This week on After the Frame, we’re covering two very different superhero shows in one episode: one loud, bloody, and apocalyptic; the other gritty, grounded, and locked back into what makes its hero work.

We start with The Boys Season 5, the final ride for a series built on violence, satire, and superhero corruption. We break down whether the show sticks the landing, how Homelander remains one of TV’s most terrifying villains, and why the chaos still works even when the season feels bloated, blunt, or familiar. It may not be the sharpest the show has ever been, but it still goes out angry, nasty, and unmistakably itself.

Then we shift to Daredevil: Born Again Season 2, a major step in the right direction for Matt Murdock’s return. We talk about the improved confidence, the stronger action, the Matt/Fisk rivalry, and why the season works best when it embraces legal drama, street-level crime, Catholic guilt, and brutal moral conflict. There’s still some franchise baggage, but this feels much closer to the Daredevil fans wanted from the start.

Two superhero shows, two very different missions: one closing the book in blood and satire, the other finding its footing in the shadows of Hell’s Kitchen.

This episode on After the Frame, we’re covering three wildly different movies in one episode - a loose, charming Pixar original, a messy horror reboot, and a technically impressive trip into liminal-space dread.

We start with Hoppers, a refreshing win for Pixar that feels original, playful, and genuinely fun. Instead of forcing a heavy message, it leads with charm, imagination, and off-the-wall energy - the kind of movie that reminds you Pixar can still create new worlds worth revisiting.

Then we unwrap Lee Cronin’s The Mummy, a darker horror-leaning reboot with flashes of creepy imagery and strange ideas… but not enough story logic to hold itself together. We talk about where the horror elements work, why the movie feels bizarre in the wrong way, and how a promising franchise reset turns into a messy swing-and-miss.

Finally, we enter Backrooms, a movie built on mood, sound design, production design, and pure uncanny discomfort. Kane Parsons delivers an impressively crafted experience with strong performances and a lingering sense of dread, even if the story feels incomplete by the end.

Three movies, three completely different vibes: Pixar charm, cursed bandages, and fluorescent nightmare fuel.

This week on After the Frame, we’re packing four very different reviews into one episode, from big-screen sci-fi spectacle, to grimy internet-age horror, to absurd comedy, to one of the scariest indie horror swings of the year.

We start with Project Hail Mary, a massive crowd-pleaser powered by Ryan Gosling’s charm, breathtaking visual effects, and the emotional punch of Rocky. It comes incredibly close to greatness, even if a shaky final stretch keeps it from fully sticking the landing.

Then we dig into Faces of Death, a disturbing and timely horror film about voyeurism, exploitation, and the way real-world fear gets consumed as content. It’s nasty, uncomfortable, and driven by a strong Dacre Montgomery performance, even when the story starts to wobble.

From there, we lighten the mood with Over Your Dead Body, another confident comedy from the Lonely Island world. Jorma Taccone brings the absurdity, the movie commits to the bit, and your mileage will probably depend on how much that specific comedic lane works for you.

Finally, we close with Obsession, a terrifying indie horror breakout that turns a simple wish-gone-wrong premise into something cruel, anxious, and genuinely scary. With Curry Barker’s confident debut direction and a star-making performance from Inde Navarrette, this one may be the horror movie to beat in 2026.

Four movies, four wildly different tones, and one episode bouncing from space survival to online nightmares, ridiculous comedy, and full-body dread.