Christian Bale’s R-rated monster film The Bride! sparks major debate among critics. Explore Rotten Tomatoes scores, controversy, & why the movie is so divisive.
Maggie Gyllenhaal’s The Bride! has produced one of the most wildly divided critical responses in recent memory. Arriving in theaters in March 2026, the movie was supposed to be a daring feminist reworking of the iconic Bride of Frankenstein tale and, well, it certainly got that. Whether that something is brilliant or catastrophic is entirely dependent on who you ask.
Raving fans hail it as a “fantastical creative outburst” and “bold reclamation of a beloved monster mythology.” On the other, it has been deemed a “howling failure” and one of the worst movies various veteran critics have ever seen. That is not a minor gap to fill, you know.
The fundamental problem is execution falling short of aspiration. Gyllenhaal crammed a vast amount of story into one two-hour film — 1930s gangster noir, gothic sci-fi, punk feminist revenge fantasy, detective procedural and high-camp musical theater all jostle for space in the same frame. For fans of maximalist, mash-up genre films — that has a nice ring to it. For people who thought it could be a little bit more coherent and tonal, they’re saying it’s like whiplash.
The film, too, came at an inopportune cultural time. Guillermo del Toro also brought out his own critically acclaimed Frankenstein adaptation in 2025, so The Bride! was released already being compared to a beloved, critically acclaimed interpretation of the very same text — a comparison it was never meant to win by those standards.
There is also the question of how explicitly the film flaunts its themes. Reviewers who found the feminist themes too heavy handed described the film as preachy; those who embraced the film’s confrontational virility found it energizing in the very same way.
In the end, The Bride! is one of those rare movies that doesn’t simply break audiences — it reveals what each audience fundamentally wants movies to do. That sort of polarization is in its way a sign that there is something genuinely interesting on the screen.
The statistics tell the whole story, The Bride! is a movie that genuinely fractures opinion. It’s around 60-62% more or less fresh on Rotten Tomatoes, which is a pass but barely. The film received 55/100 on Metacritic. Verified Audience Scores are 74% and 67% of the general audience holds this opinion, indicating that viewers might be more lenient than critics.
The film came out the same weekend as Pixar’s Hoppers and was soundly beaten, and was said to be “on life support” financially. Going into a weekend for family audiences isn’t a good start for an R-rated experimental horror—romance sort of story.
Then, there’s the question of del Toro’s Frankenstein (2025), which landed at 85% and also received a Best Picture nod. The critics had just seen a gorgeously classical, emotionally rich version of the same story — which made Gyllenhaal’s ascertain something anarchic and punk jarring. Arguably, that timing cost The Bride! more goodwill than the film itself deserved to lose.
In light of previous Frankenstein debacles such as I, Frankenstein (5%) or Victor Frankenstein (26%), this movie is actually something of a success for Gyllenhaal. But “less bad” is not a ringing endorsement when the bar has just been set so high.
After her hushed, personal debut The Lost Daughter, Gyllenhaal swung to the other extreme and that swing is at the center of all that divisive energy in The Bride!
There’s too much to take in just in the storyline. A 1930s Chicago gun moll is possessed by Mary Shelley’s spirit, she is murdered, buried, then exhumed and brought back to life by Frankenstein’s monster (Christian Bale). It then turns into a fugitive road movie, a detective thriller, a class-uprising parable, and a feminist revolution narrative — all of it, all of a sudden, all fighting for the front seat.
The fans liked this movie because of its daring, brash and wildly imaginative narrative style that keeps someone trying to keep too many plates spinning on sticks at once, and all of them come tumbling down.
The theatricality takes things even further. There’s an elaborate song-and-dance routine to the “Puttin’ on the Ritz” number, a do-nothing subplot involving a fake film star played by Jake Gyllenhaal, and whimsical camp moments juxtaposed with trauma and body horror. Some considered that contrast charming and bold. At some moments it gets really confusing as viewers couldn’t make up their mind to laugh or scare.
The most damaging was that of the Independent, which declared that Gyllenhaal “she conducts a bit of Frankenstein experimentation with all those ideas, but they haven’t quite stitched together”. There is genuine aspiration. Men differ only in means of execution.
