It’s been a big summer for movies, and alongside blockbuster superhero team-ups and schlocky Shyamalan thrillers now comes the next video game adaptation in the form of Borderlands. Co-written and directed by b-movie horror maker Eli Roth (Thanksgiving, Green Inferno), Borderlands is an action-comedy assimilation of the popular first-person shooter series. It’s, uh, something.
Yet despite the critical mauling the adaptation is seeing, there’s a lot more of the Borderlands universe to explore. With seven entries released since 2009, including multiple spin-offs dipping into different genres and styles, its flippantly gonzo tone and addictive gameplay has made it one of the best-selling video game franchises of all time.
For the uninitiated, there’s a lot to learn, but the basics aren’t too complicated. From the world of Pandora to whatever the hell a “Pre-Sequel” is, here’s everything you need to know about Borderlands.
What is Borderlands?
The original Borderlands was released in 2009 for PlayStation 3, Xbox 360, and Microsoft Windows. Developed by Gearbox Software, then primarily known for the grounded military action series Brothers in Arms, it introduced audiences to a new take on cooperative first-person shooters wrapped in a space-fantasy package. After hitting big with over 6 million copies sold, publisher 2K followed up with sequels Borderlands 2 (2012), Borderlands: The Pre-Sequel (2014), and Borderlands 3 (2019), and multiple spin-offs.
The film adaptation of Borderlands mostly pulls from the events of the first game, albeit with heavy changes as plot points and characters from the sequels are cherry picked for inclusion to create something new, but broadly speaking it isn’t too far off base.
Set in a far-off future where mega-corporations race to colonize space for resource mining, the series is largely set on the planet of Pandora, where an ancient alien vault is believed to exist that houses advanced weapons and technology, built by a mysterious race called the Eridians. A dangerous place teaming with vicious wildlife and environmental threats, Pandora becomes a boondoggle for surveyors like the Atlas and Dahl corporations, who struggle to get a return on their investments in between raging a paramilitary war between each other. After years of searching, the solution is to abandon the planet, leaving everyone but the super rich behind to survive among the trash heap wasteland left behind, not to mention a whole colony of convict laborers now running amok.
But even as they retreat, the corporations keep a close eye on Pandora, tracking the work of mercenary Vault Hunters who routinely scour the planet in search of the paydays buried beneath its surface in the vault of legend. In each game, players take on the role of one of four Vault Hunters, each with their own individual motives, who ultimately become embroiled in the larger conflict.

In the first Borderlands, that includes Lilith, a superpowered woman with suspiciously alien abilities, and Roland, an ex-soldier crackshot who previously worked for Atlas’ private military, the Crimson Lance. Both play major roles in the film, played by Cate Blanchett and Kevin Hart, respectively. Another key character from the first game is xenoarchaeologist Patricia Tannis (played in the film by Jamie Lee Curtis), who has been driven insane by the death of her colleagues but manages to find evidence of the Eridian Vault that brings everyone back into the fray.
Each subsequent game builds on the story established here, swapping out different protagonist groups for the next big adventure as new antagonists like the Hyperion Corporation’s Handsome Jack (Borderlands 2) and cultists Troy and Tyreen Calypso (Borderlands 3) enter the mix as more vaults are discovered and the tug-of-war for power continues. Despite changing its playable leads, Borderlands carries over numerous characters as NPCs who remain integral to the unfurling narrative.
Two characters who become franchise mainstays and make the leap to the film are Tiny Tina (Ariana Greenblatt) and Claptrap (Jack Black). First appearing in Borderlands 2, Tina is a mentally unstable teen with an affinity for explosives whose family was sold as slaves to Handsome Jack before being killed. With a blood vendetta, she aids the Vault Hunters in their quest to take down Jack. Claptrap is a motor mouthed service bot who, through his ability to survive through each game, serves as an exposition dumper. His ongoing presence throughout the series makes him something of an unofficial mascot for Borderlands, and he appears heavily in the movie’s marketing.

