Entertainment
13 Movie Masterpieces Where Every Shot Belongs in a Museum
The phrase “hang it in the Louvre” has become commonplace for images so iconic that they are masterpieces in their own right. Now, imagine an entire film built on iconic shots, each image worthy of living in a museum. From arthouse films to big-budget epics, black-and-white masterpieces to Technicolor classics, when a movie looks that astounding, it should be celebrated.
The films that make this list are revered for an array of reasons, but from a visual standpoint, they’re extraordinary. Spanning all genres, from sci-fi to fantasy, the shots in these movies live rent-free in our minds. Some have even been turned into posters or inspired other artistic media. For this list, we are avoiding animated features, as they would be a part of a different celebration. When the film hall of fame calls for visual masterpieces, these titles will proudly hang on the wall.
1
‘The Grand Budapest Hotel’ (2014)
This entire list could be a Wes Anderson tribute piece. As a lover of his distinct style, drawn to symmetry and color, I have a deep appreciation for the visuals in his films. The director’s vision has inspired social media, as it’s well-suited to photography. While all of his films utilize the Anderson effect, his most beautiful film is The Grand Budapest Hotel. A fast-paced, stylized caper, the story follows Monsieur Gustave H. (Ralph Fiennes), a legendary concierge at a famed European hotel between the wars, and his loyal lobby boy protégé, Zero Moustafa (Tony Revolori). The unlikely duo becomes embroiled in a battle for a massive family fortune, the theft of a priceless painting, and a murder mystery. A vibrant romp with a star-studded ensemble, The Grand Budapest Hotel may be Anderson’s greatest artistic achievement.
Harkening back to a 1930s aesthetic, Anderson meticulously chooses colors to reflect the period. Utilizing richly thematic colors, including beautifully muted pinks against the deeply bold reds, the color palette sets it apart from anything he’s done before. In a memory play, when the story hops back to 1968 as a young writer visits the dilapidated hotel, the colors are in sharp contrast to display the loss of a once-vibrant Europe. Visually, it’s as if Anderson tells his layered story within a dream-like dollhouse. Even with an aura of whimsy, the painstakingly pristine, symmetrical compositions are glorious. Whether straight-on or angled, Anderson blocks his performers so precisely that they become part of the set. Using adorable miniatures and switches in aspect ratio, The Grand Budapest Hotel is truly one of the most beautiful movies Anderson has ever made.
2
‘Amelie’ (2001)
When you craft a whimsically innovative film, chances are it’s going to turn out like a work of art. Such was the case for Jean-Pierre Jeunet’s Amelie. The French-language romantic comedy tells the story of a shy, imaginative waitress named Amélie Poulain (Audrey Tautou) living in Paris. After finding a hidden box of childhood treasures, she decides to anonymously improve the lives of the eccentric people around her, ultimately finding the courage to pursue her own love and happiness. A romanticized, colorful version of Paris, the backdrop becomes a character in its own right. The bricolage version of Amelie’s Paris allows for the film to stand on its own.
With a delightful performance from Tautou, it pairs perfectly with the charming color palette, and the optimistic mission of the story shines through. The warm, saturated color story evokes a dreamlike sense of nostalgia. From there, the cinematography by Bruno Delbonnel, when focusing on close-ups of small pleasures like cracking crème brûlée, becomes its own important cinematic moment. With surrealistic elements woven in, Amelie’s imagery is synonymous with the film, and there’s yet to be a film to match its splendor.
3
‘2001: A Space Odyssey’ (1968)
Perhaps the most important film ever made is Stanley Kubrick’s masterpiece 2001: A Space Odyssey. The breathtaking epic covers humanity’s evolution from prehistoric times to the future with mysterious alien monoliths. With an imposing black structure serving as a link between the past and the future, Dr. Dave Bowman (Keir Dullea) and his team of astronauts are sent on a mysterious voyage. Their ship’s sentient computer system, HAL 9000, begins to exhibit increasingly strange behavior, leading to a tense battle between man and machine that culminates in a mind-bending trek through space and time. An enigmatic film, 2001: A Space Odyssey, took audiences places they’d never seen before. And let’s just say, Kubrick’s brilliant vision is why.
Through single-point cinematography, Kubrick’s composition drew the eye to the center of the screen, creating a breathtaking photographic aura. You can even call it a moving painting. Using showing-not-telling visual storytelling, Kubrick allowed for long, mesmerizing takes to bring the audience along for the ride. A film made pre-CGI, everything is practical, using physical models. When you watch Bowman, dressed in a rich burnt red, walk inside the stark white Discovery, you understand why it’s the most popular shot in the film. Then, as he’s drawn into Star Gate, you’re taken by a vortex of colored light, bizarre landscapes, and inexplicable cosmic events. It’s a beautifully shot ending to a groundbreaking film.
4
‘8 1/2’ (1963)
Of course, a film about a filmmaker is going to be a good-looking piece, especially when it serves as your autobiography. Such was the case for Federico Fellini’s 8 1/2. The film follows a famous Italian director, Guido Anselmi (Marcello Mastroianni), suffering from intense creative blockage. As he tries to produce a science-fiction film, he struggles with his professional pressures, personal relationships, memories, and fantastical dreams. Blurring the lines between reality and fantasy and the pain and pressure of the creation process, Fellini masters the beautiful confusion of a director’s mind through extraordinary imagery.
Revolutionizing the way surrealism, dreams, and memory are integrated into the creative process, Fellini’s marvel brings meta-cinema to pioneering heights. Shot by Gianni Di Venanzo, 8 1/2 utilizes high-contrast black-and-white shots as an homage to films of the past. Then, the manner in which the camera moves is like a choreographed ballet, providing sharp shots that convey the narrative as characters move in and out of the foreground and background, building a new portrait within the mindscape. The spherical cinematographic process proved to be the magic touch. With every shot resembling a beautiful photography exhibit, 8 1/2 is all about pushing the bounds of what art can be. There’s a reason why 8 1/2 transformed seamlessly into a stunning musical.
5
‘North by Northwest’ (1959)
The crop duster in the cornfield scene. We could leave it just there, but we won’t, as there is so much to discuss. Directed by the legend himself, Alfred Hitchcock, North by Northwest is a finely tuned spy thriller. Roger Thornhill (Cary Grant) is a New York advertising executive mistaken for a government agent named George Kaplan by foreign spies. Pursued across the U.S., he tries to clear his name while caught in a deadly web of espionage, romance, and iconic action sequences. A man on the run story, Hitchcock takes viewers on a tour of America, from New York to the Midwest, with a conclusion at Mount Rushmore. With stylish suspense, Hitchcock’s visually driven action sequences have provided iconic shots that have gone down in history.
