Related: ‘Love Island USA‘ Season 8 Couples: Who Is Still Together? Who Broke Up?
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The epics of Hollywood’s Golden Age are unlike anything the industry produces today. The enormous set pieces, colorful costumes, powerful performers, and iconic tales of deeply human drama that transcend the time periods in which they’re set — and Ben-Hur sets a high bar. You may not know that Ben-Hur was based on the novel Ben-Hur: A Tale of the Christ by Lew Wallace, which was first published in 1880. According to the U.S. National Endowment for the Humanities, it was second to the Bible itself in sales for decades until Margaret Mitchell‘s Gone with the Wind usurped the title. But while Ben-Hur is set in first-century Roman-occupied Judea, its roots go all the way back to the Wild West era of American expansion.
The famed 1959 Charlton Heston adaptation of Ben-Hur — which was first adapted as a silent picture in 1907, followed by a 1925 adaptation, a 2003 animated film, and a 2016 remake — is not only one of the most impressive technical marvels to find its way to the big screen, but easily among the most profound. Yet, the source material that sparked such a powerful epic was penned and published by author Lew Wallace while he served as Governor of the New Mexico Territory. Wallace had fought in both the Mexican-American War and the American Civil War, and at the tail end of the latter, even served on the commission investigating the assassination of President Abraham Lincoln. After the war, he pursued politics, ultimately backing the Republican abolitionist Rutherford B. Hayes in the 1877 presidential race. It was Wallace’s earnest support for Hayes that earned him his governorship of New Mexico, and in 1878 he arrived in Sante Fe just after the worst of the famed Lincoln County War.
Although Wallace was tasked with settling the dispute, which some believe carried on as long as 1981 when Sheriff Pat Garrett reportedly killed outlaw and former “Lincoln County Regulator” Billy the Kid (aka William H. Bonney), it didn’t stop him from continuing his research into first-century Judea, nor from finishing his biblically-inspired epic. As noted by the General Lew Wallace Study & Museum, “[Wallace] completed the final chapters of the novel, especially those dealing with the crucifixion of Christ, while he was serving as Governor of the New Mexico Territory.” This means that Ben-Hur was in the works at the same time that Wallace met with the Kid in hopes to use his testimony against the corrupt officials involved in the Lincoln County War.
Although Bonney agreed to Wallace’s request, he only did so on the condition of a full pardon for the three murders he was charged with during the conflict. The governor agreed to the terms and the Kid testified, but the local district attorney refused to honor the deal, leading to Bonney’s eventual escape. Wallace was forced, then, to sign Billy the Kid’s death warrant, which was one of his final acts as governor. While Ben-Hur is the farthest thing from a traditional Western, Lew Wallace’s classic novel is undoubtedly a product of his time on the American frontier.
Five months after Ben-Hur: A Tale of the Christ was published, Wallace resigned from his post. His weary attitude toward the West came just in time as, only a few years later, Ben-Hur became a source of great wealth and success for the former governor and general. He left behind politics altogether by 1885. Although Wallace hadn’t visited the Holy Land before writing the book, the National Endowment for the Humanities notes that he spent nearly a decade researching the Ancient Near-East and diligently studying the period. So, when he finally made it to Jerusalem in 1882, he was pleased with how well his work represented what he saw.
These days, Western audiences likely remember Lew Wallace as the governor who “betrayed” Billy the Kid. Fictional depictions of Wallace have appeared in movies like Pat Garrett and Billy the Kid and Young Guns II, as well as television shows like Death Valley Days. (His work on Ben-Hur was briefly noted in the MGM+ series Billy the Kid.) For the most part, Wallace’s literary contributions have been largely been divorced from his time in the Old West. Even so, Ben-Hur remains a powerful tale that transcends his brief governership on the frontier.
The jokes about Love Island USA‘s Gabriel Vasconcelos having sex with a woman nearly 30 years older than him kept on coming — and the Peacock show even got Leonardo DiCaprio involved.
During the Friday, June 5, episode, narrator Iain Stirling poked fun at Gabriel’s revelation by comparing him to a “reverse Leonardo DiCaprio” in reference to the actor’s dating history. The joke came after the Islanders had to read out sex facts and figure out which of them it was about.
One of the revelations was that an Islander slept with someone in their 50s.
“I was out and I was having a good time with my friends. She started talking to me and she was hot as f*** for her age,” Gabriel, who is 26 years old, said about his encounter with the 52-year-old. “We had a good night together. She had a lot of experience.”
