EA Sports announced it will remove all paid progression options from College Football 27‘s Dynasty and Road to Glory modes, reversing a decision that drew significant backlash from fans and content creators following the game’s launch.

In a statement posted to social media during the game’s launch week, the developer acknowledged that player feedback indicated the microtransactions “missed the mark.”

The studio said the paid options had been “added independent of deeper mode progression with the aim to give players more choice,” but conceded that “what you’ve said is that they’re not adding the value we intended.” EA said the changes would take effect the following morning, though it warned that players with existing College Point balances would lose the ability to apply them to Road to Glory or Dynasty once the features were removed, urging fans to spend their points beforehand.

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The reversal follows a wave of criticism after College Football 27‘s release, with fans organizing around the hashtag #CFBPlayDontPay to voice frustration over microtransactions appearing in the game’s single-player offline modes. The system allowed players to spend real money to instantly boost their coach or player’s development. For example, maxing out a coach in Dynasty from the start could cost as much as $100, more than the price of the game itself.

Compounding the frustration, EA also removed sliders that let players in College Football 25 and 26 manually adjust how much experience they earned, a feature that had let people level up faster without paying. With that option gone, spending money became the only way to speed up progression, which is what drove much of the backlash.

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Notably, the statement stopped short of ruling out microtransactions from the franchise going forward. EA said its “goal for live service plans in CFB28 and beyond will be to deliver valuable features and content with greater transparency and communication” — language suggesting paid content will return in some form in next year’s edition, even as the company walks back the current game’s implementation.

By Robert Scucci
| Updated 3 hours ago

When was the last time you watched 1993’s Demolition Man? It’s one of those movies that feels like a sci-fi classic because it is. Whenever I talk about it with people who haven’t seen it in a while, or even revisited it as an adult, I always get the same answer, something along the lines of, “That movie is so dumb.” It’s the same treatment Starship Troopers gets when people only experience it at face value. In actuality, it’s a perfect satire about future life that reminds me more of Idiocracy than anything else, just in a more sophisticated, less overtly slapstick kind of way.

That is all to say, if it’s been a minute since you’ve watched Demolition Man and you’re of the mind that it’s not a very smart movie, you might want to give it another shot. If you picked up on the satire the first time around, I’d still suggest another watch because it’s such a fun movie.

But if you’re asking, and I’m being real here, I still don’t know what the three seashells are used for in the bathroom.

Swearing Is Illegal, But Taco Bell Is A Black Tie Experience

I’m not going to spend too much time talking about the plot to Demolition Man because it’s pretty barebones. What really sells the movie is the world it inhabits, and how the worldbuilding is drip-fed to us instead of ever being explicitly explained. It’s the same thing Officer John Spartan (Sylvester Stallone) experiences when he wakes up in the year 2032 and suffers the worst kind of culture shock.

John’s problems started in 1996 while facing off against the most charismatic psychopath ever committed to film in the form of Wesley Snipes‘ Simon Phoenix. When a hostage situation goes horribly wrong, resulting in piles of dead hostages thanks to John’s miscalculation, both John and Simon are convicted and sentenced to lengthy terms at the California Cryo-Penitentiary.

During a parole hearing in 2032, a thawed Simon escapes and embarks on a crime spree that’s inadvertently facilitated by the “subliminal rehabilitation techniques” used during his incarceration, allowing him to adapt to his new surroundings with an alarming amount of precision. Given John Spartan’s history with Simon Phoenix, Officer Zachary Lamb (Bill Cobbs) advises Lieutenant Lenina Huxley (Sandra Bullock) that the best course of action is to thaw John out and let him loose after his arch nemesis.

Woozy from cryosleep and in a complete state of shock over how different life is in 2032, John has his work cut out for him. He’s familiar with Simon’s modus operandi, but everything else is foreign. Why is he now living in the city of San Angeles? Why is eating at Taco Bell a formal affair? And WHAT THE HELL ARE THE THREE SEASHELLS FOR?!

Somebody, please, answer me.

World Building Through Serious Scene Chewing 

One thing that Demolition Man doesn’t get enough credit for is its unwillingness to explicitly lay out how society works in 2032. The advantage this offers is twofold. We’re just as confused as John Spartan when he receives written citations for swearing and engaging in other carnal pleasures now deemed immoral. John is a smart guy who relies on instinct when he’s in his element, but the world he came from no longer matches the one he now lives in. Most of the humor comes from him asking questions that anybody in 2032 would take for granted, resulting in bemused stares and stifled laughter despite the fact he’s serious as a heart attack.

On the other side of the coin is Wesley Snipes, whose scene-chewing charisma steals every single scene. He’s mentally enhanced thanks to the “rehabilitation” program, and basically all that means is that he’s one step ahead of everybody because he possesses talents he never had before. The dude is running around hacking computers, stealing weapons, and cackling every step of the way. Snipes in Demolition Man has the same energy he brings to White Men Can’t Jump (1992), but instead of conning Woody Harrelson as a means of survival, he’s dead set on unleashing absolute chaos and antagonizing the very officer who locked him up decades earlier.

