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Tom Holland Admits Films Are Shit, Nobody Questions the System

Victor·Tuesday, July 28, 2026 Edition
When Actors Sell What They Despise

Tom Holland recently told a podcast that some of his own films are "shit" and people shouldn't watch them—but he didn't say which ones.

The Spider-Man star was asked about his filmography, praised two projects he felt proud of. Then vaguely denounced others without specifics. The real scandal isn't Holland's lack of clarity—it's that we all understood exactly what he meant and nobody flinched.

What the story takes for granted is that major actors routinely make films they don't believe in, show up to promote them anyway. This is simply how the industry works. We've accepted a system where the people most responsible for a film's success are permitted to regard it as failed work. They're contractually obligated to sell it to the public as if they don't.

The contract that requires dishonesty

In architecture, a firm's name goes on the building—and if the structure fails, the reputation fails with it. Alignment between judgment and public advocacy isn't optional. Yet in film, the talent deal has evolved to create what you might call structured dishonesty. Actors sign on for franchises, sequels, IP extensions they may not control or believe in—and the contract requires promotion. Requires enthusiasm or at least the performance of it.

We've accepted a system where the people most responsible for a film's success are permitted to regard it as failed work, and they're contractually obligated to sell it to the public as if they don't.

If you decided that studios shouldn't greenlight films unless the lead actor genuinely wants to advocate for them, suddenly the incentive structure inverts. You'd get fewer films, different films. You'd lose a certain kind of contractual flexibility that lets studios override creator judgment. The real question isn't whether Holland should have been more specific—it's whether you'd accept this arrangement in a field where you held real responsibility. If you were being asked to publicly champion work you privately considered compromised, would you call it business as usual, or would you recognize it as a condition you'd refuse?

Key Facts
*Actors routinely make films they don't believe in, then contractually promote them as if they do
*In architecture, a firm's name on the building means reputation and judgment must align publicly—film operates differently
*If studios only greenlit films lead actors genuinely wanted to advocate for, the incentive structure would invert entirely
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