Entertainment

Only 8 Musical Biopics Can Be Considered True Masterpieces

Published

4 hours ago

13 May 2026

Elton John, played by actor Taron Egerton, on a private jet wearing a gold jacket and glasses in Rocketman.

Musical biopics are difficult to get right. Usually, they’re under so much pressure to please fans that they bend the truth or leave out key facts, flattening complex lives into neat, digestible arcs. Rather than being real flesh-and-blood people with deep flaws alongside their talents, their subjects are more often like waxworks at Madame Tussauds (a charge that some have leveled at the recently released Michael).

Nevertheless, a few of these films do a fine job. Seemingly doing the impossible, the musical biopics on this list capture the exhilarating highs of artistic creation alongside the psychological costs of fame. These films strive to reveal the real people behind the legendary songs, offering an intimate portrayal of larger-than-life figures.

‘Rocketman’ (2019)

“I’m still standing.” Rocketman rejects the traditional biopic structure almost immediately, framing Elton John’s life as a surreal, musical therapy session. It opens with Elton (Taron Egerton) entering rehab, dressed in one of his flamboyant stage outfits, before unraveling his past through elaborate fantasy sequences tied to his songs.

Instead of mechanically moving from the cookie-cutter beats of “childhood hardship” to “fame” to “addiction” to “redemption,” the film transforms the star’s inner life into a full-blown fantasy musical. Events are not presented as they happened, but as Elton experiences them. This approach allows the film to explore its subject’s mind in a way a straightforward narrative never could. On top of that, Egerton deserves praise for his remarkable performance: he’s convincing in the big dramatic moments and shows off great vocal chops to boot. His Oscar snub remains among the worst in recent memory.

‘Love & Mercy’ (2014)

Paul Dano as Brian Wilson wearing a headset and recording in a studio with others in Love & Mercy.

“I just wasn’t made for these times.” Paul Dano turns in a strong performance here as the young version of Beach Boys frontman Brian Wilson, while John Cusack is solid too as his older self. Like Rocketman, Love & Mercy gets a little experimental with its narrative structure, splitting the story across two timelines. One thread follows the young Wilson at the height of his creative powers, crafting the groundbreaking album Pet Sounds. The other focuses on an older Wilson, struggling under the control of a manipulative therapist (Paul Giamatti).

The movie’s treatment of mental illness is sensitive, in large part thanks to Dano’s fine work. He captures both Wilson’s childlike enthusiasm for music and the anxiety slowly consuming him. In particular, he really communicates the intensity of the musician’s creativity: the obsessive layering of sounds, the strange sonic experiments, and the near-spiritual pursuit of beauty.

‘Coal Miner’s Daughter’ (1980)

“I’m Loretta Lynn, and I sing.” Coal Miner’s Daughter follows Loretta Lynn (Sissy Spacek, disappearing into the role brilliantly) from her poor upbringing in rural Kentucky to her rise as one of country music’s most iconic voices. What sets it apart is its attention to detail. The early years are given as much weight as the later success; her struggles and growth are depicted honestly.

Director Michael Apted clearly tried to avoid both romanticization and judgment, which comes through most clearly in the way the movie explores Lynn’s marriage to Doolittle Lynn (Tommy Lee Jones). The relationship is loving, volatile, frustrating, and messy all at once. Doolittle helps launch Loretta’s career, yet he’s also controlling, immature, and frequently destructive. Jones’ complex performance refuses to flatten the man into either a pure villain or a supportive husband stereotype.

‘A Complete Unknown’ (2024)

Timothee Chalamet and Elle Fanning sit on front steps outside an apartment and smile in A Complete Unknown.

“People keep asking who I am. I’m still figuring that out.” A Complete Unknown focuses on only the early years of Bob Dylan‘s (Timothée Chalamet) career, which gives it more time to go deep. The young musician transitions from folk purist to something more ambiguous and controversial, and his ambitions place a strain on his professional relationships as well as his romance with Sylvie (Elle Fanning).

An Oscar-nominated Chalamet is handed an incredibly challenging role, but makes it look easy. On top of singing the songs himself and nailing them, he also captures Dylan’s infamously mercurial nature. The artist’s motivations remain partially obscured, his persona shifting depending on context. In the process, A Complete Unknown also creates a vivid snapshot of the cultural moment surrounding Dylan’s rise, including the expectations placed on him and the backlash to his artistic evolution.

‘Control’ (2007)

A man smoking a cigarette in front of buildings in Control

“Love will tear us apart.” Control tells the story of Ian Curtis (Sam Riley), the lead singer of Joy Division. We watch him rise from a quiet young man to the frontman of a band on the verge of breakthrough success, before his life unravels under the weight of illness and emotional turmoil. Here, director Anton Corbijn (who handled music videos for acts like Depeche Mode and Nirvana) strips the musical biopic down to something stark, almost skeletal.

Shot in black and white, the film feels intimate and unadorned, refusing the usual mythologizing that surrounds tragic artists. Instead, it focuses on Curtis as a person: he’s awkward, conflicted, often overwhelmed by forces he doesn’t fully understand. In particular, Riley especially excels at showing the disconnect between Curtis onstage and offstage. During performances, he becomes magnetic, yet away from the microphone, he seems exhausted and withdrawn.

‘Walk the Line’ (2005)

June Carter standing next to Johnny Cash on stage singing together in Walk the Line — Reese Witherspoon standing next to Joaquin Phoenix on stage singing together in Walk the Line

“Looks like you’re going to a funeral.” A Completer Unknown‘s James Mangold also directed Walk the Line, featuring Joaquin Phoenix as Johnny Cash. Based on two non-fiction biographies of Cash, we follow the Man in Black from his early years through his struggles with addiction and his relationship with June Carter (an Oscar-winning Reese Witherspoon). Their dynamic evolves naturally, shaped by mutual admiration and frustration, and their bond becomes the movie’s emotional core.

Both leads are fantastic, significantly elevating the film above the more standard biopic it might easily have been. At the same time, Mangold deserves props for the seamless way he integrates the music into the film, and how deftly he balances the story’s darker elements (particularly substance abuse and grief) with moments of warmth and humor. Walk the Line consistently frames Cash’s self-destruction as connected to unresolved trauma and spiritual emptiness.

‘La Vie en Rose’ (2007)

Edith Piaf (Marion Cotillard) sings into a microphone on stage while wearing a black dress and a cross necklace.

“I regret nothing.” Marion Cotillard took home the Best Actress Oscar for her work here as French singer Édith Piaf, and rightly so. She doesn’t so much play the musician as become her, capturing her voice and mannerisms with uncanny accuracy. Even more impressively, she recreates the star’s presence, the way she occupies space and, later, the way she carries pain. Indeed, few performers could convincingly portray the artist’s youthful fire and her physical collapse in old age. In the later scenes, Cotillard appears literally twisted from illness.

