Sarah Ferguson is once again making headlines after a wave of explosive allegations resurfaced regarding her past associations with disgraced figures tied to the Jeffrey Epstein scandal, including shocking new claims involving Sean ‘Diddy’ Combs. The allegations, which were recently detailed in a new report, paint a chaotic picture of Sarah Ferguson’s social circle and financial struggles during the height of her royal fallout.

The renewed scrutiny comes after years of controversy surrounding Ferguson and ex-husband Prince Andrew. According to reports, emails that surfaced in 2025 allegedly showed Andrew remained in contact with convicted sex offender Jeffrey Epstein years after publicly claiming he had cut ties with him. By late 2025, Andrew had reportedly been stripped of his royal titles, while he and Ferguson were forced to leave Royal Lodge, their longtime Windsor home.

Ferguson also faced renewed backlash after reports claimed she privately maintained a much closer relationship with Epstein than she had publicly acknowledged. The report alleged Epstein financially supported Ferguson for years, including covering travel expenses for her and her daughters, Princess Beatrice and Princess Eugenie.

Bombshell Claims About Sean ‘Diddy’ Combs Relationship

Among the most eyebrow-raising allegations were claims involving Ferguson and Sean Combs, also known as Diddy. According to a former Bad Boy Records employee, who spoke with The Daily Mail, the employee alleged that the rapper was fascinated with the British royal family and frequently spoke about Ferguson privately.

Another unnamed associate reportedly claimed Ferguson and Combs first met at a party hosted by Ghislaine Maxwell in New York in 2002, and later developed what was described as a “secret friends with benefits” relationship beginning in 2004.

The report also claimed the pair traveled together internationally and attended luxury events and hotels throughout Europe and Africa.

Sarah Ferguson’s Financial Struggles Detailed In New Report

The report further described Ferguson as being under constant financial pressure throughout much of her post-royal life. One former assistant allegedly described life around the duchess as “chaotic,” claiming staff members sometimes struggled to get reimbursed for expenses and often used personal credit cards for purchases.

The same report alleged Ferguson regularly relied on wealthy friends and benefactors for support while maintaining an expensive lifestyle that included homes, assistants, and luxury travel. A palace source quoted in the report claimed Ferguson “always gravitated to being with the bad boy,” while others described her as someone who struggled with boundaries and desperately wanted approval.

Diddy’s Legal Troubles Continue To Cast A Shadow

The renewed attention surrounding the alleged relationship also comes as Sean Combs continues facing enormous legal and reputational fallout tied to a growing list of allegations and investigations. In 2025, Combs was convicted on two counts related to transportation for prostitution and later sentenced to prison, a stunning turn for the once untouchable music mogul who spent decades building the Bad Boy empire.

The conviction came after months of explosive lawsuits, federal investigations, raids on multiple properties, and allegations from numerous accusers. Several individuals have accused Combs of sexual assault, abuse, coercion, trafficking-related conduct, and intimidation in civil complaints and public interviews.

The controversy intensified after surveillance footage surfaced, appearing to show Combs physically assaulting former longtime girlfriend Cassie Ventura in a hotel hallway, a video that sparked widespread backlash online and reignited scrutiny over past allegations surrounding the rapper.

In addition to the criminal case, Combs has also faced multiple civil lawsuits from former associates, employees, and alleged victims, many of whom claim there was a long-running culture of abuse and fear surrounding the music mogul’s inner circle.

Combs has denied many of the allegations made against him and has maintained through attorneys that several claims are false, exaggerated, or financially motivated.

Sarah Ferguson’s Royal Reputation Continues To Face Scrutiny

While Ferguson has spent recent years attempting to rebuild her public image through charity work, media appearances, and family-focused interviews, the resurfaced allegations threaten to reignite long-running controversy surrounding her ties to Epstein-era figures.

Despite remaining close with Prince Andrew and publicly speaking warmly about portions of the royal family over the years, reports claim tensions behind palace walls were far more complicated than they appeared publicly.

Roommates, Druski is back at it again! The internet is claiming that NO ONE is safe from the comedian’s creativity. His latest skit dropped on Thursday and poked fun at British actors playing American movie roles. Now, social media is name-dropping stars like Idris Elba, Damson Idris, Daniel Kaluuya, and John Boyega.

RELATED:  Social Media Asks About Druski’s Family After His Apparent Response To Backlash Over His ‘Conservative Women’ Skit’

Druski Seemingly Teases British Actors In New Skit  

The social media superstar went viral again on Thursday with a highly produced skit featuring multiple fake scenes, from media interviews to an award show and even a movie set.  His overall topic? British actors who are “taking all the roles.” The skit showed him playing “Sampson Dubois,” from Manchester, England. One scene showed him in a slavery movie, ‘Release The Shackles,’ using an American accent. When the director jumps in, Druski debuts his British accent as he takes direction. Other scenes show him in interviews with the outlets, EXTRA and Entertainment Tonight, using his British accent. Another scene shows him portraying a different character in a car, again using an American accent. See the skit below. 

