After spending an entire night outrunning zombies, mutated creatures and almost certain death, Bryan appears to have finally completed the impossible.

Then Resident Evil pulls the floor out from beneath him.

The medical courier played by Austin Abrams reaches Raccoon City General Hospital with the substance needed to create a potential cure. But before doctors can save him, his infection takes control, transforming the film’s unlikely hero into the very kind of monster he has spent the story trying to escape.

For Abrams, the ending was shocking when he first encountered it in the script—but it was also precisely the kind of creative gamble he expected from writer-director Zach Cregger.

“I was surprised by it,” the actor said, while praising Cregger for taking such a bold chance with a character audiences had followed and supported throughout the movie.

What happens to Bryan in the final moments?

Bryan begins the film as an ordinary medical courier rather than a trained soldier or experienced action hero. His routine assignment becomes a nightmare when he is instructed to carry a mysterious medical package to Raccoon City.

The package is later revealed to contain material required to synthesise a cure for the rapidly spreading outbreak caused by the Umbrella Corporation.

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During his journey, Bryan encounters an infected child inside a camper van. He attempts to help her, but she mutates and bites his arm, passing the infection to him.

By the time Bryan reaches the hospital, the damage has visibly spread through his body. He still manages to deliver the package, allowing scientists to produce the cure, but his transformation accelerates before they can administer it.

Tentacles burst from his body as he becomes a grotesque amalgamation and attacks the scientists. During the chaos, the newly created cure falls from a hospital skybridge. The movie never reveals whether it survives the plunge.

The ending also reframes the entire film as an origin story. Bryan is not the conventional protagonist who survives the outbreak and returns home. Instead, he becomes one of the monsters that players might encounter and eliminate without ever knowing the human being it once was.

Austin Abrams calls the ending a major creative risk

Abrams understood that viewers would spend the movie rooting for Bryan precisely because he was so unprepared.

He is frightened, makes mistakes and reacts more like an ordinary person than a polished action hero. Even his screams were deliberately designed to separate him from the fearless protagonists normally found in blockbuster survival stories.

That human vulnerability makes the conclusion considerably more painful.

Abrams described the decision to follow Bryan for the entire film only to deny him salvation as “risky and gutsy.” He believes many contemporary productions are reluctant to kill a popular central character without offering audiences some form of emotional relief.

Cregger does the opposite. Bryan does not receive a miraculous cure, a heroic final victory or even the comfort of knowing that his last message reached the person he loved.

Abrams admired the filmmaker’s willingness to let the tragedy hurt rather than cushioning it with a reassuring final revelation.

Michelle may never learn that Bryan changed

The emotional centre of the ending is not the failed cure or even Bryan’s transformation. It is the voice message he records for his partner, Michelle.

Earlier in the story, Bryan responds poorly after learning that she is pregnant. Fear and uncertainty cause him to make her believe he does not want to build a family with her.

His horrific journey through Raccoon City gradually changes that perspective.

At the hospital, believing he may not survive, Bryan records a deeply personal message. He finally admits that he loves Michelle, wants the baby and is ready to face parenthood alongside her.

However, the film never confirms that the message was successfully transmitted.

Abrams considers that uncertainty an essential part of the tragedy. Michelle may continue believing that Bryan rejected their future together, never knowing that he overcame his fear and chose her before his death.

“He changed and got better, but no one will ever know about it,” Abrams explained.

That unresolved emotional thread makes Bryan’s fate more than a standard horror-film death. His internal transformation towards maturity arrives just moments before the physical infection destroys what remains of him.

Bryan’s fate is not presented as punishment

Some viewers may interpret the ending as karmic punishment for Bryan’s initial response to Michelle’s pregnancy. Abrams, however, does not believe his character deserves what happens to him.

Throughout the film, Bryan repeatedly attempts to help other people. He responds to an injured police officer, tries to rescue the infected child and refuses to abandon the medical package even as his own condition deteriorates.

His actions are imperfect, but they reveal an ordinary man gradually discovering courage under impossible circumstances.

The outbreak does not reward that growth. It consumes him anyway.

That cruelty reflects the wider world of Resident Evil, where infection is indiscriminate and good intentions offer no protection. Bryan does not become a monster because he failed a moral test; he becomes one because he was unlucky enough to be bitten.

Cregger wanted an inexperienced, believable survivor

Cregger designed Bryan as a contrast to skilled game characters such as Leon S. Kennedy.

Rather than possessing tactical training and remarkable combat abilities, Bryan functions as an avatar for the average person suddenly dropped into a survival-horror game. He is reasonably capable but frequently overwhelmed, confused and terrified.

