for Amazon's much-anticipated upcoming adaptation of Neil Gaiman and Terry Pratchett's Good Omens, the story of a demon named Crowley (David Tennant) and an angel named Aziraphale (Michael Sheen) who team up in an attempt to prevent the apocalypse and the end of life as they know it.

Director Douglas Mackinnon is behind the camera for all six episodes of what looks to be a trippy, distinctive, and wonderfully weird adaptation of a beloved book. 

Mackinnon knows his way around both an adaptation and a fantasy world. Standouts on the Scottish director's long resume include Doctor Who's The Husbands of River Song (he's directed eight episodes of Who), Sherlock's The Abominable Bride, and the first three episodes of Steven Moffat's highly underrated Jekyll.

Den Of Geek had the chance to talk to Mackinnon and the cast of Good Omens at the recent New York Comic Con.

"It's Douglas who's focusing on source material," said Sheen of working with Mackinnon, noting that it was the director whose copy of the Good Omens book was the most thumbed-through, and who was the most actively engaged with keeping the adaptation faithful to the spirit of the book.

"[Douglas] was the guardian of the book weirdly in the way that you'd think Neil would be the guardian of the book. But, actually, it was Douglas who kept the book pinned down, which allowed me to be much freer in kind of messing around with things a bit. You had the confidence of the authorial voice to go, 'All right, that was the book, but we're doing this.' And Douglas would keep going, 'There's that bit in the book. There's that line in the book.''"

Both Tennant, who'd worked with Mackinnon before on episodes of Doctor Who, and Jon Hamm, who plays Archangel Gabriel in the series, remarked on MacKinnon's ability to manage the broad scope of the adaptation. 

"I think what's brilliant about Douglas is that he has an absolute grasp of all the disparate elements of what Good Omens is, and there are a lot of them," said Tennant. "There's lots going on that we [actors] never really get to truly understand or know. There're whole plot lines that I can't wait to see what they're about, some characters that we're never in a scene with."

Tennant continued:

"You've always felt like Douglas—he's been working on this project certainly a lot longer than I have—had a real sense of what everything was and how it all had to be pulled together. And I felt, probably because I knew him before, probably because of the sense that he brought to set everyday, I could trust that. I didn't have to worry about. I just had to look after my little corner of it because he was in charge."

Hamm, who was part of a separate roundtable discussion from Tennant, echoed the sentiment.

"It's a treat to have a unified vision over something so sprawling and vast," said Hamm, who is a longtime fan of the book. "And just the scale and scope of this project, especially giving that it has such an international following and is so adored by so many, because then you want somebody who has experience and knows what he is doing, but also has the ability to play nicely with others and to understand that Neil and the book are the sources of all of this and really use it to his advantage."

From the actors' perspective, Mackinnon is a delight to work with because he understands that the relationships between characters is at the heart of any good story.

"Douglas's personality, maybe just on this," said Sheen, "mirrors the challenge of the book which is the enjoyment of the craziness of the world, of the universe. This kind of huge, silly, absurd stuff going on, but at the heart of it is something very, very real about relationships and something that matters."

"You want to be able to enjoy both," Sheen continued. "You have to be taken along by the narrative engine of why it matters, what's going on, in order to enjoy the crazier elements of it. And I think Douglas has that. When you meet him, you think he is making jokes all of the time and being kind of silly, but actually, underneath, he has a very serious commitment to what it's really about. I think that's why he was the perfect director [for Good Omens]."

Sheen continued:

"He's very good with all the bells and whistles. He understands how you can be drummaging in work. He likes doing fancy things with cameras. He gets excited by all that. But, ultimately, only really cares about what's going on between the actors."

Miranda Richardson, who plays Madame Tracy in Good Omens, has been working in this business a long time. Where does Mackinnon fall in the context of her experience?

"He knew what he wanted so that's always a relief as a performer," said Richardson. "He's also one of the most relaxed bosses, you know, not in Australia that I've ever had, really."

