Entertainment
18 Most Extremely R-Rated, Ultra-Graphic, Sci-Fi TV Shows
By Jonathan Klotz and Joshua Tyler | Updated
There was a time when watching sci-fi on television meant keeping things PG-13, and only in movies could you see content that went to the edge. That began to change with the introduction of pay cable, and that line was obliterated in the early 2000s by peak TV. Now, some of the most graphic, most extreme, crazy, gory, and messed-up things ever displayed on a screen can be found in science fiction television.
If you’re looking for TV shows that go hard, we’ve got you covered. These are the most graphic sci-fi TV shows of all time, ranked in order by which show is the MOST extreme.
18. Fringe
I can see the comments now: Fringe? That aired on Fox? How is that graphic?
Did you watch Fringe? The show pushed the boundaries of how dark a show can get on Fox. One episode has a man turning solid while halfway through a bank vault. Another has a man cut into little pieces to achieve the critical mass needed to travel to another dimension. The first two seasons of Fringe are all a prologue, filled with monster-of-the-week episodes that are worth watching today, to the real plot of the series: a battle for survival between two warring dimensions.
There’s body horror, there’s cold-blooded murder, there are noble sacrifices. Fringe even kills off its main cast multiple times. It’s an absolutely wild series, and did I mention the body horror? Walter Bishop, the role John Noble was born to play, is a mad scientist working for the good guys, but he’s still a mad scientist, and it’s amazing how many problems can be solved by injecting the right chemicals into the human brain.
17. Black Mirror
Often described as a modern-day version of The Twilight Zone, Black Mirror doesn’t have volumes of blood and gore, but when it gets violent, it’s gut-wrenching and leaves you an emotional wreck.
Season 7’s “Common People” is a standout, showing how technology can save lives, but there’s always a price, a literal one in this case. It’s also the same hook from Marvel’s Infamous Iron Man, but with the rise of subscription services in the last few years, the 2025 episode’s dystopian future is disturbingly close to reality.
The hardest episode to watch remains the series debut, “National Anthem,” the infamous episode about the British Prime Minister having sex with a pig. It’s enough to make you wish for more episodes like “Men Against Fire,” where a military tool tricks soldiers with augmented reality to commit heinous crimes against humanity, or Arkangel’s swarm of killer bee drones.
There’s something to be said for Black Mirror’s habit of building all episodes to one, singular outburst of violent emotion. It stands out among the other shows on this list for its restraint and its ability to emotionally manipulate the audience into a near-nervous breakdown. Black Mirror’s greatest act of violence isn’t on screen; it’s the scream you let out at the end of “Beyond the Sea.”
16. Raised By Wolves
Raised by Wolves was a 2020 HBO sci-fi series set on a hostile alien world where two androids, Mother and Father, are tasked with rebuilding humanity by raising human children after Earth is destroyed by a war between atheists and religious zealots.
The premise sounds controlled, but the execution isn’t. The show leans hard into body horror, religious extremism, and sudden, brutal violence.
Mother isn’t just a caretaker; she’s a weapon capable of tearing people apart in seconds, often on screen. The series repeatedly escalates into imagery most sci-fi avoids: mutilation, forced births, psychological breakdowns, and violence involving children. It doesn’t cut away, and it doesn’t soften the impact.
The result is a show that uses its sci-fi setting to push into territory that feels closer to horror, making it one of the most graphic and extreme entries in modern television.
15. Kingdom
Netflix’s other hit South Korean series, Kingdom brings zombies to 17th-century Korea. Zombies make everything better, including historical costume dramas. It’s also filled with decapitations, burning flesh, and gruesome zombie transformations.
Crown Prince Ju Jio-hoon is torn between investigating the origins of the zombie outbreak and uncovering a political conspiracy that threatens to destroy his family. Old allies turn into enemies long before their flesh is diseased. And if only it were the dead eating human flesh, life in the Kingdom would be much easier.
Dealing with zombies without the benefit of modern technology presents an interesting problem, but then again, there are castles. Like zombies, castles are awesome. So are swords. By the time you finish both seasons of Kingdom on Netflix, you’ll wonder why more studios don’t try a historical zombie apocalypse.
Imagine the Roman Legion marching against the undead, or a Renaissance invasion where Leonardo Da Vinci’s inventions turn the tide. For now, we have Kingdom, a wild ride if you can handle the whole flesh-eating thing.
14. Alien: Earth
The Alien movies featured prominently on our list of the most graphic sci-fi movies, so it makes sense that the franchise’s TV show version would end up here. Alien: Earth doesn’t go as hard as the movies, but where there’s a Xenomorph, there’s bound to be plenty of horrific, blood-soaked deaths.
It begins with an alien ship carrying a Xenomorph crash-landing on Earth. That kicks off a plot involving the technology and corporations of the Alien universe alongside an exploration of human consciousness.
13. Fallout
Like the game series, Fallout isn’t violent or graphic. Most of the time. Then the Deathclaws arrive, and that changes real fast. Season 2 introduced the dangerous Wasteland mutants, and all of a sudden, Fallout became a horror series for a moment. Then again, depending on how you feel about the heavily mutated ghouls, every episode is pure horror.
Walton Goggins Ghoul is an incredible character. Mutated by radiation exposure into his current, melted form, he left behind his past to become a bounty hunter. The Ghoul is a legend in the Wasteland, though he does have a taste for ass jerky. It’s not cannibalism if you have to survive.
Fallout is so good; it’s changed what a video game series can be. It’s partly because of the great writing, the fantastic performances, and the way it doesn’t shy away from depicting violence. Cannibalism, large claws ripping humans limb from limb, and every other way they can arterial spray to hit Lucy, Fallout expertly times moments of graphic violence for a 100% hit rate.
12. Alice in Borderland
Alice in Borderland is a Japanese take on the classic death game concept. Based on the best-selling manga, Alice in Borderland has quietly been one of Netflix’s best shows for years. Combining the puzzle box of Lost with Squid Game, it’s a one-of-a-kind experience.
With no explanation, a group of Japanese teens finds themselves in a desolate version of Tokyo, where they have to play games to survive, or they will be killed by giant lasers from space.
This isn’t Squid Game. The games here start as tag, the most tragic version of hide-and-seek ever, and then they progress to a Witch Hunt, Kick the Can with exploding cans, climbing Tokyo Tower, and Runaway Train, in which they run through an abandoned train filled with nerve gas.
Over the course of three seasons, the total death count sits at 493. Not every death comes from the strange death games, though; the competition to earn cards and, hopefully, escape leads to a bloody back-alley fight against one of the Kings. It’s brutal, and it’s one of the show’s best moments.
Alice in Borderland walks a fine line between gruesome character deaths and its high-brow sci-fi backstory. Best of all, the three seasons on Netflix tell a complete story, which, unlike Lost, includes an ending.
11. Westworld
The 1973 movie Westworld, directed by author Michael Crichton, is violent for its time thanks to Yul Brenner’s performance as the killer Gunslinger robot and the whole robot uprising thing. HBO’s 2016 Westworld series starts off with the same basic premise: the robotic attractions at an amusement park turn against their human creators. Human visitors could engage in every violent and sexual impulse they had, and every night, the robotic Hosts would forget what happened. Until they started remembering.
Every Delos corporate board member is murdered, park guests are brutally killed, and humanity comes face to face with extinction. The Season 1 finale is an incredible payoff to one of the finest sci-fi seasons of all time, but the show kept airing. It’s hard to reach that type of height again, and Westworld wisely pivots to a more surreal, slow-burn storyline involving the dangers of AI and corporate control.