A top-tier Hitchcock film, it stands out from many others for the way he composes large-scale scenes with such profound mastery. Many films on this list are revered for their intimacy; North by Northwest bravely zooms out for grandeur. Now, one may think that the climactic finale was filmed on location, but it was not. Instead, Hitchcock and his team replicated the infamous landmark, thereby achieving a major technical feat. The specificity of the art direction imbues this film with a timelessness that continually marks it as one of the greatest cinematic feats.
6
‘Speed Racer’ (2008)
Image via Warner Bros. Pictures
There have been countless films that have tried to adapt cartoons into live action, abandoning their cartoon imagery. It’s a fine choice, but the allure and charm don’t always hold. But then, in 2008, the Wachowskis took a beloved cartoon and figured out just how to make the two-dimensional world shine in a three-dimensional world. Speed Racer, one of the most underrated films of all time, lifts Tatsuo Yoshida‘s manga series and drops it into a high-speed visual acid trip that maintains the integrity of its source material. The film follows a young, talented driver named Speed (Emile Hirsch), who navigates a corrupt, corporate-dominated racing world to save his family’s independent business. After rejecting a deal with the villainous Royalton Industries, Speed uncovers fixed races and teams up with his family, girlfriend Trixie (Christina Ricci), and the mysterious Racer X (Matthew Fox) to win the dangerous championship. Highly stylized, visually vibrant, and CGI-heavy, Speed Racer is a masterclass in filmmaking.
The Wachowskis have great reverence for the source material, yet avoid the potential corniness to build a neon-soaked universe that became the epitome of being “posterized.” Through pop art, cubism, and technical CGI enhancements, Speed Racer is a welcome sensory assault in which physical laws are pushed aside for maximum visual pleasure, going to the max with color saturation to craft a surreal universe that’s in perpetual motion. As someone who attended a midnight viewing on opening night, Speed Racer is a moving art installation straight from your wildest imagination.
7
‘The Wizard of Oz’ (1939)
Classic Hollywood’s journey from black and white to Technicolor was a glorious transition. Perhaps the film that defined that shift was the timeless classic, The Wizard of Oz. The film tells the story of Dorothy Gale (Judy Garland), a young farm girl from Kansas, who is swept away via a tornado to the magical Land of Oz, where she embarks on a quest along the Yellow Brick Road to find the powerful Wizard (Frank Morgan) in the Emerald City to help her get home. On her journey, she meets three new friends, each of whom is seeking something of their own from the Wizard (Frank Morgan) — the Scarecrow (Ray Bolger), who needs a brain; the Tin Man (Jack Haley), who needs a heart; and the Cowardly Lion (Bert Lahr), who needs courage. From a sepia reality turned colorful dream world, The Wizard of Oz’s iconography has already found itself in museums, because each shot is spectacular.
Directed by Victor Fleming, The Wizard of Oz was a technological innovation using tremendous production design that magically came to life. Every single set piece was meticulously crafted, reminding viewers that colors aren’t just a simple shade. With brilliant detail, the yellow-coated bricks pop. The perfect shade of green allowed the Emerald City to dazzle. Then, without that precise red, those famous ruby slippers wouldn’t be nearly as memorable. Bring all the colors together, and The Wizard of Oz transports you into this immersive world over the rainbow. The Wizard of Oz is the definition of why color is so integral. When we head back to Kansas and Dorothy awakes in bed to her friends by her side, returning to the sepia world serves as a reminder of how important our imagination is to us. Even that shot with the trio flanking Dorothy while in bed left a lasting impact. There’s not a single shot in The Wizard of Oz that hasn’t impacted pop culture and cinema since.
8
‘The Tree of Life’ (2011)
A profound, poetic exploration of existence, the Terrence Malick-directed film The Tree of Life looks and feels like a beautiful painting. The experimental drama centers on Jack (Sean Penn), who reconciles childhood memories of his stern father (Brad Pitt) and loving mother (Jessica Chastain) with the vast, humbling scale of existence. Of course, Jack’s parents represent a way of living. Mr. O’Brien represents the way of nature — selfishness and survival — while Mrs. O’Brien represents the way of grace, selflessness, and love. Through the cosmic significance of the mundane, as filtered through the memories of a reflective man, Malick evokes a symbolic vocabulary through which he crafts the visual story.
The Tree of Life’s cinematographer, Emmanuel Lubezki, uses the world around us to the film’s advantage. Through the mastery of natural light, Lubezki gives Jack a visceral image to remember. By staying away from artificial lighting, the shots feel believably lived-in, like a memory. Using the luscious colors of nature, The Tree of Life showcases the beauty we may take for granted. The fleeting moments, such as a hand touching a plant or the sun beaming through the trees, become a grand surrealist painting. Now, lest we forget, The Tree of Life also dives through the history of creation. In doing so, the story intertwines intimate shots of personal moments in Texas, juxtaposed with the massive shots of the universe’s creation. It helps to make those natural moments look simply majestic. Malick’s film is a reflective meditation on life, death, and divinity, heightened by the splendor of the images.
9
‘Apocalypse Now’ (1979)
The horrors of war may not sound like something that would be visually stunning, but then Francis Ford Coppola made Apocalypse Now. The visceral imagery was so perfectly reflective of the Vietnam War that it changed war films forever. A surreal look at the Vietnam War, Apocalypse Now tells the story of a river journey from South Vietnam into Cambodia undertaken by Captain Willard (Martin Sheen) during a secret mission to assassinate Colonel Kurtz (Marlon Brando), a renegade Special Forces officer accused of murder and presumed insane. Through the lens of war, Apocalypse Now is a psychological examination of the descent into the heart of darkness. To capture the sensational horror of war, Coppola shot the film with a meticulous, organic approach that then exploded into a surreal nightmare. As sanity is lost in the soldiers, the film opens up into a wonderland of images. Right from the start, the surreal montage of palm trees exploding into flame and bold shots of helicopters in flight set an instantly artistic tone for this war thriller.
Cinematographer Vittorio Storaro‘s use of color and light brought out a mesmerizing sense of storytelling. Specified by mastery of light and shadow, Storaro captured the characters’ inner turmoil. Just look at how Brando is framed, with only parts of his face in the light. The shafts of light that pierce through the dark, foggy jungle move the film from a simple war documentary to a phantasmagoria. One of the most famous shots in film history is of Sheen in the water. The brilliance of the warm amber light hitting his face is evocative. Through the use of color, each character had a color story to define them. Take, for instance, Robert Duvall‘s Colonel Kilgore. He’s often shown in scenes featuring vividly bright colors that match his larger-than-life demeanor and his insane reality. Apocalypse Now is a film that holds a mirror up to the feelings about the Vietnam War. With the perception being negative, Coppola crafted a living nightmare to provoke the trauma of the war.