What does Mackinnon himself have to say about the responsibility of bringing the world of Good Omens to the screen? Den of Geek asked the director specifically about bringing London, a location and setting that has a rich history on screen and that Mackinnon has worked with as a setting before, to distinctive life.

"Good Omens is a very—I'm going to use a very particular word here—is a very English production," said Mackinnon. "It's very English. There's no British, no UK. It's very English."

"I'm Scottish, when I read the book it felt so much like a... I wouldn't say cliché or stereotype, but it's so much about how English people talk to each other," continued Mackinnon. "That's why with Aziraphale and Crowley, they're both English. And so, the London that I wanted, and the Soho that I wanted, and also the Tadfield I wanted... There was an English playwright who died a number of years ago..."

"Dennis Potter," Gaiman contributes, giving us a peek into the partnership between these two men, who have been working closely together on this project for months and months.

"[It was] Dennis Potter," continues Mackinnon, "who said that, he was dying and he said that, 'The blossoms were the blossom-est blossoms that he'd ever seen.' So, I want the Soho-est Soho that I'd ever seen. I want the London-est London. I want the Tadfield-est Tadfield."

"It means that, in Crowley's flat, he's got heads of Parliament outside his window," continued Mackinnon. "It means at St James's Park you see Buckingham Palace. There are red buses going past all the time. And, for Tadfield, [where] we went and shot, the last major film that was shot there was Chitty Chitty Bang Bang. So, you can't get more English than that."

"My theory was that, when Aziraphale and Crowley were walking down the street of Soho, they would just fit in completely, but when they got to Tadfield they standout like they're crazy guys... Especially, if you turn up with a burning Bentley."

Good Omens will premiere on Amazon Prime Video in 2019.

Television is known as a writers' medium, but that doesn't mean the director isn't a vital contributor to the creation of an on-screen television world. This is especially true when one director has the chance to direct every episode of a TV season, which is normally not the case in the traditional TV model.

This is the case for Amazon's much-anticipated upcoming adaptation of Neil Gaiman and Terry Pratchett's Good Omens, the story of a demon named Crowley (David Tennant) and an angel named Aziraphale (Michael Sheen) who team up in an attempt to prevent the apocalypse and the end of life as they know it.

Director Douglas Mackinnon is behind the camera for all six episodes of what looks to be a trippy, distinctive, and wonderfully weird adaptation of a beloved book. 

Mackinnon knows his way around both an adaptation and a fantasy world. Standouts on the Scottish director's long resume include Doctor Who's The Husbands of River Song (he's directed eight episodes of Who), Sherlock's The Abominable Bride, and the first three episodes of Steven Moffat's highly underrated Jekyll.

Den Of Geek had the chance to talk to Mackinnon and the cast of Good Omens at the recent New York Comic Con.

"It's Douglas who's focusing on source material," said Sheen of working with Mackinnon, noting that it was the director whose copy of the Good Omens book was the most thumbed-through, and who was the most actively engaged with keeping the adaptation faithful to the spirit of the book.

"[Douglas] was the guardian of the book weirdly in the way that you'd think Neil would be the guardian of the book. But, actually, it was Douglas who kept the book pinned down, which allowed me to be much freer in kind of messing around with things a bit. You had the confidence of the authorial voice to go, 'All right, that was the book, but we're doing this.' And Douglas would keep going, 'There's that bit in the book. There's that line in the book.''"

Both Tennant, who'd worked with Mackinnon before on episodes of Doctor Who, and Jon Hamm, who plays Archangel Gabriel in the series, remarked on MacKinnon's ability to manage the broad scope of the adaptation. 

"I think what's brilliant about Douglas is that he has an absolute grasp of all the disparate elements of what Good Omens is, and there are a lot of them," said Tennant. "There's lots going on that we [actors] never really get to truly understand or know. There're whole plot lines that I can't wait to see what they're about, some characters that we're never in a scene with."

