u/Valzod_SonOfKrypton

The kickass new teaser shows Thor instantly trusting Cap after making him pull Mjolnir over as an identity test. But let’s be real—that gaunt, evil-looking dude is not our Captain America.

I feel like this variant is a total Trojan horse sent by Doom. He isn’t just going to deceive the team; he is going to betray the Avengers in a way that makes their heads spin, utterly breaking their spirit before the audience even realizes what hit them. Watching Thor put his absolute faith in one of his oldest, most respected brothers-in-arms, only to get stabbed in the back, is going to be brutal.

But the craziest part? That head-spinning betrayal is just the icing on the soured cake.

The real emotional destruction for both the characters and the audience comes from the fact that the immensely powerful big bad orchestrating this entire nightmare is wearing Tony Stark’s face.

Doomsday isn't going to give us a feel-good superhero triumph. It’s going to be an agonizing, deeply unsettling psychological horror that leaves fans completely devastated by the credits. Honestly? That's exactly the kind of high-stakes, ruthless storytelling Marvel needs right now.

The first time I saw gameplay from Virtua Fighter Crossroads – the sixth installment in the franchise, something felt really different and awesome.

I watched a YouTube video, "A Fighting Game with no Launchers?" that speculated the lack of launchers in the game. You know when you send an opponent flying and then punch or kick them several times when they're mid air before hitting the ground. Virtua Fighter Crossroads seems to ditch that, and the fight looks so damn real!

I'm really excited for this game even though I don't have a console that can play it yet 🤣. I've always felt a new kind of fighting game will be one that leans strongly into real life – this is why I love Sifu so much.

But let's know what you think. Cuz I think this game will be revolutionary.

A mother's love is boundless. That’s not to say they aren't exceptions. But in this post, let's list all the greatest mother's from fiction. I'll start:

Invincible's mum – Debbie embodies resilience, compassion and unconditional love. After discovering that her husband, Omni-Man, had deceived her and nearly destroyed the world, she still found the strength to support and guide Mark through the fallout. Her kindness extends beyond her biological son, embracing Oliver as her own without hesitation and giving him the same love, care and stability. Despite everything she's endured, she's even willing to consider forgiveness, making her one of the most emotionally grounded and selfless mothers in modern superhero fiction.

Martha Kent (Smallville) – One of fiction's finest examples of unconditional motherhood. Ambitious yet selfless, she always puts her family first, fiercely protects her adopted alien son, and helps safeguard the secret that could destroy his life. Her conversations with Clark—especially those reflecting on Jonathan Kent's legacy—show why she's always the steady voice of love, wisdom and support when he needs it most.

Sarah Connor (Terminator): She sacrifices everything to protect John Connor and prepare him for the war that will decide humanity's future. Lena Heady's portrayal in Terminator: The Sarah Connor Chronicles brilliantly captures the relentless fear, isolation and determination of a mother raising a son hunted by the world's most advanced AI, yet refusing to give up on him.

Queen Elinor (Brave) – Put aside tradition, admitted her mistakes, and rebuilt her relationship with Merida.

Helen Parr (Elastigirl) (The Incredibles) – Risked her life to rescue her children and constantly put her family's safety first.

Joyce Byers (Stranger Things) – Refused to believe her son was dead and fought impossible odds to bring Will home.

Kala (Tarzan) – Adopted an orphaned human baby despite opposition from her troop and loved him unconditionally.

Evelyn Abbott (A Quiet Place) – Gave birth in silence during an alien invasion and repeatedly risked her life to keep her children alive.

Ellen Ripley (Aliens) – Though not Newt's biological mother, she became her protector and fought the Alien Queen to save her.

Queen Ramonda (Black Panther: Wakanda Forever) – Sacrificed her own life to save Riri Williams during Namor's attack.

Queen Hippolyta (Wonder Woman) – Trained and fiercely protected Diana from childhood, preparing her to become a hero.

Evelyn Wang (Everything Everywhere All at Once) – Fought across the multiverse to reconnect with and save her daughter, Joy.

Let's have yours, cheers!

Dr Manhattan can perceive his past, present, and future simultaneously. He can manipulate matter at the atomic level, reshape reality, teleport across the universe, exist without a physical body, and create life. Conventional attacks mean almost nothing to him.