On the aesthetic side, in telling Piaf’s story, La Vie en Rose embraces a fragmented, almost impressionistic structure. Rather than following a linear timeline, it moves back and forth through her life, capturing moments of triumph and despair in equal measure, often one right after the other. Piaf’s rise from poverty to international fame is intertwined with personal loss, leading to an intense, almost surreal experience.

‘Amadeus’ (1984)

Tom Hulce as Mozart conducting in Amadeus

“God, why have you chosen me to suffer?” Amadeus reframes the life of Wolfgang Amadeus Mozart (Tom Hulce) through the eyes of his rival, Antonio Salieri (F. Murray Abraham). Salieri obsesses over Mozart, whose genius he both admires and resents. In the process, what could have been a dry history lesson instead becomes something intense and deeply psychological. It makes for a remarkable study of artistic ambition and seething resentment.

Both leads are excellent in very different ways. Abraham makes Salieri simultaneously sympathetic and monstrous, his envy slowly mutating into a kind of spiritual rage. Hulce, by contrast, is pure chaos: childish, impulsive, sexually immature, obnoxiously loud, and socially reckless, a far cry from the dignified marble-statue image often associated with classical composers. All in all, Amadeus is both sharply intelligent and endlessly entertaining, packed with great moments and, of course, powerful music.

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10 Greatest HBO Miniseries You’ll Wish You Watched Sooner

Published

12 minutes ago

13 May 2026

NewsAdmin

Amy Adams as Camille Preaker looking at something intently in Sharp Objects.

HBO has spent the better part of two decades convincing us that prestige television lives or dies with names like Tony Soprano, Carrie Bradshaw, and Daenerys Targaryen. But some of the network’s most rewatchable and memorable work has happened inside the strict containment of a single season.

Miniseries don’t have to wring a fifth installment out of a story that should’ve wrapped at the end of Season 1. They get in, gut you, and get out. Below are 10 that more than earn their place on this list, even if you slept on a few of them the first time around.

1

‘Sharp Objects’ (2018)

Amy Adams plays Camille Preaker, a St. Louis crime reporter dragged back to her dying Missouri hometown of Wind Gap to cover the murders of two young girls in this Gillian Flynn adaptation. Reuniting with her toxic mother (Patricia Clarkson, in a performance so toxic you’ll want to fumigate your TV) and an unsettling teenage half-sister she barely knows (Eliza Scanlen, also frighteningly good), Camille drinks her way through the assignment while peeling back layers of family dysfunction more horrifying than the case itself.

Jean-Marc Vallée’s eight-episode descent into Southern Gothic dread is the kind of show that gets under your fingernails. The director likes to linger on the details of Wind Gap — the sweat-splattered bodies of teenagers rollerblading down Main Street, the rotting wood of a plantation porch. He cuts past and present together so fluidly you sometimes don’t realize you’ve slipped into Camille’s traumatic memories until you’re already drowning in them, a tactic that pays off in the show’s nastiest reveals. Adams, who’d spent a career being cast as a bright young thing until this show, is doing something different here. She’s playing a woman who has clearly not eaten a real meal in years, carves words into her own skin, and flirts with a teenage suspect because she can’t resist the temptation to self-destruct. It’s truly thrilling to watch.

2

‘The Night Of’ (2016)

John Turturro speaking with Riz Ahmed in a jail cell in 'The Night Of'. — John Turturro speaking with Riz Ahmed in a jail cell in ‘The Night Of’.

Riz Ahmed plays Naz, a Pakistani-American college kid who borrows his dad’s cab to hit a Manhattan party, brings a beautiful stranger home, wakes up next to her bloody corpse, and proceeds to make every catastrophic decision the criminal justice system rewards with a Rikers Island bunk. From there, an eczema-ridden, sandal-wearing John Turturro takes over as Jack Stone, the bottom-feeder defense attorney who sees something in Naz worth fighting for. Eight slow, meticulous episodes that double as a procedural and an autopsy of how easily American justice grinds a brown kid into something unrecognizable follow.

Naz gets processed, gets a cellmate (Michael K. Williams, magnetic as always, playing a Rikers shot-caller who takes an interest in him), gets a neck tattoo, a heroin habit, and, eventually, gets very good at survival in a place he should never have ended up. Meanwhile, Stone is shuffling around Manhattan in those flip-flops, building a defense on phone records, autopsy timelines, and a dogged refusal to let his client become a statistic. Ahmed’s transformation is the spine of the whole thing, and Turturro is the heart. The finale doesn’t give you the catharsis you want, but it does give you something messier and truer to life, which is exactly why it works.

3

‘Watchmen’ (2019)

Sister Night with another masked officer and other policemen behind her in an open field in Watchmen

Damon Lindelof’s audacious sequel to Alan Moore’s graphic novel opens with the 1921 Tulsa Race Massacre and never quite lets up on our necks after that. Regina King plays Angela Abar, a Tulsa cop moonlighting as the masked vigilante Sister Night in an alternate America where police hide their identities behind hoods because white supremacists have made that necessary. Jeremy Irons mutters around an English manor, Jean Smart busts vigilantes and busts out homemade sex toys as an FBI agent with an axe to grind, and Tim Blake Nelson wears a reflective head sock with conviction.

Watchmen is nine episodes of pulpy, big-swing television that somehow manages to be a faithful comic-book sequel and a piercing meditation on American racial trauma at the same time. The episode “This Extraordinary Being” remains one of the most stunning hours of TV in the streaming era, and Trent Reznor and Atticus Ross’s score will haunt your driving playlist for years to come.

4

‘Chernobyl’ (2019)

Boris (Stellan Skarsgard) and Valery (Jared Harris) stand outside in 'Chernobyl.' — Boris (Stellan Skarsgård) and Valery (Jared Harris) stand outside in ‘Chernobyl.’

Who would’ve thought the guy who wrote The Hangover Part II had this in him? Craig Mazin pivoted from broad studio comedy to prestige drama and somehow delivered the most harrowing piece of historical reconstruction HBO’s ever put on the air. Across five episodes, Jared Harris (as Soviet scientist Valery Legasov), Stellan Skarsgård (as a reluctant Party functionary), and Emily Watson (as a composite scientist who refuses to swallow the official story) walk us through the infamous 1986 nuclear meltdown from the moment the reactor blows to the courtroom postmortem of who let it happen.

It’s bleak, obviously, but it’s also a masterclass in how to make policy malfeasance feel like edge-of-your-seat suspense. The cold open alone, Harris recording his confession before he hangs himself, ranks among the bleakest first scenes of any TV show. So, maybe try to watch this in two sittings?

5

‘Mare of Easttown’ (2021)

Kate Winslet stands outside the police station in Mare of Easttown.

Kate Winslet plays Mare Sheehan, a vape-puffing, Wawa-grazing, hoagie-clutching Delco detective in this moody crime drama that became something of a pop culture phenomenon when we were all confined to our couches during the COVID-19 lockdowns. She’s newly separated, still grieving the death of her son, sharing a house with a mom (Jean Smart, Emmy-winning per usual) who keeps pinching her sleep aids, and getting nagged by the entire town to solve the murder of a local teenager. Evan Peters drops in as a sweet outside detective brought in to help, Julianne Nicholson plays her best friend with surprisingly deep ties to the case, and Guy Pearce smolders through a side plot as the visiting professor-with-benefits.

