The Virginia Tech football season didn’t exactly start off as planned.

The team’s spring football game on Saturday, April 18, was delayed by nearly one hour after a skydiver crashed into the scoreboard at Lane Stadium in Blacksburg, Virginia during pregame festivities. The skydiver was hanging by the lettering on the scoreboard for about 30 minutes before emergency personnel could reach him.

Prior to the crash, the skydiver seemed to be on a good course towards the field where he was supposed to land. Carrying a giant American flag, he was gliding down towards the stadium before coming up short and hitting the scoreboard.

The impact broke off some of the lettering on the scoreboard, and the skydiver was stuck dangling by his parachute until authorities could get him down with a ladder.

Related: Parachutist at Armed Forces Bowl Gets Caught On Wire In Scary Pregame Moment

The parachutist who got caught on a wire while skydiving onto the football field before the Armed Forces Bowl reportedly avoided serious injury after the scary moment. Before the matchup between Texas State University and Rice University at Amon G. Carter Stadium in Fort Worth, Texas on Friday, January 2, one of the pregame parachutists […]

Soon after the rescue, the Virginia Tech Athletics Department reported that the skydiver was safe and “currently stable.”

“We are grateful to report that the skydiver was safely secured and is currently stable,” said the Virginia Tech Athletics Department via X. “Our primary focus remains on their well-being. We extend our sincere appreciation to the first responders, event staff, and medical personnel for their swift, coordinated and professional response.”

The PA announcer at the stadium also announced to fans that the skydiver was OK.

Three skydivers made their way into the stadium, but only one landed onto the field as planned. Along with the skydiver who was stuck on the scoreboard, a third skydiver was pushed onto an adjacent practice field by the wind, according to authorities.

The scoreboard at Lane Stadium was visibly damaged when the skydiver made contact.

Later in the afternoon, reporter Andy Bitter posted a photo of the scoreboard, claiming to have seen the parachuter walking around in a sling.

“Just passed the parachuter outside,” Bitter said via X, along with the photo. “He’s walking away. Has his arm in a sling.”

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Saturday marked the first day of the James Franklin era at Virginia Tech. The acclaimed football coach joined the Hokies after spending the last 12 seasons coaching at Penn State.

“There’s nobody that understands the importance of winning more than me,” Franklin said at his introductory press conference in November 2025. “But there’s also a way to do it with character and integrity and we’ll continue to do that and represent Virginia Tech the right way on and off the field.”

He continued, “You could not have found a coach that’s going to pour his heart and soul into this place … I give you my word on that.”

Since the launch of Disney+, Marvel has completely reshaped its presence on television. What started with early hits like WandaVision, The Falcon and the Winter Soldier, Loki, and Hawkeye has since expanded into a much larger slate that includes Ms. Marvel, Moon Knight, Agatha All Along, Wonder Man, and, currently streaming new episodes of its sophomore season, Daredevil: Born Again. These series have not only deepened the MCU’s bench of characters but also made Marvel television feel far more essential to the larger universe than it did in its early days.

That shift makes it even easier to forget that, not too long ago, Marvel’s TV efforts existed on the fringes, with only loose or inconsistent connections to the films. Agent Carter, starring Hayley Atwell, is one such series that got lost in the shuffle of the MCU’s early TV phase. Christopher Markus and Stephen McFeely — longtime MCU writers credited for writing the first two Captain America films — created the series. But sadly, the show got swept under the rug, only lasting two seasons because of low viewership, and ending on a massive, unresolved cliffhanger.

Yes, an alternate version of Agent Carter gets another chance in the MCU series What If…?, but that does not absolve the cancellation of this show. For what it’s worth, the show deserved a chance to finish its ending, not only for the great lead performances but also for the over-the-top entertaining espionage mixed with sci-fi pleasures, representing a unique period in Marvel lore.

What Is ‘Agent Carter’ About?

The series centers around the titular Agent Margaret “Peggy” Carter following World War II. She is still serving the United States, working for the Strategic Scientific Reserve (S.S.R.), a wartime agency that later became a part of S.H.I.E.L.D. The first season has Carter grieving the loss of Steve Rogers, trying to prove that Howard Stark (Dominic Cooper) is innocent of treason with the help of his butler, Edwin Jarvis (James D’Arcy), and showing herself a worthy agent to the sexist S.S.R. brass. The second season has Carter traveling to Los Angeles to investigate a scientific anomaly and a massive corporate conspiracy involving an actress, Whitney Frost (Wynn Everett), and a secret organization of wealthy elites.

Agent Carter succeeds because it creates a unique identity within the Marvel catalog as a post-war spy thriller from the late 1940s. This period has not been covered substantially in the MCU, beyond Howard Stark being filtered through some flashbacks and Toby Jones’ monologue in Captain America: The Winter Soldier. World War II is a significant period in U.S. history, and that is characterized in The First Avenger. But the period directly after is also fascinating within the MCU because this is where they planted the seeds of S.H.I.E.L.D. and Hydra. These organizations shaped US politics in the MCU, and Agent Carter starts to build these threads. Such is shown in Jones’ cameo at the end of Season 1; that small scene, with him outlining why America is the land of opportunity even for villains, alludes to Hydra’s rise through S.H.I.E.L.D. as shown in The Winter Soldier.