10
‘Sin City’ (2005)
Sin City might be one of those films you’ve forgotten about, but the truth is, it’s a visual marvel that deserves more recognition. Directed by Robert Rodriguez and Frank Miller, and based on Miller’s comic book series, Sin City perfectly elevates the hand-drawn masterpiece into a three-dimensional world where every single original panel becomes the storyboard for the picture. The anthology film follows multiple interconnected storylines of violence, revenge, and redemption in the corrupt, fictional Basin City, featuring characters such as a brutish vigilante, a retired cop, and a hitman grappling with sordid crimes. With an all-star cast, including Bruce Willis, Clive Owen, Jessica Alba, Rosario Dawson, Brittany Murphy, Josh Hartnett, Benicio del Toro, and more, the faithfully crafted monochromatic pulp noir was a feast for the eyes.
The introduction of color into black-and-white film often serves as an essential storytelling device. Look at films like Schindler’s List and Pleasantville. When the colors emerge, it’s a sign for the audience that it’s important for the story. Here, color tends to represent corruption or innocence, separating good characters from the dark, gray world they inhabit. Watching Sin City is literally like seeing a comic book in motion. The close-ups, the camera swoops, the precise angles, all come together for a fascinating composition. The dark visual mode helped establish the noir tone of classic thrillers while preserving the comic’s integrity. Allowing the film to live in a surreal world amplified each shot into a comic frame. Through digital construction and vibrant splashes of color, Sin City is an atmospheric accomplishment.
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BBC’s The Other Bennet Sister is captivating audiences — but how can Jane Austen fans watch the series?
Based on the novel by Janice Hadlow, The Other Bennet Sister follows the events from Pride and Prejudice from Mary Bennet’s (Ella Bruccoleri) point of view. The story then departs from that to follow Mary as she travels to London and the Lake District and the overlooked sister from the big Bennet family has a romantic adventure in Regency England.
In addition to Bruccoleri, The Other Bennet Sister stars Ruth Jones, Richard E. Grant, Indira Varma, Richard Coyle, Róisín Bhalla, Reggie Absolom and Jasmine Sharp. Laurie Davidson, Dónal Finn, Varada Sethu, Aaron Gill and Maddie Close also appear on the show.
Poppy Gilbert, Molly Wright, Grace Hogg-Robinson, Tanya Reynolds, Anna Fenton-Garvey, Ryan Sampson and Lucy Briers round out the cast. The series premiered in the U.K. in March, which viewers can check out on BBC iPlayer.
Never enough steam! Bridgerton is full of smoldering looks and stolen embraces, but the Netflix series is just the tip of the iceberg when it comes to sexy period dramas. No one knows this better than Outlander fans or the show’s two leads, Caitriona Balfe and Sam Heughan. The Belfast actress and the Scotland native […]
In the U.S., period drama fans can watch The Other Bennet Sister on May 6. The series will be available on BritBox in the U.S. and Canada but Amazon Prime offers a weeklong free trial as well.
Bruccoleri previously teased what fans can expect.
“From a young age, she’s seen as not having the same desirable qualities as her sisters,” Bruccoleri told The Hollywood Reporter. “She comes to believe that she’s innately unlovable. And then the minute that she steps away from her family, she begins to see things differently. I mean, she has setbacks all the time, but it’s a story about the transformative power of kindness, really.”
The winter TV schedule is overflowing with highly anticipated premieres and returns including Marshals, Bridgerton, Best Medicine and more. Based on Julia Quinn‘s book series, each season of Bridgerton focuses on a different member of the titular family as they attempt to find love in 19th-century London. The hit Netflix show is expected to have […]
She continued: “It’s disguised as a love story. I personally just don’t see it that way. I think it’s a love story between Mary and herself.”
Bruccoleri was excited to unpack the role, adding, “With Mary, she doesn’t understand the rules of the game. She tries incredibly hard to be something that is pleasing to other people. And she does that through study — really extensive study, because that’s what she knows. That’s how her brain works.”
She added: “She studies how to be as appealing as her sisters, [and] to her mother, mainly. But just goes about it completely the wrong way. It still doesn’t work. I think I really related to that in Mary, the industriousness of her. That’s the way I approach my job as well as — I do it through study rather than instinct. And I can be quite obsessive with the amount that I prepare for something.”
On their own, Denzel Washington and Russell Crowe have both shown they’re more than capable of carrying powerful blockbuster films and awards contenders alike. The former has a pair of Oscars to his name in a supporting role for Glory and a leading turn in Training Day, with further acclaimed performances in Fences, Malcolm X, Gladiator 2, and last year’s Highest 2 Lowest that show off his versatility. Crowe, meanwhile, has been a similarly enduring presence in Hollywood, with a particularly impressive stretch of work from 2000 to 2002, where he earned two Academy Award nominations for The Insider and A Beautiful Mind and a win for his landmark performance as Maximus in the original Gladiator. Putting them together at their heights, then, seems like a recipe for success.
However, only twice have the two stars shared the screen in the same project. The first came in 1995 with director Brett Leonard‘s out-there sci-fi thriller Virtuosity, which cast a young Washington as a former cop, and a young Crowe as a soulless AI trained on the worst serial killers in history. Despite the talent involved, it was a disaster panned by critics and ignored by audiences at the box office, but 12 years later, they came back together for something much more favorable in a reunion between Crowe and director Ridley Scott. American Gangster was released in 2007 and was met with far more acclaim, including a Certified Fresh 81% score on Rotten Tomatoes and a pair of Oscar nominations, and now it’s heading to a new streamer.
Starting on April 1, Netflix will add the historical crime drama to its catalog, bringing two of Washington and Crowe’s best performances to the platform. Washington played the titular gangster, Frank Lucas, who grew a criminal empire in Harlem by smuggling drugs into the U.S. in the coffins of soldiers brought home from the Vietnam War, while Crowe starred as strait-laced detective Richie Roberts, who aimed to bring Frank to justice amid the city’s changing power dynamics. The script by Steve Zaillian was criticized for its lack of historical accuracy, but that didn’t stop it from making a cool $269.8 million at the box office and being appreciated for the work of its stars. Ted Levine, John Ortiz, Josh Brolin, Chiwetel Ejiofor, Ruby Dee, Lymari Nadal, and Cuba Gooding Jr. rounded out the cast.
