After days of almost (and complete) darkness, the Moon is finally starting to reappear. We’re currently in the Waxing Crescent phase of the lunar cycle, which means each night until the Full Moon we’ll see it get more illuminated from the right side.

What is today’s Moon phase?

As of Sunday, April 19, the Moon phase is Waxing Crescent. Tonight, 5% of the moon will be lit up, according to NASA’s Daily Moon Guide.

Despite more of it now being illuminated, the percentage of surface is still too little to be able to spot any surface details. Check again tomorrow.

When is the next Full Moon?

The next Full Moon is predicted to take place on May 1, the first of two in May.

What are Moon phases?

NASA states that the Moon takes about 29.5 days to orbit Earth, during which it passes through eight distinct phases. We always see the same side of the Moon, but the amount of sunlight reflecting off it changes as it moves along its orbit, creating the familiar pattern of full, partial, and crescent shapes. We call these the lunar phases, and there are eight in total:

New Moon – The Moon is between Earth and the sun, so the side we see is dark (in other words, it’s invisible to the eye).

Waxing Crescent – A small sliver of light appears on the right side (Northern Hemisphere).

First Quarter – Half of the Moon is lit on the right side. It looks like a half-Moon.

Waxing Gibbous – More than half is lit up, but it’s not quite full yet.

Full Moon – The whole face of the Moon is illuminated and fully visible.

Waning Gibbous – The Moon starts losing light on the right side. (Northern Hemisphere)

Third Quarter (or Last Quarter) – Another half-Moon, but now the left side is lit.

Waning Crescent – A thin sliver of light remains on the left side before going dark again.

By Robert Scucci
| Published 31 seconds ago

After watching 2021’s Kate, the almighty algorithm threw 2022’s The Gray Man onto my radar, and I can’t say Ryan Gosling has ever disappointed me, so I figured I may as well give it a shot. He has a built-in level of charisma that lets him do his thing, and most of the time it lands. Going into the Russo brothers’ film expecting to see $200 million well spent on action sequences, with the added bonus of Gosling in the mix, I didn’t quite know how things would play out, but I had a hunch I wouldn’t feel let down.

But here’s the problem with straight-to-streaming action thrillers. Films like The Gray Man never get much time on the big screen, and they kind of need it if you want to enjoy them at the highest level. Across roughly 400 theaters, the film only brought in $454,023, which isn’t really its fault. It had a very short run across a disproportionately small number of screens, meaning it was never meant to recoup its budget this way. It’s a Netflix Original, designed to pull huge numbers on streaming.

The reason I see this as a bad thing is because this is an expensive movie. MCU expensive. Waterworld expensive. When that much money goes into blowing stuff up in spectacular fashion, I want to see it on a giant screen. Living in an apartment, I don’t have a fancy audio setup because my neighbors would murder me if I did, and my 44-inch TV is fine for most things, but less than stellar when entire city squares are getting leveled with all guns blazing.

Long story short, The Gray Man is a lot of fun, but it would be even more fun if you could watch it the way it was meant to be seen.

Let’s Not Get Bogged Down By The Details

The Gray Man also has an extremely convoluted plot. Not in a “too many twists” kind of way, but it’s a “load up the guns, spray and pray” kind of movie that would have been better served by simplicity. It’s executed well, but as side characters keep getting introduced in the second and third acts, part of me gets annoyed that I can’t fully shut my brain off because there’s always a new name or face to keep track of after the blasting has already started.

Ryan Gosling is a black ops agent known as Sierra Six, formerly Courtland Gentry. He was locked up as a minor after murdering his abusive father, and CIA officer Donald Fitzroy (Billy Bob Thornton) decides he’s the perfect candidate for a second chance. The deal is simple: Courtland works for him in exchange for his freedom, knowing he’ll be dealing with some very dangerous people.