Yes, Agents of S.H.I.E.L.D. deals with the behind-the-scenes actions of the government in a world of heroes, but Agent Carter engages with a pre-Avengers landscape still figuring out how to deal with superheroes. Yes, there is the possibility of building another super soldier, but this series focuses on the other heroes behind the scenes who kept Earth safe before Iron Man and Captain America popped onto the scene. Not to mention, the agents at the S.S.R. helped shape the government for years to come. Seeing their successes and their failures helps flesh out the rise and fall of S.H.I.E.L.D. and the existence of figures like Bucky Barnes/the Winter Soldier and Alexander Pierce.

‘Agent Carter’: The Rare Woman-Led Marvel Series

Image via ABC

That starts with Atwell, who is undeniably great in the series. The show, along with Jessica Jones, was one of the few MCU properties led by a woman at the time, and Atwell did the MCU justice. She rolled into the lead from her Captain America: The First Avenger performance deftly, giving Carter the edge and wit she needs to go toe-to-toe with several big baddies and her hot-headed, misogynistic industry. At the same time, Carter also emphasizes that she wants to do the best for people and tries to act with the morals of Steve Rogers, sometimes to a fault. With that said, she has earned her grief over Rogers because she has no time to get over him, given that she’s fighting to save Stark’s legacy, earn the trust of the S.S.R., and, oh yeah, deal with WWII fallout. Like WandaVision after it, Agent Carter spends a great deal of time reckoning with grief, and Atwell handles this perfectly.

The show also features a fantastic supporting cast around Atwell. Shea Whigham — who does great work in almost everything he is in, by the way — plays S.S.R. Chief Dooley, who conveys both the stresses of dealing with the job and his family life and the growth in trusting Carter. Enver Gjokaj is fantastic as Agent Daniel Sousa, an S.S.R. employee who was injured in the war and is supportive of Carter. Chad Michael Murray sells the brutish, cold, tough side of Agent Jack Thompson, while also subtly portraying the heartbreaking attributes of the character; he has a great monologue with Carter about his failures during WWII.

On a lighter side, James D’Arcy is delightful as Jarvis, serving as a comedic foil to Carter in several instances while also being a useful assistant (he deserved that cameo in Avengers: Endgame). In Season 2, Reggie Austin comes in as Dr. Jason Wilkes, a charming scientist who helps Carter with her investigation and serves as a brief romantic interest and conflict after he comes in contact with zero matter (which will be explained shortly).

‘Agent Carter’s Fantastic Villains

In addition, the show highlights some interesting villains. The first season introduces Leviathan, a Russian organization fighting back within the Cold War. They are represented by two figures: The first, Dotty Underwood (played brilliantly by Bridget Regan), is a sleeper agent who originally moves in next to Carter while watching her and the S.S.R. The other is psychiatrist Johann Fennhoff (Ralph Brown), who tricks Carter and the S.S.R. into trusting him to get access to Stark’s weapons, hypnotizing several agents. The sequences when Fennhoff deceives several people are some of the most compelling scenes in the series, taking the characters into these dreamlike places away from the cold, dark reality of the situation.

Season 2 introduces Whitney Frost, a name used as an alias for Madame Masque in most Marvel comic series. Frost is an actress and a scientific genius (her story is based on that of Hedy Lamarr). She comes into contact with Zero Matter, an implosive substance described as “more dangerous than anything we’ve ever seen.” Frost is taking control of her life for the first time after years of working in the background, showing up to a film with an artificial smile. The only shame is that she is stripped of her powers by the end of the season, but Everett makes the most of her time as the character.

So, Why Didn’t ‘Agent Carter’ Last?

Image via ABC Studios/Marvel Television

So why didn’t the show attract more viewers? Well, the series did get convoluted at points, trying to explain each character’s backstory and tie every moving part together. And to an extent, the show tends to move in circles before getting to the exciting parts of the plot. Each season works through several villains that manage to die within episodes of their introduction. There are also multiple diversions over the course of the series, from Peggy’s theater friend Angie (Lyndsy Fonseca) to the sloppy Agent Krzeminski (Kyle Bornheimer), that force talented actors into forgettable, stereotypical 1940s roles. Not to mention that some of the hand-to-hand action is shot and edited too quickly, and some of the sets look considerably cheaper than the MCU films and later series.

Yes, the show has some shortcomings, but overall, Agent Carter is still a special series. It holds an interesting place in the MCU’s history that may not have garnered the audience it deserved, but it forever provided an outlet for Peggy Carter to shine.

Agent Carter is now streaming on Disney+.

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Release Date

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2015 – 2016-00-00

Directors

Louis D’Esposito

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Writers

Stephen McFeely, Christopher Marcus

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Franchise(s)

Marvel Cinematic Universe

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Tory Lanez is putting a price on his pain after previously suffering from 14 stab wounds while locked up at a California Correctional Institution. The singer was stabbed multiple times in May 2025 while serving his 10-year sentence tied to Megan Thee Stallion’s 2020 shooting. Now, TMZ reports that Lanez has filed a lawsuit against the California Department of Corrections for the incident.

RELATED: Whew! Tory Lanez Speaks Out In First Jail Interview, Plans Appeal Over Alleged Missing Evidence (VIDEO)

Tory Lanez Files Lawsuit Against California Prison Following Brutal 2025 Attack

Lanez has reportedly filed a lawsuit against the California Department of Corrections and Rehabilitation along with the warden and 50 correctional officers at the California Correctional Institution in Tehachapi after he was stabbed by another inmate Santino Casio in May 2025. In docs obtained by TMZ, the rapper says he suffered permanent facial scarring and two collapsed lungs. Tory also claims Warden Danny Samuel broke CDCR protocols by placing him in the same area as Casio. He further alleges prison staff weren’t present during the attack and questions why it took so long for a response. Per New York Post, Lanez’s legal team says he suffered emotional trauma, damage to his reputation, and an ongoing safety risk.