RELATED: Erika Kirk Blasts “Whiteface” Comedy After Druski’s Viral Skit & Candace Owens Mentions Charlie In Response (VIDEOS)

Part three of the “Real Housewives of Beverly Hills” season 15 reunion has aired, and Bozoma Saint John is facing backlash. This comes as fans accuse her of lying about questioning Amanda Frances‘s relationship with her stepkids.

Throughout season 15 of “The Real Housewives of Beverly Hills,” Saint John, who is a noted businesswoman and acclaimed Chief Marketing Officer, seemed to take issue with Frances, especially when it came to what she does for a living, which partly involves helping people earn more money through manifestation.

However, another point of contention arose when Saint John seemingly disagreed with Frances for including her stepkids when asked how many she had. Naturally, this was addressed at the reunion.

In defending her relationship with the children, Frances said at the reunion, “I love my step kids as my own, that’s questioned. Everything is questioned.” In response, Saint John claimed to have only asked if “they were his kids.”

After that, the two argued back and forth about whether or not Saint John said she “didn’t know about [the step kids] having two moms. Then, they show a clip of her in a confessional saying, “I don’t know if I like another woman calling my daughter her daughter. There’s only one mama.”

Bozoma Apologized To Amanda For Calling Her A Scammer

During the reunion, Andy Cohen mentioned how Saint John stated on “Watch What Happens Live” that Frances was “great at scamming.” This came after the host asked her to name something her co-star excelled at if she didn’t “buy into Amanda’s manifestation skills.”

After being confronted, Saint John said, “I know that was harsh. That was harsh. I’m sorry.” Then, she claimed she hadn’t been sincere when she said it. Claiming, “I was pretty angry at the time,” over Frances comparing the two of them and stating that she was jealous of her success.

They then argued, with Frances stating that she didn’t compare herself to Saint John. Production then showed a clip that vindicated Frances, featuring a producer asking her why she felt Saint John had compared their accomplishments, not calling her jealous.

‘RHOBH’ Fans Are Calling Bozoma A Liar

Following the reunion, fans of the show have quite a bit to say about Saint John. Overall, they still think she’s great for the show and look forward to seeing her upcoming marriage play out on the hit Bravo franchise. However, she’s being labeled a liar following her latest interactions with Frances.

One person said, “Boz is so full of sh-t. And she’s gonna do a 180 next season with Amanda because of how many lies she’s telling this reunion. Amanda bothered the sh-t outta Boz for no reason.”

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Another “RHOBH” viewer wrote, “Saying ‘his kids’ after she said step kids is a bit questionable. And her confessional comment was very unnecessary shade.” Someone else said, “Bruh, Boz lies and lies and lies. Do you know you are saying these things on camera?”

A different social media user asked, “How many times is production gonna pull clips on Boz lying… What’s going on, girl?” After that, someone else said, “All Boz is doing is lying; we all know what she was insinuating.”

Lastly, a TikTok user stated, “What Boz said was actually worse lol I love Amanda’s approach, she won’t sit and argue, but she doesn’t give in either. She lets the facts speak for themselves.”

Bozoma Saint John Recently Defended Her Resume

During the second part of the “RHOBH” season 15 reunion, the topic of Saint John’s various tenures as Chief Marketing Officer came up. This is the case because she has been at only a few companies for three years or less, which had become a topic of conversation on the show and on social media.

While discussing it, she stated that the CMO position is often a short tenure position, something Cohen questioned, asking, “It is? It’s not meant to be for a long period of time?” She responded on social media to the look he gave her as she answered at the reunion.

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She began her video response, “Andy Cohen, come here. I’m calling you to the front of the class. Okay, did you really make this face when we were at ‘The Real Housewives of Beverly Hills’ reunion and were talking about this?”

After that, she moved on to discuss why the Chief Marketing Officer position is often short-term. He later responded, “I WAS UNAWARE. I AM NOW.”

The ‘RHOBH’ Star May Get Married On Camera

Saint John became engaged to Keely Watson in August 2025. In the months after, the “RHOBH” star has been open about the wedding planning process, recently revealing that there will be two weddings, with one in Ghana.

When PEOPLE asked if she would consider having her wedding filmed for the show, she said, “I’m open to it because one of the weddings will be a Ghanaian wedding, traditional on the continent in Ghana, and we don’t often see those weddings.”

Saint John continued, “They’re very different from Western weddings, so I think we should celebrate other cultures and show people all around the world how we do it in Ghana.”