One of the film’s raw, uncompromising aspects of which contributed both to this reception and was largely thanks to its brutal depiction of violence and the behind-the-scenes war over its R-rating. The Bride! is rated R for intense and bloody violent content, sexual content, nudity, and strong language. Yet the inclusion of these taboo themes was the subject of a battle with the studio in post-production, exposing an intriguing tension between Gyllenhaal’s auteur vision and the risk averse mentality of contemporary corporate moviemaking.
During the test screening phase, a furious backlash from Warner Bros. was generated by the film’s most extreme images. The most famous dispute between them is over an eerily unsettling scene where Christian Bale’s Frankenstein is instructed to “lick black vomit off the Bride’s neck”. Warner Bros. executive Pam Abdy is said to have been involved and told Gyllenhaal:
“Maggie, I get it with the creative vision but what if we did the scene a little less intense?”
The very notion of that visceral, grotesque romanticism communicates the film’s refusal to bow down to the polished, mass-market Hollywood dictates, even if Gyllenhaal did make a few concessions and back off considerably from the original, unrated cut of the film. Horror’s terrifying intimacy made the genre loyalists who praised it as a stunning, punk-rock dissection of genre sing, but it alienated mainstream critics who were expecting it to happily spoon-feed them a conventional gothic romance.
To understand the extent of the cinematic outrage that The Bride! has sparked, it’s necessary to look at the particular characterizations of its leads. Both Christian Bale and Jessie Buckley give performances that in their very core dismantle what history has meant when it comes to the Frankenstein mythos, pushing audiences to reconsider their relationship to these century+ old archetypes.
Christian Bale had to find a route for Frank that respected the immense, oppressive tradition surrounding that 1931 visual template established by Boris Karloff, yet modernised the character for the newest generation. Knowing that a straight copy was impossible, Bale took a completely different approach in his reading. Bale’s Monster is neither blindly furious nor innately terrifying, but rather possesses an “engaging earnestness” and a deeply moving, excruciating century-long solitude. When he pleads with Dr. Euphronious for a mate, her first retort—
“Just Hold on, Frank… nobody is cheerful but lonely —Bale
underscores the tragic mundanity of his life. Bale infuses Frank with what one critic accurately described as “golden retriever energy,” making him a “big softie” who’s spent much of his life as a popular TV host and who loves watching movie musicals as a way to avoid thinking about his life.
In terms of physicality, Bale went for a different look from the traditional neck bolts and flat-top flysch, popularised by pop culture, instead opting for a “sticky and fleshy” look, like a drunk boxer.
Bale’s legendary commitment to method acting in the role is indicative of the ferocity of the production. To embrace the sheer physical and emotional pain of the character, Bale invited nearly 30 members of the crew to accompany him in bizarre daily rituals of “screaming like crazy” and howling, making his exhausting makeup process a ballistic, group catharsis of primal energy.
The internet also fueled exaggerations that Bale had “sewed himself” for the role, testament to his notoriety for radical body transformations beginning with The Machinist. This reading of the Monster is deeply moving, as it is wholly concerned with the universal human concern of loneliness.
Asked about the character’s motivations, Bale said in a press interview, at the heart of the character is the notion that
“Connecting with each other is a necessity but it is really difficult. Maybe the only thing you need is someone to be with in silence, just breathe for some time.”
If there is one thing on which pretty much everyone agreed about The Bride!, it was the production design. The ’30s Chicago world that Karen Murphy created is stunning — a steampunk Depression-era cityscape that is gritty and realistic yet gothic and surreal. It’s the sort of cinematic artistry whose strength doesn’t depend on whether you liked the film.
Sandy Powell’s costumes are equally celebrated. She brings together punk rock and 1930s glamour as if they were always natural companions, and Buckley’s iconic look — inky black lips, wild hair, decaying elegance is an instantly recognisable image. So the film looks extraordinary. The trouble is how it was shot.
Gyllenhaal took a bold step to film a section of the movie in IMAX and focused on the emotional shifts. The moments of feel huge and overwhelming when Ida’s death and Frank’s meeting with the bride, the frame literally swells, creating an extremely powerful effect.
But aside from the big set pieces, the movie spends a lot of time shaking, handheld close-ups and that’s when things get a little off for a lot of viewers. Reviewers called the event at best “disorienting” and at worst “physically sickening.” All that beautiful production design is lost beneath a volatile, claustrophobic camera.
