Few fictional works have had a more significant impact than Star Wars. This sci-fi fantasy franchise captures the imagination with its laser swords, space battles, engaging characters, and intriguing mythology. These qualities make it beloved by audiences of all ages. That said, they also make it ripe for parody.

Star Wars has seen countless spoofs across movies and TV series. Oddly enough, many of those parodies stem from animated shows. These works don’t have to worry about cheap sets or other production values; the only limit is the creator’s imagination. As such, virtually anything is fair game. They can recreate the films’ visuals to a tee or go in a radically different direction. That freedom opens new avenues for humor. As a result, these animated satires can be funnier than their live-action counterparts.

Related: 10 Clever Scientific References in Futurama

10 Family Guy

Arguably the most famous entry on the list, Family Guy has three TV episodes spoofing Star Wars. Each flick reenacts part of the original trilogy, with the show’s characters portraying the sci-fi icons. For instance, Peter Griffin is Han Solo, and Stewie is Darth Vader. That gimmick alone carries much of the humor.

Of course, the specials also stack on a gaggle of other jokes. These gags are all in Family Guy’s typical style of silly and dirty. Just look at the Battle of Hoth, where one of the Rebels stops mid-fight to go touch their “giant boob nipple gun.” The whole tale recreates these designs and tropes with loving detail while simultaneously poking fun at them.^[1]

9 The Fairly OddParents

Many kids probably wish their toys came to life, but The Fairly OddParents shows the Dark Side (sorry) of that dream. In the episode “Hard Copy,” Timmy’s fairy godparents leave for a doctor’s visit. The kid worries about not having anyone to grant his wishes, so Wanda conjures a magical copier to manifest anything he scans. Unfortunately, activating the Life Size mode brings forth a sci-fi invasion.

Scanning an action figure of Dark Laser from Space Wars, Timmy unwittingly unleashes the Darth Vader wannabe on his town. The villain swiftly scans the rest of the toys from his catalog, bringing the full wrath of his empire down on Dimsdale. Timmy must fight magic with magic. Not only do the lightsabers spring from his fairies’ wands, but he flies a Rebel Y-Wing in the shape of a star. This aesthetic makes the slick sci-fi stuff look farcically frilly, which goes hand-in-hand with the show’s theatrical irony.^[2]

8 The Adventures of Jimmy Neutron, Boy Genius

Star Wars is a space opera with Shakespearean drama, so why not apply it to an actual Shakespeare play? The Adventures of Jimmy Neutron, Boy Genius marries the two properties with entertaining results. “Out, Darn Spotlight” sees Jimmy’s school put on a production of Macbeth with an extraterrestrial edge. That’s not the only liberty taken, though.

The revised story concludes with Macbeth sword-fighting a space pirate. Thanks to Jimmy’s work with special effects, the duel unfolds with laser swords akin to lightsabers. The production values put most movies to shame, but the performers are still untrained kids. That fact inevitably leads to a few slip-ups, such as Jimmy accidentally losing his sword during the duel. The finished product somehow feels high-end and low-budget at the same time. Of course, children fumbling with advanced tech is par for the course with this series.^[3]

7 Rugrats

You might wonder how a show about babies could parody anything, but the eponymous Rugrats have active imaginations. They often use make-believe to rationalize the world around them. Thus, when the stars start falling, the babies embark on a space adventure to set things right.

“Falling Star” contains a slew of sci-fi references, but Star Wars is the primary target. It turns out the culprit of the collapsing stars is the bratty Angelica, decked out like Darth Vader. While there’s no lightsaber duel, the scenario does lead to an “I am your father” moment where she reveals herself as Tommy’s cousin. That absurdity born from naivete is what gives Rugrats its charm.^[4]

6 Pinky and the Brain

Being an animated skit show, both Animaniacs and Pinky and the Brain thrive on satire. It’s not a stretch to see them come together to spoof the original Star Wars. Their approach, however, is essentially the precursor to Family Guy’s take. “Star Warners” recreates the original film as a TV special, with the show’s stars filling out the cast. Wakko is Luke Skywalker; Slappy Squirrel is Obi-Wan Kenobi; Pinky and the Brain are the two droids; the list goes on. However, seeing these cartoon animals embody the roles is even wilder.

That unpredictability extends to the jokes. The episode continues the humor found in these ’90s Warner Bros. shows. That means plenty of slapstick mixed with referential gags. A memorable example comes when the Empire tortures Princess Leia by having her listen to Ben Stein. These zingers help the shows spoof all of pop culture. Considering Star Wars is a cultural phenomenon, that style is oddly appropriate.^[5]

5 The Grim Adventures of Billy & Mandy

Despite its supernatural subject matter, The Grim Adventures of Billy & Mandy has several Star Wars gags. The most blatant occurs in the episode “Brown Evil,” which involves Billy inadvertently baking an evil batch of brownies. Grim loves these pastries, but they also attract hordes of undead. This invasion draws monster hunter Hoss Delgado, who immediately zeroes in on Grim.

The resulting brawl is straight out of Star Wars. Hoss activates a green energy sword from his mechanized hand and slices the blade off Grim’s scythe. The Reaper then energizes what’s left of his staff, and the two fighters engage in a duel, complete with lightsaber sound effects. It ends when Grim slices off Hoss’s hand. Luckily, he still has a human hand and a heap of muscle. One punch knocks Grim’s head clean off. That mixture of gallows humor and gross-out gags is what Billy & Mandy does best.^[6]

4 Robot Chicken

Here’s a no-brainer. Robot Chicken lives to poke fun at pop culture. This stop-motion sketch show acts out iconic movies and TV shows using action figures and dolls. That alone would be amusing enough, but the creators also splice some self-aware irony into the scripts. Basically, they show how these scenes would play out if the characters were juvenile fools who questioned every concept.

Star Wars is a natural treasure trove for that type of nitpicking. Sure enough, Robot Chicken lays out limitless skits based on this space opera. These bits typically pick on pivotal scenes. Luke and the Emperor get into a “yo momma” fight; Obi-Wan gives a long-winded speech about the “high ground” after slicing off Anakin’s legs; Chewie accidentally rips off Lando’s head and reattaches it backward. These gags are just the tip of the iceberg. Nothing is sacred in this silly show.^[7]

3 Teen Titans

Going into the TV realm is a great excuse to lampoon pop culture’s most famous franchises. Teen Titans takes ample advantage of that in “Don’t Touch That Dial.” This episode involves geeky villain Control Freak constructing an advanced remote to travel into the city’s TV screen. To prevent his monopoly over the television realm, the Titans follow him into the televised dimension, making their way through countless recognizable IPs to catch the baddie.

This chase culminates in a sci-fi battle straight out of Star Wars. A “12th-Level Space Samurai,” Control Freak knocks aside the Darth Vader stand-in and takes his laser sword. Then, right on cue, he proclaims himself to be the hero’s father. Luckily, Beast Boy is a die-hard fan of this franchise. Although his attempted Jedi mind trick doesn’t work on the battle droids, he does pull off an ancient spell to trap Control Freak. Nerd knowledge saves the day thanks to the series’ trademark blend of tense action and wacky anime comedy.^[8]

2 Phineas and Ferb

Wish fulfillment can be both comforting and hilarious. Phineas and Ferb always strives to prove that. Its titular kids constantly get into elaborate misadventures from their backyard. However, one of their greatest journeys occurs in their crossover with Star Wars. Once again, the story goes through the classic plot of A New Hope, with the show’s characters filling in for the film’s cast. That prospect might seem stale at this point, but the humor practically writes itself.

The appeal stems from how well the series’ stars fit the movie archetypes. Petty sister Candace is a Stormtrooper, Perry the platypus’s secret agent antics make him a Rebel sp, and the deranged Dr. Doofenshmirtz is an incompetent Sith Lord responsible for the Death Star’s fatal flaw. In turn, having these silly figures inhabit the top spots alters the tale in chuckle-worthy ways, such as the Empire building a Sith-inator to turn people evil. That’s exactly the type of goofy spin that you’d expect from a bunch of kids.^[9]

1 Buzz Lightyear of Star Command

This joke has a big-screen precedent. Toy Story 2 depicts a fight between Space Ranger Buzz Lightyear and Evil Emperor Zurg. They melodramatically reenact their rivalry, which is all the funnier considering they’re both plastic toys. The cherry on top comes when Zurg proclaims that he’s Buzz’s father, to which Buzz responds by screaming “No!” in hammy fashion. That silly revelation makes things awkward in the spin-off show.

Buzz Lightyear of Star Command undoes this twist and uses it for a comedic callback. During the episode “Stranger Invasion,” the hero and villain once again fight for the fate of the universe. Zurg then distracts Buzz by repeating the movie’s reveal, which lets him get one over on the Space Ranger. He even mocks his enemy for being so gullible. Yep, the series parodies a parody. How fitting for this cheeky take on Buzz’s high-flying adventures.^[10]

While box office disappointment is not necessarily a reflection on the quality of a motion picture, it is surprising to discover a really inspiring movie that initially failed to win over audiences. It is easy for films with a lot of heart to be labeled corny or overly sentimental, which can be one of the things that might prevent such a movie from being a hit. These are 10 films that flopped when they were originally released but still have the power to inspire those who are willing to give them a chance.

Related: 10 Real-Life, Romantic Love Stories from World War II

10 Slow Dancing in the Big City

The 1978 romantic drama Slow Dancing in the Big City is remembered as a huge flop. Overcoming seemingly insurmountable obstacles in order to achieve an ambition is a major theme that runs through this movie, which also involves the relationship between talented but ailing young ballerina on the cusp of fame, Sarah Gantz, and an earthy, out-of-shape newspaper columnist Lou Friedlander. So it’s no wonder publicity for the film compared it to Rocky, which was such an enormous hit just a few years earlier. The movie actually has many things in common with Rocky,” including the same director, John G. Avildsen, composer Bill Conti, and an underdog storyline.

Slow Dancing in the Big City turned out to be the failure that many people had expected the low-budget Rocky to be. The flaws of Slow Dancing in the Big City are apparent. Lou (Paul Sorvino) generally comes across as a doormat, and the inexperience of newcomer Anne Ditchburn, who plays Sarah, is obvious enough. Additionally, the scaled-back, unrefined style, which was so appealing in Rocky, did not work in this film. However, it is still very watchable and succeeds at inspiring audiences.

As Roger Ebert said, the movie: “cheerfully exists in the world of big hearts and brave tears and happy endings that make you blow your nose. It’s a classic of melodramatic overachievement.”^[1]

9 Author! Author!

Al Pacino received a Golden Globe nomination for his performance as playwright Ivan Travalian in the 1982 comedy Author! Author!, but the movie bombed with critics and audiences alike. The plot revolves around Ivan’s efforts to mount his latest play on Broadway while struggling as an unlikely single father to his blended family when his unfaithful wife Gloria (Tuesday Weld) suddenly leaves him and the children. Amid all the chaos, Ivan complicates things further by embarking on an affair with a free-spirited actress, Alice Detroit (Dyan Cannon).

The timing of its release was likely one of the things that hurt this movie at the box office since it was such a big year for blockbuster action flicks like First Blood and Star Trek II: The Wrath of Khan, but Author! Author! is far from perfect. One problem is the lack of focus. With so much going on in the story, the audience is as distracted as Ivan himself would have been on a typical day. On the plus side, Pacino’s depiction of Ivan is an impressive and heartwarming departure from his most memorable characters. Ivan’s love and commitment to these otherwise unwanted kids come shining through, and we root for him to succeed as he juggles family life with the theater.^[2]

8 The Rewrite

Hugh Grant has starred in more than his fair share of romantic comedies, and the 2014 film The Rewrite is often labeled as such, but it only partially fits into this category. It is just as much an inspirational movie about comebacks and self-discovery. Grant plays a down-on-his-luck screenwriter, Keith Michaels, whose career started to flounder after penning one legendary hit film many years earlier.

Struggling to pay bills, he reluctantly moves cross country to take a teaching job at Binghamton University in New York, where he is a complete misfit and nearly gets fired for his unorthodox approach. However, Keith is surprised to find that he has a real calling to teach, and he must choose whether to keep the position or accept an opportunity to work in the film industry again.

