Mostly Film

🎥 In Review: Guillermo del Toro — Love, Ghosts, and Waterlogged Fairy TalesIn the final chapter of our del Toro deep dive, we explore two of his most romantic and haunting visions — Crimson Peak and The Shape of Water — where monsters, mansions, and mermaids all blur into something achingly human.🩸 The Body: Building the MonsterFrom the bleeding walls of Allerdale Hall to the shimmering glow of a Cold War lab, del Toro crafts living worlds that breathe, ache, and fall in love. We break down how Crimson Peak channels classic Gothic romance through practical effects and handcrafted sets, while The Shape of Water turns Cold War paranoia into a sensual fairy tale of empathy.💔 The Soul: What the Monster MeansBoth films reimagine love as rebellion — Edith’s ghosts in Crimson Peak don’t haunt, they warn, and Elisa’s bond with the Amphibian Man transcends language, species, and fear. We discuss how del Toro weaves silence, sensuality, and sorrow into stories that find beauty in the broken and redemption in the monstrous.🏆 The Legacy: Footprints in the DarkThough Crimson Peak was misunderstood at release, it’s now a Gothic cult favorite, while The Shape of Water swept the Oscars and sealed del Toro’s status as a master storyteller. Together, they mark his evolution from dark fantasist to romantic visionary — proving that even in his strangest worlds, love is the most powerful magic of all.Join us as we close the book on del Toro’s universe — where every ghost has a heart, every monster has a soul, and every story bleeds beauty.

🎬 Mostly FilmThis week on Mostly Film, Jonathan and JP unwrap a new batch of trailers, revisit some classics, and wade through the latest in movie madness — from Middle-earth to Chicago crime rings.🍿 LIST IT or NIX ITFrom the Jonas Brothers Christmas special to Scream 7, Fackham Hall, and Dead Man’s Wire, the guys decide which trailers make the Letterboxd watchlist and which get left on the cutting room floor. Expect some strong opinions, especially once Crime 101 enters the chat.🎥 What We’ve Been WatchingJonathan’s keeping it epic with The Lord of the Rings trilogy (The Fellowship of the Ring, The Two Towers, The Return of the King) and a few of 2025’s buzzy releases like The Lost Bus. JP’s going full genre — mixing crime and horror with Fright Night, An American Werewolf in London, Thief, and Snatch.🗞️ The NewsThe headlines are as unpredictable as ever: Netflix might buy Warner Bros., Toy Story 5 is reportedly “all about Jessie,” and Taylor Sheridan is jumping from Yellowstone to Call of Duty. Mia Goth’s seeking bear-based revenge in Hey Bear, Jason Statham’s reuniting with Guy Ritchie for Viva La Madness, and Guillermo del Toro’s roasting AI in style (“My concern isn’t artificial intelligence — it’s natural stupidity”).From holiday pop chaos to classic heists and modern monsters, Mostly Film brings you the perfect mix of movie love, low-stakes debates, and cinematic deep dives — one trailer at a time.

🎥 In Review: Guillermo del Toro — Puppets, Prometheus, and the Pursuit of HumanityThis week on In Review: Guillermo del Toro, we close out the series with two of the filmmaker’s most soulful creations — Pinocchio and Frankenstein — stories about life made by human hands, and the heartbreak that follows.🩻 The Body: Building the MonsterDel Toro trades latex and makeup for wood and stop-motion in Pinocchio, crafting a fascist-era fable where love defies obedience and grief carves its own creation. Then, he resurrects his long-dreamed passion project: Frankenstein, the ultimate story of maker and monster. We explore how del Toro uses animation, gothic design, and mythic scale to explore what happens when the act of creation collides with the fear of imperfection.💀 The Soul: What the Monster MeansAt their core, both films wrestle with the same question — what does it mean to be alive? Pinocchio redefines the wooden boy’s journey as a lesson in individuality and unconditional love, while Frankenstein gives voice to the forsaken, showing that the real horror isn’t creation… but rejection. We trace how del Toro’s empathy for his monsters turns tragedy into transcendence.👣 The Legacy: Footprints in the DarkWith Pinocchio, del Toro expanded his universe into the realm of animation and earned one of his most acclaimed films yet. With Frankenstein, he returns to gothic roots to complete a lifelong creative cycle. Together, these stories mark the culmination of his career-long fascination with makers and monsters — from puppets to gods, from the hand that builds to the heart that breaks.Join us as we explore how Guillermo del Toro’s monsters have always been mirrors — not of our fears, but of our longing to be loved.