Honestly, the story wouldn’t have worked nearly as well if it weren’t for the violent outbursts. Westworld is a perfect example of violence used to further the story, and not simply violence for violence’s sake. Fans of the original novel and movie even get to enjoy a modern update on the Gunslinger’s murder spree as a reward for Anthony Hopkins‘ philosophical musings on the nature of consciousness.
10. The Last of Us
The Last of Us is another zombie apocalypse, except this time the zombies are the result of a deadly fungal infection that makes them fast-moving, aggressive, rage-filled. Since it’s adapting the best-selling video games, you might think you know what’s going to happen in The Last of Us, but you’re wrong.
Except for THAT moment. It was the Red Wedding all over again; fans fell in love with Pedro Pascal as Joel, blissfully unaware of what was going to happen. Joel’s murder is dragged out, brutal, and emotionally devastating. Unless you played the 2020 game and saw how brutal it was on the PlayStation 4. The show held back.
That’s the ongoing issue with HBO’s The Last of Us: It holds back constantly. This is a brutal, post-apocalyptic world on the brink of being overrun by fungal zombies any day; humans are slaughtering each other over scarce resources, and it never feels like the blood and guts go far enough. It’s there, and the series constantly teases violence, but even when the story calls for it, it goes halfway and then stops. The series is good, not great, and a pale shadow of what it could have been.
9. Helix
After Battlestar Galactica, creator Ronald Moore turned his attention to a high-tech Arctic research station after a mysterious viral outbreak. Helix is the type of slow-burn high-concept sci-fi we rarely get to see on television. That and it’s filled with bleeding eyeballs, bleeding ears, government conspiracies, cults, and more genetic technobabble than any other sci-fi show, ever.
There are also familiar faces in the cast: Star Trek Voyager’s Seven of Nine, Jeri Ryan, is a high-powered corporate CEO, while the star of the show is Billy Campbell. Don’t recognize his name? How about The Rocketeer?
Airing for two seasons, Helix decides to go batshit crazy in its second season. It’s as if the writers knew SyFy would eventually remember the show existed and swiftly cancel it. Which is exactly what happened, as the show started hemorrhaging viewers, with fewer than half a million tuned in for the Season 2 finale. Obviously, they needed most of the best part of Season 1: people slowly going insane while their flesh melts off in quarantine.
8. Swamp Thing
Airing on the DC Universe app, Swamp Thing quickly became a fan-favorite series from the very first episode. Dark, moody, disturbing body horror, interesting characters, this was everything fans of Alan Moore’s incredible 80s run had ever wanted. Filmed on location in an actual swamp, practical effects all over the place, and it embraced the horror side of the DC Universe? We were robbed with only one season.
The plant effects, the multiple characters drowning in dark swamp water, Swamp Thing isn’t afraid to get down and dirty. Unlike other superheroes, Swamp Thing has no code against killing. Wander into his swamp with evil intentions, and you’re a dead man walking.
Swamp Thing looks incredible, the story is pure comic pulp, and it doesn’t insult your intelligence. It only failed because Warner Bros. didn’t get the filming tax credit they expected, putting the series budget at over a million per episode, well out of reach for the DC Universe app.
7. Love, Death, & Robots
David Fincher wanted to make a new Heavy Metal. The director of Fight Club, Aliens 3, Panic Room, and Se7en, wanted to update the legendary 80s adult animated masterpiece. Working with Tim Miller, the director of Deadpool, the result is Netflix’s Love, Death, & Robots. The anthology series is filled with striking animation and original sci-fi stories that will remind you why you fell in love with the genre.
A few are fun short films, including the early episode, “Witness,” which is one long chase sequence, but others, such as Season 2’s “Bad Traveling,” use a violent alien to make philosophical points about humanity. What do you do when a killer alien has set up in the hold of your ship and demands to be let off on a populated planet? After you tricked the crewmember you hate into being eaten, of course.
There are even bits of traditional horror, including a subterranean adventure gone wrong when an ancient evil is unleashed, and a later episode, In “Vaulted Halls Untombed,” that’s one of the best modern cosmic horror stories, and as is the case with most of those stories, it ends on a horrifying final shot that will linger long after the credits end.
No episode of Love, Death, & Robots overstays its welcome, some are as short as six minutes, some seventeen minutes, and one, that’s entirely a Red Hot Chili Peppers video, might as well have a runtime of zero minutes. Why would I watch that when I can watch rats in a death match with an advanced cybernetic killing machine?
6. From
Take Under the Dome. Make it good. That’s From, a horror sci-fi series airing on MGM+, about a small town that acts like a roach motel: people can enter, but they can’t leave. It’s another sci-fi mystery box series, but this time, there are strange, nightmarish monsters, a society that’s rapidly unraveling, and Lost’s Harold Perrineau gets to do more as Boyd in two episodes than he did in two seasons as Michael.
As the sheriff and mayor of the town, Boyd tries to keep everyone together and working to uncover the mystery, even as each discovery raises more questions. A hidden mineshaft? That’s weird. A man chained inside the mineshaft? Even stranger. A music box that plays itself? A series of numbers with no discernible pattern? The mystery goes deep in From.
The problem for the town’s residents is that on top of the mystery is the pressure that all of them are doomed to die there with no hope of getting out. How would you react? Would be a Boyd, and attempt to hold onto your sanity? Or would it become The Purge? From has a few inventive murders alongside the intriguing mystery, and it’s the best dark sci-fi series of the last decade.
5. Blade: The Series
Long before the Marvel Cinematic Universe existed, Wesley Snipes’ Blade showed the world Marvel superheroes could be cool. Two years before Iron Man, rapper Sticky Fingaz brought Blade to the small screen. Airing on Spike, Blade: The Series was ahead of its time. Violent and bloody, the series was able to get away with swearing and nudity on Spike, and against the odds, it was successful.
It was also expensive, which is what led to the cancellation, despite name-dropping other Marvel superheroes, including Moon Knight and Doctor Strange, setting up the larger Marvel universe for future seasons. Blade: The Series had begun to focus less on Blade and more on Krista Starr, a former soldier-turned-vampire out for revenge. Sticky Fingaz had the look, but he was no Wesley Snipes.
Blade: The Series pushed the boundaries of what was allowed on television at the time; Spike TV was a cable channel, but not premium cable. There was more sex and violence than any other show at 10 PM. Except for the local news out of Peoria.
4. Aeon Flux
Before MTV became the Ridiculousness channel, it pioneered adult animation through Liquid Television, a groundbreaking block of shows that included the debut of Beavis and Butt-Head, but also the silent shorts of Aeon Flux. The first run of the series features animation that’s mind-blowing today, never mind in 1991, but also in every single episode, Aeon dies.
Her neck is snapped, she’s shot, eaten by an alien, trapped in paralyzing fluid and set adrift at sea. Her end is frequently brutal, swift, and decisive. Then in the next episode, she’s back, working against the Breen and sabotaging her arch-enemy, also her lover, Trevor. For a series of experimental, silent shorts and than a more traditional half-hour show, Aeon Flux is surprisingly complicated.
To say the series became a hit is an understatement. Over 30 years later, Aeon Flux is still creative, subversive, and very, very violent.
3. The Walking Dead
The Walking Dead is one of the most graphic shows in history. You can debate a lot about it, from whether it was ever actually any good to whether the show aired for far too long, and whether it was worth A&E building an entire network around one show. What you can’t debate is that the series brought a level of violence never before seen on cable television.
One moment in particular stands out as so graphic, so violent, that it caused half the audience to go away and never come back again. The debut of Negan and his bat, Lucille. Glenn’s head splattering across the ground with each swing of the bat was the height of the show’s popularity and its apex of violence. Afterward, it dialed back, but by then, the audience had left, unable to recover from what they saw.
Not every death on The Walking Dead was a brutal display of violence, but every season had at least one or two standout moments. You also have to credit the series for not holding back and showing children turned into Walkers, bloody car seats, and the pharmacy sink, just to name a few of the dozens of examples.