There’s plenty of humor and a sweet romance between Keith and single mom Holly (Marisa Tomei), but inspiration is at the heart of the story, which is very much about soul searching and starting over in life. Despite being written and directed by Grant’s frequent collaborator Marc Lawrence and featuring an impressive supporting cast, The Rewrite was a major commercial disappointment that mostly drew lukewarm reviews, but when it comes to films that encourage us to explore new horizons, it definitely hits the mark.^[3]

7 Lost in Yonkers

The 1993 dramedy Lost in Yonkers, about a dysfunctional family in WWII-era Yonkers, New York, is based on a Pulitzer Prize-winning Neil Simon play and features critically acclaimed performances from Mercedes Ruehl and Irene Worth reprising their Tony-winning stage roles for the screen adaptation. However, all this was not enough to make it a hit at the box office. This film, which follows two adolescent brothers, Jay (Brad Stoll) and Arty (Mike Damus), who are left with their father’s eccentric family one summer, may have been too offbeat to achieve mainstream popularity, but that’s also part of its charm.

The movie, which memorably co-stars Richard Dreyfuss, centers on the boys’ childlike Aunt Bella, who dreams of a home and family of her own, only to be deterred by her tyrannical mother. Lost in Yonkers veers between farcical, poignant, heartbreaking, and ultimately inspiring as Bella finds independence.^[4]

6 Beautiful

Some of the most inspiring films feature storytelling, which manages to be soul-stirring but not overly sentimental. This is the case with the dramedy Beautiful, starring Minnie Driver as professional beauty pageant contestant Mona. Mona must come to terms with her role as a mother to her young daughter Vanessa (Hallie Eisenberg), mainly being brought up by her roommate Ruby (Joey Lauren Adams), posing as Vanessa’s mom so that Mona can be eligible to compete in the pageants.

However, when Ruby is arrested for a crime she didn’t commit, Mona is forced to take on real maternal responsibility for the little girl and, in so doing, begins to confront issues rooted in her own painful childhood. Though it failed to turn a profit when released in 2000, Beautiful succeeds at being a feel-good movie that powerfully communicates the importance of making family a top priority.^[5]

5 84 Charing Cross Road

The quirky but heartwarming 1987 film 84 Charing Cross Road, starring Anne Bancroft as brash, struggling New York writer Helene Hanff and Anthony Hopkins as her unlikely pen pal, reserved London bookseller Frank Doel, isn’t the type of movie that is expected to be a hit at the box office. It was also fairly predictable that the film would be embraced by critics, considering the impressive cast and critical acclaim of the source material, which was Hanff’s bestselling autobiographical book.

Both of these things came true, but one surprising benefit of watching 84 Charing Cross Road is how inspiring it turns out to be. Helene’s frequent requests for obscure, vintage books and Frank’s skill for obtaining these rare volumes bring them together. It’s very moving to see how these two people, who are so different from one another, form a meaningful long-distance relationship through written correspondence without ever meeting. Knowing this was based on a true story makes it even more inspiring.^[6]

4 Children of Men

Well-made dystopian dramas are often among the most inspiring films, which makes sense considering how easy it is to root for a character who’s trying to save the world. Based on a novel by P.D. James, the 2006 sci-fi action thriller Children of Men is set in a disastrous world where humans have lost the ability to reproduce. Clive Owen stars as Theo Faron, a one-time activist turned cynical bureaucrat, who agrees to take a miraculously pregnant woman to a sanctuary at sea.

Julianne Moore plays Theo’s radical ex-girlfriend, Julian, who re-enters his life and compels him to join her in a mission to effect positive change. One of the most inspiring things about this movie is Theo’s transformation from someone who could be seen as symbolic of the growing pessimism in society into a hero who is fighting for the future of humanity.

Despite all the film has to offer in the way of exciting and thought-provoking entertainment, it was not a financial success but did earn plenty of critical acclaim. In a Time Magazone article about Children of Men, the publication praised the work of director Alfonso Cuarón and called the film “a cautious incantation for a hopeful future.”^[7]

3 Dominick and Eugene

The 1988 drama Dominick and Eugene is a raw but uplifting film about the complex relationship between medical student Eugene (Ray Liotta) and his intellectually challenged fraternal twin brother Nicky (Tom Hulce). Nicky is helping to put his brother through school by working as a garbage collector. To Eugene’s new girlfriend, Jennifer (Jamie Lee Curtis), it seems like he is taking advantage of Dominick, but Eugene plans to pay him back once he becomes a brain surgeon by supporting his brother for the rest of his life.

Eugene’s intention to go away for two years to complete an internship at Stanford and other changes threaten the twins’ closeness. Eventually, their bond strengthens through adversity and the exploration of a traumatic past. While it has received a lot of praise, especially for the actors’ performances, this inspiring film was not a financially lucrative project. However, Dominick and Eugene is now considered to be a cult classic.^[8]

2 It’s a Wonderful Life

Given its legacy as one of the greatest Christmas films of all time, a lot of movie fans would be shocked to learn that the now iconic It’s a Wonderful Life was a flop when it premiered in 1947. With its strongly conveyed themes of hope, faith, gratitude, and individual purpose, this fantasy drama is about the suicidal George Bailey (Jimmy Stewart), who gets a new lease on life after an angel shows him the valuable impact he’s had on his family and community. It is a prime example of how inspiring some originally unsuccessful films can turn out to be.

However, the film didn’t inspire much when it was first released besides mixed reviews from the critics. Financially, it didn’t even break even, but the picture did get nominated for five Oscars. As with many box office duds that go on to develop a cult following, It’s a Wonderful Life later gained popularity when it was shown on television, leading it to become a holiday tradition.^[9]

1 The Shawshank Redemption

Prison movies aren’t usually particularly inspiring, but The Shawshank Redemption, a 1994 drama starring Tim Robbins and Morgan Freeman, is one of the exceptions. A commercial flop when it was first released, this film, written by Stephen King and Frank Darabond and directed by Darabond, lives up to its tagline, “Fear can hold you prisoner. Hope can set you free.” Robbins plays Andy Dufresne, falsely convicted of murdering his wife and her lover in 1947.

Instead of allowing himself to be eaten up by bitterness at his unjust circumstance, Andy’s positive attitude and compassion see him through the experience, which lasts for more than two decades. Nominated for seven Oscars and many other awards, the critical reception was mainly positive, with reviewers highly praising the movie, especially for its compellingly delivered message of hope and for the impressive performances. The film’s popularity has grown enormously with movie fans and is now considered a cult classic.^[10]

When adapting a sprawling, intricate book series like A Song of Ice and Fire into a TV show, it’s no surprise that some characters had to undergo significant changes. In Game of Thrones, many fan-favorite characters were reimagined, simplified, or had their storylines altered to fit the show’s demands.

These changes have sparked plenty of discussion among fans, especially when the show’s version of a character sharply diverged from George R.R. Martin’s original creation. Whether it’s the loss of certain character traits or entire plot arcs being cut, these differences reflect the creative challenges and decisions involved in bringing such a complex world to life on screen.

Related: 10 Real Historical Events That Inspired ‘Game of Thrones’

10 Sansa Stark

Sansa Stark’s journey in Game of Thrones is one of the most compelling, yet her character arc in the show significantly diverges from her portrayal in George R.R. Martin’s A Song of Ice and Fire series. In the books, Sansa remains in the Vale under the tutelage of Petyr Baelish, learning the intricacies of court politics and manipulation. Her evolution is subtle and gradual, reflecting her growing understanding of the dangerous world she inhabits.

Sansa, operating under the alias Alayne Stone, becomes more adept at playing the game of thrones, carefully observing and learning from Littlefinger while still struggling with her identity and her past. This slower, more complex transformation allows readers to see Sansa as a multifaceted character, developing her strength and cunning over time.

In the TV adaptation, however, Sansa’s development is more accelerated and sometimes feels less nuanced. The showrunners condensed several of her storylines, notably merging her character with Jeyne Poole’s traumatic experiences with Ramsay Bolton—a plotline that does not occur in the books.

This change, while highlighting Sansa’s resilience and ultimate rise to power, also drew criticism for its handling of her agency and internal struggles. Despite these alterations, Sansa’s arc in the show still resonates with many fans, particularly in how she emerges as the Lady of Winterfell. This role showcases her growth into a strong, independent leader.^[1]

9 Tyrion Lannister

In the books, Tyrion Lannister is one of the most complex and multifaceted characters. He is a deeply intelligent, often cynical, and occasionally ruthless individual who, despite his sharp wit, struggles with self-loathing and a sense of being unloved by his family. In print, his physical appearance is much more striking and severe than what is depicted in the TV series.

In the novels, Tyrion is described as having mismatched eyes—one green and one black—and much more grotesque. He is a dwarf with a disproportionately large head, a prominent brow, and a mouth full of crooked teeth. After the Battle of the Blackwater, Tyrion suffers a serious injury that leaves him even more disfigured; his nose is almost entirely cut off, leaving him with a hideously scarred face.

In the HBO adaptation, however, Tyrion’s appearance is significantly toned down. Portrayed by Peter Dinklage, Tyrion is a handsome man with only minor facial scars after the battle, and his injury is reduced to a single visible scar across his cheek. Furthermore, after killing his father, Tywin Lannister, in the books, Tyrion’s character takes a darker turn. His journey across Essos is marked by bitterness, self-destruction, and a thirst for vengeance against those who wronged him.

This darker portrayal gives Tyrion more depth, showing a man grappling with the consequences of his actions and the bleakness of his reality. In contrast, the television show softened many of these darker aspects, focusing more on Tyrion’s cleverness and humor. While the show did capture Tyrion’s sharp tongue and strategic mind, it often reduced his character to comic relief, especially in the later seasons. His political blunders and questionable decisions in the final season also disappointed many fans who felt the show had strayed too far from the nuanced, morally ambiguous character in the books.^[2]

8 Euron Greyjoy

Euron Greyjoy on the screen is a far cry from the menacing, enigmatic figure depicted in Martin’s novels. In the books, Euron is a much more complex and terrifying character. Known as “Crow’s Eye” because of the eyepatch he wears in the books, he is a ruthless pirate and sorcerer who dabbles in dark magic, uses a variety of mystical artifacts, and exudes a mysterious, almost otherworldly aura.

His presence in the Iron Islands is marked by fear and awe as he returns from exile with a fleet of ships, a crew of fanatical followers, and a mysterious horn called Dragonbinder, which he claims can control dragons. Euron’s ambitions are grand, aiming not just for the Iron Throne but also to wield unimaginable power through arcane means. In print, he has a more elaborate backstory, including his travels to the ruins of Valyria and his claim of having a dragon egg.

In contrast, the show’s portrayal of Euron is much less nuanced and significantly less menacing. Rather than the dark, calculating sorcerer of the books, show-Euron comes across as a brash, over-the-top pirate with a penchant for violence and shock value. His character is reduced to being a swaggering, almost comical villain, more focused on personal gratification than on the grand, ominous schemes that define him in the novels.

Key elements of his character, such as his use of dark magic and the Dragonbinder horn, are entirely absent from the show. This simplified portrayal left many fans disappointed, as Euron in the TV series lacks the intricate, chilling presence that made him so compelling in the books.^[3]

7 Brienne of Tarth

Brienne of Tarth, one of the most beloved characters in Game of Thrones, is portrayed as a noble and skilled warrior who defies gender norms with her strength and honor. However, her storyline in the TV show significantly differs from her journey in the novels. In the books, Brienne’s character has a much more extensive and complex narrative.

After Jaime Lannister gives her his sword, Oathkeeper, she embarks on a lengthy and dangerous quest to find Sansa Stark. This journey leads her through various trials that test her loyalty, resolve, and sense of identity. It is filled with deep introspection and moral dilemmas, showcasing her internal struggle as well as her external battles.

In contrast, the show condenses much of Brienne’s storyline, focusing primarily on her relationship with Jaime, which the show depicts as more overtly romantic. Their relationship is complex and filled with mutual respect and unspoken feelings, but in the books, they part ways with unresolved tension.

While her knighting by Jaime in the final season of the show is a powerful moment, this knighting doesn’t occur in the books. Furthermore, the TV adaptation omits significant interactions she has with other characters, like her complex encounter with Lady Stoneheart, the resurrected Catelyn Stark, who commands her to kill Jaime.^[4]

6 Stannis Baratheon

Stannis Baratheon, a pivotal character in Martin’s A Song of Ice and Fire series, is portrayed quite differently in the books compared to the show. In the books, Stannis is a rigid, duty-bound leader often perceived as cold and unyielding. However, his actions are driven by a strong sense of justice and responsibility, even when they conflict with his personal desires.

