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You’re Gonna Fake It After All: “Ella McCay,” “Silent Night, Deadly Night,” and “Oh. What. Fun.”

**ELLA MCCAY**

I have no idea if Alissa Wilkinson, film critic for the New York Times, and Alison Willmore, film critic for New York magazine, are friends, or acquaintances, or if they even know each other—or if, based on their eerily similar names and work sites, they’re actually the same person. But all reviewers want to be considered independent thinkers, and no one wants to be labeled a copycat. So it was weirdly coincidental that, in assessing writer/director James L. Brooks’ *Ella McCay*, both Wilkinson and Willmore employed the same metaphor in their reviews’ opening paragraphs.

Wilkinson stated, “I am here with reassurances: Don’t worry. Your movie theater wasn’t leaking gas.” Willmore, meanwhile, called Brooks’ new comedy “gas-leak cinema at its finest,” adding that the film “makes you wonder if the characters have checked their carbon-monoxide detectors lately, because nothing they do resembles the behavior of human beings breathing in the recommended levels of oxygen to function normally.”

First of all: Ouch. Second of all: I get why both writers went with the gas-leak conceit, because it’s entirely fitting. Dreadful though it is, *Ella McCay* didn’t anger me the way other very-bad movies have, and didn’t exactly make me sad, either. It more accurately made me woozy, like I was still reeling from getting clocked in the head a minute prior.

While I don’t know whether the cast felt the same, the vast majority of distracted-seeming performers here appear engaged in subtextual messaging to their director: “Are you sure this is what you want, Jim?”

Brooks’ first feature since 2010’s *How Do You Know* isn’t the worst picture of 2025. It’s quite possibly the strangest, though, and suggests that not only has Brooks not made a film in 15 years, but perhaps hasn’t seen a film in 15 years. Right from the start, everything about *Ella McCay* is a little off-kilter, and that’s not counting our titular American being played, with acceptable charm and the most geographically generic of accents, by British-French actor Emma Mackey.

Ella is resigning and accepting a White House cabinet position—not that, you know, the incoming president’s name is ever uttered. Consequently, Ella will take over as Springfield USA’s anointed governor for 14 months, a promotion that thrills her evidently loving husband Ryan. I still can’t get myself to hate it.

There’s a nutty time-capsule quality to the project that’s endearing almost despite itself. Albert Brooks (no relation to the writer/director) is consistently appealing as the down-to-earth exiting governor, and it’s hard to turn up your nose to a movie in which, from moment to moment, literally anything can happen.

I’m still praying that 85-year-old James L. has at least one more feature film in him. Oscar-winning directors have surely ended their careers on worse than *Ella McCay*. But it’s beyond depressing to consider what those examples might be.

**SILENT NIGHT, DEADLY NIGHT**

Hard as it is to believe, there was a time when certain movies were actually picketed for their presumed depravity. William Friedkin’s notorious *Cruising*, in 1980, inspired gay-rights advocates to wave placards against the film for fetishizing the murder of homosexuals, while others were offended that the gay “lifestyle” was being represented on screen at all.

Martin Scorsese’s *The Last Temptation of Christ* reached a fever pitch of handmade-sign uproar long before the 1988 movie ever screened, its haters railing against any work that would imagine Jesus as a human being (and, not tangentially, a man who would make love to Mary Magdalene).

And in 1984, director Charles E. Sellier Jr.’s slasher flick *Silent Night, Deadly Night* was publicly, visibly scorned for daring to present Santa Claus as a serial killer—no matter that the killer wasn’t Santa, but just some poor orphaned kid whose very specific trauma led to him donning a St. Nick suit that evidently matched well with his ax.

Nowadays, of course, it’s doubtful that anyone would consider picketing… well, any film, really. Certainly not a low-rent Santa-as-slayer trifle, considering *Silent Night*’s 1984 original led to four sequels, a 2012 remake, and David Harbour as an actually murderous Claus in 2022’s gruesome action comedy *Violent Night*.

So now we have writer/director Mike P. Nelson’s *Silent Night, Deadly Night* reboot, which I managed to see without crossing a line of protesters. With all due respect to those who might still consider its premise revolting, if not actively irresponsible, the movie is kinda terrific.

Following the ’84 narrative with fidelity despite a few alterations and the pronounced addition of a supernatural angle, Nelson’s unrated indie is surprisingly moral and even somewhat touching. This supremely solid B-picture by multimedia company Bloody Disgusting is less reminiscent of *Terrifier 3* than of *Venom* or even, if you want to get highfalutin about it, Best Picture winner *Birdman*.

