Entertainment
The Harsh Realities of Peak Millennial Activism
Imagine this: After months of finally coming to the conclusion that you want a divorce, you lay it out for your spouse, and then the next morning, Russia invades Ukraine. Okay, sure, perhaps if you don’t live in Eastern Europe, the invasion might not really affect you as much as the reality that you now need to retain a divorce attorney. But for Vytas (Marius Repšys) and Marija (Žygimantė Elena Jakštaitė), in Lithuania, the war presents a new complication during this unpredictable time for them and their daughter, Dovilė (Amelija Adomaitytė). Director and screenwriter Andrius Blaževičius puts a microscope on the complex family dynamic that inevitably appears after a divorce and sets it during the timely invasion of Ukraine to put the realities of war and social justice into sharp focus.
What Is ‘How To Divorce During the War’ About?
In 2022, Marija and Vytas wake up in separate beds to the news that Russia is launching a full-scale invasion of Ukraine. This is just a day after Marija told Vytas that she wants a divorce, not telling him that she’s been quietly having an affair with her co-worker, Jūratė (Indrė Patkauskaitė), for months. While Vytas feels completely blindsided by this, his more immediate problem is now that he must find a place to live. Marija is the sole breadwinner of the family, working for a video production company that makes social media video slop. Vytas, a once-successful filmmaker currently out of work, both looks down on Marija’s day job and actively benefits from her salary. In exchange, he is the primary homemaker, taking care of their daughter Dovilė, making dinner, and cleaning the house meticulously.
The separation completely throws both Marija and Vytas’ lives into disarray. The couple is pro-Ukraine and makes every effort to show it. Vytas is forced to move home to his Russian-sympathetic parents, but every other day, he’s throwing rocks into the windows of Russian cars. He begins volunteering at a food bank and participates in artistic protests in the city, using his modicum of fame to amplify their message. Meanwhile, Marija brings in a Ukrainian family of refugees to live with her and Dovilė shortly after the war begins. She actively opposes her company’s continued partnership with Russia at the risk of her own career, and ties up the Ukrainian flag on her balcony with her daughter in a firm show of support.
However, as the war wages on, Vytas’ actions feel more and more performative, and Marija becomes annoyed with the extended stay of the refugees in her home, with whom she can barely communicate. In the background, Dovilė experiences troubles at school as children echo the varying sentiments of their parents. How To Divorce During the War carefully and deliberately illustrates the very real and complicated feelings that come with the Russian invasion, and rather than wag a finger at anyone, the film forces you to look at the nuances of the war, warts and all.
‘How To Divorce During the War’ Depicts Performative Activism’s Upsides and Downsides
Living in the Lithuanian capital of Vilnius, both Marija and Vytas are no stranger to working with their European neighbors, and many Lithuanians have some kind of tie to the two warring countries. Although Marija and Vytas outwardly express their support for Ukraine, this support wanes in ferocity as time stretches on. It’s not that they are just posting black squares on social media or tweeting into a void — they aren’t slacktivists — but their performative actions and the desire to be on the right side of history feel, in many ways, self-serving.
The upper-middle-class privilege comes on full display after the split. Marija is happy for a Ukrainian mother and her two sons to come and live with her, in a very bold show of how eager she is to help. But she jams all three of them into Vytas’ former office, and it’s not long before she’s complaining about how dirty they are and struggling to communicate with them. When she defiantly quits her job due to the fact that her company won’t break ties with Russia, she doesn’t consider that she still has to provide for her daughter and also the new family living with her. It’s a perfect example of that privilege that Marija is so confident in quitting based on her morals, when the reality is that most people work for morally-dubious companies and remain there for the simple reason that they need a paycheck.
Mstyslav Cherno takes us into the darkest depths of the war in Ukraine.
With Vytas, his return home means that he’s plagued with his parents essentially watching the Russian version of Fox News, a channel spouting propaganda that he desperately tries to push his parents not to believe. Whenever he sees a Russian license plate, he doesn’t even hesitate to throw a rock through the car window as a violent form of protest. Of course, the Russian government is to blame for the invasion, but should these citizens pay the price of something they have little to no control over? Vytas thinks so. Rather than seeking employment, he volunteers (occasionally helping himself to the food that is meant to go to refugees thanks to his dwindling funds) and participates in artistic protests to a crowd of dozens where he lies on the ground covered in fake blood.
Protesting, volunteering, and housing refugees all benefit the Ukrainian effort, which, for Marija and Vytas, might excuse the fact that their motives behind their actions are largely an effort to self-soothe. Being fully aware that Russia is in the wrong means that they are also conscious that they might not be doing enough. Add to the fact that Russia is less than a five-hour drive away, and the growing fear of what Putin might do next, and both characters are pushed to their extremes.
Andrius Blaževičius Gets the Details Right in ‘How To Divorce During the War’
Blaževičius carefully toes the line between the politics and the domestic drama of How To Divorce. While it might be easy for us to shame Marija for how she treats her new house guests and chastize Vytas for his vandalism, it’s also hard to paint them as pure villains. Galvanized by good intentions, Blaževičius makes a very pointed commentary on the burden of living in this world where we are constantly exposed to the horrors of war and disaster. Feeling helpless and hopeless, it’s not hard to see why the protagonists of the story want to do everything they can, even if it’s not sustainable for them.
Both Repšys and Jakštaitė deserve praise for their performances. After the separation, Repšys plays the awkwardness of Vytas perfectly. From awkwardly asking a Ukrainian sex worker about her family after doing the deed to being covered in red corn syrup while waxing on about the purpose of their protest, Repšys can make us both sympathize with Vytas while also cringing at him. Jakštaitė has the difficult task of making us empathize with Marija. As the cheating spouse and the homeowner stressing out her refugees, it’s not easy to like her. But Jakštaitė is able to show Marija’s frustration and depression without saying a word, humanizing her in just a few quiet moments that remind us that Marija is not the one we should shift all our blame onto.
Blaževičius follows the timeline of events, carefully documenting with an inobtrusive eye as feelings change, politics shift, and a desire for equilibrium trumps the passion for social justice. Lithuanian cinematographer Narvydas Naujalis is able to speak volumes in his shots of the quiet daily life of a country that is on edge. Simple things like the setting of the film depict the evolution of the characters; what starts as a clean and bright apartment where Marija and Vytas live with their daughter slowly dims and becomes cluttered as the film progresses. Layered with symbolism and unafraid to show the spectrum of reactions to a tumultuous time, How To Divorce During the War is a thoughtful drama that highlights the global impact of a war on the smallest scale.
