Monster

The uproar over Tucker Carlson’s interview with white nationalist and Holocaust denier Nick Fuentes has sparked yet another round of MAGA civil war talk.

Full disclosure: I previously worked for Carlson at the Daily Caller, so I’ve had a front-row seat for this ongoing battle for a long time now.

In case you missed the latest: Carlson invited Fuentes onto his podcast. What followed wasn’t an interview so much as a warm bubble bath of mutual validation — the kind of “conversation” that helps launder extremist ideas.

Enter Kevin Roberts, president of the Heritage Foundation — once the intellectual vanguard of conservatism, now something closer to an emotional support group for people who think President Reagan was too soft. Responding to whispers that Heritage might distance itself from Carlson, Roberts rushed out a video to reassure the faithful: Heritage will have no enemies to its right.

Roberts disagreed with Fuentes (good for him) but insisted Heritage didn’t become the top conservative think tank by “canceling our own people or policing the consciences of Christians.” He also called Carlson’s critics a “venomous coalition” who “serve someone else’s agenda” — which echoes one of the oldest antisemitic tropes in the book.

And then something surprising happened: People inside Heritage actually pushed back (a brave move, given Heritage’s Orwellian “one voice” policy). Some even resigned.

The broader right-wing commentariat weighed in, too. Ben Shapiro called Carlson an “intellectual coward.” Ted Cruz made some noise. The Wall Street Journal editorial board huffed. And talk radio host Mark Levin criticized Fuentes and Carlson during a speech to the Republican Jewish Coalition. For a brief moment, it looked like accountability was actually trending.

But … why this moment? Why now?

Keep in mind: Then-former President Trump dined with Fuentes in 2022 and wrongly claimed immigrants were eating pets in 2024. As president, he told the Proud Boys to “stand back and stand by” in 2020. And of course he launched his political career by questioning President Obama’s birth certificate. I could go on.

Despite all of this, Trump’s grip on the conservative movement only grew firmer.

Meanwhile, right-wing antisemitism has metastasized on Trump’s watch — despite his support for Israel.

Charlottesville, anyone?

The “alt-right” has shed its “alt.” They’re just “right” now.

This is especially observable when it comes to young conservatives who came of age during the Trump era. Indeed, one Heritage staffer told the New York Post that “a growing number” of Heritage interns “actually agree” with Fuentes.

And here’s the irony: The same conservative media figures now sounding the alarm helped build the machine.

Take Levin. Fuentes recently admitted that it was Levin’s radio show that first radicalized him. “He planted the seed, at least,” Fuentes told Carlson.

Likewise, aside from endorsing Trump in 2024, Shapiro made conspiracy theorist Candace Owens famous when his Daily Wire hired her to host a podcast on its platform after she became buddies with Kanye West and after she suggested the only problem with Adolf Hitler was that “he had dreams outside of Germany.”

So if these more mainstream Trumpers are horrified now, it’s probably because they helped create monsters — and those monsters are now coming to devour their creators, as monsters always do.

Rest assured, though, this rot is not limited solely to antisemitism. In recent months, MAGA figures such as Vivek Ramaswamy, FBI Director Kash Patel and even Vice President JD Vance (who is married to an Indian American woman) have all been targets of racist abuse online.

It’s important to note that none of these folks are considered “Never Trump” or Reagan conservatives. They are Trump allies. The revolution devours itself. (First they came for the Never Trumpers.…)

Again, this is far from the first skirmish in the MAGA civil war. But all of these internecine fights obscure the root cause of the problem: Trump. And yet, the orange emperor himself? Off-limits.

The fever won’t break while Trump’s still around, serving as a magnet for the worst people and cultivating the toxic ecosystem that made all of this right-wing racism possible, if not inevitable.

So by all means, conservatives: Condemn Carlson, denounce Fuentes and scold Heritage for failing to police the right and only punching left.

But as long as you avert your eyes from Trumpism, your righteous outrage is just theater — the political equivalent of aggressively mopping the floor while the pipes keep bursting.

Matt K. Lewis is the author of “Filthy Rich Politicians” and “Too Dumb to Fail.”

It’s dead certain that if you’ve been a television critic for, ahem, a number of years, you’re going to have reviewed a passel of shows based on the writing of Stephen King, America’s most adapted, if not necessarily most adaptable author. (It’s been a mere three months since the last, “The Institute,” on MGM+.) The latest float in this long parade premieres Sunday on HBO — it’s “It: Welcome to Derry,” a prequel to the 2017 film, “It” (and its 2019 follow-up, “It: Chapter Two”) based on King’s 1986 creepy clown novel, each of which made a packet. (There was a 1990 TV miniseries version as well.)

Developed by Andy Muschietti (director of the films), Barbara Muschietti and Jason Fuchs, “Derry” is an extension of the brand rather than an adaptation, which features a white-faced circus-style clown called Pennywise (Bill Skarsgård, back from the movies) who lives in the sewer and comes around every 27 years to feed on children’s fear — fear being the preferred dish of many famous monsters of filmland, and white-faced circus clowns having lost all goodwill in the culture. (No thanks to King. Or Krusty.) And while I assume some of the series’ points may be found within King’s original 1,138-page novel, life is short and that is going to have to remain an assumption. In any case, it’s very much a work of television — not what I’d call prestige television, despite a modicum of well-done fright effects — just ordinary, workman-like TV, with monsters. (Or one monster in many forms.)

It’s 1962 in Derry, Maine, and everywhere else. (Subsequent seasons — prequel prequels — will reportedly be set in 1935 and 1908.) The Cold War is heating up. Schoolchildren, forced to watch animated films about the effects of a nuclear blast, are ducking and covering beneath their desks (a psychological rather than a practical exercise). But the threat of annihilation has done nothing to slow them in their teenage rituals. Bullies chase a target down the street. A group of snobby girls is called the Pattycakes, because they play patty cake, and their leader is named Patty. On the other hand are the kids we care about, the outsiders, banded together in unpopularity. It’s a paradoxical quality of horror films that to be an outsider either qualifies you as a hero or the monster — the insiders are usually just food. Not that the monsters are particular about whom they eat.

We open in a movie theater. Robert Preston is on the screen in “The Music Man,” performing “Ya Got Trouble.” (Chronologically accurate foreshadowing!) In the audience is Matty (Miles Ekhardt), a boy way too old to be sucking on a pacifier. Chased from the theater — he’s been sneaking in — it’s a snowy night, and he accepts a ride from a seemingly normal family, who quickly turn abnormal. Suddenly it’s four months later and Matty is an officially missing child.

Taylour Paige, Blake Cameron James and Jovan Adepo play the Hanlon family, who have just moved to Derry, Maine.

(Brooke Palmer / HBO)

The series begins promisingly, setting up (as in “It,” or, hmmm, “Stranger Things”) a company of junior investigators. Phil (Jack Molloy Legault) has a lot of thoughts about aliens and sex; Teddy (Mikkal Karim Fidler) is studious and serious and has thoughts about Matty. Lilly (Clara Stack) is called “loony” because she spent time in a sanitarium — the King-canonical Juniper Hill Asylum — after her father died in a pickle factory accident. (Not played for laughs, although the pickle is perhaps the funniest of all foods.) Lilly thinks she heard Matty singing “Trouble” through the drain in her bathtub; Ronnie (Amanda Christine), the daughter of the cinema’s projectionist Hank (Stephen Rider), has heard voices in the theater’s pipes. The kids run the film, and supernatural mayhem ensues. It’s pretty crazy! Gross hallucinations — or are they? — will afflict them through the series.

Meanwhile, Air Force Maj. Leroy Hanlon (Jovan Adepo) has been transferred to the local base, where secret doings are afoot, involving (classic plot line) the military’s desire to claim and weaponize whatever barely understood dangerous thing that’s out there in the woods. (His value to this operation is that he cannot feel fear, the result of a brain injury.) The Hanlons — including wife Charlotte (Taylour Paige), a civil rights activist in a Jackie Kennedy pillbox hat, and son Will (Blake Cameron James) — are Black (as are Ronnie and her father, seemingly accounting for 100% of Derry’s in-town African American population). “Don’t be looking for trouble,” Leroy tells Charlotte, who responds, “There’s going to be trouble anywhere we go. That’s the country you swore your life to defend.” Will, who is scientific, will become friends with Rich (Arian S. Cartaya), an appealingly goofy kid in a band uniform; they’ll both wind up on the Pennywise case.

Typically, the kids — also including Marge (Matilda Lawler, the secret weapon of “Station Eleven” and “The Santa Clauses”), Lilly’s socially desperate friend — are the strongest element in the story and the show; their energy overwhelms the obviousness of the narrative, and whatever takes us away from them, into pace-slowing side plots, is time less well spent.

What else? There’s a Native American element — including the old Indian burial ground story — represented by Rose (Kimberly Guerrero), who runs a thrift store (called Second Hand Rose, in a nice nod to Fanny Brice) and whose indomitable air makes her a kind of counterpart and potential ally to Charlotte. Manifest destiny gets a mention, and the plot will conventionally pose Native humbleness against white hubris. Dick Hallorann (Chris Chalk) is a Black serviceman with a tragic mental gift, used cruelly by his superiors — a familiar King type. Racism is a recurring theme without becoming a consistent plot point, with messages for 2025. (Rich: “This is America. You can’t just throw people in jail for nothing.” Will: “Are we talking about the same country?”)

Also: A statue of Paul Bunyan is going up in town — and in fact a 31-foot-tall Bunyan statue was unveiled in Bangor, Maine, in 1959. This is pointed to a couple of times, so I would imagine some kind of Stay-Puft Marshmallow Man scenario coming in the series’ unseen back half. Or something.

Horror, especially body-horror — there are two monstrous birth sequences in the five episodes, out of nine, available to review — has, you may have noticed, moved from the fringes to the center of popular (even high) culture, with A-list stars signing on and Oscar and Emmy nominations not unlikely. Indeed, the good, cheap, unrespectable, unambitious variety of scare flick has mostly disappeared from the big screen. That “Welcome to Derry” is more of a cheesy B-picture than its makers might like to imagine, assembled from worked-over tropes — somewhat excusable for King having originated many of them — is more in its favor than not. TV remains a haven for cheesiness. Long may it remain so.

“Frankenstein” has haunted Guillermo del Toro since he was a kid who barely reached the Creature’s knees. Back in 2011, the writer-director was already tinkering with a version of the monster that resembled a blend of Iggy Pop and Boris Karloff with jagged sutures, gaunt wrinkles and a crushed nose. Since then, Del Toro has made changes. The 2025 model is played by Jacob Elordi, a 6-foot-5 actor often cast as the ideal human specimen in movies like “Saltburn” and who here howls to life with handsome features and rock star swagger. But your eyes keep staring at his pale, smooth seams. He doesn’t look hand-stitched — he looks a little like a modern android.

Of course he does. The decades have given Del Toro time to think about what truly scares him. It’s not monsters. He loves all disfigured nasties, be they swamp creatures, eyeball-less ogres or bolt-headed Hellboys. It’s tech bros, like the ones weaseling into Hollywood, who give their every innovation a sterile sheen.

“Frankenstein” is the director’s lifelong passion project: He doesn’t just want to make a “Frankenstein” but the “Frankenstein,” so he’s faithfully set his adaptation in the past. But he’s adjusted the wiring so that 1850s Europe reminds us of Silicon Valley. The result is the best movie of his career.

This Baron Victor Frankenstein (Oscar Isaac) is a short-sighted egomaniac who barks over his critics while jabbing the air with his fingers. “I fail to see why modesty is considered a virtue,” he says with a snort.