His unwavering commitment to what he sees as the rightful claim to the Iron Throne makes him a more complex and sympathetic character in the books. His use of Melisandre and her dark magic is also shown with more internal conflict, as he often questions the morality of his decisions and the true nature of her powers. The relationship between them is shown as deeply influential in the show, sometimes implying he is more swayed by her than in the books.

In contrast, the television series simplifies Stannis’s character, often reducing him to a stern, unlikable figure whose moral dilemmas are less explored. One of the most significant and controversial differences is his decision to sacrifice his daughter Shireen to the flames, a plot point that is hinted at but not executed in the books. This act, portrayed as a desperate measure to win the war, was seen by many viewers as a betrayal of his character’s complexity and the nuanced internal conflicts that define him in the novels.^[5]

5 Jeyne Westerling/Talisa Maegyr

In Martin’s books, Jeyne Westerling is the woman Robb Stark marries after a moment of vulnerability following the death of his brothers. Jeyne hails from a noble but minor Westerlands house that secretly serves the Lannisters, adding layers of political intrigue to her character and marriage to Robb.

Her relationship with Robb is largely driven by honor, as he marries her after sleeping with her, and she remains loyal to him despite the political complications. In the books, Jeyne’s story is tragic but understated—she does not attend the Red Wedding, and her fate remains uncertain as she is left behind at Riverrun under the watchful eye of the Lannisters.

In the HBO series, Jeyne Westerling’s character is replaced by Talisa Maegyr, a healer from Volantis who meets Robb on the battlefield. Talisa is a completely original creation for the show, embodying a more romantic and idealistic love story than the politically driven marriage in the books. The change from Jeyne to Talisa significantly alters the tone and depth of Robb’s storyline. Talisa is portrayed as more independent and strong-willed, contrasting with the more traditional and dutiful Jeyne.

This shift also simplifies the complex political machinations of the Westerling family and reduces the tension between Robb’s sense of duty and his personal desires. Talisa’s presence at the Red Wedding and her subsequent brutal death—along with her unborn child—intensifies the emotional impact of the scene, but it also diverges significantly from Martin’s narrative, leaving book fans with a very different interpretation of Robb’s downfall.^[6]

4 Doran Martell

Doran Martell is a master strategist in the novels, playing the long game with incredible patience and foresight. As the Prince of Dorne, he carefully plots to avenge his sister Elia’s brutal murder during Robert’s Rebellion. His character is deeply introspective, burdened by his responsibilities and the need to protect his people while seeking justice for his family. Doran’s plans are intricate, involving secret alliances and long-term schemes that gradually unfold throughout the books, showcasing his political acumen and deep sense of duty.

In contrast, the show reduces Doran Martell’s complexity, transforming him into a more passive and less influential figure. His screen time is limited, and his schemes are either glossed over or omitted entirely. He also has a complex political relationship with his daughter Arianne, a prominent character in the books but completely omitted from the show. In the show, Doran’s sudden death, orchestrated by Ellaria Sand and the Sand Snakes, deviates from the book’s narrative, where he is part of a larger political plot, and his death has significant consequences for the Martell family.^[7]

3 Asha Greyjoy/Yara Greyjoy

Asha Greyjoy, known as Yara in the television series, is a character who underwent notable changes in her transition from the books to the screen. In the novels, Asha is portrayed as a fierce and cunning leader who is deeply committed to her family and people. She commands respect among the Ironborn not just because of her lineage but also due to her proven abilities as a warrior and strategist.

Asha is also a key player in the Greyjoy succession struggle, using her intelligence and charisma to rally support for her claim to the Seastone Chair. Her character is rich with depth, balancing loyalty to her family with her desire for independence and power. In the show, while Yara retains much of Asha’s strength and leadership qualities, her character is somewhat simplified.

The television adaptation omits some of her more complex relationships and political maneuverings. For instance, in the books, Asha has a significant role in the Kingsmoot, where the Ironborn choose their new leader, and she presents a strong case for her rule, challenging traditional gender norms. In contrast, the show focuses more on her relationship with her brother Theon and her involvement in Daenerys Targaryen’s campaign. The show also depicts her as bisexual, with scenes showing her with both men and women. In the book, Asha is depicted as heterosexual with several male lovers.^[8]

2 Ser Barristan Selmy

Ser Barristan Selmy is a highly respected and legendary knight in the books, known for his unwavering honor and loyalty. After being dismissed from the Kingsguard by Joffrey Baratheon, Barristan seeks out Daenerys Targaryen in Essos and becomes one of her most trusted advisors.

In the novels, Barristan guides Daenerys through Meereen’s political landscape, offering wisdom in leadership and battle. He’s a formidable warrior and principled man, grappling with the moral complexities of serving a queen aiming to reclaim her throne. Barristan’s journey is rich and multifaceted, influencing key events in Daenerys’s court.

In contrast, the television adaptation cuts Barristan Selmy’s story short, killing him off unexpectedly in the fifth season. His death during a battle with the Sons of the Harpy shocked many fans, as it diverged significantly from his ongoing and important role in the books. This early demise deprived the show of a character who, in the source material, provides a crucial connection to the history and lore of Westeros.

Barristan’s impact on Daenerys’s decisions in Meereen is significant in the books, making his sudden exit in the show seem like a missed chance to explore his character’s depth. Killing him off early drew criticism from book readers who valued Martin’s careful crafting of Barristan’s narrative.^[9]

1 Lady Stoneheart

Lady Stoneheart, the resurrected and vengeful version of Catelyn Stark, is one of the most significant characters from the book and was completely omitted from the Game of Thrones TV adaptation. In the books, after Catelyn’s brutal murder at the Red Wedding, she is brought back to life by Beric Dondarrion, who sacrifices his own life to restore hers. However, she returns as a dark and twisted version of herself, consumed by a desire for revenge against those who betrayed her family.

Her appearance is described as ghastly, with her wounds from the Red Wedding still visible. Leading the Brotherhood Without Banners, Lady Stoneheart embarks on a ruthless campaign, hanging Freys, Lannisters, and anyone she believes had a hand in the massacre of her family. Her presence adds a layer of relentless vengeance and the supernatural to the story, making her one of the most feared and tragic figures in the books.

In contrast, the showrunners chose to exclude Lady Stoneheart entirely from the TV series, a decision that disappointed many fans of the books. This omission meant that viewers never saw the darker turn Catelyn’s character takes, nor the impact her vengeful actions have on the wider narrative.

The absence of Lady Stoneheart also significantly altered the arcs of several other characters, including Brienne of Tarth and Jaime Lannister, who have key interactions with her in the books. Without Lady Stoneheart, the show’s exploration of themes like resurrection, justice, and the haunting consequences of betrayal felt less complex and less tied to the Stark family’s sense of enduring tragedy.^[10]

Have you ever listened to a song and realized you had never really paid attention to the lyrics? This goes beyond simply mishearing the lyrics. Who hasn’t sung the wrong lyrics from time to time, right? This involves not truly understanding what the song is about. That’s how you end up singing something inappropriate at a bar mitzvah.

Here are some songs from musicals that will make you say “”Wait, THAT’S what that is about?”

Related: Top 10 Broadway Musicals You’ve Never Heard Of

10 “Edelweiss”–The Sound of Music

When The Sound of Music premiered on Broadway in 1959, the world instantly fell in love with Maria and the singing von Trapp kids. Nearly every song has entered the American vernacular—the titular opening, “Do Re Mi,” “So Long, Farewell,” and one kid-free tune: “Edelweiss.”

“Edelweiss” comes at a turning point in the show. Captain von Trapp has previously disapproved of his childrens’ singing, but when he hears his daughter playing the song, he’s moved. “Edelweiss” is meant to represent the Captain’s home country of Austria, as the edelweiss is a small white flower found in the Alps.

Over the years, rumors have spread that “Edelweiss” is an old Austrian folk tune or even the country’s national anthem. But Oscar Hammerstein II biographer Hugh Fordin says that even though “Edelweiss” was widely believed to be an old Austrian song, Hammerstein composed it for The Sound of Music.^[1]

9 “With You”–Pippin

From weddings to proposals, “With You” from Pippin has been used for years as a profession of love. On the surface, the lyrics do seem to point to a beautiful ballad meant for a loved one. Pippin claims his life would be “Twice as fair” if he could share his days with his girlfriend.

Except he’s not singing the song to his girlfriend. The scene is actually a huge orgy—Pippin weaves through women, comedically singing about “you” to dozens of women. The lyrics are meant to be humorously ironic, highlighting Pippin’s lack of commitment and genuine affection.

So unless you’re in an open marriage, probably leave this one out of the wedding reception.^[2]

8 “All You Wanna Do”–Six

There are thousands of songs with dark messages that are overlooked as such due to their poppy tempos or catchy refrains. Think about “Pumped Up Kicks” by Foster the People, which is actually about a school shooter. Or “Hey Ya” by Outkast, which, despite its upbeat meter, is about how love never really lasts.

In 2020, “All You Wanna Do” from Six the musical went viral on TikTok. Six tells the story of the six wives of Henry XIII from their point of view. “All You Wanna Do” is sung by Katherine Howard, Henry’s fifth wife, and details the history of how they met. On TikTok, people danced to the groovy title lyrics as Katherine talks about how all men want to do is have sex with her. This is already kind of sad. But if you listen to the whole song and not just the danceable parts, it gets even darker.

Katherine relays her first romance with her tutor: “He was 23 / And I was 13 going on 30!” And it doesn’t get better from there. As Katherine sings about her past boyfriends, the song ends with, “All you wanna do, baby / Is touch me, when will enough be enough?”

I’m not sure the kids on TikTok can really relate to that on a personal level. At least, I hope not.^[3]

7 “Not While I’m Around”–Sweeney Todd

“Nothing’s gonna hurt you / Not while I’m around” are the opening lyrics of this song from Sweeney Todd. Young Toby is held by his surrogate mother, Mrs. Lovett, as he protectively lets her know that he will do whatever it takes to shelter her from harm.

Sounds sweet, right? Not really. Lurking in the background of the show is Sweeney Todd, the murderous barber. Toby doesn’t know it, but at the moment, Sweeney is on a rampage, ready to kill anyone in his path (Spoiler alert: including Mrs. Lovett and Toby. And himself.) The song is meant to be ironic and sad, showing Toby’s innocence in contrast to literally every single other character’s murderous rages.^[4]

6 “Hope”–Groundhog Day

While this song may not be as popular outside of the theater community as other songs on this list, it’s the perfect example of a song that is significant only within the show itself.

Based on the Bill Murray movie of the same name, Groundhog Day follows jaded reporter Phil as he is forced to relive February 2nd over and over and over again. Both the movie and musical are humorous but have darker themes lying beneath them. One of the most jarring parts of the plot is after Phil decides he is done sleeping around, eating whatever he wants, and generally being a menace with no repercussions. Instead, he opts to kill himself.

It doesn’t work. He wakes up the next day and tries to kill himself again. In the musical, this happens during the song “Hope.” With lyrics like “Never give up hope / Never let yourself be defeated,” it’s easy to read this as an optimistic anthem. In reality, each chorus of the song shows Phil finding a new way to commit suicide, from dropping a toaster in the bathtub to jumping off a building.

The song ends with “Hold on to your faith / You may wanna live / But baby don’t give up hope,” revealing Phil’s true meaning was to keep hoping one day the suicide will work.^[5]

5 “You Will Be Found”–Dear Evan Hansen

“Have you ever felt like nobody was there?” is the opening line of this song from the musical Dear Evan Hansen.

Apparently, a lot of Christians feel that way because as soon as Dear Evan Hansen premiered on Broadway in 2016, “You Will Be Found” became an instant religious classic. The song skyrocketed from theater kids’ playlists right into public thanks to performances from Brigham Young University’s acapella group and other religious congregations.

The message of “You Will Be Found” is right there in the title. “Even when the dark comes crashing through, when you need someone to carry you,” main character Evan Hansen sings an uplifting tune. Or is he?

