This episode on After the Frame, we’re covering three very different franchise swings: a campy fantasy reboot, a surprisingly purposeful Pixar sequel, and a spoof comedy trying to recapture old magic.

We start with Masters of the Universe, a messy but entertaining adventure that leans into the camp, delivers some impressive practical character work, and somehow gives us a pretty strong Jared Leto Skeletor. It’s overlong and uneven, but there’s enough weird fantasy fun here to make the ride worthwhile.

Then we jump into Toy Story 5, a late Disney/Pixar sequel that actually clears the most important bar: it feels like it exists for a reason. With strong animation, familiar voice work, and a modern story about screens, childhood, and connection, this one proves there’s still some heart left in the toy box.

Finally, we dig into Scary Movie, a franchise return that reminds us how hard good parody actually is. We talk about why the early entries worked, why this one feels like it stops dead for references, and how spoof comedy falls apart when the jokes become the whole movie instead of serving the story.

Three franchise plays, three different outcomes: one campy surprise, one heartfelt sequel, and one comedy that needed sharper knives.

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.