Brad Ingelsby’s creation is a whodunit that isn’t really about the whodunit. Mare of Easttown earns its emotional gut-punch by treating everything from grief to opioid addiction and casual misogyny with the same importance as the central murder mystery. Winslet’s accent (the show’s most viral export) props up one of the best performances of her career, a woman who is bone-tired in every frame. By the end, you’ll totally understand why.

6

‘Empire Falls’ (2005)

Ed Harris and Paul Newman in 'Empire Falls' — Ed Harris and Paul Newman in ‘Empire Falls’

Adapted from Richard Russo’s Pulitzer-winning novel, this two-part Maine-set miniseries gathered Ed Harris, Helen Hunt, Paul Newman, Joanne Woodward, Aidan Quinn, Philip Seymour Hoffman, and Robin Wright into the orbit of a dying mill town and the diner that anchors it. Harris plays Miles Roby, a passive divorcé running the Empire Grill at the whim of a powerful matriarch (Woodward), while his deadbeat father (Newman, having an absolute ball) drinks and schemes around the margins. It’s a subtler, slower list entry, but one with a knockout supporting cast that reads like a roundup of America’s best character actors.

Newman is the obvious scene stealer, devilish and twinkly in what would become one of his last great roles, but Hoffman, in particular, gives a small, pre-Capote performance so fascinating that it functions as its own little movie. This show is the kind of mid-2000s prestige TV no one talks about anymore, but they really should.

7

‘The Young Pope’ (2016)

Diane Keaton and Jude Law in The Young Pope

Paolo Sorrentino dropped the most beautifully blasphemous show of the decade onto HBO, and most of America was too busy meme-ing the title to notice. In The Young Pope, Jude Law plays Lenny Belardo, a chain-smoking, Cherry Coke Zero-craving young American cardinal who’s just been elected the first U.S. pope, and who promptly reveals himself as the most reactionary pontiff in modern memory. Diane Keaton plays the nun who raised him in an American orphanage, wearing a habit and a Knicks jersey, sometimes simultaneously.

This is 10 episodes of Sorrentino in his element, delivering gorgeous visuals and monologues that land somewhere between profound and unhinged. Law’s performance is indulgent and eccentric and deliciously off-kilter. He should’ve won more awards for it. Instead, the show became a punchline before audiences realized it was funnier and weirder than anyone gave it credit for.

8

‘The Undoing’ (2020)

Hugh Grant and Nicole Kidman surrounded by the press in The Undoing.

David E. Kelley adapted Jean Hanff Korelitz’s novel into the most expensive-looking limited series of pandemic-era HBO with The Undoing. Nicole Kidman plays Grace Fraser, an Upper East Side therapist whose oncologist husband (Hugh Grant, in full reptilian-charm mode) becomes the prime suspect in the murder of a beautiful art-mom from their son’s private school. Donald Sutherland looms grandly as Grace’s wealthy father, his eyebrows doing most of the heavy lifting.

This show is a six-episode whodunit dressed in cashmere and filmed in townhomes and the lobbies of buildings most New Yorkers can’t afford to even walk past. The mystery itself is fine, though the ending is still divisive. But the real reason to watch is Grant’s mid-career renaissance, that floppy-haired rom-com lead now playing men whose surface charm conceals something rotten underneath. It’s a role he feels born to play, compliment intended.

9

‘The Investigation’ (2020)

theinvestigationhbo — HBO’s The Investigation

A Danish-Swedish co-production picked up by HBO, Tobias Lindholm’s six-part series fictionalizes the real-life investigation into the murder of journalist Kim Wall by Peter Madsen aboard his homemade submarine. Søren Malling plays detective Jens Møller, the patient, exhausted lead investigator working alongside divers, prosecutors, and Wall’s grieving parents to build a case against a defendant the show pointedly never names or shows on screen. That choice, refusing to give the killer a face or a single moment of screen time, is what elevates The Investigation above the parade of true-crime adaptations that have chased it.

Lindholm centers the victim and family, here, resisting the seductive impulse of serial-killer prestige TV. The show is sad, gray, and devastating, and a model for how the genre might responsibly exist going forward.

10

‘The Regime’ (2024)

Kate Winslet as Chancellor Elena Vernham in HBO's The Regime — Kate Winslet as Chancellor Elena Vernham in HBO’s The Regime

This Kate Winslet turn couldn’t be more different from her Philly-twanged hard-ass in Mare of Easttown. As Elena Vernham, the fictional dictator of a fictional Central European nation, who rules her marbled palace with the help of an ex-soldier (Matthias Schoenaerts) she essentially keeps as a pet, Winslet is at her most deranged. Across six episodes, she fears mold spores, communes with her father’s preserved corpse, croons Chicago at state functions, and drives her country off a slow, gilded cliff.

Will Tracy, the Succession alum behind The Menu, brings his signature brand of acidic political comedy to a show that pairs slapstick autocracy with genuine geopolitical dread, and Winslet is having a hell of a time, lisping and over-pronouncing her way through a performance she herself described playing “an awful, awful cow.” What’s not to like?

The Regime

Release Date: 2024 – 2024-00-00
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Showrunner: Will Tracy
Writers: Will Tracy

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Marvel’s Bloodiest Ever Disney+ Release Racks Up An Insane Body Count

Published

27 minutes ago

13 May 2026

NewsAdmin

Marvel’s Bloodiest Ever Disney+ Release Racks Up An Insane Body Count

By Chris Snellgrove
| Published 18 seconds ago

Jon Bernthal is really having a moment right now. Not only did his popular Punisher character return for Daredevil: Born Again Season 1, but he’ll be popping up on the big screen in Spider-Man: Brand New Day. That will mark the biggest, most substantial cameo any Marvel TV character has ever made in an MCU film. On top of that, this violent vigilante character just got his own TV special, The Punisher: One Last Kill. With the svelte runtime of a TV episode and the ambitious plotting of a short film, this movie provides plenty of action and drama while leaving you wanting more.

What is The Punisher: One Last Kill about? We catch up with Frank Castle after he has done what once seemed impossible: he’s killed everyone that had anything to do with the brutal murder of his family. After seemingly wiping out the Gnucci crime family, he is at a crossroads, unsure of what to do with his life now that he’s completed his quest for vengeance. But when Ma Gnucci (played by Judith Light) shows up and puts a bounty on his head large enough to attract every thug in the tricity area, the Punisher’s new purpose is simple: survive the day or die trying!

Straight Down The Barrel

If you’re a big fan of the original comics, you’ll quickly clock that One Last Kill is a very loose adaptation of the “Welcome Back, Frank” arc written by The Boys creator Garth Ennis. “Loose” is the keyword here, though. Since he’s already killed the rest of the family (something we later see through a hilariously violent flashback), Ma Gnucci is the only significant comic character who makes an appearance. She’s really just there to kick off a barebones plot that is (no points for guessing) just an excuse to have Punisher kicking a lot of ass onscreen.