The irony is that the visual tension of grand IMAX scale versus queasy handheld frenzy, mirrors the narrative tension of the film. Whether that’s high art or undisciplined film making is, like everything else with The Bride!.
The chatter outside the chamber of the formal critics might in fact be more interesting than the reviews themselves.
On Reddit it stays more focused on how well it represents Mary Shelley’s original vision. A section of the fandom are convinced Jake Gyllenhaal rewrote Shelley’s intentions, making her a “vindictive monster” in a modern feminist narrative that the source material never harboured. It’s become revisionism rather than a terrifying narrative to them.
Meanwhile, young viewers on TikTok have embraced its visual rebellion and frantic energy, with videos going viral telling people to ignore the critics altogether. The look, the tone, the downright temerity of it that’s what they wanted from a monster movie in 2026.
That two generation divide is all you need to know about where this movie is going. 60% sounds like a mediocre score, but it isn’t really, it’s just the mathematical outcome of some people loving it unreservedly and some hating it with unbridled fury. There is a tiny gap between this The Bride! and that’s actually the thing that kills a film’s legacy.
The imagery, the taboo violation, the performance art, and the absolute refusal to bow to commercial viability all shout cult classic. It’s just blindly chaotic, obnoxiously over-the-top and ultimately deeply polarizing. But it’s an undeniable monster movie that made everyone love it.
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After all, The Bride! is the type of movie that was always going to be divisive. Maggie Gyllenhaal went for glitz and gloom, a fusion of genres and weighty themes that looks like pure nightmare fuel. To some critics, that reach-and-grab audacity makes the film thrilling and new. To others, it seems chaotic and intimidating.
What most agree on, however, is that the film sticks with you. Along with the eye-popping visuals and Christian Bale’s unorthodox portrayal of the Monster, the film provokes strong reactions on both sides. And sometimes, the films that divide most are the ones we find ourselves still talking about long after the credits roll.
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Get ready for Captain America: Brave New World! Sam Wilson faces global crises, new threats, and the discovery of adamantium.
Marvel fans, brace yourselves! Captain America: Brave New World is on the way! This film will pick up where Sam Wilson left off as Captain America. It is set after The Falcon and the Winter Soldier TV show. When you see how new Captain Sam takes to the air!
It will be packed with action and political drama in the midst of global disputes. The world is evolving and new threats are on the rise. Sam needs to earn his stripes as Captain America.
Sam Wilson is now Captain America. He replaced Steve Rogers in the role. Now he’s just trying to get used to the job. After a mission in Mexico with Joaquin Torres, he visits the White House. There he meets the new U.S. President, Thaddeus Ross.
Ross is seeking to reinstate the Avengers Initiative. But something happens to scupper the scheme: an assassination attempt. It really goes off the rails at a global summit. Sleeper cells, including Isaiah Bradley, strike at world leaders. Chaos breaks out. Sam realizes a deeper conspiracy is at play.
Ross is unimpressed, but Sam makes his move. He emerges to seek out the true masterminds. The road he must travel is perilous, but he is prepared. Captain America has to save the world again.
One big breakthrough changes the equation. Scientists discover adamantium, a strong metal, on Celestial Island in the Indian Ocean. The insular landmass is the encased form of the Celestial Tiamut. President Ross dubs adamantium “the discovery of the millennium.”
He thinks it will shift the balance of world power for ever. Ross craves the adamantium. He intends to share it with the allies of America. He calls on world leaders to negotiate a treaty. But he’s a bit too ambitious for his taste. There are many nations to claim their share.
Others regard it as a danger. The criminal element quickly becomes interested. They desire adamantium for their own use. They know its power can alter the world. They’d do anything to have it. The battle for power starts.
Sam Wilson gets caught in the middle. He has to prevent deadly forces from obtaining adamantium. He also wonders if it is ethical to use such a potent material. Should one country have control over it? Can it be put to good use?
This fight is too big for one man. It’s about power, politics, and responsibility. Sam needs to make a choice as to what is right. He must battle to save the world. The stakes have never been higher. The world is watching.
This is a Julius Onah queasy thriller, so hang on. Screenplay by Rob Edwards, Malcolm Spellman, Dalan Musson, Onah, and Peter Glanz. The film was produced by Kevin Feige and Nate Moore. Louis D’Esposito and Charles Newirth were the executive producers.
