AI Spoiler
Search for any movie or show and have the plot summarised, the twist revealed, or the ending spoiled outright.
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Civil War
Film · 2024
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Shōgun
Show · Season 1
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Fallout
Show · Season 1
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Godzilla x Kong: The New Empire
Film · 2024
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X-Men '97
Show · Season 1
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The Bear
Show · 3 seasons
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Furiosa: A Mad Max Saga
Film · 2024
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Ripley
Show · Limited series
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Challengers
Film · 2024
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The Fall Guy
Film · 2024
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Baby Reindeer
Show · Limited series
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Dune: Part Two
Film · 2024
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Blade Runner 2049
Film · 2017
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The Departed
Film · 2006
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Spartacus
Film · 1960
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Written by hand, like everything else on this page: there is no model behind this yet.
Two hours and forty-six minutes of sand, in one breath.
Paul Atreides hides among the Fremen, becomes the messiah they were promised, and rides their holy war to the throne — killing Feyd-Rautha, forcing the Emperor to kneel and taking Princess Irulan as his bride, while Chani walks away.
After the Harkonnen massacre, Paul and his mother Jessica take refuge with the Fremen of Sietch Tabr. Paul learns their ways, falls in love with Chani and rides his first sandworm, while Jessica drinks the Water of Life, becomes the tribe's Reverend Mother and spreads the prophecy that names her son their saviour. Paul resists it — he has seen the holy war it leads to — until the Harkonnens, now under the Baron's nephew Feyd-Rautha, destroy Sietch Tabr. Paul drinks the Water of Life himself, nearly dies, and wakes seeing the future whole. He goes south, claims the messiah's mantle before the war council, and leads the Fremen and their sandworms against the Emperor at Arrakeen. He kills the Baron, kills Feyd-Rautha in a duel and makes the Emperor surrender. When the Great Houses refuse to accept him, he sends the Fremen after them. Chani, who never believed the prophecy, leaves alone.
Paul has spent his life at war with House Harkonnen. The Water of Life has news about his family tree.
Jessica is Baron Vladimir Harkonnen's daughter. Paul sees it in the visions the Water of Life gives him: the man who ordered his father's murder is his own grandfather, and Paul is a Harkonnen by blood.
It ends with a wedding, of a kind, and a war.
Paul kills Feyd-Rautha in single combat and forces Emperor Shaddam IV to kneel, claiming the throne by taking Princess Irulan as his wife. When the Great Houses in orbit refuse to recognise him, he tells the Fremen to lead them to paradise — the holy war he spent the film trying to stop has begun. Chani, who will not kneel, calls a sandworm and rides away alone.
Ten episodes of court intrigue in 1600 Japan, folded flat.
An English pilot shipwrecked in Japan becomes the tool, then the ally, of Lord Toranaga, a regent whose rivals are closing in. Toranaga looks beaten from first to last — and wins without a battle, because the woman who translates for them gives her life for his plan.
In 1600 the English pilot John Blackthorne washes up in Japan with a ship full of cannon, just as Lord Yoshii Toranaga — one of five regents ruling until the late Taikō's son comes of age — is being driven out by Ishido and the other regents. Toranaga takes Blackthorne under his protection and gives him Lady Toda Mariko, a Christian noblewoman, as his translator, and the two fall in love. Toranaga's position crumbles: he is impeached, loses allies, and talks of a desperate all-out attack on Osaka he calls Crimson Sky. Mariko goes to Osaka, refuses to be held there as a hostage, and dies when assassins attack the castle. In the last episode Toranaga reveals that the war is already won.
Toranaga spends ten episodes losing. Look again at who was keeping score.
Crimson Sky was never going to happen. Toranaga let everyone believe he was finished — his enemies, his allies, Blackthorne — and sent Mariko to Osaka knowing she would die there. Her death disgraced Ishido and turned Lady Ochiba, the heir's mother, against him; without the heir's banner, the armies ranged against Toranaga would never march.
The last episode is quiet. That is the point.
Yabushige, whose betrayal let the assassins into the castle, is ordered to commit seppuku, and before he dies Toranaga tells him the truth: Mariko's sacrifice has already won the war, and Toranaga will rule Japan. Blackthorne, grieving, stays. The battle the whole season seemed to be building to — Sekigahara — happens off screen, in history.
One case, one replicant, and the question the first film left open.
A replicant cop, K, finds the bones of a replicant who died giving birth, comes to believe he is that child, and learns he is not — then reunites the child's father, Rick Deckard, with the daughter he never knew.
In 2049, K is a replicant blade runner for the LAPD, retiring older models. On a farm outside Los Angeles he finds a box of bones: a replicant woman who died after giving birth — Rachael, from the first film. A replicant born rather than made would upend the world, so his lieutenant orders the child found and erased, while Niander Wallace, who makes the replicants now, sends his enforcer Luv after it for the secret. A childhood memory K was sure had been implanted — a wooden horse hidden in a furnace — turns out to be real, and he comes to believe he is the child. He finds Deckard hiding in a ruined Las Vegas, where Wallace's people take Deckard. The replicant resistance tells K the truth, and he goes after Deckard anyway.
K has a memory everyone tells him was implanted. The film asks whose it really is.