The simplicity of the storytelling is really a double-edged blade here. On the one hand, this is the perfect TV movie for any Marvel fan who has ever complained about the TV shows feeling like homework because, after the prerequisite dramatic setup, The Punisher: One Last Kill descends into balls-to-the-wall action. On the other hand, if you’re actually invested in Frank Castle as a character, you’ll likely be disappointed at the relative lack of characterization and even resolution because this short film is laying the seeds for a new TV show that we may or may not even get.

A Bit Of The Old Ultraviolence

With that being said, this huge Frank Castle fan found the whole thing very enjoyable. To paraphrase Wolverine, The Punisher: One Last Kill is the best there is at what it does, but what it does isn’t very nice. The action is dynamic and intense, and there are several brutal, bloody kills that would give your favorite horror movie a run for its money, and it’s not just gunplay, either. While you do get to see Frank using a small arsenal of firearms, he also weaponizes everything from a baseball bat to his own burning body. Really, there’s so much chaos and carnage onscreen that the subtitle to this movie should have been “So Many Kills.”

The secret ingredient of The Punisher: One Last Kill is Jon Bernthal. He handles the emotional weight of his scenes (which include heartbreaking flashbacks to his family and an intense scene where he contemplates suicide) well, giving an otherwise one-note character a surprising amount of nuance and depth. The performance also sells the idea that Frank Castle is a tragic figure; someone who just wanted to be a family man before he was transformed into a living weapon. Frank’s rage is as righteous as it is terrifying to behold, and Bernthal sells every bloody moment of his character’s descent into a baptism of blood.

A Movie Worth Peeping At

Honestly, I was deeply surprised by the quality of The Punisher: One Last Kill. I thought this TV movie might be a vanity project at best (Bernthal cowrote the screenplay) or a boring filler episode at worst. Instead, the movie convinced me that Bernthal really understands Frank Castle’s character and how he is both driven by and tormented by his past. At the risk of sounding like a fanboy, it’s always rewarding to see a Marvel actor who (not unlike Ryan Reynolds with Deadpool) really loves his character and sees this job as more than an easy way to get a fat paycheck from Mickey Mouse.

Speaking of pleasant surprises, I was delighted by how well The Punisher: One Last Kill functions as a standalone film. For the most part, you don’t need to have watched Daredevil: Born Again or the previous Punisher series for this story to make sense. That means that Marvel gets to effectively have it both ways. Existing fans of the character will love seeing Frank Castle fighting his demons and delivering vigilante justice, one bullet after another. Meanwhile, those fans can use this movie to introduce their friends to the character, growing the Punisher fandom before he pops up again in Spider-Man: Brand New Day.

The Punisher: One Last Kill is a movie that plays for keeps, and nobody (including, sadly, the world’s cutest doggie) onscreen is ever truly safe. There are no quips, no comic sidekicks, and no mustache-twirling villains.

Instead, this is Marvel’s tribute to John Wick, and it focuses on one of the most brutally compelling characters in the entire MCU. No need to reload your remote. You’ve already got batteries in the chamber. Just aim at your TV and fire up Disney+ to watch the absolute bloodiest thing Marvel has ever put on television.

THE PUNISHER: ONE LAST KILL SCORE

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‘House of the Dragon’ Season 3 Officially Reveals One of House Stark’s Most Legendary Warriors

Published

41 minutes ago

13 May 2026

NewsAdmin

The first family of Westeros might well be the Targaryens, but in our hearts it’s always going to be the tragic, brave, constantly murdered Starks. They might not be the flashiest of families but when one loyal to them appears we all sit up and take notice. Now, with House of the Dragon heading for the bloodiest part of the Dance of the Dragons, HBO has given us a first look at one of the most famous Northern figures in the history of the continent.

At today’s upfront, HBO’s tease of the third season of the series gave us a tantalizing glimpse at Alysanne “Black Aly” Blackwood, one of the most anticipated non-Targaryen characters from George R.R. Martin’s Fire & Blood. Played by Annie Shapero, Black Aly is briefly seen riding into battle alongside Oscar Tully, covered in House Blackwood colors with black paint smeared across her eyes. Cool.

Black Aly is one of the noblewomen of House Blackwood and one of the fiercest warriors in the history of Westeros. She’s also a skilled archer and a key supporter of Queen Rhaenyra Targaryen’s claim, taking command of the Black Army’s archers during the brutal Riverlands campaign. She’s also the aunt of the young Lord Benjicot Blackwood, whose house is already involved in this dragon nonsense.

Who Stars in ‘House of the Dragon’?

The cast of House of the Dragon includes Emma D’Arcy (Truth Seekers, Wanderlust) as Queen Rhaenyra Targaryen, Olivia Cooke (Ready Player One, Bates Motel) as Alicent Hightower, Matt Smith (Doctor Who, The Crown) as Daemon Targaryen, Fabien Frankel (The Serpent, Last Christmas) as Ser Criston Cole, Tom Glynn-Carney (Dunkirk, The King) as King Aegon II Targaryen, Ewan Mitchell (The Last Kingdom, Saltburn) as Prince Aemond Targaryen, Steve Toussaint (Prince of Persia: The Sands of Time, Small Axe) as Lord Corlys Velaryon, Bethany Antonia (Get Even, Stay Close) as Baela Targaryen, Phoebe Campbell (Midsomer Murders, Home from Home) as Rhaena Targaryen, and Tom Taylor (The Dark Tower, Doctor Foster) as Cregan Stark.

The third season will be made up of eight episodes, which will air weekly following its premiere next month. And HBO has already announced that the series will conclude with Season 4, which we think will turn up in 2028. But knowing George R. R. Martin, that could be 2048.

House of the Dragon Season 3 premieres June 21 on HBO and HBO Max.

Release Date: August 21, 2022
Network: Advertisement

HBO
Showrunner: George R.R. Martin
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Directors: Clare Kilner, Geeta Patel
Writers: Gabe Fonseca

Fabien Frankel
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Netflix Officially Announces New ‘KPop Demon Hunters’ Project for 2026

Published

56 minutes ago

13 May 2026

NewsAdmin

Netflix stumbled upon a goldmine when it comes to KPop Demon Hunters, a movie that was discarded by Sony Pictures and picked up like a lucky penny for the streamer. What’s more, it turned itself into a full-blown cultural phenomenon by bringing fans into this magical world and making them feel like part of HUNTR/X. Well, now, fans are going to get the chance to feel a little of that golden concert energy for themselves.

Netflix has announced that they’re teaming with AEG Presents and launching a concert tour based around the two-time Oscar-winning animated film by Maggie Kang and Chris Appelhans. Netflix has described it as a major worldwide event that will bring the Golden songs to life. Cities, dates, and ticket on-sale details have not been announced yet but fans should keep their eyes peeled for more information soon.