The person Evan is singing about isn’t himself, but a boy named Connor who recently killed himself. Evan wishes that everyone could be found, but Connor never had someone care about him the way Evan describes. It’s a heartbreaking lament about suicide, not a cheery little ditty to sing at church.^[6]

4 “What I Did for Love”–A Chorus Line

One of the most influential Broadway musicals of all time (and the seventh-longest-running Broadway show ever), A Chorus Line is noted for its lack of plot. The show consists of a chorus line of dancers telling their stories to a casting director, each one hoping to be hired. Through song, monologue, and dance, each performer is given a moment to shine.

“What I Did For Love” has become a part of popular culture thanks to artists like Bing Crosby, Aretha Franklin, and Josh Groban recording the song for albums. Out of context, the song sounds sweet: “As we travel on / Love’s what we’ll remember.” But the refrain “I can’t regret / What I did for love” doesn’t refer to a person; rather, it’s meant to convey the performer’s passion for dance and her reaction if she could never dance again.

It’s a song of intense suffering as the dancer recalls how she has poured her entire life and career into something that could be taken from her at any time. Some have even interpreted the song’s lyrics to be referencing the casting couch, a euphemism for performing sexual acts in exchange for a job. This was especially rampant in the 1970s when the show premiered.

Either way—it’s not about romantic love.^[7]

3 “My Favorite Things”–The Sound of Music

Okay, this song is pretty straightforward. So why is it on this list? Well, people not very familiar with musical theater have probably still heard this song on the radio in December. For some reason, “My Favorite Things” has become associated with the holiday season. Anyone listening to the lyrics “Warm woolen mittens / Brown paper packages tied up with strings” and mention of sleigh bells might assume that within the show, it’s Christmas morning or Eve.

In reality, this isn’t the case. “My Favorite Things” is sung by governess Maria to her children after they are frightened by a thunderstorm. It’s a sweet song that has gained international acclaim, but it has nothing to do with winter or Christmas.^[8]

2 “Everything’s Coming Up Roses”–Gypsy

This song has been referenced in everything from The Simpsons to The Muppets” but rarely with the original intent of the song.

The main character of the musical Gypsy is a stage mother who, halfway through the show, learns her talented youngest daughter has eloped. In a fit of rage and mania, she sings “Everything’s Coming Up Roses” to express her desire to have her older daughter, Louise, become a star instead. The title and refrain are a pun on the stage mother’s name, Rose. Thus, “roses” represent rose flowers and happiness, but also herself. Everything will come up Rose’s way.

Despite the big, brass notes and fun lyrics, the song isn’t triumphant or as happy as it seems. Ethel Merman biographer Brian Kellow says that the song is often misunderstood, as it’s meant to be a “chilling illustration of blind ambition with megalomania.”^[9]

1 “Cabaret”–Cabaret

The titular song of this tour-de-force of a show is quite famous thanks to stars like Ella Fitzgerald, Bing Crosby, and Judi Dench’s recorded renditions. Within the show, the song is sung by Sally Bowles, a pregnant former cabaret star. Out of context, the lyrics seem to be praising the joys of humanity: “Life is a cabaret old chum, come to the cabaret!”

The song has been used in movies and TV shows for years, usually as a delightful little ditty. But that’s not what the song is about. Sally isn’t happy at all—she’s coming to terms with the rise of Nazism in her home city of Berlin. Rather than addressing the emerging politics of the 1930s, she makes a vow to live her life in ignorance, having fun wherever she can. This includes making sure she’s unattached to her baby’s father, so the song ends with her deciding to get an abortion. In some stagings, such as the most recent Broadway revival, this is depicted through Sally punching herself in the stomach multiple times.

Unsurprisingly, the Louis Armstrong version of the song chose to leave those lyrics out.^[10]

It may seem like there’s a ton of money to be made in the film industry, but that’s actually not the case. Not always, at least. In many instances, actors stick their necks out to do a movie they are very passionate about or are very inspired to produce, and they come away broke! Forget the multi-million dollar salaries, the huge box office totals, and the massive marketing budgets. Some movies just suck money out of the room. Even for the stars who sign on to do them, hoping it’ll propel their A-list profiles to even higher heights!

In this list, we’ll take a closer look at ten Hollywood movie stars who actually lost money producing hit movies seen by millions of people. From marketing costs stretching the budget thin to paltry low salaries after agreeing to get on set, these ten stories prove that the movie biz isn’t all sunshine and rainbows!

Related: Top 10 Tremendous Wastes Of Money

10 Dwayne Johnson

Dwayne “The Rock” Johnson was incredibly hopeful that moviegoers would love to see Black Adam (2022). The brains behind the DC Comics Extended Universe were hopeful that audiences would connect with the character, too. After all, the franchise was sputtering at the time, and they desperately needed to turn over a new leaf. So they signed Johnson on in large part because all of his movies have always been massive hits. Well, until this one! The superhero story about an Egyptian slave from 2600 BC who was granted great power by the ancient Gods simply failed to connect with audiences in the biggest and worst way.

For one, the film’s production was marred by the COVID-19 pandemic. Then, when it came time to release it, Johnson himself put his money where his mouth was and stepped up as both a producer and a promotional mouthpiece. Sadly, it didn’t work. Despite all of Johnson’s other films raking in dough, this one lost tons and tons of money for both him and Warner Brothers. According to reports, the film’s funders lost as much as $100 million after fans failed to show interest in the story and its off-shoot title character. Oops!^[1]

9 George Clooney

George Clooney believed so much in his 2008 sports comedy film Leatherheads (2008) that he invested a lot of his own money to make it work. But while the production got off without a hitch, and the film did live long enough to see theaters and be sold to moviegoers, the public mostly panned the flick. Sure, George may have written the film, starred in it, directed it, and even produced it by taking in the bigger picture with marketing and funding. However, he forgot the most important part: to make a movie the public wanted to see.

Ultimately, the film came to life on a budget of $58 million, which was put up by George’s own production company, Smokehouse Productions. Unfortunately for the ER alum and his Smokehouse brethren, they didn’t come anywhere close to making back their money. According to film industry watchdog reports, the film only brought in just a shade over $41 million in box office receipts. So it left George about $17 million in the hole. Ouch!^[2]

8 Kevin Costner

Kevin Costner isn’t afraid of investing his own money into his films. There’s just one problem with that strategy, though: When he misses, he misses REALLY big. Take The Postman (1997) as the perfect example of this. Costner himself helped fund the flick, but unfortunately, audiences didn’t go see it nearly enough to earn the star his money back. The film’s budget topped $80 million, according to reports, but it only turned around and brought in $17.6 million in ticket receipts. Worse yet, it didn’t even get an international release, preventing Costner from scoring big on foreign money after its disappointing American run.

But is Costner upset with losing so much money on the movie? Nope! Speaking to HuffPost about it after the film bombed, Kevin called The Postman a “really good movie.” Defending his decision to fund and produce it, he added: “If you revisit the movie, that’s a good thing to do. You can go back and revisit some movies that made well over $100 million and you might not care anything about them. And you can go back and maybe review a movie like that—you know, it was a pretty big, epic movie.” Hey, as long as he’s proud of it and okay with it losing so much money, who are we to criticize?^[3]

7 Brad Pitt

Brad Pitt felt so strongly about his 2007 movie The Assassination of Jesse James by the Coward Robert Ford that he put up his own money to get it off the ground and out in theaters. The issue came when he found out how fans didn’t feel nearly as passionately about the movie. Pitt and his production team spent more than $30 million on the film—much of which came out of the A-list star’s own deep pockets. But the movie only returned about half of that total in gate receipts, making it a complete failure on every financial level.

Don’t count on Pitt regretting the process, though. “The way producers get us actors on is if it’s something we love and have to do, we do it for a price and get the movie made,” Pitt explained to Variety five years after the movie came out, in 2012. “It actually cost me money in the end. I paid to work on that one, and I think the film still lost money, but it was one of my favorites and one of the most rewarding to me.” Of course, there isn’t a price to be put on emotional satisfaction. Still, the thought of losing tens of millions of dollars is a tough pill to swallow!^[4]

6 John Travolta

John Travolta took a big risk when he decided to take Scientology founder L. Ron Hubbard’s book Battlefield Earth: A Saga of the Year 3000 to the big screen. He had trouble nearly from the very beginning, too. Most notably, Travolta couldn’t find funding for the 2000 movie! So he had to fund it himself if he wanted to see it get made—and that’s exactly what he did.

The A-lister put in millions of his own dollars to fund the film and even agreed to forfeit the majority of his normal paycheck to make it. In turn, he hoped to see a major return on his investment with a popular showing at the box office. But he didn’t! Not even close. The film’s budget ended up soaring higher than $73 million in the end. And as for how much it brought in? Well, it didn’t even clear $30 million in returns. Ouch!

Still, even though he took a $43 million haircut, Travolta has no regrets about it. Speaking to the Daily Beast about losing so much money on Hubbard’s book-turned-film, Travolta argued: “Why would I ever regret that? I had the power to do whatever I wanted, and I chose to do a book that I thought was worthy of making into a movie. It’s a beautiful film. It’s a good movie.”^[5]

5 Sharon Stone

Sharon Stone had one of the most iconic film roles of all time with her work in Basic Instinct (1992). But it might surprise you to learn that she didn’t make any money on the film! Her co-star, Michael Douglas, may have commanded millions of dollars with his role in the flick, and he came away as a clear financial winner. But Sharon didn’t make that kind of money for her role, which catapulted her into true superstardom. Then, to make matters worse, she had to do the awards show run because the film was so successful—and so she lost money spending big on dresses, makeup, and stylists!

Between promoting the movie as it hit theaters and then doing the Oscars dance after it started to gain traction, Stone ended up bottoming out in the red. After looking back on her Basic Instinct experience in a chat years later with the CBC, Stone reminisced. “I didn’t get paid [well] to do Basic Instinct. I made a little bit of money. Michael made $14 million and has points. I made not enough money to buy my dress to go to the Oscars the next year. I was in this weird limbo where I was suddenly famous, but didn’t have any money.”^[6]

4 Jack Black

Jack Black thought so highly of Tenacious D that he used up all his willpower and goodwill with producers and Hollywood movers and shakers to bring it to the big screen in 2006. The result was the funny and bizarre movie Tenacious D in the Pick of Destiny. While he may have loved that the film was even greenlit and produced at all, his adoration for his band didn’t translate into a financial windfall. In fact, it went completely in the other direction! Things got so bad that Black even had to forgo his usual $12 million per movie salary that he had been accustomed to drawing in other productions.

In the end, the movie was made on a $20 million budget. That’s not huge compared to the costs of some films nowadays. However, the issue was that Jack’s passion project only made back $13.9 million in theaters. So that’s quite a significant loss compared to what he and Tenacious D co-creator Kyle Gass had been hoping to get. Oh, yeah, and that’s the other thing: being partners on the musical side of things, Gass and Black had agreed to split their movie money evenly in the end. So each one ended up netting about $500,000 on a movie that cost $20 million of their own money and privately raised investor funds to make. Yikes!^[7]

3 Will Smith

Will Smith and his production company Overbrook Entertainment took a big chance in 2013 when they took the sci-fi flick After Earth to theaters. The film wasn’t cheap at all to make. In fact, they spent $150 million to produce the film—and then another $100 million to market it. Those numbers are massive in any context! And they are even more massive when you consider how much the film didn’t make! In the end, After Earth only brought back $234 million during its theatrical release. A big number out of context, obviously, but when you spend north of $250 million to get it out there, falling $17 million short doesn’t feel good. Smith himself later called it “the most painful failure in my career.”

“What I learned from that failure is how you win,” Smith told Esquire after the movie bombed so badly, and he took some time to reflect on its losses. “I got reinvigorated after the failure of ‘After Earth.’ I stopped working for a year and a half. I had to dive into why it was so important for me to have number-one movies. And I never would have looked at myself in that way.”

And he continued: “That Monday started the new phase of my life, a new concept: Only love is going to fill that hole. You can’t win enough, you can’t have enough money, you can’t succeed enough. There is not enough. The only thing that will ever satiate that existential thirst is love. And I just remember that day I made the shift from wanting to be a winner to wanting to have the most powerful, deep, and beautiful relationships I could possibly have.”^[8]

2 Patricia Arquette

Patricia Arquette was paid so little to be in Boyhood that the movie nearly wasn’t worth it to do. Financially, she came away with just a few thousand dollars for her trouble. Which, when you factor in time spent on set, time preparing and learning lines and blocking, and the costs of having assistants and helpers keep up her home and pets when she was gone to film, it just wasn’t worth it! Well, that is until she won the Oscar for Best Supporting Acctress for her role in it.