Again, our hero/villain is Billy Chapman (played as an 18-year-old by Robert Brian Wilson), who witnesses the childhood murder of his parents by a dude in a Santa suit. Again, the kid grows up to become a homicidal dude in a Santa suit himself—our first view of adult Billy finds him departing the motel room where his most recent victim lies in the bathtub.

Yet we quickly learn that, at the time of his parents’ killings, the soul of their executioner Charlie (Mark Acheson) effectively entered Billy’s body and is annually instructing him toward an Advent calendar of December executions, punishing the naughty and sparing the nice.

This is demonstrated, by Nelson, in having Charlie routinely engage in conversation with his literal inner demon—a conceit that proves both amusing (à la *Venom* and *Birdman*) and unexpectedly empathy-producing.

As we’re repeatedly reminded, only the naughty—the really, really naughty—are set up for the kill, and that lends a weird type of nobility to Billy’s actions. He’ll protect his new trinket-shop co-worker crush Pamela (Ruby Modine) and her sweet dad (David Lawrence Brown) to his last day.

But that aging, handsy creep at the store and the attendees of that neo-Nazi Christmas party? They’ve got to go.

Truth be told, I was hoping for more splatter—or rather, more inventive splatter—than Nelson’s feature delivered. While there’s a lot of bloodshed, almost none of it is presented memorably; even the staging of that ultimately corpse-filled neo-Nazi bash is disappointingly humdrum.

But Nelson’s movie is still genuinely funny when it should be, admirably vicious when it needs to be, and legit affecting when you don’t think it’ll be. Billy portrayer Wilson is a real find. He’s blessedly ordinary-looking and a little stocky—if not chubby—you can easily imagine Cooper Hoffman in the role. Wilson’s sincerity and sweetheart smile, though, keep you in Billy’s corner from moment one, and Modine matches him ideally. Their mutually eccentric other-ness and shared charisma give this “depraved” outing the almost-wholesome appeal of a 21st-century rom-com.

I had loads of unanticipated fun at *Silent Night, Deadly Night*, and wouldn’t be at all bothered to see a continuation during another yuletide season down the line.

That being said, any holiday-themed sequel would almost certainly be preferable to a follow-up to…

**OH. WHAT. FUN.**

I do my best to avoid the myriad of newly streaming Christmas comedies the way others avoid Santa-with-an-ax gore-fests, generally only breaking my vow of disinterest for titles that look like truly unforgettable monstrosities: the Will Ferrell/Ryan Reynolds *Spirited*, or the snowman-comes-to-life lunacy of *Hot Frosty*.

(*Spirited* was indeed wretched; *Hot Frosty*, dammit, was disappointingly inoffensive.)

But *Oh. What. Fun.*, which recently began streaming on Prime Video, genuinely piqued my interest.

To begin with, it was directed and co-written by Michael Showalter, who may not yet have helmed a masterpiece, but whose wholly worthy credits include *The Big Sick*, *Spoiler Alert*, *The Idea of You*, and two-time Oscar-winner *The Eyes of Tammy Faye*.

The movie’s lead was Michelle Pfeiffer, whom, for the better part of four decades, I have argued should be the lead in every movie released from now until her—or Hollywood’s—passing.

And the supporting cast, especially for a streaming debut, was truly ridiculous: two-time Oscar nominee Felicity Jones, Oscar nominee Danielle Brooks, Jason Schwartzman, Denis Leary, Chloë Grace Moretz, Dominic Sessa, Eva Longoria, *Reservation Dogs*’ Devery Jacobs, *Euphoria*’s Maude Apatow, and freaking Joan Chen.

How bad could this thing possibly be?

Sweet Jesus, I had no idea.

If James L. Brooks’ *Ella McCay* is a movie some of us might feel sorry for, Showalter’s *Oh. What. Fun.* is a movie some of us might feel aggressively hostile toward—if only because Pfeiffer appears to be the only one involved actively trying. But even her character is trying intensely trying.

In essence, this atrocity co-written by Chandler Baker is *Home Alone* if Pfeiffer played the Macauley Culkin role, and if instead of waging war on neighborhood burglars, our protagonist went completely batshit insane.

The story’s entire arc revolves around the star’s Texas homemaker Claire Clauster feeling typically overwhelmed when her family descends at Christmas, and subsequently embarking on an ill-advised walkabout after her family, like Kevin McCallister’s, accidentally forgets to bring her along on their travels.

There are essential differences, though.

The Chicago-based McCallister clan left eight-year-old Kevin alone en route to Paris. Claire’s clan, on Christmas Eve, leaves her en route to a holiday stage event a short drive away.