Test Your Knowledge of These Cult Classics and Hidden Gems With Collider’s Movie Quiz
Period Pieces are such a staple of movies, they might as well be their own genre. Dust off your history books to pass this test on Historical Dramas.
What’s Next for Washington and Crowe?
Washington’s next high-profile feature is just around the corner, teaming him with Robert Pattinson and Daisy Edgar-Jones instead of Crowe. The trio is set to star in Netflix’s Here Comes the Flood, directed by Fernando Meirelles, penned by Simon Kinberg, and expected to be released as early as the end of 2026. Finer details have been kept under wraps, but it’s billed as a heist thriller centered on “a bank guard, a teller, and a master thief” who become entangled in a web of double-crosses and cheats. Crowe, meanwhile, is currently hard at work on the set of Chad Stahelski‘s Highlander remake, but his next film, Beast, is also just around the corner. Premiering on April 10, it casts him as the trainer of an ex-MMA champion (Daniel McPherson) who has to enter the ring one last time to fight the current title-holder, protect his brother, and save everything he built during his reign.
American Gangster brings Washington and Crowe together on Netflix on April 1. Stay tuned here at Collider for more on the biggest titles coming to and leaving streaming throughout the year.
- Release Date
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November 2, 2007
- Runtime
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157 minutes
- Writers
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Steven Zaillian
“Real Housewives of Salt Lake City” star Mary Cosby was reportedly interviewed by police about her son, Robert Cosby Jr.’s, alleged physical abuse weeks before his sudden death. According to a new report, Utah police officers allegedly spoke with Mary after Robert’s ex-wife, Alexiana, claimed Robert choked and spat on her during a domestic dispute in 2024.
Mary Cosby’s Son Accused Of Physical Abuse Weeks Before His Sudden Death
TMZ obtained a copy of a Salt Lake City Police Department report filed by Robert’s ex-wife in November 2025. At the time, Robert was behind bars, but the report says that Alexiana wanted to document an alleged dispute from May 2024.
The paperwork claims Robert became irate with his ex-wife after she allegedly flushed his drugs down the toilet. The report says that Robert allegedly “grabbed her by the throat with his hand and strangled her.”
Alexiana also claimed Robert spat on her during the alleged dispute; however, she said she couldn’t remember the specifics of the altercation because she lost consciousness.
Mary Cosby Interviewed By Police Regarding Her Son’s Alleged Physical Abuse
Robert’s ex-wife claimed the incident happened at Mary’s Salt Lake City home, and per the document, police interviewed Mary on January 9, 2026.
Mary reportedly told police that while she knew her son and his then-wife had verbal arguments, she was unaware of any physical disputes.
Mary allegedly told police that she raised her son to keep his hands to himself and also denied seeing any physical injuries to either of them.
Utah police also spoke with Robert while he was behind bars before his death, and according to the police report, he claimed he had told Mary about his alleged physical abuse.
He also reportedly told police that he believed he was in a “psychosis” and was “acting erratic and irrational.”
Mary Cosby’s Son, Robert, Died In February 2026
According to a previous report from The Blast, Mary’s son, Robert, died in February 2026. He was 23.
A police report said Robert was found dead at a Utah residence after a call about a potential overdose.
“Our beloved son Robert Jr. has been called home to the Lord,” Mary said about his death. “Though our hearts ache, we take comfort in God’s promise and in knowing he is finally at peace. We are grateful for your prayers and trust in the Lord to carry us through this time of sorrow.”
Mary spoke with Robert about his drug use in previous episodes of the “Real Housewives of Salt Lake City.”
During one emotional conversation, Robert admitted to taking Xanax and other drugs to help “chill me out.”
“Then, I started doing Xanax with Acid, and then Molly with Xanax. I really like Xanax so I mix it with everything. Xanax and cocaine. You know the regular 30mg Oxys? I noticed … this was, like, a turning point for me. I was taking 10 at once, and I couldn’t even feel it,” he said.
Following the conversation, Mary was praised by Bravo figureheads, including Andy Cohen, for her handling of the intense details.
“I don’t believe in judging people. I’m just not a judger. I don’t like judging people, and I don’t like to do it. … If he’s opening up enough to tell me something this crucial, then why would I judge? I have no choice but to sit there and receive it and accept it and hope that I can help him,” she said.
‘Real Housewives’ Attend Robert’s Funeral
Mary stepped away from filming the Bravo series for a few weeks following Robert’s death. While his funeral was not filmed for the show, several “Real Housewives” stars attended, including Cynthia Bailey, Shereé Whitfield, and “Real Housewives of Beverly Hills” OG Kyle Richards.
“I don’t know her well, but she’s somebody who’s always been kind when I have met her, and as a mother and a fellow Housewife, I just felt I needed to be there and show up and support her,” Richards said, per The Blast. “I’m so grateful that I had the opportunity to be there and support her and experience something like that. Like I said, I will never forget that day ever in my life.”
Salt Lake City Alum Speaks Out, Sends Condolences To Mary Cosby
Brooks Marks from “RHOSLC” and “Next Gen: NYC” also shared a statement, revealing he was deeply saddened by the news.
“My heart goes out to the Cosby family,” Marks said. “He really was such an incredible person. It’s really a devastating, devastating situation.”
Blockers looked like the kind of movie that might be good for one or two laughs and then disappear. Instead, it turned out to be one of the more likable studio comedies of the late 2010s. A lot of that comes down to the cast, especially John Cena, who proves again that he is way funnier on screen than people first gave him credit for. Tubi will start streaming it for free on April 1.
Released in 2018, the film follows three parents who discover their daughters have made a pact to lose their virginity on prom night. Naturally, they respond in the most calm and rational way possible by launching a full mission to stop it. The setup is broad, but the movie works because it never completely loses sight of the emotional side underneath the chaos. The cast includes Cena as Mitchell, Leslie Mann as Lisa, Ike Barinholtz as Hunter, Kathryn Newton as Julie, Geraldine Viswanathan as Kayla, and Gideon Adlon as Sam.
Are You a Sarah Jessica Sharker? — The Collider Movie Quiz!
Today, we’re plunging into the deep ocean that is SJP’s filmography. You’ll need to be a real shark to hunt down the correct answers.
How Good Is ‘Blockers’?