The tour is basically a real-life version of HUNTR/X, the stars at the center of the movie. In the film, their concerts have the dual purpose of wowing fans but also providing enough Honmoon magic and love to, you know, keep demons away and stuff. So that’s a bit more pressure than just a set list. And the upcoming concert tour will give fans a chance to experience that energy in real life, though ideally with fewer actual demons in the crowd.

What Is ‘KPop Demon Hunters’ About?

KPop Demon Hunters follows HUNTR/X, a global K-pop group whose members secretly protect their fans from supernatural threats when they are not busy selling out stadiums. Their biggest challenge comes when they face Saja Boys, one of those irritating but irresistible rival boy bands who happen to be demons in disguise.

For now, fans will have to wait for the official cities, dates, and ticket details. But HUNTR/X is officially getting ready to go global, and if the movie taught us anything, it is that a loud enough crowd can do some serious damage.

KPop Demon Hunters is streaming on Netflix. The global concert tour waitlist is open now, with cities and ticket details to be announced later this year.

Release Date: June 20, 2025
Runtime: Advertisement

96 minutes
Director: Chris Appelhans, Maggie Kang
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Writers: Hannah McMechan, Chris Appelhans, Maggie Kang, Danya Jimenez
Producers: Michelle Wong

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Invasive, R-Rated Netflix Thriller Will Infiltrate Your Safe Space And Destroy Your Life

Published

1 hour ago

13 May 2026

NewsAdmin

Invasive, R-Rated Netflix Thriller Will Infiltrate Your Safe Space And Destroy Your Life

By Robert Scucci
| Published 4 seconds ago

2020’s The Occupant, when you break it down, is essentially the Spanish-language answer to films like the 2019 Korean-language satire, Parasite. If you’re looking for an English-language variation on similar themes, you could also point to 1991’s The People Under the Stairs (1991) or Jordan Peele’s Us (2019). All of these films are about haves versus have nots, and the desperate, oftentimes insane measures people take when they feel like society has wronged them.

This is obviously a universal theme because this kind of push and pull transcends languages and cultures, which is why this particular subset of psychological thrillers can get under your skin so easily, especially if you don’t quite belong to either camp. I’ve lived paycheck to paycheck at a few different points in my life, but I’ve never gotten to the point where I’ve been evicted from my apartment and become obsessed with the new tenant who took my place like in The Occupant.

Watching films like The Occupant, I feel like a helpless spectator because I don’t belong to either world. I rent an apartment and have a crappy electric oven, which kind of sucks, but I’m also not going to sneak into a wealthy acquaintance’s house while he’s away so I can use his gas range and start seducing his wife either. Sitting on the sidelines, all you can do is hope that the film’s protagonist comes to his senses before he does something incredibly stupid.

Like Parasite, But Tells Its Own Story

Parasite tells the story of an impoverished family who slowly infiltrates a much wealthier household over the course of several weeks. One family member lands a tutoring job, and slowly refers the others for various odd jobs around the house. Over time, they essentially “move in” and live like wealthy people whenever the owners are out. It’s a horrifying look at how quickly desperation can spiral into entitlement once people start convincing themselves they deserve a lifestyle they never earned.

It’s also worth mentioning that Parasite is a dark comedy, meaning it has fun with its satire while pointing to larger systemic issues involving working-class families trying to get a fair shake in life. One of the film’s biggest subversions is that the wealthy family are not cartoon villains. They’re just wealthy people who don’t realize they’re being manipulated by people they trusted.

The Occupant, however, goes incredibly dark, and there’s nothing funny about what’s happening here. When we’re introduced to Javier Munoz (Javier Gutierrez), he’s selling his pristine luxury apartment after losing his executive job and realizing he can no longer afford to live there. He moves into an apartment he believes is beneath him with his wife Marga (Ruth Diaz) and son Dani (Christian Munoz). Instead of getting introspective or figuring out how to improve his situation, Javier becomes obsessed with the man who moved into his old home, Tomas (Mario Casas).

Tomas is, by all measures, a decent guy. He has a troubled past, but he’s also a recovered alcoholic doing his best to keep his life together. Javier learns this after sneaking into the apartment and finding Alcoholics Anonymous chips that track his sobriety milestones in Tomas’ desk drawer. Tomas is happily married to his wife Lara (Bruna Cusi), and together they have a daughter named Monica (Iris Vallés Torres). In Javier’s mind, this is the idyllic family he deserves to have for himself.

Now that Javier has Tomas in his crosshairs, as well as the completely irrational desire to move back into his old home, he gets to work sabotaging Tomas’ life. He starts attending Tomas’ AA meetings and shares fabricated stories about his own troubled past. Slowly, he gains Tomas’ trust, and the two become friends. While Tomas and his family are out for the day, Javier lets himself into the apartment and pretends he still lives there. As you’d expect, Javier’s behavior escalates, and he starts manipulating Tomas’ family into believing he’s a terrible person who can’t keep his vices in check.

As Javier gains the upper hand with Tomas’ family, his own personal life slowly falls apart, but he doesn’t care. He’s so obsessively fixated on becoming a have instead of a have-not that he turns into the absolute worst version of himself and eventually pushes himself past the point of no return.

A Slow Burn Procedural Thriller

One thing I really appreciated about The Occupant is how little room there is for ambiguity. Javier’s fall from grace feels inevitable from the start, but we still get to watch him escalate over time. Meanwhile, Tomas remains completely clueless to the fact that Javier is manipulating him every step of the way while he’s genuinely trying to be a good husband, father, and productive member of society. Tomas isn’t perfect, but he doesn’t deserve what Javier is doing to him.

Javier can’t see things that way, though. In his mind, he already “made it” and had the perfect life, only for it to be ripped away from him. Because of that, he views Tomas as an enemy who needs to be eliminated. Instead of looking inward and trying to rebuild his own life, he dedicates all of his energy toward destroying somebody else simply because they’re living the life he thinks should still belong to him. It’s terrifying how much time and effort he’s willing to spend sabotaging Tomas when he could have used that same energy to improve his own situation instead.

The Occupant is far from an easy watch, but it’s such an effective thriller because you keep waiting for Javier to stop, and he doubles down every single time. It creates the same feeling you get in a horror movie when somebody decides to investigate the creepy basement even though you already know there’s no coming back once they reach the bottom of the stairs.

It’s also terrifying to think about somebody secretly living in your home while you’re away at work all day. If you want to experience the fear of checking behind your shower curtain every time you walk into the bathroom, you can stream The Occupant on Netflix with an active subscription.

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The Netflix Sci-Fi Thriller Series Battlestar Galactica Fans Need To Check Out

Published

1 hour ago

13 May 2026

NewsAdmin

The Netflix Sci-Fi Thriller Series Battlestar Galactica Fans Need To Check Out

By Sckylar Gibby-Brown
| Published 1 hour ago

If you fell in love with Katee Sackhoff in Battlestar Galactica, you’ll love the Netflix sci-fi series Another Life. Sackhoff, who played possibly the most iconic character in Battlestar Galactica, stars as Captain Niko Breckinridge in the interstellar streaming series. And just like the space military sci-fi show from the early 2000s, Another Life also focuses on interstellar exploration, complex characters and relationships, and themes of survival.