So here's the challenge:

Name one character from all of fiction that you genuinely believe could defeat Dr Manhattan.

No memes. No "my OC". Just one character—and tell us why.

Some TV shows fly under the radar, and just make you wonder if the community realises how kickass they are.

Here's my list:

Your Friendly Neighborhood Spiderman: I can't wait for season 2. This show is so good. It takes some of your spiderman expectations and turns them on their heads, while keeping you excited about a whole new world and story for the web slinger.

My Adventures with Superman: Well talk about a mix of anime and Hollywood animation, and a story that adjusts pacing to cover for what you'd expect from a regular Superman show. It's not canon to the DCU, even though James Gunn is executive producer. Go watch it!

The Tick: This is such an unconventional take superheroes, quietly brilliant and criminally underwatched. It does fall off in the concluding episodes, but it's quite the ride.

Creature Commandos: The show no one asked for, but yet still takes you on a wild ride. If you want a wacky, action packed animated superhero TV show with twists and turns, then you're in for a treat.

Justice League (2001): I grew up watching this and currently rewatching from season 1! This TV show surprises me with how up-to-date it feels after 25 years, with artistic animations that make you wonder if we fell off with modern animations. And the story is the best part, it might feel a little chaotic but with time you realise the show is taking it's time to flesh out characters and build worlds. This is an incredible show. And oh that theme song, was my ring tone for years, you know what? I'm setting it as my ringtone after writing this.

Let me have yours, pls no shows that everyone is talking about. We're looking for gems here. Cheers!

Some films just creep into your bones and refuse to leave — if Toy Story can prove a franchise gets better with each sequel, these deserve the same shot. Here's the full wishlist:

Megamind 2 & 3 — Confirmed and coming, and honestly one of the best "told you so" moments fandom has had in years. The blue supervillain-turned-hero has a whole rogues gallery left untapped.

Monsters vs. Aliens 2 & 3 — Underrated DreamWorks gem with a cast of misfit monsters that never got to fully play in their own sandbox.

Turbo 2 — A snail who dreams of being the fastest thing alive deserves a victory-lap trilogy, not a one-and-done.

The Incredibles 3 (and beyond) — Jack-Jack's powers alone could fuel three more movies. The wait since 2018's sequel has been brutal.

Pacific Rim 3 — Jaeger vs. Kaiju spectacle that got cut short by a lackluster second entry. Give it back to Del Toro and let it go out properly.

Guardians of the Galaxy Vol. 4 (5 & 6) — Gunn may be off to DC, but this ragtag family has more stories than the MCU gave them credit for.

Brightburn 2 & 3 (extended universe) — "What if Superman was evil" is a goldmine that's been left completely unmined since 2019.

Chronicle 2 & 3 (extended universe) — Found-footage superpowers done right. The ending left a perfect, haunting hook nobody followed up on.

Any new Hulk project — Not a cameo, not a side character — give Bruce Banner the standalone treatment the MCU's been avoiding for over a decade.

The Matrix: Enter the Matrix seasons 2 & 3 — The animated/game tie-in universe is criminally underused real estate in the Matrix mythology.

Edge of Tomorrow 2 — Stuck in development hell forever, but the concept writes itself: Mimics adapting to humans who've learned to exploit the loop. Cruise and Blunt have both said they're in.

Hancock 2 — Will Smith's most underrated superhero movie ended on a setup (immortal gods losing their memories near each other) that never got paid off.

Constantine 2 — Keanu finally confirmed it's happening after 19 years of fans begging. DC sleeping on this one for so long is criminal.

I Am Legend 2 — An alternate ending already exists in the vault. Will Smith and Michael B. Jordan reportedly circling a sequel that finally explores it.

I, Robot 2 — Asimov's universe got a sleek one-off treatment in 2004 and then nothing. Sonny's arc alone deserves a continuation, let alone the larger robot-uprising mythology.

F is for Family — Cancelled before it could land the plane. The Murphys deserve either a film-length send-off or one final season that doesn't leave Frank's arc hanging.

The Adam Project 2 — Reynolds, time travel, found family — he's already said he'd suit back up if asked.

