There’s a maybe half-hour stretch of Masters of the Universe that takes place in the real world, and I have no idea why. It isn’t something the original He-Man and the Masters of the Universe cartoon felt compelled to do. The ’80s TV show, which was conceived of as an elaborate commercial for a Mattel action-figure line, was about the adventures of Adam, a brawny pageboy’d prince who transformed into the equally brawny hero of the title when he held his special sword aloft and intoned some magic words. Adam may have been half-Earthling on his mother’s side, but that was just a biographical footnote — he was an avowed citizen of Eternia, a planet where sword and sorcery elements exist alongside sci-fi ones like fighting robots and flying ships. It’s a setting made up of a bunch of shit a kid might like, mashed up together with no concern for internal logic, and the new movie can’t help but start there, too, even though that messes up its whole premise. Masters of the Universe kicks off with an introduction to Eternia in all of its kid–safe–Frank Frazetta glory, summarizing lore about the Sword of Power and its osteal resting place, Castle Grayskull, before exploring the angst of young Prince Adam (played as a child by Artie Wilkinson-Hunt), who’s small for his age and easily pushed around during weapons training. Then it flings Adam off to Oklahoma City as a refugee from the attacks of perpetual villain Skeletor (Jared Leto, allegedly), and it becomes clear that no one involved in this project has a clue how to make a tolerable product out of this aging IP.

That’s the bar everyone involved in this movie was aiming to clear, and I’m not just saying that because the “fan screening event” I attended began with a heartwarming speech from a Mattel executive about how “Masters of the Universe was one of the most important brands we wanted to bring to life” (he mentioned Travis Knight only after a long ode to their corporate producing partners). The script for the movie, which is credited to Chris Butler, Aaron Nee, Adam Nee, and Dave Callaham, feels overwhelming, like something hastily patchworked together from different passes at the story over the years, rendering some aspects repetitive and others nonsensical. Take that sojourn in Oklahoma, in which we see a grown Adam, played by Nicholas Galitzine, go on a failed date, go to his job in human resources, and go home to the apartment he shares with a roommate. There was obviously an earlier version that started here, presenting Adam as either the exiled prince of a fantastical kingdom or an office drone who made up a grandiose backstory for himself to cover up the trauma of his parents’ death. But because the movie leaves no question about our hero’s identity, the Earth interlude is not just pointless but confusing. Like, what happened when a 10-year-old dropped out of the sky with no record of previously existing? Was he adopted, and does he have any investment in the people who raised him? And why does it take him so long to find a sword that appears to have been right down the block the whole time?

It’s possible to make a real movie out of the most dire of corporate circumstances — even a toy line, the way Greta Gerwig did with Barbie, and the way that Knight himself, best known for heading up the stop-motion studio Laika, did with the improbably charming Transformers spinoff Bumblebee. But Masters of the Universe isn’t a real movie. It’s a bunch of half-realized, semi-contradictory ideas accrued over years. It takes the rough shape of a comedy without ever really landing a joke, up to and including the potentially great one that Eternia warriors “Fisto” and “Ram Man” aren’t actually named that, that those are just the childish labels given to them by Adam as a kid. It never decides whether it’s fan service for nostalgic adults who’ll get some juice out of a cameo from Dolph Lundgren, star of the notorious 1987 Masters of the Universe movie, or an action-adventure for kids (Alison Brie, as henchwoman Evil-Lyn, is the only cast member who seems consistently aware she’s in a comedy). It cast Leto as its big bad, despite his reputational baggage and the character’s computer-generated skull for a face, then excised the actor from all promotional events. What was the point of shelling out for his participation in the first place? (He does trill his “Rs” impressively, I guess.)