Another Life is a science fiction drama TV series created by Aaron Martin. The show dives into the complexities of space travel, human relationships, and the quest for understanding the universe’s mysteries.

As the series unfolded over its two-season run from 2019 to 2021, it sparked conversations among audiences and critics alike, earning both praise and criticism for its ambitious narrative and thematic scope.

Another Life kicks off with a mysterious event: an unidentified flying object resembling a large Möbius strip lands on Earth, accompanied by the growth of a crystalline tower. Dr. Erik Wallace (Justin Chatwin), a scientist with the United States Interstellar Command (USIC), plans to decipher the alien structure’s purpose and origin. Meanwhile, his wife, veteran astronaut Captain Niko Breckinridge (Katee Sackhoff), spearheads the mission aboard the spaceship Salvare.

Tasked with establishing contact with the extraterrestrial beings behind the artifact, Niko navigates the vastness of space alongside a diverse crew of specialists, each carrying their own burdens and aspirations. From faster-than-light travel to encounters with sentient artificial intelligence, the journey of the Salvare intertwines personal drama with cosmic exploration, as Another Life illuminates the fragile threads binding humanity to the cosmos.

Katee Sackhoff leads the charge as the main character, Captain Niko Breckinridge, in Another Life. She’s a determined astronaut haunted by the tragedies of her past. Alongside her, Justin Chatwin portrays Dr. Erik Wallace, a relentless scientist driven by the pursuit of extraterrestrial life.

The rest of the cast of Another Life is made up of the crew of the Salvare, which includes Samuel Anderson as William, the holographic interface imbued with humanity; Blu Hunt as August Catawnee, the resilient engineer grappling with loss; and A.J. Rivera as Bernie Martinez, the microbiologist with a flair for culinary arts.

Other notable characters include Jake Abel as Sasha Harrison, Alex Ozerov as Oliver Sokolov, and Alexander Eling as Javier Almanzar, each contributing their expertise to the mission’s success.

Netflix greenlit Another Life in April 2018, commissioning a ten-episode first season helmed by creator Aaron Martin. The production team spared no expense in bringing the show’s ambitious vision to life, blending practical effects with cutting-edge visual effects to immerse viewers in the wonders of space exploration. Despite facing challenges such as the COVID-19 pandemic, the cast and crew persevered, delivering a captivating narrative that tried to push the boundaries of the genre.

Despite their efforts, the series proved not to be for everyone. Critics, in particular, showed a deep dislike for Another Life, with only 18 critics rating the first season and an approval rating of only 6 percent. Meanwhile, the second season failed to garner enough reviews from critics to yield an approval rating.

The general consensus among critics who watched Another Life was that the series lacked a distinctive identity amid its homage to science fiction tropes. Despite the show’s critical reception, it found a dedicated fanbase among a general audience drawn to its blend of suspenseful storytelling and character-driven drama.

You can stream Another Life on Netflix.

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DC’s Weirdest Ever Movie May Finally Do What Marvel Can’t

Published

2 hours ago

13 May 2026

NewsAdmin

DC’s Weirdest Ever Movie May Finally Do What Marvel Can’t

By Chris Snellgrove
| Published 21 seconds ago

The recent Clayface teaser has fans buzzing, and for good reason. The entire thing is atmospheric, moody, and downright creepy. It doesn’t look like an advertisement for a superhero movie at all, and that’s the point.

Cowritten by Mike Flanigan (the spooky maestro behind killer shows like Midnight Mass and Fall of the House of Usher), Clayface has been designed primarily as a horror movie. This will be a first for DC, and this means that the upcoming film will (regardless of its final quality) become part of superhero history.

However, the movie is also set to make history in a very different way. DC has always tried to distinguish itself from Marvel, first by making the DCEU into a dark-and-gritty dudebro fest and later by making the DCU feel more like the futuristic, alternate universe of the comics. With Clayface, DC is set to finally set itself apart by doing the one thing Marvel refuses to do: release different kinds of tights-and-flights films rather than ultimately turning everything into generic superhero slop.

The Copycat Loses It All

Back before the days of superhero fatigue, it seemed like the MCU was practically printing money, with one hit after another raking in over a billion dollars at the box office. As it turned out, fans really, really liked seeing superheroes onscreen together as part of a cinematic universe. Warner Bros. tried to replicate this magic with the DCEU, but everything fell apart. Mainstream audiences rejected movies that felt like a Temu MCU, and they particularly hated the one thing that set the DCEU apart: its focus on gritty, humorless characters and needlessly brutal ultraviolence.

While it outlasted the DCEU (not exactly a difficult accomplishment), the MCU’s shine eventually wore off. These films stopped raking in cash, with some projects actually losing money. The common explanation is superhero fatigue, but I have a theory that audiences hate the “super” while still liking the “hero.” That is, they are happy to watch different kinds of heroes (including Daredevil and Loki), but they hate the glut of movies and TV shows that eventually become nothing more than flying characters firing goofy laser bolts at each other until someone falls down.

Marvel running from its own generic machinations, or *Clayface* teaser?

What does this have to do with Clayface, you say? Well, this movie is on track to be DC’s first horror movie. It’s also their fourth major project (after Joker, Joker: Folie à Deux, and Penguin) to focus on a villain rather than a hero. While Folie à Deux was a critical and commercial bomb, Joker made over a billion dollars at the box office, and Penguin is a Golden Globe and Emmy-winning hit TV show. Should Clayface prove to be a hit (and right now, it has plenty of buzz), Warner Bros. will have solidified itself as the home of unconventional superhero cinema that goes beyond the typical tights-and-flights formulaic storytelling.

Marvel’s Eternal Formula

Weirdly enough, this is something Marvel has never really managed to do. Almost every major MCU project focuses on its heroes, who are rarely allowed to have any nuance or shades of grey because that would get in the way of the next memeable, t-shirt-ready quip. Plus, the third act of these projects always descends into a CGI slugfest with the graphical fidelity of a PS3 cutscene. Marvel considers it part of their essential formula, but these inevitable showdowns make their projects predictable. Moreover, the resistance to changing this formula has held back certain shows and films that were otherwise trying to do something new.

For example, WandaVision was this visionary, genre-defying TV show, but it still had an Avengers-lite ending where Scarlet Witch fired badly-rendered energy blasts at Agatha Harkness. The Eternals had an Oscar-winning director and nominally focused on the crunchy intersection of immortality and identity, but it still ended with a CGI-laden showdown against made-in-China Superman. Black Panther tried to examine the evils of both capitalism and colonialism, but the day was inexplicably saved by lasers (half of which were fired by the CIA!). Doctor Strange and the Multiverse of Madness was meant to be a horror movie, but all anyone remembers is Professor X’s hover chair and Jim from The Office in a Fantastic Four uniform.