Love Island USA follows a group of singles who have to pair off in order to stay in the show’s luxury villa in Fiji. The contestants — who are referred to as Islanders — live in isolation in a villa and are under constant video surveillance. They must be coupled up to remain on the show and to stand a chance to receive the prize of $100,000.
While the islanders are filming nonstop for weeks, viewers are watching daily episodes and even get to cast votes that affect couples and the fate of the contestants.
Before season 8 premiered, Love Island USA released a statement directed at the audience, which read, “The Villa runs on good vibes, and so does this community. We love seeing your reactions, opinions, and debates, but everyone deserves to feel safe and respected.”
The statement continued: “This is a space for fun, not negativity – so keep it kind, keep it positive, and remember: this is LOVE Island!”
In addition to Gabriel, season 8 of Love Island USA features Aniya Harvey, Beatriz Hatz, Bryce Alakai Dettloff, KC Chandler, Mackenzie “Kenzie” Annis, Melanie Moreno, Sincere Rhea, Sean Reifel, Trinity Tatum, Kayda Bosse and Zach Georgiou.
New episodes of Love Island USA are released six days a week — except for Wednesdays — on Peacock.
Michael Gledhill, the son of James Handy’s girlfriend Wendy Gledhill, has been charged over the actor’s death.
According to a press release from the Los Angeles County District Attorney’s office on Friday, June 4, Gledhill, 44, was charged after the Top Gun: Maverick actor was fatally stabbed outside a Tarzana home earlier this week.
“This is not how anyone’s life should end, stabbed in the chest and left dying in the front yard of a home,” said Los Angeles County District Attorney Nathan J. Hochman via the press release. “The victim, James Handy, deserved to live out his later years enjoying what he had worked so hard for and enjoying it with those he loved and cared about. Like all murder victims, his life mattered and the person who inexplicably and violently took it must be held accountable for his actions.”
Los Angeles Police confirmed on Thursday, June 4, that they are investigating a stabbing that resulted in the death of Handy.
According to police, the suspect called 911 and stated, “I am the son of man, I just killed the man of sin.” Upon their arrival, officers discovered Handy in the front yard of the residence, unconscious and suffering from a stab wound to his chest. He was transported to an area hospital and pronounced dead.
“The suspect was identified as 44-year-old Michael Gledhill, a resident of Tarzana,” officials stated in a press release. “He was arrested and transported to Van Nuys Jail where he was booked for one count of murder.”
Police said that the suspect flagged down nearby responding officers, telling them he was the one they were looking for. He was arrested and held on $2 million bail. Information about Gledhill’s legal representation was not immediately available.

“The suspect resides at the location with his mother, who is the victim’s girlfriend,” officials said. “Detectives believe this is an isolated incident and there appears to be no danger to the public at this time.”
On Friday, Wendy broke her silence on the incident.
“I’m just trying to make it through one day at a time, a minute at a time,” Wendy, 76, told The California Post. “I loved James and my son.”
“I can’t believe my son did it. I’m just trying to … ” she continued before stepping inside her Tarzana, California, home.
Speaking to TMZ, Wendy claimed her son was diagnosed with schizophrenia but had stopped taking his medication amid his mental health struggles.
Handy, who had 150 acting credits to his name, was known for his roles in Jumanji, NYPD Blue, Beverly Hills, 90210, Law & Order; Profiler, The Young and the Restless, 9-1-1 and more.
“With great sadness I can confirm that the gentleman who was attacked and killed on Wednesday in Tarzana was the actor James Handy,” Handy’s spokesperson told Us in a statement on Thursday.
All in all, the 2020s have been an excellent time for action movies. These are films all about constant movement, exciting combat sequences, and adrenaline-pumping explosions. From suspenseful thrillers to terrifying horror films to unexpectedly hilarious comedies, the action genre lends itself perfectly to being combined with other genres—and these combinations have resulted in some truly exceptional films over the course of the last six years. From 2021 to the present, audiences around the world have been treated both to huge action blockbusters and surprising action indie spectacles. By the time the 2030s roll in, these are bound to be remembered as some of the genre’s best recent outings.
Whether it’s a pure action flick like Nobody, an Oscar-winning masterpiece like Everything Everywhere All At Once, or an animated gem like Spider-Man: Across the Spider-Verse, these are some of the greatest action films of modern times that we’re talking about. The wonderful thing about this genre is just how incredibly versatile it is, and as a result, it shouldn’t be the least bit surprising to see how vastly different yet equally entertaining these genre-defining gems are.