Kevin, in 1990, didn’t have access to his parents’ cell-phone numbers; they didn’t have cell phones. Claire, literally watching her family drive away without her, doesn’t think to call any of the half-dozen-plus numbers available to her, reveal their oversight, and drive ’round the block to pick her up; she goes home and wails “Hello?! Is anyone here?!” like the dipstick heroine of a horror movie.

Then she cries, and, in retribution for the perceived insult, drives cross-country to a taping of her favorite daytime talk show that’s airing a live episode on Christmas Day featuring winners of the “Mother of the Year” contest that Claire’s ungrateful kids didn’t submit her for.

Eventually, miraculously, she easily bypasses security and gains access to the studio, makes a public fool of herself, and becomes a media darling.

I swear to God that pint-size Macauley smacking Daniel Stern in the face with an anvil required less suspension of disbelief.

Look. I know the movie’s chief demographic isn’t expecting realism, and there is something to be said for Claire’s off-screen narration detailing how most Christmas stories are primarily devoted to dads at the expense of moms: *It’s a Wonderful Life*, *National Lampoon’s Vacation*, et cetera.

But *Oh. What. Fun.* is clichéd and terrible enough to make you grateful there aren’t more yuletide releases about harried matriarchs—and that should be the last feeling Showalter’s sickly holiday sweet should want to elicit.

Long-suffering Claire is effectively applauded for every noxious thing her character does, from her cruel (and pretty racist) treatment of Chen’s across-the-street neighbor, to her committing a felony at the local mall (shoplifting an expensive tchotchke and getting away with it), to her dropping the F-bomb on national television.

(Longoria’s show host, naturally, finds this serious FCC violation delightful and refreshing.)

It’s a movie seemingly written by, and for, psychopaths—or at least those functional ones who’ll root for its heroine regardless of her every repellent, occasionally criminal activity—because her kids don’t think to bring side dishes for their annual Christmas dinner.

*— End of Reviews*
https://www.rcreader.com/movies/youre-gonna-fake-it-after-all-ella-mccay

Resident reports coyote was caught in Christmas lights: Bay Village police blotter

**BAY VILLAGE, Ohio – Police and Animal Incidents Report**

**Animal Complaint: Northfield Road**
On December 1, a resident near the intersection of Northfield Road and Longbeach Parkway reported a coyote tangled in their Christmas lights. The resident was concerned for the safety of children who are picked up and dropped off at the nearby bus stop. Fortunately, the coyote managed to free itself from the lights without injury.

**Disturbance: Wolf Road**
Police responded to a disturbance call at the library on November 30. The complainant reported that a verbal argument had occurred after they had to let a cleaner go from their job.

**Welfare Check: Woodlane Drive**
On December 1, officers conducted a welfare check after a caller expressed concern about a family member who had been experiencing health problems and was not answering their phone. Police successfully made contact with the resident.

**Fraud Report: Midland Road**
A caller reported receiving a suspicious text message from “Apple” on December 4 and suspected it to be a fraud attempt.

**Warrant Arrest: Clague Road**
During a traffic stop on November 30, police arrested a passenger wanted on felony warrants out of Portage County.

**Warrant Arrest: No Address Provided**
On December 5, North Ridgeville Police and Wadsworth Police notified the Bay Village department that they had an individual in custody with an active warrant issued by Bay Village authorities.
https://www.cleveland.com/community/2025/12/resident-reports-coyote-was-caught-in-christmas-lights-bay-village-police-blotter.html

“She Should Be Allowed to Shoot People” – WNBA Fans Alarmed as Another Caitlin Clark Stalker Incident Allegedly Emerges at Team USA Training Camp

WNBA fans were alarmed after another alleged stalker incident involving Caitlin Clark.

The Indiana Fever star was in Durham, North Carolina, along with other WNBA stars for Team USA’s training camp.
https://www.sportskeeda.com/us/wnba/news-she-should-be-allowed-shoot-people-wnba-fans-alarmed-another-caitlin-clark-stalker-incident-allegedly-emerges-team-usa-training-camp

Hawaii board votes to change official name of Hawaii Island

The Hawaii Board on Geographic Names has officially voted to change the name of the “Island of Hawaii” to simply “Hawaii.”

This decision aligns the island’s name with the naming convention used for every other island in the state.

By dropping “Island of,” the change simplifies references and ensures consistency across all Hawaiian islands.
https://thehill.com/homenews/nexstar_media_wire/5647899-hawaii-name-change-decision/

Bemidji’s big second period leads to statement win over Class A’s No. 3 Sartell

BEMIDJI — Taevon Welle scores in bunches.

