Sadie Robertson revealed her 8-month-old daughter, Kit, has been battling an “underlying” health condition after two choking incidents.

“A month since Kit choked, and what we thought was a one-time event, [it] happened again shortly after,” Robertson, 28, wrote via Instagram on Friday, May 8, referring to her child’s health scare last month. “That was the beginning of discovering something underlying.”

She continued, “Praise the Lord that for such a scary and life-threatening event we had, it was a relatively small fix [and] because of the incredible doctors, and she is healing now. God really does establish STRENGTH in the mouth of infants 😭🙌🥲.”

Robertson, who shares Kit with husband Christian Huff, did not disclose their daughter’s diagnosis amid her recovery.

Related: Sadie Robertson Shares Update After Baby Choked and Stopped Breathing

Sadie Robertson offered a critical update on her baby daughter Kit’s condition after the child choked and stopped breathing. “I’m currently walking through the waves of anxiety from the trauma of the situation, and the immense gratitude for the miracle of Kit’s full recovery and God’s undeniable hand on this situation,” Robertson, 28, revealed via […]

“This past month has marked us in a way that will take a while to unpack,” the Duck Dynasty star wrote on Friday. “It has tested faith, and strengthened it. We’ve seen things that brought a lot of trauma, and also seen miracles on miracles that I’ll tell stories about forever! The power of prayer has marked us, the love of community, amazing doctors and nurses and the evidence of God’s faithful hand in the midst of uncertainty.”

Robertson also shares daughters Honey, 4, and Haven, 2, with Huff, 27, and has found solace in prayer amid Kit’s health scare.

“God is faithful, He is good, He is an ever-present help in times of trouble, He is a provider and protector,” Robertson said. “And the church is a wonderful place that displays His love in times like this. It is hard to know how to step back into reality after times like this, but we will one day and one moment at a time trusting the Lord will meet us in it!”

According to Robertson, she and Huff are “working with an incredible group of doctors and therapists” regarding Kit’s care.

“We kindly ask for no further medical advice on this platform,” she concluded her upload.

Related: ‘Duck Dynasty’ Star Sadie Robertson’s Honest Quotes About Motherhood

Sadie Robertson has been open and honest about her experience with motherhood. The Duck Dynasty star, who shares three children with husband Christian Huff, has not shied away from discussing intimate details about her births and postpartum struggles over the years. (She welcomed daughters Honey James, Haven Belle and Kit Carroway in May 2021, May […]

Huff responded to his wife’s post, writing, “You’re the best mom ❤️.”

Robertson shared via social media in April that Kit briefly stopped breathing that month.

“I’m currently walking through the waves of anxiety from the trauma of the situation, and the immense gratitude for the miracle of Kit’s full recovery and God’s undeniable hand on this situation,” she wrote on April 11. ““I’ve been off social media and having my family and amazing team help me on here for some time while I work on having a sound mind.”

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Robertson explained that Kit “began to choke” while eating a snack that week.

“Within seconds, you could tell the severity of the situation. My mom pulled her from the high chair and placed my girl into my arms just as she stopped breathing,” she recalled at the time. “Everyone went into action and into prayer. Mom called 911, I started CPR, and everyone began to pray out loud and move the other kids downstairs.”

Kit eventually “miraculously coughed and began to breathe” after Robertson’s attempts at CPR.

Since television is a way to tell an ongoing story across dozens – or even hundreds – of episodes, and across multiple years, it’s possible to find certain shows that ended up being great, but took some time to find their footing. You could argue Better Call Saul started off good, but took a while to become great, and if you go into sitcom territory, you can find tons of shows where the first season was one of the weaker – or even weakest – ones (like Seinfeld, The Office, and arguably The Simpsons).

But to stick to the drama side of things, here are some shows that inspired confidence right out of the gate. Even more specifically than great pilots, these shows all had great opening scenes, which means that some opening episodes that end with a bang – like The Shield’s – might not necessarily be mentioned here. If a show had an instantly great hook, though, or opened in a way that, in hindsight, feels like a summation of the entire series, then it might well be mentioned below.

‘The Wire’ (2002–2008)

Image via HBO

Admittedly, The Wire is one of those shows that gets better as it goes along, mostly since it takes a while to get the hang of what the whole show’s going for. So it’s less that The Wire took some time to find its footing, and more that it might take you some time to find your footing, because Season 1 throws you into the deep end, and some catch-up is required before things start truly hitting and resonating.