It’s a shame that The Walking Dead turned into a slog by the end, as the detail in the worldbuilding and the willingness to show a zombie apocalypse where no one is safe were a breath of fresh, undead air.
2. Rick and Morty
If Rick and Morty weren’t animated, it would be number one on this list. Rick Sanchez and his grandson Morty leave a trail of broken bodies, ruined civilizations, and bodily fluids as they journey through all the universes. From the Cronenberg dimension to Rick’s ship keeping Summer safe, the Purge planet, Dimensional TV, and, well, any one of Rick’s various guns, even the tamest Rick and Morty episode is going to include some guts.
Trying to pick out the bloodiest, most graphic moment is impossible: Is it Birdman’s brutal murder at his wedding? Is it the Vindicators falling for his elaborate death trap? The destruction of the Citadel by Evil Morty? Alright, that one resulted in the deaths of thousands of Mortys, and as we’ve learned, those don’t count.
Though it’s fallen from the heights of previous seasons, Rick and Morty set a new standard in adult animation through the sheer density of its gags, absurd nihilistic humor, and willingness to show the most vile, disgusting things that haunt the dreams of caffeine-powered animators.
1. Blood Drive
After he was Chad, before he was Reacher, Alan Ritchson starred in Syfy’s forgotten series, Blood Drive, as Arthur Bailey, a cop forced to participate in a brutal death race across America using cars powered by blood. Blood Drive is complete trash. I say that with love, because this bizarre combination of 70s grindhouse western, horror, sci-fi, and a little bit of Lovecraft is unlike anything else.
Cars eat people, people stab and shoot each other, they beat each other to death; the writers made it their mission to come up with the strangest, most original death in each episode. It’s secretly an anthology series, with Arthur and his homicidal partner Grace coming across a different small town, truck stop, or other haven for weirdos and freaks, resolving whatever issue the area has (usually through murder), and then they keep driving.
Now that Twisted Metal is a hit, it’s easy to dismiss Blood Drive as an early attempt to copy the video game series, but give the show 5 minutes. You’ll see why it’s different, why it’s awesome, and why it might be the bloodiest show to ever air on Syfy.
Raven-Symoné and friends recently showed off their dance moves to Yung Miami’s hit song, ‘Spend Dat.’ Instantly, fans were living for the carefree moment of Rae catching a vibe at the hair salon! After The Shade Room reposted the video, the roommates started chattin’ about Rae’s energy with her own kinfolk and without her wife, Miranda Maday, glued to her side.
RELATED: Raven-Symoné Opens Up About Past Breakup With Wife Miranda Maday Due To Interracial Concerns (VIDEO)
Raven-Symoné Still Has Dance Moves
If you ask the internet, Yung Miami is likely in the running for the unofficial title of ‘Song of the Summer.’ Her recently released track, ‘Spend Dat,’ has people in a chokehold, from running it back to randomly spewing the lyrics and participating in online dance trends. One of the latest celebrity faces to show ‘Spend Dat’ some love is Raven-Symoné. Thanks to her loctician, Jasmin Thomas, who posted the video, fans got to see Rae bust a move alongside four others. In the clip, Raven is seen laughing and smiling as she goes along with the group choreography and adds her own sauce, too.
RELATED: She Said, Who? Raven-Symoné Reveals Her Disney Mount Rushmore And Fans Are Debating (VIDEO)
Roommates Bring Up Raven’s “Black Side”
As mentioned, TSR reshared the video of Raven-Symoné getting down at the salon on Wednesday (June 9). Soon after posting, her fans quickly filled the comment section with over 700 written reactions and liked the video nearly 25,000 times.
While some reminisced about seeing Raven dance, like during old Disney days, others claimed she was showing off her “Black side.” To be clear, according to PEOPLE, Raven-Symoné was born to two Black parents, Lydia Gaulden and her late father Christopher B. Pearman. Her dad passed away in October 2024, less than a year after her brother died from colon cancer in November 2023. She is not mixed or biracial. Again, Raven-Symoné is Black American with family roots in Georgia and Louisiana. Full stop. Nonetheless, the roommates were cuttin’ up with comments about her “Black side” and spending time with other Black people.
Roommate @aaliyaaaah._ commented, “I love when she’s being Black.”
“When u spend the nite a Nana’s house with ur cousins on ur daddy side 😂😂,” @sashaaamac joked.
@ohthatsrayy_ said, “Love seeing her with woman of color 😭.”
“Love when she on her black girl sh*t 🔥🔥🔥,” @bymarkishamarie wrote.
“Don’t get me wrong you love who you love 🥴😂 but she always look much happier with us 🤏🏾🥹,” @typically_rob commented.
“When she’s with her black friends she’s so different. So happy. So free 😍,” @blonde__bombshell__ said.
“Love seeing her with her kind she’s happier,” @nautie_chuloo said.
“😂😂I love Ravens black side 🔥🔥,” @jessthebest_brownie wrote.
“Oh she’s doing blk stuff I love it,” @chinawhite.nyc1227 added.
“The older she get the blacker she get and I love that 💕,” @blackinesebankz commented.
“I love the black her,” @keishacharnay wrote.
“The Black Raven is in the building!!😍,” @petty_bettii added.
RELATED: Raven-Symoné Opens Up About Former Castmates, Marriage & Body Image | SITSR (Exclusive)
Miranda Maday Catches Strays After Wife’s Dancing Video
Another popular sentiment in the comment section on TSR’s page? Mentions of Miranda Maday. In recent years, Raven-Symoné’s fans have been rubbed the wrong way by comments from Miranda, including seemingly not being familiar with her wife’s extensive resume.
Back in 2024, they both attempted to correct online narratives about Miranda, particularly after hate messages allegedly escalated to death threats. In a TikTok video, Raven-Symoné asked her supporters to “stop it in the comments…stop with the death threats,” as it’s disrespectful to them both. Miranda also defended herself, clarifying that she was, at the time, familiar with her wife’s work in TV and film, but not as a child.
“I hope to clear the air right now and let you all know that I never have once said that I did not know who Raven was. I only ever said that I did not grow up watching ‘That’s So Raven.’ I did not watch her as a child,” Miranda Maday said. Adding, “But since getting married and meeting her in 2015, I have seen the majority of her work. I have also been at a lot of this work.”
Despite clearing up where she stands, it appears that Miranda left a sour taste for some supporters. And whenever Rae goes viral, Maday tends to catches stray shade—whether she’s the reason her wife is viral or not. In TSR’s comment section of the ‘Spend Dat’ dancing video, the energy was no different.
“So glad she left the wife off this one! 🙌🏾😂,” Roommate @jaeesaunzale commented.
“😂😂 she left wifey out of this one, huh?” @zeverra_ceo wrote.
“Raven living her best life like her Sponsor somewhere on a work trip 😂,” @kweenmocha added.
“I’m just happy the wife not in the video lol,” @theregokayb said.
“Don’t send her back to the sunken place she looks so happy here 😂,” @_ii.finessedit_ wrote.
“See how happy she is when she leave that lady at home,” @702.briii added.
“Left that lady at home 😌,” @_21xsunflowers commented.
“It’s leaving my porcelain wife at home because I’m in the streets doing black people sh*t 😂😂😂😂😂,” @tootuftinc_ said.
“I just knew the comments were gonna be all about when Raven “is being black” and they are lmao 🔥🥂,” @truly.rare wrote.
“I wish she had a Black wife lmao Ikkkk that sound crazy but I feel like she need that in her life idkkk maybe a fly Asian lady 😂😂😂😂,” @theralaliesegoods commented.
“I noticed whenever she’s dancing itss never with her wife and the white friends 😂,” @skorpion.queen added.