Tennant continued:

"You've always felt like Douglas—he's been working on this project certainly a lot longer than I have—had a real sense of what everything was and how it all had to be pulled together. And I felt, probably because I knew him before, probably because of the sense that he brought to set everyday, I could trust that. I didn't have to worry about. I just had to look after my little corner of it because he was in charge."

Hamm, who was part of a separate roundtable discussion from Tennant, echoed the sentiment.

"It's a treat to have a unified vision over something so sprawling and vast," said Hamm, who is a longtime fan of the book. "And just the scale and scope of this project, especially giving that it has such an international following and is so adored by so many, because then you want somebody who has experience and knows what he is doing, but also has the ability to play nicely with others and to understand that Neil and the book are the sources of all of this and really use it to his advantage."

From the actors' perspective, Mackinnon is a delight to work with because he understands that the relationships between characters is at the heart of any good story.

"Douglas's personality, maybe just on this," said Sheen, "mirrors the challenge of the book which is the enjoyment of the craziness of the world, of the universe. This kind of huge, silly, absurd stuff going on, but at the heart of it is something very, very real about relationships and something that matters."

"You want to be able to enjoy both," Sheen continued. "You have to be taken along by the narrative engine of why it matters, what's going on, in order to enjoy the crazier elements of it. And I think Douglas has that. When you meet him, you think he is making jokes all of the time and being kind of silly, but actually, underneath, he has a very serious commitment to what it's really about. I think that's why he was the perfect director [for Good Omens]."

Sheen continued:

"He's very good with all the bells and whistles. He understands how you can be drummaging in work. He likes doing fancy things with cameras. He gets excited by all that. But, ultimately, only really cares about what's going on between the actors."

Miranda Richardson, who plays Madame Tracy in Good Omens, has been working in this business a long time. Where does Mackinnon fall in the context of her experience?

"He knew what he wanted so that's always a relief as a performer," said Richardson. "He's also one of the most relaxed bosses, you know, not in Australia that I've ever had, really."

What does Mackinnon himself have to say about the responsibility of bringing the world of Good Omens to the screen? Den of Geek asked the director specifically about bringing London, a location and setting that has a rich history on screen and that Mackinnon has worked with as a setting before, to distinctive life.

"Good Omens is a very—I'm going to use a very particular word here—is a very English production," said Mackinnon. "It's very English. There's no British, no UK. It's very English."

"I'm Scottish, when I read the book it felt so much like a... I wouldn't say cliché or stereotype, but it's so much about how English people talk to each other," continued Mackinnon. "That's why with Aziraphale and Crowley, they're both English. And so, the London that I wanted, and the Soho that I wanted, and also the Tadfield I wanted... There was an English playwright who died a number of years ago..."

"Dennis Potter," Gaiman contributes, giving us a peek into the partnership between these two men, who have been working closely together on this project for months and months.

"[It was] Dennis Potter," continues Mackinnon, "who said that, he was dying and he said that, 'The blossoms were the blossom-est blossoms that he'd ever seen.' So, I want the Soho-est Soho that I'd ever seen. I want the London-est London. I want the Tadfield-est Tadfield."

"It means that, in Crowley's flat, he's got heads of Parliament outside his window," continued Mackinnon. "It means at St James's Park you see Buckingham Palace. There are red buses going past all the time. And, for Tadfield, [where] we went and shot, the last major film that was shot there was Chitty Chitty Bang Bang. So, you can't get more English than that."

"My theory was that, when Aziraphale and Crowley were walking down the street of Soho, they would just fit in completely, but when they got to Tadfield they standout like they're crazy guys... Especially, if you turn up with a burning Bentley."

Good Omens will premiere on Amazon Prime Video in 2019.

Television is known as a writers' medium, but that doesn't mean the director isn't a vital contributor to the creation of an on-screen television world. This is especially true when one director has the chance to direct every episode of a TV season, which is normally not the case in the traditional TV model.