🎬 Mostly Film: This week on Mostly Film, Jonathan and JP are diving into a jam-packed slate of trailers, reviews, and movie news that’s as unpredictable as a Taylor Sheridan plot twist.🍿 LIST IT or NIX ITThere’s only one trailer on the docket this week — Crime 101 — but it’s got the guys talking all things heist, heat, and Hollywood cool. Is this one headed straight to the Letterboxd watchlist, or getting locked out of the vault entirely?🎥 What We’ve Been WatchingJonathan’s been on a run through some of 2025’s most intriguing releases — from the explosive Big Bold Beautiful Journey and A House of Dynamite to the haunting Anemone. He also dives back into prestige TV with Oz, Black Sails, and Mare of Easttown (finally).Meanwhile, JP’s been balancing crime and chaos with Blackhat, The Long Walk, and A House of Dynamite (again — consensus incoming?), plus TV time with The Chair Company.🗞️ The NewsHollywood’s latest round of headlines includes everything from Crash Bandicoot getting an animated series to Johnny Depp haunting your holiday season as Ebenezer Scrooge in Ti West’s dark A Christmas Carol. Guillermo del Toro’s back in the spotlight, swearing off AI (“I’d rather die”) while teasing a Phantom of the Opera reimagining. And if that’s not enough — Margot Robbie might be taking an axe to Wall Street as the lead in Luca Guadagnino’s gender-swapped American Psycho.From practical stunts to preposterous remakes, Mostly Film is your weekly hangout for movie talk that’s part insight, part chaos, and all popcorn.

🎥 In Review: Guillermo del Toro — Myth, Machines, and the Monster’s HeartThis week on In Review: Guillermo del Toro, we dive into two of the director’s biggest and boldest creations — Hellboy II: The Golden Army and Pacific Rim — exploring how del Toro evolved from gothic storyteller to full-blown mythmaker.🩻 The Body: Building the MonsterFrom the faerie kingdoms of Hellboy II to the towering Jaegers of Pacific Rim, del Toro crafts spectacle with soul. We unpack how The Golden Army turned comic-book fantasy into romantic myth — filmed in Budapest, powered by practical effects, and filled with luminous creatures straight from the director’s sketchbook. Then we jump into Pacific Rim, del Toro’s love letter to kaiju and mecha cinema, where every punch between robots and monsters still feels strangely personal.💀 The Soul: What the Monster MeansBoth films ask the same haunting question — what makes something human? In Hellboy II, Prince Nuada becomes a tragic prophet of extinction, fighting for a forgotten world while Hellboy wrestles with love, destiny, and fatherhood. In Pacific Rim, connection replaces conflict; empathy becomes literal through the “Drift,” a neural bond that forces two pilots to think — and feel — as one. We explore how del Toro turns myth and machinery into metaphors for compassion, sacrifice, and renewal.👣 The Legacy: Footprints in the DarkHellboy II remains one of the most visually imaginative superhero films ever made — its Troll Market sequence alone is a miniature museum of del Toro’s imagination. Pacific Rim, meanwhile, scaled up his heart to blockbuster size, blending Japanese monster tradition with Hollywood emotion. Together, they bridge del Toro’s career from mechanical myth to emotional intimacy, paving the way for Crimson Peak and The Shape of Water.Join us as we chart the rise of a filmmaker who proves that even the biggest monsters — and the biggest movies — can still have a pulse.

🎬 Mostly Film: This week on Mostly Film, Jonathan and JP are back to break down the newest trailers, wildest headlines, and everything that’s been lighting up their screens lately — or at least confusing them just enough to keep watching.🐒 LIST IT or NIX ITWe’re putting ten fresh trailers to the test: Primate, Rebuilding, Send Help, Merrily We Roll Along, The Pout Pout Fish, Young Washington, Stone Cold Fox, Icefall, Not Without Hope, and Wasteman. Will they make the Letterboxd watchlist or get the cold, heartless NIX? 📺 What We’ve Been WatchingJonathan’s been knee-deep in epic storytelling — from Oz and Black Sails to Warrior and the never-ending puzzle of Task. JP’s been balancing the mood with a dose of dark mystery, diving into Cure and keeping up with Slow Horses and The Lowdown. Expect discussions on tone, tension, and the art of sticking with shows that reward patience (or don’t).🗞️ The NewsIt’s been a busy week in Hollywood, with new projects, industry shifts, and a few eyebrow-raising headlines. The guys round up the biggest stories and share their takes — part insight, part chaos, all film nerd energy.From prestige drama to primates with potential, it’s another week of sharp opinions, questionable takes, and pure love for the movies on Mostly Film.