On top of that, Tory claims staff allegedly seized his original songbooks with unpublished lyrics and notes for his attorney while he was recovering in the hospital after the incident. Tory is now seeking $100 million in damages and $1 million per stab would. He also wants his original songbooks returned.

Video Surfaces Showing Inmate’s Brutal Attack On Tory Lanez

As TSR previously reported, Santino Casio brutally attacked Tory Lanez in May 2025 while he was serving a life sentence for murder. Authorities also convicted Casio for another in-prison assault with a deadly weapon. After the incident, prison officials placed Casio in a restricted housing pending investigation. Before the attack, Casio told TMZ that he thought Tory had put a “price on his head,” claiming he heard rumors throughout the prison grapevine.

On the morning of the stabbing, Casio claimed he saw a suspicious lump in Tory’s pocket and thought it was a weapon. He did admit to striking Tory first as act of alleged self-defense. Casio also said that he and Tory did maintain a decent relationship before the stabbing happened.

Here’s The Latest Update On Tory Amid His 10-Year Sentence

Tory Lanez now serves the remainder of his sentence at the California Men’s Colony in San Luis Obispo. He was sentenced to 10 years in prison in 2023 for the shooting of Megan The Stallion. The incident went down in 2020 following an argument, which resulted in Megan getting shot in the foot. A jury later found Lanez guilty on multiple firearm-related charges.

RELATED: (EXCLUSIVE) Video & Still Images Show Tory Lanez’s 14-Time Prison Stabbing And His Aftermath Injuries 

Just before the weekend energy kicked in, Bernice Burgos had the timeline doing double takes with a birthday post that spoke volumes—without saying too much at first glance. The entrepreneur and model stepped in front of the camera with confidence that didn’t need an announcement. And, she let the visuals do all the talking while reminding folks exactly who she is.

RELATED: Bernice Burgos Shares Progress Update After Undergoing Refinement Cosmetic Surgery (VIDEOS)

Bernice Burgos Said Birthday? No—She Is The Moment!

In an Instagram post shared Friday, Bernice dropped a series of photos celebrating her 46th birthday, and let’s just say—she understood the assignment. Rocking a hot pink skirt paired with a yellow corset featuring pink lacing, she accessorized with gold bracelets, sleek hair laid to perfection with baby hairs, and a flawless face card that didn’t miss. In several shots, she’s seen holding a brown and yellow cake, fully embracing the moment. Ultimately, the message was clear: Bernice didn’t just show up for her birthday — she is the birthday!

TSR Comments Go Crazy For Her Birthday

Fans and celebs flooded the TSR Instagram comments gassing up heavy. Some kept it sweet with birthday love, while others were begging her to drop that skincare routine ASAP. And of course, a few bold ones didn’t hesitate to shoot their shot, asking for her number like she might actually reply.

One Instagram user @realactaylorrr said, “She takes care of herself 😍😍😍”

This Instagram user @realjuliamarie commented, “THE MOTHER OF THE IG BADDIE“

And, Instagram user @nhamomusic added, “Mane shorty a vampire or something idk 😂😍😍😍😍”

Meanwhile, Instagram user @jazminelraez wrote, “Danggggggggggg 46? 🔥🔥🔥🔥”

While Instagram user @buffiebabyy shared, “She drink the same blood Pharrell was sipping on 😂🔥”

Lastly, Instagram user @limited_edition_313 said, “She the birth certificate!“

Bernice Always Got Everybody Watching Closely

Looks like Bernice Burgos is settling into her glow-up era just fine! She recently shared TikTok footage from her visit with Dr. Ashkan Gavami, where the two discussed reshaping her derriere and adding some body contouring. According to the doctor, the goal was to achieve a “legging-tight look without the leggings” using Quantum RF—a minimally invasive treatment that uses controlled radio frequency energy to tighten skin, boost collagen and elastin, and break down fat cells that the body naturally flushes out. Common treatment areas include the abs, thighs, and arms, and the process skips major surgery, meaning no large incisions and less downtime.

RELATED: Still THAT Girl! Bernice Burgos Has The Internet Gagging After She Shut Down Her 45th Birthday Skate Party (VIDEOS)

Charlize Theron is looking back on her difficult upbringing in South Africa.

“I have memories from when I was really young, seeing really drunk people, and it scared me,” Theron, 50, told The New York Times in a profile published Saturday, April 17. “Like, people crawling on the floor drunk. That became so consistent that it was every Friday, Saturday, maybe even every Wednesday. My dad had built this big bar inside the house.”

Theron further claimed that her dad, Charles, was “a full-blown functioning drunk.”

“He had moments where he would go missing, we wouldn’t know where he was and he would usually return in a state that was pretty severe,” the actress alleged. “It would get messy and loud, and my mom’s not a wallflower either. She wasn’t just sitting and taking it. She made it known that she wasn’t happy about his lifestyle. So, it really caused a lot of verbal abuse.”