Nimona sequel/spinoff — Gorgeous worldbuilding and intriguing characters, robbed of its full potential by the Blue Sky shutdown.

What's wild scrolling through this list is how many are "almost happened" projects stuck in limbo rather than ideas nobody's pitched. There's clearly more demand than supply right now — somebody greenlight these already.

What am I missing?

There's something wrong with all of us for finding this so compelling. Bodies cracked open, metal underneath.

Here's the list.

Terminator Salvation. Sam Worthington's torso just... gone. Endoskeleton. Started this whole thing for me.

T2 — arm burns down to wire and metal in the factory and the hand keeps moving anyway. Unreal.

The original Terminator. Bathroom. Eye socket. Arnold digging around in his own face. Still.

Genisys gets hate but Connor walking out of fire while his skin peels off is a great shot, sorry.

RoboCop. Murphy rebuilt piece by piece. Face comes last. Devastating if you think about it too long.

Alita — her head on that berserker body. Weird and kind of beautiful. Shouldn't work. Does.

Ghost in the Shell 2017 opens with a body being built from nothing. Purest version of this whole idea.

Ex Machina. Ava's torso is just open. You can see through her. Somehow that's the scariest one.

I, Robot — Sonny's translucent chest during interrogation. Similar vibe, less talked about.

Justice League. Vic Stone getting ripped apart by the Mother Box. Better than most of that film.

Transformers. Megatron's head being rebuilt. As a kid that felt massive.

Vision getting printed layer by layer in Age of Ultron.

A.I. David falling apart near the end. Both stick with you.

I want us to discover some of the most unique, intense and mindblowing action movies ever made. Here's my list.

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Spectral: There's no action movie like Spectral. It's a high concept scifi action thriller, with a story that'll leave you mesmerized, while delivereling jaw dropping action scenes. We need more movies like this.

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Upgrade: The fight choreography should be studied, but that's just icing on the cake. This movie takes a simple scifi premise and turns it into a captivation action blockbuster.

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Finch: This movie has so much heart, it'll leave you in tears. The action and high stakes doesn't come from a leading human foe, but nature itself. The sun is cooking earth as the Ozone layer depletes.

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Chappie: A police Droid gains sentie nce and the result is absolute chaos. It's an incredibly wholesome story, but the worst use of Hugh Jackman who was given too little to do. Neill Blomkamp is the guy. He needs to make more movies.

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District 9: Sharlto Copley is low key my favourite actor — Hardcore Henry is in a league of it's own. His work in District 9 is one of his bests. I still feel chill from the idea of gradually transforming into an alien creature while running from the government. There's so much going for this movie, it redefines what realitic vfx is, and tells a story so grounded, you'd be wondering why scifi feels this unusually real. https://www.imdb.com/title/tt1136608/

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Real Steel: All i can say is if you've not seen this movie i wish I was you, so I can experience the spectacle for first time again. Hollywood, give us a sequel!

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Irobot: This movie was years ahead of itself, and asks questions that we're all juggling right now. It's visually stunning, and Will Smith does a fine job.

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I'll like to know yours in this category. Cheers!

Sometimes I jump into a show excited for the premise, Outer Ranch, I'm looking at you, but it towns out either slow, boring or just excessively focused on plot points that gets the story no where.

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So I want you to share the kind of show that will blow your mind and keep you hooked for years.

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Here's mine:

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1. A martial arts dystopian show: Into the Badlands, I miss you so much. If HBO can give us an r-rated dystopian or futuristic show with actual martial artists kicking ass, and a story filled with twists and suspense that'll be a dream come through.

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2. A scifi thriller featuring a bionic antihero: The movie Upgrade makes a huge case for this, AI is on the rise and we need a show with high concept cybernetics and a story that knocks your socks off.

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3. A psychological horror: The issue with horror TV shows is they get boring fast and sometimes the scare isn't just the payoff you thought it'd be. We need a show where the lead character is so polarising it sets the internet on fire.

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4. A show about racing: I'd say they do an F1 focused series, where a broke, talented kid tries to make it in a sport created for the ultra wealthy. But let's have a simple story with depth, not a thesis.