🎥 In Review: Guillermo del Toro This week, the Mostly Film crew dives deep into the beating heart of Guillermo del Toro’s Spanish masterpieces — The Devil’s Backbone and Pan’s Labyrinth. It’s a journey through haunted orphanages, fascist nightmares, and the fragile courage of children who see truth where adults see only power.🩻 The Body: Building the MonsterWe trace del Toro’s evolution from Mimic’s heartbreak to his creative rebirth in Spain. The Devil’s Backbone sets the stage — a ghost story framed by war, where the bomb in the courtyard is as much a symbol as it is a relic. Then comes Pan’s Labyrinth, its spiritual sequel, blending fairy tale and fascism into a seamless vision. We unpack the craftsmanship behind these films — from Guillermo Navarro’s glowing cinematography to del Toro’s camera that moves like memory itself.💀 The Soul: What the Monster MeansFor del Toro, monsters are moral mirrors. In The Devil’s Backbone, ghosts linger not for revenge but remembrance — “a tragedy doomed to repeat itself.” In Pan’s Labyrinth, the monsters of fantasy are merciful compared to those of reality. Ofelia’s rebellion becomes a prayer for imagination, for empathy, for survival. We talk Catholic humanism, compassion over dogma, and how del Toro finds holiness in the heart of horror.👣 The Legacy: Footprints in the DarkThese two films didn’t just shape del Toro’s career — they defined his cinematic theology. The Devil’s Backbone earned him critical credibility, Pan’s Labyrinth earned him Oscars, and together they crystallized his belief that “fantasy is not an escape — it’s a way to understand reality.” Their influence echoes through Crimson Peak, The Shape of Water, and the growing field of “Spanish Civil War Gothic.”From haunted courtyards to labyrinths of the soul, we explore how del Toro’s monsters teach us to see — not what’s hiding in the dark, but what’s been there all along.

🎬 Mostly FilmThis week on Mostly Film, Jonathan and JP are back with another round of hot takes, questionable trailer opinions, and a few emotional curveballs.LIST IT or NIX ITWe’re kicking things off with five fresh trailers — Mercy, Nuremberg, No Other Choice, Train Dreams, and Playdate. Which ones make the Letterboxd watchlist, and which ones get the swift “nope”? Expect chaos, disagreement, and at least one completely unjustified “LIST.”What We’ve Been WatchingJonathan’s been spending time in the world of Oz and Warrior, while JP dove into 2025 releases like Eennie Meanie and The Woman in Cabin 10 — plus Lurker, because of course he did. On the TV side, it’s a Task, Slow Horses, and Lowdown kind of week.The NewsHollywood had one of those “everything’s happening at once” weeks. We reflect on the loss of Diane Keaton at 79, discuss M. Night Shyamalan’s Magic 8 Ball show (yes, really), and break down Paramount’s failed bid to buy Warner Bros. Also: Fear Factor is coming back — hosted by Johnny Knoxville — and Tron: Ares just pulled a box office debut that’s... well, not electric.It’s movie news, mild chaos, and mid-tier predictions — all part of another week of Mostly Film. 🎥