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By Robert Scucci
| Published 23 seconds ago

Oh, how much I wanted the critics to be wrong about 2001’s Domestic Disturbance. It’s one of those weird psychological thrillers from the early aughts that has a severe identity crisis, like 2001’s The Glass House, which also had the potential to be a solid film if it didn’t constantly get in its own way, lay everything out far too soon, and pivot way too aggressively in the third act. Both films suffer from taking a simple premise, trying to overcomplicate it with psychological drama, and then completely forgetting what kind of story they’re trying to tell.

It’s a shame too, because John Travolta and Vince Vaughn play well off each other, and had they been given a better screenplay to work with, this would have been a memorable performance for both actors. But they weren’t, so it isn’t.

Your Classic “My Stepdad Is Trying To Kill Me” Setup

Domestic Disturbance is ultimately about one broken family trying to splinter off into two. John Travolta is Frank Morrison, a boat builder on the verge of financial collapse who lives with his new girlfriend Diane (Susan Floyd). His ex-wife Susan (Teri Polo) shares custody of their son Danny (Matt O’Leary), and is about to marry the ultra-wealthy Rick Barnes (Vince Vaughn).

Though Danny is known to get into trouble and lie to every authority figure in his life, he’s always honest with Frank, which immediately comes into play when the boy suggests that Rick isn’t the perfect man he seems to be. Behind closed doors, he’s emotionally abusive, aggressive, and a full-blown psychopath trying to fake it as a typical suburban dad.

Danny’s suspicions in Domestic Disturbance are confirmed when he witnesses the murder of Ray Coleman (Steve Buscemi), a mysterious man who shows up at the wedding unannounced and catches Frank’s attention as a suspicious figure associated with Rick. From this point forward, there’s no real mystery left to address. Frank and Danny know Rick is a murderer, nobody else believes them, the cops get involved, and they’re completely useless, forcing Frank to take matters into his own hands.

By the time we reach the third act, all bets are off. Everybody acts super intense, the family dynamic completely breaks down, and I personally found myself wondering why this movie failed to be even the slightest bit suspenseful despite its rapid-fire approach to escalation.

Domestic Disturbance’s Identity Crisis

The main reason Domestic Disturbance fails as a psychological thriller is because there’s not a single moment where anybody’s motives aren’t crystal clear. There’s some mystery surrounding Rick’s shady past and his overall intentions for the Morrison family, but outside of that, yeah, he’s obviously a shady guy, and the movie gives him plenty of “behind closed doors with Danny” moments to make sure the audience knows it. He’s physically abusive in the kind of way that scares the hell out of the kid, but not enough to leave marks, grabbing him by the arm or neck just hard enough to get his point across without going full psycho.

Frank, who’s not without his own past failings, is trying to do right by his son, who nobody believes, so he starts working with detectives Edgar Stevens (Ruben Santiago-Hudson) and Warren (Chris Ellis), who seem like they’re only showing up in uniform for the free doughnuts. He does his own sleuthing and figures out what the audience already knows: Rick is about to go off the deep end, and nobody in the Morrison family is safe.

From there, Rick almost feels like a narrative switch gets flipped inside him, and suddenly he’s operating like a slasher villain. The same thing happens in The Glass House. A brother and sister suspect their new legal guardians are evil, they confirm it without any sliver of doubt, and then the evil people do evil things. Knowing how evil they are right off the rip just doesn’t make for compelling storytelling. There’s nowhere left to properly escalate, so it goes full ridiculous in its attempts to do so because it left itself with too little headroom, so logically, it needs to jump through the ceiling or stop dead in its tracks. 

There are better ways to play out a premise like this. While I’m not usually a champion of the “unreliable protagonist” trope in psychological thrillers because it’s been done to death, it’s exactly what movies like Domestic Disturbance need. There’s no meaningful buildup of tension here, just a slow crawl toward the inevitable ending we already know we’re going to get, followed by Vince Vaughn going totally berserk at the drop of a hat because that’s what the director told him to do. He does it well in this context, but the context itself is so beyond repair that a couple of talented actors can’t save what was probably doomed from the start.

Domestic Disturbance SCORE

Domestic Disturbance, currently streaming on Netflix, is one of those movies that makes you wonder what could have been. It has all the ingredients of a solid psychological thriller, but its vision never feels fully realized.

By Robert Scucci
| Published 17 seconds ago

Just last week, I stumbled upon 2018’s Mute, not realizing that it was a spiritual sequel to a far superior film, 2009’s Moon. I’ll be reviewing that one soon, but I found it underwhelming, and everything I’ve read about Moon suggested that it’s a perfect hard sci-fi thriller, on par with classics like 2001: A Space Odyssey (1968). Though both movies technically occupy the same cinematic universe, they’re standalone stories, but I still wanted the context. Turns out, you don’t need to see Moon to enjoy, or not enjoy, Mute.