This is the case for Amazon's much-anticipated upcoming adaptation of Neil Gaiman and Terry Pratchett's Good Omens, the story of a demon named Crowley (David Tennant) and an angel named Aziraphale (Michael Sheen) who team up in an attempt to prevent the apocalypse and the end of life as they know it.

Director Douglas Mackinnon is behind the camera for all six episodes of what looks to be a trippy, distinctive, and wonderfully weird adaptation of a beloved book. 

Mackinnon knows his way around both an adaptation and a fantasy world. Standouts on the Scottish director's long resume include Doctor Who's The Husbands of River Song (he's directed eight episodes of Who), Sherlock's The Abominable Bride, and the first three episodes of Steven Moffat's highly underrated Jekyll.

Den Of Geek had the chance to talk to Mackinnon and the cast of Good Omens at the recent New York Comic Con.

"It's Douglas who's focusing on source material," said Sheen of working with Mackinnon, noting that it was the director whose copy of the Good Omens book was the most thumbed-through, and who was the most actively engaged with keeping the adaptation faithful to the spirit of the book.

"[Douglas] was the guardian of the book weirdly in the way that you'd think Neil would be the guardian of the book. But, actually, it was Douglas who kept the book pinned down, which allowed me to be much freer in kind of messing around with things a bit. You had the confidence of the authorial voice to go, 'All right, that was the book, but we're doing this.' And Douglas would keep going, 'There's that bit in the book. There's that line in the book.''"

Both Tennant, who'd worked with Mackinnon before on episodes of Doctor Who, and Jon Hamm, who plays Archangel Gabriel in the series, remarked on MacKinnon's ability to manage the broad scope of the adaptation. 

"I think what's brilliant about Douglas is that he has an absolute grasp of all the disparate elements of what Good Omens is, and there are a lot of them," said Tennant. "There's lots going on that we [actors] never really get to truly understand or know. There're whole plot lines that I can't wait to see what they're about, some characters that we're never in a scene with."

Tennant continued:

"You've always felt like Douglas—he's been working on this project certainly a lot longer than I have—had a real sense of what everything was and how it all had to be pulled together. And I felt, probably because I knew him before, probably because of the sense that he brought to set everyday, I could trust that. I didn't have to worry about. I just had to look after my little corner of it because he was in charge."

Hamm, who was part of a separate roundtable discussion from Tennant, echoed the sentiment.

"It's a treat to have a unified vision over something so sprawling and vast," said Hamm, who is a longtime fan of the book. "And just the scale and scope of this project, especially giving that it has such an international following and is so adored by so many, because then you want somebody who has experience and knows what he is doing, but also has the ability to play nicely with others and to understand that Neil and the book are the sources of all of this and really use it to his advantage."

From the actors' perspective, Mackinnon is a delight to work with because he understands that the relationships between characters is at the heart of any good story.

"Douglas's personality, maybe just on this," said Sheen, "mirrors the challenge of the book which is the enjoyment of the craziness of the world, of the universe. This kind of huge, silly, absurd stuff going on, but at the heart of it is something very, very real about relationships and something that matters."

"You want to be able to enjoy both," Sheen continued. "You have to be taken along by the narrative engine of why it matters, what's going on, in order to enjoy the crazier elements of it. And I think Douglas has that. When you meet him, you think he is making jokes all of the time and being kind of silly, but actually, underneath, he has a very serious commitment to what it's really about. I think that's why he was the perfect director [for Good Omens]."

Sheen continued:

"He's very good with all the bells and whistles. He understands how you can be drummaging in work. He likes doing fancy things with cameras. He gets excited by all that. But, ultimately, only really cares about what's going on between the actors."

Miranda Richardson, who plays Madame Tracy in Good Omens, has been working in this business a long time. Where does Mackinnon fall in the context of her experience?

"He knew what he wanted so that's always a relief as a performer," said Richardson. "He's also one of the most relaxed bosses, you know, not in Australia that I've ever had, really."