And Del Toro has written Victor an enabler: a deep-pocketed investor named Henrich Harlander (Christoph Waltz) who struts into Victor’s science lecture hunting for a whizkid to crack the code to immortality. With his gold-heeled shoes and a confidence that he’s too rich to die, Waltz’s wealthy arms dealer is a 19th century take on venture capitalists like Bryan Johnson and Peter Thiel who’ve been poking into the feasibility of pumping their veins with young blood.

“Don’t be a reasonable man,” Henrich advises Victor. The assumption is — and remains — that tycoons and geniuses deserve to run rampant. Great success demands an indifference to the rules. And if you’re wondering whether money or brains has more power, there’s a scene in which Henrich uses a chamber pot and smugly orders Victor to “flush that for me.”

Del Toro is wired into the outrage in Mary Shelley’s sly 1818 novel, a nightmarish satire about men who care only about yelling “first!” without asking what horrors come next. Centuries ago, she warned of man’s ill-considered rush to create artificial intelligence. Today, Dr. Frankenstein’s descendants keep promising that AI won’t destroy civilization while ignoring Shelley’s point, that the inventor is more dangerous than his monster.

Victor, a stunted man-child who drinks milk served by a sommelier, is frozen in the I’ll-show-him stage of growing up with an abusive father (Charles Dance) who whipped him when he got a wrong answer on his schoolwork. Victor’s name, we’re reminded, means “winner,” a symbol of the pressure he’s under to excel.

Isaac plays him with a pitchman’s exuberance that sags as the corners of his mouth wrench down in disappointment. He’s hacked how to make a disembodied head moan in agony. But having rarely felt affection, Victor doesn’t know how to generate that emotion at all. Worse, it hasn’t occurred to him to think past the triumph of his product launch, that his Creature can’t be readily unplugged. The only kind characters in the movie are a rural blind man (David Bradley) and the moth-like Mia Goth, double-cast as Victor’s mother, Claire, and his brother’s fiancee, Elizabeth. A convent girl with a creepy streak, Elizabeth sees beauty in biology, leaning over a corpse’s flayed back to appreciate the intricacy of its ventricles. But the more she studies Victor, the less impressed she gets.

Because Shelley came up with “Frankenstein” as an 18-year-old newlywed who’d just lost a baby, her message gets boiled down to gender: Women birth life, men mimic it. Really, the feminine strength of the book lies in its foxy, shifting narration that opens with a prologue from an Arctic explorer who’s gotten his sailors trapped in the ice, before transitioning to Victor’s story and then the Creature’s. Like a hostess who secretly loathes her guests, Shelley encourages her characters to flatter themselves and expose their braggadocio.

Del Toro has kept that tactic and he’s kept the book’s structure. But within that framework, he’s changed nearly everything else to make Victor more culpable. Unlike the 1931 film, there’s no Igor and no excuse of accidentally using the wrong brain. This Victor does his own dirty work and what goes wrong is his fault. Meanwhile, Del Toro amps up the action, starting the film off with a ghastly great sequence in which Elordi’s Creature punches a sailor so hard his spine snaps into a backward somersault.

“What manner of devil made him?” the Captain (Lars Mikkelsen) exclaims. Victor guiltily explains why he played God.

Being a futurist isn’t bad. Henrich, an early adopter of daguerreotype cameras, shoots photographs of women posing with skulls like he’s paving the way for Del Toro’s whole filmography. But pompous Henrich and Victor don’t appreciate that their accomplishments are built on other’s sacrifices. When the cinematographer Dan Laustsen pans across a battlefield of dead soldiers, it feels like a silent scream. Henrich made his fortune killing these men; now, Victor will salvage their body parts.

Del Toro delights in the kinetic gusto of the tale, the grotesquerie of cracking limbs and blood sloshing about Victor’s shoes. In the laboratory, dead leaves and buzzing flies whirl through the air as if to keep up with the inventor’s wild ambitions and Alexandre Desplat’s swirling orchestral score. The production design by Tamara Deverell is superb as are the costumes by Kate Hawley, who shrouds Goth in dramatic chiffon layers and dresses laced to highlight her vertebrae. (This movie loves bones as much as Sir Mix-A-Lot loved backs.)

As Victor rudely flings around torsos and limbs, it’s clear that he only values life if it’s branded with his name. So yes, of course, Elordi’s Creature looks good. He’s been assembled from the choicest bits of man flesh to show off the talent of his creator, not so different from Steve Jobs caressing samples of brushed aluminum. When Elordi’s Creature pleads for a companion, a sliver of sculpted abs peeking out from under five hulking layers of wool and fur, you expect half the audience’s hands to shoot up and volunteer.

Elordi has adopted one or two of Karloff’s mannerisms: the arms outstretched in search of warmth, the lurching walk. You can see that he’s a tad lopsided on the left side, presumably because Victor couldn’t find matching femurs. Mostly, he’s his own monster, neither the calculating serial murderer of the book nor Karloff’s reactive, animalistic killer, but a scapegoat who finally starts leveling his foes with bone-breaking efficiency.

Towering over Victor by almost a foot, Elordi’s Creature dwarfs his creator physically, morally and emotionally. There’s anguish in his eyes, and when Del Toro shows us the world through his perspective, humanity itself appears anti-life, a pestilence that destroys without hesitation.

There’s a pack of digital wolves that just looks silly. Otherwise, you trust how intensely Del Toro has doted upon every detail. I was flummoxed by a row of servants flanking young Victor (Christian Convery) who appeared to be wearing gauzy bags over their heads. What are those for? My theory is it’s a tribute to the veil Karloff sported during lunch breaks, so as not to frighten any pregnant secretaries on the Universal lot.

Eschewing mobs of pitchfork-wielding villagers, Del Toro focuses on Victor’s inability to parent his unholy son. And while the end stretch gets a bit too stiff and speechy, particularly with a line that Victor is the “true monster,” I loved the moment when the Creature, venting on behalf of all frustrated children however big they‘ve grown, growls, “The miracle is not that I should speak but that you would listen.”

This deservedly anticipated “Frankenstein” transforms that loneliness into stunning tableaux of Victor and his immortal Creature tethered together by their mutual self-loathing. One man’s heart never turned on. One can’t get his heart to turn off. Ours breaks.

A curse befell Jacob Elordi when he was a child. It happened in the aisle of a Blockbuster Video. The culprit for the incantation was the image of the now emblematic Pale Man from “Pan’s Labyrinth,” flaunting eyes on his palms on the back cover of the DVD.

“My mother remembers this,” an energetic Elordi tells me in a Hollywood conference room. “I came running through the corridor and I was like, ‘I need this DVD.’ And she was like, ‘That’s so much blood and gore. You can’t watch it.’”

“She told you, ‘I’ll get it if you promise never to work with that director,’” Guillermo del Toro, the filmmaker behind the Oscar-winning dark fantasy, chimes in, sitting next to Elordi.

His wish granted, Elordi watched “Pan’s Labyrinth” at a young age. The fable set against the Spanish Civil War forever changed him. “From that moment, because of the way that Guillermo wills magic into the world and into his life, I feel like there was some kind of curse set upon me,” the actor says. “I do genuinely believe that, as out there as it sounds.”

Now, Elordi, 28, has become one of the Mexican director’s monsters in his long-gestating adaptation of Mary Shelley’s “Frankenstein” (in theaters Friday, then on Netflix Nov. 7). Under intricate prosthetics and makeup, Elordi plays the Creature that arrogant scientist Victor Frankenstein (Oscar Isaac) breathes life into — an assemblage of dead limbs and organs imbued with a new consciousness.

Elordi with writer-director Guillermo del Toro on the set of “Frankenstein.”

(Ken Woroner / Netflix)

Receptive to tenderness but prone to violence, the nameless Creature now has, in Elordi, a performer suited for all its unruly emotions. “It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and prosthetics designer Mike Hill. “The Creature could snap on a dime like an animal.”

Capable of complex thought, Del Toro’s version of the monster ponders the punishment of existence and the cruelty of its maker. “They’re almost like John Milton questions to the creator,” the director says of the Creature’s dialogue. “You have to give it a physicality that is heartbreakingly uncanny but also hypnotically human.”

The imposingly lanky, gracefully handsome Elordi, born in Australia, has risen in profile over the last few years, thanks to roles in the hit series “Euphoria” and the psychosexual class-climbing thriller “Saltburn.”

“It came from some other place,” Elordi says about the pull to the role of the Creature. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing.”

(Bexx Francois / For The Times)

“Frankenstein,” however, seems to have been calling his name for a long time.

“Early in my career, I had been reading what folks on the internet would say about me and someone had written after my first film, ‘The only thing this plank of wood could play is Frankenstein’s Creature. Get him off my screen!’” Elordi recalls. “I went, ‘That’s an absolutely fantastic idea.’”

The thought reentered Elordi’s mind while making Sofia Coppola’s 2023 “Priscilla,” in which he played a moody, internal Elvis Presley to Cailee Spaeny’s title character. Long before he was offered the part, the hair and makeup team on “Priscilla” shared with him their next job was, in fact, Del Toro’s “Frankenstein.”

“I looked at [hair designer] Cliona [Furey] and I said, ‘I’m supposed to be in that movie.’ And she said, ‘Did you audition?’ And I was like, ‘No, but I’m meant to be in that movie.’”

“It came from some other place,” Elordi further explains. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing. I’ve heard stories about this from actors, and when you hear them, you kind of go, ‘Sure, you were meant to play this thing.’ But I really feel like I was.”

Due to scheduling conflicts, Andrew Garfield, originally cast as the Creature, dropped out in late 2023. With production set to start in early 2024, Del Toro had limited time to find a new actor. When Elordi finally heard he was being considered, he had to read the screenplay within hours of receiving it, and be willing to dive into the darkness.

“I had a few weeks to prepare, but I was lucky to have also had my whole life — and I mean that sincerely,” he says, a grin crossing his face. “Playing this was an exploration into a cave of the self, into every experience with my father, with my mother, my experience with cinema, my scraped knees when I was 7.”

Del Toro says he knew Elordi would make the perfect Creature from speaking with him over Zoom. He remembers immediately messaging Isaac, his Victor, convinced that Elordi could play both “Adam and Jesus,” which are the two facets that the creature represents for the director.

Jacob Elordi as the Creature in the movie “Frankenstein.”

(Ken Woroner / Netflix)

“I don’t think I’ve experienced miracles many times in my life,” Del Toro says. “And when somebody comes to your life in any capacity that transforms it, that happened here. This man is a miracle for this film.”

As he typically does for all the actors in his films, Del Toro sent Elordi several books ahead of working together. Elordi’s deep-dive reading list included the bedrock Taoist guide “Tao Te Ching,” Stephen Mitchell’s well-regarded translation of the Book of Job and a text on the developmental stages of a baby.

The most complex element of the performance, Del Toro believes, is playing “nothing,” meaning the blank, pure state of mind of a living being in infancy. “A baby is everything at once,” Elordi says. “It’s deep pain, deep joy, curiosity. And you don’t have chambers for your thoughts yet.”

Right before “Frankenstein,” Elordi had been shooting Prime’s World War II miniseries “The Narrow Road to the Deep North” in Australia, an experience he describes as “grueling,” one that involved losing substantial weight. He repurposed his body’s subsequent fragility as a dramatic tool.

“My brain was kind of all over the place,” he remembers. “I had these moments of great anguish at around 3 a.m. in the morning. I’d wake and my body was in such pain. And I just realized that it was a blessing with ‘Frankenstein’ coming up, because I could articulate these feelings, this suffering.”