But the opening episode is still strong, and it begins with a conversation that really sets the tone going forward, with McNulty (Dominic West) talking to someone who witnessed a murder, but in a very different way to most crime/police procedurals. It instantly feels grounded, the acting is great straight away, and the dialogue is immediately compelling and easy to appreciate, so you feel confident early on that you’re in good hands (and, given how great the rest of the show is, it turns out you really were).

‘Game of Thrones’ (2011–2019)

Image via HBO

Say what you want about the final season, but for a while, Game of Thrones was a masterful drama series that also functioned as a fantasy/action/adventure series, albeit being all those things in a very dark way. When it had source material to rely on, it was a great adaptation, and problems started to emerge when Game of Thrones overtook most of the material found in the Song of Ice and Fire series.

But to focus on the good, the opening scene of Game of Thrones sets the stage well, since viewers are introduced to one of the main threats going forward (the White Walkers), and the tone is set by having some characters who feel like they could be important to die straight away. It’s also a brutal and eerie prologue, cluing you in to the idea, early on, that this isn’t exactly going to be a pleasant or “fun for the whole family” sort of fantasy story, by any means.

‘Six Feet Under’ (2001–2005)

Image via HBO

Death is constant throughout Six Feet Under, occasionally for the main characters, but often for side/one-off characters. A death is seen at the start of almost every episode, which is fitting, considering the show’s setting is mostly around a funeral home, and the first episode is no exception. Here, though, it’s the death of the patriarch of the family who runs the funeral home who dies quite suddenly: Nathaniel Fisher Sr. (Richard Jenkins).

So, everyone else is thrown into chaos, and things shift, and continue to do so throughout Six Feet Under‘s five largely great seasons. There’s stuff here about the absurdity of life and death, a great deal of tragedy, and some dark comedy, too, all of it established right in the opening moments of the show, and the events here really do reverberate and echo for dozens of episodes to come.

‘Succession’ (2018–2023)

Image via HBO

Some people will say that Succession starts off a little wonky, but some people are wrong. Right from the jump, the characters here are flawed, pitiful, cringe-inducing, and yet still compelling all at once. The show’s unique style of humor is found very early on; it establishes its visual style straight away; the writing (though it perhaps got even better) is already strong; and the impressive music is here, too (albeit a little pervasive; they used it slightly more sparingly later on).

As for the opening of the series premiere? “Celebration” sees Logan (Brian Cox) peeing on a carpet in the middle of the night, and then the next scene is Kendall (Jeremy Strong) being as embarrassing as ever, trying to hype himself up for a meeting by rapping along to music in the back of a car. It’s chaotic, strange, uncomfortable, and kind of funny straight away, and these are all constants throughout the rest of Succession.

‘Lost’ (2004–2010)

Without a doubt, the pilot episode of Lost is one of the all-time greatest. It’s cinematic in a way that no network drama had ever really been before then, and honestly, the scope here trumps most of the HBO-level shows that were airing around this time, too. It’s a show that’s initially about a plane crash on a very strange island, and it kicks off right in the thick of it, with the aftermath of the crash itself.

The opening sequence follows Jack (Matthew Fox), who’s the closest thing Lost has to a main character, as he realizes what’s happened and does what he can – in typical Jack fashion – to take charge and save people from the wreckage. You get small insights into various other important characters, all before the pilot episode jumps back to cover a little more by way of events leading up to the crash. It’s immediately engrossing and intense stuff, and makes Lost exciting straight away. Also, one of the very first shots being mirrored at the very end of the series is neat (if you know, you know).

‘Buffy the Vampire Slayer’ (1997–2003)

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Okay, Buffy the Vampire Slayer is a bit of a strange example to include here, since “Welcome to the Hellmouth” is a good opening episode, but maybe not a great one. It does what it needs to when it comes to introducing all the main characters, and you get the kind of humor, campy horror, and character interactions here you can expect going forward… but it’s the start of the episode that hints at the greatness to come.

Buffy the Vampire Slayer is a show that’s all about subversion and playing with conventions, and so opening with a scene that seems to put a young woman in danger, only to have her actually be the “monster”, so to speak, transforming into a vampire and killing her male accomplice? It’s Buffy the Vampire Slayer in a nutshell, even if it doesn’t feature the titular character straight away (though Darla, played by Julie Benz, is ultimately fairly important for Buffy the Vampire Slayer, and then an even more vital piece of Angel later on).

‘The Sopranos’ (1999–2007)

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Unlike some of the other shows mentioned here, The Sopranos doesn’t have an episode that entirely sets up the show going forward. There are some oddities here with the soundtrack, for example, and the voiceover/narration, which isn’t really a thing going forward. But thematically, The Sopranos lays its cards on the table straight away, and the ever-important dynamic between Tony (James Gandolfini) and his therapist, Dr. Melfi (Lorraine Bracco) is also instantly there.