What does Mackinnon himself have to say about the responsibility of bringing the world of Good Omens to the screen? Den of Geek asked the director specifically about bringing London, a location and setting that has a rich history on screen and that Mackinnon has worked with as a setting before, to distinctive life.

"Good Omens is a very—I'm going to use a very particular word here—is a very English production," said Mackinnon. "It's very English. There's no British, no UK. It's very English."

"I'm Scottish, when I read the book it felt so much like a... I wouldn't say cliché or stereotype, but it's so much about how English people talk to each other," continued Mackinnon. "That's why with Aziraphale and Crowley, they're both English. And so, the London that I wanted, and the Soho that I wanted, and also the Tadfield I wanted... There was an English playwright who died a number of years ago..."

"Dennis Potter," Gaiman contributes, giving us a peek into the partnership between these two men, who have been working closely together on this project for months and months.

"[It was] Dennis Potter," continues Mackinnon, "who said that, he was dying and he said that, 'The blossoms were the blossom-est blossoms that he'd ever seen.' So, I want the Soho-est Soho that I'd ever seen. I want the London-est London. I want the Tadfield-est Tadfield."

"It means that, in Crowley's flat, he's got heads of Parliament outside his window," continued Mackinnon. "It means at St James's Park you see Buckingham Palace. There are red buses going past all the time. And, for Tadfield, [where] we went and shot, the last major film that was shot there was Chitty Chitty Bang Bang. So, you can't get more English than that."

"My theory was that, when Aziraphale and Crowley were walking down the street of Soho, they would just fit in completely, but when they got to Tadfield they standout like they're crazy guys... Especially, if you turn up with a burning Bentley."

Good Omens will premiere on Amazon Prime Video in 2019.

Television is known as a writers' medium, but that doesn't mean the director isn't a vital contributor to the creation of an on-screen television world. This is especially true when one director has the chance to direct every episode of a TV season, which is normally not the case in the traditional TV model.

This is the case for Amazon's much-anticipated upcoming adaptation of Neil Gaiman and Terry Pratchett's Good Omens, the story of a demon named Crowley (David Tennant) and an angel named Aziraphale (Michael Sheen) who team up in an attempt to prevent the apocalypse and the end of life as they know it.

Director Douglas Mackinnon is behind the camera for all six episodes of what looks to be a trippy, distinctive, and wonderfully weird adaptation of a beloved book. 

Mackinnon knows his way around both an adaptation and a fantasy world. Standouts on the Scottish director's long resume include Doctor Who's The Husbands of River Song (he's directed eight episodes of Who), Sherlock's The Abominable Bride, and the first three episodes of Steven Moffat's highly underrated Jekyll.

Den Of Geek had the chance to talk to Mackinnon and the cast of Good Omens at the recent New York Comic Con.

"It's Douglas who's focusing on source material," said Sheen of working with Mackinnon, noting that it was the director whose copy of the Good Omens book was the most thumbed-through, and who was the most actively engaged with keeping the adaptation faithful to the spirit of the book.

"[Douglas] was the guardian of the book weirdly in the way that you'd think Neil would be the guardian of the book. But, actually, it was Douglas who kept the book pinned down, which allowed me to be much freer in kind of messing around with things a bit. You had the confidence of the authorial voice to go, 'All right, that was the book, but we're doing this.' And Douglas would keep going, 'There's that bit in the book. There's that line in the book.''"

Both Tennant, who'd worked with Mackinnon before on episodes of Doctor Who, and Jon Hamm, who plays Archangel Gabriel in the series, remarked on MacKinnon's ability to manage the broad scope of the adaptation. 

"I think what's brilliant about Douglas is that he has an absolute grasp of all the disparate elements of what Good Omens is, and there are a lot of them," said Tennant. "There's lots going on that we [actors] never really get to truly understand or know. There're whole plot lines that I can't wait to see what they're about, some characters that we're never in a scene with."