How to Divorce During the War debuted at the 2026 Sundance Film Festival.
- Release Date
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January 26, 2026
- Runtime
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108 minutes
- Director
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Andrius Blaževičius
- Writers
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Andrius Blaževičius
- Producers
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Marija Razgutė
Cast
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Žygimantė Elena Jakštaitė
Marija
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- Strong performances from the leads, especially during the characters’ most unlikeable moments.
- Bla?evi?ius presents a complex issue without losing the intimate look at the divorcing couple.
- The film loses focus with the family dynamic and Dovil?’s character is kind of neglected.
By Jonathan Klotz
| Published
Reboots and remakes aren’t a new Hollywood trend. For decades, studios have been digging into their archives to revive old IP for a new generation. It worked with Battlestar Galactica, but a few years later, Universal attempted the same formula: a TV movie, then a launch of the new, darker, grittier series with Knight Rider.
The deliberately cheesy ’80s series that turned David Hasselhoff into an international star stalled at the starting line when it returned in 2008. Not even a mid-season rework could save the series, which is now mostly forgotten, while the original remains a fan favorite.
A K.I.T.T. For A New Generation
The 2008 series replaces Hasselhoff’s Michael Knight with his son, Michael Tracuer, adopting the name Knight after the first episode (played by Justin Bruening, now a Hallmark movie regular), and Val Kilmer voices K.I.T.T. The two are working for the U.S. government under the watchful eye of FBI Agent Carrie Rivai (Sydney Poitier) and NSA Agent Alex Torres (Yancey Arias), at least for the first dozen episodes before the reboot hits and the pair end up working for the revived Foundation for Law and Government (FLAG). This time around, K.I.T.T. is powered by nanotechnology, and the series attempted to tell overarching storylines digging into both Mike’s forgotten past and the return of K.I.T.T.’s archenemy, K.A.R.R.
As with most network procedurals, the overarching storylines came into play during the opening and closing of most episodes, with the bulk of the runtime an adventure of the week. Mike goes undercover to foil assassination plots, has to drive over 100 MPH to keep a bomb from exploding, goes undercover to prevent an assassination, races a terrorist, and you’re starting to get the picture. To Universal’s credit, they put a hefty budget behind the Knight Rider reboot, with every episode featuring great shots of K.I.T.T., but in 2008, no one could get excited over the return of a show that was mostly known for being a punchline.
Once he finally appears, K.A.R.R. was voiced by Peter Cullen, most famous as the voice of Transformers’ Optimus Prime, which is a little ironic as the reboot series decided to turn K.I.T.T. into a transformer. Taking advantage of the nanomachine concept and an increased special effects budget, K.I.T.T. would shift forms into “attack mode” and even “turbo boost,” resulting in exterior modifications to the Ford Mustang Shelby GT500. It was the right type of updating from the original’s “Super Pursuit Mode” but overshadowed by every other misguided attempt to modernize the series.
No One Cares About Michael Knight’s Love Life
Knight Rider was so ignored that NBC dropped the series from 22 to 17 episodes, and dropping the extended cast halfway through to focus more on Michael and K.I.T.T. proved to be too little, too late. The TV movie pilot brought in 12 million viewers, but by going darker, it alienated fans of the original, and everyone else realized the goofy concept didn’t work in the 21st century. If the studio had embraced the inherent absurdity of a superpowered car used to perform clandestine government missions, it could have been a weekly Fast and Furious adventure.
Universal tried to replicate Knight Rider in 1985, while the original was still airing, with Street Hawk by turning the car into a motorcycle, but as Torque proved, that never works. The success of the Battlestar Galactica reboot has never been duplicated, no matter how many times studios try. Instead of attempting to make something new and different, we’re subjected to more NCIS spin-offs, more updated revivals that miss the entire point of the original (looking at you, Charmed), and another Dexter sequel series.
Knight Rider 2008 attempted to do something different by shifting its missions and featuring a larger, more diverse cast. In the process, it forgot that what made the original a fan favorite was the relationship between Michael and K.I.T.T., not Michael’s love life, and especially not by forcing a love triangle into the story. Back in 2008, giving fans a campy show that winks at the audience would have been new and original; instead, they got another “modern” update, and Universal had to handle another early cancellation.
Marc Anthony on Beckham Drama
It’s Unfortunate How It’s Playing Out!!!
Published
Marc Anthony isn’t diving headfirst into the Beckham family drama but he is acknowledging it.
The singer and longtime friend of the famous family briefly addressed the ongoing tension between David and Victoria Beckham and their eldest son, Brooklyn Beckham, calling the situation “unfortunate” while making it clear he’s not interested in fueling the fire.
In an interview with The Hollywood Reporter, Marc praised the Beckham family and emphasized his long history with them, saying the public narrative doesn’t reflect the full reality of what’s going on behind closed doors.
“I have nothing to say about what’s happening with the family,” Marc said. “They’re a wonderful, wonderful family. I’ve known them since before the kids were born. I’m godfather to Cruz. I’m really close to the family.”
While he avoided specifics, Marc did hint the story circulating publicly may not be entirely accurate. “It’s extremely unfortunate how it’s playing out but [how it’s playing out] is hardly the truth,” he added.
Marc’s comments come weeks after Brooklyn publicly aired grievances about his parents and siblings in a series of Instagram Stories. In the posts, Brooklyn accused his parents of controlling him for much of his life and claimed his anxiety disappeared after stepping away from his family. He also defended his wife, Nicola Peltz, pushing back against claims she influences or controls him.
Brooklyn further alleged tensions boiled over at his wedding, claiming Victoria interrupted a planned moment when Marc was serenading the newlyweds. According to Brooklyn, his mom instead danced with him in a way he described as inappropriate and humiliating.
Entertainment
Bill Maher says Jimmy Kimmel is 'very mad' and may not talk to him again: 'I'm sorry that it got bent out of shape'
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“I think he’s a great guy, and it bugs me,” Maher said of their potential permanent fallout.