Cregger said the character was intended to reflect how a normal person might authentically react when confronted by a mutated dog, an infected child or a city collapsing into violence.

Abrams embraced that approach and deliberately avoided making Bryan appear traditionally heroic. The actor wanted every frightened reaction, panicked decision and awkward attempt at survival to feel grounded.

The movie even allows Bryan’s familiarity with video games to help him. When he finally fires an accurate shot during a crucial moment, he triumphantly credits gaming—briefly turning a long-standing criticism of video games into one of the film’s biggest jokes.

A physically punishing production

Bryan’s ordeal was demanding for Abrams both emotionally and physically.

The production required extensive running, complex timing and multiple night shoots. One of its most dangerous sequences involved a body-sized blood bag weighing approximately 150 pounds dropping close to the actor as he raced through the streets.

Cregger later admitted that the prop came dangerously near Abrams. The actor said he did not fully appreciate how close it had been during filming because he was concentrating on completing the shot.

The intense production continued Abrams’ run of physically challenging films after Weapons and Whalefall. Yet the actor’s existing trust in Cregger proved important.

Their collaboration began with Weapons, when Abrams remained attached to the project despite strike-related scheduling complications. That loyalty ultimately led to their reunion on Resident Evil.

Will the ending lead to another film?

The conclusion leaves several possibilities open.

The cure’s condition remains unknown, the outbreak has not been contained and Bryan’s mutated form could theoretically return as a creature in a future story. However, no direct sequel has been officially confirmed.

Cregger has acknowledged having ideas about where the story could go next, but the film avoids an obvious post-credits tease. For now, Bryan’s journey stands as a bleak, self-contained tragedy.

That refusal to provide easy reassurance is exactly what Abrams respects about the ending. Bryan completes his mission, confronts his fear of becoming a father and discovers genuine courage—but he still does not escape.

In a franchise built around survival, Cregger’s most surprising decision was reminding audiences that sometimes courage is real, redemption is meaningful—and neither is enough to keep someone alive.

A Manhattan judge sentenced Harvey Weinstein to 15 years in prison on Wednesday for sexually assaulting former television production assistant Miriam Haley at his apartment in 2006. The sentence follows years of trials, appeals and testimony from Haley, who again addressed the court before the decision.

“I am not a perfect person. But I am a person who has made mistakes,” Weinstein said in court, according to The Hollywood Reporter. He apologised for the harm his past conduct had caused, while continuing to deny that he had sexually assaulted anyone. Haley described the lasting effect of the assault on her sense of security. “It’s a life sentence for me,” she told the judge.

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Judge Curtis Farber handed down the sentence after a jury found Weinstein guilty in 2025 of a first-degree criminal sex act against Haley. Prosecutors had sought a 20-year term. Weinstein’s lawyers asked for leniency, citing the 74-year-old’s serious health problems and the more than six years he has already spent in custody. He is expected to appeal.

The case returned to court because New York’s highest court overturned Weinstein’s 2020 conviction, ruling that he had not received a fair trial. That original verdict, which also involved a rape charge brought by Jessica Mann, had led to a 23-year sentence. At the later retrial, jurors convicted Weinstein in Haley’s case but acquitted him of a separate charge involving Kaja Sokola. Prosecutors eventually dropped the unresolved charge involving Mann after another jury failed to reach a verdict.

Weinstein also awaits resentencing in a separate California case. An appeals court upheld his conviction there but set aside the original 16-year sentence. For Haley, Wednesday’s decision closes another chapter in a legal process that has required her to recount the assault repeatedly over six years.

Nathan Fillion has offered fresh insight into Guy Gardner’s transformation from intergalactic peacekeeper to corporate-sponsored celebrity—and teased how Man of Tomorrow will take a different path from Superman.

Fillion’s bowl-cut Green Lantern first entered the new DC Universe as a member of the Justice Gang in Superman. He later appeared in Peacemaker before making the jump to HBO’s darker, detective-driven Lanterns.

Despite the dramatic differences between those projects, Fillion believes the character can remain consistent while adapting to each story’s atmosphere.

He compared the experience to spending one weekend in colourful Metropolis and another in shadowy Gotham. The individual would remain the same, he explained, but the two weekends would feel entirely different.

Guy Gardner turns superhero status into a business

In Lanterns, Guy is not merely a superhero. He has become a carefully packaged product supported by LordTech and its billionaire founder, Maxwell Lord.