Related: Charlize Theron‘s Candid Quotes About Motherhood

Charlize Theron loves her kids more than anything. The actress adopted her daughters, Jackson and August, in 2012 and 2015, respectively, and has been gushing over her role as a mom ever since. “I do know that choosing to be a mom in my late 30s has been really great for me,” Theron told W […]

She continued, “Personally, for me, the worst thing was they would ice each other. There would be a big fight, and then they wouldn’t talk for three weeks. I didn’t have siblings, and that house just went silent.”

Theron’s mother, Gerda, shot and killed her husband in 1991 out of self-defense. Theron was 15 at the time.

While speaking with The Times, Theron clarified that her father wasn’t physically violent toward her.

“He was scary. He didn’t hit me, he didn’t throw me against a wall, but he would do things like drive drunk,” she said. “There was a lot of verbal abuse, a lot of threatening language that just became normal.”

According to Theron, her mom even enrolled her in a boarding school to “get [Theron] out of the house.”

“She was very aware of what it was doing to me,” Theron told the outlet. “All the memories are there, and it’s not that I don’t try and think about it, but going in such a linear manner, it becomes almost more clear when you talk about it this way. Because people tend to just isolate it and want to talk about one thing. It helps to explain that these things build, and they build, and it takes years for things to go as wrong as it did in my house.”

Theron eventually left South Africa when she was 16 to pursue a modeling career in Europe.

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“I was so equipped. I knew how to take care of myself. That’s just something my mom instilled in me, my lifestyle instilled me, my country did,” she said. “You know how to cook, how to sew. I knew more than my kids will ever know as adults about taking care of myself. I knew I would be able to survive, and I also had this real drive. I was so determined to do this on my own and not to fail, because I didn’t want to go back.”

After Theron found success in Hollywood, she adopted daughters Jackson and August in 2012 and 2015, respectively.

If you or someone you know is experiencing domestic violence, please call the National Domestic Violence Hotline at 1-800-799-7233 for confidential support.

Whew! Coi Leray and Olandria have the internet in a chokehold after photos from their link-up started making rounds online. And let’s just say, the vibes are giving sweet, soft, and very much That Girl energy. Fans are already obsessed with the duo’s latest moment together, and it’s easy to see why.

RELATED: Mini-Me Moves! Coi Leray & Miyoco Have Fans Losing It Over Mother-Daughter Dance Clips (VIDEO)

Coi Leray & Olandria Have Fans Losing It Over Their Face Cards

In a video shared to Instagram on Friday, April 17, Coi Leray and Olandria popped out together with a playful caption that read, “May I Have A Chocolate Vanilla Milkshake Please With Whip Cream and Extra Sprinkles,” along with several colorful emoji. In the clip, Coi is seen rocking a matching yellow and green bikini set, styled with space buns and a toned midsection that shows off her fitness glow, while Olandria complements the moment with a sleek side part and a lace top giving full-on glam energy. Together, the pair serve undeniable face cards and effortless chemistry, leaving fans fully locked in on the aesthetic and the vibe.

The Roomies Are Livin’ For Coi & Olandria’s Link-Up

Folks wasted no time running to The Shade Room’s Instagram comment section, and you already know they had plenty to say. Some joked that this is exactly what it looks like when the “mac and yams” touch. While others couldn’t stop talking about how their face cards.

One Instagram user @attractifff commented “I can’t choose 😩😩”

This Instagram user @crystal.crave added, “Black Women are just everything 😍 the meaning of beauty“

And, Instagram user @brownbone.kee said, “WHEN THE BAKED MAC AND CHEESE TOUCH THE YAMS 😍”

While Instagram user @yanmajid.rose shared, “They’re face card eats soo bad 😍”

Then Instagram user @pictureperfectmarika wrote, “This what I mean when I say I want Neapolitan ice cream“

Finally, Instagram user @kaylatatyana said, “butter pecan & chocolate milkshakesss😍”

Coi & Her Baby Girl Stay Taking Over Timelines

Coi Leray really stays outside living her best life—and bringing her baby girl Myoco along for the vibes. In a series of clips shared to her social media, the rapper popped out in what looked like a dance studio, mirrors up and energy on 100, as she got into a full-on dance moment while keeping her daughter Miyoco close by. At one point, Coi whines her waist and drops low with ease, while Miyoco claps along like her biggest fan.

And baby, the multitasking didn’t stop there! In another moment, Coi is holding Miyoco on her hip while still catching the beat, proving she’s balancing mommy duties and good vibes seamlessly. Meanwhile, Miyoco had her own lil’ spotlight, smiling at the camera in a colorful romper and gold chain as she played by the mirror. Coi even kept it playful in the caption, joking “Gotta start ’em young,” and you already know fans were eating up this mommy-daughter energy.

RELATED: Friends Or Lovers? Fans Debate Olandria and Nic Vans’ Relationship Status Following Her Message Celebrating His 25th Birthday (PHOTOS)

Actress Lena Dunham is claiming that she wrote about her “Girls” co-star Adam Driver in an “honest way.” In her tell-all memoir “Famesick,” Dunham alleges that the “Star Wars” actor threw a chair, punched a hole in his trailer, and screamed in her face when she forgot her lines. She also claimed that their relationship nearly crossed a boundary before he married his now-wife, Joanne Tucker, in 2013.

Lena Dunham Addresses Her Relationship With ‘Girls’ Costar Adam Driver

While promoting her new memoir, Dunham reflected on the difficulty of being the “Girls” showrunner at such a young age, as she was only 23 when HBO called to offer her a blind pilot deal for the show. While the comedy series was a hit for HBO, Driver was also navigating his newfound fame as Kylo Ren in the “Star Wars” sequel trilogy.