The opening scene of The Sopranos also feels a little odd with its pacing, making viewers sit in silence with Tony as he waits for his first appointment, and then things bounce around more emotionally when he starts to talk about his fairly strange life, and even stranger personal problems. The Sopranos changes a bit after this, and finds its voice to some extent later on in an even stronger way, but the first episode is still fantastic, and establishes enough – with sufficient confidence – to make you feel like you’re in for something pretty great.

‘Breaking Bad’ (2008–2013)

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The pilot for Lost might be better overall, but if you’re talking about the first 5 or 10 minutes of a TV show, then nothing trumps Breaking Bad. It’s instantly chaotic, with Walter White (Bryan Cranston) in a wild situation that one expects the whole first season to build up to. But no, Breaking Bad is fast-paced enough that once it does flash back, it really doesn’t take long to cover how things got to where they were.

And the chaos here is controlled, and in hindsight, Walt’s whole character – and some of his flaws – are evident immediately. It’s impossible to watch the opening scene here without instantly wanting to know what happened before everything went to hell, and doing that on top of setting up a complex main character, establishing a pace, and also introducing a bold visual style, all in minutes? Yep, Breaking Bad starts with the “bangiest” of bangs, and it’s remarkable that the show itself somehow gets even better from here.

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Breaking Bad

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Release Date

2008 – 2013-00-00

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Network

AMC

Showrunner

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Vince Gilligan

Directors

Vince Gilligan, Michelle Maclaren

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The history of film dates back to 1888, although the supposed starting point of Louis Le Prince‘s Roundhay Garden Scene is debated by some. Nevertheless, there is no debating how impressively extensive cinema’s 137-year catalog is, with technological advancements and improvements in film-specific storytelling helping to enhance its quality.

Among this long history of cinema are a select few gems that have done the unthinkable and proved universally popular. Given the rise of social media and the ability for any viewer to share their opinion with the world, for a film to avoid negativity and find its place in the hearts of audiences, regardless of age or taste, is an achievement that shouldn’t be underestimated. With that in mind, here’s a look at seven of the most universally loved movies of all time, ranked.

7

‘Back to the Future’ (1985)

Image via Universal Pictures / Courtesy Everett Collection

As the opening of a stage musical and the box office re-release this year prove, the universal love for Back to the Future has perhaps even increased over time. Directed by Robert Zemeckis and written by Zemeckis and Bob Gale, the movie follows the charismatic but insecure Marty McFly (Michael J. Fox) as he and his mad scientist friend Doc Emmett L. Brown (Christopher Lloyd) travel through time via a DeLorean to save the lives of those they love.

One of the biggest box office hits of 1985, Back to the Future was an enormous hit upon arrival, turning Fox into a global star almost overnight. Packed with memorable moments, the film is crucially just as funny as it is emotionally engaging and boasts a near-perfect 95% score from audiences on review aggregator Rotten Tomatoes. The film won an Academy Award for Sound Effects Editing back in 1986, losing out on a screenplay trophy to Witness in one of the worst snubs of that year.

6

‘Jurassic Park’ (1993)

Image via Universal Pictures

The summer blockbuster has lost its charm in recent years, as it was once the perfect box office slot for the biggest and best films. In 1993, that slot went to Jurassic Park, the story of paleontologist Dr. Alan Grant (Sam Neill), paleobotanist Ellie Sattler (Laura Dern), and chaos theorist Ian Malcolm (Jeff Goldblum), as they are invited to visit an island theme park populated by dinosaurs ahead of its public opening. However, little do they know the danger they are about to face.

As many of the most beloved films do, Jurassic Park spawned a dino-sized franchise and six sequels to date, with the most recent, Jurassic World Rebirth, becoming one of 2025’s biggest box office hits. However, none have ever matched the awe-inspiring vision of the original, with groundbreaking CGI and animatronics still dropping jaws to this day.

5

‘The Breakfast Club’ (1985)

Image via Universal Pictures

The teen movie has often proven universally popular, mainly for its ability to capture a moment in time for a generation of adolescents. Of all the best this genre has to offer, none are quite as beloved as The Breakfast Club. Following five high school students as they spend a Saturday in detention together, the film details their differences and finds their unlikely similarities as their lives are changed forever in just one day.

On its 40th anniversary, this 1985 John Hughes cult classic has been receiving plenty of love, proving popular in its limited box office re-release in September. A genius coming-of-age story that is both a visual time capsule of the mid-1980s and an enduring tale of acceptance and identity, teenage lives are still being changed with one viewing of The Breakfast Club.