The timeline has been heating up all week as fans geared up to tune into Bad Bunny’s halftime show. Between Chris Brown’s seemingly subtle reaction and ongoing chatter online, folks haven’t stopped debating who the Super Bowl should’ve booked or who should take the stage next year. Now, DJ Akademiks has sparked a fresh round of discourse after throwing his own nomination into the mix.
RELATED: Oop! Did Chris Brown Just Shade Bad Bunny’s Super Bowl Halftime Performance?
DJ Akademiks Weighs In On The Halftime Conversation
DJ Akademiks took to X to share his thoughts on this year’s halftime show, praising the energy while also throwing shade at last year’s performance.
“This halftime show was fun.. had ppl vibing and dancing on some positive togetherness sht… last year Kendrick did a PSA for PDFS the whole performance .. sht was awkward and tone deaf. N**a we ain’t tryna hear dat sht.. we tryna get lit and turnt! Bad Bunny clears sorry!”
He then shifted the conversation toward next year, officially throwing his own pick into the ring. “Next year I nominate NBA YOUNGBOY to perform. Roc Nation I have sent my official recommendation via email and courier mail. Thanks for yall consideration!!! YB 2027 SUPERBOWL!” Akademiks also showed love to Chris Brown as a potential headliner, calling him one of the best performers alive right now and saying organizers should book him while he’s still flipping across stages.
I agree next year let’s put on BRIS BREEZY! ngl ain’t nobody alive rn can perform like him rn. We gotta book him before he get too old to do triple backflips and Gabbie Douglas somersaults n shit. Chris put his heart into every performance. Usher was good. BREEZY da GOAT! pic.twitter.com/8YYUmF326l
— DJ Akademiks (@Akademiks) February 9, 2026
Social Media Reacts
Folks gathered under The Shade Room Teens to debate DJ Akademiks’ tweet. Many said they don’t think it will ever happen. Others added it better not happen before Chris Brown or Lil Wayne. Meanwhile, YoungBoy’s fans are already ready to buy tickets, sharing why they believe he’d deliver the perfect halftime show.
Instagram user @_pooh_215_ wrote. “Bring the slime im ready that definitely be the best superbowl ever rs make America slimy again”
Instagram user @kngmilly added, “I’m buying that ticket 💯”
While Instagram user @getmakyo wrote, “First time Akademics has said sum I agree with”
Instagram user @whodontluv_bucks wrote, “I just went to a halftime show where I didn’t understand one word I don’t need that sh** again”
Instagram user @1mblivin_ wrote, “Them grey folks would not let that happen let’s be real”
While Instagram user @sexytoocutee wrote, “Hmm not before Chris brown”
Instagram user @clipjunkie11 wrote, “I don’t think people understand that for the past 4-5 years all the teams been playing yb after they win”
Instagram user @povpadro added, “Record breaking halftime show hands down !!!
While Instagram user @loveetea_ wrote, “Him over wayne? Please stfu”
Reginae Carter And Joseline Hernadez Enter The Chat
While the internet continues to debate who should’ve performed at the 2026 Super Bowl halftime show, Reginae Carter made it clear she’s over it. She took to her Instagram Story writing, “I’m so tired of y’all fighting about this Super Bowl show every year! Lolll.”
If y’all recall, last year’s debate centered around her father, Lil Wayne, after many fans felt he should’ve headlined, especially since the game took place in his hometown of New Orleans. Some even argued he should’ve been chosen over Kendrick Lamar.
Meanwhile, on the other side of the internet, Joseline Hernandez chimed in after a fan tweeted that Bad Bunny should’ve brought her out during the show. Joseline replied, “That s**t would have been jumping.”
RELATED: Yikes! DJ Akademiks Enters The Chat After DDG Claims Streamers Make More Money Than Celebrities & NFL Players
What Do You Think Roomies?
Andy Cohen has bumped heads with a few celebrities during public feuds, including Kathy Griffin and Jillian Michaels. However, some of the most shocking clashes have been with his “Real Housewives” employees: NeNe Leakes, Carole Radziwill, Bethenny Frankel, and Leah McSweeney.
Recently, however, Andy Cohen has made nice with two of the above women—Leakes and Griffin—both of whom had roles on Bravo in various productions. But could his willingness to move on from the past be tied to something deeper? Claims from an alleged Bravo insider suggest exactly that.
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Why Is Andy Cohen Making Nice With Former Foes?
A source close to the network spoke with Page Six about Cohen’s headline-making relationship updates over the last several months, suggesting they might have more to do with Cohen’s legal battles behind the scenes.
For those who may be unfamiliar, Cohen was named in an explosive lawsuit by McSweeney and accused of exploiting her addiction during her time on “The Real Housewives of New York.”
The source told Page Six that Cohen is “worried” about the lawsuit, which is currently before a judge.
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McSweeney Sued Andy Cohen, Bravo, And ‘RHONY’ Production Companies
McSweeney claimed in a 2024 lawsuit that “Real Housewives” producers downplayed her alcohol addiction and attempted to induce her to drink more while filming.
A federal judge dismissed parts of the suit, according to a report from PEOPLE. However, the judge ruled that she could “sue for retaliation based on her re-casting, given that it allegedly occurred shortly after she filed a complaint with the human resources department.”
“Cohen texted Plaintiff to that effect on November 10, 2022, referencing Plaintiff’s complaint of discrimination previously brought to the attention of Bravo employee Sezin Cavusoglu as part of the reason she would not be cast,” the judge wrote.
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McSweeney Can Sue Over Hostile Work Environment, Says The Judge
The judge upheld McSweeney’s claims of a hostile work environment. In the order, the judge stated that the “right to expressive speech does not carry with it a general exemption from all laws that would govern conduct on the set,” pointing to McSweeney’s claims that producers “taunted” and “harassed” her based on her addiction by “making light of her panic attacks and joking about her alcohol use disorder.”
Additionally, the judge allowed McSweeney to sue for “accommodation-related claims,” noting her claim that producers wouldn’t allow her to attend Alcoholics Anonymous meetings while filming “The Real Housewives: Ultimate Girls Trip.”
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Cohen Has Made Up With One Big Bravo Name
Leakes also filed a lawsuit against Bravo in 2022, claiming discrimination and a hostile work environment. “NBC, Bravo, and True foster a corporate and workplace culture in which racially-insensitive and inappropriate behavior is tolerated — if not, encouraged,” a portion of the lawsuit read.