“For better or worse, it was all of our first jobs. I think Adam went on a very specific ride because he had the ride of the show and then also the ride of becoming a major movie star at the same time,” Dunham told PEOPLE magazine while promoting her memoir.

“So he was on these two tracks, and he’s a very, very serious work-focused private person. So I have a lot of empathy for that,” she added.

Dunham Said She Didn’t Want To Make Adam Driver ‘The Outlier’

Dunham insisted that she didn’t want to make Driver seem like “the outlier” of the comedy series when she wrote about her experiences with him in her memoir. Instead, she said she wanted it to serve as an example of how difficult it can be to navigate her “first experiences” as a boss, which she hopes others can relate to.

“And again, the goal was never to make Adam seem like he was in any way the outlier of the show, but just to talk about how complex and confusing those first experiences of trying to be a boss were,” she said.

Lena Dunham Says It Was A ‘Challenge’ To Be A Leader

Dunham insists that it wasn’t just her experiences with Driver that made it difficult to be a “boss” on set.

“I was also, at that point in my life, extremely intimidated by men. And so there was a real challenge to me in trying to be a leader when it came to men,” she explained. “And I learned on that job, and luckily, I don’t feel those same kinds of fears anymore.”

Lena Dunham Says They Shared A ‘Rich Creative Dynamic’

Adam Driver’s character, also named Adam, played the on-again-off-again boyfriend to Dunham’s character, Hannah. While reflecting on the experience of filming “Girls,” Dunham claimed that they had “two different relationships” when they were on-screen and in real life.

“It was a really rich creative dynamic in which we were able to understand each other completely when we were on screen, and then in some ways, not at all when we were off,” she said. “And so it was almost like we had two different relationships, one that kind of played out in our scenes together and one that played out in life.”

She said she wrote about Driver in the book only to capture the relationship in an “honest way” as she reflected on her experiences.  

“It was an attempt to capture that [relationship] in an honest way, and also really talk about how much being around this very talented, charismatic, complex, and powerful person affected me in ways that were really positive and in ways that were a bit harder,” she says.

Lena Dunham Reflects On The Behavior Of ‘Great Male Geniuses’

In a separate interview with The Guardian to promote her memoir, Dunham admitted, “I also care a lot about having a set where people are happy, and feel free and heard and unafraid. Largely because I don’t want people to feel some of the ways that I felt.”

“At the time, I didn’t have the skill to … it never entered my mind to say, ‘I am your boss, you can’t speak to me this way,’” Dunham said of Driver’s alleged behavior. “And, at that point in my 20s, I still thought that’s what great male geniuses do: eviscerate you. Which is weird, because I was raised by a male genius who would never do that.”

At the time of this writing, Driver has yet to publicly comment on her accusations. In her memoir, she said that the last time they had contact was when “Girls” wrapped in 2016.

By Robert Scucci
| Published 1 hour ago

One of my favorite found footage horror flicks that you’ve never heard of is 2025’s Looky-Loo (my review here), written and directed by Jason Zink (the guy behind Straight Edge Kegger). I was fortunate enough to be contacted by Jason ahead of its release back in 2024 to review the film, and it blew me away. It’s very well shot because the “found footage” comes from an aspiring filmmaker, meaning he knows how to edit his footage, and whatever camera he’s using doesn’t fall into the “scared kids running around the woods with their parents’ camcorder” trap that so many found footage films succumb to.

The footage presented to the viewer in Looky-Loo, as far as I can tell, is carefully curated by the titular serial killer because he’s trying to build out his own mythology and wants the attention. Think BTK killer, but if he knew how to use CapCut. Looky-Loo: Part II builds on this lore and keeps things interesting by showing us just how far off the deep end the killer has gotten since we last saw him. That’s saying a lot because the first film succeeds in traumatizing its audience, but only before hinting that there’s plenty more where that came from.

When Zink reached out to me again to hear my thoughts on his upcoming sequel, I was obviously primed for more of the same, just slightly escalated. He’s working the whole thing into a trilogy, so I figured we’d get a slow burn, leading to another cliffhanger. I was surprised when Looky-Loo: Part II got right into it with zero buildup to prepare you for the continuation of our killer’s rampage.

Looky Loo Wants To Be Famous

Looky-Loo: Part II wastes no time building out the mythology of its titular character and includes a letter to the viewer that spells everything out. The letter accomplishes two things. It tells the viewer that he will continue to kill, and it passive-aggressively taunts the authorities, stating that “so many more ladies ended up on the cutting room floor than the FBI knows about.” He goes on to explain that one such victim was strangled with a guitar string while she sat in her recliner, something he refers to as “Compelling footage, but cut for time.”

Right off the rip, Looky Loo is talking like an accomplished filmmaker who just so happens to be a serial killer, not a serial killer moonlighting as an amateur filmmaker. That should tell you everything you need to know about the murderous menace’s mental state. He thinks very highly of himself, and he believes what he’s doing is high art. In reality, he’s stalking women, entering and snooping around their homes when they’re not around, and returning when he’s comfortable enough with their routines to go in for the kill.

But here’s what Looky Loo doesn’t want to admit. He’s getting sloppy.