Its action sequences are marked by endless pratfalls as Adam sorts out his He-Man powers and also endless pratfalls as his former weapons teacher Duncan (Idris Elba) tries to recover from his years as a depressed drunk. This gives their scenes together the feel of two different drafts that were document merged incorrectly. (As Duncan’s hypercompetent daughter Teela, Camila Mendes is left to roll her eyes.) The movie never really decides whether its source material is to be mocked or to be approached with a more wry affection. Worst of all, Masters of the Universe is under the impression it has something to say about masculinity without deciding what that is, exactly. It’s not difficult to see how Knight and company arrived at this thesis, when working with a main character who transforms into a bulgy warrior in a loincloth wielding, as Skeletor himself points out, an incredibly phallic weapon. But it’s exasperatingly impossible to sort out how the movie delineates good masculinity from the toxic kind. The movie wants to free up its hypertough characters to talk about their feelings but also has a clear contempt for the HR speak it presents as the alternative. In his regular-guy garb, Adam acts humiliatingly out of place at the gym and then weird on a date with a model-beautiful woman, despite looking like a handsome if charmless actor who’s been training intensely for months. In his He-Man form, Adam makes a show of reluctance about embracing brute force, then rips his foes’ arms off and beats them to death.

Masters of the Universe ends by making fun of the blunt moral lessons the original animated series punctuated its episodes with but couldn’t come up with even a joking conclusion of its own if pressed. There’s something appropriate about the movie coming out in the wake of two horror movies from 20-something YouTubers that have been setting box-office records. Obsession and Backrooms may not be perfect, but they are both, thrillingly, the visions of their respective young auteurs, while Masters of the Universe belongs to no one — a project engineered at enormous cost from the needs of IP.

SAG-AFTRA members overwhelmingly approved a four-year TV and film deal with major studios including Netflix, Disney and Warner Bros. Discovery on Thursday night, increasing minimum wages and addressing concerns about the use of AI performers.

The deal, which was expected to be approved, received the support of 91% of SAG-AFTRA members who voted on the agreement, which starts July 1 and ends June 30, 2030. The union represents 160,000 performers, including actors, stunt performers and influencers.

“This agreement builds on the foundation members fought to establish and carries that work into the next chapter of our industry,” said SAG-AFTRA President Sean Astin in a statement. “It delivers meaningful gains in compensation, strengthens protections around artificial intelligence and digital identity, reinforces the long-term security of members’ benefit plans and recognizes the realities of how performers work today.”

Under the new deal, the length of the agreement between SAG-AFTRA and major studios represented by the Alliance of Motion Picture and Television Producers expands from three years to four years.

It also boosts minimum wage by 3% annually, increases contributions to the health plan by 1% and expands the bonus to the union’s Success Bonus Distribution Fund based on residuals that performers get for popular streaming programs.

The contract also addresses concerns about the growing use of artificial intelligence in TV and film and its impact on actor jobs. Last year, many actors spoke out about Tilly Norwood, a computer-generated “actor” and whether synthetic characters like her could threaten their livelihoods. Some performers have also advocated for getting paid if their likenesses are used to create such characters made through AI systems.

Not all members were in favor of the contract, saying it did not go far enough in protecting performers against AI.

“It normalizes the use of AI replicas and synthetic performers rather than drawing a firm line protecting human performers and their jobs,” said Chuck Slavin, a background actor and performer.

Slavin, a former New England local board member, ran against Astin for SAG-AFTRA president last year.

Producers agreed to “a principle strongly favoring human performances” and that producers would only use a synthetic if it “brings significant additional value to the motion picture.” If a producer decided to use a synthetic in a role that could be done by a human, they would need to notify the union and bargain in good faith.

Additionally, the contract merges the pension plans of the Screen Actors Guild and the American Federation of Television and Radio Artists, which were previously separate but combined in 2012 to form SAG-AFTRA.

Their health plans were consolidated in 2017, but the pensions have remained separate . That was a major sticking point with members, some of whom couldn’t qualify for benefits as their contributions were split between two plans. Studios agreed to boost their overall contributions to the combined plan by 1%.

SAG-AFTRA’s deal comes after the Writers Guild of America members also approved an agreement with the AMPTP in April.

The groups were able to agree on contracts this year, without striking as they did in 2023.

“SAG-AFTRA’s leadership brought a genuine commitment to partnership, and together with the WGA agreement, these deals demonstrate what is possible when the industry works toward practical solutions that support its long-term stability,” AMPTP said in a statement.

The Directors Guild of America began negotiations with AMPTP last month, with its contract expiring on June 30.

Staff writer Cerys Davies contributed to this report.

