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The Verge
16-05-2025
- Entertainment
- The Verge
Doom: The Dark Ages is for lovers and slayers
If you've spent any time on the internet, you may have seen the 'what I expected vs. what I got' memes. If I could make one for Doom: The Dark Ages, in my expected column I'd reference the earlier Doom games — Eternal and the 2016 soft reboot of the franchise. But for the 'what I got' column, there'd be an unexpected mix. Those earlier Doom games would still be there, as in most respects The Dark Ages is very much like its predecessors. But I'd also throw in Band of Brothers, Pirates of the Caribbean, Pacific Rim, The Necronomicon, and a collection of the best bodice-ripper romance books literature can provide. For The Dark Ages, id Software takes the story way back to the early days, to a time before the demons invade Mars and Earth. The Doomguy, known as the Slayer, is a supersoldier enhanced by aliens who have styled themselves as humanity's gods. When those gods and their human collaborators are besieged by the legions of Hell, the Slayer gets to doing what he does best: ripping and tearing until it is done. The Slayer has an arsenal of weapons to aid him in his quest. The series' time-honored favorites, like the super shotgun, make an appearance. But in this old-timey prequel of sorts, the Slayer has all new weapons to get medieval on demon asses. I'm actually really surprised at how much I enjoyed using every weapon in this game. Typically for games that give you a varied arsenal of guns, only one or two are worth using, as there's only so many ways a thing you shoot people with is materially different from another thing you shoot people with. But each gun in The Dark Ages was designed with a distinct purpose and enough utility to still get the job done outside that purpose. The accelerator breaks energy shields and with upgrades can paralyze enemies. The impaler works as a semiautomatic pistol to mow down swarms of fodder but can also transition into a sniper rifle that shoots bullets the length of railroad spikes. But though I love every gun equally, it's the Slayer's shield that makes combat so dang entertaining. Using the Slayer's shield is the most fun I've had playing a shooting-focused game because now, instead of shooting bullets, I am the bullet. Using the shield's charge ability, I can shoot across the battlefield ramming into enemies and turning them into paste. When that ability's on cooldown, I can also use the shield to parry attacks, reflecting them back where they came for massive damage. Parrying's useful to break enemy armor and protect yourself and, unlike in Clair Obscur: Expedition 33, it doesn't take an advanced degree in theoretical physics to figure out the timing. Between the shield, the Slayer's melee attack, and all the guns, combat in The Dark Ages feels like entering mini flow states. Every action fits together like a ballet of carnage. Shoot the metal armor to weaken it, throw the shield to destroy it, and then, by the time it's returned to my hand, the enemy has unleashed a blast I deflect back to kill it. And because combat is so much more involved than point and shoot, I can bear the fact that there's not a lot of enemy variety or unique boss encounters. Another conflict between the 'what I expected' and the 'what I got' columns is how strangely peaceful and Zen-like playing The Dark Ages is. The levels are large, filled with secrets and collectibles that I enjoy searching for. Completing a level 100 percent doesn't feel like an exercise in tedium but rather a reward for perseverance and clever puzzle solving, especially for someone like me who is very much not a completionist. In addition to the ripping and the tearing, there are other special sections of The Dark Ages in which the Slayer pilots either a big-ass Doomecha fighting enemies Rock 'Em Sock 'Em Robots style, or a big-ass dragon with flying sections. These moments were a miss for me. Despite the 'rule of cool' novelty of the mecha and the dragon, without the variety of the Slayer's weapons, combat in these sections is boring as — forgive me — hell. All you do in the mecha is walk and punch. All you do with the dragon is fly (poorly) and shoot a cannon (also poorly). They're certainly cool to look at in cutscenes, but mechanically, I'd rather be back on the ground. But my favorite part of this entire game is the story. I know that's not something you're supposed to say about Doom. It's Doom: the story is superfluous to all the demon killing. But thinking about the narrative id laid out, I start giggling and kicking my feet like a blushing schoolgirl, because this Slayer is a lover! Just like in the other games, this man cannot be bargained with and he has no moral ambiguity. If you are a demon, you die. If you enable demons, no matter how 'good' or 'noble' your reasoning is, you die. And he is just so stylish at killing things, inflaming my competency kink. But more than that, despite the fact that in previous games the Slayer doesn't speak outside of pained grunts and his face is covered for most of the game, the way this man emotes belies so much depth. There's a moment in the middle of one of the dragon sections where, just before he hops back on his loyal steed, he takes a beat to place his hand tenderly on the creature's neck. But my favorite Slayer moment comes early in the game. He's being held in stasis by his alien masters as they don't want to deploy him and thereby draw Hell's attention. He's forced to watch as his human allies are overrun, and he is so overcome with rage that he's able to briefly break the chains that bind him. You could be forgiven for believing the Slayer is driven by the desire to vanquish Hell, but that's only partly true. In The Dark Ages, he is just as much a lover as he is a fighter, and the hottest thing a man can do is rip and care. The Dark Ages is so good because it brings out the kid in me. Describing it to other people makes me sound like a child trying to explain something that sounds nothing like what you'd expect from a Doom game as I ramble off events with no regard for shaping a coherent story. 'And then, a big mancubus appeared, and I parried its blast with my shield and then a bolt of lightning came down from the sky and it killed a bunch of demons. And it was awesome.'