Outside of lore, Borderlands is also known for its vibrant art direction, which heavily influences the look of the movie. With cel-shaded graphics that give the visuals a cartoon-like aesthetic, the outlandish look of the game is defined by exaggerated characters and hyperbolic violence that might be more unnerving in a grittier style. Its bright design also bleeds into the tone, which leans on juvenile humor and an edgy loudness to drive home the feeling of playing a Saturday morning cartoon on shrooms.
Its characters are all caricatures, constantly bickering and hurling insults at enemies. The main vibe of Borderlands is loudness, in both its look and feel. A true product of the late-2000s, the humor of Borderlands can be equal parts endearing and grating, and hasn’t evolved much over the years. Picture the most maximalist version of the Guardians of the Galaxy by way of a teenage boy’s brain, and you’ll be somewhere in the ballpark.
Which games should you play?
Despite being a somewhat young franchise, Borderlands has managed to branch out into a variety of lanes in just 15 years. The mainline entries consist of a full trilogy plus a “Pre-Sequel” set in between the events of the first two games, and all adhere to the basic looter shooter design ethos.
The real hook of Borderlands is its unique blend of high-octane FPS gameplay and RPG elements like open-world exploration, leveling progression, and its key ingredient: looting. Originally pitched as Halo-meets-Diablo, the series helped cement a new subgenre dubbed the “looter shooter,” wherein killing enemies and finding treasure chests rewards players with tons of new weapons and gear with unique stats and traits. Before Borderlands, looting was mostly a mechanic for dungeon crawlers like Diablo and Baldur’s Gate, but the popularity of the Gearbox’s shooter made the feature a standard for FPS/RPG hybrid games like the Bungie’s live service Destiny series.
For anyone looking to start at the beginning, there’s no need to worry about dusting off an old PlayStation 3 or Xbox 360. The original game was remastered and released as Borderlands: Game of the Year Edition in 2019 and is currently available on PC, Nintendo Switch, PlayStation 4, and Xbox One. Anyone with newer PlayStation or Xbox models can also access those last-gen versions, no problem. The Game of the Year Edition holds up pretty well and might be a great entryway for anyone looking to familiarize themselves with the series ahead of seeing the movie adaptation (or looking to wash the taste from their mouths afterward).

For those who don’t really care about soaking in all the lore from the get-go, Borderlands 3 serves as the most recent and modernized game in the main series. But if you’ve already played the primary games or are just looking for a different experience, there’s 2022’s Tiny Tina’s Wonderlands. Although it’s still a loot-based cooperative first-person shooter, Wonderlands serves as a spin-off from the main storyline, centering instead on a Dungeons & Dragons-styled riff on a tabletop gaming world. Set within a TTRPG campaign run by Tina, it offers a fantasy slant on the Borderlands formula, and in true D&D fashion, allows players to create their own character rather than pick a preexisting one. As a direct parody of fantasy game tropes, Wonderlands is a reprieve from the core franchise that may satisfy players who are already tired of the IP’s lack of major evolution throughout the flagship titles.
If you’re looking to break away from the first-person shooter genre entirely (or are simply less coordinated), there’s total curveball Tales from the Borderlands. A sub-series of Borderlands proper, the Tales games diverge completely from the main games as episodic interactive graphic adventure games (i.e. point-and-click games). Plot-heavy, they focus more on branching dialogue paths and slow-paced exploration rather than the frenetic gunplay of the base games, although uncovering loot is still a major part of the deal. Of course, anyone looking to recklessly blast rocket launchers and beat bandits to death for pocket treasure will be fully out of luck.

Unfortunately, none of the games in the series are currently available on digital subscriptions services like PlayStation Plus or Xbox Game Pass, despite having been available in the past. The only way to play the games now is to purchase them, although the good news is that they’re regularly on sale as part of seasonal promotions.
Where does the movie fit in?
Unlike recent game-to-screen adaptations that either follow the plot of a single game religiously (The Last of Us) or tell new stories within the franchise canon (Fallout), the Borderlands film goes back to the tried-and-true formula of remixing details from a few different entries into its own thing.
Coming back to the Guardians of the Galaxy comparison, Borderlands (the movie) tells the story of a band of disparate rogues who must reluctantly come together, setting aside their differences to topple a shared enemy. Broadly speaking, it pulls most of its inspiration from the events of the first game and sees the villainous corporate head and certifiable asshole, Atlas (Edgar Ramírez), hiring a mercenary named Lilith (Blanchett) to hit the planet of Pandora in search of lost treasure. Here, the treasure isn’t from the Vault (supposedly), but instead Atlas’ missing daughter, Tina (Greenblatt).
Yes, the movie version of Tiny Tina isn’t just a plucky NPC on the sidelines, and has been reworked as the daughter of the antagonist to use as a MacGuffin. Debuting in Borderlands 2, Tina hasn’t previously been one of the core four protagonists in any of the games, so she’s gotten an upgrade in that regard as one of the leads for the series’ silver screen outing.