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5. A boxing show: Man loses his right arm. But displays peak physical abilities. A clandestine bio research lab enlists him for a special project that'll rock the boxing world. That one came full fledged to me 😀

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What ideas do you have? And if you have shows that do what I've mentioned so well, pls share the show title. Cheers!

Hollywood is running out of ideas. Anime has been sitting on source material that would genuinely break television if anyone had the nerve to adapt it properly.

Ranked from "this basically writes itself" to "no studio would survive making this":

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1. Attack on Titan — Already feels like a global blockbuster. The worldbuilding, the moral ambiguity, the ending that would make every showrunner sweat. It's there.

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2. My Hero Academia — X-Men if it actually committed to its characters long-term. The arcs are there. The ensemble is there. Hollywood just needs to not rush it.

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3. Fullmetal Alchemist: Brotherhood — Two brothers. A war crime disguised as alchemy. A world that keeps revealing how much darker it actually is. Almost too complete to adapt, which is exactly why it should be.

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4. One Punch Man — A superhero satire that somehow respects the genre more than most actual superhero shows. The concept alone should have studios fighting over the rights.

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5. Vinland Saga — Vikings. Revenge. War philosophy. One of the most complete character transformations in any medium. This is prestige TV waiting to exist.

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6. Pluto — A sci-fi mystery about grief, identity, and what makes something human. It was written for HBO. HBO just doesn't know it yet.

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7. Steins;Gate — Starts as a quirky time travel story. Ends as a complete psychological collapse. Any showrunner who actually finishes it will either nail it or quit television.

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8. Monster — Might be the best psychological thriller ever written, in any format. A slow-burn cat-and-mouse across post-Cold War Europe with a villain who never needs to raise his voice.

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9. Berserk — The gold standard that everyone knows is unadaptable. A medieval nightmare about trauma, betrayal, and survival that would require a studio willing to go places television has never gone. Which is exactly why it belongs here.

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10. Neon Genesis Evangelion — The one that would break the studio making it before it broke TV. Giant robots on the surface. A complete psychological unraveling underneath. No ending Hollywood could greenlight. Perfect.

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And yes — Hollywood would probably ruin most of these. That's not the point. The point is the source material exists, it's extraordinary, and the industry keeps pretending it doesn't.

What's missing from this list?

Agents of Shield: I’ve watched the entire 7 seasons twice and I might not mind a 3rd watch in the future. You can tell it’s a passion project with the level of storytelling and detail involved, the VFX also gives Hollywood a run for its money sometimes. It just keeps expanding without losing its core, even when it goes weird it still feels intentional.

Misfits: This was awesome but I wish Robert Sheehan didn’t stay so long. The cohesion in the team was insane in the early seasons and it kind of shifts after he leaves. Still, the entire show is a blast and it’s one of those rare shows where the powers feel like extensions of personality instead of just abilities.

Smallville: Besides the eye sore of a finale, the entirety of Smallville gives you nostalgia every time. It’s such a well written show that introduced Superman to a lot of people who weren’t previously fans. I went in with no backstory and when he landed in that ship with the S on his chest I was like what, this is Superman? It’s still probably my favourite show overall.

Arrow: This was a pioneering show for a DC TV universe on CW. Arrow season 1 is a masterclass in how to launch a superhero show. He never starts as a good guy and watching him evolve is the whole point. The supporting cast and cliffhangers made it addictive in a way most shows don’t really match again.

The Flash (first 3 seasons): This one started so strong. The premise was engaging, the Reverse Flash storyline was elite, but then it starts to lose pacing. New abilities don’t feel earned and speedsters become too common. Still, those first seasons are peak CW superhero TV.

Luke Cage: This one is more grounded but it hits differently. Harlem feels like a real place in it and Luke as a character is more about presence than flashy powers. The music, the tone, the way villains represent different ideas in the community, it all makes it feel more like a cultural story than just a superhero one. It’s not perfect but it sticks with you more than you expect.

Preacher: This one is chaos but controlled chaos. It starts wild and just keeps escalating but underneath all of it there’s a clear moral thread. Jesse, Tulip and Cassidy all pull the story in different directions and it somehow holds together. It’s one of those shows where you think it’s random until you rewatch and realise it actually isn’t.