Collider’s review stated that Blockers takes what could have been a dated, uncomfortable premise and turns it into one of the funniest — and most surprisingly heartfelt — comedies of its year. Instead of shaming its teenage characters, the film focuses on the parents’ fear of letting go, giving the story a much more relatable emotional core. The jokes come fast and hard, but they land because the characters feel real. The cast plays a huge role in that success, with Mann and Barinholtz delivering exactly what you’d expect — while Cena steals the show.
“Yes, if this were a movie about boys losing their virginity, the tone would be different (you’d have American Pie), but Blockers goes out of its way to make sure that this isn’t about ‘protecting’ girls as much as it’s about the baggage of the parents who don’t want to see their kids grow up. Instead, Blockers trusts its audience and trusts its characters to have more depth, and that gamble pays off because then we can just enjoy the rest of the movie. And there’s so much to enjoy with Blockers, none of which I’ll spoil here. It’s a movie that had me howling with laughter from start to finish, and it sets a high bar for other comedies this year.”
Blockers will stream on Tubi beginning April 1. Check it out, you won’t regret it.
- Release Date
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March 14, 2018
- Runtime
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102 minutes
- Director
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Kay Cannon
Entertainment
Netflix’s 2-Part Sci-Fi Series Remains One of the Best on Any Streaming Platform 8 Years Later
The science fiction genre is a wonderfully vast genre. Sometimes, it forces audiences to question a life in which artificial intelligence takes over. Other times, it has taken audiences to galaxies far, far away. The brilliance of imagination, rooted within the confines of science, has made the genre universally beloved. But very rarely do they push the boundaries with themes and ideals. Then came Sense8.
Perhaps a series ahead of its time, Sense8 was Netflix’s masterpiece science fiction, globe-hopping epic. Created by Lana and Lilly Wachowski and J. Michael Straczynski, the series followed eight strangers from different parts of the world who share a psychic connection. A major factor in the series’ success was Sense8’s ability to tap into themes of prejudice, sexuality, and identity in a way that many sci-fi series avoid. Earning itself a devoted fan following, Sense8 may have had a feature-length conclusion, but it ended with further stories to tell.
What Is ‘Sense8’ About?
Over two seasons and a movie dedicated to fans, Sense8 tells the story of eight strangers who are a part of a physically linked cluster, individually called sensates. Capheus (Aml Ameen and Toby Onwumere) is a matatu driver in Nairobi. Sun (Doona Bae) is the daughter of a business executive and an master at martial arts in Seoul. Nomi (Jamie Clayton) is a hacktivist who is trans in San Francisco. Kala (Tina Desai) is a pharmacist trapped in an engagement for an arranged marriage in Mumbai. Riley (Tuppence Middleton) is an Icelandic DJ living in London. Wolfgang (Max Riemelt) is a German-Russian thief and safe-cracker living in Berlin. Lito (Miguel Ángel Silvestre) is a closeted Spanish superstar actor in Mexico City. And finally, there’s Will (Brian J. Smith), a Chicago cop who discovers their connection is linked to a woman named Angelica (Daryl Hannah). As they attempt to discover why they are connected, the cluster begins navigating their everyday lives while being hunted by a man known only as Whispers (Terrence Mann), who is out to destroy the sensates through a company called the Biologic Preservation Organization (BPO). Helping one another by utilizing their fellow sensates’ greatest assets, the cluster becomes a found family that must unite to protect themselves and the ones they love.
A bold and complicated premise, Sense8‘s ability to tell its story seamlessly through brilliant writing and extraordinary editing made it unlike anything that came before. From a production standpoint, the international set pieces were so distinct for each character that Sense8 went to great lengths to ensure the authenticity of the locales. The on-location filming was the series’ best asset, but also its biggest money drain. As the individual characters begin to integrate into one another’s lives, Sense8 does a remarkable job of using its surroundings to enhance the ambitious storytelling, advising us of whose mind we are in.
‘Sense8’ Brought Sexuality and Identity to Sci-Fi
Sexuality and gender expression are monumental for the series. While some sci-fi stories might leave these themes open to interpretation, Sense8 makes them a pivotal part of the story. Most prominently is Nomi, whose experience as a trans woman is central to the story. Her narrative includes her struggles with her family, who essentially sell her out to the BPO via a conversation therapy plotline. She is used as a mouthpiece to discuss the public’s misguided fear of the trans community. With Lito, the series highlights the projection of perceived masculinity in Mexico and in the entertainment industry as he is forced to stay in the closet to keep his acting career. In both cases, it’s thanks to the cluster that they find solace and acceptance. These stories not only open up the audience to new communities, but they are integral to Sense8 and its themes of interconnectivity.
Very few sci-fi shows have attempted to be as daring, especially in the concept of sexual fluidity. With the nature of the communication within the cluster, they share emotions and physical sensations. It’s in these moments of intimacy that the cluster engages in shared sexual experiences that challenge traditional binary gender roles and sexual orientation. The core eight are effectively pansexual, something Smith himself confirmed when he came out. Sense8 put queer representation at its center without making it feel superfluous.
‘Sense8’ Never Got the Conclusion It Deserved
For some, Sense8 falls out of the perfection category because of its ending. The two seasons were sensational, but then the series was cancelled. The series ended because, despite the passionate fan base, it was far too expensive. Despite the abrupt cancellation, the show did earn a movie special that wrapped up the Sense8 story thanks to a fervent online petition. Though the story ends there, the movie is ultimately seen as a thank you to the dedicated fans rather than the true ending the showrunners had in mind. Sense8 was forced to abandon the Season 2 cliffhanger, rushing to wrap up the series in 151 minutes rather than being given a full third season. It’s particularly disappointing after Straczynski confirmed a story was plotted for Season 3.
As much as it was wonderful spending one last adventure with the cluster, it was not the ending the series deserved. With hints of where certain characters’ trajectories would take them, it was clear Sense8 would have been on track for something extraordinary had it continued. But with a flaw that was completely out of the show’s control, Sense8‘s legacy will forever be that it was a groundbreaking sci-fi show that opened up doors for the types of stories that could be told in the genre.
Sense8 is available to stream on Netflix.
It’s a common theme in all apocalyptic stories: everything you cherish has been destroyed, and everything that remains is now uglier, harsher, or more vicious. This is one of the major rules established for the genre; you can anticipate it and be prepared.
Viewers may see that Station Eleven doesn’t necessarily deviate from that consistent theme but simply avoids the obvious. The end of civilization occurs with devastating speed and brutality, creating almost no room for the possibility that what occurred has not actually happened. However, the series ultimately focuses on what happens to people following the collapse — after the dust settles, after the sounds stop, and after the need to merely survive isn’t as important or as immediate as something else that is also difficult to articulate.