Amid her legal battle with Bravo (which she dropped in August 2022), Leakes fired off deeply personal claims about Cohen, calling him a racist and an alleged “cocaine head.”
Leakes has been away from the Bravo network since 2020 until she recently announced her return in the upcoming “Ultimate Girls Trip” special celebrating the franchise’s 20th anniversary.
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Leakes expressed her excitement about her grand return in an emotional video, which Cohen addressed a day later. “She’s gonna be making an appearance,” Cohen said, according to The Blast. “People are very happy about it. Listen, we are going to be celebrating 20 years of Housewives, and it would be hard not to without her, and so I’m happy about it.”
Cohen Even Hinted At Things Getting Better Between Him And Griffin
In addition to Leakes, Cohen recently excited fans when he said “never say never” about his relationship with Griffin during BravoCon 2025. During a segment, Cohen told an audience member that he and Griffin had recently emailed each other.
Griffin responded to his comments and called their email conversation “interesting.”
“And I emailed him back right away. And I don’t know what’s going to happen there, but I have a lot of feelings about that because I feel hurt in a lot of ways that I don’t think he quite understands,” she said.
While Griffin couldn’t predict what would happen, she did appreciate Cohen’s stance. “Because I did love working at Bravo, and I would love to do a special at Bravo again or a series or whatever. And never say never,” she said.
Entertainment
Days of our Lives 2-Week Spoilers Feb 9-20: Chad Makes His Exit & Kristen Strikes Dangerous Bargain
Days of Our Lives 2-week spoilers for February 9 -20, 2026 divulge Chad DiMera (Billy Flynn) exiting and Kristen DiMera (Stacy Haiduk) making a huge deal.
Days of Our Lives Spoilers: Jeremy & Alex Face Off
On Monday, February 9th, Jeremy Horton (Trevor Donovan) and Alex Kiriakis (Robert Scott Wilson) are going to get into an intense confrontation and a stare down. Jeremy is sick and tired of being accused of things he hasn’t done. Meanwhile, Alex is 100% sure that Jeremy’s the bad guy and is lying and stalking. Who is going to be right?
Jada Hunter (Elia Cantu) agrees to help Stephanie Johnson (Abigail Klein) on Monday. They’re setting up a huge surprise for Alex. Plus, Eli Grant (Lamon Archey) surprises Julie Williams (Susan Seaforth Hayes) and tells her the big news that he, Lani Price (Sal Stowers), and the twins are moving back to Salem. Julie’s over the moon about this.
Leo Stark (Greg Rikaart) and Dimitri von Leuschner DiMera (Peter Porte) are discussing their connection and the type of relationship they shared. In contrast, Javi Hernandez (Al Calderon) and Leo fell in love and it was a genuine soulmate kind of connection. But with Leo and Dimitri, a lot of it was about sneaking around and physical attraction.
Leo may actually be relieved when Rafe Hernandez (Galen Gering) interrupts them in Horton Town Square to arrest Dimitri for the Crypt Crew kidnapping plot this week. Additionally, Gwen Rizczech (Emily O’Brien) considers doing a favor when Gabi Hernandez (Cherie Jimenez) approaches her. This may be about Stefan DiMera (Brandon Barash) or maybe about some other DiMera drama.
DOOL Spoilers: The DiMeras Bid Farewell to Stefano and Xander Gets Close to Gwen
Tuesday, February 10th, we’ve got Brady Black (Eric Martsolf), Belle Black (Martha Madison), and Marlena Evans (Deidre Hall) all very upset and chewing Kristen a new one. We know she wants Rachel Black (Finley Rose Slater) out of Bayview ASAP, but Brady wants Rachel to get the help she needs. So does Marlena.
Belle’s been working overtime to advocate to protect Rachel and to get Kristen out of trouble for something she confessed to but didn’t do. I’m very interested to see what the judge decides about Rachel’s fate and how Kristen reacts to all that.
Chad may take Tony DiMera’s (Thaao Penghlis) suggestion, and this could be why Chad is packing his bags to leave town with Thomas DiMera (Christopher Cary) and Charlotte DiMera (Olivia & Oakley Rondou). Chad’s going to talk to Cat Greene (AnnaLynne McCord) about it this week.
The DiMeras say their final goodbye to Stefano DiMera (Joseph Mascolo). Theo Carver (Cameron Johnson), EJ DiMera (Dan Feuerriegel), Chad, Kristen, and Tony are going to enter their dad’s ashes in the crypt to put the Phoenix to rest once and for all. Then Dr. Wilhelm Rolf (Richard Wharton) shows up and tells EJ that Stefano’s last instructions were to give him the Phoenix ring. EJ is going to put it on his finger, and I wonder if we’re going to see a big power trip after this.
Also this week, Gwen is giving Xander Cook (Paul Telfer) some hands-on pointers to play putt-putt. They are in the park together, and then Gwen is going to take Xander back to the mansion, throw him on the bed, and climb aboard. It looks like we’re going to have some sexy time for Gwen and Xander.
Days Spoilers: Valentine’s Day Deals and Dimitri’s Quest for Freedom
Wednesday, February 11th, is when Valentine’s Day arrives in Salem. Kristen gives Brady an enticing offer. She’s trying to cut a deal and I think she’s going to offer joint custody if he will meet Kristen’s demands.
What does she want in return? She already said she wants Brady to move out of the Kiriakis (John Aniston) mansion and get a place to live with Rachel. I wonder if Kristen is also going to demand that Brady stop seeing Sarah Horton (Linsey Godfrey).
Meanwhile, Dimitri wants his freedom. He’s insisting he did not do the DiMera kidnappings and was himself a kidnapping victim, which is all true, but it’s pretty funny.
Dimitri needs a lawyer ASAP. I don’t think EJ or Justin Kiriakis (Wally Kurth) is going to represent him. Maybe DA Melinda Trask (Tina Huang) will; she knows him and they worked together on that whole baby-stealing thing in the past. Plus, Marlena has a talk with Leo, and he really opens up to her about how much he misses Javi and the ongoing temptation he’s dealing with by Dimitri’s presence in Salem.