Legion: This is the weird one. You don’t really “watch” Legion, you experience it. First time you’re confused half the time but on rewatch you realise everything was planned. Nothing is random, even the visuals are doing storytelling. It’s probably one of the most layered superhero shows ever made.

Doom Patrol: This is Misfits if it got more emotional and more unhinged at the same time. Every character is basically trauma in human form but the show still manages to be funny and weird without losing depth. On rewatch you start seeing the emotional structure under all the chaos.

Watchmen: This is not really a superhero show in the traditional sense. First watch feels like a story about masked vigilantes but rewatch shows it’s more about history, identity and consequence. Every episode is doing more than it looks like on the surface.

Umbrella Academy: People dismiss it as quirky chaos but on rewatch you realise it’s actually very structured. The time travel stuff is not random, it’s more like a loop of consequences. The siblings are all stuck in their own patterns and the show keeps folding them into each other.

Happy!: This one is just madness. A broken ex-cop and a hallucinated blue unicorn. It shouldn’t work but it does in its own way. It’s dark, violent and absurd but once you lock into its tone it becomes surprisingly coherent.

Runaways: This one sneaks up on you. At first it feels like a teen superhero show but it slowly turns into a full conspiracy story about families and control. The parents vs kids dynamic is actually the real engine of the show.

Helstrom: This one barely got attention but it feels like Marvel accidentally made a horror drama. It’s less about superheroes and more about inherited trauma and family damage. Very low key but surprisingly sticky after you finish it.

Black Lightning: This one stays grounded but consistent. It’s more about family and community than heroics. The power stuff is there but it’s not the main point, the ideology behind it is what carries it.

Titans: This one is messy but it has strong emotional arcs. Dick Grayson’s identity crisis is basically the spine of the whole thing. First watch feels uneven but on rewatch the character progression makes more sense than it initially looks like.

The Gifted: This one is underrated. Mutants on the run but it slowly becomes a political war between factions. It’s not flashy but it’s consistent and the character dynamics hold it together more than the action does.

WandaVision: First watch is a mystery. Second watch is grief. Every sitcom layer actually maps to emotional stages and once you know that, the whole thing changes completely.

Some movie and TV projects that would instantly have my attention:

Val-Zod Movie starring Michael B. Jordan Give me Val-Zod. Most people have never heard of him, but seeing Michael B. Jordan in that white-and-blue Superman suit in an Elseworlds DC film would be a global phenomenon. The internet would lose its mind.

Reverse-Flash HBO Series (R-Rated) One of the greatest comic book villains ever created. A psychological thriller about a man so obsessed with his enemy that he dedicates his entire existence to ruining his life across time.

Return of The Animatrix If you've never seen this animated anthology set in the Matrix universe, you're in for a treat. It's basically Love, Death & Robots before Love, Death & Robots existed. The potential for a second season is insane.

Cyborg Movie And yes, still played by Ray Fisher. Zack Snyder's Cyborg design remains one of the coolest superhero visuals I've ever seen. Every time he appeared on screen, it felt like there was an entire sci-fi epic hiding beneath the surface.

Brightburn Universe Take the concept and build an entire universe around it. Evil superhumans, horror, psychological trauma, moral collapse. It could become a darker and more disturbing alternative to The Boys.

Spawn Universe Modern visual effects can finally do Spawn justice. Heaven, Hell, demons, antiheroes, assassins and cosmic horror. The potential franchise here is enormous.

God of War Animated Series I know a live-action adaptation is already in development, but my dream version is animated. No budget constraints. No compromises. Let Kratos fight gods, monsters and titans exactly as they're meant to look.

District 9 Universe Expansion The gradual transformation from human to alien remains one of the coolest concepts in science fiction. It's packed with satire, body horror, social commentary and awesome sci-fi ideas. Also, Sharlto Copley is low-key one of my favourite actors.

Spider-Man 2099 Movie Miguel O'Hara deserves his own live-action film. A darker Spider-Man operating in a cyberpunk future practically sells itself.

Arrow HBO Series (R-Rated) And still played by Stephen Amell. Bring back some of the key cast while you're at it. Not CW restrictions. Not network TV. Give us a darker, more grounded Green Arrow story with the freedom HBO brings.