On Dec. 2, the Bemidji High School boys hockey senior captain scored five times in a 6-5 road win against Thief River Falls. Eleven days later, he was at it again when the Lumberjacks hosted Class A’s third-ranked team at Bemidji Community Arena. Welle had a goal and two assists in the second period, propelling BHS to a 4-2 win over Sartell.

“It’s not a coincidence. Once you start feeling good in a game, it’s easy to keep it going,” Welle said. “It makes the game a lot easier when you play with that kind of confidence.”

Welle, Bemidji’s leading scorer, entered Saturday’s game with seven goals and an assist. He put on a show in the second period. After picking up a secondary assist on Griffin Dewar’s tying goal, Welle notched the primary helper to tie the game again. He fed a 2-on-1 pass to Quinn Niemi 10 minutes into the second period.

“I have some great linemates in Cal (Mattfield) and Quinn,” Welle said. “Quinn plays such a simple game and it just works so well. He’s always got his head up and makes forehand plays on the whole ice. He makes my job really easy.”

Welle wasn’t done there, either. He gave the Lumberjacks their first lead three and a half minutes before the second intermission with his eighth goal this season. It proved to be the game-deciding tally.

“It’s really not just him, right?” head coach Ben Kinne said of Welle. “Cal Mattfield, Griffin Dewar, Dawson Schoonover, Nate Valley — all of those guys are in their third year of varsity hockey. The expectation is that they need to have good shifts and good games. Good for Taevon for getting the chances he’s getting.

“The third goal was a great individual effort. There’s not a lot of kids who can do that, and I’m really happy with his development and his leadership. At times, he’s been dominant.”

Welle is up to eight goals and three assists this season in six games. He remains the Lumberjacks’ leading scorer, pushing the defending 8AA runner-ups to a 4-2 record after 11 seniors graduated last spring.

“There’s definitely pressure [to produce offensively], but at the same time we’re really excited about the opportunity,” Welle said. “It’s exciting to get the chance to come out here and prove ourselves. It’s important to me to be a key piece of our team this year. It feels good to have that kind of pressure because pressure is a privilege.”

Sartell has had a staggeringly good start to its 2025-26 campaign. The Sabres opened the season with a 7-3 win over Rock Ridge. They also beat St. Cloud, Gentry Academy, and Roseau, building up their perfect 6-0 record heading into Saturday’s contest at the BCA.

Fortunately for the Lumberjacks, Sartell moved out of Section 8AA last spring when the Minnesota State High School League did its biennial competitive section realignment. The Sabres now skate in Section 6A among the likes of Little Falls, Willmar, Northern Lakes, and Fergus Falls.

“That’s a very hard game we just played against a very good team,” Kinne said. “I’d be very surprised if that team is not contending for a state title at the Class A level. They play fast, they play hard, they’re very competitive, and it was a really good challenge.

“For us, it was a gutty team win, from the goaltender on out. It’s one of those things where this is what it’s going to look like when we win games this year.”

While the Lumberjacks got the desired outcome in the end, the early moments were a struggle. Sartell is led by a four-headed monster: Devin Jacobs, Preston Deragisch, Brayden Klande, and Isaac Mentzer, all of whom arrived in Bemidji on Saturday scoring two points per game or more through their first six contests.

Jacobs, Sartell’s leading scorer, added to his total with a power-play tally less than two minutes into the first period. He recorded his ninth goal and 23rd point by sniping the top-left corner over senior goaltender JD Wood’s right shoulder.

“You just have to find a way to bounce back and stay positive in that situation,” said Wood, who made his first varsity start in goal. “Just trust yourself and what you know in that situation. Your team will battle back for you.”

Despite conceding the first goal, the Jacks settled in. They outshot the Sabres 11-8 in the first period and came out of the first intermission with a full two-minute power play, thanks to Jameson Schmitz’s tripping penalty at the end of the opening frame.

Bemidji’s power play, which was already 0-for-1 to start the game, hadn’t scored in 20 attempts on the season when the second period began. However, Dewar leveled the score at 1-1 with a goal 53 seconds into the advantage.

“It’s been a work in progress,” Kinne said of the power play. “It’s great to see us have a better mindset and good intensity, because that’s where it starts. When you win puck battles and move the puck quickly to put yourself in a good spot, you’re doing something right.”

It appeared as if Sartell regained its one-goal lead moments after Dewar’s tally. Jaiden Bambenek tapped in a rebound following a breakaway chance, but a premature whistle became a fortunate break for the Lumberjacks.

Water found its level, though, as Klande scored on a similar play less than a minute after the early whistle that negated Bambenek’s score.