In my mind, though, Moon is a modern classic with clear themes and stakes, while Mute, despite not being a total waste of time, struggles to find its identity and comes off as disjointed.

If You Believed, They Put A Man On The Moon

When Moon introduces us to Sam Bell (Sam Rockwell), we get a full crash course in the nature of his work. He’s a lone employee working for Lunar Industries on the Sarang Station, located on the dark side of the moon, and he’s about to complete his three-year contract. He works as an operations technician specializing in mining an alternative fuel known as helium-3. On Earth, an oil crisis made mining for resources on the moon inevitable, but with the foundation already in place, it’s a pretty turnkey operation.

With constant reminders that external communications are down, Sam can only communicate with Earth through occasional video exchanges, but there is no live feed. He gets updates from his wife, Tess (Dominique McElligott), and his young daughter Eve (Rosie Shaw), but it’s not enough to fight off the intense loneliness he feels every single day. He finds companionship in a mobile AI named GERTY (Kevin Spacey), but the fact that his only tangible relationship is with a computer program doesn’t do his mental state any favors.

Sam begins to hallucinate, which eventually leads him to a crashed rover where he finds another unconscious astronaut. Here’s the kicker: the unconscious man appears to be Sam’s identical twin, and GERTY isn’t telling the full truth. Both Sams come to blows, accusing each other of being clones before it dawns on them that they’re both clones of the original Sam. Neither man knows how long they’ve been living like this, or how many other clones there are, either in hiding or actively working in secret on the space station.

As the Sams work together, alongside GERTY, to uncover the true nature of their work and identities, they experience ego death, crash out, and regroup on multiple occasions, wondering how much of their lives are actually real, and how much of it is a lie made possible through false memory implants created by Lunar Industries.

Ego Death … IN SPACEEE!!!

While it goes without saying that Sam Rockwell does a stellar job playing off himself in Moon, I feel like that’s the obvious thing to talk about, so I’m not really going to get into it here. What I found most fascinating about Moon is the very system in which the Sams operate. They make this startling discovery, go through their respective grieving processes, and then come up with an escape plan.

They search the entire space station looking for clues about additional clones, and they venture out on unsanctioned discovery missions in search of what they suspect is a signal jammer. GERTY is designed to be helpful to the Sams, but his primary objective is ultimately to keep the helium-3 train moving at full capacity so everybody on Earth can enjoy the fruits of their labor. What really stuck with me is how easily the Sams are able to learn the true nature of their situation. It gets to the point where they straight up ask GERTY why they’re able to roam around without consequence.

To me, that’s where the true terror lies in Moon. It’s a subtle idea that gets casually brought up throughout the film, but it hints at a much larger systemic issue taking place. Both men, who are clones of the same astronaut and have no clue how long they’ve been living as clones, or how many clones came before them, are able to crack the conspiracy with little to no resistance. This tells me that Lunar Industries has been playing this game long enough that it no longer cares what each individual Sam does because it doesn’t matter. GERTY is tasked with keeping them in check, sure, but it’s such an isolated mission in such a remote place that even if they escape successfully, then what?

The fact that these men are fighting for their lives, and it’s completely hopeless because the system in place that made this all possible in the first place is so much larger than them that their lives don’t even matter one bit, is probably the most subtly terrifying thing about this film. This is just a line in the books. Their lives are literally a writeoff.

The entire system in which Moon operates is an unthinkably oppressive one. The machine will keep running, and the resources will keep getting mined. It doesn’t matter if one clone crosses paths with another clone and devises a plan to escape back to Earth to be with his family. The system is designed so nobody makes it far enough to expose what’s actually happening on the dark side of the moon.

Time will continue to march forward, and there will be more Sams showing up to work and wondering why it’s getting harder and harder to communicate with their families back on Earth. It’s a truly horrifying look at just how much individuality we stand to lose when the powers that be decide that resources are more important than the humanity they’re supposedly trying to save.

As of this writing, Moon is streaming for free on Tubi.

Nobody does effortless California cool quite like Jennifer Aniston, but according to the actress, her iconic glow is anything but accidental.

While celebrating the launch of LolaVie’s Speed Dry Heat Protectant Spray at Nova Studios in Los Angeles, California on May 7, Aniston opened up about the surprisingly intentional routine behind her laidback aesthetic.

“It’s funny considering I’m born in California, but grew up in New York City, so really, that California look didn’t just fall off a truck,” she joked during a fireside chat with makeup artist Charlotte Tilbury.

Still, the Friends star has perfected the formula for that naturally sun-kissed vibe, and it’s rooted in a wellness first philosophy.