4

‘Alien’ (1979)

Image via 20th Century Studios

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To define a genre, like the previously mentioned The Breakfast Club, is impressive enough. Ridley Scott’s Alien managed to define two, becoming one of the flagship horror and sci-fi movies of not just the 1970s but of all time. The film follows the crew of the commercial space towing vessel Nostromo, who, after attending to what they thought was a distress call, soon find themselves under siege from a terrifying monster.

Everything from the movie’s central monster to its iconic tagline (“In space, no one can hear you scream”) has been cemented into popular culture ever since Alien debuted. Key to the movie’s universal popularity is Ellen Ripley (Sigourney Weaver), a defining female character who paved the way for many more badasses that followed. For many, this is the greatest horror or sci-fi film ever made, and for all, it’s certainly in the conversation.

3

‘The Shawshank Redemption’ (1994)

Image via Columbia Pictures

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When it comes to movies that are beloved by both audiences and critics, few have managed to have the same impact as The Shawshank Redemption. The movie follows Andy Dufresne (Tim Robbins), a man sent to prison for the murder of his wife and her lover, despite being innocent. Having to navigate the harsh reality of life behind bars, the last thing Andy expects is to find hope and a best friend in the form of longtime inmate Red (Morgan Freeman).

From career-best performances to a pitch-perfect ending, The Shawshank Redemption was rightfully heralded as a masterpiece by critics and nominated for an impressive seven Academy Awards. However, it is the film’s life-affirming message, proving to be one of the best entries into the hopecore sub-genre, that likely helps it stay universally beloved after over three decades. Widely cited as one of the best movies of all time, Frank Darabont’s masterpiece is one everyone should watch at least once.

2

‘The Lion King’ (1994)

Image via Walt Disney Studios Motion Pictures

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It seems that animated movies don’t quite face much of the same scrutiny as live-action tales. To some extent, this is because of the ability to make animated creations perfectly infallible and universally endearing, with only the coldest of hearts unable to melt at the sight of a cute cartoon character. With that in mind, it should be no wonder that a film like The Lion King is on this list.

But rarely has an animated movie been quite so successful with both critics and audiences. Winning two Oscars from four nominations, The Lion King was also an enormous success at the box office, earning just shy of $1 billion worldwide on a budget of only $45 million. From an iconic soundtrack that inspired a stage musical to stunning animation and a story so timeless that it is loosely based on a Shakespeare play, few animated movies have ever quite had the impact of The Lion King.

1

‘Goodfellas’ (1990)

Image via Warner Bros.

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Martin Scorsese‘s filmography is bursting at the seams with masterpieces. From Taxi Driver to Killers of the Flower Moon, few directors can match the consistency, quality, and longevity of the Academy Award winner. Although some of his best remain divisive in smaller circles, there is perhaps none from his catalog to be quite as universally beloved as Goodfellas.

From the immortal opening line: “As far back as I can remember, I always wanted to be a gangster,” right through to the film’s captivating closing sequence, not a moment of Goodfellas isn’t touched by the artistry of a genius at the peak of his powers. Featuring the trio of Ray Liotta, Robert De Niro, and Joe Pesci, each at their very best, the film weaves between the hilarious, the emotionally poignant, and the shockingly violent, portraying the perfect picture of the highs, lows, and in-betweens in the life of Henry Hill (Liotta). As far as gangster flicks go, there isn’t one more universally loved than Goodfellas.

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Release Date

September 19, 1990

Runtime

145 minutes

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Producers

Barbara De Fina

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It’s not always easy to get dressed this time of year due to the constant temperature changes. That’s why we love a short-sleeve knit top that’s incredibly versatile and has a way of being flowy yet cozy at the same time. Consider it the short-sleeve version of your favorite sweater that you packed away until fall rolls around!

The Petal & Pup Mariana Knit Sweater Vest was designed to have a slouchy, body-skimming fit, so it’s slimming and confidence boosting. The sweater-like feel offers that coziness you miss now that the weather is warming up. Plus, it’s made from supersoft yarns, so it’s not an itchy knit that you’ll be pining to take off. At 25% off, we’re grabbing every color!

Get the Petal & Pup Mariana Knit Sweater Vest for $44 (originally $59) at Nordstrom!

Our favorite thing about this short-sleeve, V-neck sweater is that you can style it in various ways. When you want an easy option, just wear it buttoned up as a top. But if you’re looking for a more involved look, unbutton it and use it as a cute layer. It helps that it has a flowy, effortless silhouette, so it doesn’t feel restrictive or annoying to pair with other tops.