The third period remained goalless until the final minutes. With Sartell goalie Brody Potthoff pulled for a 6-on-5 advantage, BHS blocked four shots. Wood made two of his eight third-period saves before Landon Knott scored an empty-net goal with less than a second left to ice the game.

Wood made 25 saves on 27 shots to pick up his first victory.

“For JD Wood to play so well in his first varsity start, I was so happy for him,” Kinne said. “The kid works extremely hard. He’s backed up by his teammates, and you could see how excited they were for him at the end there.”

**Bemidji 4, Sartell 2**

**Score by period**

| Team | 1 | 2 | 3 | Final |
|——-|—|—|—|——-|
| SAR | 1 | 1 | 0 | 2 |
| BHS | 0 | 3 | 1 | 4 |

**First period**
SAR GOAL: Jacobs (Mentzer, Otto) PPG, 1:46

**Second period**
BHS GOAL: Dewar (L. Knott, Welle) PPG, 0:53
SAR GOAL: Klande (Deragisch, Jacobs), 3:33
BHS GOAL: Niemi (Welle, Kringen), 10:18
BHS GOAL: Welle (Kringen), 12:21

**Third period**
BHS GOAL: L. Knott (unassisted), 16:59

**Saves**
Wood (BHS): 25
Potthoff (SAR): 22
https://www.bemidjipioneer.com/sports/prep/bemidjis-big-second-period-leads-to-statement-win-over-class-as-no-3-sartell

Donations sought for Vaca veterans free Christmas Eve dinner

**Vacaville Veterans to Host Free Community Christmas Eve Dinner**

Come with an appetite and leave room for dessert! Vacaville military veterans will once again offer a free Community Christmas Eve dinner for the public. Volunteers and community members will serve hot holiday meals from 11 a.m. to 3 p.m. (or until food runs out) on December 24 at the Vacaville Veterans Memorial Building, 549 Merchant St.

“We also look forward to welcoming Santa Claus, who will be on hand to provide toys to children attending with their parents,” said event co-chair Jeff Jewell in a press statement. Jewell, who shares the organizing duties with his wife Lynn and Lewis Derfuss, is the adjutant for American Legion Post 165.

**Meal Deliveries and Donations Needed**

A limited number of meals will be delivered to those unable to attend, if pre-ordered by noon on December 23. To arrange for a meal delivery, volunteer, or make a donation, please call the Veterans Memorial Building at (707) 447-6354 or visit [www.vacavets.org](http://www.vacavets.org). Jewell suggests calling ahead to ensure volunteers are available to accept donations.

Jewell notes that this program has been generously supported by the community in past years. Donations of turkeys, hams, rolls, desserts, and cash are all greatly appreciated—with financial contributions providing the greatest flexibility to purchase whatever is needed for the holiday meal. Volunteers will be at the Veterans Memorial Building Tuesdays through Sundays to accept donations and take sign-ups for meal deliveries.

**Help Restock for Christmas Eve**

Nearly 1,000 meals were served during the recent free Thanksgiving dinner, so there’s a strong need to restock supplies for Christmas Eve. “Now we can accept donations of turkeys and hams,” said Jewell, who marks his 37th year volunteering for the veterans’ holiday dinners. “I’m amazed at the community support.”

If you wish to donate turkeys or hams, please deliver them by December 17 so cooks have enough time to prepare them.

**How to Donate**

For those wishing to donate money, please note that Veterans of Foreign Wars Post 7244 is funding the Christmas Eve program this year. Checks may be made payable to **VFW Post 7244** and mailed or delivered to 549 Merchant St., Vacaville, CA 95688. The Tax Identification Number is 94-2583926.

**Contact Information**

For more information, to request meal deliveries, to volunteer, or donate, call (707) 447-6354 or visit [www.vacavets.org](http://www.vacavets.org).


*Bring your friends, family, and holiday cheer to join the Vacaville veterans for a warm meal and community celebration this Christmas Eve!*
https://www.thereporter.com/2025/12/12/donations-sought-for-vaca-veterans-free-christmas-eve-dinner/

Giants Swipe NFC Contender’s WR Ahead of Week 15

**Giants Claim WR Ryan Miller from Buccaneers Ahead of Week 15 Matchup**

The New York Giants made an under-the-radar move before their Week 15 contest with the Washington Commanders, swiping wide receiver Ryan Miller from the Tampa Bay Buccaneers’ roster. Fox Sports Bucs insider Greg Auman reported the news on December 11, noting:

> “Receiver Ryan Miller, cut by the Bucs on Wednesday, has been claimed by the Giants.”