Aside from being an outlet for his exhaustion, the transformation also helped Elordi to recalibrate. “Frankenstein” arrived at a time where he found himself wrestling with a crisis of purpose.

“At that time in my life I really wanted to hide,” Elordi says. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies,” Elordi says. “And when the film came along, I remember being like, ‘Ugh, I really wanted to go away right now.’ And I realized immediately the Creature was where I was supposed to go away to. I was supposed to go into that mask of freedom.”

Was he trying to escape the pressures of dawning fame? Elordi says it was much more philosophical than that.

“Who do I think I am? Who do I present myself as? What do I like? What don’t I like? Do I love? Can I love? What is love? Every single thing of being alive,” he says with a radiant smile. “The unbearable weight of being.”

“At that time in my life I really wanted to hide,” Elordi says of the moment just before taking on Del Toro’s version of the classic. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies.”

(Bexx Francois / For The Times)

The part entailed physically burying himself in another body. It allowed Elordi to renounce any hang-ups, surrendering to a fugue state of mind. Every moment felt like a discovery.

“I was liberated in this makeup,” he adds. “I didn’t have to be this version of myself anymore. In those six months, I completely rebuilt myself. And I came out of this film with a whole new skin.”

Elordi sat for 10 hours in the makeup chair on days that required full body makeup — only four if they were only shooting the Creature’s face. “Jacob wanted to wear the makeup and he knew it would be grueling,” Hill says.

“It was nothing short of a religious experience,” Elordi says. “The excitement I had even just getting my body cast — I was buzzing.”

Hill believes that the decision to make the Creature bald for the scenes where he is a “baby” is what makes Del Toro’s take unique within the “Frankenstein” mythos.

“Instead of what happens in cloning where a baby grows, Victor literally did make a baby, just a big one,” says Hill. “The Creature learns quickly because its brain and its bodies have already lived once. God knows what this Creature knew before he forgot and needed to be reminded.”

As for the skin, Del Toro envisioned a marble-statue look that he had been pursuing in earlier movies like “Cronos,” “Blade II” and “The Devil’s Backbone.”

“Mike took it and made it incredibly subtle: flesh with the violets and the purples and the pearlescence,” Del Toro says. “He bested every concept I’ve ever imagined by making it look like parts of exsanguine bodies. That was so brilliant.”

“It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and creature designer Mike Hill, here seen working on a model for “Frankenstein.”

(John P. Johnson / Netflix)

A Frankenstein’s monster with rainbow-colored flesh, Hill says, could only exist in the context of a Del Toro picture.

“He had to look beautiful, like a phrenology head or an anatomical manual,” Del Toro adds. “We agreed — no scars. No sutures. No vulgarity.”

Del Toro’s casting of Elordi was fully validated when the actor walked on set for the first time in full makeup. “The whole process was anticipation,” Elordi says. “And then I opened my eyes and he was looking back at me, and it was exactly what I thought it would be when I first read the screenplay.”

For Hill, it was watching Elordi doing an interview, where his limbs seemed loose and relaxed, that convinced him he was the right actor to sculpt the Creature on. “I was like, ‘Look at those wrists.’ And then he turns, and he has these lashes,” Hill says. “Big eyes are beautiful for makeup. And structurally, Jacob has an unassuming nose, so you can build on that.”

“And he has a big chin,” Hill continues amid Del Toro’s boisterous laughter. “I was like, ‘I’m not going to glue one on.’”

Amused at his anatomy being dissected in front of him, Elordi claps back, mock-defensively: “He was grotesque to look at, but he was somewhat gifted. A deformed skinny freak.”

By the time Elordi got out of the makeup chair, he says, the electricity in his body had shifted. He stepped on set physically depleted but in the ideal headspace to embody the creature as it navigates an inhospitable reality.

“He’ll forever be fused into my chemistry,” Elordi says. “He was always there and now I have a little place for him. But I can’t rationalize him.”

Whether by curse or by miracle, Elordi’s Creature lives. And the actor feels reborn.

Identifying companies that are well positioned to serve a massive growth opportunity can help you land those elusive multibaggers. All you need is one growth stock to work out better than you could have imagined to change your life. Focusing on the companies that are helping build the future, and showing strong growth because of it, can steer you toward the right stocks.

To help you in your search, here are two growing companies playing important roles in the global adoption of artificial intelligence (AI).

Image source: Getty Images.

1. SoundHound AI

SoundHound AI (SOUN 10.20%) has seen its stock skyrocket 455% over the last three years (at the time of this writing). Businesses are turning to it for AI-powered voice assistants, a technology SoundHound has been investing in for 20 years. It has gained a strong foothold in the restaurant industry, with Red Lobster recently partnering with SoundHound on AI-powered phone ordering. But the company has set its sights on serving all enterprises, which could spell monster returns for investors.

SoundHound AI was recently named a leader in the IDC MarketScape for Worldwide General-Purpose Conversational AI Platforms 2025 Vendor Assessment. Its growing revenue indicates a business with huge momentum. Revenue more than tripled in Q2 to nearly $43 million. That brings its trailing-12-month revenue to $131 million, up 137% year over year.

While acquisitions have partly boosted its growth, SoundHound AI has a fundamentally profitable business model. Over the long term, it can monetize its technology through royalties, subscriptions, and advertising. Management expects to be profitable on an adjusted EBITDA (earnings before interest, taxes, depreciation, and amortization) basis at the end of 2025.

SoundHound is making great progress expanding beyond the restaurant market. In the second quarter, it made deals with companies across healthcare, retail, and financial services.

As it grows, SoundHound AI is building a strong competitive advantage built on data. It recently exceeded 1 billion queries per month on its platform. This data can help improve its AI capabilities and reflects its growing presence across multiple industries.

SoundHound’s stock has a relatively low market cap of nearly $8 billion at the time of writing. The addressable market it is tapping into is estimated well above $100 billion, so this is a stock that could be worth significantly more in 20 years than it is today.

Image source: Getty Images.

2. Cloudflare

More than 20% of all websites use Cloudflare (NET 4.01%). It acts as a security check between a visitor and a company’s website. The stock has soared 292% over the last three years, but as the company pivots to meeting demand for AI-driven web traffic, investors could see a lot more gains over the long term.

Cloudflare’s main competitive advantage is an extensive global network that covers over 335 cities. This allows it to deliver efficient and scalable service to internet service providers. As it adds more servers to the network, the company’s competitive moat widens from greater efficiency.

Cloudflare has consistently delivered year-over-year growth of about 25%. In Q2, its revenue grew 28% over the year-ago quarter, and this momentum should continue as AI begins to introduce a whole new avenue of growth for the company.

It just signed a $15 million deal with a rapidly growing AI company for its Workers AI product. This service allows companies to run AI models on edge computing devices on the company’s network. Cloudflare has relationships with several leading AI companies, which positions it well for growth as AI agents and models begin to generate an increasing amount of web traffic. Management is enthusiastic to leverage this competitive position to serve new opportunities, such as autonomous transactions completed online between AI agents.

Analysts expect the company’s earnings to grow at an annualized rate of 24%. With AI enhancing its growth prospects, Cloudflare should be a solid growth stock to hold for many years.

Welcome to Screen Gab, the newsletter for everyone who spent the week Googling Ed Gein.

“Monster,” the gruesome and graphic anthology series from longtime collaborators Ryan Murphy and Ian Brennan, has dramatized the chilling story of serial killer Jeffrey Dahmer and the highly publicized and complex case of Lyle and Erik Menendez, brothers who were convicted for the 1989 murder of their parents. The third installment of the Netflix series, which was released last week, puts its twist on the legend of Gein, a killer who inspired fictional villains like Norman Bates and Leatherface. Brennan, who wrote the season, stopped by Guest Spot to discuss the fantastical approach to the season and that “Mindhunter” hat tip.

Also in this week’s Screen Gab, our streaming recommendations include a “Frontline” documentary that continues its chronicle on the lingering impact of poverty and a spinoff of “The Boys” set at America’s only college for superheroes.

ICYMI

Must-read stories you might have missed

Illustration of John Candy with his hands on his cheeks.

(Brian Lutz / For The Times)

‘You never stop thinking about John Candy’: How a pair of projects keep his legacy alive: The beloved actor, who would have turned 75 this month, is the focus of an eponymous biography and “John Candy: I Like Me,” a documentary directed by Colin Hanks.

With the help of advisors, ‘Boots’ co-stars challenged themselves to portray military life authentically: Actors Miles Heizer and Max Parker trained like Marines and utilized the experiences of the show’s military advisors to ground their characters.

She’s used to finding laughs in catastrophe. But Rose Byrne is only now going to the edge: After stealing focus in everything from “Bridesmaids” to “Insidious,” Rose Byrne unravels beautifully in “If I Had Legs I’d Kick You.”

Victoria Beckham sheds Posh persona, gets candid about eating disorder in Netflix doc: The three-part docuseries chronicles the Spice Girls alum’s pivot from pop stardom to high fashion.

Turn on

Recommendations from the film and TV experts at The Times

A still from “Frontline: Born Poor,” which filmed over 14 years with kids from three families, from adolescents to adults, to explore how poverty has affected them.

(Frontline PBS)

“Frontline: Born Poor” (PBS.org)

Television is glutted with “reality,” but there are still filmmakers who prefer to look at how people live when they’re not contestants in a dating game or bunked up with competitive strangers. Jezza Neumann’s “Born Poor” is the third installment in a moving documentary series that began 14 years ago with “Poor Kids,” and, like Michael Apted’s “7 Up” films, has visited its subjects in intervals over the years since. Set in the Quad Cities area, where Illinois meets Iowa along the Mississippi River, it follows Brittany, Johnny and Kayli from bright-eyed childhood into chastened, though still optimistic adulthood, as they deal with life on the margins — power lost, houses lost, school impossible, food unpredictable. Now, with kids of their own, all are concerned to provide them a better life than the ones they had. With Washington waging a war on the poor to protect the rich, it’s a valuable watch. — Robert Lloyd

Derek Luh (Jordan Li), from left, Jaz Sinclair (Marie Moreau), Keeya King (Annabeth Moreau), Lizze Broadway (Emma Meyer) in “Gen V.”

(Jasper Savage / Prime)

“Gen V” (Prime Video)

Just two weeks out from its Season 2 finale and the satirical superhero series continues to deliver merciless dark humor and sharp topical commentary on America’s great crumble — inside of a tale about misfits enduring the rigors of college life.

Spun off from the brilliant “The Boys” franchise, this series from Eric Kripke, Craig Rosenberg and Evan Goldberg follows a group of students at Godolkin University, an institution designed to identify and train the next generation of superheroes. But the co-eds soon discover that their supposed higher education is in fact a clandestine operation to create “Supe” soldiers for an impending war between the super-powered and non-powered humans. Returning to the fold is Marie Moreau (Jaz Sinclair), who emerges as the rebel group’s most powerful weapon against the school’s nefarious plot. Working alongside her are Emma (Lizze Broadway), Cate (Maddie Phillips), Jordan (London Thor and Derek Luh) and Sam (Asa Germann). The wonderfully unnerving Hamish Linklater (“Midnight Mass”) joins the cast as the school’s new dean.

Is “Gen V” just as gory as “The Boys”? Absolutely. Watch with caution. But nothing else is quite as fearless in calling out the contradictions and absurdities of our times, be it corrupt politics, corporate domination or false religiosity. — Lorraine Ali

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Charlie Hunnam as Ed Gein in an episode of “Monster: The Ed Gein Story.”