Related: Short-Sleeve Sweaters Are a Winter-to-Spring MVP — 17 Must-Have Styles

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Getting dressed during that in-between stretch from winter to spring can feel like a daily guessing game. One minute it’s chilly, and the next it’s surprisingly warm, which makes heavy knits and flimsy tees equally frustrating. That’s where short-sleeve sweaters quietly save the day, offering just the right amount of warmth, while still feeling light […]

With three light neutral hues to choose from, including sage, pale blue, cream and lemon, we appreciate that this Petal & Pup knit top adds a hint of color to our wardrobe without feeling overpowering. The buttons blend in with the fabric, creating a cohesive look.

Our minds are already thinking of all the different ways to wear this short-sleeve sweater. It can be buttoned up and paired with jeans, or it can stay open and sit on top of a sleeveless dress. This top is as appropriate for the weekends as it is for work, so you’ll get plenty of miles out of it. If you ask us, its versatility makes it worth the $44 price tag at Nordstrom.

The key to dressing in the springtime is layers, and the key to summertime style is lightweight pieces. This knit top covers both points, so we’ll be wearing it quite often these next few months.

Get the Petal & Pup Mariana Knit Sweater Vest for $44 (originally $59) at Nordstrom!

They got a text — and found love in the Love Island USA villa.

The beloved British dating show made its way across the pond in 2019, following a crop of American bombshells searching for The One in a luxury tropical villa.

In season 1, eventual winners Elizabeth Weber and Zac Mirabelli had a connection too special to ignore.

“We kept checking off each other’s boxes.” Elizabeth exclusively told Us Weekly in August 2019. “I think we just had those sparks from the very first moment.”

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To celebrate their victory, Elizabeth and Zac planned to visit one another’s family. “With the prize money, we may take a trip to Europe,” she told Us. “I’ve never been, and I really want to go. Nothing’s set in stone, but then we may move out to L.A. eventually.”

While Elizabeth and Zac ultimately called it quits several months later, other couples including season 5’s Hannah Wright and Marco Donatelli are still going strong.

Keep scrolling to check in with the Love Island USA bombshells:

The Real Housewives of New Jersey star Jennifer Fessler shut down the speculation about her alleged relationship status with Summer House’s West Wilson.

“In all seriousness, and while I can’t help but be a little flattered, it is not nice nor is it OK to post something categorically untrue and defamatory on social media,” Fessler, 57, wrote via her Instagram Stories on Saturday, May 9. “Regardless of whatever rumors or apparent ‘evidence’ led you to that conclusion, that is the definition of libel.”

She continued, “If it were true, I would have no recourse. Because it’s a lie, this can get more complicated. Having said that, I hope we can rectify this. It’s enough now.”

Fessler was asked about Wilson’s Summer House scandal at Vulture’s The Masterminds of Reality TV event on Thursday, May 7. (Wilson, 31, announced in March that he started dating costar Amanda Batula despite previously romancing her BFF Ciara Miller.)

Related: Ciara Miller Seemingly Reacts After West and Jen Fessler Deny Hookup

Ciara Miller seemingly has weighed in after West Wilson and Jennifer Fessler refuted her hookup claims. Miller, 30, reposted a Summer House still of Amanda Batula via Threads on Friday, May 8, in which the original caption read, “If I send this to you I’m about to lie straight to your face.” Hours earlier, Miller […]

“[West] is the cutest, sweetest golden retriever puppy dog. He does not mean any harm,” Fessler told Page Six on the red carpet. “He didn’t mean it. He’s just trying to have a good time. He doesn’t wanna hurt anyone. Give him a break.”

After a fan shared Fessler’s comments via Threads on Friday, May 8, Miller, 30, replied, “lol because they slept together too.”

Jennifer, who has been married to husband Jeff Fessler since 1999, and Wilson have both denied the accusations.

Wilson caused a stir amongst the Bravoverse when he confirmed his romance with Batula, 34, just months after she separated from husband Kyle Cooke.

“It was never our intention to purposely hide anything,” Wilson and Batula said in a joint March 31 statement. “Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we needed a little space to process things privately before speaking on it.”

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Related: RHONJ’s Jenn Fessler Explains ‘Messy’ Video With Summer House’s West Wilson

The Real Housewives of New Jersey star Jenn Fessler is weighing in on her viral video with “Messy Wessy” — otherwise known as Summer House star West Wilson. “I posted that really quickly. I should have thought that through,” Jenn, 53, told Us Weekly exclusively. The Instagram video, posted on Wednesday, May 29, showed West, […]

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They continued at the time, “We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected,” they continued. “Our connection grew out of a genuine, longstanding friendship, which made it especially important for us to approach this with care.”