The Giants subsequently confirmed the roster move, which Auman described as a “tough loss for the Bucs [losing a] special-teams standout who has one touchdown catch this season.”

Tampa Bay had been hoping to sneak Miller back onto their practice squad following the return of starters Mike Evans and Jalen McMillan. However, the Giants acted quickly to snatch him up, securing a plus-special teamer and serviceable wide receiver. Miller now has several weeks—and the upcoming offseason—to prove he deserves a full-time role on Big Blue’s 53-man roster.

### New Giants WR Ryan Miller Had a Mini-Breakout With Buccaneers in 2024

Considering his undrafted status out of Furman, Miller’s 2024 campaign with the Buccaneers could be classified as a mini-breakout. Last season, he recorded 12 catches for 128 yards and 2 touchdowns—solid numbers for his second year in the NFL.

Unfortunately, that spurt of offensive production didn’t carry over into 2025. This season, Miller remained an important piece for Tampa Bay on special teams, but his contributions as a receiver were limited. Even with the Bucs dealing with injuries at the position early in the season, Miller registered just 2 catches for 34 yards and one touchdown.

It remains to be seen if he can carve out a role amid the Giants’ wide-open depth chart at receiver.

### Giants Announce Beaux Collins’ Return to Practice

In other wide receiver news, undrafted rookie and camp standout Beaux Collins returned to practice this week after recovering from a neck/concussion issue that kept him on injured reserve. Giants team reporter Matt Citak announced on December 12 that Collins will be ruled out for Week 15, meaning he’ll need at least one more week before returning to action.

Per NFL rules, the Giants have 21 days to activate Collins from IR following his return to practice. They’ll need to free up a roster spot whenever they make that decision.

With the addition of Ryan Miller, it’s uncertain which receiver might be at risk when Collins is ready to rejoin the active roster. The Giants currently have several IR players designated to return, meaning each week could serve as an audition as the bottom of the roster battles to keep their spots.

**Stay tuned for more updates as the Giants continue to shape their roster amid a pivotal stretch of the season.**
https://heavy.com/sports/nfl/new-york-giants/week-15-news-ryan-miller-commanders/

10 Greatest Director-Actor Pairings, Ranked

Sometimes, all it takes to create cinematic magic is a perfect collaboration. When you find that person who just clicks, it brings a world of endless possibilities. Most of the time in Hollywood, when a project ends, chances are so does that momentary collaboration. It’s just the nature of the business—you move on to the next big thing.

Yet there have been some actor-director pairs who, once they created magic together, discovered that it’s only the beginning of the journey. Whether sharing a similar vision, encapsulating the perfect style and aesthetic, or matching the comedy necessary to elevate a text, together, these Hollywood pairs have given audiences a wealth of extraordinary works that have literally left them wanting more.

From a handful of projects to decades of movie magic, these ten collaborations have defined what it means to be a perfect pair. Their impact on their various genres and styles has inspired other filmmakers and performers to seek out their perfect match.

### 10. Tim Burton and Johnny Depp

For years, when Tim Burton announced he was making a new film, it was safe to assume that Johnny Depp would feature in some capacity. There sincerely has not been another actor who could capture the dark, whimsical characters from Burton’s mind quite like Depp.

From *Edward Scissorhands* to *Sweeney Todd* and the Mad Hatter in between, these characters became iconic for Depp because they were crafted through Burton’s brilliance and storytelling. There’s a certain dark whimsy in Depp and Burton’s collaborations that takes the characters into otherworldly dimensions while grounding them in authenticity.

They both exude outsider qualities, yet together, they create a dynamic duo. It would be near impossible to pinpoint just where their pairing was the strongest because in each film, Depp portrays a different, unique quality to his character that matches the atmosphere Burton strives for.

In one film, Depp may give a brooding demeanor to Ichabod Crane to match the haunting energy in *Sleepy Hollow*, only to turn around and bring an unhinged version of Willy Wonka for Burton’s brightly colored *Charlie and the Chocolate Factory.* Just as no two Burton films are alike, no two Depp roles are alike. Yet their stamp is loud and proud.

So, will there be future collaborations between the pair? Burton’s ready to go!

### 9. Wes Anderson and Bill Murray

There are very few directors who have such a specific and distinct aesthetic that you can immediately recognize their work. Wes Anderson is one such individual. If you have a slight obsession with symmetry as much as I do, then it’s no wonder that he’s your favorite luminary.

Beyond his tight, succinct style, Anderson is known for cycling through a roster of actors in his films. And no one has been as frequent a collaborator as Bill Murray. Often playing a supporting role, Murray has picked up on Anderson’s storytelling better than most.

