Divine Interventions: Brad Pitt's Surprise Return and Dogma's Liberation

Olivia Bennett, 4/2/2025Darlings, Hollywood's serving a divine double feature! While Fincher and Tarantino play musical directors with Brad Pitt's dreamy Cliff Booth, Kevin Smith's "Dogma" breaks free from its Weinstein chains for a heavenly comeback. It's a tale of two resurrections that's simply too delicious to ignore!

Hollywood's playing a fascinating double feature these days, serving up two deliciously different comeback stories that nobody quite saw coming. And honestly? The contrast couldn't be more perfect.

Picture this: David Fincher, Quentin Tarantino, and Brad Pitt (who somehow keeps getting better with age) are dancing around what might be 2025's most intriguing collaboration. Word on Sunset Boulevard suggests Pitt could step back into those weathered boots as Cliff Booth from "Once Upon a Time in Hollywood" — except this time, there's a twist that's got everyone talking.

Instead of Tarantino calling the shots, Fincher might be settling into the director's chair. Netflix is apparently backing this potential masterpiece, though they're being typically cagey about the details. "An extension of the mythology," they're calling it. Not quite a sequel, but something... different.

The whole thing feels like some fever dream cooked up in a late-night writers' room. Fincher's clinical precision meeting Tarantino's pulp sensibilities? With Pitt's Oscar-winning character as the connecting tissue? Well, that's either brilliant or bonkers — possibly both.

Meanwhile, on the completely opposite end of the cinematic spectrum...

Kevin Smith's "Dogma" is finally breaking free from its bizarre Hollywood limbo. After being trapped in rights-hell thanks to you-know-who (rhymes with "Weinstein"), this gleefully blasphemous gem from '99 is getting the homecoming it deserves. Complete with a fancy 4K restoration, no less.

Smith — never one to miss a marketing moment — has dubbed it "Dogma: The Resurrection Tour." The timing? Easter Sunday, April 20th. Because sometimes the universe does have a sense of humor.

Remember that cast? Ben Affleck and Matt Damon playing fallen angels, Alan Rickman as the Voice of God, and — in possibly the most inspired casting of the '90s — Alanis Morissette as the Almighty Herself. The whole thing feels both completely dated and somehow more relevant than ever.

What's particularly fascinating about these two resurrections is how they reflect Hollywood's current identity crisis. The industry's obsession with mining its past keeps producing increasingly strange offspring. But where most retreads feel like cynical cash grabs, these projects actually seem to have something worth saying.

The Fincher-Booth experiment could offer a fascinating study in character ownership. Can Tarantino's creation survive — maybe even thrive — under another auteur's vision? And Smith's reclamation of "Dogma" represents something equally vital: artists fighting to preserve their work from the industry's darker impulses.

Sure, we're living in an era where everything old becomes new again (looking at you, endless superhero variants). But sometimes — just sometimes — the recycling machine produces something genuinely interesting.

Divine intervention? Maybe. Or perhaps just the right projects finding their moment at last.

Hollywood's playing a fascinating double feature these days, serving up two deliciously different comeback stories that nobody quite saw coming. And honestly? The contrast couldn't be more perfect.Picture this: David Fincher, Quentin Tarantino, and Brad Pitt (who somehow keeps getting better with age) are dancing around what might be 2025's most intriguing collaboration. Word on Sunset Boulevard suggests Pitt could step back into those weathered boots as Cliff Booth from "Once Upon a Time in Hollywood" — except this time, there's a twist that's got everyone talking.Instead of Tarantino calling the shots, Fincher might be settling into the director's chair. Netflix is apparently backing this potential masterpiece, though they're being typically cagey about the details. "An extension of the mythology," they're calling it. Not quite a sequel, but something... different.The whole thing feels like some fever dream cooked up in a late-night writers' room. Fincher's clinical precision meeting Tarantino's pulp sensibilities? With Pitt's Oscar-winning character as the connecting tissue? Well, that's either brilliant or bonkers — possibly both.Meanwhile, on the completely opposite end of the cinematic spectrum...Kevin Smith's "Dogma" is finally breaking free from its bizarre Hollywood limbo. After being trapped in rights-hell thanks to you-know-who (rhymes with "Weinstein"), this gleefully blasphemous gem from '99 is getting the homecoming it deserves. Complete with a fancy 4K restoration, no less.Smith — never one to miss a marketing moment — has dubbed it "Dogma: The Resurrection Tour." The timing? Easter Sunday, April 20th. Because sometimes the universe does have a sense of humor.Remember that cast? Ben Affleck and Matt Damon playing fallen angels, Alan Rickman as the Voice of God, and — in possibly the most inspired casting of the '90s — Alanis Morissette as the Almighty Herself. The whole thing feels both completely dated and somehow more relevant than ever.What's particularly fascinating about these two resurrections is how they reflect Hollywood's current identity crisis. The industry's obsession with mining its past keeps producing increasingly strange offspring. But where most retreads feel like cynical cash grabs, these projects actually seem to have something worth saying.The Fincher-Booth experiment could offer a fascinating study in character ownership. Can Tarantino's creation survive — maybe even thrive — under another auteur's vision? And Smith's reclamation of "Dogma" represents something equally vital: artists fighting to preserve their work from the industry's darker impulses.Sure, we're living in an era where everything old becomes new again (looking at you, endless superhero variants). But sometimes — just sometimes — the recycling machine produces something genuinely interesting.Divine intervention? Maybe. Or perhaps just the right projects finding their moment at last.