What ‘Station Eleven’ Is About
The premise, on paper, sounds familiar enough: a devastating flu spreads across the globe, dismantling society in a matter of days as power grids fail, cities empty, and the world, as people knew it, disappears almost overnight. This narrative has a timeline that branches in various directions while still primarily focusing on Kirsten Raymonde (Mackenzie Davis). Her first appearance is as a child actor appearing in a stage performance of King Lear, while also being in the wrong place at the wrong time at the very beginning of the story.
She’s going through those first three terrifying days after the end of the world and has no way to do so without help from Jeevan Chaudhary (Himesh Patel), who happens to be in the audience and helps her out the entire way, even though he wasn’t prepared to deal with the surrounding devastation, anyhow.
Then the series jumps forward 20 years. Kirsten’s an adult now, played with a kind of wary precision by Davis, traveling with a troupe called the Traveling Symphony. They perform Shakespeare for scattered communities across the Midwest — small pockets of life stitched together in the aftermath.
Why It’s Worth Watching Even If You’re Tired of Pandemic Stories
There’s a built-in resistance in a show about a global pandemic, released in the shadow of a real one, which is enough to make people hesitate. But Station Eleven doesn’t dwell where you think it will, as it skips over the how and the why of the issue and goes straight to the aftermath — the emotional residue people carry when everything familiar has been stripped away.
Art becomes the connective tissue, and this is not meant in any fancy or theoretical way; they are extremely practical examples. For instance, graphic novels are exchanged among people, as if they were sacred scriptures; another example is a troupe of actors producing Hamlet for audiences who don’t remember electric light.
There is a persistent idea that survival isn’t good enough, and for once, it feels more than just a catchphrase or something that happens without reason. The show works (very hard) toward this conclusion. Because of this, everything (especially, specifically, in the characters’ way) revolves around their need for stories, songs, and anything else they have that makes life more than mere survival or mere existence.
Though the entire structure is heavy, with each character’s story timeline ending in loss, the creator hasn’t sacrificed a balance of lightheartedness. This happens through precision, which relies on playing to the lighter side of each audience’s experience, using it to create moments of humor, timed differently relative to the overall duration.
The performances help ground all of this. Matilda Lawler’s young Kirsten feels startlingly real, not overly polished, not precocious in that artificial way TV sometimes leans on. Patel plays Jeevan like someone who never quite signed up for any of this but keeps going anyway. And Davis carries the older version of Kirsten with a kind of tension that never fully unwinds — like she’s always half-expecting the world to end again.
How ‘Station Eleven’ Reframes the Apocalypse Genre
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Characters in the show cannot escape their pasts; however, they do not live entirely in the past either. There exists a tension: memory can serve as a source of comfort to characters, but also act as a burden. There is no clear resolution to this tension within the show; rather, its persistence is fitting. This sense of confusion may be one reason for the show’s effectiveness; it eliminates the temptation to end on a note where we assume that things cannot be rebuilt and/or that they never will be. Instead, it keeps asking — quietly, persistently — what if something still holds?
All 10 episodes of Station Eleven are available to stream on HBO Max, included with a standard subscription. It’s the kind of show that can be binged, but it might hit harder if you don’t rush it. Some episodes linger, and some need a minute to sink in.
There’s a version of this story that leans fully into despair, that treats the end of the world like a final statement about human nature, but Station Eleven doesn’t go that route. It cautiously suggests that the story may not end there, making it worth watching.
Lisa Kudrow is keeping it refreshingly real when it comes to love and her decades-long marriage. While attending the season 3 premiere of “The Comeback,” Lisa Kudrow opened up about what has kept her relationship with husband Michel Stern going strong for nearly 30 years, and according to her, it’s not complicated.
Lisa Kudrow Credits Simple Mindset For Lasting Love
“I think that’s all there is to it,” she said, per PEOPLE. “Mutual respect for the most part. But definitely wanting to stay together and then relearning mutual respect, practicing mutual respect and listening.”
Kudrow also reflected on the timing of her relationship, revealing that meeting Stern before her rise to fame played a major role in their lasting connection. The two first crossed paths in the late 1980s, when Stern was dating Kudrow’s roommate, and eventually built a relationship that led to marriage in 1995, just one year after Friends premiered.
“I feel like the luckiest thing that happened to me was that I met and fell in love with the man I was going to spend the rest of my life with before Friends, right before,” she said.
Kudrow Gets Real About What Marriage Actually Takes
For Kudrow, a successful marriage isn’t about perfection, but it’s about commitment and effort. “When we decided to get married, we understood: We’re not promising to love each other forever… but we are promising to work on whatever problems come up,” she shared. “We’re committed to our marriage working.”
She also emphasized the importance of individuality within a partnership. “I think people get in trouble when they assume they’re supposed to be one unit,” she added. “[Marriage] is like being on a team. Each teammate is different, but you have the same goal.”
Lisa Kudrow Has Awkward ‘Mom Mode’ Moment On Set
The premiere wasn’t just a date night for Kudrow and Stern, but it also turned into a family affair. The couple was joined by their 27-year-old son, Julian Murray Stern, who appears in the latest season of “The Comeback.” Kudrow couldn’t help but laugh while recalling a moment on set when she accidentally slipped into full mom mode.
“I was kind of tired, and my brain was just a little fuzzy, and I’ve been looking at lines,” she explained. “I walked in, and I saw Julian sitting on the couch with some other people, like, ‘Oh,’ and just walked over and climbed onto the couch right next to him and cuddled in.”
The unexpected moment didn’t go unnoticed by those around her. “And everyone just went … And he went, ‘Hi, Mom,’ and everyone was looking,” she continued. “It was maybe inappropriate, just like to climb on him. I think some people didn’t know he was my son. So they were still wondering, ‘What’s happening right now?’ ”
Inside Kudrow’s Decades-Long Marriage To Michel Stern
The actress married the advertising executive on May 27, 1995, in a ceremony held in Malibu, California, shortly after the first season of Friends wrapped. More than three decades later, the couple is still going strong and has built a life together that includes their son, Julian Murray Stern, whom they welcomed in 1998.
“When [Michel and I] decided to get married, we understood: We’re not promising to love each other forever, because you can’t do that, but we are promising to work on whatever problems come up,” she said when celebrating her 25th anniversary. “We’re committed to our marriage working. It turns out, after you have a history, there’s such a bond, and love takes another shape. But, oh, I don’t want to jinx it—I’m superstitious!”