The title of the film was changed from New World Order to Brave New World partway through production. Reshoots took place between May and November 2024. Matthew Orton came on board to polish the script.
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This film is a key pillar in the MCU’s Phase Five. It follows The Falcon and the Winter Soldier. Sam Wilson as Captain America Is Back. He must confront new enemies and new worlds.
The discovery of adamantium changes everything. This rare metal is very strong. Countries battle for it. Wolverine, adamantium and the X-Men. This could be the film that introduces them into the MCU.
Familiar characters turn up. Tim Blake Nelson is back as Samuel Sterns. His character is a tease for future stories. Liv Tyler is back as Betty Ross. Her character contributes to the political drama. This movie will define the MCU.”
Critics have shared positive reviews. Anthony Mackie’s performance as Captain America stands out. His portrayal of Sam Wilson impresses many. Herb Scribner from The Washington Post loved the film. He called it an “absolute blast.” He said it brings back the excitement of past MCU films.
Chris Gallardo agreed. He praised Mackie’s chemistry with Danny Ramirez. He also appreciated Harrison Ford’s strong performance as President Ross and Red Hulk. Jazz Tangcay highlighted the film’s blockbuster appeal. She described it as “entertaining” and a great addition to the MCU.
Viewers will get a combination of action and political intrigue. The movie deals with leadership and international tensions. The earth is on the brink of disorder. Adamantium is important in the story. The return of key MCU characters brings a buzz of excitement.
Fans can’t wait to get their hands on it. The film is scheduled to be released in theaters on February 14, 2025. It will define the future of the MCU. Sam Wilson’s path as Captain America continues. This picture has the potential to be a treat of action, drama and compelling storytelling.”
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Find out why the 2014 Sony hack resulted in the cancellation of Drew Goddard's Sinister Six and ended the possibilities for future Spider-Man spinoff films.
There is a strange kind of sadness in learning that films once existed which never did. Not the kind of ones that died in development hell after years upon years of false starts, or the ones that crashed under the weight of their own ambition but the ones that were this close to actually happening. The ones where the script was written, the director was hired, the studio was on board, and then something completely beyond the realm of filmmaking blew them out practically.
Drew Goddard’s Sinister Six movie has long been one of those ghost projects. And until very lately, the complete explanation as to why this soaring Spider-Man spin-off never took flight was enveloped in the type of mystery that inspires internet speculation. Bad test screenings? Creative differences? The complex Sony/Marvel rights dance?
The reality, as Goddard recently disclosed, was much more dramatic – and far more mundane in its corporate callousness. It was killed by a cyberattack. Specifically, the notorious Sony hack of 2014, a breach that reverberated throughout Hollywood and, as it turns out, right into Goddard’s office window.
To grasp what we lost, you need to know who Drew Goddard was in 2014. This wasn’t some studio hack getting handed a franchise because he knew how to meet deadlines. Drew Goddard became famous for his hard work and creative talent as a writer with real genre cred. He maintained his directing work successful with The Cabin in the Woods, and many others like Buffy the Vampire Slayer, Angel, Lost, and Alias.
He was a writer-director who knew mythology, played fan service and actual emotional stakes, and had a bit of a gift for telling stories about ensembles. In other words, he was the ideal man for Sinister Six — Spider-Man’s most infamous group of villains, a revolving door of baddies who have been teaming up to take down the web-slinger since 1964.
The six legendary storyline line-up including Doctor Octopus, Electro, Sandman, Mysterio, Vulture and Kraven the Hunter are the, changes depending on the era you’re reading but Sinister Six was a nod to comic book readers. This ultra-high-concept crossover makes studio execs’ heads spin in the post-“Avengers” era, where shared universes are the Zenith of Franchise Filmmaking.
Sony, which owns the rights to the film version of Spider-Man and was eager to construct its own cinematic universe akin to Marvel’s, revealed plans for a Sinister Six movie in 2013. Goddard was set to write and direct. The project was developed as a spin-off of the Andrew Garfield-led The Amazing Spider-Man series, with the second film in particular establishing the villain team-up. Remember that shot of the man in the hat who mysteriously walks by the Vulture’s wings and Doctor Octopus’s tentacles? That was supposed to be the connective tissue leading to Goddard’s film.