Tennant continued:

"You've always felt like Douglas—he's been working on this project certainly a lot longer than I have—had a real sense of what everything was and how it all had to be pulled together. And I felt, probably because I knew him before, probably because of the sense that he brought to set everyday, I could trust that. I didn't have to worry about. I just had to look after my little corner of it because he was in charge."

Hamm, who was part of a separate roundtable discussion from Tennant, echoed the sentiment.

"It's a treat to have a unified vision over something so sprawling and vast," said Hamm, who is a longtime fan of the book. "And just the scale and scope of this project, especially giving that it has such an international following and is so adored by so many, because then you want somebody who has experience and knows what he is doing, but also has the ability to play nicely with others and to understand that Neil and the book are the sources of all of this and really use it to his advantage."

From the actors' perspective, Mackinnon is a delight to work with because he understands that the relationships between characters is at the heart of any good story.

"Douglas's personality, maybe just on this," said Sheen, "mirrors the challenge of the book which is the enjoyment of the craziness of the world, of the universe. This kind of huge, silly, absurd stuff going on, but at the heart of it is something very, very real about relationships and something that matters."

"You want to be able to enjoy both," Sheen continued. "You have to be taken along by the narrative engine of why it matters, what's going on, in order to enjoy the crazier elements of it. And I think Douglas has that. When you meet him, you think he is making jokes all of the time and being kind of silly, but actually, underneath, he has a very serious commitment to what it's really about. I think that's why he was the perfect director [for Good Omens]."

Sheen continued:

"He's very good with all the bells and whistles. He understands how you can be drummaging in work. He likes doing fancy things with cameras. He gets excited by all that. But, ultimately, only really cares about what's going on between the actors."

Miranda Richardson, who plays Madame Tracy in Good Omens, has been working in this business a long time. Where does Mackinnon fall in the context of her experience?

"He knew what he wanted so that's always a relief as a performer," said Richardson. "He's also one of the most relaxed bosses, you know, not in Australia that I've ever had, really."

What does Mackinnon himself have to say about the responsibility of bringing the world of Good Omens to the screen? Den of Geek asked the director specifically about bringing London, a location and setting that has a rich history on screen and that Mackinnon has worked with as a setting before, to distinctive life.

"Good Omens is a very—I'm going to use a very particular word here—is a very English production," said Mackinnon. "It's very English. There's no British, no UK. It's very English."

"I'm Scottish, when I read the book it felt so much like a... I wouldn't say cliché or stereotype, but it's so much about how English people talk to each other," continued Mackinnon. "That's why with Aziraphale and Crowley, they're both English. And so, the London that I wanted, and the Soho that I wanted, and also the Tadfield I wanted... There was an English playwright who died a number of years ago..."

"Dennis Potter," Gaiman contributes, giving us a peek into the partnership between these two men, who have been working closely together on this project for months and months.

"[It was] Dennis Potter," continues Mackinnon, "who said that, he was dying and he said that, 'The blossoms were the blossom-est blossoms that he'd ever seen.' So, I want the Soho-est Soho that I'd ever seen. I want the London-est London. I want the Tadfield-est Tadfield."

"It means that, in Crowley's flat, he's got heads of Parliament outside his window," continued Mackinnon. "It means at St James's Park you see Buckingham Palace. There are red buses going past all the time. And, for Tadfield, [where] we went and shot, the last major film that was shot there was Chitty Chitty Bang Bang. So, you can't get more English than that."

"My theory was that, when Aziraphale and Crowley were walking down the street of Soho, they would just fit in completely, but when they got to Tadfield they standout like they're crazy guys... Especially, if you turn up with a burning Bentley."

Good Omens will premiere on Amazon Prime Video in 2019.

Michael B. Jordan might just be on the verge of giving Dwayne Johnson a run for his money as Hollywood’s most omnipresent action star. The actor has nabbed a starring role in another prospective franchise, having just been cast in an adaptation of the popular novel series, The Silver Bear.