In 2021, both the world in general, and the film industry more specifically, were still right in the middle of a global pandemic. As such, this year’s output of action films wasn’t the highest purely in terms of quantity, but as soon as the conversation veers toward quality, some excellent films emerge. Dune was an incredible sci-fi epic, The Suicide Squad was a surprise hit for the superhero genre, and No Time to Die brought Daniel Craig‘s tenure as Bond to an exceptional (and at times considerably overhated) conclusion. But as the years have passed, the 2021 action spectacle that has aged the best is Ilya Naishuller‘s Nobody.
Only a handful of 2020s action movies are perfect. Nobody may not be one of them, but it sure is one of the most entertaining popcorn flicks that the 2020s have had to offer thus far. Led by an incredible Bob Odenkirk, the film introduced the world to Hutch Mansell, a refreshing action hero who knows how to take a hit just as well as he knows how to be a badass. John Wick copycats have been aplenty since the film’s release in 2014, but Nobody elevates the formula to the stratosphere with its compelling story, the powerhouse performance of its lead, and its commitment to some of the most entertainingly brutal and visceral action of any 2021 film.
Back when it originally came out, the Daniels‘ Everything Everywhere All At Once began to take the world by storm—somewhat quietly at first, and then, all at once. It became A24’s highest-grossing film at the time four months into its theatrical run, but that wasn’t the last surprise it had stored up its sleeve. At the 95th Academy Awards, the film achieved the tremendous feat of earning seven Oscar victories, and it probably deserved to win even more. Though blockbusters like The Batman and Top Gun: Maverick are also guaranteed to go down in history as some of the 2020s’ best action films, it just doesn’t get better than this.
It’s one of the best martial arts movies of the 2020s, but it isn’t the kind of film that’s content with operating within a single genre. It’s an existentialist dramedy, a family drama, a sci-fi epic, and a surreal comedy. Dealing with themes of nihilism, absurdism, generational trauma, and immigration, it truly is one of the most complex and ambitious films that have been made at any point during this decade. It runs for just a little under two and a half hours, and every minute of that runtime is easily spent with a massive smile on one’s face—except for when the tears inevitably start coming.
After Spider-Man: Into the Spider-Verse took Marvel fans, animation lovers, and the world in general by storm in 2018, the standard for its sequel was set sky-high. Somehow, not only did Across the Spider-Verse meet that bar, it even surpassed it by quite a bit. It remains the highest-rated film of the 2020s so far on both Letterboxd and IMDb, and for good reason. Though it’s logically best enjoyed by those who already love the Web-Slinger, it’s a film so fun that it should be more than enough to entertain even the most ardent superhero genre hater. As good as 2023 action flicks like Mission: Impossible — Dead Reckoning Part One and John Wick: Chapter 4 were, none of them were even remotely as perfect as this.
As one of the most ambitious superhero movies of all time, there’s no shortage of areas where Across the Spider-Verse excels. For one, it’s perhaps the single most visually stunning animated movie in history, full of eye-popping colors, adrenaline-pumping action sequences, and visual details that keep coming up in every rewatch. But what really makes this a masterpiece is that, aside from working flawlessly as a sci-fi action epic, it also works flawlessly as a deconstruction of both the Spider-Man mythos and the figure of the superhero. In a blockbuster scene that’s perhaps more full of superhero movies than it should be, masterpieces like this one are all the more appreciated.
Before the 2020s, fans of Frank Herbert‘s Dune—easily one of the most groundbreaking and important works of science fiction literature of the entire 20th century—likely believed that no film could possibly live up to the legacy of Herbert’s work. That was before Denis Villeneuve came into the scene. The imagination of the Canadian auteur seemed to match Herbert’s vision like two pieces of the same puzzle, and though 2021’s Dune was as solid as any fan of the source material could have asked for, it’s Dune: Part Two that really blew everyone away. 2024 had other great action spectacles, from Furiosa: A Mad Max Saga to Monkey Man, but Dune: Part Two is on a tier all of its own.
As far as sci-fi action blockbusters go, this is arguably this generation’s The Empire Strikes Back. At the very least, it’s one of the best sci-fi blockbusters of all time, packed with awe-inspiring sequences bolstered by stunning visuals, Hans Zimmer‘s best score of the decade so far, and adrenaline-pumping action scenes. The way that Villeneuve understands the tonal essence and thematic core of Herbert’s source material is worthy of the utmost admiration, and the way he elevates the material through some of the most perfect technical qualities of any action film of the 2020s is no less than what this legendary story deserved.
