Wednesday Addams, a sharp-witted and morbidly inclined teenager, is sent to Nevermore Academy, a boarding school for outcasts, after being expelled from her previous school. There, she unravels a dark mystery tied to a series of murders in the nearby town of Jericho, while navigating her emerging psychic abilities, strained family ties, and complex relationships with her peers. As she digs deeper, Wednesday uncovers secrets about the school, her parents’ past, and a supernatural threat.    The post Wednesday (season 1) first appeared on Worth it or Woke.

Terence Stamp, the actor who gave us the defiant General Zod in 1978’s Superman: The Movie, passed away this week at 87, leaving behind a career marked by bold choices and a distinctive screen presence. Known for his intense gaze and commanding delivery, Stamp made a lasting impact, particularly as the Kryptonian villain whose iconic line, “Kneel before Zod!” still echoes in pop culture. Born on July 22, 1938, in London’s working-class East End, Stamp grew up in a modest household, the eldest of five children. His father was a tugboat stoker, and his mother a homemaker, a world far removed from the glitz of Hollywood. “I was a very shy boy,” Stamp recalled in a 2013 interview with IndieWire, reflecting on how acting became his escape. “I found that I could do things on stage that I couldn’t do in real life.” This early shyness fueled his ability to disappear into roles, bringing authenticity to characters from villains to loners. Stamp’s big break came with Billy Budd (1962), where he played the tragic sailor with a sensitivity that earned him an Oscar nomination—“the only time I ever got close to an Oscar,” he later quipped to The New York Times. But it was his role as General Zod in Superman: The Movie and Superman II (1980) that cemented his place in film history. “I didn’t think of Zod as a villain, but as a soldier with a mission,” he told IndieWire, explaining how he infused the character with a sense of unyielding purpose. His Zod wasn’t just evil—he was a rebel who believed he was Krypton’s last hope, a nuance that made the role unforgettable. Clark Kent speaks to Jor-El in Smallville Beyond the Superman franchise, Stamp voiced Jor-El, Superman’s father, in the TV series Smallville (2003-2011), delivering a gravitas that added depth to the doomed Kryptonian patriarch. “I liked the idea of playing both sides of Krypton’s story,” he said in a Reuters interview, noting the contrast between Zod’s fire and Jor-El’s calm wisdom. His filmography also included The Collector (1965), where he played a creepy obsessive, and Theorem (1968), a bold art-house film that showed his willingness to take risks. Later, he brought a quiet warmth to Unfinished Song (2012), playing a gruff pensioner. “I’m not afraid of looking foolish if the role demands it,” he told CNN, a testament to his commitment to authenticity. Stamp’s life was as eclectic as his roles. In the late 1960s, he was a Swinging London icon, rubbing shoulders with the likes of Michael Caine and dating stars like Julie Christie. But fame didn’t sit well with him. “I wasn’t comfortable with the spotlight,” he admitted to The New York Times. By the 1970s, he left acting to travel to India, diving into spiritual pursuits at an ashram. “I needed to find something real,” he said of that period, per Deadline. He returned to acting in 1978 with Superman, revitalizing his career. In later years, he wrote memoirs, including Stamp Album (1987), reflecting on his childhood, and Rare Stamps (1989), which chronicled his spiritual journey. Despite his successes, Stamp remained grounded. He lived much of his later life in London, avoiding the Hollywood machine. “I never wanted to be a star; I wanted to be an actor,” he told Reuters. His health had declined in recent years, and he passed away peacefully, surrounded by family, according to Deadline. Terence Stamp’s career wasn’t about chasing fame but about leaving a mark. His Zod gave us a villain who felt human, his Jor-El a father who felt eternal. For fans, revisiting Superman II: The Richard Donner Cut is the best way to honor a man who brought conviction to every role he played.The post Terence Stamp Kneels Before God: Famed British Actor Dies Age 87 first appeared on Worth it or Woke.