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The series drives that point home when John Stewart returns to Rushville and spots a promotional display featuring Guy advertising an energy drink. It is an image that immediately separates him from fellow Green Lanterns Hal Jordan and John Stewart.

Hal is too unpredictable to become a polished spokesman, while John treats the responsibilities of the ring far too seriously to turn himself into a corporate mascot. Guy, however, appears perfectly comfortable mixing heroism with advertising.

Fillion said Guy enjoys being recognised as someone special and believes marketing naturally accompanies that position. His financial ambitions also play a role: Guy dreams of opening his own bar, and achieving that goal requires money.

“For that, you need corporate sponsorship,” Fillion explained.

In other words, Guy does not see commercial partnerships as compromising his heroic identity. He considers branding another tool—one that can build his public profile while funding the future he wants.

Fillion described him as someone who understands both the superhero business and the actual business surrounding superheroes.

Rushville remains haunted by Hal and John’s decisions

Guy’s polished public image exists in stark contrast to the painful history surrounding the Green Lantern name.

A decade earlier, Hal Jordan and John Stewart became caught in the devastating Battle of Rushville.

Hal, played by Kyle Chandler, was desperate to prevent his younger partner from replacing him. His decisions helped bring an extraterrestrial confrontation directly into Rushville, placing both John and the town’s population in danger.

A disillusioned John, portrayed by Aaron Pierre, eventually took Hal’s ring before abandoning the very object he had spent years trying to earn. The destruction left Rushville’s residents deeply suspicious of Green Lanterns and permanently damaged the organisation’s public image.

When the Guardians selected Guy as Earth’s next Green Lantern, he inherited more than a powerful ring. He also inherited a reputation in need of repair.

That is where LordTech’s public-relations machine apparently became useful.

Was Guy’s Green Lantern beacon really an apology?

In Episode 6, titled “Bad Optics,” Guy installs a Green Lantern beacon in Rushville resembling Gotham’s famous Bat-Signal.

The symbol is presented as an attempt to rebuild trust following the destruction caused by his predecessors. Fillion believes Guy genuinely wanted the beacon, but he suspects the decision was also influenced by LordTech’s damage-control specialists.

The actor described it as the likely product of a team working to improve the Green Lantern brand rather than a purely personal act of compassion.

John eventually uses the beacon to summon Guy and asks him to obtain Hal’s decommissioned ring from the Guardians of the Universe. He believes the ring could help him investigate Hal’s death.

Guy initially resists, but John reminds him of an uncomfortable truth: Guy only received his current position because John rejected it ten years earlier.

According to Fillion, John deliberately pulls on that thread to secure Guy’s cooperation. By helping him retrieve the ring, Guy can consider the old debt repaid.

The relationship between the two men is therefore built on pride rather than friendship. They understand one another and share the rare experience of being selected by the Corps, but they do not truly regard themselves as colleagues.

‘Man of Tomorrow’ will explore Lex Luthor more deeply

Fillion will return as Guy Gardner in Man of Tomorrow, the 2027 follow-up to James Gunn’s Superman.

The actor stopped short of revealing specific plot details but explained the most important difference between the two films.

While Superman allowed audiences to understand who Clark Kent truly is, Fillion believes Man of Tomorrow will reveal considerably more about Lex Luthor.

“In this movie, I think we’ll learn more about who Lex Luthor is,” he said, adding that such an exploration is equally important.

The new film brings back David Corenswet as Superman and Nicholas Hoult as Lex Luthor. Rachel Brosnahan will also return as Lois Lane, alongside Fillion, Isabela Merced and Edi Gathegi.

The story is expected to place Superman and Luthor in an uneasy alliance against the highly intelligent alien threat Brainiac, played by Lars Eidinger. The film is scheduled to arrive in theatres on July 9, 2027.

Nathan Fillion and James Gunn’s trusted partnership continues

Fillion’s journey through the DCU is the latest chapter in his long creative relationship with writer-director James Gunn.

Their collaboration began with Slither in 2006 and has since expanded across approximately a dozen projects.

Fillion said Gunn remains fundamentally the same person he first worked with, despite the enormous expansion in the size and scope of his productions. He praised the filmmaker’s love of storytelling, ability to think on several creative levels and enthusiasm for his work.

That trust may explain why Guy Gardner has quietly become one of the connective figures holding Gunn’s developing DC Universe together.

He is arrogant, commercially ambitious and frequently difficult—but he is also fearless enough to wear the ring. In Fillion’s hands, those contradictions make Guy far more interesting than a conventional hero trying to do everything for the right reasons.