An innocent family ends up killing an unwelcome guest and has to escape the wrath of law enforcement. Ever since George Kutty walked out of that under-construction police station, a slew of films capitalising on the Drishyamwave have made their way to our screens. Titles like Bharathanatyam 2: Mohiniyattam, Revolver Rita and last week’s release, Blast, ruminate on the basic throughline of a family that has inadvertently or has been forced to commit murder. Director Pandiraaj’s latest flick, Parimala and Co., starring Jayaram and Urvashi, also follows suit. Except, here, the one murdered isn’t just the unwanted visitor, but also screenwriting, the anticipation of watching comedy films, and your patience.

The story follows the murder of Varghese (Sandy Master), a crooked goon who has been eve-teasing a young woman named Madhumitha (Ananthika Sanilkumar), and has been a cause of trouble to her sister, Parasakthi a.k.a Sakthi (Sanjana Krishnamoorthy), mother Sudhandhiram (the ever-impressive Urvashi), and father Parimala (an underserved Jayaram). The twist here is that nobody really knows who killed Varghese. While the members of the Parimala family are busy pointing fingers at each other, Inspector Empurumaan (Mysskin gives his all, as always) begins to investigate the case.

A still from ‘Parimala and Co.’
| Photo Credit:
Think Music India/YouTube

The chinks in armour appear much earlier, in how the writer fails to even convince us that one of these seemingly innocent members of the family is the killer. Even the first major narrative step in the story — the decision to murder Varghese — feels rushed and unconvincing. Parimala goes to great lengths, including approaching the police, to save them from the troublemaker, but what leaves you scratching your head is how instantly this innocent middle-class family (and a UPSC trainer father) broach the idea of killing off a human being. And how calmly they take the idea that one of them could have killed off someone.

But it is with a heavy heart that I say that these initial portions feel like great writing when compared to what is to follow. With every following scene, Parimala and Co. only ends up more trite, bafflingly amateurish, and outright yawn-inducing. Much of the film moves in a routine pattern. Show a scene at the Parimala house that vexingly tries to make you laugh. Now cut to introduce some random detail about the gangster world. Yogi Babu rags the Parimala family; now a minister threatens Mysskin. Parimala does this; a new potential villain does that. And collectively, the film feels like a mash-up of already ill-conceived scenes glued together like pulled hair on a rag doll.

Parimala and Co.

Director: Pandiraaj

Cast: Jayaram, Urvashi, Sanjana Krishnamoorthy, Mysskin

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Runtime: 138 minutes

Storyline: After a notorious gangster is mysteriously murdered, a middle-class family finds itself entangled in a web of suspicion, secrets, and a police investigation

Nothing makes any sense, and you stop caring about what would happen to any of these characters. What was the whole point of the trip to Palakkad? What does Varghese’s mother, Sengamalam, have to do with the story? What’s the point of the siblings of Parimala and Sudhandhiram? Firstly, what was the point of any of the character-specific details, like the love-hate equation between the sisters or the fact that a housewife is named Sudhandhiram, when they don’t get sentimental pay-offs or find a callback in the plot? Well, the biggest curveball the director throws is that even the titular Parimala family eventually ends up feeling inconsequential to the story.

Given how many details — like the water tank being full all the time due to overuse of the motor, or a girl drinking wine for cosmetic reasons, or how Sakthi always forgets to switch on the switch while charging her mobile — never find any utility in the thriller narrative, it makes one wonder if this was an attempt at imbuing the story with real quirks. If that’s the case, Pandiraaj has chosen the most ill-fitting project to do so. At the end of the day, what really bothers one is how incredible performers like Urvashi, Jayaram and Mysskin end up getting the raw end of the deal. While Mysskin has truly grown to become one of the most sought-after character artists, Jayaram and Urvashi offer a few glimpses of comedy gold (like a scene set in the living room that also features Mysskin), further making one wonder the potential Pandiraaj had in his hand.

Urvashi in a still from the film
| Photo Credit:
Think Music India/YouTube

Parimala and Co. ends with a dull stretch about the horrors of drug abuse that screams tokenism, and if anything, this is a film that would make you want to drink, either a hot cup of coffee or a shot of vodka, to forget and forgive.

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In life, sometimes, all that can go wrong will go wrong, and we are bound to think of Murphy. You might end up in a place where anything you touch turns for the worse, and this is precisely what happens to the Parimala family and Varghese — but I am also sad to report that this is what has happened to the Pandiraj-directed film as well.

Parimala and Co is currently running in theatres