For Marvel productions, it is functionally impossible for writers and directors to escape the superhero formula. DC, meanwhile, keeps making something different, including bizarre thrillers like Joker and Seven-style forensics features like The Batman. Now, Clayface is set to be DC’s first horror movie, and its very existence proves something important. While Marvel’s House of Ideas has clearly run out of steam, DC is now the once and future home of superhero movies that step outside of the traditional formula. Its success might be enough to prove that superhero fatigue doesn’t really exist and that the public is starving for something Marvel can no longer deliver: genuinely surprising genre entertainment.

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General Hospital Early Spoilers May 18-22: Carly Panics Desperately & Sidwell Loses Control!

Published

2 hours ago

13 May 2026

NewsAdmin

General Hospital Spoilers: Carly Spencer (Laura Wright) - Jenz Sidwell (Carlo Rota)

General Hospital early weekly spoilers for May 18th – 22nd see Carly Spencer (Laura Wright) increasingly desperate while Jenz Sidwell (Carlo Rota) loses it over sloppy people messing all of his carefully laid plans up because they are just out of control.

We’re going to talk about Carly, Sidwell, Drew Cain Quartermaine (Cameron Mathison), Michael Corinthos (Rory Gibson), and a whole bunch of others. And as we always do on early edition day, we start with what is happening the rest of this week before we dive into what is coming next week. So, let’s get right to it.

General Hospital Spoilers: Wednesday, May 13th

On Wednesday, May 13th, we’ve got Sidwell meeting with Willow Tait Cain (Katelyn MacMullen). He summons her out to Wyndemere and tells her that the moment that if Drew can communicate, she is done. I wonder if Willow already gave him his next shot, but that may not matter because Elizabeth Webber (Rebecca Herbst) is figuring things out thanks to Jack Brennan‘s (Chris McKenna) stroke. So, I’m wondering if Sidwell is going to suggest that it’s time to enact a more permanent solution to the Drew problem since we know that Sidwell wants him dead. Plus, if Willow is not useful to Sidwell, then he may need a permanent solution for her, too.

Curtis Ashford’s (Donnell Turner) concerns about Jordan Ashford (Tanisha Harper) intensify. She actually hopes it’s not Isaiah that was the other driver. And at this point, it seems like he’s not because I doubt he would risk Rocco Falconeri (Finn Carr) and Lulu Spencer (Alexa Havins Bruening), his best friend Lucky Spencer (Jonathan Jackson) sister and nephew, if Isaiah really was involved, because he could simply lie and say he didn’t even know there was a wreck at the time, but they are his alibi. That seems legit. Curtis tells Jordan he’s going to make sure that Isaiah answers for this. And at this point, I think he’s tried and convicted Isaiah for the crash that Curtis and Jordan brought on themselves.

GH Spoilers: Michael Loops Jacinda in

Michael tells Jacinda Bracken (Paige Herschell) what he’s planning, which is to destroy Willow by setting her and Harrison Chase (Josh Swickard) up for a fling. I bet Justinda would help. But my question is, was it Michael hiding in the bushes, creeping on Willow and Chase in the park, taking photos, or did he hire that private investigator who’s got the cute little dog?

Ethan Lovett (Nathan Parsons) invites Kristina Corinthos Davis (Kate Mansi) to do something. I feel like it’s not a date. Maybe it’s Ethan on a fishing expedition to find out more about Sidwell since Kristina knew Marco. I don’t think Ethan’s conspiring against Sonny Corinthos (Maurice Benard), but I do think Ethan is using Sonny.

Also, Alexis Davis (Nancy Lee Grahn) tells Chase and Brooklyn to take care of something before they file to try and adopt Phoebe. Also, Isaiah tells Portia he is not going to frame himself for something he didn’t do. So, I wonder if Isaiah confides in Portia as much as he can without getting people in trouble, without naming names, violating his Hippocratic oath.

Isaiah may admit that the patient he saw did something illegal and he doesn’t want to out them as their alibi, but Isaiah also doesn’t want to take the blame. So Lulu may need to talk to Dante Falconeri (Dominic Zamprogna) about Isaiah after the conversation they have.

Over at General Hospital, Lucas tells Britt Westbourne (Kelly Thiebaud) they have to be sure because there will be no going back. And this week, Lucas is over at Britt’s room above Bobby’s Diner, and they’re getting smashed doing shots together. So, maybe they need to unwind after whatever stressful thing that they are dealing with.

Thursday, May 14th

On Thursday, May 14th, Dante has a difficult conversation. I’m guessing it’s with Rocco Falconeri about him shooting Cullum. I’m sure that Dante wants to know why Rocco thought he couldn’t come to him. But of course, Jason Morgan (Steve Burton), not Nathan, and Lulu took over and silenced Rocco. I think this could be good for Dante to have this talk because Rocco really needs him after he just fell apart with Britt.

Tracy is furious on Thursday, and I wonder if there’s any chance she finds out what Michael is plotting against Brook Lynn, or knowing Tracy, it could be almost anything. She has a hair trigger temper. Plus, Britt is mulling over her options, and that could be about Cullum, the meds, cold fusion, Rocco, everything. Laura explains her actions, and I wonder if Curtis is back to complain about Isaiah and press Laura to use her influence to get a warrant, or it could be with Sidwell.

Plus, Carly interrogates Nina Reeves (Cynthia Watros). And of course, she knows exactly what happened at Willow’s because Valentin Cassadine (James Patrick Stuart) told her, but Nina doesn’t know that Valentin has been hiding out with Carly. So, I think she’s going to head up to General Hospital to see Jack since nobody else knows they broke up. And she’s going to see Nina there and grill her. And I’m really interested to see how many lies that she tells Carly.

Friday, May 15th

On Friday, May 15th, we have Elizabeth having something important to tell Dante. And I expect Liz is going to tell Dante that she thinks it’s very strange that two different men came into General Hospital with stroke like symptoms and both of these incidences happened at Willow’s house. Plus, Liz may also tell Dante that Drew was blinking SOS and then Willow refused to help him communicate.

General Hospital Spoilers: Alexis and Ric Unite

Alexis and Ric Lansing (Rick Hearst) unite for Molly. This may be about her book tour. I wonder if they’re concerned about Cody going along with Molly. Cassius Faison (Ryan Paevey) opens up to somebody unlikely. If he’s smart, it won’t be somebody who knows the real Nathan that well, but maybe it’s Josslyn Jacks (Eden McCoy) since she knows who he is. Cullum gets nowhere with Carly. So, she’s stonewalling.

And it could be that Cullum is grilling her about what happened to Brennan, but she wasn’t with him. So Carly can legit say, “I wasn’t there. I don’t know what happened.” Valentin comes up with a strategy and it may be about how to find Josslyn or what to do about this Brennan mess.