Miller claimed that she was blindsided by Wilson and Batula’s romance and social media statement.

“At the end of the day, a guy’s a guy. Whether or not West and I are working on a relationship, you just can’t put anything past a man,” Miller told Glamour last month. “I just never would think that it would come from someone like Amanda, who has been what has felt like in my circle and in my corner for so long. I think that’s the craziest part.”

Seth Rogen and Jon Stewart are not letting Kanye West‘s comeback slide quietly.

As the “Praise God” hitmaker attempts to rebuild his career with a string of international performances, his return has been met with mixed reactions.

While thousands of fans have continued to show up for his concerts in the United States, several countries, and organizations have pushed back over his past antisemitic remarks.

Now, Rogen and Stewart are openly tearing into West’s attempted return to the spotlight.

During Wednesday night’s appearance at The Greek Theatre for the “Netflix Is A Joke” festival, Rogen and Stewart held nothing back when addressing West.

Rogen kicked off his monologue by joking about the festival’s lineup, quipping that even West had managed to secure a spot. 

The comedian then criticized the rapper’s ability to continue drawing massive crowds despite the backlash over his past comments.

“He had a song called ‘Heil Hitler,’ and he’s back,” Rogen said, according to The Hollywood Reporter. “What’s funny is I’ve said critical things about Jewish people; I think I got in more trouble than Kanye West did.”

Rogen also joked that Adolf Hitler himself would probably be “torn” over Ye. Stewart later continued the criticism during his own set, directly condemning West.

“But seriously, f*** that guy,” Stewart declared. “He was like, ‘Hitler was misunderstood, we’ve got to forgive Hitler.’ And I’m like, ‘I don’t think I need to listen to anybody who thinks Hitler needs to be forgiven, but is still mad at Pete Davidson.’”

Kanye West’s Italy Show Is Facing Calls For Cancellation

While Rogen and Stewart continue criticizing the rapper, West is also facing mounting resistance overseas.

The artist is scheduled to headline the Hellwat Festival at RCF Arena in Reggio Emilia, Italy, on July 18, but calls to cancel the event are intensifying. 

According to The Blast, local Jewish organizations, anti-fascist groups, trade unions, and politicians have all reportedly opposed the performance.

Critics argue that hosting West in the city would clash with Reggio Emilia’s historic legacy of resistance against Nazi occupation during World War II. The city received Italy’s Gold Medal for Military Valor in 1950, and many residents believe allowing Ye to perform would disrespect that history.

The Rapper Attempted To Amend His Ways Amid Setbacks 

Other of West’s planned shows have already encountered other setbacks tied to his controversial history. 

Ahead of a scheduled concert in Marseille, France, the French government, much like the UK previously, was unwilling to welcome the “Runaway” singer.

Despite this, the 48-year-old has made attempts at redemption and to get back in the good graces of the Jewish community. 

The Blast reported that he was seen a few weeks ago leaving the Simon Wiesenthal Center in Beverly Hills. The center is a Jewish human rights organization. A video showed him walking out quietly, avoiding conversation with paparazzi, and getting straight into his car.

Kanye West’s Apology And Reason For Controversial Remarks 

As part of his attempt to move forward, West has also publicly apologized for his past actions and explained his behavior.

According to The Blast, he bought a full-page ad in the Wall Street Journal where he admitted his past actions were tied to struggles with bipolar disorder and other mental health issues. “I am not a Nazi or an antisemite,” he wrote. “I love Jewish people.”

He explained that his difficulties go back years, claiming doctors failed to properly diagnose a frontal-lobe injury he suffered in a 2002 car crash while he was growing up. He said the unresolved issues contributed to destructive behavior and acknowledged that his comments caused harm.

Medical Experts Weighed In On West’s Explanation

Following West’s statement, medical professionals weighed in on whether bipolar disorder could contribute to extreme or erratic behavior.

As The Blast reported, Professor David Curtis from UCL Genetics Institute noted that people with severe bipolar disorder can sometimes behave in ways that are completely out of character.

 He explained that during manic episodes, individuals may become impulsive, reckless, or even psychotic, and their actions can be unpredictable. 

Curtis added that what the Grammy Winner described matches the symptoms of bipolar disorder and doesn’t necessarily point to antisemitic beliefs or extremist ideology.

