PORTLAND, Ore. — OMSI has a whole new set of deep sea cratures for humans young and old to examine. Their new Monsters of the Abyss: Aquatic Predators Past + Present brings in a variety of creatures that lived under the sea 66 million years ago. But they also have their decendants who may still be patrolling waters today.
They describe their exhibit as one that allows witnesses to to travel millions of years into the past to go face to face with real-life monsters who defy imagination and have inspired myths and legends.
It began on October 4th and runs through February 16th, 2026.
The reviews are in for Ryan Murphy‘s latest true crime outing, and one critic is certainly not pleased.
After Monsters: The Lyle and Erik Menéndez Story debuted Thursday on Netflix, Erik Menéndez called out the series’ “naive and inaccurate” depiction of his and brother Lyle’s 1989 murder of their parents José and Mary Louise ‘Kitty’ Menéndez.
“I believed we had moved beyond the lies and ruinous character portrayals of Lyle, creating a caricature of Lyle rooted in horrible and blatant likes rampant in the show,” said Erik in a statement shared on Lyle’s Facebook page. “I can only believe they were done so on purpose. It is with a heavy heart that I say, I believe Ryan Murphy cannot be this naive and inaccurate about the facts of our lives so as to do this without bad intent.
“It is sad for me to know that Netflix’s dishonest portrayal of the tragedies surrounding our crime have taken the painful truths several steps backward — back through time to an era when the prosecution built a narrative on a belief system that males were not sexually abused, and that males experienced rape trauma differently than women. Those awful lies have been disrupted and exposed by countless brave victims over the last two decades who have broken through their personal shame and bravely spoken out,” he continued. “So now Murphy shapes his horrible narrative through vile and appalling character portrayals of Lyle and of me and disheartening slander.”
Erik added in part, “Is the truth not enough?”
Nicholas Chavez as Lyle Menéndez, Chloë Sevigny as Kitty Menéndez, Javier Bardem as José Menéndez and Cooper Koch as Erik Menéndez in Monsters: The Lyle And Erik Menendez Story
Courtesy of Netflix
After José was shot six times and Kitty 10 times on Aug. 20, 1989, police initially investigated several mob leads. The brothers were arrested in March 1990 after Erik confessed to his psychologist, and they alleged in trial that they killed their parents out of fear for their lives after a lifetime of abuse, including sexual abuse from their father.
Although Erik and Lyle were convicted of first-degree murder in 1996 and sentenced to life in prison without the possibility of parole, their attorney Mark Geragos told People he’s “cautiously optimistic” that new family testimonies will help get the case reduced to voluntary manslaughter,
According to the show’s official Netflix logline, Monsters “dives into the historic case that took the world by storm, paved the way for audiences’ modern-day fascination with true crime, and in return asks those audiences: Who are the real monsters?”
Of all the disturbing media that was at our disposal in the ’90s – from Are You Afraid of the Dark to Unsolved Mysteries – Goosebumps is the series that has truly stuck with me.
I read as many of the R.L. Stine books as I possibly could. Anytime we took a trip to Barnes & Noble I would beg my parents for money to grab one for more for my collection.
So when the T.V. series premiered in 1995, I was beyond thrilled. But after all these years, I never truly realized how deeply terrifying and messed up the monsters actually were for a kid’s show. I’ve compiled this epic list of the creepiest villains from the Goosebumps series. And now I need to call my therapist.
Monsters: Ippaku sanjō Hiryū Jigoku, Eiichiro Oda’s one-shot manga from 1994, is getting a new anime in January 2024. The famous mangaka behind the critically acclaimed One Piece franchise revealed that Monsters is a compilation of stories from his pre-One Piece era.
The anime adaptation is called Monsters: 103 Mercies Dragon Damnation, and it was announced at the One Piece Day 2023 event. The official One Piece YouTube channel recently dropped a new trailer for Monsters, giving fans all the details ahead of its release.
The trailer reveals that Yoshimasa Hosoya will voice Ryuma, while Kana Hanazawa will play the character of Flare. Moreover, Hiroki Tōchi will play Cyrano’s character, Mitsuaki Madono will play D.R., and Katsuhito Nomura will play Master.