Anderson fans rejoiced when Murray finally received his leading role in *The Life Aquatic with Steve Zissou*. Still one of the lesser recognized films in their repertoire, it was a rewarding collaboration that led to a genuinely wonderful story.

Anderson and Murray have become collaborative soulmates, sharing nine films together. While promoting *The Phoenician Scheme*, Murray noted that he doesn’t feel boxed in by Anderson’s exacting directorial style and that Anderson’s scripts only begin to tell the story of the film that will be made.

Having built innate trust in Anderson, the director revealed that he can rely on his star, noting that Murray is important to his stories. What’s clear is that it’s afforded them a working relationship very few actors and directors get to share. We can only hope there are more in store.

### 8. Yorgos Lanthimos and Emma Stone

When you find someone who gets you, you never let them go. It’s certainly the case with Emma Stone for Yorgos Lanthimos. He’s kept her captive and built her into his own monster. And those are just the situations Stone’s characters have found themselves in. But she’s not a monster—she’s his muse.

It takes immense trust in a director to truly be willing to explore the dark, twisted universes he creates. Often forced to literally transform, Stone went the extra mile to shave her head for *Bugonia*.

There is a mutual respect between the two artists. Stone has called her director a genius, finding his process exhilarating. From *The Favourite* to *Poor Things*, they’ve earned a shorthand that has allowed their collaborations to flourish. Even in press interviews, they share a rapport that leads to playful mocking.

She is willing to go wherever Lanthimos will take her. As Stone continues to work on the other side of the camera herself, it’s clear she knows how to perfect the director’s vision. Though he may be taking a break from directing, when he does return, chances are you’ll find Stone front and center in his next film.

### 7. Adam McKay and Will Ferrell

The early 2000s in comedy were dominated by Will Ferrell. After a triumphant run on *Saturday Night Live*, when Hollywood needed a comedy leading man, it seemed it was always Ferrell.

From *Anchorman* to *Talladega Nights: The Ballad of Ricky Bobby*, Ferrell’s over-the-top, outlandish characters kept audiences cackling. But behind each of his major films was one comic visionary: Adam McKay.

Directing some of the 21st century’s greatest comedies, McKay has been that unsung hero behind the scenes while Ferrell takes the majority of the glory. And sometimes that’s how it’s meant to be!

The duo paired up during *SNL*, creating memorable sketches together, including *Celebrity Jeopardy*. That magic translated directly to big screen collaborations that were comedic blockbusters. McKay knows exactly how to craft an incredibly aloof character for Ferrell that immediately became iconic.

Unfortunately, their collaboration ended in 2019 after a casting dispute for the HBO series *Winning Time*. Their split was felt in the comedy world. They both moved on, including McKay, who went for more dramatic films like *The Big Short* and *Vice*. Though it may take a miracle for them to share a credit again, we should be grateful for the films we have.

### 6. John Ford and John Wayne

During the heyday of Hollywood Westerns, two names were synonymous with the genre: John Wayne and John Ford. One was the face of the Wild West, riding on horseback into the sunset in all his glory. The other was the visionary who ensured those scenes became monumental.

Together, they created 14 major films over three decades, many of which have been deemed the greatest Westerns of all time. With *Stagecoach* being Wayne’s breakthrough film, their working relationship helped define the genre during the Golden Age of Hollywood.

Ford helped make Wayne who he was. He was known for being quite harsh on the actor, often verbally abusing Wayne on set. Despite this, they shared a deep bond—Wayne calling Ford “Pappy,” establishing a father-son dynamic.

Their bond on- and off-screen was considered one of the most defining partnerships in American cinema. They not only helped define Westerns, but they also shaped one another’s careers for the better.

### 5. Mel Brooks and Gene Wilder

I might be a tad biased here, but as someone who grew up on Mel Brooks’ comedy, I have an affinity for his ability to maintain comedic integrity by continually bringing a signature quality to his films.

There’s always a Mel Brooks through line that defines his films. It’s the type of jokes that dangle like low-hanging fruit and the visual humor that makes you burst out laughing.

What made his work seem so effortless was his ability to create comedy dialogue with a set of performers that carried each film. One such frequent collaborator is the late, great Gene Wilder.

While many would pinpoint his work as Willy Wonka as his signature role, his work alongside Brooks allowed him to create legendary roles in beloved films in comedy history.

Brooks helped Wilder find the neurotic tendencies in each role, yet brought out different shades of the same trait. As Leo Bloom in *The Producers*, it was an anxious worrywart. As Dr. Frederick Frankenstein in *Young Frankenstein*, it was an egotistical genius.