By Robert Scucci
| Published 5 seconds ago

Sometimes, all you need to stay grounded in a sci-fi flick set in the not-so-distant future is an insanely relatable character you can identify with. 2018’s Mute misses the mark here, as its protagonist is a former Amish boy with no vocal cords living in 2035 Berlin. The whole setting resembles Blade Runner, but if Harrison Ford knew how to build furniture and raise barns.

On one hand, I kind of get it. A technologically averse Amish man living in a hyper-futuristic society is the perfect allegory for never being able to return home, and there’s something to be said about that. But this movie also takes over two hours to lay out its convoluted, overlapping plot lines, making it incredibly hard to stay invested despite its immersive, neo-noir cyberpunk visuals.

While Mute is technically a follow-up to writer-director Duncan Jones’ 2009 hard sci-fi masterpiece, Moon, it functions almost entirely as a standalone film that just so happens to occupy the same universe. There are some Easter eggs in Mute that nod to the first film, but they’re subtle and don’t necessarily enhance the storytelling in any meaningful way. If you blink, you’ll miss them, and if you miss them, you won’t even know what you’re missing out on.

Which is a total shame, because Moon is an infinitely superior movie, and Mute is just “meh.”

Leo Spends His Adult Life, Away From Amish Paradise! 

Set in the year 2035, Mute introduces us to Leo (Alexander Skarsgard), a bartender working in Berlin who, thanks to a brutal childhood injury, no longer has vocal cords. He’s a true analog man in the sense that he’s formerly Amish, meaning he has serious apprehensions about modern technology. Despite this, he’s a productive member of society who shows up to work as a bartender, every day without fail. Also working at the bar is Leo’s girlfriend, Naadirah (Seyneb Saleh), who’s holding onto some sort of secret that will eventually blow up in everybody’s face.

Leo and Naadirah seem to have a great relationship, but things completely unravel when Naadirah disappears after Leo gets into a fight with one of their regular customers, Stuart (Noel Clarke), who gets a little too handsy with her even after she tells him how uncomfortable he’s making her.

Now that we have the main storyline out of the way, here’s where Mute loses the plot in the most unfortunate way. We’re introduced to Cactus Bill (Paul Rudd) and Duck (Justin Theroux), two black-market surgeons who get a ton of backstory that at first seems like a non sequitur, but it basically boils down to this: Bill is trying to leave Berlin with his daughter Josie (Mia-Sophie), while Duck wants to stick around because he has a side business that fuels some of his darker desires.

These storylines run separately for way too long before eventually converging in a way that finally makes sense. And trust me, there is a decent payoff here, but by the time it arrives, it feels like a too-little-too-late scenario. Paul Rudd goes dark here, and it’s a refreshing change of pace considering he was knee-deep in Ant-Man movies around this time. Cactus Bill and Duck’s relationship is a complex one, but most of their conversations stay frustratingly surface-level. That’s unfortunate because there’s clearly a lot of depth here that never fully gets explored, even though you can tell there’s plenty beneath the surface that needs unpacking.

Mute Is Neat To Look At, Moon Is 1000% Better

While there are some neat little Easter eggs that nod to Moon in Mute, namely references to the company Lunar Industries, you don’t need to watch both films together, and they can absolutely be treated as separate entities thematically. Moon spends all of its time in isolation, and it’s a story about ego death and clinging to humanity in a place where there is none. Mute is basically Blade Runner with more of a neo-noir bent.

Visually, Mute is absolutely stunning and ridiculously fun to look at. While I wasn’t a fan of the storytelling, the scenery is sprawling, complex, intrusive, and overstimulating in the best possible ways. It really feels like a futuristic hellhole I’m glad not to be living in, but it’s also clearly wearing its influences on its sleeve. However, this was Jones’ intention, meaning he was likely going for more of a homage than a straight-up style study, which is exactly how the film plays out.

Mute, compared to its brilliantly executed predecessor, is underwhelming on the storytelling front but still a visual feast full of neon-drenched cityscapes. I’ll probably throw this one on again in the future while doing idle activities like drawing, occasionally looking up just to soak in the scenery.

On a narrative level, though, this one really didn’t do much for me outside of making me wish the two main storylines intersected in a more meaningful way. It feels like two completely different movies playing side by side for most of the first two acts, which makes me wonder if there’s a more cohesive director’s cut floating around somewhere that fills in these narrative gaps.

Mute is a Netflix Original and can be streamed with an active subscription.

By Chris Sawin
| Published 47 seconds ago

Bear (Michael Johnston) has a crush on his childhood friend and co-worker Nikki (Inde Navarrette). It’s not just a little crush, as Bear has been in love with Nikki for as long as he can remember, but he can’t tell her how he feels. His best friend Ian (Cooper Tomlinson) and his girlfriend Sarah (Megan Lawless) encourage him to just tell Nikki how he feels, but he never capitalizes on the opportunity.