“It’s important to me as an actor to be able to make a living, but I’m going to tell you something,” Arquette revealed after the movie hit theaters and turned into a massive critical and award-show success. “I paid more money to my babysitter and my dog walker than I made on ‘Boyhood,’ and to be in Boyhood.” That seems kind of backward to us, considering popular movies make bank. But again, she won an Oscar for her role, so we have a feeling that she’s not too upset by the outcome.^[9]

1 Rebel Wilson

Rebel Wilson revealed in her memoir that the early career-defining role she had in Bridesmaids netted her just $3,500 in salary. That’s a remarkably small salary for a movie that turned out to be so popular and well-known. Not only that, but Rebel actually had to wait more than a year before the check cleared and was sent to her! We hope she wasn’t counting on paying rent or anything with the proceeds. She did use the money to join the Screen Actors Guild, at least, so that’s a nice move to make. But she ended up in the red on it overall because she had to dish out dollars for dresses and beauty bills when it came time to premiere and promote the film!

“I basically made no money,” Rebel wrote about the financial reality behind Bridesmaids in her memoir. “I lost money because I had to pay to go to the premiere, like to buy my dress and everything. That was a really skint year where I was living on $60 a week in L.A. once I’d paid my rent and my car hire. I wasn’t partying or living this [movie star] life. It was basically having that focus, trying to write for myself, like going to auditions.”^[10]

Actors are among the most protected parts of film sets. Their deliveries bring the characters to life, and the resulting dynamics resonate with audiences worldwide. That appeal can carry a movie or TV series for years. The people onscreen become practically synonymous with the franchise and the joy it provides. That phenomenon makes it awkward when tragedy strikes.

In some cases, actors die while their series are ongoing. Rather than recast, the filmmakers kill the characters. This tactic can often stem from respect, or at least the perception of respect. The actors may define their roles to such an extent that their spark becomes impossible to match. Thus, rather than taint a beloved dynamic, the creators let the characters rest in peace with the performers. This strategy can affect the storytelling, but its success hinges on the skill of the writers. Because of that, an actor’s death can propel a franchise into uncharted waters.

Related: 10 Actors Who Turned Down Movie Roles and Regretted It

10 Marcus Brody

A university dean and all-around scholar, Marcus Brody is a close friend and mentor of Indiana Jones. Not only did he sanction many of the hero’s treasure-hunting journeys, but he even accompanied his buddy on several escapades. Of course, he then became a clumsy fish out of water but, regardless, remained an endearing sidekick, thanks in part to Denholm Elliot’s warmly aristocratic performance. The series would eventually outlive him, though.

By the time Indiana Jones and the Kingdom of the Crystal Skull was released twenty-seven years after the original film, Elliot had long since passed away. The story explains that Marcus died between films, and his absence cemented Indy’s feelings of age and obsolescence. On the upside, the university sported a statue in Brody’s honor… which got beheaded in a chase scene. Talk about a mixed blessing.^[1]

9 Paul Hennessy

At first glance, 8 Simple Rules looked like your average family sitcom. Paul Hennessy was a typical father who struggled to raise his teenage children, but that goal became difficult in an increasingly chaotic household. John Ritter was an inspired choice for such a role. Not only was he convincing as a put-upon family man, but his relatable responses provided a funny contrast to the outrageous scenarios without devolving into shallow one-liners. The laughs came to an abrupt end, though, when Ritter unexpectedly died. The show reflected that sudden passing in its storytelling.

Early in the second season, the family received news that Paul collapsed in a grocery store. This loss left his wife to care for their children. Such unfortunate circumstances forced the characters to mature. In addition, new faces came in to fill the void. This new dynamic carried the series for another season. However, Ritter’s absence ultimately dampened the humor for the rest of its run. A comedy from a father’s perspective didn’t really work without the father.^[2]

8 Black Panther

One of the many superheroes introduced in the Marvel Cinematic Universe, T’Challa was the king of Wakanda and holder of the legendary Black Panther mantle. Members of his royal line have enhanced strength and agility due to their nation’s deity. T’Challa learned to use those gifts for the good of his people, putting others before himself and aiding the Avengers in their world-saving exploits. Though the formula was painfully familiar, Chadwick Boseman elevated the material with straight-faced passion. Tragically, the actor’s bright future halted due to his untimely death. Fans wondered how the franchise would continue without him.

They got their answer with Black Panther: Wakanda Forever. Here, T’Challa died of a disease, casting uncertainty on his kingdom. That shaky ground only grew worse with a Vibranium arms race bringing increased threats to Wakanda. It’s ultimately up to the hero’s sister, Shuri, to take up his mantle and protect their home. Sadly, she lacked confidence due to her failure to find a cure for her brother. That setup made the film both a rite of passage for her and a feature-length funeral for Boseman.^[3]

7 Spock

Who knew an impersonal alien could arouse such emotion? The most iconic character in Star Trek was Spock. The Vulcan operated on logic rather than emotion, and he used that gift to serve the USS Enterprise as the chief science officer. That expertise was invaluable in both the original TV series and the movies. During that time, he became a household name thanks to Leonard Nimoy’s quiet charisma. That understated humanity carried him all the way to the 2009 reboot films, which reset the universe and traveled back to the days of the original series. His presence wouldn’t last, though.

Nimoy’s passing informed the reboot’s third entry, Star Trek Beyond. Here, the elderly Spock served as an ambassador in the new timeline before finally dying of old age. His younger self already doubted his place in Starfleet, and his mentor’s death only compounded that feeling. Fortunately, Spock Prime’s final gift—a photograph of the original crew—strengthened the kid’s resolve to remain on the team. The Vulcan died as he lived, aiding his friends and ensuring they were the best of themselves.^[4]

6 Leia Organa

One of the storied heroes of Star Wars, Princess Leia Organa was a pivotal figure in the original trilogy. She aided the Rebel Alliance against the oppressive Galactic Empire, coordinating the most dangerous missions and giving the troops a path to victory. Carrie Fisher was infectiously feisty in portraying Leia, but she couldn’t sustain that energy forever.

After buying the IP, Disney commissioned a new trilogy with the old actors returning in supporting roles. The problem was that Fisher died shortly after shooting the trilogy’s middle entry, Star Wars: The Last Jedi. Rather than explain her death offscreen, the filmmakers used existing footage to splice Leia into the following flick, The Rise of Skywalker. However, this approach only got them so far, so Leia still died halfway through the tale. Specifically, she used the last of her energy to reach her son via the Force. Considering how marginalized she had become, this death was just the nail in the coffin of squandered potential.^[5]

5 Mr. Miyagi

The Karate Kid was a prototypical sports flick and underdog tale. Much of its success stemmed from its iconic mentor figure, Mr. Miyagi. The karate master trained young Daniel LaRusso in the art of combat. Moreover, he imbued the boy with the peaceful outlook garnered from a lifetime of hardship. You believed every word out of his mouth due to Pat Morita’s gravitas, but his popularity didn’t keep the franchise from fizzling out. Morita’s eventual death seemed to cement that end.

Against all odds, though, the Karate Kid returned with Cobra Kai, a TV series centered on Daniel’s rival, Johnny Lawrence. Both characters struggled with carrying on their predecessors’ legacy. That’s difficult for LaRusso due to Miyagi’s passing, but his teachings lived on. Not only did Daniel pass his karate knowledge to the next generation, but his master’s advice helped him grow closer to his family and make peace with his enemies. That’s the best way to honor the old veteran.^[6]

4 John Hammond

There would be no Jurassic Park without John Hammond. The CEO of a massive bioengineering company, he and his scientists found the breakthrough that brought dinosaurs back to life. It wasn’t long before these animals ran rampant, though, leaving Hammond in disgrace at his shattered dream. Richard Attenborough lent heartbreaking pathos to that downfall, letting you forgive the character’s hubris through his childlike innocence. Of course, he was still a young soul in an old body.

As such, both the actor and the character had passed by the time Jurassic World rolled around. New CEO Simon Masrani has resurrected and rebranded the dinosaur theme park, asserting that it was Hammond’s dying wish to continue his legacy. In addition, a holographic sculpture of the revolutionary founder decorated the park’s entrance. Whatever Hammond’s true intentions were, the films still remembered their roots—both the man who started it all and the actor who brought him to life.^[7]

3 Cy Tolliver

Deadwood was full of dregs and cutthroats, but one of the meanest mugs was the owner of a high-end saloon. Cyrus “Cy” Tolliver runs the Bella Union with equal parts cruelty and efficiency. He treated everyone under him with utter disdain, as the only way to get by was to look out for yourself. The only exception was Joannie Stubbs, a prostitute whom he genuinely cared for in the pinnacles of his black heart. Ably capturing that dichotomy was Powers Boothe, but his turn was cut short upon the show’s cancellation.

The town’s tale continued in Deadwood: The Movie, but Boothe died during the intervening years. The movie mirrored that passing by having Cy die during a ten-year time jump. Joannie took over his establishment, which feels natural due to their relationship and her search for purpose. It’s one of the many ways the movie wrapped up the show.^[8]

2 Polly Gray

Polly Gray was an essential member of the eponymous Peaky Blinders. She kept the family together and helped the business run smoothly. Even though her nieces and nephews made the decisions, they always deferred to her unfiltered judgment. Helen McCrory expertly mixed maternal love and underlying danger in playing Polly, but she sadly died just as season six began shooting.

As a result, her death becomes a driving force in the story. The season opened with her and several other characters being assassinated by members of the Irish Republican Army. Their deaths sent Tommy Shelby (and the show) down an ever-darker path as he led the Peaky Blinders. Thankfully, he and the rest of the family caught up with the people responsible, giving viewers some small satisfaction.^[9]

1 Egon Spengler

It’s hard to imagine Ghostbusters without Egon Spengler. The deranged genius helped form the paranormal exterminators in the original film, and he designed most of their specialized equipment. He took an amusing interest in the building blocks of both the living and the dead, particularly the less glamorous aspects like slimes and molds. This figure could have easily devolved into a cartoonish stereotype, but Harold Ramis made him oddly palatable through his hilariously dry delivery. His death would have naturally signaled the end of the old team. However, the spectral subject matter offered a convenient workaround.

Ghostbusters: Afterlife shifted the focus to Egon’s estranged daughter and grandchildren. Inheriting a rundown farm he spontaneously bought, they learned that everyone dismissed him as a loon. However, messages from beyond the grave revealed the depths of his determination. He was right about everything; buying the farm was his way of heading off the next ghostly invasion at its source. As they finish his work, both the old and new casts resolve their relationships with the late hero. Art imitated life in a satisfying sendoff.^[10]

Normal superheroes are usually cut from a recognizable mold. But some creators throw the mold away and create superheroes different than anything we’ve seen before. Sometimes, they’re just ridiculous—like Super President, who somehow juggles running the country and fighting crime without breaking a sweat. Other times, they’re designed to teach us powerful virtues, like Bibleman, who spreads the good word while battling evil in a full suit of armor.

This list explores ten superheroes who break all the rules, defying expectations in the most unexpected ways. Whether they make you laugh out loud or scratch your head in confusion, one thing’s for sure: These heroes are anything but ordinary. Some hail from the pages of comic books, while others sprang to life on TV screens, but all of them share one thing in common—they’re unlike any superheroes you’ve seen before. So please synchronize your ionic chronometers, and let’s roll!!!

Related: Ten Comic Book Superheroes Based on Real People

10 The Quirky Hero with a Heart of Gold

Madman, or Frank Einstein if you prefer his civilian name, isn’t your average superhero. Brought to life by Mike Allred in the early 1990s, this reanimated corpse with a lightning bolt on his chest quickly made waves in the indie comic scene. His name is a clever mashup of Frankenstein and Albert Einstein, hinting at his strange origins and his internal struggle to find his place in the world.

Madman’s adventures aren’t ordinary. Picture a mix of 1950s sci-fi and pop art with a dash of existential musing thrown in. Whether he’s battling the weirdest villains or just trying to figure out who he really is, Madman stories are always unpredictable. His powers are unique, too—enhanced reflexes, super strength, and a knack for getting out of the strangest situations.