“Jus happy she didnt put her wife in the dance lol 😂,” @lianaaa.adele commented.
RELATED: Raven-Symoné Speaks Out After Her Wife Miranda Allegedly Received Death Threats (WATCH)
What Do You Think Roomies?
Two years after ending its five-season run, Taylor Sheridan’s mega Western franchise Yellowstone is expanding yet again. As you already know, there are now five series in the franchise, including the original, which ran from June 20, 2018, to December 15, 2024, on Paramount Network and follows the Dutton family who own the largest cattle ranch in Montana, the Yellowstone Dutton Ranch. This year has seen two sequels debut: Marshals and Dutton Ranch, the latter of which is still airing and is currently the most popular Western on television.
Amid the continued success of the Sheridanverse, Paramount announced tentative plans during Summer Game Fest to develop Yellowstone into a video game through its new gaming division, Paramount Games Studios. The multimedia company is collaborating with action-game developer PlatinumGames on Teenage Mutant Ninja Turtles: The Last Ronin, with plans to also make games for Star Trek, Avatar: The Last Airbender, and SpongeBob SquarePants, before moving forward with other projects, including adapting the Sheridanverse.
During an interview with Polygon, Shawn Kittelsen, head of creative and production at Paramount Games Studios, revealed more about what to expect. “All of the Yellowstone and Yellowstone-adjacent titles, Landman, Tulsa King, these are all priorities for us.” He also mentioned video game plans for Lioness, which returns for Season 3 this summer. Lioness, starring Zoe Saldaña, is Sheridan’s hit spy thriller centered on a CIA team that enlists female operatives to go undercover in life-threatening situations.
What Can Fans Expect From the Yellowstone Video Game?
With the game-changing Yellowstone update, Paramount execs want fans to know the video game will honor their devotion to the franchise. And this doesn’t mean these games will be rushed into development; top-tier quality is the utmost priority. That said, Paramount Games is taking every necessary step to select the “right partners” who work best for each IP, with the intention of working only with developers who already have a strong track record of making successful games. Kittelsen said as much while breaking down this new phase:
“If we build pillar by pillar, find the right partners, and make the right games for the audience, I think we can achieve massive success… Everything has to come from that player-first, fan-first perspective. We’re being much more selective about our partners because everything that we do, we don’t want to just spray and pray. Like we always say: we want missiles, not bullets.”
In the meantime, fans can keep up with the latest Yellowstone entry, Dutton Ranch, which premiered on Paramount+ on May 15, 2026, to conclude after nine episodes in July. Kelly Reilly and Cole Hauser reprise their roles from the mothership as Beth Dutton and Rip Wheeler, who gamble everything on a new life in South Texas, away from their home in Montana.
Yellowstone and Dutton Ranch stream on Paramount+.
- Release Date
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2018 – 2024
- Network
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Paramount Network
- Directors
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Stephen Kay, Taylor Sheridan, Christina Alexandra Voros, Guy Ferland, John Dahl
- Writers
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John Coveny, Ian McCulloch
General Hospital spoilers for the week of June 15th through the 19th will reveal Lucas Jones (Van Hansis) is really dead or somehow survived three gunshots to the chest. Plus, his sister Carly Corinthos (Laura Wright) is acting out when she gets more desperate about her daughter.
Let’s get into what is coming the week of June 15th. And as we always do on early edition day, we start with what’s coming the rest of this week. Then we dive into next week’s action.
General Hospital: Wednesday & Thursday – Conflict at the Shower and Desperate Measures
So on Wednesday, June 10th, we’ve got Curtis Ashford (Donnell Turner) and Portia Robinson (Brook Kerr) continuing to face off at the baby shower. This picks back up from Tuesday’s episode where Portia told Curtis he likely wasn’t going to be a good dad being basically violent and unhinged like he is. And Portia said she did Trina Robinson (Tabyana Ali) a favor by not letting Curtis raise her. Wow.
Where is Marcus Taggert (Real Andrews) when we need him? Right. So Trina’s going to leave the baby shower upset. She was really mad at Portia, if you remember, for keeping the paternity secret. But at this point, her dad, Curtis, is being a real tool. So, this has got to be super hard on Trina. Now, hopefully her pseudo mom slash second mom, Ava Jerome (Maura West), will be there to comfort her since she is at the shower. But then Trina is going to take off to go and see her friends and vent about this issue.
General Hospital Spoilers: Stella Flips Out
So, we also have usually calm Aunt Stella Henry (Vernee Watson) going off on both Curtis and Portia and telling them if that is all they care about, then their kids are going to lose. And I’m sure that is slinging accusations at each other. And I’m sure also this is Stella thinking they need to chill out, both of them. But honestly, this is 97% on Curtis’s bad attitude. If he’s not careful and he’s convicted of felony assault, he may miss the baby’s birth and wind up with restricted visitation.
Also, Carly wants to spring into action on Wednesday. But Valentin Cassadine (James Patrick Stuart) tells Carly that everything changes if they play this the wrong way. So, she may be wanting to run and report to that WSB person that Jack Brennan (Chris McKenna) asked them to go to. And Valentin wants to tap the brake because he doesn’t want to be back in Steinau.
General Hospital Spoilers: Dante Shocked by Bad News
Dante Falconeri (Dominic Zamprogna) gets some bad news. Maybe that Lucas was shot or Liesl is missing or Brook Lynn Quartermaine (Amanda Setton) is trying to point him to Willow as the other driver that Jordan ran off the road. And speaking of Willow Tait (Katelyn MacMullen), she’s panicking and tells Jack that since he can talk, the sooner she gives him the injection, the better. Willow gets an offer that’s hard to refuse, likely from Jack, he may promise to help Willow not turn her in.
And you know, she may be somebody who could help him get word to his WSB contact. But also, we saw that Nina ducked out of the baby shower on Tuesday. And if you recall, she was planning to head back to Turning Woods to see Jack. So, I wonder if Nina intervenes and stops Willow from trying to give Jack the shot if his offer doesn’t convince her daughter.
Also, Trina makes a big move, she may just cut both of her parents out of her life at this point. She’s venting to Kai Taylor (Jens Austin Astrup) and Emma and Gio saying she doesn’t want to be a part of it. So, she is done. Now, maybe it’s the showcase. But fresh off this baby shower, I tend to think that she’s done with the drama of Curtis versus Portia with a side dish of Jordan and Isaiah.
General Hospital: The Lucas Shooting Mystery
Laura Spencer (Genie Francis) is frantically smacking at Lucas’s face, asking if he can hear her. So, he’s laying unconscious after Jenz Sidwell (Carlo Rota) shot him three times in the chest. But, did you notice Lucas wasn’t lying in a pool of blood? And the fact that Laura is even there is strange. And she’s not trying to apply pressure to Lucas’s chest, which is also kind of suspicious.
That’s the first thing you do to a gunshot victim. So after three bullets, Lucas should be spewing blood because the chest, the heart, all that. And he was in that odd jacket that was buttoned all the way up and practically goaded Sidwell into shooting him. So, I suspect Lucas might be in a bulletproof vest and Laura’s smacking him to try and revive him because when you get shot like that wearing a vest, it still can take your breath and knock you out.
This might have been a setup because Lucas invited Sidwell there knowing that he had caught him right by the safe. I hope Laura and Lucas were working with Sonny Corinthos (Maurice Benard) and got him on tape. If so, the question is, will they turn the tables on Sidwell and blackmail him or just turn him over to the PCPD?