“It starts from the inside,” Aniston explained. “How we take care of ourselves affects our skin directly and our hair obviously, so it’s a holistic approach.”

Rather than relying on quick fixes, The Morning Show star believes real radiance comes from more than just great glam.

“Let’s actually be healthy from the inside. It’s an inside job. … It’s not just like, ‘Let’s just put band aids on everything and make it look and present as beautiful and healthy,’” she shared.

That same thinking extends to the products she uses, too. Aniston gravitates toward formulas that nourish her complexion and mane long-term, instead of creating temporary results.

“With a lot of hair care and makeup, there’s sort of this momentary love fest where it all looks gorgeous and your skin is glowing or your hair is bouncing and shiny,” she said. 

“Then eventually, when the ingredients are not pure or organic, they start to backfire. … Your skin starts to breakout, there’s buildup, and it’s just not good.”

That’s why she sticks to trusted staples from Charlotte Tilbury alongside must-haves from her own haircare line.

“There’s healing properties in the makeup and in the hair product so that it will enhance our skin and hair, not destroy it.”

Among her current beauty favorites are the Wonderglow Face Primer, Airbrush Bronzer, and Glowing Jen Hot Lips 2, a beachy rose lipstick shade inspired by Aniston herself.

“It’s not too red and it’s not too pink and it’s not too brown,” she dished. “It’s sort of the perfect mix.”

She’s also loyal to the makeup brand’s Airbrush Flawless Setting Spray because, as Aniston put it, “You can swim in it!”

And for achieving those signature undone waves without a dip in the ocean? LolaVie’s newest offering has become her go-to.

“You spray it on while your hair is wet, before blow drying or natural air drying, and it cuts your blow dry down in half,’ she noted. “Plus, it adds shine and heat protection.”

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Without any doubt, the 1990s brought the most thrilling cinematic experiences ever. This really was the time for unforgettable movie entertainment. It released blockbusters, epic Academy Award-winning masterpieces, and created pop-cultural landmarks that we still recognize today. Truly, it was a decade of excitement each year, where every genre shined. But one notable highlight was the thriller genre. And, boy, were we spoiled.

Modern entertainment arguably wouldn’t be the same without the epic thriller classics that defined this awesome decade. They’re honored, beloved, and recognized for their act of always keeping us on the edge of our seats. They’re still intense and thrilling today, with some being recognized as the most significant of the genre, not just in this decade but of all time. From tightly paced crime mysteries to shocking whodunits to explosive high-octane action flicks, here are the best thrillers from each year of the 1990s. Buckle up for a wild ride.

‘Misery’ (1990)

Starting off with an epic nailbiter, we have Misery, the tense, claustrophobic horror thriller directed by the late Rob Reiner and based on a riveting Stephen King novel. What happens when a celebrity faces their worst nightmare of encountering a dangerous fan? Well, for writer Paul Sheldon (James Caan), he has to face that nightmare alone, as, after a debilitating car accident, he’s rescued but then held captive by his obsessed #1 fan Annie Wilkes (Kathy Bates), a disturbed former nurse who’s not going to let him go.

Its claustrophobic tension mixed with a creepy stalker premise that turned this much-beloved Stephen King adaptation into one of his most regarded and acclaimed efforts. It leaves you constantly on edge, fearing just what Annie may be capable of and how far she’ll go to keep Paul all to herself. Kathy Bates’ wildly unpredictable performance as this deranged captor earned her an Academy Award for Best Actress, a rare achievement for the horror genre, showing just how perfect her casting was. Truly, Misery is a stressful, eye-catching movie experience that kick-started the 1990s with a thrilling bang.

‘The Silence of the Lambs’ (1991)

Image via Orion Pictures

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In this genre-defining masterpiece, the late Jonathan Demme changed the face of the thriller and horror genres with a well-crafted, tightly paced mystery horror film that audiences will never forget. Released in 1991, The Silence of the Lambs became a massive critical and commercial success and went on to win Best Picture. Starring Oscar winners Sir Anthony Hopkins and Jodie Foster, it follows FBI trainee Clarice Starling as she probes the mind of the brilliant convicted killer Dr. Hannibal Lecter to trace the behavior of another serial killer on the loose and stop him before he kills his next victim.

You follow along with Clarice as she engages in a mental game of chess with Dr. Lecter, learning something new about her target while also dodging Lecter’s psychological forms of intimidation. Every scene with Lecter is pure nightmare-fuel as the great Anthony Hopkins delivers a terrifyingly memorable performance as this dangerous yet eerily sophisticated criminal mastermind. The Silence of the Lambs has become recognized as being timelessly thrilling, as the mystery and chilling performances have kept relevant and exciting throughout the years.