🎥 In Review: Guillermo del Toro — The Body, The Soul, The LegacyThis week, the Mostly Film crew dissects the visionary world of Guillermo del Toro, starting at the beginning — when the monsters were still finding their form. Jonathan and JP walk through del Toro’s evolution from the studio-strangled chaos of Mimic to the full-blown creative freedom of Hellboy.🧠 The Body: Building the MonsterWe dig into the bones of Mimic and Hellboy — the science-gone-wrong of one and the supernatural swagger of the other. From Miramax meddling to monster suits, del Toro’s meticulous craft shines through even when the system fought him. Expect talk of subway tunnels, chiaroscuro lighting, Nazi occultists, and how Hellboy gave him the mythic canvas he’d been chasing since Cronos.💀 The Soul: What the Monster MeansDel Toro’s monsters are never just monsters — they’re metaphors. We unpack the shared heartbeat between these two films: fear and faith, creation and corruption, found families and false gods. Whether it’s Mira Sorvino’s motherly instinct in Mimic or Professor Broom’s fatherly care for a demon son, del Toro reminds us that the things we call monstrous often just want to be understood.👣 The Legacy: Footprints in the DarkMimic’s heartbreak led to a vow of creative independence — one that would reshape his entire career. Hellboy became his redemption arc, a cult favorite that proved sincerity and spectacle could coexist. We trace how these films set the stage for The Devil’s Backbone and Pan’s Labyrinth, marking the moment del Toro learned to fight — and film — for beauty.From tunnels to underworlds, this episode kicks off a journey through del Toro’s monsters, metaphors, and masterpieces — and how they made us all believers in the beautiful grotesque.

🎬 Mostly FilmThis week, the Mostly Film crew (Jonathan & JP) are back to break down the latest in movie news, AI ethics, and cinematic chaos — with a few hot takes along the way.LIST IT or NIX ITWould we add it to the Letterboxd watchlist or toss it in the bin? We give rapid-fire reactions to the latest trailers for Ballad of a Small Player, The Thing with Feathers, We Bury the Dead, The Roughneck, and Exit Protocol. Expect some disagreements, some hype, and maybe one regretful “LIST.”What We’ve Been WatchingJonathan’s been digging into 2025’s newest releases like The Man in the Basement, All the Devils Are Here, and Caught Stealing, while balancing it out with some TV heavyweights like Banshee and Task. JP’s lineup includes Altered States, All the Devils Are Here, and Caught Stealing — plus a binge of Banshee, Slow Horses, and The Lowdown. It’s a mix of crime, chaos, and psychological breakdowns… in other words, a normal week.The NewsFrom PTA’s One Battle After Another crossing $100M worldwide to Dwayne Johnson reflecting on The Smashing Machine’s soft opening, we’re covering the highs, lows, and headline chaos of Hollywood. Zelda Williams calls out AI’s exploitation of her late father’s likeness, David Ellison goes full mogul with media acquisitions and Paramount shake-ups, and Damien Chazelle’s new prison drama is already stacking stars.It’s a packed episode of sharp takes, deep dives, and way too many side conversations about Banshee.🎧 Mostly Film — where film talk meets friendly chaos.

🎙️ Cruise vs DiCaprio: Magnolia & One Battle After AnotherThis week, the gang (Jonathan, Garrett, Zach, and JP) is taking on two roles that flipped the script for our favorite stars. On one side, Tom Cruise ditches the aviators and takes the stage as Frank T.J. Mackey in Magnolia — a loud, chaotic, and surprisingly heartbreaking “guru” who yells about masculinity but crumbles when the lights go down. On the other, Leonardo DiCaprio teams up (finally!) with Paul Thomas Anderson in One Battle After Another, playing a washed-up revolutionary pulled back into the fight when his daughter is taken.We’re talking:🎤 Cruise going full unhinged with improvised rants, then breaking our hearts at his dad’s bedside.🎬 Leo in survival mode, carrying a political thriller on his back with just the right mix of grit and heartbreak.🤔 Who stretched further out of their comfort zone, and who delivered the performance that’ll be remembered in 20 years?Expect plenty of hot takes, a little PTA lovefest, and probably some disagreements about just how good Magnolia’s frogs scene really is. It’s messy, it’s passionate, and it’s mostly about movies.