Hollywood is sitting on enough incredible material to keep audiences entertained for decades.

What's the one movie or TV project that would instantly get your money?

Great TV Shows that I couldn't Believe Ended.

Legend of the Seeker: This show was everything awesome, ahead of it's time and intriguing af. It had a great epic story, immersive characters and action packed scenes. Oh Zeddicus, a little tear is coming out of me right now. But yeah, it had to end abruptly because its primary distributor, the Tribune Company, ran into financial difficulties and went bankrupt. When ABC Studios attempted to shop the show to other networks like Syfy, they failed to secure a buyer, forcing them to release the cast and crew.

Into the Badlands: Well I was bored of choppy camera shot action scenes of typical hollywoodesque TV shows and went searching for an action TV show based on actual martial arts. Then there it was, Into the Badlands, led by Sunny (Daniel Wu), a badass travelling through a post apocalyptic world trying to find himself. The result? Fight scenes that make Hollywood blockbusters look like a warm up session. Sadly, viewership dropped and the guys in suits axed it. How sad.

Santa Clarita Diet: This show had no business being this funny. A suburban mum casually eating people while somehow trying to keep family life together. Weird, chaotic, hilarious af. Timothy Olyphant absolutely killed it too. Then Netflix pulled the plug after season 3, reportedly because of rising production costs and Netflix's weird habit of binning shows after a few seasons if they don't explode in popularity. Oh and they ended it on a cliffhanger too. Sick people.

Glow: I wasn't even expecting to care this much about women wrestling in the 80s but here we are. Funny, emotional, stylish af, with characters you actually end up caring about. Then it got axed even though it had already been renewed for a final season. Covid happened, production got expensive, Netflix changed its mind and killed it. Pain.

Terminator Sarah Connor Chronicles: Somehow they made a Terminator TV show and actually made it good. Lena Headey was badass, Cameron was creepy af, and the story had me hooked. Then they cancelled it after that ending because ratings dropped and Fox apparently hates joy.

Hannibal: This wasn't just a TV show, this was art pretending to be horror. Mads Mikkelsen was terrifying, classy, calm, and somehow made eating people look sophisticated. Visually insane. Low ratings and expensive production eventually got it axed. Still hurts.

Warrior: Well after Into the Badlands I clearly had a type. I wanted more actual martial arts and stumbled into this masterpiece. Bruce Lee roots, brutal fight scenes, great characters, and Ah Sahm being an absolute menace. It survived one cancellation already, got revived, then somehow still didn't get renewed again. Three seasons wasn't enough. Not even close.

House of Ashur: Yeah this one hurts because it actually had a great first season. More Spartacus blood, politics, betrayal, gladiators, all the chaotic goodness that made the original so addictive. Then Starz pulled the plug after one season because viewership apparently wasn't strong enough and the audience didn't align with the direction the network wants to go. Spartacus fans really are not allowed peace. The good news? Lionsgate is reportedly shopping it around, so maybe, just maybe, the gods of the arena will smile upon us again.

Homelander telecasts his godhood rather than appearing in person: They either shot those scenes on different days or this makes zero sense. And why were they focused on that small amount of people in a room? Is that how you convince millions that you're a god? You'd think he'd want spectacle, crowds, fear. Not a TED Talk with extras.

Starlight takes The Deep to the beach: Why in the world would she do that? “Hey Deep, let’s have a romantic fight by the beach. Oh, and the director says this is where you die 😉.” Let’s assume Bezos slashed the budget — did he also block everyone’s brainwaves? Deep also gets my award for most useless TV character. No payoff, just years of being weak for the sake of it.

Oh Father gets gagged to death: Thanks to Mother’s Milk’s apparently god-tier “super strength,” he somehow manages to time Oh Father’s mouth perfectly, shove a titanium ball in there, and apply just the right amount of force to stop it from flying back out. Erik Kripke, you done fucked up.

Homelander can’t fly to safety: This one annoyed me the most. Butcher’s tentacles can now hold back Homelander? Ryan — whose face got turned into mashed potatoes by a pre-V1 Homelander — tackles him mid-air? Homelander sees Kimiko, who apparently now has Soldier Boy's power, and just… doesn’t rip her in half? Either Homelander had a death wish or someone in the writers’ room was smoking something.