General Hospital Spoilers: Week of May 18th-22nd

Then we’ve got the week of May 18th through the 22nd. And by the way, sweeps ends on Wednesday, May 20th. So we will have three big days before things settle back down into the usual pace. We might finally see some movement with Drew. No pun intended. Curtis isn’t done targeting Isaiah.

He seems fixated and Portia is going to be ticked when she finds out. I’m expecting explosive things at the baby shower. Willow and Nina scramble where Drew is concerned, but things are falling apart. Michael’s plan to push Willow and Chase together is in motion. Cassius is trying to get back in Lulu’s good graces. And Cassius told Dante that the two of them are done. But in the end, I don’t think Cassius is going to let Lulu go that easily.

Dante’s in a difficult position, and we may see Lulu telling him that Isaiah knows about Rocco’s injury, which means Isaiah likely knows their kid shot Cullum because of the nature of the slide burn and the timing of it. So, Dante may actually have to shield Isaiah. And Lulu may warn Dante, you’re in this now. Step up. I do suspect he’s also going to look into Willow after talking to Elizabeth.

General Hospital Spoilers:

I think Dante should actually go over and see Drew for himself. We’ll also have to wait and see if Rocco rats out Charlotte and Danny to Lulu and Dante to stop the Spoon Island caper. Carly is absolutely determined to find Josslyn. And we’ll see how long until Sidwell and Cullum realize Cassius snatched Joss and stuck her in the catacombs under Spoon Island.

Also, we’ve got some casting news, an update. Jonathan Bennett debuts on Monday, May 18th as police officer Joe Fitzpatrick. He’s going to be part of the PCPD. So, I wonder if Dante suspends Not Nathan over the Rocco stuff. You know, we’ll have to wait and see if Joe’s a replacement for somebody or just a new addition. He could be a replacement for Dante since it looks like he is staying as commissioner. You may recognize Jonathan Bennett from a ton of Hallmark Christmas movies and from All My Children, where he played JR Chandler.

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What to Know About Jason Collins’ Husband Brunson Green

Published

2 hours ago

13 May 2026

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1st Openly Gay NBA Player Jason Collins Dead at 47 Following a Battle With Brain Cancer

Late NBA star Jason Collins is survived by his partner of 13 years, husband Brunson Green.

Collins, the first openly gay NBA athlete, died in May 2026.

“We are heartbroken to share that Jason Collins, our beloved husband, son, brother and uncle, has died after a valiant fight with glioblastoma,” the athlete’s family told the NBA in a statement. “Jason changed lives in unexpected ways and was an inspiration to all who knew him and to those who admired him from afar.”

The statement continued, “We are grateful for the outpouring of love and prayers over the past eight months and for the exceptional medical care Jason received from his doctors and nurses. Our family will miss him dearly.”

Collins publicly came out as gay in 2013, one year before retiring from pro basketball.

“When I chose to come out, there was no scandal or anything,” Collins wrote in a December 2025 essay for ESPN. “This was like, I feel that I am good enough to play in the NBA and by the way, I’m gay. Just so everyone knows cards on the table, this is where I am.”

Collins started dating Green that same year. They wed in May 2025.

Keep scrolling to learn more about Collins’ husband:

How Did Jason Collins and Brunson Green Meet?

Collins and Green were introduced months after the pro athlete publicly came out as gay.

“We first met at a housewarming party last June, but I was dating someone else at the time,” Collins told The New York Times in June 2014. “Fast-forward to September, I’m single again, and I see him at a party in L.A. So we exchange information because he was leaving for Europe the next day. But while he was gone, I was asking everyone: Have you heard of this guy? The background check.”

Collins and Green were together for a decade before tying the knot in May 2025.

Brunson Green Is a Movie Producer

Green has worked as a film producer for decades, working on movies like 2011’s The Help.

“Well, we met in Mississippi through a mutual friend, and the only reason she introduced us was because he was interested in working in film and our mutual friend was like, ‘Brunson is coming into town and he works in film,’” Green told Collider at the time, referring to Tate Taylor. “So, she asked us to go to this blues festival together, and that’s when we first met. We had a lot of mutual friends, but we went to different high schools, so we didn’t know each other as kids. Our parents knew each other, but it was rival high schools.”

Green added, “So, our first conversation was about film. I suggested that he go work on this movie called A Time to Kill, which was shooting in Jackson, and he worked on that and met Octavia [Spencer] on that movie. It’s weird that that one friend of ours in Mississippi, who put us together, is the whole reason Tate met Octavia, and then they all moved to L.A. We’re here because of friendship. It’s cool.”

Brunson Green Supported Jason Collins During His Cancer Battle

Collins was diagnosed with stage IV glioblastoma, a form of brain cancer, in 2025. Green stood by his side throughout his treatment.

“Even when fighting brain cancer, you have to recharge and @thesanchaya is the perfect getaway to do that,” Collins wrote via Instagram in November 2025. “Very relaxing birthday weekend for @brunsong & me. ❤️🏝️☀️😎💪🏾🙌🏾.”

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Vita Coco x Baboon to the Moon Limited Edition Luggage Is a Must-See

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2 hours ago

13 May 2026

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Vita Coco x Baboon to the Moon Limited Edition Luggage Is a Must-See

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Does your luggage bag (and its tag) feel more tired than tropical? Then you need to check out the new Vita Coco x Baboon to the Moon collection. Inspired by Vita Coco Treats’ new Frosted Lemonade flavor, the limited-edition collection transforms three practical travel essentials into sunshine-ready accessories that basically ooze vacation.

The Sweet Escape Essentials collection combines Baboon to the Moon’s beloved travel bags and tags with playful details inspired by Vita Coco Frosted Lemonade, including bright yellow colorways, embroidered coconut accents, and custom interior linings.

Whether you’re planning a tropical getaway or just want your commute to be slightly more fun, you’ll love this cheerful capsule. But hurry! The collaboration is limited edition, so snag your favorites before they disappear.

Vita Coco Go-Bag Mini

The Go-Bag Mini is the perfect personal-item-sized companion for quick trips. It fits up to three days’ worth of clothing while still sliding under the seat in front of you, making it ideal for long weekends and overnight stays alike. Plus, the glossy lemon finish makes spotting your bag in a sea of black carry-ons way easier.

Get the Vita Coco Go-Bag Mini at Baboon to the Moon!

Vita Coco Go-Bag Roller

Need something a little roomier? The Go-Bag Roller was made to move with you, and can go from a backpack to a roller in a snap. The weather-resistant bag features compression straps, a handy laptop sleeve, and comfortably fits three to five days’ worth of clothing.

Get the Vita Coco Go-Bag Roller at Baboon to the Moon!

Vita Coco Luggage Tag

No travel setup is complete without the matching luggage tag, and this one leans into the collection’s playful personality. It’s made from soft, flexible silicone and is durable enough to survive baggage claim while adding an easy-to-spot pop of color to your suitcase. The back even reads ‘Get Lost.’ How cheeky!

Get the Vita Cocoa Luggage Tag at Baboon to the Moon!

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