Jenny McCarthy has taken to TikTok to passionately share a frustration she has about rideshares. And apparently, she’s far from the only one who’s ready for this one trend to change.

McCarthy, known for often sharing health and wellness information on social media, is tired of being “Christmas treed” in the back of an Uber or Lyft, and she’s far from alone.

In a recently shared TikTok video, McCarthy talks about this one thing that has her frustrated when she needs to hop into an Uber or Lyft.

“Hey, I’m making a public service announcement, so please feel free to share this video, in fact, please share this video wide, far and wide,” she began her plea. “I would like to get this to the President/CEO of Uber, Lyft, all of them.”

She continued by saying that she saw a podcast do an interview with an “Uber guy that owned it” about being able to request a specific thing when ordering a rideshare ride.

“You know how you can request female driver, you can request all these things, like don’t talk to me too much,” she continued. “Please make a choice to have non-fragrance cars. I think the majority of people will enjoy non fragrance, because those damn Christmas trees.”

‘Literally I Wanted To Die’

McCarthy shared that she was in a rideshare earlier in the day and there were two Christmas tree air fresheners in the car and, “literally I wanted to die.”

“I’m finding myself hanging out of cars when I’m working locations and like, jumping in an Uber and I’m seriously dying,” she continued. “It’s so toxic, if you don’t know that fragrance is so toxic, and those Christmas tree things are horrible for you.”

She then made her ultimate plea for Uber and Lyft drivers to get rid of the air fresheners. She also asked that the “president of Uber, please make that a choice.”

Netflix has just loaded up a Jack Nicholson classic. Here’s everything you need to know about it.

By Rick Gonzales
| Published 1 minute ago

Chinatown is often regarded as the peak of Hollywood’s film noir style and one of the greatest detective stories of all time. It stars Jack Nicholson at the peak of his powers, and it’s a must-see for anyone who likes, well, watching moving images of any type on a screen.

Jack Nicholson had already been around Hollywood for a number of years before he was offered Chinatown, a part that Towne wrote especially with him in mind. With an early career that consisted of appearances on many TV series, it wasn’t until the mid-‘60s that Nicholson began to see more time in feature films. One of his earliest successes came with the 1969 film Easy Rider. He then went on to Five Easy Pieces, Carnal Knowledge, and The Last Detail before Chinatown came knocking.

Jake Gittes Investigates

Jack Nicholson plays Jake Gittes in Chinatown, a private investigator operating in pre-war Southern California. Hired by a mysterious woman to investigate her husband’s alleged infidelity, Gittes becomes entangled in a web of deception and corruption far beyond what he initially anticipates. As he delves deeper into the case, he uncovers a labyrinth of personal and political scandals that culminate in a shocking revelation. 

Chinatown weaves a tale of intrigue and betrayal against the backdrop of a morally ambiguous society. Directed by Roman Polanski and written by Robert Towne, the film has left an unforgettable mark on cinematic history with its gripping narrative and stellar performances.

The Best Way To Watch Chinatown

Chinatown is available to stream on some of the usual algorithm-controlled culprits. You should avoid them entirely.

There’s only one right way to watch Chinatown, and that’s on Blu-ray. In 2024, with the format fading and being abandoned by most movie studios, Paramount stepped up and released a50th anniversary Blu-ray and 4K edition of Chinatown.

This version of the movie includes three new featurettes, including A State of Mind, where author Sam Wasson digs into the movie’s long-term influence; Chinatown Memories with producer Hawk Koch reflecting on the production; and The Trilogy That Never Was, which explores the failed plans for a third Jake Gittes movie after The Two Jakes.

The set also carries over the excellent Robert Towne and David Fincher commentary track along with the older Water and Power documentary, which remains one of the best extras ever produced for the film because it explains the real Los Angeles history behind the story. Paramount also bundled in the sequel, The Two Jakes, on its own Blu-ray disc, making the release feel more substantial than the average anniversary edition.

Making Chinatown

Robert Towne’s script, which won the Academy Award for Best Screenplay, is often considered, as well as the movie, as one of the greatest of all time. But the script wasn’t without its controversy. Initially, the script ran 180 pages, and Towne definitely had different ideas about how the movie would end.

Not wanting to give away the ending, we’ll just say that the two (Towne and Polanski) parted ways based on the fact that Polanski saw the ending differently. In fact, Polanski himself rewrote the ending a few days before he shot the final scene.

Chinatown Got A Sequel You Should Avoid

Chinatown was originally set to be a trilogy, following Jack Nicholson’s Gittes through his time as a private investigator. It took 16 years, but Towne and Nicholson did team up for the second part, The Two Jakes, though its lackluster box-office performance shut down the idea of a trilogy.

Watching movies, you’d think that the end of the world is the coolest thing that could happen to planet Earth.