Everything was moving forward. The script was being written but there was a breach by ‘Guardians of Peace’ on Sony’s computer systems and wreaked havoc on 24 Nov, 2014 that jeopardized Sinister-Six that were in Pre-Production Phase.
Goddard’s recent comments to Variety describe a scenario that is somewhat cinematic in its surreal intensity.
“I had a really big Spider- Man movie that was sort of Sinister Six-based that I had planned, but none of that went through because of the Sony hack, My office was right there on the lot, so I watched it all happen — the FBI storming in and helicopters hovering over the studio. It was bizarre.” —he said.
Just be in that office. You are someone who can shape the entire storyline, character development and make absolute narrative arcs. Your biggest professional dream is so close you can taste it— you’re going to make a Spider-Man movie, you’re going to bring these iconic villains to life, you’re going to leave your mark on one of pop culture’s most enduring mythologies. Then you look outside and see feds running onto the studio lot with helicopters overhead like it’s the climax of an action movie.
But this isn’t a movie. This is real life, and the film studio that should have been guiding your movie out into the world is instead scrambling for survival.
The hack on Sony was unparalleled in humiliation and scale. The attackers, who were later attributed to North Korea (although that is disputed), released a trove of sensitive emails, employee social security numbers, unreleased films and business documents. Private correspondence among studio executives was made public. Comp s and salary data leaked online. Hollywood’s deal-making was exposed to the world, warts and all.
For Sony, the problem wasn’t merely technical—a full-blown crisis was under way. The leadership was rattled, and Amy Pascal ultimately resigned from Sony Pictures Entertainment. It cost a lot of money for close coordination with the main Spider-Man franchise and long-term strategic planning might have been an easy casualty.
What makes the Sinister Six cancellation particularly tragic is that it wasn’t just one movie dying – it was the collapse of a whole interconnected universe before it got off the ground. Sony had big plans for its Spider-Man properties beyond the core series. In addition to Sinister Six, there was the notion of a Venom movie (which eventually came to pass, years later, separated from the Spider-Man narrative) and other offshoots to keep the franchise rolling even when not telling a Peter Parker story.
The hack did more than kill Goddard’s film, it changed the way Sony handled the Spider-Man property. The studio, reeling and desperate, ultimately made the unprecedented deal with Marvel Studios that brought Spider-Man into the Marvel Cinematic Universe, beginning with Captain America: Civil War. Tom Holland replaced Andrew Garfield. The “Amazing Spider-Man” timeline was right out.
Goddard’s Sinister Six was of a particular time—a time when Sony was attempting to create its own thing, its own line that could exist without the crutch of Marvel. The hack shattered that moment, and when the dust cleared, the terrain had shifted so dramatically that there was no turning back.
“I was sad about it, but there was literally nothing I could do to change the course of events,” —Goddard said.
There’s a hint of resignation in that—that at times you are simply swept up in something bigger than yourself, no matter how talented, prepared, or dedicated you are to that cause. Her narrative, casting, and look are in the director’s hands. They have no say in international cyberwarfare, which is above them.
To be sure, the compelling question is: what would Goddard’s Sinister Six be? We do know a few things from a number of interviews and leaks over the years. Goddard called the picture a “big movie,” and that it would be a heist movie with a large budget and scope. The filmmaker had previously said that he wanted to make something different from the typical superhero movie template, where the villains are the lead characters as opposed to being social menaces for Spider-Man.
There are a few things we can reasonably deduce about Goddard’s take on The Cabin in the Woods from both his earlier work on The Cabin in the Woods and his subsequent success with Daredevil (he is the creator of the Netflix series and wrote its first two episodes). Entirely too much pick-me-up energy here to realistically expect he wouldn’t enjoy all these characters genuinely weird powers and motivations, tragic pasts and grand delusions. A Goddard Sinister Six could have looked, structurally, punched up creatively and humorously in weird ways, and emotionally moving under the spectacle.
Would it have been good? We’ll never find out. But the lineage implied it would have been, at least, interesting— which is more than can be said for a lot of the superhero films that do get made.
Casting is also an issue. The Amazing Spider-Man 2 had already announced Dane DeHaan already casted as Harry Osborn/Green Goblin and Jamie Foxx as Electro for the Amazing Spider-Man 2 movie. The film teased Vulture’s wings and Doctor Octopus’s tentacles. Goddard’s film presumably would have featured some elements of these performers, and possibly included new individuals to complete the group. It’s a cast that, looking back, seems almost unbelievably packed with talent.