General Hospital: Thursday & Friday – New Schemes and High-Profile Arrests
Thursday, June 11th, Charlotte Cassadine (Bluesy Burke) and Danny Morgan (Asher Jared Antonyzyn) cook up a new scheme. I wouldn’t be surprised if they took off trying to find Rocco Falconeri (Finn Carr), thinking they can fly under the radar and Cullum won’t follow them. Sonny is surprised. So, he’s going to hear from Kristina this week about medical school. And Friday may actually be her last air date. That’s not confirmed. But several signs point to it.
Nina reaches out to not Nathan. So this may be about whether he has seen Liesl Obrecht (Kathleen Gati) because you know she got snatched up. So I kind of doubt he’s going to tell Nina who he is. I think he’s going to keep that circle of trust close on his identity. I do expect as long as Liesl is stuck at Wyndemere he will keep pretending to be Nathan to everybody else.
Cody Bell (Josh Kelly) impresses Molly Lansing (Kristen Vaganos). We’ll see what it’s about. But I’m excited to see Kelly Krueger make her debut in July as his sister Serena.
General Hospital Spoilers: Valentin Cautions Carly
Valentin cautions Carly. He already warned her on Wednesday to be careful. Obviously, Valentin thinks that warning bears repeating and Ava is bothered by her conscience.
Then on Friday, June 12th, Willow faces Tracy Quartermaine’s (Jane Elliot) wrath and this may be about the Chase job offer. Also, Sonny is helping Brooklyn Quartermaine (Amanda Setton). Alexis Davis (Nancy Lee Grahn) makes a good case by the end of the week and this may be in her conversation with Kristina about medical school.
Harrison Chase (Josh Swickard) makes an arrest and it’s very high-profile. So, it feels like one of two things. Could be Sidwell for trying to murder Lucas or it could be Willow for the trumped up allegations about her being the second driver in Jordan’s accident. I’m guessing Sidwell. But we will see.
Ethan Lovett (Nathan Dean Parsons) weighs his options, so he might be having some second thoughts about Phoebe. This week, Ethan has another important talk with Alexis.
General Hospital: June 15th-19th – The Search for Josslyn and Family Revelations
Then the week of June 15th through the 19th, Carly’s getting more desperate to find Josslyn. And the sooner Jack is out of Turning Woods, the better because he might be able to get a bead on her. But Ross Cullum (Andrew Hawkes) remains a big problem. Liesl is going to have to work on Faison’s final project and finish the prototype because she doesn’t want Josslyn or Cody at risk. I’m kind of excited to see Liesl and Cody doing mother and son bonding since she’s sad about Nathan. But also thrilled that she’s got another son.
Charlotte and Danny may land in trouble again for this latest plot. We’ve heard from our leaker that Britt Westbourne (Kelly Thiebaud) and Rocco are supposed to be on the run for all of June. So, it looks like they return or are found as July sweeps kicks off starting June 25th on General Hospital.
General Hospital Spoilers: BLQ on a Mission
Brook Lynn and Sonny work together. But it may be easier getting Sidwell out of deception if he is the one that Chase arrest this week. Plus, Trina’s frustrations are evident, understandable, and mounting. The question is, will she go confront Curtis and Portia and let them know that as long as they are at each other’s throats, she is not going to be around and playing these reindeer games. I’m sure that Trina will show up for her baby sibling’s birth. But she can still avoid her parents in the meantime.
Tracy’s keeping a very close eye on Chase. She does not trust him one single bit. And Ethan may get closer to Ava and I would definitely be here for that. We’ll see. Cuz she needs a man in her life and she doesn’t really need a good man. She does a lot better when she’s got a schemer on her arm.
By Doug Norrie
| Published
When it comes to icons of Hollywood, Jeff Bridges, with his raw charisma and seasoned acting chops, undoubtedly makes the list. In a career spanning decades, Bridges has taken on roles that linger long in memory, etching moments of cinematic magic. And the dude is still kicking today. Which is why it’s cool to see him starring in The Giver, a dystopian sci-fi drama that’s currently available to stream for free.
This dystopian tale sees Bridges not only as a key character but also as a driving force behind the film’s creation. If you’re looking for a deep dive into a world where emotions and memories are regulated commodities, then The Giver will definitely do the trick.
A Dystopian Adaptation
The Giver, based on the beloved young adult novel by Lois Lowry, paints a picture of a future society that has traded depth of feeling and memory for the illusion of peace and simplicity.
In this colorless, seemingly utopian world, all pain, war, and emotions have been eradicated. Every aspect of life is controlled, from the jobs citizens will hold to their family units, ensuring that there’s no room for chaos or unpredictability.
In the heart of this society stands the Receiver of Memory, a sole individual entrusted with holding onto the past. Jeff Bridges, with his signature gravitas, brings to life the current Receiver, who’s tasked with passing on the world’s memories to the next appointed individual.
Enter Jonas, played by the talented Brenton Thwaites, a young boy chosen to inherit the position and its accompanying emotional weight. As Jonas undergoes the process, he’s exposed to an array of emotions, from the joy of sled rides to the horrors of war, revealing the true cost of his society’s supposed tranquillity.
Guiding Jonas through this turbulent journey, Jeff Bridges’ character, later dubbed The Giver, becomes a mentor and beacon of truth, challenging Jonas to question the very fabric of their existence.
The Need To Preserve History
The duo is complemented by a remarkable cast including Meryl Streep as the Chief Elder, the leader of the community with a staunch belief in the system, and Katie Holmes and Alexander Skarsgård as Jonas’s assigned parents, figures that exemplify the society’s detached demeanor.
Odeya Rush plays Fiona, Jonas’s interest, and a symbol of the natural human connections that the community suppresses.
Director Phillip Noyce weaves this intricate tale, touching on profound themes of memory, individuality, and the essence of humanity. Throughout The Giver, Jeff Bridges acts as the linchpin, embodying the pain of the past and the hope for a more genuine future, navigating Jonas and the audience through the stark contrast between the real and the artificially manufactured.
The film not only poses challenging questions about society and morality but also showcases the power of human connection and the importance of preserving our collective history.
The Reception To Jeff Bridges And The Giver
The Giver arrived in theaters with high expectations, thanks to the cherished status of Lois Lowry’s source material. From a box office standpoint, the film enjoyed moderate success. Released in August 2014, it grossed around $67 million globally against a production budget of approximately $25 million, proving that audiences were curious about this cinematic adaptation of a much-loved novel.
Critically, however, The Giver garnered a mixed reception. On one hand, some lauded the film for its performances, particularly that of Jeff Bridges and Meryl Streep. The dystopian narrative, rich with thought-provoking themes, also earned praise from several quarters. On the flip side, many critics felt that the film didn’t capture the full depth and nuances of the book, leading to challenges in fully conveying the story’s emotional weight. There were also concerns about the film’s pacing and certain changes made in adapting the story for the big screen. It’s sitting at a paltry 34 percent on Rotten Tomatoes.
The Giver is currently available to stream for free on Pluto TV, Sling TV, Fandango at Home, and The CW. While critics were divided on the adaptation, there’s still something to be said for giving it a second chance, especially for Jeff Bridges’ performance as the keeper of a world’s forgotten memories.
Tom Felton will probably always be Draco Malfoy first in the public imagination, which is both a blessing and a weird career trap. Harry Potter made him instantly recognizable, but it also means every new role has to fight through two decades of audience memory before viewers judge it on its own terms. That is why his recent genre work, which is now headed to HBO Max, carries substance.
The movie had a rough theatrical life. It opened on March 27, carried an R rating, leaned hard into blood, gore, dark comedy, cult violence, and survival-action chaos, then ended up grossing only about $19 million against a reported $20 million budget. That is a bad theatrical equation, but horror has always had a different afterlife than most genres. A movie can miss in theaters, land digitally, and find the right late-night audience. The Empty Man, Malignant, and Jennifer’s Body are good examples of this behavior.