The rest of the group is composed of soldier-turned-mercenary Roland (Hart), erratic scientist Tannis (Jamie Lee Curtis), and Tina’s muscle bound psycho babysitter Krieg (Florian Munteanu). Both Roland and Tannis appear in multiple games and play vital roles in the original; Krieg was first introduced as a downloadable character in Borderlands 2. Lastly, there’s the endlessly irritating junk bot Claptrap (Jack Black), who serves as comedic “relief” in addition to his usual function verbally pointing the plot in its next direction.
Without the need to provide a strictly balanced class system for gameplay, the Borderlands movie gets to scale back on the size of the cast, slotting in tertiary characters and NPCs into bigger roles while still sticking to the conceit that all these conflicting archetypes will make for engaging drama.
Ultimately, it’s not essential to play any of the games to understand the Borderlands adaptation, although it may deepen the enjoyment to already be a fan (or ruin it, depending on who you ask). But as the progenitor of looter shooters that have become more common today, going back to any game in the series is a guaranteed good time, especially with a couple of friends on the couch. Time will tell if Borderlands continues as a live-action franchise, but with a new game rumored to be in the works at Gearbox, there looks to be plenty of gas left in the tank, and more obsessive looting to be done.









Christine Wonsley with her husband, Elmore (second from left), attorney Ben Crump (left), and Rev. Al Sharpton (right), during a memorial service for her son Nolan Xavier Wells.Gerald Herbert/AP


Abu Asada, the current-day star of calisthenics, has built a cultlike following with his high-energy videos. Jason Motlagh
Weighted pushups on a bar are a staple of battles. “The bars don’t lie” goes one old-school mantra. Jason Motlagh
“In the world of calisthenics, the world is your gym,” one Houston-based battler says, “so you can get it in anywhere.” Jason Motlagh
Abu Asada (center, standing) with competitors in Houston. “He really opened eyes to life-or-death [training],” says one athlete. Jason Motlagh