Once things get rolling, Sierra Six teams up with Agent Dani Miranda (Ana de Armas), and the first mission we see involves assassinating a target named Dining Car (Callan Mulvey). Complications arise when the job goes sideways and Dining Car reveals he’s also part of the Sierra program before succumbing to his wounds. A flash drive gets passed off with vague instructions, and the wild goose chase begins, centering on CIA officer Denny Carmichael (Regé-Jean Page), who sends a swarm of operatives after Six and Dani to retrieve it.

Along the way, we get more backstory on Six’s relationship with Donald and his niece Claire (Julia Butters), who Six previously worked security detail for. This obviously becomes important later because more collateral has entered the equation. The scenes between Six and Claire offer a surprisingly wholesome break from the chaos in Prague, and they’re a welcome addition.

From here on out, you pretty much know the deal. Double crosses stack on top of double crosses, things explode, and there’s so much inter-agency confusion over who’s good and who’s pulling the strings that you almost wish they’d ease up on the exposition and just keep blowing stuff up.

Solid, Pulse Pounding Action Thriller

The Gray Man’s budget absolutely shows on screen from start to finish. The action sequences are gorgeously shot (something that’s not always consistent across Netflix Originals), and at one point Sierra Six is standing on top of a moving tram, firing through the roof while tracking targets through reflections in nearby windows as the city flies past. This comes after he’s handcuffed to a railing in a town square, picking off attackers before they even get a chance to take him out.

Ana de Armas wielding a shotgun after throwing hands is also worth your time because she fully commits when the moment calls for it.

The only real issue I have is the film’s tendency to overload its premise with complexity for the sake of it. Most people don’t turn on action thrillers to do mental gymnastics. At least I don’t. I love psychological thrillers when I want things to get murky, but with action movies, I just want to sit back and watch things explode.

The convoluted plot isn’t a dealbreaker, just a nitpick. Some people enjoy sprawling shadow government conspiracies. It’s just not really my thing, so take that with a grain of salt. It’s still a great watch, just not one you can fully sink into the couch for and completely turn your brain off.

The Gray Man is a Netflix Original, and you can stream it with an active subscription.

By Joshua Tyler
| Updated 41 seconds ago

People don’t just want to belong, they need to. Rejection isn’t treated by the brain as a metaphorical pain; it registers the same way as physical harm. That means people will do almost anything to make sure they belong. However, belonging isn’t strengthened by agreement; it’s strengthened by what you’re willing to ignore to stay aligned.

The power to make someone ignore what’s being done to them may be the most powerful persuasion technique of all. It was used in the biggest, most awarded movie of 2025, and no one seemed to notice. They couldn’t notice, because noticing comes with a cost. Once you decide not to notice, you’re owned. Instead, they gave it Oscars and pretended everything was normal and fine, though deep down, it’s likely everyone watching knew it wasn’t. 

This is the story of how One Battle After Another screenwashed believers into becoming zealots, all to belong.

A Script Made Up Of Words Shouted At A Federal Building

One Battle After Another was directed by Paul Thomas Anderson, the genius auteur behind movies like There Will Be Blood and Boogie Nights. It’s loosely based on a 1990 novel called Vineland. 

The movie itself centers on Bob Ferguson, played by Leonardo DiCaprio, a washed-up former revolutionary from the terrorist militant group French 75. He lives off-grid in stoned paranoia, raising his spirited, and often totally disrespectful and rude, teenage daughter, Willa.

Sixteen years after participating in a terrorist attack on a U.S.-Mexico border detention center, his old enemy, Col. Steven J. Lockjaw, played by Sean Penn, resurfaces, forcing Bob and Willa to run.

That’s the story on paper, but nothing on screen ever feels that cohesive. Early on, the dialogue consists mostly of words that sound like they were shouted at a Federal building. Later, it devolves into cursing and guttural sounds. There’s a lot of driving back and forth in cars, and time spent breathing heavily in filthy places with filthy people.