From stylish techno-nightmares like The Matrix to the post-apocalyptic wastelands of Mad Max: Fury Road, sci-fi dystopia movies provide a certain kind of anti-escapist fantasy.

And we won’t lie: we’d love to wear leather dusters and fight evil computer programs.

Today, Watch With Us rounds up five of our favorite sci-fi dystopia movies, ranked from best to merely great.

Read on and see if any of your favorite movies made the cut.

5. ‘Wall-E’ (2008)

Waste Allocation Load Lifter Earth-Class, AKA WALL-E, is the lone trash-collecting robot left on a derelict Earth covered in mountains of trash. Still, WALL-E can find pockets of joy and beauty on the empty planet, while trying to tidy up as best he can. But after collecting garbage alone for 700 years (and not getting any further with it), WALL-E has become lonely — and so he develops an intense affection for a sleek, scanner bot named EVE. The lovesick WALL-E follows EVE all the way into space, where he finds humans residing on a giant spaceship.

WALL-E was an ambitious experiment for Disney and Pixar at the time: a children’s film that features no dialogue for the first 45 minutes. But WALL-E beat the odds and became another classic in Pixar’s roster of hits, a sweet and poignant exploration of the humanity found in dark times. The film does a terrific job of conveying deep emotion not just through a lack of words, but through a lack of expression. Despite its outlook on Earth’s future, WALL-E is unflinchingly optimistic and a rare feel-good dystopian film in the sub-genre.

4. ‘Mad Max: Fury Road’ (2015)

In the ravaged wastelands following the collapse of civilization, loner Max Rockatansky (Tom Hardy) does whatever it takes to survive. When Max is captured by cronies of the tyrannical despot Immortan Joe (Hugh Keays-Byrne), he manages to escape and sneak onto Joe’s armored war rig set out to retrieve more oil and ammunition. But the war rig’s driver, Imperator Furiosa (Charlize Theron), has other plans: she’s going to make a daring dash to freedom, with Joe’s enslaved wives in tow. Thus begins a madcap chase across the desert as Max allies with Furiosa to free not just themselves, but all of Joe’s oppressed people.

While Mad Max: Fury Road is actually the fourth installment of a franchise that began all the way back in the ’70s, widespread feeling is that Fury Road is handily the best. The Mad Max movies started with George Miller directing Mel Gibson as Max in 1979, yet Miller seems to have only cultivated even more directorial zeal and spirit in his older age. Fury Road is a nonstop, high-octane thrill ride from start to finish, with practical car stunts that will blow your mind. But it’s not all just meathead action — Theron and Hardy sustain the film’s solid emotional crux.

3. ‘Children of Men’ (2006)

In the far-off year of (gulp) 2027, two decades of human infertility render the world on the brink of collapse. War, depression and oppressive police states plague the planet, and a disillusioned bureaucrat named Theo Faron (Clive Owen) is kidnapped by a militant group led by his estranged ex-wife Julian (Julianne Moore). Julian offers Theo money in exchange for the safe passage of a young refugee woman named Kee (Clare-Hope Ashitey). When Theo discovers that the woman is pregnant, he understands he has to do whatever it takes to secure her safety and that of the human race.

Children of Men is a riveting science fiction drama, a moving portrait of faith in the face of despair and a flat-out exhilarating political thriller. Alfonso Cuarón adapts P. D. James’ novel into a tour de force of visual complexity and technical masterwork (the one-shot car ambush scene is iconic; you’ll know it when you see it). The brilliance of Cuarón’s dystopia is that it’s utterly ordinary, yet totally bereft — and still, it ends on a glimmer of hope.

2. ‘Blade Runner’ (1982)

Threatened by his old boss to go back to work, Rick Deckard (Harrison Ford) resumes his job as a blade runner, a person who tracks down and “kills” bioengineered humanoids known as replicants. Deckard must hunt for four replicants who have illegally escaped to Earth: Leon (Brion James), Roy Batty (Rutger Hauer), Pris (Daryl Hannah) and Zhora (Joanna Cassidy). The replicants have returned to Earth in search of their creator, longing for their short life spans to be lengthened. In the meantime, Deckard finds himself falling for a beautiful replicant assistant named Rachael (Sean Young).

Blade Runner is one of those movies whose cultural cache is so strong, you’d be forgiven if you had no idea that it was a major flop upon release. Now, it is regarded widely as one of the best science fiction films ever made, resulting in the 2017 sequel Blade Runner 2049. The film nimbly fuses neo-noir mystery with sci-fi action, in a world made strikingly rich due to detailed production design, immersive sound and practical sets and miniatures. Blade Runner has influenced countless sci-fi films in its wake, such as Ex Machina, The Matrix and Ghost in the Shell (1995).