What really makes Madman different, though, is his charm. In a world full of dark and brooding superheroes, his colorful, quirky personality stands out. Being so fundamentally different makes Madman memorable.^[1]

9 The Cartoonist Turned Spy Superhero

Condorman is a unique character born from the mind of a comic book artist who dreams of being a superhero. Woody Wilkins dreams of living out the adventures he draws. When a CIA friend asks for a favor, Woody jumps in, not realizing just how wild things will get. Before long, he’s suiting up as Condorman, a hero who’s suddenly caught up in a wild world of espionage.

With gadgets straight out of his own comic book and a fantastic costume, Condorman boldly flies into his new role. The 1981 Disney film mixes action, comedy, and plenty of slapstick, making Condorman a very unusual entry in the superhero genre. He might stumble and bumble through his missions, but there’s no denying that his heart is in the right place.

Though Condorman didn’t reach the iconic status of other superheroes, he still inspires us. Deep down, everyday people wish that they could live out moments of superhuman abilities and experiences.^[]2

8 The Duck Who Dives into Danger

Darkwing Duck came to life thanks to Tad Stones’s love for Silver Age comics and classic cartoons. Spun off from DuckTales, Darkwing was a mix of bravery and bumbling. By day, he’s just Drake Mallard, an ordinary duck. But by night, he becomes Darkwing Duck, leaping into danger with his catchphrase, “Let’s get dangerous!” The show wasn’t just about action—it had heart, especially in the tender moments between Darkwing and his adopted daughter, Gosalyn.

Unlike other superhero shows, Darkwing Duck didn’t stick to just one origin story. Each episode played by its own rules, keeping things unpredictable and fun. This made Darkwing feel fresh, even as he fumbled through his heroics with a mix of swagger and sincerity. The show wrapped after three seasons, but Darkwing Duck is still a fan favorite. He wasn’t perfect, and that’s part of why people loved him.^[3]

7 The President Who Moonlighted as a Superhero

In the 1960s, cartoons were no strangers to wild ideas, but Super President took things to a whole new level. Imagine a U.S. president who didn’t just lead the country—he also fought crime in his spare time. That’s right, President James Norcross could transform his body into various substances like steel or electricity, making him a one-man army against villains. When duty called, he’d step away from his Oval Office desk, suit up, and save the day as Super President.

The premise of the show was absurd. He was a commander-in-chief juggling political crises and battling supervillains, all while keeping his superhero identity under wraps. The show ran from 1967 to 1968, but it didn’t exactly win over audiences. Mixing politics with superhero antics may have been a bit much, even for the swinging ’60s.

Yet Super President still stands out as a piece of television history that grabs your attention when you watch it. Back in the day, even the leader of the free world could use a cape and some superpowers to get the job done.^[4]

6 The Unlikely Hero with an Insatiable Appetite

Matter-Eater Lad, also known as Tenzil Kem from the planet Bismoll, defies every traditional superhero expectation. In a world where food turned toxic, Tenzil adapted by developing the extraordinary ability to consume anything—from metal to toxic waste. When he joined the Legion of Superheroes, his bizarre talent was met with skepticism and laughter. But when the indestructible needed to be destroyed, Tenzil’s unique ability proved invaluable as he simply chewed through the problem.

His power might seem like the setup to a joke, and it often is, but it’s hard to argue with the results. Whether devouring doomsday devices or chomping down barriers, Matter-Eater Lad turned his unusual skill into a superhero essential. Tenzil’s ability may not have the flash of other powers, but it’s undeniably effective—and undeniably funny.^[5]

5 Mexico’s Unlikely Champion in Red

When you think of superheroes, El Chapulín Colorado might not be the first name that comes to mind, but in Mexico, he’s a cultural icon. Created by Roberto Gomez Bolaños, this red-suited hero with the “CH” on his chest brings more laughs than fear. Unlike the typical muscle-bound saviors, Chapulín is known for his clumsy antics and comedic mishaps. Yet no matter how chaotic things get, he always finds a way to save the day.

The 1970s show, beloved across Latin America, thrives on slapstick humor and clever wordplay. Chapulín’s adventures often see him using his wits to navigate absurd situations rather than relying on superpowers. The name “Chapulín,” inspired by the grasshopper commonly eaten in Mexico, adds a unique cultural flavor, grounding him in the everyday lives of the people.

While Chapulín might seem like a parody at first glance, his appeal runs much deeper. He represents the idea that heroism doesn’t require perfection—just a big heart and the determination to keep trying, no matter how many times you stumble.^[6]

4 Bibleman: the Crusader of Light and Virtue

Bibleman’s mission is spreading the word of faith. Born from a mid-1990s TV series aimed at children, Bibleman follows Miles Peterson, a man who turns his life around after discovering the Bible. Clad in a striking purple and gold suit, Bibleman takes on a different kind of evil, facing off against villains who embody various moral failings.

The show introduces adversaries like the Fibbler, Luxor Spawndroth, and El Furioso, each representing a specific vice or temptation. Armed with a lightsaber-like sword and deep knowledge of scripture, Bibleman’s battles are as much about teaching moral lessons as they are about saving the day. The action may be over-the-top, but the message is always clear: doing what’s right requires more than just physical strength—it takes spiritual courage.^[7]

3 Arm-Fall-Off Boy

Meet Arm-Fall-Off Boy, one of DC Comics’ most offbeat heroes. He first appeared in 1989’s Secret Origins Vol #46 with a power that’s as bizarre as it sounds: He can detach his arms and use them as weapons. Sounds wild, right? Despite his efforts to join the Legion of Superheroes and prove his worth against universe-threatening villains, the Legion wasn’t impressed. They thought his ability was more of a gimmick than a game-changer.

But Arm-Fall-Off Boy didn’t just fade into obscurity. Rebranded as “Splitter,” he continued his quest to make a mark. His ability might be unconventional, but they’re part of the quirky side of superhero storytelling. Even with such an unusual power, he shows that there’s room for every type of hero in the DC universe. The superhero genre is filled with familiar powers and clichés, but Arm-Fall-Off Boy’s funny abilities capture the reader’s attention.^[8]

2 Pootie Tang: The Most Unique Superhero Name of All Time

Pootie Tang is a superhero name that you’ll probably never forget. This early 2000s film stars Lance Crouther as a superhero with a unique style, speaking in an unusual slang and wielding a magical belt. The story revolves around Pootie Tang’s fight against corporate villainy led by Dick Lecter, played by Robert Vaughn. This plot element doesn’t fully unfold until the last twenty minutes, with the majority of the film featuring a series of whimsical, offbeat scenes.

The movie kicks off with a clever twist, showing Pootie Tang’s fictional film, Sine Your Pitty on the Runny Kine. What follows are a variety of amusing and quirky moments that capture the film’s distinctive charm. Although the humor might not always align seamlessly with the storyline, it adds to the film’s offbeat character.

Pootie Tang is so different from a typical superhero movie, and that’s what makes it interesting to watch.^[9]

1 The Tick: A Superhero Ahead of Its Time

Ever heard of The Tick? This early 2000s show featured Patrick Warburton as the hilariously oversized and well-meaning superhero who wore a blue suit and had a knack for stumbling into trouble. Created by Ben Edlund, The Tick was a clever parody of superhero clichés, packed with quirky humor and offbeat adventures. Despite its originality, the show only ran for one season on FOX before it was canceled.

The Tick was ahead of its time, offering a comedic twist on the superhero genre that didn’t quite fit the mainstream mold. While it didn’t make a big splash back then, it’s gained a cult following for its unique take on heroism and its memorable, offbeat style. If you’re into superheroes with a twist, The Tick is definitely one to check out.^[10]

Before motion pictures, plays were the most popular medium of long-form storytelling for live audiences. From ancient Greece to the Renaissance, plays and playwrights have captured the hearts and minds of the masses. Names like Homer and Shakespeare will ring out throughout the ages for their literary prowess.

Like any other great nation, America has produced its fair share of memorable stories through this art form. From the sixteenth century to the modern day, American playwrights have offered a rich tapestry of humor, horror, romance, and mystery on and off Broadway. With that in mind, let’s review the ten best American-written plays, a diverse collection that will pique your interest.

Related: 10 Weird Sci-Fi and Fantasy Musicals You Won’t Believe Existed

10 The Crucible–Arthur Miller

Written in 1953, The Crucible centers around the Salem Witch Trials of the 17th century and is only marginally fictional. Written during “The Red Scare,” Miller’s story is an allegory for McCarthyism. It was first performed at the Martin Beck Theatre on Broadway on January 22, 1953, starring E.G. Marshall, Beatrice Straight, and Madeleine Sherwood. The play initially received mixed reviews from both the audience and critics, yet still won the Best Play Tony that year.

By 1956, The Crucible was already considered a classic and a central work in the canon of American literature. That same year, however, Miller was questioned by the House of Representatives Committee on Un-American Activities (aka the witch hunt of the day) in 1956 and convicted of contempt of Congress for refusing to identify others present at meetings he had attended. It somehow remains relevant in every era.^[1]

9 Cat on a Hot Tin Roof–Tennesse Williams

Tennessee Williams may be the most well-known playwright in American history, and while Cat on a Hot Tin Roof may not be his most famous piece, it’s arguably the most important. Written in 1955, this three-act play examines the relationships of the Pollitt family. This play features motifs such as social mores, greed, superficiality, mendacity, decay, sexual desire, repression, and death. The dialogue throughout is often written using nonstandard spelling intended to represent accents of the Southern United States.

“Like many of Williams’s works, Cat on a Hot Tin Roof concerns itself with the elaboration of a certain fantasy of broken manliness, in this case, a manliness left stifled by the homosexual desire it must keep in abeyance.” Williams draws from his own experiences with homosexuality and alcoholism, making this play ahead of its time and still wholly valid today.^[2]

8 Wicked–Winnie Holzman

Wicked is a musical with music and lyrics by Stephen Schwartz and a book by Winnie Holzman. It is a loose adaptation of the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West, which is in turn based on L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz and its 1939 film adaptation.

The original Broadway production won three Tony Awards and seven Drama Desk Awards, while its original cast album received a Grammy Award. “After two decades as one of the most beloved and enduring musicals on the stage, Wicked makes its long-awaited journey to the big screen as a spectacular, generation-defining cinematic event this holiday season.”

In a classic literary trope, this story takes an empathetic look at a well-known villain, painting her as a victim and then a hero. Wicked’s success has continued to grow, with potential sequels in the works; it continues to draw large crowds nationwide, thanks to its universal themes that appeal to a broad audience.^[3]

7 Who’s Afraid of Virginia Woolf?–Edward Albee

First staged in October 1962, Who’s Afraid of Virginia Woolf? won the 1963 Tony Award for Best Play and the 1962–1963 New York Drama Critics’ Circle Award for Best Play. It is frequently revived on the modern stage. The film adaptation was released in 1966, written by Ernest Lehman, directed by Mike Nichols, and starring Richard Burton, Elizabeth Taylor, George Segal, and Sandy Dennis.

The plot is that of a bitter, aging couple who, with the help of alcohol, “use their young houseguests to fuel anguish and emotional pain toward each other throughout a distressing night.” This play is still a standard in English and Literature classes in high schools and colleges nationwide. The themes involved seemed to resonate with Americans of all ages.^[4]

6 A Raisin in the Sun–Lorraine Hansberry

A Raisin in the Sun is a play by Lorraine Hansberry that debuted on Broadway in 1959. The title comes from Langston Hughes’s poem “Harlem” (also known as “A Dream Deferred”). The story is about a Black family’s experiences in south Chicago as they attempt to improve their financial circumstances with an insurance payout following the death of their father.

It deals with matters of housing discrimination, racism, and assimilation. The play’s central theme is the question, “What happens to a dream deferred? Does it dry up like a raisin in the sun?” The New York Drama Critics’ Circle named it the best play of 1959. In recent years, publications such as The Independent and Time Out have listed it among the best plays ever written.^[5]

5 Rent–Jonathan Larson

Rent is a rock musical with music, lyrics, and a book by Jonathan Larson. Loosely based on the 1896 opera La Bohème by Giacomo Puccini, Luigi Illica, and Giuseppe Giacosa, it tells the story of a group of impoverished young artists struggling to survive and create a life in Lower Manhattan’s East Village in the thriving days of the Bohemian culture of Alphabet City, under the shadow of HIV/AIDS.

