I’m starting to think that cosmic horror is near-impossible to adapt to the big screen. Often, the point of this subgenre of horror is to showcase the unfathomable, a horror so unknowable that it’s impossible to describe. Now, for a medium that thrives on “show, don’t tell,” a full-length movie doesn’t seem like the best format for this type of horror. I’ve seen so many cosmic horror films, and a majority of them fail to land the satisfaction of a more traditional horror film.

Iron Lung, directed by and starring Markiplier, takes a stab at this elusively complex genre.

After the sudden disappearance of stars and planets in the universe, a lone space station explores a nearby moon to search for a way to save humanity. The catch is that the entire moon is covered in an ocean of blood. A convict, played by Markiplier, is tasked with exploring the moon in a one-man submersible, in exchange for his freedom.

Naturally, an ocean of blood isn’t the best place to be. The moon’s ocean hides mysteries and monsters beneath all the gore.

On the impossibility of cosmic horror

Though a movie is all about showing and not telling, Iron Lung navigates through these intricacies by not showing anything.

Because everything is just blood outside, the submarine needs a special camera that takes only grainy photos directly in front of the submersible. There’s always a sense of claustrophobic dread. What’s outside the submarine? What were those sounds? Did the camera really take a photo of something alive?

The film’s premise alone is a perfect source of horror. This is where cosmic horror thrives: on the questions, on the tiny sneak peeks of a monster lurking around the corner.

But, then again, this is also where the subgenre can paint itself into a corner. Eventually, audiences ask for more. They need to see and know the beast for real. Think Cloverfield, when the massive alien finally shows its face, or The Nun with… well, The Nun.

It’s an unwritten rule in horror films that the monster must make an appearance. It becomes a paradox for cosmic horror because the beast must also be unknowable.

When the beast finally shows up in Iron Lung, the audience never learns an understandable reason why it’s stalking the submarine. It’s not hungry, it doesn’t want revenge, and it doesn’t want to take over the world. It just is.

Is that a satisfying enough conclusion? If you’re a fan of cosmic horror, then it’s par for the course. However, if you’re more used to the more traditional horror film, it might leave you wanting more.

On madness

A mysterious monster isn’t the only thing that cosmic horror is known for. It’s also about madness and how the protagonist goes insane after seeing the unknown.

It’s apropos, then, that the convict starts hallucinating right after seeing a glimpse of the ocean’s beast. He starts to lose track of what’s real and what’s not.

In other movies, madness is an effective tool in subverting expectations and amplifying the horror. For example, in The Lighthouse, Winslow, the protagonist, also loses his sanity and questions reality. The film is all about this descent into madness and the questionable actions as a result from it. In Shutter Island, madness is a punchline, a plot twist that invites the audience to revisit the entire film and question their own perception.

Iron Lung, however, is neither a complete descent nor a plot twist. Rather, it’s a clear third act stemming from the convict’s encounter with the monster.

Since it’s clearly delineated in the third act, it’s hard to empathize with the convict’s plight. There’s a sense of vertigo moving from a creature feature into, in the convict’s own words, “alien shit” where you’re not sure of what’s real. Likewise, it’s not a plot twist either. You don’t reevaluate whether the entire movie was a hallucination.

Madness is understandably a major plot point of the original game that the movie is based on. However, its translation into film isn’t the smoothest. It’s both too short and too long.

But is it a good film?

Despite its struggle with the format, Iron Lung is still a spirited attempt at a one-room horror film. Markiplier melds into his role and doesn’t just showcase his on-screen YouTube personality.

The premise is, at once, frightening. It’s eerie and creepy. There is always a pervasive need to figure out what comes next. That’s pretty much what you want from a movie anyway. Yes, the ending might be polarizing, especially to those more used to the usual horror film, but the journey is still worth the price of admission.

And, at the very least, the film got me interested in watching Mark’s original playthroughs.

Netflix has done the seemingly impossible: a Floyd Mayweather-Manny Pacquiao mega fight rematch is set for September 19. It will stream globally on Netflix with no additional cost for standard subscribers.

The historic bout will be the first-ever boxing match to be held at The Sphere, the 20,000-seater modern indoor venue in Las Vegas known for its immersive, 16K wraparound LED display.

Arguably two of the greatest icons in boxing history, Floyd “Money” Mayweather (50-0, 27 KOs) and Manny “Pac-Man” Pacquiao (62-8-3, 39 KOs), will square off in an official, professional rematch.

The development comes on the heels of Mayweather announcing coming out of retirement an almost decade-long hiatus.

Meanwhile, it will be Pacquiao’s first professional fight since July 2025 when he and Mario Barrios fought to a majority draw. At the time, he also came out of a four-year retirement.

During the span, both fighters have been active in exhibition boxing matches. Notably, Mayweather fought against Tenshin Nasukawa and Logan Paul, whose brother Jake popularized novelty exhibition boxing matches. Pacquiao, for his part, fought against DK Yoo and Rukiya Anpo.

Interestingly, both Mayweather and Pacquiao

The upcoming rematch follows the two protagonists’ 2015 “Fight of the Century” wherein Mayweather outpointed Pacquiao via a unanimous decision.

A rematch had been sought for so long, especially with both fighters having encounters with each other numerous times.

Full details regarding undercard and ticket availability will be announced in the coming weeks.

Netflix taking over sports broadcasts

The Mayweather-Pacquiao rematch comes just a few days after Netflix announced a Ronda Rousey-Gina Carano MMA super fight.

This match is a collaboration between the streaming giant and MVP promotions, which is co-founded by Jake Paul and Nakisa Bidarian.

On the other hand, the upcoming boxing slate in September is primarily more of a broadcast for Netflix.

The platform has actively been getting into broadcasting premier sporting events, including the Canelo Alvarez-Terence Crawford fight last year.

Unlike pay-per-views (PPV), Netflix does not require extra payment for viewers to be able to watch such sporting events. A standard subscription to their platform is already enough.

For an anime franchise that surely belongs in greatest-of-all-time lists, Neon Genesis Evangelion seems to thrive on controversy. From the polarizing ending of the original series to the controversial introduction of Mari Makinami in the Rebuild trilogy, there’s a lot to talk about between Evangelion fans. Now, the series has something new coming. Neon Genesis Evangelion is getting yet another series.

Most recently, the Rebuild of Evangelion completed its arc of rebooting the entire franchise with a more conclusive ending. It was a near conclusion, especially for those who grew dissatisfied with the previous attempts’ endings. Now, an upcoming series might take the franchise to new grounds.

To celebrate the franchise’s 30^th anniversary, Neon Genesis Evangelion is getting a new series helmed by Nier’s Yoko Taro, which you might also know as the guy who wears a creepy moon on his head. Kazuya Tsurumaki, who directed the Rebuild films, will return to direct some episodes. Series creator Hideaki Anno is, unfortunately, not writing this story.

Right now, no one knows what story the series will tell. The franchise is notorious for retelling the same story over and over but with different endings. It’s unclear whether the upcoming series will do the same, tell an entirely new story, or pick up where the series left off.

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