Jordan's casting in The Silver Bear, as reported by Deadline, will see Jordan star as a shadowy assassin who calls himself Columbus but is known as a bit of a boogeyman in the Russian criminal underworld as the assassin, the Silver Bear. The film is based on the first entry in the novel series of author Derek Haas, who also wrote the screenplays for films like Wanted, 3:10 to Yuma (2007), 2 Fast 2 Furious and Invincible. While a director has yet to be appointed, the screenplay adapting Haas’s novel will be written by Frank Baldwin (The Godmother).

Jordan will also serve as a producer, via Outlier Society joined by Vishal Rungta of Nickel City Pictures, Mark Fasano and Ankur Rungta. “We could not be more excited to work with Michael," said Rungta. "We have been huge fans of Michael all the way back to his days in The Wire, and from our first meeting we knew that he was the perfect fit for the role of Columbus.”

Haas’s The Silver Bear series launched in 2008, when the titular hitman becomes embroiled in a dangerous political game as he takes on the assignment of killing a presidential-aspiring Speaker of the House. Columbus earned the name Silver Bear because he never fails and is immune to stressors of the job (like, err, a silver bear?), but he gets tested when the target turns out to be his own father. 

Haas’s Silver Bear novels continued with potential film sequel fodder in 2009’s The Hunt for the Bear, 2011’s Dark Men and 2015’s A Different Life.

The Silver Bear will join Michael B. Jordan’s enviable backlog (not counting a recent Superman rumor), which recently gained another action franchise since he is talks to star in Tom Clancy adaptation, Without Remorse and sequel Rainbow Six. Before that, he’s set to reunite with his Fruitvale Station/Creed/Black Panther director Ryan Coogler for a drama, called Wrong Answer. He's also set to co-star in the January 2020-scheduled drama, Just Mercy, alongside Brie Larson, Jamie Foxx and Tim Blake Nelson. If that's not enough, he’ll be seen next in Creed II, which arrives on November 30th.

We’ll keep you updated on The Silver Bear, and on Micahel B. Jordan's Hollywood takeover, as we get it.

Michael B. Jordan might just be on the verge of giving Dwayne Johnson a run for his money as Hollywood’s most omnipresent action star. The actor has nabbed a starring role in another prospective franchise, having just been cast in an adaptation of the popular novel series, The Silver Bear.

Jordan's casting in The Silver Bear, as reported by Deadline, will see Jordan star as a shadowy assassin who calls himself Columbus but is known as a bit of a boogeyman in the Russian criminal underworld as the assassin, the Silver Bear. The film is based on the first entry in the novel series of author Derek Haas, who also wrote the screenplays for films like Wanted, 3:10 to Yuma (2007), 2 Fast 2 Furious and Invincible. While a director has yet to be appointed, the screenplay adapting Haas’s novel will be written by Frank Baldwin (The Godmother).

Jordan will also serve as a producer, via Outlier Society joined by Vishal Rungta of Nickel City Pictures, Mark Fasano and Ankur Rungta. “We could not be more excited to work with Michael," said Rungta. "We have been huge fans of Michael all the way back to his days in The Wire, and from our first meeting we knew that he was the perfect fit for the role of Columbus.”

Haas’s The Silver Bear series launched in 2008, when the titular hitman becomes embroiled in a dangerous political game as he takes on the assignment of killing a presidential-aspiring Speaker of the House. Columbus earned the name Silver Bear because he never fails and is immune to stressors of the job (like, err, a silver bear?), but he gets tested when the target turns out to be his own father. 

Haas’s Silver Bear novels continued with potential film sequel fodder in 2009’s The Hunt for the Bear, 2011’s Dark Men and 2015’s A Different Life.