Monsters 103 Mercies Dragon Damnation release date, plot & more
Monsters: 103 Mercies Dragon Damnation anime will premiere on Monday, January 22, 2024, in Japan. Outside Asia, this means the series will be available to globally stream on Netflix on Sunday, January 21, 2024.
Shueisha published Eiichiro Oda’s Monster in the 1994 Shonen Jump Autumn Special. The manga later found a spot in the 1998 compilation Wanted!. After all these years of being accessible only to manga readers, the anime adaptation will finally be a treat for anime viewers. Though otakus have displayed a mixed reaction to the trailer ahead of the anime release, the anticipation is off the charts.
Jujutsu Kaisen season 1’s director, Sunghoo Park, is directing the anime at his newly founded production studio, E&H Production. Takashi Kojima and Hiroaki Tsutsumi are working on the character designing and music composition, respectively.
Ani-One Asia describes Eiichiro Oda’s Monsters as:
“In a world where the only ‘threat’ that could disrupt the peace is up in the sky. The ‘terror’ that can cause catastrophic havoc to this world, Dragon. A legendary one-shot manga adaption by the young 19-year-old Eiichiro Oda, before the serialization of ‘ONE PIECE’. This is the story of the Samurai Ryuma.”
Stream Eiichiro Oda’s Monster on Netflix from January 21 onwards.
The rise of franchise-first pop culture has made what was previously a genre stumbling block into everyone’s problem: Exposition. Specifically, the stuff we call “lore.” When every big show or movie has to connect to something else, those connections aren’t always graceful. Especially when you need to work in how your villain was in the Amazon with your mom when she was researching spiders right before she died.
Monarch: Legacy of Monsters, Apple TV Plus’ extremely good mystery-thriller based on Legendary Pictures’ MonsterVerse, deftly dances around every major pitfall modern mega-franchises happily dive into. The series packs the frame with fascinating little details that unobtrusively build out the world of the show without having characters explain much of anything. It’s thoughtful in its visual design in a way that recalls HBO’s Watchmen, another show full of extensive references to a prior work, carefully building out a story that stood on its own.
The similarity is more than superficial. Both shows are very interested in the background construction of a political and cultural apparatus predicated on one massive, divergent event in history. Both shows have clearly had writers do a ton of mapping out the ways in which their fictional worlds were similar and the ways in which they diverged, and instead of having characters recite endless factoids better served by a wiki, they merely depict the characters living in that world. It’s for the viewer to notice the ways in which it is different.
Image: Apple TV Plus
The early episodes of Monarch are filled with details like this. Passengers on a commercial flight are sprayed down by men in hazmat suits after an international trip, airline corridors have clearly marked Godzilla evacuation routes, and installations of military weaponry stand ready for another Titan appearance.
This, coupled with the show’s noteworthy focus on human drama about two siblings whose father kept them from each other, gives Monarch a thematic richness that surprises and delights. If the big, cacophonous MonsterVerse movies use their kaiju as a metaphor for humanity’s disregard for the planet on a grand scale, then Monarch personalizes that devastation. Not just by showing what it’s like to try and adhere to normalcy after surviving a spectacular catastrophe, but in showing how the men and women who chased these monsters over generations shattered their families to pursue their reckless work — work that would in turn shatter the planet.
Monarch is less openly about thorny, difficult topics than Watchmen was. You won’t find, for example, provocative explorations of race in America. But that doesn’t mean it’s not a show for these times. Much like Watchmen found new relevance in its revisitation of a comic book from 1986, Monarch finds depths to plumb in the haphazard cinematic universe that was jury-rigged around Gareth Edwards’ 2014 Godzilla remake. In it, we can see a consideration of humanity’s struggles to navigate a collective disaster, a casual reflection of our inability to solve great crises without militarism, and the way institutions warp fear of collapse into an excuse to control more of our lives. The story may be set in 2015, but few genre shows feel more 2023.