‘Basic Instinct’ (1992)

Image via TriStar Pictures

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In this steamy, alluring erotic crime thriller from 1992, Paul Verhoeven‘s Basic Instinct is a delight as it instantly grips you with a dangerous tale of sex and murder. Starring Sharon Stone and Michael Douglas, it follows a San Francisco police detective who, after investigating a gruesome murder, begins to piece together that the culprit may be a beautiful, mysterious crime novelist who is killing for new material for her latest book.

Basic Instinct is a film that hardly anyone in 1992 ever forgot. It’s a blast that knows how to keep your attention until the end. From the intriguing mystery elements, tense story, to Sharon Stone’s career-defining performance as the captivating femme fatale Catherine Tramell, you’ll never be bored for a second, and there’s always more to appreciate about it upon multiple rewatches.

‘The Fugitive’ (1993)

Image via Warner Bros.

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In a year dominated by cinematic wonder, it was Andrew Davis‘ The Fugitive that became one of its most thrilling standouts. This pulse-pounding action thriller combines epic chases, daring escapes, and tight suspense, all mixed into a fascinating mystery. It sees the iconic Harrison Ford as Dr. Richard Kimble, a man wrongfully accused of murdering his wife, who escapes custody and must prove his innocence while a dedicated U.S. Marshall, Samuel Gerard (Tommy Lee Jones), hunts him down at all costs.

What ensues in this two-hour-long nail-biter is one of the most gripping games of cat and mouse ever brought to the silver screen. You follow as Kimble tries to clear his name, while Gerard never stops to find and bring him in dead or alive. There are a lot of close calls, moments where it seems hopeless for Kimble to succeed, and it all makes you worried if he’s ever going to make it out of this situation at all. Truly, The Fugitive is an edge-of-your-seat experience that doesn’t get old, and will always get more thrilling with age.

‘Speed’ (1994)

Image via 20th Century Studios

Buckle up for a nonstop thrill ride in this legendary 1994 action spectacle. Jan de Bont‘s Speed is an explosive peak of ’90s blockbuster cinema, featuring thrilling suspense and jaw-dropping excitement. Starring Keanu Reeves and Dennis Hopper, it sees hot-shot LAPD SWAT officer Jack Traven as he races against the clock to thwart a crazed extortionist’s plan to blow up a city bus full of people that will explode if it drops below 50 mph.

Speed is a high-octane, adrenaline-fueled blast of entertainment that became the movie-going experience of 1994. Even now, it’s still tense, nailbiting, and feels like one big stressful race that never lets up the suspense until the last explosion. The performances from the likable, iconic cast make it fun and engaging, and its simple yet epic premise ensures that audiences are in for a wild, fun ride.

‘Se7en’ (1995)

Image via New Line Cinema

1995 saw a slew of instant thriller classics, from Heat and Jade to The Usual Suspects. But, truly, none of these come close to the mind-blowing greatness that is David Fincher‘s career-defining thriller masterpiece Se7en. Starring Oscar winners Morgan Freeman and Brad Pitt, it follows an experienced, disillusioned police detective and his hot-shot, young partner as they track a highly elusive serial killer who is basing his murders on the seven deadly sins.

This intense, hauntingly bleak mystery crime flick transcended the decade to become one of the most memorable thrillers in movie history. From its well-structured mystery and eerie suspense to the fantastic lead performances and riveting dialogue, it’s got something here to completely drag you into a thrilling experience. Even its ending alone is enough to leave you speechless and never forget the film long after seeing it. Overall, Se7en’s not just a perfect thriller, it’s simply one of the most perfect movies, period.

‘Scream’ (1996)

Image via Dimension Films

The mid ’90s were arguably the lowest point of the horror genre, a time stagnated by tired sequels and schlocky nonsense. But in 1996, along came a savior in the form of Scream, a trailblazing horror comedy that mixed terror, humor, and thrills all into one powerful blend that changed horror and cinema for the better. Directed by the late Wes Craven, it follows a group of California high schoolers as they use their knowledge of horror movie tropes to figure out who among them has been going around killing people in a Ghostface mask.

It’s simply an endless blast of creative fun and excitement, featuring an enduring whodunnit slasher premise that doesn’t get old and only gets better with age. Scream changed the game, popularizing the meta-horror trope that would carry on well into our current era. It’s undoubtedly funny, terrifying at times, and has an edge-of-your-seat feeling that is nonstop throughout its entire runtime. Truly ’90s pop culture would not be the same without it.

‘Funny Games’ (1997)

Image via Wega Film

Experience heartbreaking terror unlike anything else in ’90s cinema. Released in 1997, Funny Games is a heavy psychological torture thriller from Germany. What happens through its nearly two-hour-long runtime is one of the most shocking and depressing looks at human nature and senseless violence ever brought to the screen. It follows an innocent family of three on vacation at their secluded lake house as they’re put through a night of horror by a pair of sadistic teenage boys who torment them for fun.