The Silver Bear will join Michael B. Jordan’s enviable backlog (not counting a recent Superman rumor), which recently gained another action franchise since he is talks to star in Tom Clancy adaptation, Without Remorse and sequel Rainbow Six. Before that, he’s set to reunite with his Fruitvale Station/Creed/Black Panther director Ryan Coogler for a drama, called Wrong Answer. He's also set to co-star in the January 2020-scheduled drama, Just Mercy, alongside Brie Larson, Jamie Foxx and Tim Blake Nelson. If that's not enough, he’ll be seen next in Creed II, which arrives on November 30th.

We’ll keep you updated on The Silver Bear, and on Micahel B. Jordan's Hollywood takeover, as we get it.

Michael B. Jordan might just be on the verge of giving Dwayne Johnson a run for his money as Hollywood’s most omnipresent action star. The actor has nabbed a starring role in another prospective franchise, having just been cast in an adaptation of the popular novel series, The Silver Bear.

Jordan's casting in The Silver Bear, as reported by Deadline, will see Jordan star as a shadowy assassin who calls himself Columbus but is known as a bit of a boogeyman in the Russian criminal underworld as the assassin, the Silver Bear. The film is based on the first entry in the novel series of author Derek Haas, who also wrote the screenplays for films like Wanted, 3:10 to Yuma (2007), 2 Fast 2 Furious and Invincible. While a director has yet to be appointed, the screenplay adapting Haas’s novel will be written by Frank Baldwin (The Godmother).

Jordan will also serve as a producer, via Outlier Society joined by Vishal Rungta of Nickel City Pictures, Mark Fasano and Ankur Rungta. “We could not be more excited to work with Michael," said Rungta. "We have been huge fans of Michael all the way back to his days in The Wire, and from our first meeting we knew that he was the perfect fit for the role of Columbus.”

Haas’s The Silver Bear series launched in 2008, when the titular hitman becomes embroiled in a dangerous political game as he takes on the assignment of killing a presidential-aspiring Speaker of the House. Columbus earned the name Silver Bear because he never fails and is immune to stressors of the job (like, err, a silver bear?), but he gets tested when the target turns out to be his own father. 

Haas’s Silver Bear novels continued with potential film sequel fodder in 2009’s The Hunt for the Bear, 2011’s Dark Men and 2015’s A Different Life.

The Silver Bear will join Michael B. Jordan’s enviable backlog (not counting a recent Superman rumor), which recently gained another action franchise since he is talks to star in Tom Clancy adaptation, Without Remorse and sequel Rainbow Six. Before that, he’s set to reunite with his Fruitvale Station/Creed/Black Panther director Ryan Coogler for a drama, called Wrong Answer. He's also set to co-star in the January 2020-scheduled drama, Just Mercy, alongside Brie Larson, Jamie Foxx and Tim Blake Nelson. If that's not enough, he’ll be seen next in Creed II, which arrives on November 30th.

We’ll keep you updated on The Silver Bear, and on Micahel B. Jordan's Hollywood takeover, as we get it.

King Arthur hasn’t had a particularly easy ride at the cinema recently, but The Kid Who Would Be King is here to put his crown back on. 

The film will mark Joe Cornish’s second directorial effort after 2011’s Attack The Block, so expectations have been building for the last seven years to see what he does next. 

Pitched as a family fantasy action-adventure, the film stars 14-year-old newcomer Ashbourne Serkis (son of Andy) as a regular modern-day kid who finds Excalibur in a building site and inadvertently summons an army of Medieval demons, led by Rebecca Ferguson’s witch queen, Morgana.

The first trailer has arrived and it looks like everything a King Arthur movie should be – mixing Harry Potter-style kid magic, genuinely funny jokes and a whole lot of fantasy action involving dragons, big battle scenes and moving trees. If nothing else, it looks a lot better than Guy Ritchie’s King Arthur… 

The film also stars Patrick Stewart as Merlin (or one version of Merlin, according to the trailer), but the real hero looks to be Serkis, who already seems to be doing a great job of not acting like most other British child stars.

Find out for sure when the film opens on February 15^th, 2019.