Though one was an introvert and the other was an extrovert, they were different sides of the same coin. Through a fiery yet passionate collaborative relationship, Brooks and Wilder found mutual respect that deepened their lifelong partnership.

Their friction created a spark that very few comic duos have ever achieved.

### 4. Quentin Tarantino and Samuel L. Jackson

It might be unfair to call Samuel L. Jackson a utility player, but when it comes to working with Quentin Tarantino, no other actor has slipped seamlessly into nearly every one of his films.

No matter the genre, Jackson’s status as one of Tarantino’s most utilized players proves how versatile a performer he is. If there’s a bloody good time to have, Jackson was on hand to have it.

With six shared credits, Jackson often found ease in building strong characters that embodied Tarantino’s distinct dialogue and vision, many of which became his defining roles. Whether the fast-talking Jules Winnfield in *Pulp Fiction*, the dastardly Stephen in *Django Unchained*, or the ambitious bounty hunter Major Marquis Warren in *The Hateful Eight*, each role maintained the integrity of Tarantino’s universe while establishing a slick, memorable character for Jackson.

Capturing strong rhythm and cadence, Jackson knows how to play in Tarantino’s world better than anyone. Building a trust that allowed Jackson to be one of the only individuals to make script changes, Jackson has had a much deeper influence on Tarantino’s work than anyone else in Hollywood.

### 3. Christopher Nolan and Cillian Murphy

Sometimes, when you develop a budding relationship, it might start small before leading to some legendary leading roles. Collaborating on six epic films, Christopher Nolan and Cillian Murphy have become one of the most dynamic duos in Hollywood today.

Starting with *Batman Begins* in 2005, Murphy maintained a presence within *The Dark Knight* trilogy, then earned parts in *Inception* and *Dunkirk*, before culminating in the Oscar-winning *Oppenheimer*.

For the role of Robert Oppenheimer, Nolan specifically sought out Murphy. They are proof that when it works, it works. From their first collaboration, it was love at first sight. Nolan saw Murphy’s raw talent, which made him the perfect performer.

Nolan has noted that he rarely has to say much to his actor, as he knows what they need to do on set. Even if they are a perfect pair, Murphy has noted that he’s relieved to miss out on Nolan’s upcoming *The Odyssey*, knowing the intensity that awaits.

That said, when the next project rolls around, expect another pair-up to arise.

### 2. Steven Spielberg and Tom Hanks

Singularly, Steven Spielberg and Tom Hanks are two of the most impactful individuals in Hollywood of all time. With Spielberg having major credits like *Jaws* and *Jurassic Park*, and Hanks’ resume featuring *Philadelphia* and *Forrest Gump*, when they found time to work together, cinematic magic was created.

With five film credits as actor-director, their prolific careers only became grander, with *Saving Private Ryan* as one of the greatest war films in cinema history. The pair have literally “gone to war” together.

Because they found a bond over their interest in World War II, their friendship transcended into new worlds. What makes their collaboration unique is that they served as producers together on three war miniseries: *Band of Brothers*, *The Pacific*, and *Masters of the Air*.

Their behind-the-scenes collaboration is almost as significant as their on-screen connection.

### 1. Martin Scorsese and Robert De Niro

There are very few collaborations who have a whopping 50-year partnership quite like Martin Scorsese and Robert De Niro. Their legendary partnership began with *Mean Streets* in 1973 and has continued through to 2023’s *Killers of the Flower Moon*.

With Oscar wins for their individual work and the films they brought to life together, nearly every single work they made became a hit, influencing Hollywood forever.

Though the total number of feature-length films is only 10, each one’s massive scope represents major milestones and developments in their artistic evolution.

They just get each other. Perhaps the only other actor to come close to this connection is Leonardo DiCaprio.

These iconic collaborations showcase that when talent, vision, and trust align, the cinematic possibilities are truly endless. Whether it’s decades of shared work or a handful of unforgettable projects, these actor-director duos have left an indelible mark on Hollywood history—proof that sometimes, the perfect pairing is all you need to create something timeless.
https://collider.com/best-movie-director-actor-pairings-ranked/

Cecil County mother charged in connection with infant daughter’s death

Maryland State Police have charged a Cecil County woman with the murder of her infant child.

The charges were announced on Wednesday, according to a release from state police. Further details about the case have not yet been disclosed.

Authorities continue to investigate the incident as the case progresses.
https://www.baltimoresun.com/2025/12/11/cecil-county-mother-charged-in-connection-with-infant-daughters-death/