In the first film, one thing that really stuck with me was how he used his camera for reconnaissance. At first, it seems like he’s just filming his voyeuristic activities for the thrill of it. But if you really think about what he’s doing, he’s playing things smart. He films very specific things when he goes into a house. You catch glimpses of calendars, he goes through junk drawers and medicine cabinets, looks for potential murder weapons, and comes up with potential escape routes.

He’s also scoping out places to hide once it’s time to strike. He takes the footage home and reviews it so there are no surprises. In other words, he’s sizing up the joint from a safe distance once he has what he needs, giving him intimate knowledge of his victims’ daily habits and floor plans. He’s planning everything out in advance, giving him a horrifying advantage over his victims. 

Our Killer’s Sophomore Slump

In the lore that Looky-Loo: Part II establishes, there’s now a popular snuff film playing at drive-in theaters that features footage from the first film. The sequel itself opens in the home of his next victims, an older married couple who don’t match his usual victim profile. Up to this point, Looky Loo has always gone after young, attractive women, but there’s a personal stake in this opening sequence. He’s playing a news broadcast featuring a man saying that if he ever got his hands on the killer, it’d be game over. When the camera zooms out, it’s clear that this is the same man Looky Loo currently has bound and gagged.

After finishing off the man and his wife, Looky Loo reaches into a puddle of blood and writes “Part II” on the refrigerator, because in his mind this is just another film project, and this is the most badass way to come up with a title card.

I’m not going to go into the granular details and do a full breakdown of Looky-Loo: Part II, but there are a couple of things to consider about our killer’s mental state that I clocked while watching the upcoming sequel. He’s getting careless. He doesn’t appear to be constantly editing footage anymore, which suggests he’s less cautious when entering his victims’ homes. He gets spotted and nearly overpowered on more than one occasion. He starts interacting with objects in his victims’ houses that could easily blow his cover before he’s able to satisfy his sadistic urges.

Looky Loo’s check engine light is illuminated, which tells you he’s not even taking care of his getaway vehicle despite planning to escalate. He shows up in public places with his camera, presumably in plain clothes, though we only ever see his shadow. Again, careless. There are also several sequences involving a woman who is either his next victim or someone he hires so he can work out his fantasies in a controlled environment before doing it for real. In these scenes, she sits awkwardly on a bed, reads his poetry, and tries on various outfits and wigs that match his preferred victim type. Strangely, she doesn’t seem scared, but almost sympathetic toward him.

Like its predecessor, Looky-Loo: Part II has sparse dialogue and features long tracking shots, heavy breathing, and the sound of footsteps scraping along the sidewalk. Occasionally, while hiding in somebody’s closet, he turns off the camera to conserve battery life. When he starts recording again, it’s clear that time has passed, and he’s about to do something terrible now that everybody is asleep and completely unaware of his presence in the one place they’re supposed to feel safe.

Most disturbing, though, is the same sick rush I had while watching this film that I had with the first one. Zink makes the deliberate choice to have viewers follow the worst protagonist imaginable. He’s a horrible person. He’s mentally unstable. He’s done nothing but stalk and kill throughout the entire runtime. But the important thing that you need to consider is that Looky Loo is the protagonist, so you feel compelled to see his story through, and, to a degree, see him succeed, because that’s how storytelling works. The protagonist is usually the hero. Here, he’s the exact opposite. Everything he does is reprehensible, but you stay invested because it’s the story you’re following. In a way, his sick and twisted fantasy of being famous comes to life because you’re watching him build out the lore in real time, and you can’t help but hope it’s a great story.

That’s what makes the Looky-Loo films so messed up and fun to watch. By design, you’re forced to root for the bad guy, and that’s exactly what he wants.

As of this writing, Looky-Loo: Part II is wrapping post-production, and a release date has yet to be announced. To prime yourself for what’s to come, you can stream the first Looky-Loo for free on Tubi. 

Minimalist director Kelly Reichardt weaves an affecting portrait of four unconnected women living in the American Northwest. Starring Laura Dern, Michelle Williams, Kristen Stewart and Lily Gladstone, Certain Women is broken up into sections and based on a collection of short stories by Maile Meloy. It centers chiefly on the characters played by Dern, Williams and Stewart, each attempting, in their own way, to build their own ordinary lives.

Deeply empathetic and engrossing, Certain Women is a slow-burn that mesmerizes with its careful pacing and attention to detail. At the same time, its characters are rich yet understated, portrayed with care by all four actresses. It is difficult to watch the film and not see a little bit of oneself in each character, as scenarios depicted are specific yet universal. Certain Women warmly showcases the bittersweet, beautiful melancholy of life.

Since the earliest days of the medium as a mainstream form of entertainment, television drama has been defined by the creative dare, pioneering brilliance, and thematic richness of crime stories. Regardless of whether they be police procedural series that take viewers on taut and twisting tales of mystery or cutting and callous immersions into the world of organized crime, the genre has produced countless shows that function as addictive and binge-worthy drama.

Ranging from hard-edged cop shows of the 80s and 90s that broke new ground for the medium to modern stories of power and criminal ambition that stand among the greatest series ever made, these outstanding television spectacles are still easy to sink into today. Many of them stand not only as dazzling masterpieces that represent the genre at its intense and impeccable best, but as some of the most important and innovative series in television history as well.