Marshall Sampson celebrates his win surrounded by a raucous crowd in Brooklyn, New York. Sacha Lecca
An exhausted Sampson post-battle. “Pressure exposes everyone,” Abu Asada says. Sacha Lecca
The crowd cheers on the Calisthenic Prince, who calls himself a “bar magician,” during a battle in Brooklyn. Sacha Lecca
The Prince and a competitor called Xtra Money go head-to-head on dips. Sacha Lecca
The warriors take to the bar for muscle-ups. “This is the most physical thing you’re gonna see people do without being violent,” Abu Asada says.Sacha Lecca
Xtra Money cranking out 75 goblet squats with a 65-pound dumbbell. Sacha Lecca
The Prince accepts defeat in what Abu Asada calls “the most hostile even I’ve ever been a part of.” Sacha Lecca
Donald Trump and FIFA President Gianni Infantino stand as Spain celebrates its World Cup victory, on July 19, 2026.
America Got the World Cup It Deserves — Good and Bad
For the past six weeks or so I’ve been having a recurring fight with my friends. The dispute is over whether or not it’s ethical to support the U.S. national team in the World Cup.
To the vast majority of people reading this article, this is an absurd question: of course you can and should support the United States Men’s National Team, you weirdo. And look, I’m with you. But despite the fact that my friends are pompous dorks who are no fun to watch the game with, the question they raise is valid: Are our national teams avatars of the administration in power, or of the people and promise of that country?
If you believe the former, then yeah, it’s pretty fucking weird to support the USMNT. In doing so, by that thinking, you’d be engaging in a sort of athletic nationalism on behalf of a country run by Donald Trump, the most corrupt president in history, who forced the Iranian national team to flee across the border immediately after the final whistle of each of their games, whose federal police have shot numerous civilians dead in the street during a brutal immigration crackdown, who has started a war and supported a genocide while covering up his close personal friendship with the most notorious pedophile in modern history.
I mean just look at him. On Sunday he waddled down onto the field to present Spain with their trophy, lingering on stage with the victorious team as they tried to celebrate. The presence of Mexican President Claudia Steinbaum and Canadian Prime Minister Mark Carney did little to dilute the image of Trump standing next to his crony Gianni Infantino, grinning at all the trappings of their power, hands caressing a trophy they’d done nothing to earn, lingering well past his cue to leave Spain to their glory. This World Cup, literally, had Donald Trump’s fingerprints all over it.
And yet, this was one of the most thrilling, beautiful World Cups in recent memory. That’s America, baby — contradictions abound.
Over the past five weeks of the greatest athletic competition on Earth, we’ve seen games that will literally never leave my memory. The final, which I attended yesterday in New Jersey, was remarkably forgettable — a 0-0 draw until the 106th minute, with Spain dominating every second of play and yet unable to score, undone time and time again by their insistence on tricksy passing and the personal heroics of Argentina’s goalkeeper Emi Martinez. The rest of the tournament, however, delivered. Cabo Verde, refusing to lose until the very last moments of the first knockout round, battling back again and again against both teams that would eventually play in the final. The sheer dominance of France’s Kylian Mbappe in front of goal, scoring at will, rivaled only by the aging GOAT Leo Messi and the Norwegian warlord Erling Haaland. England’s heroic stand at the Estadio Azteca in Mexico City, 45 minutes in the rain, a man down, holding out for the win and singing “Wonderwall” with what felt like half the stadium when it ended. Off the pitch, too: the Algerian national team being welcomed with open arms by Lawrence, Kansas; Scottish braves drinking Boston dry and partying wildly with Haitian fans that overcame so much just to be at the tournament. In Mexico, of course, the World Cup was everything, and its fans threw joyous South Koreans pumped full of tequila into the air, and celebrated in the streets with opposing fans even after their hard-fought defeat to England.
For the United States, what the 2026 World Cup was — what our team was, what our fans were, what our performance as hosts was — is a reflection of two things at once: what our nation is and what it can be.
Our star striker, Folarin Balogun, was born here by accident, a citizen only because of a birthright system that our president is currently trying to erase. We have Ricardo and Giovanni and Freeman and Zendejas. We have another striker whose name is Haji, for goodness sake. I look at that team and I see the country America can be, one in which any soul born in or living within our arbitrary borders can become part of a great national project that seeks to improve the lives of everyone it can. And yet, I can also look at that team and see a reflection of what the country is, because there is an anchor around its neck. When Balogun was — albeit unjustly — suspended for a crucial match, Trump himself stepped in. Cronyism saved the day and got Balogun reinstated, but ruined the fragile harmony the team had enjoyed. On the pitch against Belgium, they came apart. Temperamental star Christian Pulisic tried to go alone and then quit, aging defender Tim Ream’s legs failed him when he needed them most, a young goalkeeper slipped and fell when he had no good options for support.
What more can you say about a team, about our country? The team is an entity that is capable of more but still has so far to go, that is vulnerable to the same forces of avarice and selfishness and fear that plague our national identity writ large.
It’s possible to end the story there, to say good riddance to another failed year and fractured team. But I think that’s a mistake. I think if you believe that you haven’t really been watching. I think that’s also why it pissed me off so much that some of my friends wouldn’t root for the U.S. Yes, we have flaws, like every country involved in the tournament. Yes, our current team management and political government are filled with morons. But if you won’t put on the shirt you’re essentially opting out of our future. We can’t wait around for a better world, a better team, a better president, before we deign to lend our support. Progress only comes from effort, from caring, from believing in something more.
One of my favorite images of the World Cup was a crowd shot of the opening match against Paraguay in Los Angeles: every race, color and creed of American there is, all covered in red white and blue. It’s corny and trite, sure. But that’s what it’s all about. That’s why we’re here. You have to believe. The U.S. won that game 4-2. In four years, we’ll be even better.