Romantic Dates and a Shocking Wedding Surprise on Days of Our Lives
Thursday, February 12th, Johnny DiMera (Carson Boatman) and Chanel Dupree (Raven Bowens) are enjoying some Valentine’s Day romance as Heart Day continues in Salem. EJ invites Cat to have dinner with him on Valentine’s Day. Is this a first date or a “thank you for covering while I was out of town” professional thing?
EJ may have more planned than a fancy chef-created dinner. We are supposed to be getting a kiss soon between EJ and Cat. Meanwhile, Chad is planning to leave Salem and head to Arizona for an extended period with Charlotte and Thomas.
Billy Flynn‘s (Actor) last episode is not this week, but it is coming soon. There’s a spoiler photo of Chad kissing Cat in the Square on Valentine’s Day. I suspect this may be a fantasy in one of their minds, or at least I hope it is, because Chad knows that is a dealbreaker. He even wrote a no-Cat Greene clause into the custody agreement he made with Jack Deveraux (Matthew Ashford) and Jennifer Horton (Cady McClain).
Jada and Stephanie take Alex by surprise. It looks like it is a surprise wedding they have set up. Stephanie tells Alex she can’t wait to be his wife. They’re going to be in front of an officiant saying their vows. She’s in a white dress, he’s sliding a ring on her finger, and it looks like a real wedding. I wonder if their elopement scheme inspired this.
DOOL Spoilers: Friday the 13th Brings Bittersweet Memories and High-Stakes Inheritance
Friday, February 13th, Julie, Marlena, and Maggie Horton Kiriakis (Suzanne Rogers) are sharing bittersweet Valentine’s Day reminiscences because they’ve all lost their loved ones over the past year and a half. Plus, Xander and Sarah have a little run-in that is filled with uncomfortable nostalgia.
Julie and Gwen get into it and swap some insults. You remember how happy Julie was when Gwen’s credit card didn’t go through? That was so funny.
Holly Jonas (Ashley Puzemis) snaps, so Valentine’s Day is not going to be so romantic for them. It looks like she’s going to go off on Tate Black (Leo Howard) at the pub. Those drugs that Sophia Choi (Rachel Boyd) slipped Holly are pretty bad and strong.
Plus, Brady has a heartfelt conversation with Tate, and it may be about Rachel. Also this week, Rafe tells Eli that Gabi may be inheriting millions of dollars from Stefan’s share of the DiMera fortune if they can prove her divorce papers were forged and Stefan never signed them.
Days of Our Lives Spoilers: Stephanie in Danger and the Mystery of the DiMera Lab Tube
The week of February 16th through the 20th, we should be seeing Chad saying his goodbyes to Salem. Connor Floyd will debut as the new Chad DiMera in April. Gabi is still cleaning up the mess she made, as EJ has demanded she do this. Dimitri’s arrest is going to thrill her, but we’ll see if Vivian Alamain (Louise Sorel) did enough to keep him behind bars. By the way, Louise Sorel’s (Actor) short arc is done on Days of our Lives.
Stephanie’s stalker is going to snatch her from the hospital soon, and her wedding to Alex may push the stalker to act now. It looks like Owen Kent (Wes Ramsey) is going to be taking her from work. Alex and Steve Johnson (Stephen Nichols) aren’t there to protect her because they have their eyes on Jeremy instead of on this other blast from Stephanie’s past.
Xander may ask Gwen out for another date. Xander has decided he’s going to move on since Sarah is moving on. However, anything with Gwen is going to be a short-lived rebound, much to her disappointment.
Holly freaks out on her bestie, Arianna Hernandez Horton (Marissa Reyes). Because of the drugs, Holly is acting differently and Arianna doesn’t like this new version of her best friend. Sophia keeps planning her revenge, satisfied that she has already made Holly unhinged. She also wants to get Tate back and take Trey away from his adoptive parents.
Cat struggles with attraction to EJ and residual feelings for Chad. Meanwhile, Dr. Rolf and EJ are nearly ready to revive the “tube person.” Hopefully, we’ll get that by the end of Sweeps on February 25th. EJ is going to bring Paulina Price (Jackee Harry) down to the lab soon to show her who is in the tube, and she looks horrified. We know it’s a woman EJ loves, so it may be Lexi Carver (Renee Jones).
The reality TV star and British Formula 1 legend appear to be ready to take their rumored romance to the next level, as it was revealed that they both talked about meeting his mom.
Meanwhile, Kim Kardashian’s friends are reportedly concerned for her as they feel a relationship with Lewis Hamilton would leave her burned.
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Kim Kardashian And Lewis Hamilton’s Intimate Conversation During The Super Bowl
Kardashian and Hamilton have seemingly confirmed their “secret romance” as they were spotted getting cozy at the star-studded 2026 Super Bowl game at Levi’s Stadium on Sunday.
The pair sent the internet into a frenzy when they enjoyed a romantic weekend getaway at the exclusive Estelle Manor in the Cotswolds, where they enjoyed a lush spa session and shared a private room.
According to the Daily Mail, lipreader Nicola Hickling weighed in on a conversation the pair appeared to have in a viral clip as Hamilton seemingly promised her she would meet his mother.
“No, I don’t take just any girl to my mom, I mean, you’re gonna meet her someday, she is very excited to see you,” Hamilton reportedly said to Kardashian.
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Hickling then added that the “Keeping Up With The Kardashians” alum appeared to “shuffle uncomfortably in her seat” and covered her face “before replying with a simple okay.”
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The Reality TV Star Was Quite ‘Flirty’ With The F1 Legend
Meanwhile, body language expert Judi James disclosed that the Hulu star used a “hot and cool” flirting technique in her interaction with Hamilton, which left him “purring.”
“Firstly, there is the pose that registers undivided attention between them, which is a form of non-verbal stroke when you’re on a date,” James said.
She continued, “Kim actually leans back to take in Lewis visually as he speaks, and this flattering ‘stroke’ produces a ‘purr’ response from him which is visible in the way his facial features soften and he talks through a smile of pleasure.”
James explained that Kardashian “adds to the flirting” when she placed the tip of her tongue “at the side of her mouth,” adding that the move “is usually seen as a gesture of playful desire or interest.”
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Kim Kardashian Sees Lewis Hamilton As A ‘Suitable Catch’
For the outing, the mom-of-four looked stylish in a black fur jacket and a pair of oversized sunglasses. She styled her hair into an elegant updo and accessorized with a chunky choker necklace.