The ink is barely dry on the Paramount-Skydance merger, and the newly formed entertainment powerhouse is wasting no time flexing its cinematic muscle. Under the leadership of Skydance founder David Ellison and a revamped executive team, Paramount is doubling down on its theatrical slate, prioritizing high-profile franchises and fresh projects to reassert its dominance in Hollywood. Drawing from recent reports, here’s a look at the studio’s top movie priorities as it charts a bold course forward. First up, Top Gun 3 is a cornerstone of Paramount’s plans. The 2022 blockbuster Top Gun: Maverick was a global phenomenon, grossing $1.29 billion domestically and $2.6 billion worldwide, with Skydance co-financing half the project. Naturally, a third installment is a no-brainer. While Tom Cruise, the franchise’s star and producer, has been tied up with Mission: Impossible, reports indicate that a script by F1’s Ehren Krueger is in development. With Cruise now eyeing his next move, expect momentum on Top Gun 3 to accelerate, aiming to recapture the high-flying magic that made Maverick a cinematic juggernaut. Spock and Kirk from the Abrams-verse Star Trek The Star Trek franchise is another major focus, though it carries a fairly complex legacy. Paramount has faced headwinds with recent Star Trek offerings, particularly the so-called “Nu-Trek” era, which includes TV series like Star Trek: Discovery and Picard. Many longtime fans have criticized these projects for what they see as woke progressivism, sloppy storytelling, and a disregard for established canon, leading to a fractured fanbase. The 2013 film Star Trek Into Darkness, produced by Ellison, also divided fans, with many calling it weak, derivative, and poorly written, particularly for its reliance on recycled elements from earlier films. Despite this, Ellison is pushing forward with two cinematic projects: a fresh story featuring new characters, directed by Andor’s Toby Haynes, written by Seth Grahame-Smith, and produced by J.J. Abrams and Simon Kinberg; and a return of the divisive Kelvin-timeline crew—Kirk, Spock, and the Enterprise—penned by Steve Yockey with Abrams producing. These films aim to bridge the gap between loyalists and new viewers, but Paramount will need to address fan concerns about storytelling and canon to restore the fanbase’s faith. Beyond these tentpoles, Paramount is diving into other franchises and original projects. Transformers is getting a multi-pronged push, building on the 2023 live-action reboot Transformers: Rise of the Beasts ($442 million globally) and the animated Transformers One. Three scripts are in the works, one of which might see Michael Bay return to the director’s chair. Meanwhile, A Quiet Place Part III, slated for summer 2027, will see John Krasinski back to write and direct, though casting details remain under wraps. The studio is also fast-tracking a sequel to Teenage Mutant Ninja Turtles: Mutant Mayhem, set for September 2027, with Seth Rogen and Evan Goldberg producing. Seth Rogen’s TMNT: Mutant Mayhem On the original front, Paramount’s recent acquisition of High Side, a Timothée Chalamet-James Mangold package, sent a clear message: the studio is ready to bet big on A-list talent and bold ideas. Another project, The Rescue, starring 1923’s Brandon Sklenar, is gaining traction due to its ties to the current regime. Skydance’s existing development slate, including an untitled John Tuggle film with Superman star David Corenswet and a Mike Hammer adaptation starring Matthew McConaughey, is also being folded into Paramount’s priorities. Darren McGavin as Mike Hammer in 1958’s The Paper Shroud The merger has given Paramount a financial shot in the arm, addressing years of cash constraints that limited its output to 11-14 films annually. AMC’s Adam Aron noted Skydance’s deep pockets could mean more movies hitting theaters, a sentiment echoed by Ellison’s team, which is focused on keeping the “upside” on major projects like Top Gun and Star Trek in-house rather than co-financing. This shift suggests a strategy to maximize returns on big bets while exploring co-financing for riskier mid-budget films. Ellison’s vision extends beyond the big screen. He’s emphasized a “tech-forward” approach, exploring streaming partnerships to complement Paramount’s theatrical focus. While Paramount+ will continue to grow—August 2025 alone sees heavyweights like Sonic the Hedgehog 3 and Goodrich hitting the platform—the studio is committed to theaters as the primary driver of its brand. Paramount Skydance CEO David Ellison Paramount’s 2025-2026 slate is already packed, with titles like Roofman (October 2025), The SpongeBob Movie: Search for SquarePants (December 2025), Scream 7 (February 2026), and Mission: Impossible – The Final Reckoning. The studio’s inherited production deals with talent like Ryan Reynolds, Damien Chazelle, and John Krasinski, plus genre label 18hz, give it a deep bench to draw from. The road ahead isn’t without challenges. Paramount lost Marvel to Disney in 2009, and the industry is still navigating post-COVID theatrical realities. But with Ellison’s track record—Skydance’s fingerprints were all over Maverick’s success—and a clear focus on crowd-pleasers like Top Gun 3 and Star Trek, Paramount is positioning itself as a studio that can deliver both spectacle and substance. Whether it’s soaring jets, starship voyages, or new stories from Hollywood’s brightest, Paramount’s post-merger priorities are a high-stakes bet on the power of the big screen.The post Top Gun 3 and Star Trek Lead Paramount’s Big Screen Plans After Skydance Merger first appeared on Worth it or Woke.