It’s a twisted delve into how we as audiences react to violence, and the central message has us take a deep look into ourselves, and makes us feel part of the mayhem that occurs on screen. Funny Games has you holding your breath right up to a devastatingly bleak and intentionally unsatisfying finale, and it’s one you can’t get out of your mind. Really, it has surpassed the decade to become an all-time thriller classic.

‘A Simple Plan’ (1998)

Image via Paramount Pictures

No doubt one of the most underrated thrillers of the 1990s, 1998’s A Simple Plan may have slipped under most people’s radars at first, but make no mistake, it’s an undeniable masterpiece. Starring the late Bill Paxton and Billy Bob Thornton, it’s a tragic tale of greed, following two blue-collar brothers and their best friend as they slowly become paranoid and face the threat of being killed when they stumble upon and keep a bag full of money that they found in an undiscovered plane crash in the woods.

A Simple Plan is an excellent blend of character drama, crime, and mystery to perfectly thrill viewers from beginning to end. It keeps you hooked with a nailbiting premise that follows these men as they debate whether to keep the money for themselves and face retaliation by its criminal owners or turn it over to the police. It’s very thought-provoking and even tragic, as it ends on a sour note, as the last survivor is left alone without even claiming the money. Overall, it’s a fantastic hidden thriller gem that truly needs to be experienced more.

‘The Sixth Sense’ (1999)

Image via Walt Disney Studios Motion Pictures

Ending the decade on a glorious high note was The Sixth Sense, the groundbreaking supernatural horror thriller by memorable filmmaker M. Night Shyamalan. This iconic staple of ’90s pop culture became one of the most acclaimed features of 1999, featuring Oscar-worthy acting and brilliant storytelling. Starring Bruce Willis and Haley Joel Osment, it follows a revered child psychiatrist who, after a brush with death at the hands of a disgruntled former patient, seeks to find redemption in himself by helping a struggling, lonely boy with a unique power to see ghosts.

The Sixth Sense has the power to firmly grip onto the viewers, taking them through a wildly emotional, and at times, horrifyingly thrilling, ride through its unique premise. It keeps mounting with shock and suspense, culminating in one of the most unexpected twist endings in movie history. It’s timelessly engaging, and it capped off the 1990s with a thunderous bang, cementing this decade as one of the most significant in thriller history.

By Jennifer Asencio
| Published 9 seconds ago

There is a new Evil Dead movie coming out this summer, this one called Evil Dead: Burn. It is the sixth movie in the franchise, and a few trailers for it dropped on May 5, 2026.

The trailers heavily feature a fatal car accident and funeral for a character named Will, played by George Pullar. He seems to have a wife, teenaged children, and other family members who are grieving for him. The rest of the family harks out to a cabin in the woods, where the nefarious Necronomicon makes its appearance and is far too tempting not to read. What results is a mayhem of murderous hillbillies, and family and friends turned by the book into Kandarian demons that slaughter their way through the living with impunity.

The Evolution Of Evil Dead

The original Evil Dead was about a group of five college students who stayed in a cabin in the middle of the woods, one which happened to belong to an archaeology professor who retreated there to study his latest find: the Necronomicon. Of the group, only one survives: Ash (the iconic Bruce Campbell), bumbling, wisecracking, and full of ingenuity and contemporary know-how. Once Ash recovers from the initial shock of all his friends being turned into Deadites by the Necronomicon’s magic, he slashes and shoots his way through three movies and a three-season series.

2013’s Evil Dead, directed by Fede Alvarez, returned to the seriousness of the first movie with a new version of the Necronomicon that got read by five more curious students, this time on retreat to help Mia (Jane Levy) withdraw from drug addiction. While this version did return the story to the cabin in the woods, it also introduced elevated horror to the Evil Dead franchise.

Evil Dead, Elevated?

Elevated horror is horror that represents some other struggle. For example, there is elevated horror about childhood trauma, mental illness, LGBQT issues, and suicide. Rather than being a simple horror story, elevated horror emphasizes its social point, with the horror as a mere allegory for it. In Evil Dead (2013), the message was about drug addiction.

Lee Cronin added his own layer of elevated horror to Evil Dead: Rise, which came out in 2023 and followed two sisters: a drifter and a single mom with three children. Removing itself from the cabin in the woods, this one took place in a high rise in Los Angeles and turned mom Ellie (Alyssa Sutherland) into a Deadite early so she could terrorize her neighbors, her children, and her sister Beth (Lily Sullivan). Cronin’s other movies, The Hole in the Ground and the recent theatrical release, The Mummy, also focus on parenthood and protection of children, a theme he could not resist integrating into his take on the Kandarian demon franchise.