Felton’s latest film is They Will Kill You, and it hits HBO Max on June 12, 2026. Zazie Beetz leads as Asia Reaves, an ex-con who takes a housekeeping job at the Virgil, only to discover the building is basically a death-trap tied to a demonic cult. Felton stars alongside Myha’la, Paterson Joseph, Heather Graham, and Patricia Arquette, with Kirill Sokolov helming the script he co-wrote with Alex Litvak. The critical response has already split in the exact way cult horror often does on RT — the movie has a 64% score from critics, 77% from audiences. The movie is as if Ready or Not, John Wick, and Looney Tunes had a baby with pure chaos. HBO Max is probably the better arena for that kind of movie anyway.
Tom Felton Has a Total of 56 Acting Credits, Including an Upcoming Film
Felton’s post-Harry Potter career has been less blockbuster-heavy, which is why his filmography is easy to underestimate. IMDb lists him with 56 acting credits, but most viewers probably remember only the cleanest post-Draco pivot as Rise of the Planet of the Apes, where he played another smug, cruel young antagonist right as the Potter era ended.
Since then, he has moved through indies, genre films, TV, music video, and smaller dramatic roles. His upcoming film As Deep as the Grave, however, gives him a more interesting historical lane, and casts him as archaeologist Earl H. Morris in a story about Ann Axtell Morris and Canyon de Chelly, with the project also drawing attention and controversy for its AI-generated Val Kilmer performance. As Deep as the Grave is currently in its post-production phase, with no clear release date.
They Will Kill You will be available to stream on HBO Max starting Friday, June 12, 2026. The film will then make its debut on the HBO cable network on Saturday, June 13, 2026, at 8:00 p.m. ET. Stay tuned to Collider for more updates.
- Release Date
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March 27, 2026
- Runtime
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94 Minutes
- Director
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Kirill Sokolov
- Writers
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Kirill Sokolov, Alex Litvak
The epitome of cinematic excitement at its heart-racing best, the action–thriller genre has produced a plethora of iconic hits over the decades, ranging from bombastic and bizarre ’80s hits to daring and dashing gems of modern times as well. The nature of action cinema’s sheer spectacle means there is something of a trend of genre films becoming more sensational over the years, as the technology and resources available to filmmakers have evolved exponentially.
However, it isn’t always the case. Plenty of action-packed thrillers haven’t just endured over the years, but have genuinely improved, be it due to their slick sense of style, the momentous scale of their production, or just the pure joy of watching practical effects in this modern age of CGI. Ranging from defining blockbuster classics of decades long past to some more recent classics that have enshrined themselves among the most exhilarating movies of the 21st century thus far, these action-thriller masterpieces only get better with every year that passes.
‘Hard Boiled’ (1992)
Hong Kong has long been a heartbeat of action brilliance on the international stage, dating as far back as the martial arts movies of the 1970s and right up to the abundant, unbridled excess of modern-day gems. Hard Boiled is something of a classic of the region, a no-holds-barred blitz of balletic brutality that follows a vengeful cop and an undercover mole as they bring down a reign of violence on the crime syndicates that have turned the city into a warzone.
While it is anchored by strong character dynamics and an emphasis on ideas of brotherhood, duty, and conviction, Hard Boiled has earned its enduring brilliance through the precision of its practical action effects. Director John Woo captured the ultra-violence with long, steady tracking shots that revel in the majesty of the “Gun-Fu” style with gleeful abandon. Of course, this is also a significant feat of stunt co-ordination and physical performance. These elements conspire to make Hard Boiled an ageless triumph of action-thriller mayhem, and a true highlight of foreign film.
‘The Raid’ (2011)
Emblematic of action cinema at its bruising and brutal best, The Raid excels at operating with such violent ferocity, and yet such artfulness and precision, that it is awe-inspiring from beginning to end. When a police operation to take down a drug lord in a Jakarta apartment block goes awry, a rookie cop and his team must use their limited resources to fight off waves of gangster thugs while working towards their target.
Director Gareth Evans places a tremendous amount of trust in the martial arts mastery and physicality of his actors, operating with subdued shots and simple, invisible editing that allows the combative prowess of the stars and the choreography to take center stage. It is a treat of hand-to-hand combat action that all lovers of the genre are sure to enjoy, especially in today’s cinematic landscape dominated by special effects and CGI.
‘Kill Bill Vol. 1’ (2003) & ‘Kill Bill Vol. 2’ (2004)
Heavily inspired by everything from spaghetti Western cinema to Japan’s revenge dramas of the 1970s, Kill Bill is a medley of style and influence that unfurls as the most action-packed movie Quentin Tarantino has directed thus far. Utilizing everything from surrealist martial arts action to anime flashbacks, arresting and vibrant colors, and a trademark appetite for visually spectacular blood splatter, it casts a wickedly enchanting spell. It follows The Bride (Uma Thurman) in her vendetta to kill the Deadly Viper Assassination Squad, a team of elite mercenaries that she was once a part of.
Most notably, the Kill Bill movies have aged well because they excel as a propulsive vision of violence and vengeance. It’s all brilliantly supported by eye-popping action, memorable and exciting characters, and an adherence to practical effects that is perhaps even more palpably exhilarating today than it was in the early 2000s. The duology has achieved status as two of the most iconic pictures of the 21st century thus far.
‘V for Vendetta’ (2005)
Based on Alan Moore’s graphic novel of the same name, V for Vendetta is an enticing spin on superhero drama, following masked vigilante V (Hugo Weaving) as he rises against the authoritarian leaders of a futuristic and totalitarian Britain. In 2005, the film was an exciting and stylish action flick that handled its ideas with impressive care without ever sacrificing blockbuster spectacle. In today’s world of superhero excess, V for Vendetta is even more impressive.
Set in the midst of an oppressive regime’s reign of power, it holds a thematic might that most other movies in the genre lack. V for Vendetta explores confronting ideas of state surveillance, media manipulation, and societal control while still reveling in the superhero appeal of V’s mission. Interestingly, Moore’s original comic book was written as a critique of Margaret Thatcher’s tenure as the British prime minister, making it an eerie commentary on the cyclical nature of power and politics that is again so relevant in today’s world.
‘Casino Royale’ (2006)
The James Bond franchise is one of cinema’s most interesting. It has often struggled to grasp a sense of true timelessness, with even the very best of its earlier classics still tinged with scenes of chauvinism and misogyny. However, Casino Royale presented a distinct turning of the page that modernized 007 with a grit that resonated with 21st-century audiences while still maintaining the franchise’s appetite for suave sophistication and style.
As Daniel Craig’s debut in the role, Casino Royale is a groundbreaking new vision of the iconic character that fills its extensive 144-minute runtime with a seamless procession of captivating action, awe and smooth-moving storytelling. Even as ensuing Bond films have impressed, Casino Royale remains a timeless gem, a stunning example of what the franchise could be at its progressive best. It stands tall among the most energizing and extraordinary spy movies of all time.
‘Terminator 2: Judgment Day’ (1991)
35 years have passed since Terminator 2: Judgment Day first hit cinemas, and yet the thrilling James Cameron blockbuster remains a perfect example of how to incorporate new filmmaking technology into a major studio production. An amalgamation of sci-fi, action, horror, and thriller, the legendary sequel sees the T-800 (Arnold Schwarzenegger) sent back in time to protect a teenage John Connor (Edward Furlong) from the pursuit of an advanced Terminator machine, the T-1000 (Robert Patrick).
Its hybrid of practical effects and CGI is a marvel that hasn’t aged a day, while its sentimentality and heart give it an emotional pull that many modern action-thrillers foolishly neglect, if not avoid altogether. T2 remains one of the most exciting and entrancing movies the genre has ever seen, a glorious highlight of the blockbuster brilliance of yesteryear that flaunts action scenes that still engross and characters that still mean something to the viewers.