Associated Press
14-05-2025
- Entertainment
- Associated Press
Actor Michael Cudlitz to Host Fireside Chats at Luxury Speakeasy, Red Phone Booth, in Atlanta, Dallas and Miami
Exclusive Three-Night Event Series Featuring Rare Meet-and-Greets, Craft Cocktails and Curated Cigars with Star of The Walking Dead and Band of Brothers 'I'm thrilled to share stories, cigars and memorable moments at these special events.'— Michael Cudlitz ATLANTA, GA, UNITED STATES, May 14, 2025 / / -- Red Phone Booth, the acclaimed Prohibition-era speakeasy renowned globally for exceptional craft cocktails and premium experiences, proudly announces an exclusive three-night VIP series with actor, director, and producer Michael Cudlitz, May 20 - 22, 2025. Best known for unforgettable roles in The Walking Dead, Band of Brothers, Southland and Superman & Lois, Cudlitz will personally host intimate fireside chat evenings at three select Red Phone Booth locations: • Tuesday, May 20: Buckhead (Atlanta, GA) • Wednesday, May 21: Brickell (Miami, FL) • Thursday, May 22: The Colony (Dallas, TX) These exclusive, members-only evenings begin with private fireside chats featuring curated cocktails paired with personal behind-the-scenes stories from his remarkable film and television career. At 8:00 p.m. each evening, doors open to the public for rare meet-and-greet opportunities with the acclaimed actor, allowing fans a unique chance to connect with Cudlitz in one of America's most sophisticated speakeasy atmospheres. A longtime patron and enthusiast, Michael Cudlitz became an investor after Red Phone Booth emerged as one of his favorite destinations while filming in Atlanta. He will also appear on the upcoming cover of Cigar Aficionado Magazine. 'Red Phone Booth quickly became one of my favorite places during my time filming The Walking Dead in Atlanta — fantastic people, exceptional cocktails, and an unmatched atmosphere,' said Michael Cudlitz. 'I'm thrilled to share stories, cigars and memorable moments at these special events.' Red Phone Booth sets the industry standard for elegant ambiance, expertly handcrafted cocktails and premium hospitality. Known for exclusive, memorable experiences, these intimate VIP evenings underscore Red Phone Booth's commitment to delivering extraordinary guest experiences in sophisticated settings. 'This is more than a celebrity appearance — it's an intimate, unforgettable evening that offers guests unparalleled access to one of television and film's most respected talents,' said Stephen de Haan, Founder of Red Phone Booth. 'Michael's passion and appreciation for our unique venues create a perfect synergy that elevates these exclusive events.' Red Phone Booth continually strives to exceed guest expectations, focusing on meticulous details from seating comfort and staff expertise to premium air quality, creating a truly exceptional luxury experience. NOTE: This is a 21 and over event. Appropriate dress code will be in effect. Public password at the door for this event will be 'Aficionado.' ABOUT RED PHONE BOOTH: Red Phone Booth is a luxury speakeasy concept featuring an interior reminiscent of an exclusive, clandestine hideaway, with vintage-inspired décor, plush seating, and dimly lit ambiance, creating an atmosphere of timeless elegance. Known for its world-class mixology program curated by expert bartenders, Red Phone Booth boasts an extensive selection of 400+ spirits, including rare bourbon, whiskey, scotch, tequila, and premium Japanese whisky. Exceptional cocktails crafted from 100% fresh-squeezed juices — including lemon, lime, orange, pineapple, and cranberry — complement an extensive collection of 200+ products maintained in a temperature and humidity-controlled walk-in humidor. Access to this unique Prohibition-inspired lounge is through a restored antique London red phone booth, requiring a secret phone number obtained via membership or hotel concierges, offering an unparalleled, memorable experience. For more information about the event and Red Phone Booth's dress code, please visit See full press release here: Tresa Halbrooks LEGACY PR [email protected] Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the author above.