(Netflix)

“Monster: The Ed Gein Story” stars Charlie Hunnam as the so-called “Butcher of Plainfield,” whose gruesome crimes in 1950s small-town Wisconsin went on to inspire pop culture classics like “Psycho” and “The Texas Chain Saw Massacre.” The season leans into Gein’s diagnosed schizophrenia and his legacy in Hollywood to present a deeply fictionalized version of his horrifying activities. All eight episodes of the season are now streaming. Ian Brennan, who co-created the anthology series with Ryan Murphy and helmed the latest installment, stopped by Guest Spot to discuss the season’s approach to fact vs. fiction, that “Mindhunter” nod and the documentary that earns his rewatch time. — Yvonne Villarreal

We often hear from actors about the roles that stay with them long after they’re done filming. Are there elements of “Monster: The Ed Gein Story” that you still can’t shake?

Ed Gein was schizophrenic, and I find the internal life he would have suffered through for decades — alone and hearing voices, primarily that of his dead mother — completely harrowing. He wasn’t medicated until late in his life, and until he was, his mind was a hall of mirrors of images he saw and couldn’t unsee — most shockingly photos of Nazi atrocities during the Holocaust. I believe the only way he could cope was to try to normalize these things — digging up bodies, skinning them, making things from them — and the nagging voice of his mother ultimately drove him to murder at least two women, Mary Hogan and Bernice Worden, maybe more. Ed Gein wasn’t the local boogeyman — his neighbors didn’t find him scary — he was the guy you’d have watch your kids if the babysitter canceled last-minute. And yet, in those four inches between his ears there existed a bizarre, terrifying hellscape of profound loneliness and total confusion. Every day in this country we see what happens when the lethal combination of male loneliness and mental illness goes ignored. The thought of an Ed Gein living just down the street from me is chilling.

“Based on a true story” depictions typically have a loose relationship with the truth due to storytelling needs. This season of “Monster” bakes that idea into the narrative — whether because of Ed’s understanding of events or the way in which he, or his crimes, inspired deeply fictionalized villains like Norman Bates (“Psycho”), Leatherface (“The Texas Chain Saw Massacre”) and Buffalo Bill (“The Silence of the Lambs”) — in trying to unpack the “Who is the monster?” question. What questions were swirling in your head as you tried to weave this story together? And how did that inform where and how you took your liberties?

Ed’s story is, in many ways, fragmented — he didn’t remember many details of the acts he committed, and he passed polygraph tests when interrogated about cold cases police suspected he may have perpetrated. So we knew from the very beginning that there would be gaps to fill in when telling his story — and it seemed the obvious way to do it was to let the true story interplay with the fictionalized versions of Ed Gein that he inspired. There’s a subtle thematic bleed between the versions of Ed we see in the series and the monsters in the movies he inspired — in the first three episodes, we see a “Psycho”-inflected Ed Gein obsessed with his mother; next a much more sexualized, violent Ed Gein that would become “Leatherface”; then an Ed Gein who so fetishized the female body and who was made so ill by the repression of that urge that he became obsessed with building a suit made from women’s bodies. These versions of Ed, to me, are like the blind men feeling different parts of the elephant in the parable — each true in their own way, but each also just a fragment of a shattered whole that will probably never be fully understood.

The season finale features a “Mindhunter” nod. Happy Anderson, who played serial killer Jerry Brudos on that show, reprises his role as the Shoe Fetish Slayer, talking to characters meant to be Holden Ford and Bill Tench, though they’re named John Douglas and Robert Ressler, the real FBI agents who inspired the fictional ones. When and why did you realize you wanted to have that hat tip? Was there an attempt to try to get Jonathan Groff or Holt McCallany?

Having written three seasons of this anthology so far, we’ve realized each time that the emotional climax always comes in the penultimate episode and the finales are always particularly difficult to figure out. We knew we needed to top the episodes that had preceded it by shifting the show’s look and tone — and we had in our hands the nugget that John Douglas and Robert Ressler had, indeed, interviewed Ed Gein in person. Ryan and I both find David Fincher’s oeuvre almost uniquely inspiring, so once we pictured an episode that played as an homage to Fincher’s tone and style and narrative approach, it was something I, at least, just couldn’t unsee. If we were going to go down the rabbit hole of what this chapter of Ed’s story might have looked like, I could only really picture it in Fincher’s terms — so your guess is as good as mine as to why casting the “Mindhunter” pair of Jonathan Groff and Holt McCallany in the roles didn’t feel right (we both love both of those actors), but it just didn’t.

There are so many dark moments for the actors. What scene struck you as especially difficult to write and shoot?

I was at once excited and terrified by the challenge of depicting necrophilia on our show. I’m fairly certain it’s never been done before on TV, and I knew it ran the risk of seeming arbitrarily shocking or exploitative (though I think choosing to tell Ed’s story in an easier manner by avoiding this chapter and not showing it would be the actually exploitative choice). Needless to say, even after I’d written the scene, it preoccupied me, as I had to also direct it. I felt greatly helped by the new industry standard of intimacy coordinators on set — and ours, Katie Groves, was spectacular — but still I worried about the scene just playing as cringey or unwatchable. But Charlie Hunnam, as with every scene he acted in on the show, came at the sequence with honesty and deep concern to capture all of the strangeness of the bizarre, disturbing act we were depicting — and what it said about what was going on inside Ed to lead him to commit such an act.

What have you watched recently that you are recommending to everyone you know?

I just saw PT Anderson’s “One Battle After Another” — which was shot by one of our two directors of photography, Michael Bauman — and was just completely floored and delighted. I’m sure it’s rife with homage to films that have gone before, but I could detect no inheritance at all; it felt like a genre to itself — completely original and new. And I still find the time I watched Jonathan Glazer’s “Zone of Interest” to be among the most profound experiences of my life. He took what is maybe cinema’s most settled, well-trodden genres and turned it on its head in a way I found shocking and revelatory. If there is a better portrait of the proximity and ubiquity and the banality of human evil, I haven’t seen it. I think it is as brilliant a slice of human ingenuity as has ever been crafted. I have thought about that movie every day since I first saw it.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

It’s annoying to say it, but I don’t watch a lot of television. It’s like spending all day at the sausage factory then coming home to watch sausage footage. But the big exception is Peter Jackson’s Beatles documentary “Get Back” [Disney+] chronicling the making of the film and album “Let it Be.” I basically just watch it over and over again. I came late to the Beatles (I loved the Who and resented that they always sat squarely in the Beatles’ shadow), but when they hit me, they hit me hard, and watching them in this documentary at the height of their powers is a master class in the craft of collaboration and the hard work of genius. Also, everything I thought I knew about the Beatles at the end of their stretch as a band is wrong — fighting all the time? A bit but not really. Paul hated Yoko? He actually seems to really like her. I don’t know how many hours the documentary clocks in at, but I wish it were 10 times as long.

If you’re looking for some monster returns, the stocks that can provide them come in many shapes and sizes. For this exercise, we’re going to identify three stocks that show significant revenue growth as well as improving free cash flow and gross margins.

These indicators emphasize better financial health, flexibility for growth, or returning extra value to shareholders. Here’s a look at three companies with rising top lines, while simultaneously bringing more dollars to their bottom lines.

One seller’s trash, another buyer’s treasure

First up is a company called Copart (CPRT -0.33%), which operates an online salvage-vehicle auctions that 11 countries across North America, Europe, and the Middle East. Copart makes over 3.5 million transactions annually through its virtual bidding platform that connects vehicle sellers with over 750,000 registered buyers.

CPRT data by YCharts; TTM = trailing 12 months.

Copart has quickly grown into the largest online salvage-vehicle auction operator in the U.S. market and has grown its top line nearly fivefold since 2009 thanks to a strategy of land expansion and higher salvage volume. The company has contracts with large auto insurers, which have a plethora of vehicles deemed a total loss and sell them on consignment for high margins to dismantlers.

Image source: Getty Images.

Copart has been expanding. It’s crucial for the company to have ample land capacity to handle an influx of salvage vehicles on short notice and has nearly tripled its acreage since 2015, with an emphasis on areas at high risk of natural disasters. It’s also expanding into the salvage-vehicle resale process with offerings such as vehicle title transfer and salvage estimation services.

The company is expanding its business and its top line and has durable competitive advantages with the land it owns, creating a high-liquidity marketplace for buyers and sellers that isn’t easily replicable.

A recurring revenue dream

Autodesk (ADSK -2.19%) is an application software company servicing industries that span architecture, engineering, construction, product design and manufacturing, media, and entertainment. The company essentially enables the design, rendering, and modeling needs of those industries and has over 4 million paid subscribers across 180 countries.

ADSK data by YCharts.

Autodesk, while providing leading industry computer-aided design software, drives its success and durable competitive advantages through switching costs and network effects, which actually tend to reinforce each other. Widespread training on its software, often early in careers, not only gives people familiarity with the software, it also makes the cost of learning a competing software undesirable, unproductive, and time-consuming.

Furthermore, according to Morningstar, over 95% of its revenue is now recurring after the company transitioned away from licenses to a subscription model over the better part of the last decade. The change should enable the company to drive its top line even higher as it extracts more revenue per user with upsells and a more mature and loyal user base.

Autodesk even has upside if it can capture a chunk of the estimated 12 million to 15 million people using pirated versions of its software.

A hotel for every need

As of the end of 2024, InterContinental Hotels Group (IHG -1.01%) operated nearly 990,000 rooms across 19 brands that span from midscale through luxury segments. Holiday Inn and Holiday Inn Express are its largest and most recognizable brands, but it also has an assortment of lesser-known lifestyle brands that are recording strong demand.

IHG data by YCharts.

While there’s a bit of U.S. economic uncertainty in the near term, InterContinental should be able to leverage its strong brand of assets to drive room share (i.e., market share) over the next decade. It has renovated and newer brands focusing on attractive midscale and extended-stay segments, as well as a loyalty program with roughly 145 million members to help drive growth.

The company also holds significant assets in international markets with those outside of the Americas generating 47% of total rooms for 2024, and it’s well positioned for the more than 1 billion middle-income consumers expected to be joining the global population over the next 10 years.

The company has over 99% of rooms managed or franchised, which provides an attractive recurring-fee business model highlighted by high return on invested capital (ROIC) as well as high switching costs for property owners.

Contracts often last from 20 to 30 years, also providing noteworthy cancellation costs for owners — all helping drive durable competitive advantages for IHG.

Are they buys?

For long-term investors, these three potentially monster stocks have proved they can rapidly grow their top line while also improving gross margins and pushing more dollars into free cash flow.

The kicker is that all three possess some form of competitive advantage that should sustain and enable growth over the next decade. If you’re looking for market beating returns, these three stocks are a great place to start your research — and perhaps a small position.

Ed Gein may not be America’s most infamous serial killer — he’s eclipsed by the likes of Ted Bundy and Jeffrey Dahmer in the public imagination — but his macabre crimes were fodder for several classic horror movies that are permanently imprinted on American minds.

Gein, a Midwestern farmer pushed by personal tragedy into pathological criminality, is the focus of the third season of “Monster,” Ryan Murphy and Ian Brennan’s crime anthology series. The show’s debut season centered on Dahmer (played by Evan Peters) and its sophomore season focused on the Menendez brothers (Nicholas Alexander Chavez and Cooper Koch).

Charlie Hunnam leads the show’s third installment, “Monster: The Ed Gein Story,” premiering Friday on Netflix, as the titular “Butcher of Plainfield.”

“Serial killer. Grave robber. Psycho. In the frozen fields of 1950s rural Wisconsin, a friendly, mild-mannered recluse named Eddie Gein lived quietly on a decaying farm — hiding a house of horrors so gruesome it would redefine the American nightmare,” reads the show’s official logline.