‘Mad Max: Fury Road’ (2015)
Only 11 years have passed since Mad Max: Fury Road first released in theaters, and yet the reputation and status of the movie has grown exponentially in that time to the point it’s already revered as one of the defining movies in action history. Directed by George Miller, this operatic chase through a post-apocalyptic wasteland sees roguish nomad Max Rokitansky (Tom Hardy) join forces with a fleeing warrior and a warlord’s brides to escape the clutches of Immortan Joe (Hugh Keays-Byrne), his frenzied “War Boy” army, and the despair of the Citadel.
Ceaseless, propulsive, and relentless throughout its two-hour run, Mad Max: Fury Road is as high-octane as cinema gets, a thrilling non-stop fight for survival and freedom that marries efficient and energized storytelling with ravishing action filmmaking across the board. While several action blockbusters from the mid-2010s have already aged poorly due to their heavy reliance on CGI, Mad Max: Fury Road only grows more gorgeous with every rewatch, establishing itself as a true modern masterpiece of the genre and a defining highlight of 21st-century cinema at large.
‘The Dark Knight’ (2008)
Another example of an early superhero classic that has remained at the pinnacle of the genre courtesy of its thematic convictions and the confronting darkness of its story, The Dark Knight is arguably the emblematic blockbuster of 21st-century cinema so far. Following Batman (Christian Bale) as he struggles to protect Gotham from an anarchistic terrorist seeking to plunge the city into chaos, it endures not only as a heart-pounding and propulsive epic, but as a fascinating examination of the nature of symbols in society as well.
Its moral complexity and the web of ethics and responsibilities the Joker (Heath Ledger) ties Batman and Gotham City in makes for a sense of psychological tension that no other mainstream superhero movie has been able to match. In fact, there are very few action-thrillers that can rival The Dark Knight in terms of its visceral, nerve-rattling brilliance. Also bolstered by Sir Christopher Nolan’s insistence on ageless practical effects, Ledger’s unforgettably perfect performance, and the grounded realism it employs, The Dark Knight is a classic that only grows in stature with each passing year.
‘Heat’ (1995)
A thrilling crime epic that also boasts some of the greatest action set pieces cinema has ever seen, Heat is a defining classic of ’90s cinema. Following two characters on opposite sides of the law, it unfolds as calculating robber Neil McCauley (Robert De Niro) plans one final heist with his crew before retirement while Lt. Vincent Hanna (Al Pacino) sets out to thwart his plans of collecting one final big score.
While the entirety of the movie’s 170-minute runtime is masterful, few viewers will ever forget the famous shootout scene in the streets of downtown L.A., a ferocious battle of unrivaled tactical realism that stands as arguably the greatest action scene of all time. It is a great testament that the scene, and the other high-intensity moments of the film, almost eclipse the appeal of De Niro and Pacino acting alongside each other for the first time despite their decades-spanning career. Complimented by Michael Mann’s astute direction and immersive sound design, Heat presents a pulsating action spectacle that is impossible to forget.
‘Die Hard’ (1988)
Every Christmas seems to be the rewatch schedule for Die Hard in a lot of households, and it is easy to see why. It follows New York cop John McClane (Bruce Willis) as he finds himself embroiled in a nerve-rattling battle when terrorists take over the Christmas party of his estranged wife’s workplace. Die Hard is an enthralling and deceptively clever movie that grounded ’80s action excess in a more contained sense of tension, and transformed the muscle-clad, invulnerable hero into a relatable everyman.
For these reasons, Die Hard has aged far more gracefully than many of its contemporaries. Its screenwriting precision, perfect balance of suspense and entertainment, and litany of faultless performances have seen it remain an unrivaled classic of the genre even after almost 40 years. It is still heralded as a defining benchmark of action-thriller cinema, and it seems that every December, when it is watched again, it only grows greater.
Blueface is turnin’ heads and leaving internet users wondering if he’s trying to shoot his shot with LisaRaye McCoy.
RELATED: Switchin’ It Up! LisaRaye Sparks Mixed Reactions Following Her Recent Wardrobe Refresh (WATCH)
Is Blueface Trying To Shoot His Shot With LisaRaye?
On Tuesday, June 9, Kia Todd, a talent agent, took to Instagram to share footage from her time apparently escorting LisaRaye McCoy at the 6th Annual Hollywood Unlocked Impact Awards. Furthermore, the footage showed Blueface standing near McCoy as he seemingly told Todd he was going to “crash out.”
“Y’all think I’m playing. I’m not playing, bro,” he said before turning to look at McCoy. “If she’s me, I’ll stop cheating. I’ll stop cheating for her. I’ll stop cheating for her. You gon’ tell her after this?”
Ultimately, Todd captioned the clip, “Haha @bluefasebabyy was so serious bout my girl
@thereallraye1 😂😂😂 Yall believe him???! 😂🫣…”
Peep the clip below.
Social Media Is REACTING
Social media users slid into TSR’s comment section with a plethora of reactions to the clip of Blueface and LisaRaye McCoy.
Instagram user @sue.bankss wrote, “She ain’t paying him no mind 😭😭”
While Instagram user @simply.shaiyah added, “now how he even get in the same room as LisaRaye?”
Instagram user @_sp0ildchic wrote, “He don’t want LisaRaye, he wants Diamond 😂😂😂😂”
While Instagram user @dswervyyy added, “Get tf away from her NEOWWWWW!”
Instagram user @_relleshanel wrote, “Boy plz she too grown and u don’t make enough 😂😂😂😂”
While Instagram user @bigheadloudthoughts added, “I know she heard him but was ignoring tf outta him”
Instagram user @nitakproductionsllc wrote, “Who wants a grown man with scribble scrabble all over his face…I don’t think Lisa does😂”
While Instagram user @hectorcamacho631 added, “She’s upset that he thinks he can talk to her 😂”
Instagram user @mamanezzy_ wrote, “I mean……Birdman got Toni Braxton 🤣🤷🏾♀️ stranger things have happened”
While Instagram user @issheemmamarie added, “You got Walgreens tatted on your face bro goodbye 💀😂😂”
Before The Clip Showed Blueface Alongside LisaRaye, He Turned Heads With THIS
Before the footage showed him alongside LisaRaye McCoy, Blueface was already turning heads at the 6th Annual Hollywood Unlocked Awards. As The Shade Room previously reported, when photos initially surfaced of Blueface at the event, they showed him donning a suit. Subsequently, social media users went IN with reactions in TSR’s comment section.
One person wrote, “THE TIE IS PISSING ME OFF”
While another added, “Looking like a public defender on the weekdays and a used car salesman on the weekends suit.. 😩😩🙏🏽”
RELATED: Hol’ On! Blueface Stepped Out Wearing A Suit & Social Media Users Can’t Stop Talkin’ About One Thing (PHOTOS)
What Do You Think Roomies?
Entertainment
Matthew Broderick calls Jack Lemmon's 'effortless' performance in “The Apartment” 'the hardest thing to do'
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Lemmon was nominated for an Academy Award for playing C.C. Baxter in the 1960 film.
By Jonathan Klotz
| Published
Comedy is hard to do right. Science fiction is hard to do right. A sci-fi comedy is nearly impossible. That’s what makes Resident Alien one of the best series of the decade. It’s a funny, well-written sci-fi comedy allowed to tell a complete story from beginning to end. After originally airing on SyFy, the series went to Netflix, and now, the final season has arrived for you to easily binge Alan Tudyk’s greatest performance.