The four of them work at a music store together, and Nikki tells Bear she’s going to put in her two weeks because it feels like the right time to move on. One night, Bear is supposed to meet his friends for drinks, but stops at a new-age shop to get Nikki a gift. He winds up getting a One Wish Willow, a gag toy that seemingly grants wishes.

After Bear fumbles what is perhaps the widest opening anyone could have to tell their crush that they have feelings for them, he uses the One Wish Willow himself and wishes that Nikki loved him more than anyone in the world. Unfortunately for him, the toy actually grants his wish, but he never could have imagined the weight of a wish that heavy.  

Curry Barker’s Obsession Was Inspired By The Simpsons

This is Obsession, Curry Barker’s first theatrical feature film. He got his start on YouTube with Cooper Tomlinson as a part of the sketch comedy duo “that’s a bad idea.” In addition to comedy shorts, Barker also dabbled in horror. His directorial debut, Milk & Serial, was made in four months on an $800 budget. The film was released for free on YouTube, went viral, and is the reason Barker is a film director today.

Obsession was initially inspired by the “Treehouse of Horror II” episode of The Simpsons, specifically the segment where Bart finds a monkey’s paw that grants wishes. Conceptually, Obsession is a lot like Osgood Perkins’ The Monkey. Both films are about a cursed item or toy that does exactly what it’s advertised to do. But whereas Perkins’s film is practically built around a cast of asshole characters, essentially bridging the gap between unbelievable deaths, Obsession has a more coherent story; most of the characters are still selfish assholes, but the gore feels earned.

Deep Into Unrestrained Madness

For the first hour of Obsession, the film is mostly driven by dialogue that explores how the wish has affected Nikki, and by the slow reveal of just how deep into unrestrained madness Nikki has been thrust. It’s also safe to say that Inde Navarrette’s performance will make or break your opinion of the film. It’s a tricky situation because Navarrette does a stellar job of bringing this insanity to life, but there’s no arguing that she’s annoying as hell.

On one hand, that is kind of the point of Bear’s wish; that he’s bitten off more than he can chew, and we as the audience have to pay for that in some regard. But Navarrette’s screeching tantrums, as Nikki’s overwhelming clinginess overshadows the undeniable creepiness, unexpected moments of humor, and any other positive qualities this tiny $1 million supernatural horror film has.

What Obsession gets right about Nikki is that there seem to be momentary lapses with the wish where she regains control and has just enough time to scream, “What the f— am I doing” before jolting right back into Bear worship mode. Nikki’s reactions in the film are what keep it interesting. You never know how far she’s going to go because just when you think she’s crossed a line, she surpasses it in the next scene. This film treats Bear’s cat as if it’s auditioning for Bernie in Weekend at Bernie’s, and most of that is Nikki’s doing.

In addition to acting erratically and violently, Nikki basically starts glitching as if the wish is altering her perception of reality. Bear wakes up in the middle of the night to find Nikki standing in the far corner of the bedroom, hiding behind furniture in the darkness. She begins yelling and doing strange things with a flower vase before moving around the room unnaturally.

At Its Nastiest In Its Last Thirty Minutes

As mentioned previously, Obsession rides on dialogue and unsettling behavior for its first hour. This is noteworthy because the bright red movie standee for Obsession at the theater featured a quote calling the film a blood bath. Obsession is at its nastiest in its last 20-30 minutes. Without spoiling too much, Nikki really only mutilates two things throughout the film; herself, not included. She likes to come back around to the things she’s destroyed. Maybe it’s because there are things that Bear enjoyed that weren’t hers.

But that nastiness isn’t just referring to the blood spilled in Obsession. Bear’s friends reveal their true nature near the end of the film, and it’s at a pivotal moment in the story. Bear figures out a way to break the wish, but one of his friends lets him down big time. The film takes a huge swing with its finale, as its final moments are incredible. It’s bleak and devastating, but it’s also something the film builds up from the moment Bear walks into the store inquiring about the One Wish Willow.

Curry Barker has crafted something mostly special for an almost non-existent budget. The story is compelling, the acting is solid, and Obsession feels like a breath of fresh air in comparison to similar horror films. However, it’s disappointing that one shrill character trait nearly ruins the entire film. It’s because of this that Obsession will have to settle for being a well-made, well-written film dominated by one aggressively irritating character, which will hinder future rewatches much like Frank Darabont’s The Mist.

Obsession will be released in theaters on May 15 through Focus Features.