10

‘Hannibal’ (2013–2015)

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Wickedly exciting from start to finish, Hannibal excels as an engrossing psychological thriller that amplifies the intensity of its cat-and-mouse game of manipulation with stunning performances, macabre intrigue, and a glorious penchant for some of the most artistic and auspicious gore television has ever seen. Based on the works of Thomas Harris, primarily “Red Dragon,” it follows Will Graham (Hugh Dancy), a deeply disturbed FBI criminal profiler whose ability to empathize with serial killers makes him an invaluable asset to solving active cases. However, as his unique ability also sees him confront the deepest depravities of humanity, he is consistently monitored by the esteemed psychologist, Dr. Hannibal Lecter (Mads Mikkelsen).

Despite garnering an impassioned fan following and consistent critical acclaim, the series was prematurely canceled after just three seasons, but not before delivering one of the most absorbing and intoxicating crime thrillers the small screen has ever been treated to. Its marriage of rich character drama, scintillating psychological horror, and stunning visual display makes it ridiculously easy to binge-watch, as does the captivating dynamic between the two leads, whose relationship of intellect and manipulation makes for one of the most engrossing rivalries in the medium’s history.

9

‘Homicide: Life on the Streets’ (1993–1999)

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Based on the nonfiction book by crime reporter David Simon—who would become one of the most influential crime TV showrunners in his own right in ensuing years—Homicide: Life on the Streets is a definitive catalyst of television’s golden era. Groundbreaking for its time, the ’90s cop show following homicide detectives in the Baltimore Police Department revolutionized the genre with its gritty realism—defined by everything from its handheld camera work to its confronting depiction of coarse police methods—as well as its emphasis on serialized storytelling rather than episodic entertainment.

Even by today’s standards, the crime series achieves an air of authenticity that is commanding, not to mention beautifully supported by its incredible writing and performances, particularly in its earlier seasons. Its documentary-style approach endows the series with a visceral intensity that was not only innovative but has proved to be truly timeless as well. Complemented by character-driven drama that acknowledges the humanity and the faults of police officers, Homicide: Life on the Streets is a precursor to the glory the genre would experience through the 2000s that is still an intoxicating and enlightening viewing experience in 2026.

8

‘Magnum P.I.’ (1980–1988)

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It is easy to look back on many of the crime classics of ’80s television and cringe. They tend to be overly glorifying, anachronistic, casually racist, and thematically gutless as they celebrate law enforcement getting the bad guys in the most sensational and violent ways possible. One series that has surprisingly held up well over the decades is Magnum P.I., which was something of an early pioneer of this vein of action-packed police entertainment that ran for eight seasons following the cases worked by the easy-going Hawaii-based private detective, Thomas Magnum (Tom Selleck).

The series does exhibit a highly entertaining spectacle of action, carnage, and a surprisingly heartfelt friendship between Magnum and the stern former British Army regimental sergeant major, Jonathan Higgins III (John Hillerman), but it also never shies away from tackling cultural issues with depth when they arise. This blending of nostalgic, escapist fun and thematic maturity makes Magnum P.I. an old-school cop show that is still easy to enjoy today, even standing as a binge-worthy spectacle of style and fun in today’s world, where police drama is steeped in gloom.

7

‘Hill Street Blues’ (1981–1987)

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While police drama in the ’80s was largely defined by a certain flamboyance and fantasy escapism, Hill Street Blues proved that there was still an appetite for taut and dramatic storytelling that relished realism over sensationalist action. In many ways, the ’80s series was decades ahead of its time, with the show using its story revolving around the police and staff of an inner-city precinct to not only deliver deep and nuanced character studies, but to examine such themes as the corrosive inefficiency of bureaucracy, the moral complexity of law enforcement, and even social issues like racism, alcoholism, and corruption in the force.

Not dissimilar to the aforementioned Homicide: Life on the Streets, Hill Street Blues exhibits a penchant for gritty and intense cinematography that immerses viewers in the immediate suspense of police work with documentary-style visuals while delivering narrative arcs that span over the course of multiple episodes. It may be a forgotten classic of the genre for many in today’s world, but Hill Street Blues is one of the most influential titles in the genre’s history on the small screen, and its narrative sensitivities and arresting style are every bit as addictive today as they were back in the ’80s.

6

‘The Bridge’ (2011–2018)

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Nordic noir has become a defining staple of crime television over the past 15 years. The Scandinavian grasp on mystery intrigue is one laced with compelling darkness, nuanced characters, and winding stories packed with shocking plot twists and addictively disturbing central mysteries. Among the very best of this subgenre of crime television is The Bridge, with the series revolving around the investigation of a murder in which the victim is placed on the Oresund Bridge that serves as the border between Denmark and Sweden. International tensions simmer as detectives from both countries work together on the sinister and politically loaded case.

Grounded by the surprisingly sweet relationship between the socially awkward and blunt Swedish detective Saga Norén (Sofia Helin) and her Danish colleagues, while still having skewering thematic ideas on everything from international politics and culture clashes to social issues of inequality and environmentalism, The Bridge is able to captivate viewers with far more than just the grisly nature of the crimes it focuses on. A faultless mixture of shocking and suspenseful cases and humane, socially-minded drama, the series’ four-season run is an underappreciated high point of television police drama at its bleak and brutal best.

5

‘Mindhunter’ (2017–2019)

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An instant phenomenon of crime television that has already come to be heralded as a genre-defining classic despite being released less than 10 years ago, Mindhunter is a series defined by its atmospheric intensity, slow-burn suspense, divine cinematic visuals, and its unique spin on serial killer drama. Set in the 1970s, it follows two FBI agents and an esteemed psychologist as they travel around America interviewing detained murderers, gaining insights into their psychological conditions, motivations, and upbringings that can be applied to active cases to profile suspects.