Winner of the Tony Award for Best Musical and the Pulitzer Prize for Drama, Rent has become a pop cultural phenomenon, with songs that rock and a story that resonates with audiences of all ages. Rent represents the best of theater, brimming with passion, sorrow, and joy while tackling important issues. It has remained one of the most popular performance pieces nationwide for decades and has spawned film and TV adaptations that are as cherished as the original cast presentation.^[6]

4 Long Day’s Journey into Night–Eugene O’Neill

Long Day’s Journey into Night is a play in four acts written by American playwright Eugene O’Neill in 1939–1941 and first published posthumously in 1956. It is widely regarded as his magnum opus and one of the great American plays of the 20th century. It opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for the play. The work is openly autobiographical.

The “long day” in the title refers to the play’s setting, which takes place during one day. “O’Neill recounts a fateful summer evening at the Tyrone family’s seaside home, where members of the clan battle their addictions (to alcohol and morphine) as well as one another.” O’Neill is widely considered one of the greatest American poets, but his plays are often overlooked. This piece is his farewell to the public with whom he had a love/hate relationship throughout his life and career.^[7]

3 Fences–August Wilson

Fences is a 1985 play by the American playwright August Wilson. Set in the 1950s, it is the sixth in Wilson’s ten-part “Pittsburgh Cycle.” Like all the “Pittsburgh” plays, Fences explores the evolving African-American experience and examines race relations, among other themes. The play won the 1987 Pulitzer Prize for Drama and the 1987 Tony Award for Best Play.

The play was first developed at the Eugene O’Neill Theater Center’s 1983 National Playwrights Conference and premiered at the Yale Repertory Theatre in 1985. James Earl Jones played the main character, Troy, on stage, and in the motion picture adaptation, the character was played by Denzel Washington, opposite Viola Davis as Rose. Wilson became a nationally recognized playwright in 1987 when his play Fences won four Tony Awards and the Pulitzer Prize for Drama.^[8]

2 Glengarry Glen Ross–David Mamet

Glengarry Glen Ross is a play by David Mamet that won the Pulitzer Prize in 1984. The play shows parts of two days in the lives of four desperate Chicago real estate agents who are prepared to engage in any number of unethical, illegal acts—from lies and flattery to bribery, threats, intimidation, and burglary—to sell real estate to unwitting prospective buyers.

It is based on Mamet’s experience, having previously worked in a similar office. The world premiere was at the National Theatre in London on September 21, 1983. The play opened on Broadway on March 25, 1984, at the John Golden Theatre and closed on February 17, 1985, after 378 performances. It was nominated for four Tony awards, including Best Play, Best Director, and two Best Featured Actor nominations for Robert Prosky and Joe Mantegna, who won the production’s one Tony.

“This scalding comedy is about small-time, cutthroat real estate salesmen trying to grind out a living by pushing plots of land on reluctant buyers in a never-ending scramble for their share of the American dream.”^[9]

1 Angels in America: A Gay Fantasia on National Themes–Tony Kushner

Angels in America is a 1991 American two-part play by Tony Kushner. The play’s two parts, Millennium Approaches and Perestroika, may be presented separately or together as a seven-hour epic. The work won numerous awards, including the Pulitzer Prize for Drama, the Tony Award for Best Play, and the Drama Desk Award for Outstanding Play.

Part one of the play premiered in 1991, followed by part two in 1992, with its Broadway opening in 1993. It is a complex, often metaphorical, and at times symbolic examination of AIDS and homosexuality in the United States in the 1980s. Angels in America includes explicit sexual situations, nudity, and adult language and tackles adult themes.

“The play weaves together politics, religion, and human connection themes. It follows characters grappling with illness, identity, and societal change, all while being influenced by their encounters with celestial beings.” It is not nearly as well-known as the other entries on this list. However, it is arguably the best and most influential American written play ever.^[10]

As any insider knows, Hollywood is a dog-eat-dog place. With financiers and bullish studios twisting artistry into cold hard dollars, the dreams—and careers—of many an actor are regularly chewed up and spat out. But the few big-screen performers who make it don’t always have the full picture, even at the top of their game. Friends, agents, writers, directors, producers, and studios all go out of their way to pull the wool over actors’ eyes, landing the glitterati in performances they didn’t realize they had signed up for and often would love to get out of…

Related: 10 Films That Were Rescued by the Editor

10 Tyler Perry—Gone Girl (2014)

A master craftsman of the novel adaptation, director David Fincher aimed his lens at Gillian Flynn’s Gone Girl in 2014 and delivered an icy-cold psychological thriller for the ages. While pretty much everyone involved was thrilled to be on the project, not least because of the impact it had on their respective careers, there was one cast member who wasn’t pleased when he found out what he’d signed up for.

A minor yet crucial role in the movie, Tyler Perry plays Tanner Bolt, a lawyer known for representing men suspected of killing their wives and who represents Ben Affleck’s Nick Dunne. Despite being involved in the industry as a filmmaker in his own right, Perry was unaware of the kinds of films Fincher is in the business of making. If he had known, he would have turned the part down.

But Perry’s agent knew this and so spun him a line, keeping his client in the dark about the kind of movie it would be—and that it was an adaptation, something Perry was equally perturbed about making—long enough to get him over the line.^[1]

9 Linda Blair—Exorcist II: The Heretic (1977)

While The Exorcist (1973) is recognized as one of the greatest horror movies of all time on pretty much every front, the undeniable star of the show is Linda Blair, the young actor who played possessed child Regan MacNeil. Nonetheless, after being overexposed at a young age, she wasn’t keen to hop back on board with a sequel.

Despite this, Exorcist II: The Heretic plowed ahead just a few years later, using an impressive, exciting, well-written script to get Blair signed on. Excited to work with Richard Burton and a host of Academy Award-nominated actors (all of whom also thought the movie was going to be a big deal), Blair was willing to return to a movie franchise that had taken over much of her life.

Unfortunately, the script she was given at the beginning of production was not the one they shot. Blair and all her castmates just had to roll with the blows, adapting to the new material as it got progressively worse. It was rewritten five times in total, and the movie they made was a disaster, leaving all the cast’s hopes in ruin.^[2]

8 Chris Rock—Bee Movie (2007)

The subject of a near-infinite number of memes, Jerry Seinfeld’s Bee Movie has lived far beyond its original premise as a family-friendly animation in the years since its release. And while its voice cast—which includes Seinfeld himself, Renee Zellweger, Matthew Broderick, John Goodman, and Chris Rock—is stacked with enough talent to have made it immortal, it wasn’t easy getting all of them on board.

Indeed, Seinfeld himself had to make the case directly to Rock to get him on the cast. He had a tough time of it, with Rock initially being resistant about joining what he saw as the next Shrek. But Jerry had one ace up his sleeve: Steven Spielberg.

Seinfeld talked up the apparent involvement of the legendary filmmaker to get Rock to sign on the dotted line. However, when Rock turned up to record his part, there wasn’t a trace of Spielberg to be found. While the Jurassic Park director had helped Seinfeld get his foot in the door with Dreamworks and featured in a couple of live-action trailers to promote the film, that is where his involvement ended.^[3]

7 Paula Abdul—Bruno (2009)

Despite having enjoyed a successful career as a singer, dancer, and actress in her own right, Paula Abdul was better known in the 2000s for judging American Idol. This is what put her in the crosshairs of prankster Sacha Baron Cohen, who followed up his hit mockumentary Borat (2006) with another, less successful outing in the genre.

Starring as gay Austrian fashion journalist Bruno, Cohen travels to the U.S. in the hopes of becoming a Hollywood celebrity. Along the way, he interviews and irritates a host of famous faces—Abdul included. The only thing is, Paula didn’t know she was starring in the movie until after the fact.

Having been told she was receiving the International Artist of the Year award, the American Idol judge arrived for an interview with Bruno. Cohen’s team kept all of Abdul’s stylists and entourage out to maintain secrecy and put the star in an interview that included sitting on and being served sushi from the bodies of live men. Abdul didn’t realize the full extent of what had happened—or the German-language agreement her publicist had signed—until the media called asking what it was like to work with Cohen…^[4]

6 Bill Murray—Garfield: The Movie (2004)

The first major Garfield feature arrived two decades before the most recent one, inserting a CGI fat cat into the real world, with Bill Murray providing a sardonic voice to match the comic strips. Despite this ingenious casting, Garfield has been the bane of Bill Murray’s career ever since he agreed to do it—but it’s his own fault.

When Murray received the script for the movie, he mistook writer Joel Cohen for Joel Coen of Fargo (1996) and Big Lebowski (1998) fame. Thus, the actor signed up on name recognition alone, figuring the guy who made some of the smartest, funniest films of the past decade would steer him right.

Nobody was quick to correct his mistake, not least because it meant they got to keep one of Hollywood’s funniest men on an otherwise run-of-the-mill production. It wasn’t until Murray turned up to record his lines that he realized something was wrong—namely, a lack of gags and good writing. He watched the film to get a feel for what had gone awry, and this was when they told him who was behind it, but by that point, it was too late.^[5]

5 Bill Murray—Ghostbusters II (1989)

Garfield was not the first time Murray had been stung on the run-up to a film. While some would say he should have known better, somehow, his experience with Ghostbusters II didn’t leave him with any lasting vigilance.

After the success of the first movie—itself essentially a series of skits by SNL cast members that nobody expected to be so big—Murray was reluctant to do a sequel. But given not just the nine-figure box office numbers but the infinite merchandise and branding potential, nobody else involved was going to let this stand. Someone (possibly director Ivan Reitman) rounded up the cast, got them laughing and having fun again, and pitched a sequel story idea that made Murray think it might just work.

As these things go, however, the film that was pitched, and even the one that was written, was not the film they shot. Murray figured that as the ink was dry and they were already shooting it, there was nothing to do but grin, bear it, and try to make the most of things.^[6]

4 Halle Berry—X-Men: The Last Stand (2006)

X-Men: The Last Stand is nobody’s favorite X-Men movie, having brought the franchise to its knees. This fate would last five years before Matthew Vaughn set it back on its feet with prequel/reboot X-Men: First Class (2011). But for all the film’s more obvious failings, its worst ones happened behind the scenes.

Vaughn was originally in 20th Century Fox’s sights as the director for The Last Stand. However, one fateful meeting, in which he uncovered the studio’s plan to trick Halle Berry into returning, made him walk away.

Berry was lured back to the franchise with a padded, false script that put her character—Storm—front and center rather than (as things turned out) a much smaller part of a large ensemble. While Berry never found out about this before the contract was signed, Vaughn did. While visiting an executive’s office in Tinseltown, he saw the fake script. When he discovered what they were doing with it, he washed his hands with the project altogether. Thus, the studio went with Brett Ratner, and the rest is history.^[7]

3 Sylvester Stallone—Stop! Or My Mom Will Shoot (1992)

The 1990s saw a lot of ’80s action stars turn to comedy, pivoting with a new decade and trying to broaden their appeal. And while results varied wildly, Stop! Or My Mom Will Shoot—in which Sylvester Stallone stars as a police sergeant whose mother (Estelle Getty) tags along on a brutal murder case—is a certified dud.

Why, then, did Stallone put himself up for it? It has everything to do with Arnold Schwarzenegger, who had been Sly’s cinematic rival during the ’80s action era and was gunning for him in the ’90s.

Schwarzenegger was offered the script first and recognized it as a flop. Still, knowing the part was being offered to Stallone, he decided to lay a trap. Certain Stallone would want the role if he heard Arnie was interested, Schwarzenegger called his agent and director Roger Spottiswoode feigning interest. They reported back to the Rocky star, and true to form, Stallone jumped at the opportunity. It wasn’t until years later, after the film had bombed and the two stars had become friends, that Sly found out he had been duped.^[8]

2 Ryan Reynolds—X-Men Origins: Wolverine (2009)

When Fox was trying to breathe life back into the X-Men franchise with their Origins series, they presented Ryan Reynolds with an ultimatum. If he wanted to play Deadpool, he’d have to be in this one.

He wrote and ad-libbed every line of his own dialogue, as the script had nothing prepared for him. Still, even this couldn’t save him, as Fox decided to destroy the character, sewing his mouth shut and making him unrecognizable. Despite promising that if Reynolds didn’t play the character, they would have someone else play him, this is what happened anyway. When Reynolds’s shooting time was up, they had Scott Adkins play the transformed version of the character in the film’s final sequence.