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1. ‘The Matrix’ (1999)

Ordinary computer programmer Thomas Anderson (Keanu Reeves) moonlights as a hacker named Neo and digs into a mystery surrounding the “Matrix.” His research catches the attention of a hacker named Trinity (Carrie-Ann Moss), who informs Neo that a mysterious figure named Morpheus (Laurence Fishburne) can answer all his questions. Neo learns the unfortunate truth — that the world he knows is a simulation, and that AI took over the real world, using artificially conceived humans to power it. Morpheus increasingly believes Neo to be humanity’s messiah, but first Neo has to prove himself, master the Matrix and defeat an evil program known as Agent Smith (Hugo Weaving).

If you’ve never seen The Matrix, one viewing is all it takes to understand why the movie has maintained such a chokehold on pop culture through the years. With an easily accessible narrative, the Wachowskis blend exciting action, a thrilling adventure atmosphere, state-of-the-art special effects and a particularly romantic love story into a film experience that is basically everything you could want out of a well-made blockbuster. The movie probed tech anxieties of the time while burdening us with a lasting question: Do we really live in the Matrix?

Robin Hood is usually remembered through adventure. Sword fights, daring escapes, stolen riches, and heroic speeches tend to define most versions of the iconic character that have been portrayed on screen by names like Cary Elwes (Robin Hood: Men in Tights), Errol Flynn (The Adventures of Robin Hood), Russell Crowe (Robin Hood), and more. The actual reality of living as an outlaw for years would probably look much more brutal than previous takes on the legend.

That harsher perspective is central to The Death of Robin Hood, director Michael Sarnoski’s upcoming reimagining of the legendary figure. As part of Collider’s Summer Preview Event, we’re thrilled to exclusively reveal a new image from the movie featuring Hugh Jackman as the outlaw holding one of his arrows. Rather than focusing on Robin Hood at the height of his legend, the movie reportedly explores the final chapter of his life as he grapples with the violence, trauma, and consequences left behind by years spent surviving outside the law.

A24’s ‘The Death of Robin Hood’ Takes a Much Darker Approach to the Legend

Directed by Pig and A Quiet Place: Day One filmmaker Sarnoski, The Death of Robin Hood stars Jackman alongside Jodie Comer, Bill Skarsgård, Murray Bartlett, and Noah Jupe in a more brutal and grounded interpretation of the classic myth. Recent footage from the movie has already emphasized a darker tone, with Jackman narrating a featurette that strips away the romanticized fantasy surrounding Robin Hood in favor of something much harsher and more historically raw.

That approach already makes The Death of Robin Hood feel very different from most adaptations of the legend. Instead of focusing on peak Robin, the movie picks up after years of violence have already taken their toll, leaving him wounded, isolated, and far removed from the romanticized outlaw audiences usually picture. It also feels like material that plays directly into Sarnoski’s strengths as a filmmaker. Both Pig and A Quiet Place: Day One featured themes of grief and loneliness, with emotionally exhausted characters trying to survive situations that had already broken pieces of them. Jackman also feels like an especially strong fit for that version of Robin Hood, as some of his best dramatic performances over the last decade have centered on men who’ve been worn down by the lives they’ve lived.

The Death of Robin Hood releases in theaters on June 19, 2026. Stay tuned to Collider throughout the week as our Summer Preview Event continues with exclusive looks at some of the biggest upcoming movies of the season.

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Release Date

June 19, 2026

Runtime

123 Minutes

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Director

Michael Sarnoski

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Dispatches from Elsewhere is a series unlike any other, blending sincerity, comedic moments, and themes of uncertainty. The show aired on AMC in 2020 and was canceled after one season. It was quietly released in the middle of a worldwide pandemic and soon afterward disappeared, which is a shame because, underneath all the scavenger hunts, cryptic flyers, performance-art chaos, and talking fish, is one of the most emotionally honest shows Netflix has picked up in years.

According to reports, however, Dispatches from Elsewhere exits Netflix on June 4, which gives viewers a pretty short window to discover a series that feels like somebody turned loneliness, quarter-life panic, and urban mythology into television.

‘Dispatches from Elsewhere’ Starts Like a Conspiracy Thriller

Image via AMC

Peter (Jason Segel) is stuck in the kind of life that feels less miserable than numb. He works a forgettable job at a music streaming company, drifts through the same routine every day, and looks permanently exhausted in the way people do when they’ve quietly given up on being surprised by life. Then he notices a strange flyer, which leads him to the Jejune Institute, a bizarre organization run by the hypnotically theatrical Octavio Coleman (Richard E. Grant), with the exact energy of a man who may either enlighten you spiritually or rob you blind. Soon, Peter is caught up in an alternate reality game that spans the city and features secret societies, hidden clues, missing artists, and a lady named Clara who may or may not exist.