Commenting on the different techniques she employed in her “flirty” interaction with Hamilton, James said the TV star switched to a “very smart technique of intense interest followed by distraction, suddenly looking away after bathing Lewis in her interested gaze.”
“She even brings one hand up to touch her hair and hide her face from him. This hot/cool body language technique is used to capture someone’s attention and to get them to coax the signals of interest back again,” the expert observed.
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“Kim’s hand-to-hair gesture looks like a preen here, suggesting she sees Lewis as a very suitable ‘catch’ to show off with pride at this public event,” she added.
The Reality TV Star’s Inner Circle Is Reportedly Worried For Her Amid Rumored Romance With Lewis Hamilton
Reports suggest Kardashian’s friends are worried about her growing relationship with the sports star as they fear it’ll leave her burned because he’s “one of the biggest players in entertainment.”
A source told Star Magazine that the SKIMS founder is aware of Hamilton’s high-profile dating history, including Gigi Hadid and Nicki Minaj, but is particularly drawn to his personality.
“She wants a guy who’s going to challenge and stimulate her, not a pushover type who’s [intimidated] by her fame level or low on experience when it comes to dating,” the source shared.
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“The big issue she’s overlooking, though, is that Lewis still has plenty of women he can call on, and he’s not looking for anything much more than an extended booty call,” the source added. “The guy swore off serious relationships literally years ago and prides himself on bed-hopping, whether Kim chooses to accept this reality or not.”
Lewish Hamilton’s Pals Are Allegedly Skeptical About His Romance With Kim Kardashian
Even Hamilton’s friends are reportedly skeptical about the budding romance between him and the SKIMS founder, and think it’s a “terrible idea,” particularly because of what people have come to term the “Kardashian curse.”
“There are folks in his world who think this is … a terrible idea and he’s asking for trouble with the Kardashian machine already in overdrive,” the insider noted.
They continued, “The guy’s at the top of his game. The last thing he needs right now is to be yet another victim of the Kardashian curse!”
By Chris Snellgrove
| Published
After the first two Night at the Museum movies proved to be a hit, future Deadpool & Wolverine director Shawn Levy finished the trilogy with the star-studded Night at the Museum: Secret of the Tomb (2014). The movie is criminally underrated, and it also happens to feature the final performance from legendary Hollywood funny man, Robin Williams. Whether you’d like to pay your respects or just seriously laugh it up, you can now stream this quirky comedy on Netflix.
The premise of Night at the Museum: Secret of the Tomb is that Larry Daley now has a working relationship with the exhibits that come to life at night at the Museum of Natural History and is dealing with a new addition: a walking, talking Neanderthal exhibit sculpted to look like him. But that proves to be the least of his problems when the ancient tablet that gives these exhibits life starts corroding, causing chaos throughout the museum. Unless he can figure out what’s going on, all of the exhibits will go completely lifeless, finally fading into history.
A Cast For The Ages
As with other Night at the Museum movies, the primary reason to watch this third entry is the stacked cast full of Hollywood legends. Ben Stiller (best known for Tropic Thunder) once again plays the hapless security guard surrounded by living exhibits played by the likes of Owen Wilson (best known for The Royal Tenenbaums) and Steve Coogan (best known for Philomena). Meanwhile, Rebel Wilson (best known for Pitch Perfect) plays a new guard, Dick Van Clark (best known for Mary Poppins) plays an old guard, and Rami Malek (best known for Mr. Robot) plays Ahkmenrah, the Pharaoh whose tablet gives the exhibits life and may soon take it away.
On a more bittersweet note, the performer to really watch in Night at the Museum: Secret of the Tomb is Robin Williams, the comedy legend who reprises his role as the wise and affable exhibit of Theodore Roosevelt. He has always been one of the primary reasons to watch these movies, and Secret of the Tomb is actually the last movie he starred in before his tragic death. Because of that, his final line (“Smile, boy…it’s sunrise”) becomes so powerful that you might just have to reach for the tissues while the credits roll.
Losing The Critics, Winning The Audience
When Night at the Museum: Secret of the Tomb came out, it proved to be a hit, earning $363.2 million against a budget of $127 million. This marked the last live-action franchise entry from superstar director Shawn Levy, who would later go on to direct the wildly successful Deadpool & Wolverine for Disney. Speaking of Disney, after they bought 20th Century Fox, they released an unexpected sequel to Secret of the Tomb to Disney+: the traditionally animated film Night at the Museum: Kahmunrah Strikes Again.
Night at the Museum: Secret of the Tomb ended up animating critics in all the wrong ways. On Rotten Tomatoes, it has a 48 percent, with reviewers generally agreeing that this third film doesn’t pack the comedic bite of its predecessors. They felt this movie was a poor way to end a very unconventional film trilogy, but acknowledged that the movie still has moments of greatness peppered throughout its runtime.
An Acting Legend Takes His Final Vow
To some extent, that critical consensus is correct: this third Night at the Museum movie doesn’t introduce anything really innovative to the franchise formula, and it’s unlikely to win over anybody who doesn’t get a kick out of Ben Stiller talking to animated museum exhibits. Of course, that logic goes both ways, and if you are a fan of these movies, the third entry offers more of the easy laughs and star-studded comedy you’ve come to expect. The fact that Robin Williams offers such a killer performance in what would be his final role is just the cherry on top for established fans.
There’s also something to be said for how uncynical and earnest the comedy in Night at the Museum: Secret of the Tomb is. With its general absence of vulgarity or raunchy humor, it’s actually the perfect movie to watch with your family, and children are sure to love the “what if the museum came to life at night?” premise. Even without the little ones, this is a perfect movie to watch for anyone sick of quippy, irony-laden “he’s right behind me, isn’t he?” style dialogue that Hollywood now puts in almost every single comedy.
Will you agree that Night at the Museum: Secret of the Tomb is a thick, star-studded slice of imaginative movie magic, or is this one aging comedy that belongs in a museum? You won’t know until you grab your remote (it’s right next to the enchanted tablet!) and stream it for yourself on Netflix. Come for the gentle punchlines and stay for one last performance from Robin Williams, the man who could light up an entire screen with only a smile.