Ryan Coogler has been delivering some of the greatest action movies of the 21st century over the course of his career, but he really outdid himself in virtually every sense imaginable with Sinners. Only a handful of 2020s horror movies are true masterpieces, and this one’s right up there, a complete revolution of the vampire genre that will likely only get better with age. Winner of four Academy Awards and anchored by its standout ensemble cast and Ludwig Göransson‘s legendary tunes, it’s one of the most near-perfect blockbusters of the decade so far. Films like Predator: Badlands and Superman are also worthy of praise, and One Battle After Another may even be a superior film overall, but purely in terms of what the action genre can achieve, there are few examples from this decade more notorious than this.
The wonderful part about Sinners is just how well it works on multiple different levels. It’s an incredibly entertaining and suspenseful action film, yes; but it’s also a very effectively scary horror film, a complete recontextualization of the vampire genre, and even a remarkably fun and catchy musical at times. This sort of genre juggling is something you don’t often see in modern action films, which only makes the achievements of Coogler and his team all the more worthy of admiration. All those who love horror action movies will find virtually nothing significant to complain about when they watch Sinners, which can already be counted among the best examples of its genres from the 21st century.
All in all, 2026 hasn’t really been a particularly prolific year for action cinema so far. Movies like The Rip and Mortal Kombat II have kept fans of the genre perfectly entertained so far, but it’s easy to tell that the action films that’ll end up being remembered as the best of the year still lie on the horizon, from The Odyssey to Dune: Part Three. But so far, the best action film of 2026 is one that probably not many people had on their bingo card as being even remotely as fun as it was: Travis Knight‘s Masters of the Universe, a nostalgia-fueled reimagining of Mattel’s media franchise.
This visually delightful sword-and-sorcery gem may be full of nostalgia aimed at those who grew up loving the adventures of He-Man, but it also sprinkles in plenty of its own modern magic and charm, perfect for young newcomers to fall in love with the franchise in the same way that the grown-ups did decades ago. It’s not particularly well-written and it relies a bit too much on CGI, so it very likely won’t end up being the year’s best action blockbuster by the time 2027 comes around; but as the first half of the year comes to a close, it’s a real treat that the best action flick we’ve had thus far is such an entertaining and energetic reinvention of such a beloved ’80s icon.
June 5, 2026
Travis Knight
Chris Butler
Jason Blumenthal, Robbie Brenner, Steve Tisch, Todd Black
Kyle Richards is throwing her support behind her sister, Kathy Hilton.
Posting via her Instagram Story on Friday, June 5, Richards, 57, defended HIlton, 67, after she stepped down as the grand marshal of the West Hollywood Pride Parade due to backlash from the LGBTQIA+ community.
“My sister Kathy has always been a supporter of the LGBTQIA+ community and will continue to be,” Richards wrote in the post. “As far as ‘MAGA ties’, just because you are acquainted with or associated with or associated with someone in the past or present, does not mean you share their political views.”
Richards continued, “The WeHo Pride Parade is a happy celebratory day. I respect my sister’s decision for not wanting to be a distraction on a day that belongs to the LGBTQIA+ community. Happy Pride!”
Much of the criticism of Hilton’s was around her past association with President Donald Trump. Although she has never shared whether she has voted for Trump, 79, Kathy and her husband, Rick Hilton, socialized with the Trumps in the past.
Hilton announced on Wednesday, June 3, that she would relinquish her role in the annual pride parade.

“I am honored to have been considered for this recognition and appreciative of the support I have received from members of the community throughout the years,” Hilton said. “My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people. Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements.”
Her statement went on, “I respect the thoughtful conversations that have taken place and remain deeply committed to supporting LGBTQ+ causes and visibility, including through my participation in GLAAD initiatives and events, and longstanding support of organizations such as the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation since its inception, Dr. Mathilde Krim, God’s Love We Deliver, and Project Angel Food.”
“My support for the community and WeHo Pride is unwavering. This monumentally important event has always had a special place in my heart, and I will always cherish the experience I had acting as Grand Marshal of the LA Pride parade with my daughter in 2005,” she continued. “Thank you to everyone who works so hard to make it happen, and I wish the community nothing but love, joy, and a fantastic WeHo Pride weekend.”
By Chris Snellgrove
| Updated

When Buffy the Vampire Slayer became the hottest show of the ‘90s, it transformed many of its young cast members (including Sarah Michelle Gellar and Alyson Hannigan) into household names. Their performances were always strong, but it turns out they had a secret weapon: Anthony Stewart Head, the veteran British actor who played Buffy’s onscreen mentor, Giles. Offscreen, he still played mentor to his fellow actors, like when he helped the very American James Marsters master Spike’s trademark British accent. While Head had many great roles before and after this iconic show, countless fans will always remember him as Giles, the man who always helped the Slayer to save the world.