One Battle After Another Is Setting A Trap, For The Audience

The movie might sound unappealing, and it is, but it’s also on purpose because One Battle After Another is not out to tell a compelling story; it’s setting a trap. A Reflexive Manipulation Trap. 

A reflexive manipulation trap is a persuasion tactic in which a message is made obviously manipulative, on purpose, in order to create pressure on the audience to deny or overlook that manipulation. By accepting the message anyway, the audience participates in maintaining the illusion, which increases their psychological commitment to it. 

It’s like becoming an accessory to murder. Once you’ve participated in the crime, you’ll do anything to hide the body. 

Creating that kind of mental trap is deep and complex, and it exists for only one, very specific purpose. More on what that is as we unravel this thread. 

How To Create A Reflexive Manipulation Trap

Here’s how One Battle After Another executes its Reflexive Manipulation trap, step by step.

Before a would-be persuader can execute a Reflexive Manipulation Trap, they have to pick a specific audience. Usually, the best movies and indeed the best art is designed to tap into something universal and primal. For this to work, you must do the opposite and go after one group. For instance, if you were going after dog lovers, you’d probably start your story off by showing your hero rescuing a dog.

One Battle After Another is intended only for people who exist on the most left-wing end of the political spectrum. That’s why you’ve seen the Hollywood elite slobbering over the movie like it’s the biggest thing ever, but have likely heard virtually nothing about it from your average, non-political friends. 

So One Battle After Another opens with a scene involving a heroic raid on an illegal immigrant detention center. According to most polling, nearly 80% of people are in favor of detaining illegal immigrants. So 80% of viewers will be turned off by this movie from the jump.

It’s all on purpose as One Battle immediately launches into speeches extolling the virtues of open borders, and then enforces that view at the point of a gun. It’s on purpose because it’s intentionally only courting the remaing 20% of the audience that agrees with these views, and in doing so, it tells them explicitly that this movie is for you and your group, right off the bat. 

Moral authority established. I’m one of you. 

Now that your audience knows who the good people are, you must make one of those good people do something wrong. Something evil.

Over the course of the movie’s first half hour, one of our chief protagonists is a terrorist leader, a black woman whose actual name is Perfidia Beverly Hills. She’s violent, overbearing, and totally dedicated to the cause.

That might sound off-putting, but remember, you can’t look at this movie through a lens of what would appeal to you or anyone in the 80%. You must look at it through the lens of what would appeal to that 20%. And for that 20%, she checks all the boxes to be their ideal woman. She’s perfect.

Perfidia soon becomes pregnant. She immediately abandons her newborn infant for what she describes as “the revolution” while proclaiming that no one can take her power.

By any normal moral standard, a mother abandoning a newborn is one of the worst things someone can do. It’s flat-out evil.

Yet the person doing it is the character most ideologically aligned with the film’s target audience. Their ideal woman. And while she’s out of the story for most of the film after this, up until this point, she’s been framed as the movie’s main hero.

When Perfidia announces that she’s choosing herself over her newborn, the man who thinks he’s her father, DiCaprio’s Bob character, could object. Instead, he mutters some vague things about family before announcing “you go, girl” and sending her on her way to abandon her child.

Later, Perfidia is condemned for other reasons, but no one objects to this mother abandoning her baby daughter. At all. 

Squirming in their seats, the audience can’t object either. From the 20%’s point of view, the woman committing this evil is part of a protected class and also ideologically aligned with them. She’s their group’s spirit animal, and they know it. 

Even more critically, she specifically cites their mutual ideology as the reason for her sick, selfish abandonment of her baby. For someone in that 20%, in order to condemn Perfidia’s action, they’d have to mentally challenge everything they believe in.

Leo’s Bob character has now been left to care for a newborn, who isn’t even really his daughter, on his own. This should be difficult and traumatic, but One Battle After Another dodges those consequences by flashing forward to a future where the baby’s grown and everything worked out just fine. 

Hand wave, it didn’t matter. See, it’s easy to accept, fellow group member!