“[Michel and I] respect each other’s independence, and I don’t mean that as a euphemism,” she continued. “I don’t mean relationship-wise outside the marriage. Clear? But I don’t like to travel. So if he wants to go on a golf trip, he goes.
The “Friends” actress went on to say, “I think people get in trouble [when they assume they’re] supposed to be one unit, in sync about everything. [Marriage] is like being on a team. Each teammate is different, but you have the same goal.”
Lisa Kudrow Says Marriage Really Is This Simple
At the end of the day, Kudrow’s message about marriage is clear. Through decades of change, career highs, and personal milestones, she and Stern have remained grounded in respect, communication, and a shared commitment to making it work.
And for Kudrow, that’s really all there is to it.
Entertainment
Disney’s Forgotten 1960s Adventure Film Is Still One of the Best — and Most Surprising — World War II Movies
When you think of Disney‘s 1960s output, technicolor fairy tales, cartoon animals, and whimsical coming-of-age stories likely come to mind. Meanwhile, bombed-out Europe probably doesn’t ring a bell as one of the studio’s specialties that decade. Yet Disney’s 1963 World War II film, Miracle of the White Stallions, makes for a surprising entry in the studio’s canon. Directed by Arthur Hiller, the film sidesteps gunfire and life-altering grand deeds of war in favor of a tale about defiance, tradition, and the preservation of culture. Miracle of the White Stallions is based on Alois Podhajsky’s memoir The Dancing White Horses of Vienna, and it tells the real story of how Austria’s treasured Lipizzaner horses were rescued with the help of American soldiers during World War II.
From its very first frame, you can tell Miracle of the White Stallions is a different kind of war movie. It opens in a remote village in Austria, where we are introduced to the beauty and cultural significance of the Lipizzaner horses juxtaposed with the prevailing war chaos threatening them. In place of bombers and tanks, Hiller paints a romanticized portrait of the horses. He shows us how graceful they are, whether in their dance performances or in their intimate relationships within their handlers and each other. Hiller truly makes the horses co-stars alongside his human leads.
‘Miracle of the White Stallions’ Breaks the War-Movie Mold
The film follows Colonel Podhajsky (Robert Taylor in a striking performance), head of the Spanish Riding School, who is keen on protecting the Lipizzaner stallions from destruction and, thus, preserving centuries-old symbols of Austrian culture. With war drawing closer to Vienna, Colonel Podhajsky’s first hurdle is convincing the Nazi army superiors to allow him to evacuate the horses. But even as he navigates one obstacle, several new ones spring up in its place. The film stands out for how it breaks the mold of war pictures in its era, stripping away combat spectacle that was a common element among movies in the genre, like The Longest Day and The Guns of Navarone. The film replaces spectacle with a narrative that builds tension from Colonel Podhajsky’s negotiation with the Nazis and the trust he commands from some soldiers within the ranks. His willingness to explore a collaboration with the supposed enemy — the American army led by Gen. George S. Patton (John Larch) — shows not only his determination, but also his unique courage.
‘Miracle of the White Stallions’ Showcases One of Robert Taylor’s Best Performances
An uncharacteristic part of Disney’s canon in the early 1960s, Miracle of the White Stallions was released at a time when the studio was turning out whimsical musicals and sunny adventures. So it was surprising when Arthur Hiller’s vision steered the war film into sterner waters. His direction is controlled, with pacing that is unhurried. He builds slowly from the historical context of the origin of the horses before delving into the grim state of current affairs and the danger it poses to that rich history. Hiller is less concerned with thrills than with tone and atmosphere. He shows us his characters — human and animal — in their natural habitat as the war looms. The animals are oblivious of the rising temperatures, while the human beings guarding them are worried that their conflict could destroy the stallions. Despite the film’s slow pace, Hiller’s choice to show these events taking place as if they are happening in real time makes you appreciate the film’s urgent call, particularly Colonel Podhajsky’s sense of responsibility to preserve history and tradition.
Taylor plays Podhajsky as if commanding a special operation. He is brisk, precise, and highly devoted. He desperately approaches any office that can accord him help, even when he knows it’s unlikely to bear fruit. Taylor is joined by an impressive cast, including Lilli Palmer as his wife Vedena, who brings tenderness to her role. She’s Podhajsky’s pillar in moments when everything seems to go awry, keeping him grounded and focused. Curd Jürgens (The Spy Who Loved Me) and Eddie Albert take their supporting roles with the seriousness they deserve.
In its look and feel, Miracle of the White Stallions is worlds away from the usual gloss of Disney escapism. But that is not to say that the film is lacking in mojo. Filmed partially in Vienna, including at the Spanish Riding School and the Hermesvilla estate where the real event happened, the movie’s authentic locations give it an emotional touch that leaves a lasting impression. The cinematography by Günther Anders and editing by Alfred Srp move with purpose, making use of long shots of horses in open courtyards juxtaposed with the shrinking spaces of wartime Vienna. The result is a film that lets you feel both grandeur and danger.
20 Years Later, This Remains the Most Perfect R-Rated Sci-Fi Movie of All Time
Dystopian fiction is getting a little too close to reality.
The score, too, underlines the stakes. Music by Paul J. Smith, with moments punctuated by Franz Schubert’s ingenuity of “Marche Militaire” and Felix Mendelssohn’s pieces, marries tradition with mounting tension. But Miracle of the White Stallions trusts silence as much as sound and horses as much as humans, giving the genre a refreshing look that asks questions about the culture of war and lost heritage as collateral damage.
While it isn’t difficult to identify the film as a ’60s release, the questions asked in its thought-provoking premise and central idea are as relevant in the conflicts of today as they were back then. Sixty-two years since its unique protagonists hoofed onto the screen, Miracle of the White Stallions deserves more light — not for what’s missing, but for what survives.
Miracle of the White Stallions
- Release Date
-
March 29, 1963
- Runtime
-
118 minutes
- Director
-
Arthur Hiller
- Writers
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AJ Carothers
Cast
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Lilli Palmer
Vedena Podhajsky
-
Robert Taylor
Col. Podhajsky
As the saying goes, the devil works fast, but the internet works faster.
Or, in this case, golf fans work faster.
Just one day after Tiger Woods’ mug shot was released following his recent DUI arrest, fans at the Houston Open golf tournament in Texas were already rocking custom T-shirts featuring an image in support of the legendary golfer.
The white shirts displayed Woods’ mug shot front and center, with “#FreeTiger” printed underneath.
Fans wore the shirts to the third round of the PGA tournament on Saturday, March 28. The final round is scheduled for Sunday, March 29.