The Boys finale left me disappointed and in tears. Homelander was built up as an earth-wide threat, a walking apocalypse. I expected chaos and a massive showdown. Instead, we got a lame fight where he somehow struggles against people not even on his level.

It felt way too small. Still, I cried when Butcher died. Beneath all the rage and horrific things he did, he was a guy willing to cross lines to protect the world. Broken and ruthless, but ultimately trying to protect people, especially Ryan.

So it got me thinking: Is it really that hard for great shows to stick the landing?

Smallville The finale was an abomination. Slow-paced, oddly small, and trapped by its own ridiculous “no tights, no flights” premise for way too long. After years of buildup, we barely got to feel Superman. Darkseid felt wasted, and Clark finally becoming Superman felt more like a technicality than an emotional payoff.

Game of Thrones People are still angry about this ending. Years of character arcs collapsed at the finish line. Characters who deserved meaningful conclusions either died abruptly or got shoved into endings that felt like punishment or boredom. The pacing became absurdly rushed, and massive emotional moments landed with the weight of a wet paper towel.

How I Met Your Mother This one might be one of the most frustrating. The finale practically invalidated years of character development. We spent seasons watching Barney grow beyond his old habits and Robin realise what she wanted, only for the show to undo their marriage in minutes. Then after spending an entire show building up the Mother, they kill her off and circle Ted back to Robin anyway. It made the title of the show feel weirdly pointless.

The Flash A show that started strong but completely lost the plot. Terrible CGI, repetitive “run faster” solutions, villains who stopped feeling threatening, and emotional speeches replacing actual stakes. The finale somehow made major villains feel like random side quests while sidelining Barry in his own story.

Arrow After years of gritty buildup, the ending felt bloated by crossover baggage and spectacle that did not feel earned. Oliver deserved a more grounded emotional payoff tied to the core themes of the show, not something swallowed by the wider universe.

At this point, if writers cannot commit to landing the plane, maybe stop stretching shows forever and ending them like trash.

What great shows actually stuck the landing? Because right now, it feels rare as hell.

5. Ironheart With Iron Man immortalised in the MCU, a Riri Williams armour-wearing series could have leaned into the legacy of genius, mentorship, and the shadow of Robert Downey Jr.’s Tony Stark. Instead, the show seemed determined to distance itself and become its own thing. At points, it even felt like Riri was mocking the very legend fans loved. Audiences didn’t connect with it, criticism piled up quickly, and the series became one of Marvel’s most divisive projects.

6. Westworld After an incredible first season that had viewers completely hooked, Westworld slowly lost its way. What started as a gripping sci-fi mystery turned into an overly complicated maze of philosophical ideas and timelines that many fans struggled to follow. Existing viewers couldn’t ride the momentum of season one, while newcomers found it hard to understand the point of the show. The hype that once made it feel like HBO’s next giant slowly faded.

7. Heroes Reborn This felt more like a proof of concept than a true continuation of the original Heroes. Fans hoped for a worthy follow-up to a beloved superhero show, but slow pacing, forgettable characters, and a lack of emotional investment quickly killed excitement. It only felt like a matter of time before audiences checked out.

8. Jupiter's Legacy If you want to see this show’s potential, watch the team fight against Blackstar. The ingredients for something great were there: an interesting story, compelling powers, and a solid superhero team dynamic. But the pacing dragged everything down. Long flashbacks repeatedly killed the momentum of previous episodes, leaving viewers wondering whether the payoff would ever come. Unfortunately, many stopped waiting — and the show was cancelled.

9. She-Hulk: Attorney at Law Casting Tatiana Maslany as She-Hulk looked like a major win on paper, but for many fans, the excitement faded quickly once the show began. Critics pointed to inconsistent CGI, low stakes, and a story that struggled to build tension. Some viewers also felt legacy characters, especially Hulk, weren’t treated with the level of respect they expected. Combined with polarising humour and a divisive tone, the show became one of the MCU’s most debated projects rather than the breakout success Marvel likely hoped for.