Ressurection With Intention

Evil Dead: Burn looks like it is doing the same: keeping the Deadites and the Necronomicon, but also keeping “the message,” this time a theme of grieving loss. Rather than reading the Necronomicon out of accident or misplaced curiosity, Luciane Buchannan’s heroine, named Thya, reads from it in the hopes that it would resurrect a dead loved one. The hillbillies that figured vaguely into the first movie and more definitively in the 2013 version seem to also be making a comeback, but are part of the problem, not the solution.

As a long-time fan of the Evil Dead series, some of the permutations that have been introduced to the continuity, like the hillbilly witch in the 2013 film, or the Necronomicon being read on audio rather than aloud, do add interesting new angles to the epic of the Kandarian demons. But I can’t help but feel that each new movie that doesn’t include Ash is merely using the Kandarian demons to spread whatever “elevated horror” message that particular director intends.

Ash’s Absence

Ash was fun: taking a beating, being tortured by a demon inhabiting his girlfriend, traveling back in time, leading the charge against an entire army of the dead, and finally settling into a career in retail, only to start the whole cycle again in an intoxicated stupor. He was too bumbling to be taken seriously while simultaneously being the hero we need rather than the hero we want. He’s got wisecracks and memorable one-liners and is an action hero alongside being a horror movie survivor.

Subsequent Evil Dead movies have been so interested in being elevated horror that they forgot that Evil Dead is supposed to be fun. Alvarez and Cronin had reputations as horror directors to protect and didn’t take some of the more comedic risks that creator Sam Raimi pioneered. They focus on what’s gory and scary about Kandarian demons without giving us a new hero to root for, which removes half of what made the original Evil Dead movies what they were.

Unaddressed Loose Ends

Furthermore, previous installments left loose ends in the form of Mia from the 2013 film, and Beth and Kassie from Evil Dead: Rise; the Rise epilogue also features new young people in a cabin in the woods but never establishes what happened to them. These stories are so disparate that their characters are forgettable and don’t seem like part of the continuity.

Evil Dead has become an anthology as new movies continue to be made, which shouldn’t be a bad thing (especially as Bruce Campbell is too old to play Ash), but it has strayed too far in tone from the original work. Each new movie is following its own individual storyline, making them Evil Dead in name only.

Evil Dead: Burn comes out in theaters on July 10, 2026. What will happen when the Necronomicon is unleashed?

Taylor Swift and Travis Kelce are enthusiastic supporters of Sadie Sink as she hits a new career milestone.

Swift and Kelce, both 36, attended Sink’s Romeo & Juliet play at the Harold Pinter Theatre in London on Thursday, May 7.

Sink, 24, made her West End debut in the production, which opened in March. She is currently starring as Juliet, while Noah Jupe portrays Romeo.

In fan videos shared via social media, Swift and Kelce can be seen giving Sink and the rest of the cast and crew a standing ovation at the conclusion of the play.

The same night, the “Shake It Off” singer and the Kansas City Chiefs tight end, who got engaged last August, were spotted leaving Indian restaurant Gymkhana. In photos obtained by TMZ, they held hands as they left the London hotspot on their date night.

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Taylor Swift‘s backup dancers still haven’t recovered from Travis Kelce‘s surprise Eras Tour debut, just like Us. Kelce, 34, joined his girlfriend on stage at Wembley Stadium on Sunday, June 23, to celebrate her third of eight performances in London. He appeared during the transition from “The Smallest Man Who Ever Lived” to “I Can […]

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Swift and Sink collaborated on the singer’s All Too Well: The Short Film, released in 2021. The Stranger Things alum and Dylan O’Brien starred as troubled love interests in the music video that accompanied the 10-minute version of Swift’s song “All Too Well.”

Appearing at the Tribeca Film Festival in June 2022, Swift spoke about why she chose the actress to play the role.

“Sadie has this versatility, because I just really wanted someone who could go from that idealism and that unbroken spirit and we see that,” she said of Sink. “It’s so palpable when we first meet her, and I wanted to show their closeness with handheld shots. I wanted to be so close we could count the freckles.”

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Swift continued: “And then as things transpire and things fall apart, I wanted our shots to reflect the remoteness that she feels — this desperate isolation that she feels — because her world opened up to this incredible big passionate intense love and then it just, all of a sudden, overnight it boiled down to nothing and the floor fell through and she just feels far away from all her friends and her old life because she’s been in this adult mature world that she never felt quite fit either.”

In multiple interviews, Sink has praised Swift and opened up about how surreal it felt to be handpicked by the Grammy winner for the role.

“Like I didn’t know she knew I existed!” she gushed on The Tonight Show Starring Jimmy Fallon in May 2022. “And if she would have asked me to be a tree in something I would have said yes in a heartbeat.”