🎬 Mostly FilmThis week the crew dives headfirst into a loaded lineup of trailers, thrillers, and industry shake-ups.LIST IT or NIX ITWould we add it to the Letterboxd watchlist or leave it in the dust? We break down new trailers for Anaconda, Greenland 2, The Mandalorian and Grogu, The Astronaut, The Bride, Violent Ends, Wolves, ZERO AD, and more. Expect strong opinions, side tangents, and at least one heated debate about snakes.What We’ve Been WatchingJonathan’s been on a run with 2025 releases (Splitsville, Elio, Simple Plan: Kids in the Crowd) and a full-on Muppet marathon (Haunted Mansion, Treasure Island, A Christmas Carol). He also tackled a stack of ‘70s & ‘80s thrillers (Mississippi Burning, The Conversation, Chinatown, All the President’s Men) and gave us his Paul Thomas Anderson power rankings (There Will Be Blood, The Master, Licorice Pizza, and more).JP kept pace with Splitsville and Superman, then worked through his own set of ‘70s thrillers (Klute, Night Moves, The Anderson Tapes). He rounded it out with a deep-dive on Paul Thomas Anderson’s catalog and new TV favorites like Peacemaker, Slow Horses, and The Lowdown.The NewsAI-generated “actress” Tilly Norwood sparks major backlash in Hollywood.Jeremy Irons joins Henry Cavill in the Highlander reboot.Trump floats a 100% tariff on foreign films, rattling global distribution chatter.One Battle After Another pulls in $53M worldwide.It’s a packed episode of hot takes, deep dives, and cinematic chaos. Grab your popcorn—it’s Mostly Film.

🎙️ Mostly Film: Cruise vs. DiCaprio – Mission: Impossible & The DepartedThis week on Mostly Film, we’re diving into two career-defining roles from two of Hollywood’s biggest names. First up: Tom Cruise in Mission: Impossible (1996), the movie that launched him not only as an action icon but also as a powerful producer. From dangling in the CIA vault to handpicking Brian De Palma as director, we unpack how Cruise turned a risky gamble into one of the longest-running franchises in movie history.Then it’s Leonardo DiCaprio in The Departed (2006). We break down his turn as Billy Costigan, the undercover cop teetering on the edge in Scorsese’s Boston crime saga. From the intense prep work to that Oscar snub, we explore how this role cemented DiCaprio’s shift from teen idol to full-fledged dramatic heavyweight.It’s Cruise vs. DiCaprio: vault drops vs. mob rats, star power vs. raw intensity. Grab your popcorn, because this matchup’s got just as many twists as the movies themselves.

🎙️ Mostly Film: Toy Story, Chinatown, and Hollywood’s Latest WinsThe Mostly Film crew is back! We kick things off with LIST IT or NIX IT, where we give the hot new trailers (Super Mario Galaxy, Christy, The Rip, Song Sung Blue) the only treatment they deserve—an instant thumbs-up for the Letterboxd watchlist or a one-way ticket to the nix pile.Then it’s What We’ve Been Watching: Jonathan gets nostalgic with Toy Story (still a perfect movie, by the way) and checks in on Task. Meanwhile, JP takes a detour through the gritty ‘70s with Sorcerer, Chinatown, and Winter Kills. Plus, we chat about the recent success of Weapons and why it might just be setting the stage for one of 2025’s biggest conversation starters.And of course, we wrap it up with The News, because the movie world never sleeps.... and neither do we

🎙️ Mostly Film: Cruise vs. DiCaprio – American Made & Killers of the Flower MoonThis week on Mostly Film, we’re stacking two Hollywood heavyweights against each other: Tom Cruise in American Made (2017) and Leonardo DiCaprio in Killers of the Flower Moon (2023).We start with Cruise, who reunited with Doug Liman to play real-life pilot Barry Seal—a hustler caught between the CIA and the Medellín Cartel. From writing the role specifically with Cruise in mind to letting him do his own flying stunts, we dig into the wild casting backstory. Critics praised his charm and energy, calling it one of his most refreshing (and risky) roles of the 2010s.Then we move to DiCaprio, who flipped the script—literally—in Scorsese’s Killers of the Flower Moon. Originally meant to play the heroic FBI agent, DiCaprio chose instead to embody Ernest Burkhart, a morally torn man complicit in the Osage murders. His decision reshaped the story into a darker, more intimate character study. Critics highlighted his unflattering physicality, emotional vulnerability, and magnetic chemistry with Lily Gladstone as the tragic heart of the film.Two very different stars. Two true stories. Two performances that pushed each actor outside their comfort zone. The question is: who pulled off the greater risk?