Woods, 50, was arrested on Friday, March 27, after he was involved in a rollover car accident in Jupiter Island, Florida. The 15-time major champion was charged with DUI, property damage and refusal to submit a lawful test after he declined to take a urinalysis test after authorities arrived at the scene of the accident.
Fans pose for photos while wearing shirts in support of Tiger Woods during the 2026 Houston Open Mike Mulholland/Getty Images
While his breathalyzer test resulted in triple zeros, suggesting that Woods was not under the influence of alcohol at the time of the accident, authorities suspected Woods of being under the influence of medications or drugs.
“The investigation started and initially right off the top, it did appear that the driver of the Land Rover might be impaired,” said Martin County Sheriff John Budensiek in a press conference on Friday. “And at that point, the chief of Jupiter Island Police Department called me from the Martin County Sheriff’s Office and asked for our assistance.
He continued, “We know we arrested a high profile figure … but it doesn’t matter who you are. If you break the law, we’re going to follow the law. That’s a really easy path to take.”
Woods’ mug shot was revealed on Friday after his arrest, along with photos from the crash. By Saturday afternoon, fans already had the photo printed on T-shirts at the Houston Open.
Tiger Woods was arrested and charged with a DUI on March 27, 2026, after a rollover car crash in Jupiter Island, Florida, that left his Land Rover overturned on a two-lane road. The Martin County Sheriff’s Office confirmed in a press conference that Woods was charged with driving under the influence, property damage and refusal […]
While Woods was never scheduled to compete in the Houston Open, he was on the precipice of a professional comeback prior to Friday’s accident as questions swirled about whether or not he would compete in April’s Masters tournament.
Meanwhile, World No. 1 Scottie Scheffler was slated to play in the Houston Open, but withdrew from the field before teeing off as he prepares for the birth of his second child. Scheffler should be back for the Masters.
Woods was involved in another single-car crash back in 2021, which resulted in a shattered ankle and two leg features. Authorities determined that the speed in which Woods was driving, and not the use of drugs or alcohol, resulted in the crash.
The golfer was also arrested under suspicion of DUI in 2017 during a traffic stop in Florida. The golfer pleaded guilty to reckless driving after various drugs, including pain killers, were found in his system.
DaBaby recently spoke about the financial fallout from his past homophobic rant. The rapper, born Jonathan Lyndale Kirk, was on the rise from 2019 to 2020. His momentum stalled in 2021 after facing backlash from major brands, celebrities, and social media users. Now, he is opening up about the impact it had on his finances.
DaBaby Says He Missed Out On Hundreds Of Thousands Of Dollars After Being Canceled In 2021
While appearing on the “Million Dollaz Worth Of Game” podcast, DaBaby revealed he was making upward of $300,000 before being canceled in 2021.
“I had a calendar full of shows. 350K, 350K, 375K, 400K, 300K,” he said before revealing his fee dropped significantly to “$30,000.”
Despite the fee change, DaBaby said he wasn’t deterred. In fact, he told the podcast host that he was more than happy to accept those gigs.
“No, I went and got that,” he said.
Why Was DaBaby Canceled In 2021? His Homophobic Rant Went Viral
For those unfamiliar, DaBaby made headlines in July 2021 while performing at Rolling Loud Miami.
During his set, DaBaby made a series of homophobic and offensive comments. “If you didn’t show up today with HIV, AIDS, or any of them deadly sexually transmitted diseases that’ll make you die in two to three weeks, then put your cellphone lighter up,” he said.
“Ladies, if your p—- smell like water, put your cellphone lighter up. Fellas, if you ain’t sucking d— in the parking lot, put your cellphone lighter up,” he added.
DaBaby, of course, received pushback; however, he defended himself online, calling himself the “best live performer” before saying his comments were misconstrued.
“My gay fans, they take care of themselves. They ain’t no nasty gay n—as. See what I’m saying? They ain’t no junkies in the street. The hell you talking about, n—as? Then I said if you ain’t sucking d— in the parking lot, put your cellphone lighter up. You know what my gay fans did? Put that motherf—ing light up, n—a, ’cause my gay fans ain’t going for that. They got class. They ain’t sucking no d— in no parking lot,” he wrote.
Celebrities Slam DaBaby After Sharing Homophobic Rant
The backlash DaBaby faced wasn’t limited to social media users. Celebrities also spoke out, including Dua Lipa, who had recently released a remix of her hit song “Levitating” featuring the rapper. Fans called for her to pull his feature, which she did.
“I’m surprised and horrified at DaBaby’s comments. I really don’t recognize this as the person I worked with,” she said in a statement. “I know my fans know where my heart lies and that I stand 100% with the LGTBQ community. We need to come together to fight the stigma and ignorance around HIV/AIDS.”
Demi Lovato, too, blasted the rapper, writing on Instagram that “HIV is not a gay disease.”
Elton John and Madonna also condemned DaBaby’s statements, while the fashion brand BoohooMAN cut ties with the rapper following the release of their collaboration a month prior.
“Diversity and inclusion are part of the boohoo Groups DNA and we pride ourselves on representing the diverse customers we serve across the globe. We stand by and support the LGBTQ+ community, and do not tolerate hate speech or discrimination in any form,” their statement read.
Rapper Apologizes After Career Begins To Suffer
After his comments, three different festivals pulled DaBaby from their lineups, seemingly prompting the rapper to issue an apology.
“Anybody who done ever been affected by AIDS/HIV y’all got the right to be upset, what I said was insensitive even though I have no intentions on offending anybody. So my apologies,” he wrote.
Days later, he issued another apology on his Instagram, writing, “I want to apologize to the LGBTQ+ community for the hurtful and triggering comments I made. Again, I apologize for my misinformed comments about HIV/AIDS and I know education on this is important. Love to all. God bless.”
However, netizens noticed the apology had been deleted from his account less than a week later.
Other Rappers Speak Out And Show Their Support
Rapper T.I. defended DaBaby following the scandal, saying he had a right to live his “truth.” After the situation blew up, he added, “I think you guys have to understand that onstage, that’s not the place that rappers go to be sensitive and soothe everybody’s feelings.”
“It’s a place to go to have a good time,” he said, adding that DaBaby’s cancellation was like “bullying.”
Nick Cannon commented while appearing on “The Breakfast Club,” challenging those who were upset to use the moment to educate DaBaby rather than cancel him. “This is a moment where we should all gather around DaBaby and embrace him because if we can do that, watch how many mentalities will change in the hip-hop community,” he said.
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