K is not the child. The memory he was given — the wooden horse, the furnace — is real, but it belongs to Ana Stelline, Deckard's daughter, who designs memories for replicants and put one of her own into his. K is not special. He chooses to act as though he were, which the film treats as the larger thing.
It ends in the snow, on a flight of steps.
K stops Luv from taking Deckard off-world, drowning her in the surf, and brings Deckard to the building where Ana Stelline works, sealed away from the world. Deckard goes in to meet his daughter. K, badly wounded, lies down on the steps outside as the snow falls — the way Roy Batty died in the rain in the first film.
Two hundred years after the bombs, in eight episodes.
Lucy MacLean leaves her vault to rescue her kidnapped father and finds that the wasteland — and her father — are not what she was taught. Everyone on the surface is chasing a scientist's severed head that holds the secret of cold fusion, and the vaults turn out to be part of the plan that ended the world.
In Vault 33, sheltered and sunny Lucy MacLean marries a boy from the vault next door, and the wedding turns out to be a raid: surface raiders led by Lee Moldaver kidnap her father, Overseer Hank MacLean. Lucy goes up to find him. On the surface she crosses paths with Maximus, a squire of the militaristic Brotherhood of Steel, and the Ghoul — Cooper Howard, a pre-war film star turned bounty hunter, now two hundred years old. They are all after the same thing: the head of a scientist, Siggi Wilzig, which carries the secret of cold fusion. Below ground, Lucy's brother Norm starts digging into what Vault-Tec really built, while flashbacks show Cooper's life before the war and his wife Barb's work at Vault-Tec.
Lucy grew up believing the vaults saved the world. The show has a less flattering word for them.
Vault-Tec didn't only prepare for the end of the world — it planned it. Before the war its executives, Cooper's wife Barb among them, schemed to make the bombs fall so they could own whatever came after. And Lucy's father is one of them: Hank MacLean is a pre-war Vault-Tec man, kept frozen for two centuries, who also destroyed Shady Sands, the city Moldaver was fighting for.
The finale answers some questions and sends the rest to Las Vegas.
At Griffith Observatory, Moldaver uses the head to switch on cold fusion, and the lights of what's left of Los Angeles come back on. Lucy learns what her father did — to Shady Sands, and to her mother — and Hank escapes in power armour. She sets off after him with the Ghoul, toward New Vegas, while Maximus is hailed as a hero by the Brotherhood and Norm, deep in the vaults, is shut in with Vault-Tec's frozen executives.
Eight black-and-white episodes, and one very patient man.
Tom Ripley, a small-time New York grifter, is paid to bring a rich man's son home from Italy. He moves into the son's life instead, kills him, becomes him, and talks his way out of every question that follows.
In 1961 Tom Ripley scrapes a living forging and swindling in New York until a shipping magnate, Herbert Greenleaf, pays him to go to the Italian coast and bring his son Dickie home. In Atrani, Tom befriends Dickie and his girlfriend Marge and slips into Dickie's easy life — until Dickie tires of him. On a trip to San Remo, Tom kills Dickie in a small boat and takes his place: his passport, his money, his signature. When Dickie's friend Freddie Miles comes looking in Rome, Tom kills him too, and a patient Italian inspector, Ravini, starts asking questions that Tom answers, again and again, as whichever man the moment needs.
It's a Highsmith story, so you know someone isn't coming home. The question is how he gets away with it.
Tom doesn't just kill Dickie — he becomes him. He wears Dickie's clothes, lives on Dickie's money, forges his signature and answers to his name, switching back to Tom only when someone who knew Dickie might see him. Inspector Ravini meets 'Dickie Greenleaf' in Rome without ever knowing he is talking to the man he is looking for.
It ends with a will, and a photograph.
Tom makes Dickie's disappearance look like suicide, with a forged will that leaves Dickie's income to Tom, and Dickie's father accepts it. Tom walks away free, under his own name, and rich. Only at the very end does Ravini see a photograph and understand that the man he questioned as Dickie Greenleaf was Tom Ripley.
A road trip to the end of a war.
In a near-future America torn apart by civil war, four journalists drive from New York to Washington, D.C., hoping to interview the President before the rebels reach him. Not all of them make it.
The United States is at war with itself. Texas and California have seceded as the Western Forces and are closing on Washington, where a third-term President hides in the White House. Lee Smith, a famous war photographer, her colleague Joel and their old mentor Sammy set out from New York for one last interview — and Jessie, a young photographer who idolises Lee, talks her way along. The drive is a string of horrors: a petrol station where men are being tortured, a standoff with an unseen sniper, a quiet town pretending there is no war, and a militiaman at a mass grave who asks each of them what kind of American they are. Sammy is shot rescuing them. They reach the front as the Western Forces storm the capital.
The film never says how the war started. It's more interested in who these four become.
The veteran and the rookie trade places. Lee, who has photographed every war there is, comes apart after Sammy dies, while Jessie, who froze at the first gunfire, turns fearless — reckless enough, inside the White House, to walk into shooting that Lee has to step in front of.
The last photograph is the hardest one in the film.
Inside the White House, Lee pushes Jessie out of the line of fire and is shot dead; Jessie photographs her falling, then steps past her and keeps going. Joel reaches the President, who begs him not to let them kill him. 'That'll do,' Joel says, and the soldiers shoot. The final image is Jessie's photograph of the soldiers grinning over the President's body.