By Jonathan Klotz
| Published
In the age of streaming, it’s common to hear people say that they’ll wait for a series to end before bothering to watch it. Every year, an incredible show has its run cut short, but there are also shows that linger too long past their expiration date.
Bones, Brooklyn 99, Modern Family, Westworld, all shows that went one or two seasons too far past the story’s natural conclusion, and none of them can match Showtime’s 2005 comedy-drama series, Weeds. What started as a fun show about a suburban mom selling pot rebooted itself every few episodes by constantly upping the stakes and treating the term “status quo” like a terminal disease.
Weeds Burned It All Down And Kept Going
When Weeds begins, Nancy Botwin (Mary-Louise Parker) is dealing with the sudden death of her husband, Judah (in photos and, eventually, flashbacks, played by Jeffrey Dean Morgan), and struggling to care for her boys, Silas (Hunter Parrish) and Shane (Alexander Gould). The solution is to get into the marijuana business. Her brother-in-law, Andy (Justin Kirk), helps her fledgling business, while frenemy Celia (Elizabeth Perkins), the local overbearing PTA mom, constantly gets in the way. Local councilman Doug (Kevin Nealon) ends up being one of her best customers, and from there, the stage is set for a comedy about suburban consumerism. And it was, for three seasons.
By the time the third season ends, Nancy has become embroiled with the DEA and escalating levels of dangerous criminals before pissing off a group of bikers and turning to the Mexican Cartel for protection. The entire town of Agrestic burns to the ground (complete with the show’s opening sequence on fire), and Season 4 kicks off along the Mexican border. A romantic relationship with the head of the cartel takes a violent turn, so naturally, Season 6 has them on the run across the country, while Season 7 and 8 put the Botwins in New York to start over. Again.
Every time you think the show is going to settle down, wether it’s when Nancy early on sits around the table with the supporting cast and everyone agrees to start their own criminal enterprise, or seasons later, when they do the same scene again, or maybe when Silas starts up a front called “Headcheese” with Julia Bowen’s “Yoga Butt” character, you’re wrong. Each of the new status quo setups lasts for three episodes or less before it’s blown up again.
Mary-Louise Parker Defied Hollywood Expectations
Weeds was a huge hit for Showtime the moment it debuted, culminating in record-breaking viewership for the Season 3 finale. Part of the appeal was the setting, the comedy, and since it was on Showtime, the series didn’t hesitate to throw out nudity and sex scenes in almost every episode, turning the 41-year-old Mary-Louise Parker into a sex symbol. Even at its lowest point, in Season 5, the show kept its dark sense of humor, which worked with the gratuitous nudity to keep eyeballs on the show until it finally ended in 2012.
The show’s creator, Jenji Kohan, went from Weeds to Orange Is The New Black, another show that kept resetting the status quo on itself. Even if Kohan never works on another show in her career, she managed back-to-back successes that both overstayed by a few years but remain beloved years after they came to an end.
One of the best parts of Weeds is the opening song in Seasons 1-3, and again in Season 8, “Little Boxes” by Malvina Reynolds. Starting in Season 2, the show used cover versions from artists including Elvis Costello, Randy Newman, Billy Bob Thornton, Linkin Park, the Mountain Goats, and Death Cab for Cutie. The satirical song captured the first few seasons perfectly, which is why it’s removed when the show goes way off the rails and returns when the show finally settles down again.
Over a decade after the end of its run, Weeds might be one of the best shows to binge-watch. The off-kilter narrative 180’s keep it exciting the whole way through, but if you end up bailing after the Season 4 finale’s twist, that’s alright, as you’ve already seen the show at its best.
1981 was a year of transition. The bold experimentation of 1970s filmmaking was colliding with the emerging blockbuster logic of the 1980s. The result was a diverse slate of films: muscular and thoughtful, mythic and grounded, commercial and deeply personal.
With this in mind, this list looks at some of the most enduring classics of 1981. They helped define what action, horror, romance, historical drama, and political cinema could look like in a changing industry. The best of them more than hold up today.
10
‘Excalibur’ (1981)
“You will be the land, and the land will be you.” Excalibur retells the legend of King Arthur as a dark, operatic myth rather than a chivalric fairy tale. It charts Arthur’s (Nigel Terry) rise from illegitimate child to king, the forging of the Round Table, and the eventual collapse of his kingdom through betrayal, ambition, and moral decay. Knights quest for the Holy Grail, loyalties fracture, and magic slowly drains from the world. As Arthur weakens, so does the land itself.
The film was directed by John Boorman, the mind behind Point Blank and Deliverance, explaining its grimmer, grittier edge. Still, the fantasy aesthetic remains striking and immersive. Watching Excalibur now, the stylized performances, gleaming armor, and ritualistic tone feel intentionally heightened rather than dated. The supporting cast is strong, too, including Patrick Stewart, Liam Neeson, and a bewitching Helen Mirren as Morgan le Fay.
9
‘Body Heat’ (1981)
“You’re not too smart, are you? I like that in a man.” Body Heat follows a small-town lawyer (William Hurt) who becomes entangled in a dangerous affair with a married woman (Kathleen Turner) intent on escaping her wealthy, controlling husband (Richard Crenna). What begins as pure lust quickly evolves into manipulation, deception, and even murder, with the lawyer gradually realizing he may not be the one in control.
The plot is tightly wound, drawing heavily from classic film noir while updating its sexual frankness and moral cynicism. Every decision compounds the last, turning desire into a trap that tightens without warning. In particular, the movie’s understanding of power dynamics, whether sexual, economic, or psychological, gives it lasting bite. In other words, while it has the trappings of an erotic thriller, Body Heat is really a sharp neo-noir. Much of its success hinges on the phenomenal femme fatale performance from Turner.
8
‘Thief’ (1981)
“There’s a thousand ways to get hurt in this business.” Thief was Michael Mann‘s debut, and it contains many of his stylistic calling cards in microcosm. At the center of it is Frank (James Caan), a professional safecracker determined to complete one last big job so he can finally build a normal life. When he agrees to work for a powerful crime boss, his carefully controlled world begins to unravel as independence gives way to obligation. Every step toward legitimacy pulls him deeper into the criminal underworld. Frank’s tragedy isn’t moral failure, but believing he can negotiate with systems that only consume.