The abandonment of Perfidia’s daughter is the inciting incident for the entire film. Everything that happens after hinges on it.

If you reject this incident as repugnant, you must reject the entire movie. If you reject the movie, you reject its ideology. If you reject that ideology, you no longer belong to the group that the movie has established itself as representing. Your group, the group you’ve built your entire identity around.

Or you can decide it’s fine for a mother to abandon an infant in the name of black power. You must choose.

To make the effect stick, you must lock in the viewer’s acceptance of evil with a reward. In this case that reward is zealot porn.

Zealot porn is a short-cut term I coined, which refers to content intentionally crafted to gratify moral superiority, deliver cathartic satisfaction, and lock in beliefs deeper through confirmation bias. Often this is done through the portrayal of extreme violence, which would otherwise be unacceptable.

Quentin Tarantino’s Inglorious Basterds is an early example of zealot porn, an entire movie crafted for the purpose of giving audience members the pleasure of watching Nazis burn.

Another recent example is the television series, Peacemaker. The show’s second season creates a plot around the idea of giving its audience pleasure by watching people it labels as evil suffer. 

One Battle After Another spends most of its run time delivering dopamine hits to its 20% through tormenting its ideological opponents. The movie kills its white male villain twice, for no real reason other than it enjoys watching him die. After the second time, the camera follows along as workers dispose of his carcass, so the audience can revel in watching his carcass burn. 

That’s zealot porn. Catharsis is delivered, and the audience is rewarded for belonging. 

Now, One Battle After Another’s viewers are fully complicit in what it’s doing, and to justify their decision to comply with its agenda, they’ll do anything. Even give it six Oscars. 

Solidifying Support After You’ve Won The Propaganda War

One Battle After Another is what it looks like when you’ve won the propaganda battle and the time for persuasion is over. One Battle After Another is what it looks like when you stop convincing and start solidifying. And that’s exactly what it’s doing.

What people call psychological programming or brainwashing is usually a stack of learned associations, emotions tied to symbols, stories tied to identity, reactions tied to cues. Those associations only hold as long as they’re being refreshed. Remove the reinforcement, and the system starts to unwind over time.

It’s why cult deprogramming usually revolves around simply getting the victim away from the cult. Separate them from constant reinforcement of the message, and the programming fades on its own.

That means that once a malign force has someone under its control, it has to keep putting in work to keep them there. But it can’t keep doing what it did before, continuing to persuade someone to your point of view after you’ve already convinced them, often backfires, and turns them against you.

That’s where a Reflexive Manipulation Trap becomes useful. It won’t persuade new people over to your side, but it does ensure that none of your existing followers stray. It does this by making them lie to themselves. It does so by making them complicit in a crime or moral wrongdoing. 

Once Someone Lies To Themselves, They Keep Lying To Cover Up The First Lie

Unlike other forms of persuasion, which lose efficacy the more frequently they’re used, you can keep setting traps like this one over and over again. So that’s exactly what One Battle After Another does.

That first trap, revolving around Perfidia abandoning her child, is the setup for a series of obvious manipulations and overt propagandistic moments. Having already lied to themselves to get through the first one, the audience keeps lying through all of them.

It’s why One Battle After Another is visually uninspired. It’s why the plot is meandering and disjointed. It’s why the characters are largely cartoony and ridiculous. Even their names are idiotic. The main villain’s name is literally Colonel Lockjaw.

Every one of these narrative and moral affronts in the film must be accepted by the audience as a work of genius because of the trap, and every one they accept binds them closer and closer to the group the movie is targeting. Everyone who walked out of One Battle After Another became, in one way or another, a more zealous member of that 20% than they were when they walked in. 

Bind them close enough, make them complicit enough, and there’s no limit to what they’ll do to make sure they continue belonging. Some day we’ll say it all started, because One Battle After Another laid a trap.

Congratulations, loyal zealots, you’ve been Screenwashed.