Stephen King The Running Man receives a sharp update in Edgar Wright’s 2025 film adaptation, which uses its dystopian setting to critique reality television, especially shows like Keeping Up With the Kardashians. The movie incorporates new elements that highlight society’s fixation on mindless entertainment and the implications for control in a media-saturated America.
A Dystopian Television-Centric Society
Set in a future America, The Running Man presents a reality where nearly every citizen is required to watch government-distributed programming on a device called the Free-Vee. This mandatory entertainment system is managed by the powerful Games Network, the same company responsible for broadcasting the deadly contest central to the story. These ideas trace back to King’s original 1982 novel, written under the name Richard Bachman. However, director Edgar Wright and actor Glen Powell’s upcoming adaptation enhances the world-building, making the TV-dominated culture even more prominent and relevant for modern viewers.
Although the 1987 film starring Arnold Schwarzenegger drew loosely from the novel, the latest version aims to mirror King’s book more closely. While the movie alters details, especially in its finale, it introduces a notable recurring series called The Americanos, a satirical addition that directly addresses today’s reality TV landscape.
Spoofing ‘Keeping Up With the Kardashians’ Through ‘The Americanos’
The Americanos, featured throughout the film, is deliberately crafted as a playful yet pointed parody of Keeping Up With the Kardashians, which popularized the Kardashian-Jenner family from 2007 to 2021. The Running Man uses this fictional show to generate humor, but it also serves as a darker commentary on the effects reality TV can have on society and its viewers, particularly targeting the influence of the Kardashian media empire and the genre itself.
Within the universe of The Running Man, access to books and free information has become virtually impossible for ordinary people. When Stephen King wrote the novel, public libraries were vital, accessible resources. In contrast, the film reveals that libraries are now blocked behind expensive paywalls only the wealthy can afford. For the rest of society, the Free-Vee becomes the main gateway to information and entertainment, further isolating citizens from knowledge and reinforcing the state’s control.
The Purpose and Danger of Government-Sanctioned Reality Shows
In this world, reality television, including The Americanos, is depicted as a strategic tool used by the government to maintain power by distracting and dulling the minds of the population. The narrative suggests that by flooding homes with seemingly harmless reality content, authorities can condition the public, making it easier to manipulate and govern them. This theme is echoed through the way game shows like The Running Man itself are designed—to provoke outrage and set ordinary people against each other, while shows like The Americanos aim to numb audiences, fostering compliance through passive consumption.
This critique draws a comparison with real-world television habits, where shows such as Keeping Up With the Kardashians have been branded as “turn-off-your-brain” viewing. The film’s message is clear: in a society engineered to consume endless easy entertainment, critical thought is sidelined by spectacle and distraction, and that is where the real danger lies.
Stephen King’s Vision and Its Contemporary Relevance
The Running Man’s society, first sketched out by Stephen King in 1982, resonates strongly with today’s reality as streaming platforms and endless digital content have largely replaced traditional avenues of knowledge and critical engagement. No longer is the Free-Vee a farfetched concept—now, anyone with internet access can be lured into a cycle of effortless, often trivial media. While King’s novel could not have anticipated the immense financial power and broad social influence of reality TV personalities, this new adaptation cleverly updates the story’s satire to reflect the modern media climate and the unique role of stars like the Kardashians.
This shift not only modernizes the original dystopian critique but also strengthens the thematic connection to the consequences of media dominance and the risks of unchecked reality television influence. Entities including Glen Powell as Ben Richards, Josh Brolin as Dan Killian, and director Edgar Wright help bring these updated challenges to life, centering the film’s warning about the sedative potential of televised entertainment.
The cultural reach of Stephen King, Richard Bachman, and the characters in The Running Man continues to prompt discussions about entertainment, control, and social awareness. As millions today tune into reality shows and streaming content, Wright’s adaptation suggests Americans face the same questions King raised decades ago: When entertainment dominates, what happens to free thought and independent knowledge? The Running Man’s latest version prompts audiences to reflect on how much of King’s vision has already become reality—and what that might mean for the future.