All this makes for an unusually smart thriller, one of the best crime films of the early ’80s. While Mann’s later work would get much more ambitious and elaborate, Thief remains punchy even now. Its cool visual style and electronic score have aged well, and its de-romanticized take on crime feels much more honest than you usually find in this genre.
7
‘Reds’ (1981)
“I want to make a difference.” Reds dramatizes the life of American journalist John Reed (Warren Beatty, who also directs), whose radical politics and romantic idealism draw him into the Russian Revolution. The film traces his relationship with fellow writer Louise Bryant (Diane Keaton), their political commitments, and the strain ideology places on their connection. The movie is simultaneously epic and intimate, moving between personal romance and historical upheaval.
To accommodate this ambitious storytelling scope, the movie clocks in at well over three hours long, something that not every viewer will appreciate. Others have taken issue with the way it presents the protagonists’ politics. Still, for those interested in this period, there’s a lot to be enjoyed here. Weatty and Keaton’s acting is great, as one would expect, and the film does make some nuanced points about both potential and the perils of trying to bring about revolution.
6
‘An American Werewolf in London’ (1981)
“Beware the moon.” This seminal comedy-horror follows two American tourists (played by David Naughton and Griffin Dunne) attacked by a mysterious creature on the English moors. One is killed, the other survives, only to discover he is slowly transforming into a werewolf. As his body changes, he’s haunted by visions of his dead friend, who warns him of what he’s becoming. While that sounds like typical horror fare, the story is shot through humor as well, as well as more than a little of that classic John Landis absurdity.
The special effects alone ensure An American Werewolf in London‘s place in genre history. The transformation scenes were groundbreaking for the time: painful and intimate, emphasizing bodily violation rather than spectacle. All in all, this movie is funny, frightening, and unexpectedly sad, a genre hybrid that has never really been replicated. It paved the way for many great comedy-horrors that followed.
5
‘Blow Out’ (1981)
“You can hear the screams.” Blow Out is Brian De Palma‘s pulpier, harder-hitting take on Michelangelo Antonioni‘s Blow-Up, but switches that movie’s focus on photography to a focus on audio recording. John Travolta is great in it as Jack Terry, a sound technician who accidentally records evidence of what may be a political assassination while gathering audio for a low-budget horror film. He begins piecing together the truth using sound, images, and film fragments, but soon becomes entangled in a conspiracy far larger than himself.
While the movie is structured like a paranoid thriller, its real subject is perception itself. Jack believes that if he can assemble the evidence correctly, reality will assert itself. Instead, every step toward clarity reveals how easily truth can be distorted, erased, or repackaged. His technical expertise becomes both his power and his curse. In this sense, Blow Out very much channels the spirit of Alfred Hitchcock.
4
‘Raiders of the Lost Ark’ (1981)
“It’s not the years, honey. It’s the mileage.” One of the most purely entertaining movies of all time, Raiders of the Lost Ark introduces the legendary Indiana Jones (Harrison Ford), an archaeologist-adventurer racing against Nazi forces to locate the Ark of the Covenant, a biblical artifact said to wield immense power. The plot moves briskly across continents, blending chases, puzzles, and narrow escapes into a relentless pursuit, all harking back to the classic adventures of Hollywood’s Golden Age. Every obstacle escalates the stakes, and every action sequence advances the character development.
All these decades later, the movie’s clarity of storytelling, sense of wonder, and tonal confidence remain unmatched. Raiders is joyful and fun, simply jam-packed with plot in the best way. Plus, in contrast to most adventure blockbusters of the era, the protagonist is not invincible. Indy survives through improvisation, endurance, and occasional luck. That vulnerability grounds the spectacle.
3
‘Escape from New York’ (1981)
“Call me Snake.” Escape from New York is set in a near-future where Manhattan has been converted into a maximum-security prison. When the President (Donald Pleasence) crash-lands inside the city, the government recruits Snake Plissken (Kurt Russell), a disgraced former soldier, to rescue him within a strict time limit. The story that follows is spare and cynical. Snake navigates rival gangs, collapsed infrastructure, and shifting alliances, not out of loyalty, but obligation. In this world, authority is corrupt, survival is transactional, and heroism is deeply suspect.
John Carpenter wrote it as a direct response to the Watergate scandal and the pessimistic public mood it engendered. On release, some critics dismissed all this as genre pulp. However, as is often the case with Carpenter movies, Escape from New York went on to become a cult classic. It’s grimy, action-packed, and full of attitude. Snake’s refusal to play along becomes the film’s quiet act of resistance.
2
‘Das Boot’ (1981)
“It’s cold. It’s dark. And it’s very quiet.” Das Boot follows the crew of a German U-boat during World War II as they patrol the Atlantic under constant threat from Allied forces. Hours stretch into days stretch into weeks as tension mounts and morale deteriorates. The film confines the audience within the submarine’s cramped interior, creating a claustrophobic experience that mirrors the crew’s psychological state. Attacks are sudden, survival is uncertain, and victory offers no relief, only temporary reprieve.
This refusal to glorify combat allows fear and exhaustion to dominate. The result is one of the most immersive war films ever made. The tension is tautly controlled throughout, the plot elements are all bolted into their right place, and the realism of the submarine is genuinely impressive. Every movie since that takes place owes Das Boot a debt of gratitude, and probably falls short of the high bar it set.
1
‘Chariots of Fire’ (1981)
“I believe God made me for a purpose.” That year’s Best Picture Oscar was won by this inspirational drama. Chariots of Fire follows two British athletes preparing for the 1924 Olympics: one (Ian Charleson) driven by religious conviction, the other (Ben Cross) by a desire to overcome class prejudice. For them, running becomes an expression of belief, whether spiritual or personal. Their parallel journeys become vehicles to explore faith, discipline, and the cost of ambition. Breaking with genre convention, the emphasis here is on training, doubt, and moral conflict rather than competition itself.
Basically, this is a well-crafted prestige sports drama, anchored by strong performances. The visuals are granded and the score is great. It all builds up that famous slow-mo sequence to the sounds of Vangelis, a sence that has been endlessly referenced and parodied in the decades since. The movie’s admirers include Christopher Nolan, who called it “a masterpiece of British understatement.”
c
- Release Date
-
May 15, 1981
- Runtime
-
125 Minutes
- Director
-
Hugh Hudson
- Writers
-
Colin Welland
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