“Driven by isolation, psychosis and an all-consuming obsession with his mother, Gein’s perverse crimes birthed a new kind of monster that would haunt Hollywood for decades.”

Gein’s enmeshment with his mother inspired the character Norman Bates, the bumbling motelier and murderer of Alfred Hitchcock’s “Psycho” (1960). The killer’s habit of fashioning costumes and furniture out of human skin is shared by his fictional counterparts Buffalo Bill (“The Silence of the Lambs”) and Leatherface (“The Texas Chain Saw Massacre.”)

But who was the real Ed Gein, and what moved him to commit the crimes that have fascinated horror directors for decades?

Early trauma

Born in 1906, Gein was raised on an isolated farm in Plainfield, Wis., by an alcoholic father and an ultrareligious mother, whom he adored and defended until her death in 1945.

In “Ed Gein,” a 2001 film based closely on Gein’s life, the killer’s mother teaches her sons that all women (except her) are promiscuous evildoers and restricts her sons’ contact with the outside world. While Gein’s father’s abuse is explicit, his mother’s is insidious — and arguably more deleterious to the young Gein.

“As the film portrays him, Ed Gein never had a chance,” former Times critic Kevin Thomas wrote in 2001.

In his 1989 true crime book “Deviant,” Harold Schechter characterizes the young Gein as a social outcast, resentful of almost everyone but his mother.

“Cut off from all social contacts, completely separated from the life of the community, condemned to an existence of crushing poverty in a remote and desolate region with two tormented and inimical parents, Eddie — never emotionally strong to begin with — was retreating farther and farther into a private world of fantasy,” Schechter writes.

An Oedipus complex

Gein’s father George died in 1940 of heart failure. Gein’s older brother Henry died four years later, reportedly from the same cause — though many believe Henry was actually Gein’s first victim. Then in 1945, the death of Gein’s mother Augusta reportedly triggered the soon-to-be killer’s spiral into psychosis.

The 2023 docuseries “Psycho: The Lost Tapes of Ed Gein” features medical records from 1957, the year Gein, then 51, was arrested. According to these records, Gein began grave digging in the aftermath of his mother’s death. He often took the bodies back to his shed; other times, he mutilated the bodies at their grave sites.

“When questioned as to his reasons for doing this, he stated that he thought it was because he wanted a remembrance of his mother,” the records read. Gein also confessed that, “for a period of time after his mother’s death, he felt that he could arouse the dead by an act of will power. He claimed to have tried to arouse his dead mother by an act of will power and was disappointed when he was unsuccessful.”

The corpses proved to be insufficient surrogates for Gein, who later devolved into murdering middle-aged women who reminded him of his mother. His first victim, 51-year-old tavern owner Mary Hogan, disappeared in 1954, and his second, 58-year-old hardware store owner Bernice Worden, was killed in 1957.

As chronicled in “Psycho: The Lost Tapes of Ed Gein,” Worden’s son Frank alerted authorities to her disappearance after he found shell casings and a trail of blood at their family hardware store. He also found a receipt for antifreeze, which Gein had inquired about the day before Worden went missing.

Upon entering Gein’s farm shed, authorities found Worden’s naked corpse hanging and mutilated “like some game animal that’s been dressed out after the kill,” “Deviant” author Schechter said in the documentary. They also found human skulls fashioned into soup bowls; lampshades and costumes made from human skin; and mutilated female body parts, among other nightmare fuel.

In a recording made on the night of Gein’s arrest and finally unearthed in 2023 — the same ones Hunnam used to inform his voice as Gein for “Monster” — the killer described his gruesome acts as “taken from reading about news magazines and them things. Taking the flesh off, like a head hunter.”

Forensic psychiatrist N.G. Berrill, who was interviewed in the Gein docuseries, said Gein was likely referencing midcentury pulp magazines that laid out the atrocities carried out by the Nazis during World War II. Ilse Koch, the wife of a Nazi commander, had a lampshade made from the skin of murdered inmates.

“The fact is, when you see all the bodies piled up and you see people as disposable, you understand that people were experimented with, if you’re inclined emotionally or psychologically to that type of thinking, even if you don’t want to admit it, it grabs your attention in sort of the wrong way,” Berrill said.

Gein ultimately confessed to murdering Hogan and Worden and robbing more than 40 graves, though he denied cannibalism and necrophilia claims. While initially convicted of first-degree murder in Worden’s death, he was eventually declared not guilty by reason of insanity — diagnosed as schizophrenic — and was institutionalized until his death due to complications from cancer in 1984.

The small-town horror story heard around the world

Gein’s crimes shocked his community and the country.

“He’s a kind of meek, unremarkable man who could have been your neighbor. And there’s something eerie about that, that is disruptive to our collective ideas of, ‘What is a monster?’” said Jooyoung Lee, a serial homicide researcher at the University of Toronto, in “Psycho: The Lost Tapes of Ed Gein.”

Some people’s fascination with Gein even verged into fandom, according to Hamish McAlpine, producer of the 2000 film “Ed Gein.”

“Apparently there are 182 websites devoted to Ed Gein,” McAlpine told The Times in 2001. “There is even an Ed Gein fan club. You can buy Ed Gein memorabilia. You can buy a bust of Ed Gein, Ed Gein ashtrays and even Ed Gein calendars.”

Echoes of Gein in Hollywood

Gein’s simmering psychosis coupled with the barbarity of his crimes made him an ideal horror archetype.

Gein was the inspiration for Robert Bloch’s novel “Psycho,” which Alfred Hitchcock adapted into the 1960 film of the same name. In Hitchcock’s movie, Bates, like Gein, exhibits severe attachment to his mother. Bates murders his victims due to a form of dissociative identity disorder that drives him according to her will.

“A boy’s best friend is his mother,” Bates famously says in the film.

Gein is among the serial killers who “The Silence of the Lambs” (1991) director Jonathan Demme said inspired his film’s villain Buffalo Bill, who, like Gein, skinned his victims.

That killer quirk also made its way into “The Texas Chain Saw Massacre,” which sees the chainsaw-wielding Leatherface sporting a mask made of human flesh. The indie horror film’s director, Tobe Hooper, said that as a child he heard Gein’s story from his relatives who lived in Wisconsin.

“They told us the story about this man who lived in the next town from them, about 27 miles or so, who was digging up graves and using the bones and skin in his house,” Hooper said in a 2015 interview with director Barend de Voogd.

“That was all I knew about it. They didn’t mention his name,” Hooper said. “But to me he was like a real boogeyman. That stayed in my mind.”

It might surprise you that the best-performing stock for the 30 years between 1994 and 2024 wasn’t a tech stock — despite the rise of the internet, the smartphone, cloud computing, and, of course, artificial intelligence.

No, the best-performing stock over that period was none other than Monster Beverage (MNST -0.58%). That’s right, an energy drink largely known for sponsorship at UFC, monster truck, and bull-riding competitions, appreciated 2,000 times over that period, trouncing the return of even the “Magnificent Seven.”

While Monster is still going strong at a $65 billion market cap, it would be hard-pressed to repeat its 2,000 times performance over the next 30 years. But there’s another up-and-coming beverage brand that has only been public for four years and sports a mere $2.4 billion market cap. Could this healthier-for-you drink brand emulate Monster’s massive long-term gains?

Vita Coco brought the tropics to the U.S. market

Vita Coco (COCO -0.26%) has been a public company only since 2021, but it’s a 20-year-old brand founded in 2004 by co-founders Michael Kirban and Ira Liran. While Kirban is currently the chairman of the board, the company’s current CEO since 2022 has been Martin Roper, a veteran of The Boston Beer Company.

Back in 2004, the coconut water category was basically nonexistent in the U.S., but Kirban and Liran saw the opportunity to bring this staple of Brazil and other tropical countries to U.S. consumers. Coconut water has a lot of benefits, including natural sugars, vitamins, and electrolytes, making it a versatile drink that can be used as a sports drink, sweet treat, general hydrator, or alcoholic mixer.

As coconut water caught on, Vita Coco’s founders shrewdly grew the company in an intelligent way, cementing the company’s first-mover advantage. Even after many competitors attempted to break into the category, Vita Coco still commands a near-42% market share of the U.S. coconut water market today, dwarfing that of any other brand.

How Vita Coco boxed out competitors

Over two decades, Vita Coco fended off competition even from the likes of beverage giants Coca-Cola (NYSE: KO) and Pepsi (NASDAQ: PEP). In 2009, Coca-Cola purchased the Zico brand, and Pepsi purchased the O.N.E. brand. But by 2021, Coca-Cola wound up selling Zico back to its founder, and Pepsi ended up selling O.N.E., along with other juice brands, to a private equity firm.

Vita Coco’s management claims its success against bigger, better-funded rivals came down to Vita Coco having “out-hustled, out-innovated, and out-maneuvered the competition.”

But it wasn’t just about execution. The founders were quite strategic and intelligent in how they grew their supply. Coconut water is actually a byproduct of coconut processing that was already taking place in tropical supplier countries like Brazil, the Philippines, and Thailand. So, Vita Coco’s founders went to these suppliers and offered to invest in the equipment needed to extract and preserve coconut water in exchange for long-term supply agreements.

By engaging with these high-quality existing suppliers early and replicating these agreements across the globe, Vita Coco gained high-quality coconut water supply while investing very little capital. Moreover, these agreements somewhat boxed out the competition from accessing these existing and knowledgeable partners.

Vita Coco has nurtured these relationships by reinvesting and donating proceeds back into these communities, qualifying as a public benefit corporation and further boosting its brand halo.

The shrewd strategy and solid brand execution are how Vita Coco grew to $560 million in revenue and $64.4 million in earnings over the past 12 months, while only having invested about $130 million in overall capital. That means Vita Coco is earning just over a 50% return on invested capital (ROIC) today.

Image source: Getty Images.

Category growth and appeal to younger customers could be a winner

At 42% of the U.S. coconut water business, Vita Coco actually has a much higher market share than Monster’s share of the energy drink category, which sits just below 20%. However, the energy drink market is much, much bigger than the coconut water segment, which explains why Monster currently dwarfs Vita Coco’s size.

Still, the coconut water category is growing quickly. Off near-zero in 2004, the U.S. coconut water category has grown to about $908 million in 2024. According to Grand View Horizon research, the market is projected to grow to almost $2.3 billion by 2030, good for a 16.8% compound annual growth rate. This higher growth is due to coconut water’s popularity with younger generations and high-growth urban and minority demographics.

Globally, coconut water is more established at about $7.1 billion. However, the global market is also set to grow at an above-gross-domestic-product (GDP) pace, at 7.2% compounded over the next 10 years, set to reach $14.5 billion by 2035, according to research firm Future Market Insights.

Can Vita Coco capitalize?

While Coca-Cola and Pepsi have retreated for now, the question is, can Vita Coco maintain or grow its share? There is still a lot of incoming competition from new and private brands, especially if coconut water turns out to be the attractive growth category that’s projected.

One concern is that there isn’t as much differentiation among coconut water brands as, say, flavored energy drinks, which have a lot more involved in their recipes. Varied flavors and more intricate recipes can lead to more brand differentiation. That may not last with coconut water, which is more similar to milk or orange juice — categories that are harder to differentiate.

That’s evidenced in Vita Coco’s lower gross margin, which stands at 36% today. That compares with much higher gross margins for Monster, Coca-Cola, and Pepsi, whose gross margins range from the mid-50s to low-60s. While Vita Coco makes a high ROIC, that’s a function of having invested very little capital, not high margins.