Despite this ostensibly being the first step on Reynolds’s path to a standalone Deadpool movie, the studio then shelved this idea. Had it not been for test footage being leaked five years later—confirmed via lie detector to have been assisted by Reynolds himself—it might never have been made at all.^[9]

1 The Entire Cast—Movie 43 (2013)

An anthology comedy that everyone would rather forget, Movie 43 took all the excesses of gross-out filmmaking from the preceding decades and wrote them across an excruciating 94 minutes. Featuring an ensemble cast of, among others, Hugh Jackman, Kate Winslet, Halle Berry, Richard Gere, Uma Thurman, and Emma Stone, this is a rare occasion where the entire cast was duped into starring.

Halle Berry dumps her breasts in a bowl of guacamole; Hugh Jackman has a pair of testicles on his chin; and Gerard Butler is a foul-mouthed leprechaun—these are just a few of the scenarios these Hollywood A-listers found themselves in throughout Movie 43. However, they didn’t realize it would be like this.

Most of the cast were convinced in small, casual pitches at parties and weddings by producer-director Peter Farrelly and his producing partner Charlie Wessler. Few of the stars knew what they would be shooting—and neither did the filmmakers, clobbering the movie together as they went. When the time came, Farrelly knew the actors wanted out of the project, and while a few slipped the net, he wouldn’t let most of them go.^[10]

Smartphones are, by this point, completely ubiquitous in modern society. Everywhere you go, it feels like you need an app to navigate things from digital tickets gaining entry to games and concerts to the ability to read a menu. QR codes, apps, social media accounts, and even the ever-handy GPS are all available at your fingertips. It connects you 24/7 to the world around you. But at what cost?

Increasingly, many people are realizing that being forever connected to the rest of the world through your phone isn’t necessarily a good thing. And more than a few of those people just so happen to be famous! In this list, we’ll take a look at ten celebrities who have pushed back on the smartphone trend and ditched their cell phones at some point. Honestly, after hearing some of their reasons for going back to using flip phones or cutting out cell phone use altogether, maybe they are onto something here. However, it would be interesting to know how long they lasted…

Related: 10 Ways That Technology Has Destroyed Privacy

10 Sarah Jessica Parker

Sarah Jessica Parker was incredibly well-connected digitally as the 2010s dawned on the world. She had both a cell phone and a very active email account. But then, in 2013, she noticed something: She was falling behind on both phone calls and emails. She hated that feeling—the one that felt like she should be more responsive to more people at more times. So she decided to cut one of her technological habits out of her life. And when she examined her lifestyle, the choice became clear. It was time for the cell phone to go!

Choosing to retain her Blackberry specifically so that she could keep up with the many emails she receives from friends and family members, she got rid of her other smartphone and cut out cell phone use altogether. “I chose emails because when you’re on a set, you can carefully and sneakily check a BlackBerry, but you can’t return a phone call,” Parker told E! News when they asked about her decision to ditch the mobile carrier. “Hearing ‘your voicemail is full’ is horrifying to me.” Us, too, Sarah. Us too!^[1]

9 Christopher Walken

Christopher Walken doesn’t just not own a smartphone—he doesn’t own any modern digital technology! The famed actor isn’t exactly young and vibrant at this point in his life. And when computers and other digital tools came on the rise and began to be adopted by the public in the last couple of decades, he was simply too old to jump in like everyone else. So he decided to stay away from cell phones. And computers, too! According to him, he’s never owned a computer in his life, and he doesn’t see the need to start now.

“I just got to it too late,” Walken explained to Stephen Colbert when the late-night host interviewed him about it a few years ago. “I think I’m right at a certain age where it just passed me by. I never got too involved in it because it would be strange to have any 10-year-old be much better at it than I am.” Honestly, that’s not a bad point. Especially when it comes to using computers like the way young people do these days!

But what about cell phones? Certainly, Walken must have a need to be able to talk on the phone (even a flip phone!) with producers and directors every now and again, right? Wrong! “Cell phones and that sort of thing, it’s a little bit like a watch,” Walken revealed to Colbert. “If you need one, somebody else has got it. People are nice about letting me borrow things.” Well… sure. Maybe just to make a call. But you can’t always count on that!^[2]

8 Dierks Bentley

When it came time for Dierks Bentley to get a new phone in 2014, he wasn’t keen on getting an iPhone like pretty much everybody else in the developed world. So, when he went into the Verizon store to pick up his new phone, he specifically asked for the exact opposite. He remembered asking the salesperson there to give him the phone with the absolute lowest level of technology that they had. And that meant a flip phone! Even as everybody else in the world was settling into their iPhone-induced existence. Going against the grain, indeed!

“I’m going low-tech,” Bentley told People Magazine after they asked him about his phone usage. “Everybody else was running out for the new iPhone 6, but I got a flip phone. It has a camera because of the kids, but it’s pretty basic. This one was like 99 cents. I’m trying to call more and text less. I don’t want to check my phone 5,000 times a day anymore. It was getting to me. I’m bringing old back.” We love the sound of that. Maybe that’s a trend we can all get behind.^[3]

7 Justin Bieber

Many of the celebs on this list have ditched their iPhone or other smartphone brands and opted to use a flip phone instead. But Justin Bieber went even further than that. He got rid of any cell phone altogether! Now, it’s not as difficult to do that when you have a manager and a full team of people working around you. We are sure those people have their smartphones and can communicate and cut deals on Justin’s behalf. But still, it’s notable that the pop star ditched his phone completely! And this isn’t a story from way back when, either. Justin opted to make this move in the very recent year of 2021!

While explaining that he only personally owns an iPad to be able to send emails every so often whenever he needs to do so, Justin told Billboard Magazine that his motivation was making sure that people couldn’t constantly contact him asking for favors, help, and other perks that have come from his celebrity status.

“I definitely learned how to have boundaries, and I just don’t feel like I owe anybody anything,” Bieber explained. “That has helped me to be able to just say no and just be firm in it and know that my heart [wants] to help people, but I can’t do everything. I want to sometimes, but it’s just not sustainable.” Seems like ditching the phone and making it so that he can’t receive a phone call or a text message would certainly do the trick!^[4]

6 Simon Cowell

Simon Cowell had a smartphone for a long time. He needed one, considering his career working in the cutthroat pop music industry. But in 2017, he woke up one morning and realized that all he ever got was hammered with text messages and phone calls. He felt far too reachable and far too connected, and he wanted out of it. So he let go of his cell phone. Not just his smartphone, either—we mean he went entirely without a cell phone altogether!

Reflecting on that monumental decision in an interview with ET, the former American Idol judge explained: “It’s very simple. It means you don’t wake up to, like, 50 text messages you can’t reply to. And that’s what happened one morning—I woke up and I’ve got 52 unread messages. And I thought, even if I reply to every one of those, I’m going to get another replying back, and then I’m going to get more that day… so I just turned it off and I went a month, three months, then a year, then two years, then three years. And I love it.” That is seriously some logic that we can get behind. Must be very mentally freeing!^[5]

5 Kate Beckinsale

Kate Beckinsale is so beautiful that she’s allowed to do whatever she wants when it comes to adopting (or not adopting) technology. Okay, we’re half kidding about that part, but she really is beautiful. And she really is old school when it comes to phone use! In 2016, she revealed during an interview with Slash Gear that she still owned a red Verizon LG flip phone. Unlike pretty much every single person around her, Kate wasn’t keen on getting an iPhone for herself. The technological curve was too great, and the digital immersion it offered was too unsettling.

“That’s about the extent of it,” Beckinsale explained to the outlet about her flip phone when they asked which tech products she uses in her everyday life. “I don’t like my iPod. I like a nice record player and a book. I’m very much about that… I’m not much interested in an iPhone.” Honestly, after seeing how round-the-clock connectedness has affected so many people in the world around us, we’re not much interested in that world anymore, either. Perhaps Kate has it right on this one!^[6]

4 Elton John

At least Elton John is totally and completely honest about why he doesn’t have a smartphone. And why he doesn’t have any cell phone at all, actually! The legendary crooner is simply too famous to have to worry about all that stuff. Instead of having people call him directly, he simply never bought a cell phone. His assistant has one, though, and since his assistant is almost always right there with him and in close contact, that person simply serves as the go-between. Imagine that—being so famous that you don’t need to connect yourself to the outside world at all! It’s freeing, in a way.

Now, Elton does use one piece of technology: an iPad. But he doesn’t use it in quite the same way many of us do. He only has it by his side for one single thing—to Skype with his family members when they are far apart. “My life is fabulous,” Elton explained to late-night TV host Jimmy Kimmel about his avoidance of cell phones. “I don’t have people ringing me two times a minute. I couldn’t bear to have a phone. And I just have an iPad for the kids and Skyping them when I’m not with them.” Honestly, in some ways, that’s the dream!^[7]

3 Shailene Woodley

A decade ago, in 2014, actress Shailene Woodley decided to completely ditch her cell phone. Of course, she had an assistant, an agent, and a manager, all of whom were helping her career move along, so she had the privilege to be able to do that. The rest of us can’t exactly go no contact with the whole world even if we wanted to… but regardless, she gave up her smartphone for good! Speaking to the Daily Beast about her unique decision, Woodley said at the time that smartphones had led to a “bigger lack of privacy” and a “bigger lack of camaraderie and community” than any invention in history up until that point. Not wrong!

She also told the outlet that if she ever were to buy a phone again, it’d be of the flip variety: “If I were to have one, it would be a flip phone… Since I got rid of my phone, having to pull over and be like, ‘Hey, buddy— do you know how to get here?’ I’m talking to people more than I’ve ever talked to in my life because I no longer have that crutch. The more you get away from all the technological buzz, the more freedom you have.”

Fast forward a few years, though, and there’s been an update! Shailene has finally decided to ditch the flip phone world and go back to using a smartphone… sort of. She went on Jimmy Kimmel Live a couple years ago and admitted that she does now own an iPhone. However, it has no data plan, and she only uses it when she can pick up Wi-Fi. Beyond those moments, she’s still using a flip phone to communicate with friends and family. Huh. That’s certainly one way to go about it—with two phones, each doing half a job.^[8]

2 Michael Cera

You would think that Michael Cera is the ideal person to really fall into the smartphone trend. He came of age just as the iPhone was blowing up, he’s incredibly popular both in his movies and online, and he has the world at his fingertips (metaphorically speaking). But he very much doesn’t want the world at his fingertips, literally, as if he had a smartphone in his hand. And that’s because he had a horrible experience with the Blackberry when it first came out years ago!

Cera spoke to the Hollywood Reporter about his strange career, his quirky personality, and his aversion to smartphones. For one, he revealed that he feels “a bit of fear” about being that connected to the rest of his world because he “might really lose control of my waking life.” But it goes beyond that, too. See, when Blackberry technology first came out, Cera’s best friend bought one immediately. And the next time Michael saw him, they had lunch together. But it didn’t go well!

“Right when people started having smartphones, when it was Blackberries, I had lunch with a friend of mine who was my best friend at the time,” Cera explained. “He’d just gotten a Blackberry, and for the whole meal, he was typing emails, and I sat there lonely and bored. So I had an early aversion to them.” We can definitely understand how that must have made him feel. Interesting to hear that it turned him off to smartphones forever after, too!^[9]

1 Chris Pine

Chris Pine may be an actor known the world over, but that doesn’t mean he needs to be reachable at all times. For many years, he was an advocate of the flip phone. Even long after smartphone technology had been deployed all over the globe, he resisted the urge to use it. That all changed in 2022, though, when he finally bought an iPhone. He wanted to get up to speed with the modern world and all that. But almost immediately, he realized his grave mistake—and went right back to using a flip phone as soon as he could.

“I had a flip phone for three or four years, and I just got an iPhone because I felt pummeled by how difficult being analog was,” Pine explained during a podcast interview a couple years ago. “It was very difficult. But, having just got this crack machine [the iPhone]—it’s really bad. These things are really, really, really bad.”

Lamenting how disorienting it is to have so much information and interconnectedness at his fingertips at every moment, Pine concluded that his soul was hurting the most from using all this modern technology: “I may immediately go back to a flip phone. I don’t know if I can handle [an iPhone]—I don’t know if my soul can handle it.”^[10]