Daily Record
03-05-2025
- Entertainment
- Daily Record
Outlander fans must watch this hearbreaking Netflix film with Game of Thrones star
Outlander fans are urged to watch the time travel romance film on Netflix. With a long time to wait before Outlander season 8, many fans are desperate for something to fill the void. Luckily, Netflix is streaming a movie that's filled with plenty of romance and drama, as well as time travel. The movie came out in 2009 and follows an epic love story to rival Outlander's central romance with Jamie and Claire Fraser. One fan critiqued IMDb: "At the heart of this film is a love story and the complexities that people bring to their relationships. 'What I liked most was its metaphorical allusion to the distance in relationships and how the important people in our lives stay with us even after they are gone." A second wrote: "I was a massive fan of the book and had been following the production of this movie for a long time anticipating the release date. I had set my expectations pretty low so as to not be disappointed and decided to just enjoy the film for what it was. "I was overjoyed by how true to the book the film stayed, only varying in a few unimportant places, the film dared to be as heart breaking and sad as the book and did not feel the need to justify the logistics of the time travel instead choosing to summarise it in the first scene sic].' A third penned: "I recommend anyone looking for a unique love story to see this film. Paying homage to memorable classic such as; "Somewhere in Time" and "It's a Wonderful Life,"it will easily be something that should find a home in your living room shelves. "It emits a cinematic glow that hasn't been seen in years while cleverly conveying an educational message; 'Never let go of the one you love, and cherish him/her always'." The Time Traveler's Wife follows Chicago librarian Henry DeTamble (Eric Bana), who possessed the genetic ability allowing him to time travel. However, he wasn't in control of his power, which proved a problem for his wife Clare Abshire (Rachel McAdams). Henry disappear and randomly appear at different points in Clare's life. The movie took its cue from the beloved 2003 romantic novel of the same name by Audrey Niffenegger. Band of Brothers and Sex And The City star Ron Livingston and Arliss Howard of Full Metal Jacket fame also featured in the film. The Time Traveler's Wife went on to get the small screen treatment by HBO in 2022, penned by former Doctor Who showrunner Steven Moffat. The TV series, starring The Gentlemen's Theo James and Game of Thrones and The Good Fight's Rose Leslie, was sadly cancelled after one season. Despite a passionate campaign to save the show, The Time Traveler's Wife didn't get a renewal. There's been a subsequent stage musical adapted from the book.
Forbes
25-04-2025
- Entertainment
- Forbes
Scenes From A Cinematographer's $7 Million LA Hilltop Home
High above the city's restless grid, a Beverly Hills hilltop residence turns Los Angeles into its own widescreen film, where every sunrise, email and swim feels like a scene-stealing shot. Why do we crane our necks toward the ridgeline, yearning for a house that brushes the clouds? Maybe the urge to survey danger still thrums beneath our ribs, or maybe we just like the thrill of looking down on the city's quickened heartbeat. Whatever the reason, the pull endures. Some simply call it a view. In Los Angeles, it's more a storyboard. Here, a window isn't just glass but a lens through which the city's perpetual script unfolds, frame by light-shifting frame. In a place that measures life in scenes, such a sweeping outlook turns idle seconds—pouring a coffee, letting the dog out—into moments of cinematic grandeur. At the property's edge, boundaries dissolve. Water, canyon and western sky fuse into a single, unbroken plane. Perched on a serpentine road above Beverly Hills, 1665 Summitridge understands that impulse with auteur precision. Its owner, cinematographer-turned-director Mikael Salomon—the visual mind behind The Abyss, Backdraft and episodes of Band of Brothers—knows how one frame can carry an entire plot. From his ridgeline property, the frame is Los Angeles itself: first the Holmby treetops, then the Santa Monica crease and finally the cobalt coast. On clear mornings, downtown towers seem to float. At night, the grid glows like scattered sequins. It's a scene that refuses to cut away. Spanish Revival isn't just wardrobe—it's the entire set, with interiors playing the lead. Turn the camera around and the home itself is a splendid scene. The hillside residence wears vintage Spanish Revival attire—barrel-tile roof, white stucco, arched openings. Completed in 1976, the 5,000-square-foot structure dodged the glass-box fever that later swept the hills. Yet it never fossilized into nostalgia. Its Revival touches—exposed beams, beehive fireplaces, hand-painted tiles—now feel fashion-forward again, trophies