Still, that lower gross margin may also fend off competition, which may not find it easy or worthwhile to compete at such low margins. And if Vita Coco can hold off serious competition for long enough, it may be able to raise prices and margins down the road as it becomes more dominant.

All in all, I’d say Vita Coco has a good shot of multibagger returns over the long term, even if its current price-to-earnings (P/E) ratio of around 40 looks pricey at the moment. As such, it’s a name to watch, especially for younger investors, and a stock to pick up on any pullbacks.

Despite his notoriety Ed Gein was not really a serial killer

The latest true crime series now streaming on Netflix revisits one of the most notorious real-life horror tales of all time. The horrifying story has even served as inspiration for a number of iconic horror movies.

Monster: The Ed Gein Story is now available for streaming on the streaming platform. Gein is not only remembered for his confirmed crimes, as well as a number of others he is suspected of having carried out, but also the shocking discoveries made at his home.

But who were Ed Gein’s victims? What were his crimes? And what happened following his trial? Here’s all you need to know.

How many people did Ed Gein kill?

Despite his notoriety, Ed Gein cannot really be classed as a serial killer, unlike many of the characters he may have inspired, having only confessed to two murders. These included 58-year-old Plainfield hardware store owner Bernice Worden, who disappeared from her place of work in November 1957.

While the business saw just a few customers during the day, Bernice’s son, Deputy Sheriff Frank Worden, went into the store around 5pm and found the cash register open with blood stains on the floor. Gein was reported to be expected to return to the store that morning for some anti-freeze – and a sales slip for the killer was the last receipt written by Bernice on the morning she disappeared.

Gein was arrested and officers searched his farm, where they found Bernice’s body, decapitated and hung upside down like a deer in a shed. It was determined she had been shot before being mutilated.

Gein also admitted that he shot 51-year-old tavern owner Mary Hogan, who had been reported missing on December 8, 1954. Her head was found in Gein’s home, but he later claimed he could not remember details of the killing.

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What were Ed Gein’s other crimes?

Gein also admitted to stealing from at least nine graves. He told authorities he made around 40 trips to cemeteries, digging up bodies and turning parts from them into various items that were found in his home.

Some of these included bowls made out of skulls, lampshades and masks made of skin, and a belt made of nipples. He also made a suit made of skin, which many believe was supposed to resemble Gein’s mother. However, he denied ever having sex with any of the bodies.

Was Ed Gein suspected of other murders?

Ed Gein was linked with a number of other suspicious deaths. He was a suspect in seven unsolved cases.

This included two children who went missing. Georgia Jean Weckler, eight, and Evelyn Grace Hartley, 14, disappeared when babysitting. There were also neighbours who vanished, including James Walsh, 32. Gein had carried out chores for James’ wife following her husband’s disappearance.

However, Gein passed lie detector tests when confronted with these cases. Psychiatrists also claimed Gein’s violence and crimes were only directed towards women who physically resembled his mother.

What happened to Ed Gein?

While charged with first degree murder in 1957, he was diagnosed with schizophrenia and declared unfit for trial. He was sent to the Central State Hospital for the Criminally Insane.

But in 1968, doctors decided he was able to stand trial, which lasted just one week and was held without a jury. A psychiatrist testified and claimed Gein told him he did not know if Bernice Worden’s death was accidental or not.

A second trial took place over Gein’s sanity. A judge ruled he was “not guilty by reason of insanity” and ordered him committed to Central State Hospital for the Criminally Insane.

Ed Gein died at the Mendota Mental Health Institute due to respiratory failure, on July 26, 1984, aged of 77.

Monster: The Ed Gein Story is streaming on Netflix.

ASML Holding (ASML 0.10%) is one of the most important players in the global semiconductor industry. The Dutch semiconductor equipment giant manufactures machines that play a critical role in helping chipmakers and foundries print advanced chips.

However, ASML stock has been subdued since hitting an all-time high on July 8 last year. It has shed 11% of its value since then, while the broader PHLX Semiconductor Sector index has gained 10% during this period. ASML’s underperformance since July last year can be attributed to the potential effect of tariffs on the company’s equipment sales, along with its poorer-than-expected guidance for 2025.

The good part is that ASML stock has started gaining some momentum lately. The stock has jumped 27% in the past month, thanks to positive Wall Street commentary and the strength of the semiconductor market owing to the robust demand for artificial intelligence (AI) chips. It won’t be surprising to see ASML sustaining this momentum and delivering solid gains to investors over the next three years.

Let’s see why this semiconductor stock is primed for more upside by 2028.

Image source: Getty Images.

AI is set to drive stronger growth in semiconductor equipment spending

The proliferation of AI has played a central role in driving robust growth in semiconductor demand over the last three years. The picture for the next three years seems favorable as well, with Advanced Micro Devices CEO Lisa Su forecasting that sales of AI accelerator chips such as graphics processing units (GPUs) and custom processors are set to increase at an annual pace of 60% through 2028, generating a massive $500 billion in annual revenue.

It won’t be surprising to see that happening, given how fast the demand for AI computing in the cloud is increasing. Cloud infrastructure providers such as Oracle, Microsoft, Google, and Amazon don’t have enough data center capacity at their disposal to meet customer demand for training and deploying AI models, or for running inference applications in the cloud.

This has led to a massive order backlog at the leading cloud computing companies. For instance, the combined backlog of Amazon, Microsoft, and Google stood at a whopping $669 billion at the end of the previous quarter. Oracle recently reported remaining performance obligations (RPO) worth a whopping $455 billion, up by a massive 359% from the year-ago period.

So, these cloud giants are already sitting on more than $1 trillion in revenue backlog that they need to fulfill. That’s the reason why the spending on chipmaking equipment can be expected to accelerate over the next three years, as these companies are likely to keep spending huge amounts of money on setting up data center infrastructure. That’s going to create demand for more chips, which in turn will lead to an increase in demand for the chipmaking equipment that ASML sells.

What’s worth noting is that the chips used for tackling AI workloads — be it in data centers, personal computers (PCs), or smartphones — are manufactured using advanced process nodes. These advanced nodes help make chips with small transistor sizes, usually below 7-nanometer (nm). Not surprisingly, leading chipmakers are looking to make their chips smaller to increase computing performance and reduce energy consumption simultaneously.

ASML is the only company that can help chipmakers print smaller chips with its high NA (numerical aperture) extreme ultraviolet (EUV) lithography machines, which can be used for making chips that are just 2nm in size. This explains why companies such as SK Hynix, Intel, and Samsung have been lining up to purchase ASML’s high NA machines to further shrink the size of their process nodes in a bid to manufacture cutting-edge chips.

ASML’s monopoly-like position in the EUV lithography market explains why the demand for its equipment is expected to take off. S&P Global estimates that ASML’s EUV sales could rise an impressive 49% this year, followed by further growth in unit volumes and the average selling price (ASP) through the end of the decade.

Industry association SEMI is expecting the spending on equipment capable of producing advanced chips to increase to more than $50 billion by 2028, which would be a big jump from last year’s outlay of $26 billion. This could pave the way for substantial upside over the next three years.

ASML could turn out to be a solid investment for the next three years

The points discussed above make it clear that ASML has the potential to deliver solid growth over the next three years. Its earnings growth is expected to accelerate remarkably in 2028 following an expected single-digit increase next year.

ASML EPS Estimates for Current Fiscal Year data by YCharts.

What’s worth noting is that ASML’s net income has increased by 67% in the first six months of 2025 from the same period last year. Given that the company is expected to witness a nice jump in the ASP of its EUV machines over the next three years, especially the high-NA machines, there is a solid chance that it could deliver stronger growth than what analysts are forecasting.

Assuming it can clock even $40 per share in earnings in 2028 and trades at 33 times earnings after three years (in line with the tech-laden Nasdaq-100 index), its stock price could hit $1,320. That would be a 38% increase from current levels. But don’t be surprised to see this AI stock delivering much bigger gains. The market could reward it with a premium valuation on account of the potential acceleration in growth.

For the first time since artificial intelligence (AI) captured Wall Street’s imagination, investors are beginning to broaden their scope beyond the “Magnificent Seven.” Two names that have attracted growing attention this year are Oracle and CoreWeave.

Unlike the tech titans that dominate headlines, Oracle and CoreWeave are carving out their niche at the infrastructure layer of the AI ecosystem. The opportunity they’ve identified is straightforward but also mission-critical: providing cloud-based access to GPUs. These chips — designed primarily by Nvidia and Advanced Micro Devices — remain supply constrained as they are largely absorbed by the world’s largest companies.

This supply imbalance has created an opportunity to enable AI model development by offering GPUs as a service — a business model that allows companies to rent chip capacity through cloud infrastructure. For businesses that cannot secure GPUs directly, infrastructure services are both time-saving and cost-efficient.

In the background, however, a small, albeit capable, company has been competing with Oracle and CoreWeave in the GPU-as-a-service landscape. Let’s explore how Nebius Group (NBIS 5.54%) is disrupting incumbents and why now is an interesting time to take a look at the stock for your portfolio.

17.4 billion reasons to pay close attention to Nebius

Last week, Nebius announced a five-year, $17.4 billion infrastructure agreement with Microsoft. For reference, up until this point, Nebius’ management had been guiding for $1.1 billion in run rate annual recurring revenue (ARR) by December. I point this out to underscore just how transformative this contract is in terms of scale and duration.

The Microsoft deal not only places Nebius firmly alongside peers like Oracle and CoreWeave in the AI infrastructure conversation, but it also serves as validation that its technology is robust enough to meet the standards of a hyperscaler.

For Microsoft, the partnership is equally strategic. With GPUs in chronically short supply and long lead times to expand data center capacity, this agreement allows Microsoft to secure adequate compute resources without stretching internal infrastructure or assuming the upfront capital expenditure (capex) budget and execution risks that come with it.

Image source: Getty Images.

Why this deal matters for investors

AI investment is not a cyclical trend — it’s a structural shift. Enterprises are deploying applications into production at unprecedented speed, workloads are scaling rapidly, and new use cases in areas like robotics and autonomous systems are emerging.

For companies that supply the compute underpinning this increasingly complex ecosystem, these dynamics create durable secular tailwinds. By securing Microsoft as a flagship customer, Nebius has established itself within this foundational layer of the AI infrastructure economy.

Is Nebius stock a buy right now?

Since announcing its partnership with Microsoft, Nebius shares have surged roughly 39% as of this writing (Sept. 16). With that kind of momentum, it’s natural to wonder whether the stock has become expensive. To answer that, it helps to put its valuation in context.

Prior to the Microsoft deal, Nebius was guiding for $1.1 billion in ARR by year-end. If I assume Microsoft’s $17.4 billion commitment is evenly spread across five years (2026 to 2031), that adds about $3.5 billion annually — bringing Nebius’ pro forma ARR closer to $4.6 billion.

Against its current market cap of $21.3 billion, Nebius stock trades at an implied forward price-to-sales (P/S) ratio of 4.6. On the surface, that looks meaningfully discounted to peers like Oracle and CoreWeave.

ORCL PS Ratio data by YCharts

That said, there are important caveats to consider. My analysis assumes no customer attrition over the next several years — this is unrealistic due to competitive pressures. While Nebius may continue winning large-scale contracts, it’s also reasonable to expect some customer churn.

Moreover, comparing Nebius’ future ARR to Oracle’s and CoreWeave’s current revenue base is not an apples-to-apples match. Oracle, for example, has reportedly inked a $300 billion cloud deal with OpenAI. Meanwhile, CoreWeave also has multiyear, multibillion-dollar commitments tied to OpenAI. The catch is that OpenAI itself doesn’t have the cash on its balance sheet to fully fund these agreements — leaving questions about their viability.