The Perfect Role For Alan Tudyk
Tuidyk plays “Harry Vanderspeigle,” or rather, the alien with a name humans can’t pronounce, impersonating the town doctor (also played by Alan Tudyk in flashbacks), whom he accidentally killed when landing in Patience, Colorado. Harry learns medicine by watching Law & Order, and slowly picks up on human emotions, customs, and social cues as the series goes on, all to further his mission to exterminate the human race. Early on, he realizes that a young boy, Judah, can see his true alien form. He tries to exterminate the witness, but fails, and ends up befriending him instead. Be a different series if the bone saw had worked.
The first few episodes have the other residents of Patience playing the straight man to Harry’s quasi-murderous antics, before Resident Alien finds its groove and settles in. As the seasons go on, Harry finds an ally in Judah’s mom, Asta (Sara Tomko), and a new enemy when the government moves into Patience, which, as with Stranger Things, is represented by Linda Hamilton as a no-nonsense extraterrestrial hunting General. Hamilton isn’t the only sci-fi cameo. Resident Alien is filled with familiar names and faces having the time of their life on the show.
Alan Tudyk’s Firefly co-stars, Nathan Fillion and Jewel Staite, turn up as a telepathic octopus and an FBI Agent respectively. Clancy Brown, Terry O’Quinn, George Takei, and Stephen Root all drop by while behind the camera, Star Trek Voyager’s Robert Duncan McNeill is often directing the big episode of the season. When the star of the show is one of the most beloved performers in Hollywood, it’s easy to get everyone to show up.
Resident Alien Is The Decade’s Best Sci-Fi Series
Resident Alien is an absolute blast of a series. It’s a throwback to the old SyFy slate of Eureka and Warehouse 13, and the only show this decade to nail that vibe. It took a while to catch on. Season 1 flew under the radar with barely a million viewers for each episode. Once it was available on streaming, it became a social media hit, and viewership boomed. Now that it’s complete on Netflix, expect it to again experience a new surge in popularity.
There’s a lesson to be learned here by studios about producing original sci-fi, or well, almost original, since it does adapt the comic book series by Peter Hogan and Steven Parkhouse, and then giving them room to grow, develop, and find their audience. Too often, sci-fi shows are canceled after one season before anyone even knows how great it is. Resident Alien did everything right, barely survived for four seasons, and is now going to be your new favorite series
![90 Day Fiance: Mallorie Serves up a Redneck Welcome - Recap [S12E05]](https://wordupnews.com/wp-content/uploads/2026/06/90-Day-Fiance-Mallorie-1024x576.jpg)
On 90 Day Fiance, Mallorie prepares Rasit for life in the south by throwing a redneck party to welcome him. Edward Miguel Gomez arrives at Marissa Rubinetti’s house and quickly learns the rules. Ashia and her mom make the trek to Nigeria. Josh Atkins is hurt by Catie Norboe’s admitted indiscretions. And Mohamed “Mido” Fayed shows a dark side to Debby Rolando. Let’s break it all down in this recap of Season 12, Episode 5 Something Old, Something New.
90 Day Fiance: Mallorie and Friends Welcome Rasit
On 90 Day Fiance, Mallorie wants Rasit to feel comfortable in his new home in Alabama. But a visit from her friend Brandon leaves Rasit uneasy. Because at one time Brandon was a friend with benefits. Mallorie assures him that was in the past. But she’s not giving up Brandon as a friend. Because after her car accident he cared for her dogs. And supported her in her time of need. But Rasit doesn’t agree. And calls him Brandy.
Later Rasit battles for space in the bed with Mallorie’s dogs. He succeeds in getting them out of the bedroom so he can have alone time with Mallorie. In the morning the couple enjoy a coffee run in the rain. Mallorie gets emotional admitting that some of her friends have actually referred to Rasit as a terrorist. Because of his Muslim faith. She asked her friends not to include them at the welcome party for Rasit.
Mallorie’s friends are throwing a “white trash bash” to welcome Rasit to the south. It includes plenty of drinking and themed outfits. Rasit jumps right in donning a red, white and blue bandanna with attached mullet. He isn’t shy, shot gunning a beer and taking a shot with Brandon. He tells Mallorie he wants a word with him. And jumps on Brandon’s open truck tailgate. Brandon cites that as pure disrespect. And Rasit struggles for the right words. For now.
90 Day Fiance: Edward Learns the House Rules
Edward Miguel Gomez arrives in America and Marissa Rubinetti is eager to get him home on 90 Day Fiance. He’s impressed to see her house on a treelined suburban street. It reminds him of the house on Home Alone. He’s even more impressed with the inside. But wasn’t expecting Marissa to start rattling off rules. First, he has to remove his shoes. And she suggests he’s getting a privilege her ex-husband did not. Permission to use the master bedroom bath.
Edward Miguel Gomez is eager to show off his surgery down under. Marissa Rubinetti is pleased with the results. In the morning she serves up a protein shake and some packaged cold hard-boiled eggs. Edward is enthralled with the sink that turns on with a tap of the hand. During a power walk Marissa sets up what will happen later in the day when her ex-husband Michael will drop off the kids. She advises him not to go head-to-head with her ex.
Michael arrives with the kids who are happy to see Edward on 90 Day Fiance. Michael is aloof but polite, suggesting he thought Edward was shorter than he is. Edward takes this as a stab at him. But later when the two men talk alone, Michael warns that he will fight anyone over the kids. But also cautions Edward about Marissa’s wealthy parents. Who made him feel less than. Edward heeds the warning and assures Michael he’s not aggressive but can hold his own.
90 Day Fiance: Ashia Heads to Nigeria on a Mission
90 Day Fiance newbie Ashia is on a mission. After her fiance Maxwell was denied a k-1 visa due to “fraud” she’s determined to get to the bottom of things. Her mom is accompanying her on the trek. Her friend drives her to the airport. But she’s got plenty of questions and doubts. Ashia doesn’t appreciate the negative energy. She has faith in the lord and her relationship. But if there is a secret uncovered, she’ll bolt.
Mother and daughter make it to Nigeria. Maxwell is waiting with flowers. He’s put on a few pounds at Ashia’s request. He admits she films his bald spots while he sleeps. He’s working on his skincare too. Ashia is pleased with his beefier physique. But admits the skincare still has a way to go.
90 Day Fiance: Josh and Catie Get a New Place
Josh Atkins is a nice guy on 90 Day Fiance. He laughs often at his fiance Catie Norboe’s quirks. But some of her behaviors stress him out. Such as getting black out drunk and asking her friends to kiss her on the lips while he was there. Josh worries what his future will be like. The pair are packing up to move into an apartment she rented sight unseen. And Josh is concerned what they will be walking into. Catie’s OCD kicks in and she forces Josh to check every inch of the hotel with her.
The couple arrive to the complex and discover it’s spacious but the floors are concrete. Catie Norboe has prioritized packing an adult toy and Josh Atkins finds it funny until she suggests using it on him. A tiny twin bed with a nasty mattress makes Josh uneasy. Catie is less bothered citing differences in how they see things. But after she makes up the bed they cuddle together and realize there’s a loud noise to deal with every time the garage opens in the building.
90 Day Fiance: Debby Sees the Dark Side of Mido
Debby Rolando is frustrated with Mohamed “Mido” Fayed giving her the silent treatment. She rented a bigger apartment to keep him happy. Mido pouts that she didn’t capture him on video driving the moving truck. He trots downstairs and says good morning to a weepy Debby. Who says she didn’t sleep well after the argument. She suggests going out to breakfast so they can have a conversation.
Mido is aggravated and brings up how in his culture the woman should respect the man on 90 Day Fiance. He thinks since she hasn’t lived with a man in so long she has forgotten. But Debby is no pushover in spite of being head over heels with him. Mido is rude, self-centered and clearly not invested. He brings up his dream of acting again. Debby recognizes this as a red flag. But still asks him for a ring. Till next time!
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