of texture in a city rediscovering tactility. And the winner for best view? The primary-suite balcony wins the Oscar for horizon drama. Fitting for a filmmaker, the interiors revel in sightlines. Twenty-two-foot ceilings lift the living room into cathedral-like scale, a lofted workstation perched overhead like a director on a crane. Three tall French doors form a tidy triptych, steering eyes to a saltwater pool poised on the cliff's lip. From the living room, a single arched corridor threads through the dining space and into a renovated kitchen, a visual dolly shot halted only when pocket doors slide shut for intimacy. Options of open or closed, spectacle or secrecy, speak to a faith in hidden spaces. Everyday acts become, if not extraordinary, at least worthy of a close-up. A paneled door beside the kitchen reveals a climate-controlled vault for four hundred bottles. Behind the main living area, a fireside den doubles as a snug retreat. A generous balcony off the primary suite, invisible from the motor court, becomes the favored perch for morning planning and evening reflection. Even the pool equipment hides below grade, sparing the ear its mechanical drone. Arched openings frame more than rooms; they stage sweeping long shots down every corridor. Then there's the theater—not a perfunctory bonus room but a subterranean chamber dropped three feet below grade to create true stadium seating. Fifteen speakers lurk behind acoustic fabric; nine sit directly behind a woven French Screen Research surface that lets full-range frequencies glide through untouched. Matte panels shift from Academy to CinemaScope widths with the deference of a seasoned stagehand. Added on to the home's original footprint, the theater is a bold sequel. Yet the house is hardly a shrine to gadgetry. Materials matter as much as tech: hand-troweled plaster, polished hardwood, hand-hewn wood pillars. Wrought-iron banisters trace the second-floor gallery and exterior balconies. Terracotta tiling rings the saltwater pool and wraps into an alfresco kitchen built for late-summer grilling. Newer builds crowd the ridge, glassy and grand, but few achieve such authored coherence. Each shift in the sky provides a new act: morning haze fades in like soft focus, noon snaps to razor clarity and sunset rolls the credits in liquid gold. Summitridge is less an object on display than a stylish frame through which the city below is edited, enlarged and—on special evenings—soft-focus perfect. It stages daily rituals—morning emails from the mezzanine, an eight-o'clock screening, a midnight swim—as if they were scene work. Everyday acts become, if not extraordinary, at least worthy of a close-up. 1665 Summitridge is on the market for $6.95 million with listing agent Nichole Shanfeld of Carolwood Estates, a member of Forbes Global Properties, an invitation-only network of top-tier brokerages worldwide and the exclusive real estate partner of Forbes.
Buzz Feed
18-03-2025
- Entertainment
- Buzz Feed
Tell Us The TV Shows That Started 10/10 And Ended 10/10
It's soooooo disappointing when a TV show starts super strong, only to decrease in quality season after season. It makes some sense; I mean, how are writers supposed to maintain momentum, develop characters, brainstorm new plot points, and continue to reflect our ever-changing world after 2,000 seasons, anyway? That's why it's really exciting when a show starts 10/10 and ends 10/10. And so it's not surprising that when Reddit user u/tracystraussI asked the Reddit community, "Which show started 10/10 and ended 10/10?", it received over 10,000(!) responses. And now we want to hear from you about which shows you feel fall into that category! So, if you have a show that you felt delivered from start to finish, let us know in the comments or by filling out this anonymous Google Form. " Chernobyl. The beauty of a mini-series. A well-defined plot outline and story with a beginning and an end don't continue just because it can and has all the writers, cast, and fans in place. It ends when it should and doesn't rewrite itself to go on endlessly and needlessly." " Band of Brothers. I have sobbed uncontrollably every time I watch the last episode. That scene where they're playing baseball and Winters narrates what they all got up to after the war — that is so bittersweet." " Mindhunter (though then it I don't know how that show failed to continue. It was so good." " Avatar: The Last Airbender. The entire show is essentially a buildup to the final showdown between Aang and Ozai, so I was expecting it to be predictable and anticlimactic, but it was neither. Ostensibly a kid's show but it is so much better than almost every adult show, as well." " Derry Girls. I'm from Northern Ireland, and the ending hit me with a flood of nostalgia." " The Good Place. That show has fundamentally changed how I look at my life and treat others. It's just so, so good." And " Breaking Bad. Started 10/10, ended 20/10."