In short, Nebius appears attractively valued relative to its peers — but the landscape is evolving quickly and riddled with moving parts. The more important takeaway is that Nebius is now winning significant business alongside its brand-name peers.

In my eyes, this validation in combination with ongoing structural demand tailwinds makes Nebius a compelling buy and hold opportunity as the AI infrastructure narrative continues to unfold.

Over the course of her three-decade career, Chloë Sevigny has built an eclectic résumé playing complex women whom she describes as “the moral compass” or “the salt of the earth” in a story.

But in the second season of Ryan Murphy and Ian Brennan’s “Monsters,” which reexamines the story of the Menendez family for a new generation, Sevigny plays the role of victim and villain in equal measure. An unflinching exploration of abuse and privilege, the Netflix limited series reconsiders the lives of Lyle (Nicholas Alexander Chavez) and Erik Menendez (Cooper Koch), who were convicted in the 1989 killing of their wealthy parents, José (Javier Bardem) and Mary Louise a.k.a. Kitty (Sevigny).

“The most challenging part was that each episode was a different person’s idea of her, so I had to switch gears as to who I think she was to serve the way that they were telling the story,” Sevigny says. “I’ve never had to do that before, and as an actor, you want to find the truth of the character, and then there was, of course, not one singular truth to her. And plus, nobody really knows what happens.”

After working together on two seasons of “American Horror Story” and then “Feud: Capote vs. the Swans,” Sevigny received a call from Murphy, who felt strongly that she should play the mysterious Menendez matriarch.

“From the very get-go, he pitched me having this opus kind of episode, where I get to really examine alcoholism and abuse and a lot of complicated issues that people don’t necessarily like to face,” Sevigny says of the sixth episode, which chronicles José and Kitty’s relationship against the backdrop of family therapy sessions. “I think that’s not how we justify doing these kinds of [true-crime stories], but we hope that they can give someone the courage to speak out if they are in a position where they’re being mistreated.”

Sevigny with Javier Bardem in “Monsters: The Lyle And Erik Menendez Story.”

(Netflix)

As one of New York’s “It” girls of the ’90s, Sevigny barely spent any time at home watching television, but she still remembers seeing photographs of the Menendez brothers during their murder trials on the front pages of newsstands. In preparation for the part, Sevigny revisited the era. She read writer Dominick Dunne’s buzzy Vanity Fair stories about the trials. She read a few books about Kitty’s upbringing, which revealed her history of self-medicating. She even watched the brothers’ trial testimony, in which they alleged that José had sexually abused them as children.

At a Vanity Fair party, Sevigny met a director whose wife had been close friends with Kitty and claimed that Kitty had genuinely loved her children. But while “Monsters” offers a brief glimpse of maternal love at the very end, the series as a whole takes a decidedly different approach.

“There were aspects of the character that I tried to lean into that I thought, ‘Oh, you don’t often see a mother complain about her children in the way that she does, like, “I hate my kids. They ruined my life.”’ There are certain things that you never, or rarely, see on TV,” Sevigny says. What was more difficult for her to wrap her head around was the thought of a mother who is willfully blind to child abuse: “What kind of person does that, and how do you access that kind of emotion, or the strength, for lack of a better word, or the cowardice to behave in that way in those certain situations?

(Larsen&Talbert / For The Times)

“The series is also an examination of the cycles of abuse and how hard it is for people to break out of those cycles,” adds Sevigny, who found it easy to act frightened when confronted with Bardem’s high intensity. “She had been abused, and her mother had been abused by her father. Her mother left her father, and she was raised without a dad. I think that can often be a reason for women to stay with their husbands because they think, ‘Oh, maybe just having a father around outweighs the abuse,’ which is not true, obviously.”

“Monsters” has not been without controversy, however. Last September, Erik publicly criticized the series for its inaccuracies and for implying an incestuous relationship between him and Lyle. (Erik has formed a bond with Koch, with whom he has remained in touch, and Lyle has since commended the series for helping viewers understand the long-term effects of child abuse.)

“The Netflix team had given us all these talking points, and we were supposed to stay very disengaged [from the brothers] — and Cooper did not listen to them,” Sevigny recalls with a laugh. “I was like, ‘Wow, this young boy, this is his first [big] thing, and he’s coming out the gate just speaking his mind.’ Being a woman and an actress, and growing up in the ’90s, we were all silenced and muzzled in a way, so it’s interesting to watch these young people have the agency and advocacy to speak up for themselves.”

In May, the brothers were resentenced to 50 years to life in prison, which makes them eligible for parole. Sevigny is no stranger to being part of zeitgeisty shows, having played one of the wives of a polygamous fundamentalist Mormon in HBO’s “Big Love” around the time that Warren Jeffs was convicted of child sexual assault: “You want to make art, hopefully, that gets people talking and engaged, and I think [‘Monsters’] has done that to the umpteenth.”

Sevigny found out that she had been nominated for her first Emmy while driving to the airport in Los Angeles, where she has been shooting Peacock’s “The Five-Star Weekend” opposite Jennifer Garner. The actor ultimately sees the show’s 11 total nominations as an acknowledgment of Murphy’s enduring creative vision.

“I respect all the diverse shows that he makes, and that he hires the same actors, artisans and craftsmen over and over. To validate his choice in me for that part also felt really important, because I think that he sticks his neck out for people a lot,” says Sevigny, who celebrated the achievement with a small Champagne toast during her flight back to New York. “The kinds of stories that he’s trying to tell are often challenging and people shy away from them, and the work that he does is important. And now maybe he’ll hire me again!”

AN ANGLER reeled in a massive 9ft catfish after a gruelling 50-minute battle.

Jakub Vagner, 43, hauled in the epic catch just south of Prague, in the Czech Republic – setting a new national record.

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The celebrity angler was drifting past a rocky overhang in the Vranov Reservoir, on August 4, when he spotted the giant fish gliding below in the early morning light.

He cast his custom-made rod towards it and waited.

“Ten minutes passed and nothing happened. Suddenly, it turned and went straight into my trap,” Jakub said.

What followed was “the hardest battle I have ever had with a catfish in the Czech Republic”, he continued.

The fish put up such a fight that Jakub had to call in a friend to help him hold onto the rod.

“After almost 50 minutes, it was lying half-tired next to my boat. I was shaking, completely done,” the angler said.

He released the record-breaking fish back into the water after posing with it for photographs.

Jakub explained: “At 2.68 metres (8.8ft) in length, it’s four centimetres (1.6in) longer than the one I caught last year.

“This is one of the biggest catfish I’ve ever seen in Europe.”

Pictures show the Fish Warrior TV host, aired on the National Geographic Channel, standing in the shallows with the enormous catfish.

The 8.8ft whopper was “not only long, but also brutally tall and broad… a beautiful, almost flawless fish with the potential to grow even bigger”, Jakub said.

He added that catching big fish is all about “morale, dedication and determination” – and stressed he never kills his catches, releasing them so they can keep growing.

It comes after another angler landed a monster 20-stone catfish in Italy following a 45-minute fight to reel it in.

Dramatic images show Benjamin Grunder, 37, wrestling with the catch of a lifetime on the banks of the River Po.

At first, he thought his hook had snagged a submerged tree, but the sheer weight revealed it was a huge fish.

The German angler finally hauled in the 8ft 8in Wels catfish – the largest freshwater species in Europe – estimating its weight at 20 stone.

That fish was also released back into the water safe and sound.

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TOTTENHAM star Son Heung-min was cradled like a baby by a 7ft 2in former MMA star at an open training session earlier today.

The South Korean superstar and his team-mates took part in the session at the home of Anyang FC in Seoul.

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After training, Son was joined pitchside by Korean ex-MMA fighter Choi Hong-man.

The enormous wrestler competed in MMA between 2006 and 2016, and even fought arguably the greatest heavyweight of all time Fedor Emelianenko.

During the interaction, Choi picked Son up and began cradling him.

The Tottenham captain, not exactly small at 6ft, was in fits of giggles while being picked up, even sheepishly covering his face.

Spurs will take on Newcastle in front of 66,000 fans at Seoul World Cup Stadium, home of the South Korean national team, tomorrow.

The match is likely to be Son’s last for Tottenham, after he announced that he will be leaving the club after 10 years earlier today.

Sitting alongside manager Thomas Frank, Son began an emotional press conference by saying: “I’ve decided to leave the club in the summer.

“And respectfully, the club is helping me with my decision.

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“So I just want to share this information before we start the press conference.”

On how he came to the decision, Son added: “It was the most difficult decision of my football career.

“I’ve been here ten years at a beautiful club with beautiful fans and having such amazing memories.

“And after all that, it was so hard to make this decision. But as I said, I feel like I need a new environment and to push myself.

“And to get more of me, I feel like I need a little bit of change. Ten years is a lot of time when you’re thinking about it.

He added: “I came to London as a kid. 23-years-old, a very young age, [and] a young boy came to London who even didn’t speak English.

“And [I’m] leaving this club as a grown man. This is a very, very proud moment.

“So I just wanna say thank you to all of the Spurs fans that gave me so much love.

“I felt like it was my home. But yeah, it was, it was one of the toughest decisions I’ve ever made.”

A MODERN DAY LEGEND

Son signed for Tottenham from Bayer Leverkusen in 2015 aged 23 in a deal worth around £22million.

The popular forward went on to score 173 goals in 454 appearances for the North Londoners, placing him fourth on the club’s all-time list of goalscorers.

Son was appointed club captain by former boss Ange Postecoglou in 2023.

The Tottenham legend went on to lift the Europa League trophy in May, as the club ended its 17-year drought.

On the timing of his White Hart Lane exit, Son said: “The goodbye is always also in a good timing. But I think it’s the right time to make this decision.

“I hope that everybody understands my decision and I hope that everybody respects that.”

Son has been strongly linked with a move to MLS side LAFC.

The switch would see him reunite with his predecessor as Spurs captain Hugo Lloris.

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HORRIFYING footage shows the moment a monster who killed his own grandad glassed a punter who confronted him for boasting about his evil crime.

Sick thug Jakob Walpole, 33, killed vintage car expert John Brown, 81, in a brutal attack on his grandfather in Bulkington, Warwickshire.

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The “internationally renowned” Jaguar restoration expert suffered serious head injuries in his home at the hands of Walpole, who was convicted of John’s manslaughter.

Less than four minutes later, Walpole was seen on CCTV footage emerging from the property and from there headed to a village pub.

He stayed at the pub for a matter of minutes before moving on to a working men’s club.

It was here the cowardly thug was also convicted of breaching a restraining order and assaulting two other victims, a court heard on Wednesday.

Now, footage released showing the cowardly killer boasting about his despicable crime and attacking others has surfaced.

Jurors heard drunken Walpole attacked Dennis Hopson from behind in Bulkington Working Men’s Club after openly speaking about the vicious assault on his grandad.

Drunken Wallpole also “ignored” Mr Hopson’s pleas to moderate his language as he continued to badger the drinker.

He was then caught on “clear” CCTV footage attacking the elderly drinker.

Matters came to a head when Walpole took the victim’s seat before smashing a pint glass over the back of his Hopson’s head after being told to move.

The attack caused cuts to Mr Hopson’s ear, neck and head and prosecutor Michael Duck KC told jurors: “There can be no suggestion (Walpole) was acting in self-defence or anything of that sort.”

A barman was then punched in the face as he frogmarched Walpole out of the club.

“Belligerent” Walpole was arrested for all three attacks later the same night.