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In Season 14 of King of the Hill, Hank and Peggy Hill return to Arlen, Texas, after years abroad in Saudi Arabia, where Hank worked a propane job to secure their retirement. They find a changed town and reconnect with old friends Dale, Boomhauer, and Bill, while navigating modern challenges. Meanwhile, their son Bobby, now 21, thrives as a chef in Dallas King of the Hill Review (S14: E1-E8) Season 14 of King of the Hill doesn’t feel so much like an oasis from modernity as it does comfort food transported through time at 88 miles per hour. It’s the same satisfying serial television from a time when it was ok to be funny, and shows could push the limits without resorting to overt vulgarity that we once took for granted. Fans of the original will notice a change in the animation. According to Mike Judge, this was unavoidable since the tools that they used almost two decades ago no longer exist. However, they’ve done a wonderful job of modernizing while remaining true to the spirit of the style. Fortunately, the voice talent is 99% perfect and hasn’t missed a step. Most of the core cast have returned, with a few exceptions. Both Johnny Hardwick, who voiced Dale, and Brittany Murphy, who voiced Luanne, have passed away since season 13 aired in September of 2009. Subsequently, Luanne doesn’t make an appearance in this season. However, Dale has been recast and is now voiced by Toby Huss, who used to provide the voice of Kahn. Huss must have sacrificed some chickens or something because his Dale is indistinguishable from the original. The show itself is funny and a very easy watch. Obviously, as a continuation of a long-running program, this 14th season of King of the Hill is likely not going to innovate, but it seems as though it’s made all of the right decisions on what to do with its varied cast of characters. Bobby has arguably received the best treatment of the original characters, with him growing into a believably mature young man who learned some valuable lessons from his father, taking to heart the value of working hard and working towards excellence. That Judge and crew didn’t make him a sad sack loser with the IQ of a cereal box is such a breath of fresh air that it’s almost worth watching just for that. King of the Hill was never a universally loved program, but season 14 does an excellent job of placing its characters in our crazy world and holding them up as a mirror against much of the insanity that has freight-train its way into our daily lives in the 16 years since its inexplicable cancellation. Even if you weren’t a huge fan of the original, it might be worth checking out this continuation. In a TV landscape full of gay Trumps and sad cash grabs, King of the Hill is the rare revival that’s actually Worth it.   WOKE REPORT Nega-Woke For the most part, it is the anti-woke. That Said Its conservatism only goes so far, and it ends at modern sexual relationships. Connie is a slut in an open relationship, and Bobby has multiple one-night stands. However, the show’s tone is rather neutral on both Behind the Scenes Toby Huss was canned as Kahn because it was deemed culturally insensitive by the producers. A woke choice to be sure, but behind-the-scenes decisions like that don’t necessarily make the final product woke. However, I dinged the Woke-O-Meter in this case because, not only did they replace the fictional character’s white voice actor because he’s white, but they did so with one of asian ancestry who is noticeably and markedly not as good as Huss. Out of these 8 episodes, he’s in one. That’s why I didn’t ding it much. Girl Scout Cookies Hank thinks it’s nice that the Girl Scouts have changed the name of Samoas to Carmel Pecan Delights because it’s “more respectful to Samoans.” The post King of The Hill (season 14) first appeared on Worth it or Woke.