It certainly leans into the modern obsession with true crime entertainment, featuring many of America’s most notorious serial killers as major characters and examining the crimes they committed from a perspective of analytical understanding rather than shocking violence or even obscene glorification. This sense of maturity is beautifully complemented by David Fincher’s trademark cinematic style, a ceaseless sense of psychological suspense, and deft writing and performances. The end result is a modern masterpiece of crime television that stands as one of the most defining Netflix original titles.

4

‘Twin Peaks’ (1991–1992; 2017)

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35 years have passed since Twin Peaks premiered, and its influence over not just crime television but the medium at large continues to be profound to this day, and yet there has never been another series quite like it. Directed and co-created by David Lynch, it flaunts a hypnotic blending of piercing horror, surrealist fantasy, black comedy, and murder mystery as it follows FBI agent Dale Cooper (Kyle MacLachlan) in his investigation of the murder of a teenage prom queen in the small town of Twin Peaks, Washington.

Filled with a litany of intriguing characters and defined by its erratic unpredictability that keeps viewers on the edge of their seats throughout, Twin Peaks exudes a magnetic and addictive allure through its atmospheric richness as much as it does through its intriguing mystery story. Its serialized narrative structure—which was decades ahead of its time—has also helped the series transcend generations to still be one of the most captivating crime dramas of all time, a fact supported by the success of the sequel series, Twin Peaks: The Return, released in 2017.

3

‘Breaking Bad’ (2008–2013)

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Viewed by many as being the greatest television series of all time, of any genre, Breaking Bad is a near-perfect story of one man’s descent into immorality and corruption as he becomes embroiled in America’s drug trade. After being diagnosed with inoperable cancer, high school science teacher Walter White (Bryan Cranston) applies his knowledge of chemistry to the cooking of crystal meth, hoping to raise a sum of money to leave for his family after he dies. However, as he accrues influence in the crime world, his honorable intentions devolve into a manic lust for power that threatens to destroy everything he cares about.

Walter White’s bleak evolution from a meek suburban family man to a vindictive and cunning drug lord is supported by a litany of incredible performances and Vince Gilligan’s fiercely smart writing, ensuring every season sees the stakes rise exponentially. It makes for relentlessly thrilling television, a masterpiece of small-screen crime drama that culminates in one of the greatest finales the medium has ever seen. Even on multiple rewatches, Breaking Bad holds a compelling gravitas that makes it the epitome of binge-worthy drama. An honorable mention should also be extended to its spin-off series, Better Call Saul, which is similarly addictive from start to finish.

2

‘The Wire’ (2002–2008)

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2026 marks 18 years since The Wire came to its conclusion, and yet the sprawling HBO crime show remains at the pinnacle of crime television drama. Set in Baltimore, it maintains its focus on the hierarchy of the drug trade and the efforts of the police to bring the criminals involved in it to justice, but its scope steadily expands with each season to explore everything from the corruption in city hall to the career-minded priorities of the police department, the shifting nature of criminal enterprise in the early 2000s, and even the inefficiencies and failures of institutions that millions of Americans rely on.

Flaunting a constant sense of grounded realism, The Wire never once depicts any of its characters as hero or villain, instead delving into the complex morality of gangland violence and the bureaucratic red tape of law enforcement to present an enrapturing, epic-scale drama that compels from its opening moments to its finale. It is incredibly rewarding to binge-watch as it allows viewers to immerse themselves in the intricacies and thematic might of the story while riding every volatile twist and every outburst of violence. It marks one of television’s most defining masterpieces, and it is quite bitter that so many of the cultural and societal issues it explores are still so prevalent in today’s world.

1

‘The Sopranos’ (1999–2007)

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Not only standing as one of television’s most enduring masterpieces, but as a series that completely re-shaped the landscape of small-screen drama as well, The Sopranos is one of the most influential TV shows ever made, as well as one of the greatest. The HBO drama follows New Jersey mobster Tony Soprano (James Gandolfini), who, after suffering a series of panic attacks linked to his volatile work-life balance, begins seeing a therapist in secret.

Every aspect of the series is handled with sublime artistry, from the depth, ambiguity, and nuance of its narrative progression to the absorbing complexity of its main characters, the profound brilliance of its performances, and even its tender thematic ideals that cover everything from generational trauma and traditionalism to the shallow lie that is the American dream. Also bolstering its often intense and extremely violent crime story with inflections of uproarious comedy and an emphasis on psychology that allows for Tony to be not only an authentic presentation of a mob boss but an engrossing and often confronting depiction of human nature as well, The Sopranos is incredibly easy to herald as being television’s defining masterpiece. It has lost none of its excellence over the 19 years since it concluded, making it an effortless binge-watch for today’s television lovers and an essential piece of small-screen drama for all who enjoy the medium.

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The Sopranos

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Release Date

1999 – 2007

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Network

HBO

Showrunner

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David Chase

Directors

Tim Van Patten, John Patterson, Alan Taylor, Jack Bender, Steve Buscemi, Daniel Attias, David Chase, Andy Wolk, Danny Leiner, David Nutter, James Hayman, Lee Tamahori, Lorraine Senna, Matthew Penn, Mike Figgis, Nick Gomez, Peter Bogdanovich, Phil Abraham, Rodrigo García

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