Post Sinister Six debacle, and Drew Goddard didn’t disappear on the contrary, he has been busier than ever. He also penned Ridley Scott’s film version of Andy Weir’s best-selling novel The Martian, which was a financial and critical success and won him a nomination for an Academy Award for Adapted Screenplay.
Michael Schur and he also co-executive produces The Good Place, from which he is co-creator. His own smart, philosophical comedic voice is overt.
After the cult success of his neo-noir Bad Times at the El Royale, he’s now heading back into mind-bending sci-fi for Project Hail Mary. The new adaptation of Andy Weir’s novel will star Ryan Gosling in a blend of intriguing personas and tales that evolve imagination, a concoction that fans of both Goddard and Weir will undoubtedly look forward to.
The plot revolves around an amnesiac astronaut who might be the last best chance for humanity, and it’s a return to the kind of audacious, imaginative sci-fi moviemaking that some think Hollywood has strayed from in recent years.
In a way, it’s appropriate that Goddard has returned to big-screen spectacle via an entirely different route. Sinister Six door closed, but other doors opened. That’s the nature of the business, especially for a guy with Goddard’s range and name.
But the Spider-Man movie stands as a singular pet project “what if” in his filmography—and testament to how fleeting even the most high-potential productions can be.
“It’s probably better than them not liking the script,” said Drew Goddard
Attempting to find a small glimmer of a silver lining in the situation. In a strange way, it softened the blow — not because the project crumbled for reasons entirely outside his control and because no one believed in his vision.
Since the demise of the Sinister Six, we’ve had other tries for villain-centric superhero narratives. Suicide Squad (in its various versions) established that people would come to see villain team-ups, for bad guy team-ups, no matter how mixed the reaction was. Sony ended up making their Venom movies, which have been money-makers despite the meh critical responses. The animated Spider-Verse films have proven that Spider-Man adjacent properties can truly transcend when given to the right creative teams.
Best of all, Spider-Man’s rogue gallery has materialized in some shape or form throughout the MCU. Michael Keaton’s Vulture from Homecoming. Jake Gyllenhaal’s Mysterio in Far From Home. The multiverse-bending No Way Home even brought back previous cinematic iterations of villains, including Alfred Molina’s Doctor Octopus and Willem Dafoe’s Green Goblin, as a sort of cosmic analog for all the team-ups we never got to see in standalone films.
These, however, are not Goddard’s Sinister Six. None of them have the particular auteurist DNA of a filmmaker with something to prove and a distinctive way of doing so.
The 2014 Sony hack has been all but forgotten by the public, superseded by more recent scandals and crises. The movie business, as ever, has moved on. But for enthusiasts who track such things, who care about where commerce meets creativity, who know that films are the products of particular moments and particular people, the tale of Drew Goddard’s cancelled Spider-Man movie still makes for a compelling case study.
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Acclaimed directors don’t always get to helm their passion projects. Sometimes, it’s not the quality of the script, or the enthusiasm of the fans — it’s whether a studio’s email servers are hacked by a particularly vengeful group of cyberterrorists.
Drew Goddard seems to have made peace with it. He has found his own way, establishing a very good career telling the sorts of stories that genuinely interest him without having to twist his arm to take on big franchise expectations. Up until now, it is for him in 2014, when helicopters buzzed over the Sony lot and his Spider-Man dreams evaporated like so many deleted files, that he has to remind himself when he looks out the window, now from whatever office he is occupying.
The Sinister Six will eventually pop up in a movie, probably. Hollywood has an insatiable appetite for known IP, and the concept is just too tempting to be allowed to languish for ever. But it will not be Goddard’s version. It won’t be the movie that almost was, the one that died not of creative failure but of corporate chaos.
And that’s the true tragedy not only that we never got to see a film but the fact that it was a particular vision and a certain way of looking at these characters through the lens of a director who really got them. In the age of algorithm-based content and safe bets, the loss of something risky and personal is keenly felt.
Drew Goddard’s Sinister Six now lives only on hard drives and in memories, in the “what if” conversations of fans and the odd wistful interview. It is a ghost movie, lurking at the edges of superhero cinema history, a reminder that even in the era of the never-ending franchise, there are stories that are stubbornly, eternally untold.
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