During this adventure, Peter meets three other players: Simone (Eve Lindley), an artist attempting to escape her feelings of isolation; Fredwynn (André 3000), a conspiracy theorist whose brain is much faster than his social skills; and Janice (Sally Field), a lonely empty nester searching for something new to do in her life. The show follows all the characters as the game begins to bleed into reality, or maybe reality starts bleeding into the game.

The Cast Is What Makes ‘Dispatches from Elsewhere’ Work

Image via Disney+

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At times, Dispatches From Elsewhere comes dangerously close to being utterly bizarre. There are parts where it seems as though the creator of this show had an emotional meltdown after spending one weekend watching Pushing Daisies, Twin Peaks, and Eternal Sunshine Of The Spotless Mind. In some instances, it is brilliantly executed, but in other respects, Dispatches is almost too eager to demonstrate its whimsy; the cast keeps everything level, however

Lindley is easily the standout. Simone could’ve become the kind of “mysterious free spirit” character audiences have seen a thousand times before, but Lindley gives her a guardedness that keeps the performance from floating away into cliché. There’s real exhaustion underneath her charm. Meanwhile, André 3000 turns Fredwynn into something unexpectedly sad. He plays him as if he has been analyzing human behavior his whole life without ever actually connecting with anyone. As always, Field effortlessly conveys deep sadness through her performances. Finally, Grant has an uncanny ability to exude warmth and comfort while also giving off an eerily unsettling demeanor.

Jason Segel Made a Mystery Show That’s Really About Loneliness

Image via AMC

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What separates Dispatches from Elsewhere from many puzzle-box mystery shows is that it eventually stops caring about the puzzle.

There are clues hidden everywhere, secret messages tucked into random conversations, entire sequences built around deciphering nonsense, but the actual point of the series becomes pretty clear halfway through. These are people who feel disconnected from the world around them. Peter feels invisible; Simone keeps people at arm’s length because she’s tired of getting hurt; Janice built her entire identity around taking care of other people and suddenly has no idea who she is anymore; and Fredwynn hides inside theories and patterns because they make more sense to him than human relationships do. The game forces them to find one another.

The show is best watched as a binge; if you only watch one episode per week, it is likely frustratingly abstract, since you don’t have any emotional connection to the character while you’re waiting a week to see them again. By watching the entire series in one sitting, you quickly form an emotional connection to the journey.

Once you complete the series and arrive at the strange and very meta ending, it no longer feels like a sci-fi mystery; rather, it feels much more like a story about creativity, regret, human connection, and the almost desperate need we humans have to believe there is always some magic hidden in the mundane everyday activities of our lives.

Tom Holland is opening up about the surprising new direction behind Spider-Man: Brand New Day, and it sounds like Marvel and Sony are taking Peter Parker into completely uncharted territory.

Spider-Man: Brand New Day Cover [credit: Empire Magazine]

Speaking with Empire, Holland revealed that he actually pitched part of the movie’s story himself, describing it as a “Spider-puberty” concept centered around Peter Parker evolving into adulthood while dealing with dramatic new changes to his powers. According to Holland, “They liked the idea,” and the film appears ready to push Spider-Man further than fans have seen before.

The comments line up with everything Marvel has teased so far about the upcoming movie. Following the emotional ending of Spider-Man: No Way Home, Peter Parker is now completely alone in New York after Doctor Strange’s spell erased him from everyone’s memory. Marvel has repeatedly described Brand New Day as a “fresh start” for the character, with Holland himself calling it “the first movie in the next chapter.”

What makes the new film especially interesting is the reported evolution of Peter’s abilities. Early details surrounding the movie suggest his powers may begin mutating in unexpected ways, including the possibility of organic webbing similar to Tobey Maguire’s Spider-Man films.

Holland also recently explained that the story is heavily focused on identity and growing up, saying the film explores “when young people really find their identity and become adults.”

Spider-Man: Brand New Day Cover [credit: Empire Magazine]

That more grounded coming-of-age direction appears to be exactly what Marvel Studios president Kevin Feige wants for the franchise moving forward. Feige has teased that the movie will deliver a more “classic” Spider-Man story after years of multiverse chaos.

The film is also set to bring in some major new faces. Jon Bernthal is expected to appear as The Punisher, creating what Holland described as a “big brother-little brother rivalry” dynamic between Frank Castle and Peter Parker.

Meanwhile, fans are already buzzing over the film’s darker tone, practical effects, and newly revealed suit design that leans closer to the classic comic book look.

With Spider-Man: Brand New Day positioned as a full reset for Holland’s version of Peter Parker, Marvel may finally be giving fans the street-level Spider-Man story they’ve wanted for years.

Spider-Man: Brand New Day swings into theaters July 31, 2026.