Rounding out the cast is Sandra Bullock with her portrayal of Lenina Huxley. While Stallone and Snipes dish out cynicism in healthy doses, Bullock brings a child-like sense of naivety with her fascination for late 20th century culture, something she’s only learned about through history lessons. This naturally evolves into a romantic entanglement between Lenina and her new de facto partner, John, who’s from the very time and culture she’s obsessed with. It’s an odd-couple dynamic given how apprehensive they are toward each other at the beginning of the film, but it leaves them both with plenty of room to grow by the time the credits roll.

Demolition Man earns its keep as a satire because it shows instead of tells. The city of San Angeles in 2032 is as perplexing as it is amusing, and we’re learning about it alongside John when we’re dropped into this world. The logic is established early on, but the incidental things we take for granted, like going to the bathroom (again with the shells), are left open to interpretation. The film merely alludes to the franchise wars before dropping you into the ridiculousness of a formal Taco Bell dinner. Before long, you’re used to the profanity-policing drones, and you’re completely immersed in the world. 

If you’re willing to give Demolition Man a second chance, overdue for a rewatch, or simply never saw it, you can stream it on Tubi for free as of this writing.

By Robert Scucci
| Published 22 seconds ago

I’ve been putting it off for a very long time, but I finally revisited 1999’s Deep Blue Sea this past weekend, and I’m so glad I did. The funny thing about movies from this era is that the CGI is pretty terrible because it was relatively new technology, generally speaking. I remember laughing at the creature design when I was 11 years old, but after a few decades of CGI in movies somehow getting exceptionally worse, I was actually impressed by what I saw.

I think Deep Blue Sea’s real charm is its willingness to show us the monster, which is normally the worst thing you can do. Have you seen the Jurassic World movies or Disney’s Haunted Mansion (2023)? The screen is so dark during some sequences that you can’t even see what’s going on half the time, and it’s by design. Bury the CGI in darkness and nobody will notice how bad it is. But here’s the problem: nobody can see what the heck is going on, so everybody loses.

Deep Blue Sea, on the other hand, shows us shark attacks up close, for better or worse. Fortunately, everybody brings their A game to the table, and it never feels like a bunch of actors on a soundstage talking to a green screen. It feels lived in, even if it doesn’t always look like it. The moral here is that if you thought movies like Deep Blue Sea were crappy back in the ’90s because of their visual effects, it’s time to revisit them. They look so much better by comparison when pitted against the crap coming out today.

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Oh boy, where do we begin? Deep Blue Sea centers on the idea that shark brain tissue may be the key to curing, or at the very least slowing, the damage caused by Alzheimer’s disease. We’re introduced to doctors Susan McCallister (Saffron Burrows) and Jim Whitlock (Stellan Skarsgard), who are basically trying to play God in their underwater research compound. When one of the sharks escapes and wreaks havoc on the public, Samuel L. Jackson’s Russel Franklin, a corporate executive, is sent down to see what all the hubbub is about.

While visiting, he’s introduced to ex-con shark wrangler Carter Blake (Thomas Jane), marine biologist Janice Higgins (Jacqueline McKenzie), and engineer Tom Scoggins (Michael Rapaport), who are all moments away from watching all hell break loose in the form of a super-intelligent shark destroying the facility and eating anybody who gets in its way. Their one goal is to escape back into the ocean, which would be a terrible outcome because we soon find out that, in order to speed up their research, the scientists genetically engineered the sharks to have larger brains. That means there’s not only instinct behind all those razor-sharp rows of teeth, but advanced intelligence as well.

It wouldn’t be an action thriller without some comic relief, though, and that’s where LL Cool J’s Sherman Dudley comes in. Sherman spends most of his time cooking for the crew, quoting scripture, and getting into verbal spats with his pet parrot. He knows how to make the perfect omelet, and he wants the world to know it more than anything else.

Straight Up Popcorn Spectacle That We Should Fully Embrace

Deep Blue Sea is one of those movies you go into with low expectations thanks to hindsight and the film’s reputation for swinging and missing with its special effects. But even Roger Ebert, who once commented that the sharks looked like cartoons, gave the movie three out of four stars for being an effective thriller. Once the setup is out of the way, the whole thing is basically one action sequence after another in rapid succession, and sometimes that’s all you need from a movie.

The best way to think about Deep Blue Sea is as a big-budget B movie. It’s your standard monster movie survival fare, but with $82 million thrown at it, and it couldn’t be cast more perfectly. While it’s a far cry from Jaws, it still has a lot more going for it than the Sharknado films when it comes to set design and its overall level of seriousness.

Don’t get me wrong, Deep Blue Sea is a fun movie and has plenty of comic relief to go around, but at the end of the day it’s a big-budget sci-fi thriller that holds up shockingly well nearly 30 years after it made its initial splash.

As of this writing, Deep Blue Sea is streaming for free on Tubi.