He remained abusive throughout the process and “booking in” at a police station, the court heard.

Jurors were also shown “haunting” footage of “world-renowned”  restoration expert John pleading for help on a security camera before he was attacked by Walpole.

Earlier that evening, Walpole had been seen on CCTV arriving at John’s bungalow, before going inside and attacking the pensioner. 

The pensioner could be seen waving at the camera – said to be linked to his daughter, Walpole’s mum – while in the garden before heading inside.

Mr Duck told jurors: “John Brown is Jakob Walpole’s grandfather.
He was a frail man and he had recently been diagnosed with the early stages of dementia.

“He was plainly a vulnerable individual and the evidence will demonstrate that this defendant was acutely aware of that.”

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John was well known in the local community, having run a successful car panel and body repair business due to his expertise in respect of vintage cars, the court heard.

Police summoned to the bungalow by John’s daughter, Lynda Brown, found the pensioner “dazed and confused” and with significant injuries to his face and arms.

Despite being rushed to hospital, over the following hours John suffered a bleed on the brain as a result of the attack and passed away six days later.

Walpole had also attended a match at Coventry City‘s home stadium that lunchtime before visiting local pubs in the run-up to the spree of violence.

Concerns about Walpole’s “deteriorating behaviour” had led to a security camera being installed at his grandparents’ home address in Bulkington.

He was also already subject to a restraining order when he carried out the attack on his grandfather.

‘ACT OF COWARDICE’

Walpole, of School Road, Bulkington, Warwickshire, will be sentenced next Monday.

Commenting after the case, Natalie Kelly, from the Crown Prosecution Service, said: “Jakob Walpole carried out a senseless and brutal attack on his own grandfather who had tried to help him.

“He showed no concern or remorse following the attack.

“Rather than call for help, he callously left his vulnerable and elderly grandfather severely injured and went to a local pub where he assaulted two further elderly victims.

“Everyone who knew Mr Brown saw how much he did for his grandson, often going out of his way to care and support him – but Walpole simply took advantage of his kindness.

“While this conviction ensures Walpole is held accountable for his actions, the family have been left with a deep and lasting pain that no justice can erase.”

Detective Inspector Gareth Unett, who led the investigation for Warwickshire Police, said: “John Brown was a kind, gentle, hardworking man whose loss has left a huge void in the lives of his loved ones and friends.

“Not only was he loved greatly by all those around him, he was known internationally as one of the best restorers of classic Jaguars.

“The legacy he leaves is not only in the love and generosity he showed to those around him, but also in the countless classic cars that will survive for generations more thanks to his work.

“Walpole’s attack on his grandfather, who had shown him nothing but kindness and generosity, was an act of cowardice and brutality that, in decades of policing, I struggle to find a comparison for.”

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Certain elements of Jules Verne’s 1870 novel “Twenty Thousand Leagues Under the Sea” have become a TV series, “Nautilus,” premiering Sunday on AMC, which picked up the show after Disney+, which ordered and completed it, let it drop. Created by James Dormer, it’s not an adaptation but a prequel, or an origin story, as the comic book kids like to say, in which Nemo, not yet captain, sets sail in his submarine for the first time.

Verne’s imaginative fiction has inspired more and less faithful screen adaptations since the days of silent movies. (Georges Méliès 1902 “A Trip to the Moon,” based partially on Verne’s 1865 “From the Earth to the Moon,” is accounted the first science-fiction film.) For a few midcentury years, perhaps inspired by the success of Disney’s own “20,000 Leagues” — a film they continue to exploit in its theme parks — and Mike Todd’s “Around the World in 80 Days,” it was almost a cottage industry: “Journey to the Center of the Earth,” “In Search of the Castaways,” “Five Weeks in a Balloon.” I grew up watching these films rerun on TV; they are corny and fun, as is “Nautilus,” with fancier effects, anticorporate sentiments and people of color.

We have seen Nemo played by James Mason, Michael Caine, Patrick Stewart, Ben Cross and Robert Ryan, but in “The Mysterious Island,” Verne’s sort-of sequel to “Twenty Thousand Leagues,” he identified Nemo as an Indian prince, as he is shown here, played by Shazad Latif, deposed by an imperial power, his wife and child murdered. The character is usually a bit of a madman, and this Nemo — pigheaded, bossy — is not wholly an exception, though he is also a young, smoldering, swashbuckling hero and a man more sinned against than sinning. We meet him as a prisoner of the British East India Mercantile Company, “the most powerful corporation to ever exist, more powerful than any country,” which is building the Nautilus in India with slave labor, in pursuit, says villainous company director Crawley (Damien Garvey), of “prying open and exploiting the Chinese market.” I’m not sure how a submarine is supposed to do that, but, eh, it’s a reason.

Nemo has been collaborating with the submarine’s inventor, Gustave Benoit (Thierry Frémont), who had accepted the corporation’s money under the promise that it would be used for exploration — scientists can be so dense. Nemo, whom the professor credits as the mind behind the ship’s engine, has his own use for the Nautilus and executes a hasty escape with a half-random crew of fellow inmates in a deftly staged sequence that borrows heavily from “Indiana Jones,” an inspirational well to which the series returns throughout.

And we’re off. On the agenda: escaping, revenge and finding buried treasure to finance revenge.

Joining the Nautilus crew are Loti (Céline Menville) and Humility (Georgia Flood).

(Vince Valitutti / Disney+)

When the Nautilus, hardly on its way, cripples the ship they’re traveling on — under the impression that the sub is under attack — the crew is joined, unwillingly, by Humility Lucas (Georgia Flood), a science-minded British socialite with super engineering skills, who is being packed off to Bombay to marry the abominable Lord Pitt (Cameron Cuffe). She’s accompanied by a chaperone/warder, Loti (Céline Menville), a Frenchwoman who has a mean way with a dagger, and cabin boy Blaster (Kayden Price). And a little dog too. Sparks obviously will fly between Nemo and Humility — bad sparks, then good sparks, as in an Astaire and Rogers movie — and there are actual sparks from a bad electrical connection Humility works out how to fix.

Apart from Benoit, Humility and Loti, a big fellow named Jiacomo (Andrew Shaw), who hails from nobody knows where and speaks a language no one understands, and a British stowaway, the crew of the Nautilus are all people of color — South Asian, Asian, Middle Eastern, African or Pacific Islander. Few are really developed as characters, but the actors give them life, and the supporting players carry the comedy, of which there’s a good deal. One episode inverts the tired old scenario in which white explorers are threatened with death by dark-skinned natives; here, the captors are Nordic warrior women. The show is anticolonial and anti-imperialist in a way that “Star Wars” taught audiences to recognize, if not necessarily recognize in the world around them, and anticapitalist in a way that movies have most always been. (The final episode, which has a financial theme, is titled “Too Big to Fail.” It is quite absurd.)

It can be slow at times, which is not inappropriate to a show that takes place largely underwater. But that its structure is essentially episodic keeps “Nautilus” colorful and more interesting than if it were simply stretched on the rack of a long arc across its 10 episodes. It’s a lot like (pre-streaming) “Star Trek,” which is, after all, a naval metaphor, its crew sailing through a hostile environment encountering a variety of monsters and cultures week to week; indeed, there are some similar storylines: the crew infected by a mystery spore, the ship threatened by tiny beasties and giant monsters, encounters with a tinpot dictator and semimythological figures — all the while being pursued by a Klingon Bird of Prey, sorry, a giant metal warship.

The greatest hits of underwater adventuring (some from Verne’s novel) are covered: volcanoes, giant squid, giant eel, engine trouble, running out of air and the ruins of a lost civilization (Is it Atlantis? Benoit hopes so). Less common: a cricket match on the ice. Apart from a pod of whales outside the window (and, later, a whale rescue), not a lot of time is devoted to the wonders of the sea — the special effects budget, which has in other respects been spent lavishly, apparently had no room left for schools of fish. But these submariners have other things on their minds.

The odds of a second season, says my cloudy crystal ball, are limited, so you may have to accommodate a few minor cliffhangers if you decide to watch. I did not at all regret the time I spent here, even though I sometimes had no idea what was going on or found it ridiculous when I did, as there was usually some stimulating activity or bit of scenery or detail of steampunk design to enjoy. I mean, I watched an episode of “Voyage to the Bottom of the Sea” recently, a 1960s submarine series, in which guest star John Cassavetes created a superbomb that could destroy three-quarters of the world, and almost nothing in it made any sense at all, including the presence of John Cassavetes. “Nautilus” is actually good.

A MAN who fought to free his mum from jail after she murdered his dad has spoken out about how he forgave her for the brutal killing.

David Challen, 38, campaigned relentlessly to free his mum Sally from prison in 2019, nine years after she killed his dad Richard – her husband – by bludgeoning him with a hammer.

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Despite Sally having suffered decades of coercive control by her husband, David says Richard was “not a monster”, adding that he was “deeply complex”.

In August 2010, Sally, a 56-year-old housewife, brutally murdered Richard, her 61-year-old husband of 31 years, at their home in Claygate, Surrey.

Sally was eventually convicted of murder and sentenced to life in prison, before her murder conviction was quashed and she was released from jail in 2019.

Now, ahead of the release of a new book David has written on his family’s ordeal, the 38-year-old has recalled his battle to free his mum.

Speaking to The Sunday Times, David said reading about the decades-long abuse of Gisèle Pelicot by her husband and dozens of other men gave him flashbacks to the own suffering his mum experienced.

He explained: “It highlighted the normality of these men in our society.

“My dad was not a monster. He was deeply complex.

“If society labels them monsters, it’s washing its hands of how they are created.”

After Sally was jailed, David began to unearth chilling details about how his dad had subjected Sally to decades of domestic abuse – keeping it hidden from him and his brother James.

They discovered how their mum had been dragged down stairs, been raped by Richard on a family holiday to Los Angeles, and had attempted suicide at age 21.

Sally had been subject to coercive control – a pattern of abuse where someone is made to feel dependent, isolated, or scared.

She was even forced to hand over her salary throughout her painful ordeal.

These discoveries prompted David to begin years of ardent campaigning, eventually leading to an appeal which reduced her conviction to manslaughter.

Helped by a law passed in 2015 which recognised psychological manipulation as a form of domestic abuse, Sally walked free from HMP Send, Surrey, in 2019.

The landmark case saw Sally’s murder conviction quashed due to new psychiatric evidence, with her final sentencing acknowledging the impact that years of controlling abuse had on her.

As a result, roughly three thousands murder convictions are being reassessed by the Criminal Cases Review Commission to factor in examples of coercive control – with at least five cases having been reopened.

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In his new book, The Unthinkable: A Story of Control, Violence and My Mother, due to be released on Thursday, David showcases his struggle to come to terms with his father’s abuse, and how it’s affecting his life even now.

David also highlights how more needs to be done to protect victims of coercive control.

Speaking on the BBC show Sunday with Laura Kuenssberg about how his dad’s abuse had become “normalised” in their family home, David explained how he “couldn’t understand” at first how his mum had murdered Richard.

He said: “She’d done the worst act anyone possibly could do. [She] took away my father.”

Following the change in the law regarding coercive control, David, now a domestic abuse campaigner, said he finally had a way to describe the “insidious nature” of his dad.

David added that not having a name for the abuse had “robbed us of our right to have an ability to protect ourselves.”

He explained that he had to dig up his past in order to “find the child” he had left behind.

David continued: “But I knew I was born into this world with a gut feeling that [there was] something inherently bad about my father, and I never knew why.

“I normalised the coercion and control in my home, this life of servitude that my mother lived under… sexual violence was routine.”

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