🎬 Mostly Film: Trailers, Taskmasters & Chicken Man?This week on Mostly Film, we’re diving into a mountain of fresh trailers in our LIST IT or NIX IT segment—will Wuthering Heights, Hamnet, Return to Silent Hill, or Dust Bunny make the cut, or get tossed aside?Then it’s time for What We’ve Been Watching, and Jonathan’s been on a roll: from action sequels like Nobody 2 and She Rides Shotgun, to the hilarity of The Naked Gun, to the colorful chaos of K-Pop Demon Hunters. He even squeezed in Light of the World, Together, Eanie Meanie, Highest 2 Lowest, and more—plus TV time with Dexter: Resurrection and Task. (JP promises to catch up soon.)And of course, we’ve got the movie news roundup:Dwayne Johnson playing “Chicken Man” in Benny Safdie’s Lizard Music 🐓Cillian Murphy says he has “ROMO” about missing Nolan’s The OdysseySpielberg almost directed a Call of Duty movie 🎮Jeremy Allen White circling Airman with Ben StillerA Magic remake in the works from Sam RaimiWill Smith inks a first-look deal with ParamountAnd Jordan Peele’s mystery project is suddenly off Universal’s calendar 👀It’s a jam-packed episode full of wild casting, bold remakes, and our questionable trailer hot takes.

🎥 Cruise vs. DiCaprio: Edge of Tomorrow & The RevenantThis week on Mostly Film, we’re putting two powerhouse performances under the microscope: Tom Cruise’s action-heavy, time-looping Edge of Tomorrow (2014) and Leonardo DiCaprio’s brutal, Oscar-winning The Revenant (2015).We dig into how Cruise flipped his usual hero persona on its head—starting out as a cowardly PR officer before evolving into a battle-hardened soldier—and why his chemistry with Emily Blunt made this one of his most entertaining roles in years.Then we trek into the icy wilderness with DiCaprio, exploring how he endured bone-chilling conditions, ate raw bison liver, and gave a raw, nearly wordless performance that finally brought him his first Academy Award.It’s a head-to-head between two very different kinds of survival stories: one fueled by sci-fi spectacle and do-overs, the other by grit, pain, and sheer willpower.

🎬 Cruise vs. DiCaprio: Risky Business & Don’t Look UpThis week on Mostly Film, we’re diving into two very different eras of movie stardom—Tom Cruise in Risky Business (1983) and Leonardo DiCaprio in Don’t Look Up (2021).First up: Cruise in Risky Business. We unpack how a not-so-obvious choice for the role of Joel Goodson became a career-defining performance. From that legendary underwear dance (which wasn’t even scripted) to his transformation from nervous teen to confident star, we explore how this film launched Cruise into Hollywood superstardom.Then: DiCaprio in Don’t Look Up. We talk about how Leo brought his passion for climate activism into Adam McKay’s satirical disaster comedy, why his nervous, nerdy scientist was such a refreshing change of pace, and how his improvised TV rant became one of the movie’s standout moments.It’s a showdown between two icons at pivotal moments in their careers—one breaking out, the other breaking type.

Mostly Film This week on Mostly Film, we’re back with another packed episode.First up: LIST IT or NIX IT—we’re running through the latest trailers (Good Boy, Keeper, Jimmy & Stiggs, Rabbit Trap, STEVE, Marty Supreme, Plainclothes, Elenor the Great) and deciding on the spot if they’re worth adding to our Letterboxd watchlists… or tossing in the bin.Then in What We’ve Been Watching, Jonathan and JP share their thoughts on The Bad Guys 2, The Bad Guys, and a couple of TV favorites like Dexter: Resurrection and Countdown. Expect quick takes on what stuck with us, without getting lost in the weeds of plot summaries.Finally, we wrap up with Movie News, hitting the latest updates from Hollywood and beyond.Trailers, reviews, and the week’s movie buzz—all in one episode.

Episode Title: Cruise vs. DiCaprio – Days of Thunder & The BeachThis week, we’re putting two movie icons head-to-head as we dive into Tom Cruise’s high-octane turn in Days of Thunder (1990) and Leonardo DiCaprio’s island odyssey in The Beach (2000).We’ll unpack the fascinating behind-the-scenes stories—from Cruise’s real NASCAR training and on-set romance with Nicole Kidman, to DiCaprio’s risky post-Titanic career move, environmental controversies in Thailand, and jellyfish encounters that almost derailed the shoot.You’ll hear about the inspirations, production challenges, and career-defining choices that shaped both films—plus our takes on how each star handled their roles, what critics said then vs. now, and why these movies still spark debate decades later.Fast cars. Hidden islands. Two megastars at pivotal moments in their careers. Buckle up—this is going to be a ride.