Sadly, Anthony Stewart Head has died at the age of 72. This is only six months after the death of his partner, Sarah Fisher, whom he had been with for over four decades. Head is survived by his daughters, Emily and Daisy Head. They released a statement to The Independent verifying that their acclaimed actor father had died from complications due to pneumonia. As the Buffy fandom grieves, they may take comfort in one thing: according to his daughters, “he passed away peacefully … surrounded by his family.”

Anthony Stewart Head was someone who was always reinventing his career in new and exciting ways. Like many great performers, he got his start in theatre, and he dazzled in plays like Godspell in the late ‘70s and The Rocky Horror Show in the early ‘90s, where he played Frank N. Furter. Musicals were a strength for Head because he had a beautiful voice and had trained himself to use it. In fact, when he wasn’t impressing everybody on the stage or screen in the ‘80s, he was providing the backing vocals for the band Red Box. In short, this is why Head was so good whenever Giles got to sing in Buffy!
His television career was especially quirky. While he had previously appeared in obscure British shows like Enemy at the Door, he didn’t become a very familiar face until he started selling coffee, of all things. Head starred in a series of memorable television ads for Nescafé’s Gold Blend; the coffee was renamed Taster’s Choice for America, where we continued to receive commercials featuring him until 1997. That was the same year that Buffy the Vampire Slayer premiered, and the success of this hit genre show helped supercharge Giles actor Anthony Stewart Head’s career.

For seven years, Anthony Stewart Head was a stalwart presence on Buffy the Vampire Slayer. The presence of an older, highly skilled actor helped all of the young performers effectively step up their game. Head’s presence arguably contributed to this TV show’s multi-generational appeal. Buffy appealed to younger audiences because of its younger cast, but older fans could see themselves in Giles, a wise, careworn mentor forced to save the world alongside a bunch of hormonal teens. While Head had a more limited presence in the last two seasons of Buffy (owing to his wanting to spend more time with his family in England), he continued making appearances through the series finale.
There were plans for a Buffy spinoff named Ripper, which would have focused on Giles, and Anthony Stewart Head would have been its leading man. Those plans ultimately fell through, but the actor continued enjoying an eclectic career doing things like narrating Doctor Who audiobooks. His musical chops in the Buffy episode “Once More With Feeling” helped him land a leading role in the bonkers film adaptation of Repo! The Genetic Opera. While he returned to the Slayer’s universe one more time to lend his voice to the Audible exclusive Slayers: A Buffyverse Story, his last major onscreen role was playing Rupert Mannion on the hit comedy Ted Lasso.

Anthony Stewart Head leaves behind a rich creative legacy. A master of multiple trades, he has won fans over with his skills as a theatrical performer, an accomplished singer, and as one of television’s biggest icons. While nobody will miss him more than his loving daughters, the entire Buffy fandom mourns the loss of one of the show’s greatest actors. Sadly, he is the third shocking Buffy death in the last year and a half: Dawn actor Michelle Trachtenberg shockingly passed away last year, and Xander actor Nicholas Brendan passed away earlier this year.
In my own grief at Anthony Stewart Head’s passing, I can’t help but think of Buffy the Vampire Slayer’s most sobering advice: “the hardest thing in this world is to live in it.” It’s certainly harder to live in this world knowing that we have lost such a talented performer, one who has inspired many of us to push ourselves further than we ever thought possible, just as his onscreen Watcher inspired Buffy to become stronger by the day. Fortunately, we can revisit his most inspirational performances whenever we need more of Giles’ wisdom. In this way, the father of the biggest found family in all of fandom will always be a part of our lives.
The war movie genre has boasted some impressive, memorable, and complicated films over the years, going as far back as 1898 with the controversial propaganda picture Tearing Down the Spanish Flag. Genre classics such as Apocalypse Now, Saving Private Ryan, Full Metal Jacket, and All Quiet on the Western Front tend to dominate war movie conversation, and oftentimes, newer installments to the genre rarely add something new and wind up feeling repetitive.
The moving 2023 WWII movie One Life, which has a 91% on Rotten Tomatoes, not only managed to inject an incredible amount of heartfelt emotion into the genre, but did so with minimal action. Through the fantastic performances of Anthony Hopkins and Jonathan Pryce, who effortlessly convey their characters’ complicated pasts, the movie provides a relevant message about the power of human decency that feels incredibly necessary in today’s world.
With how expansive and destructive World War II was, there are likely hundreds of tales of bravery and extraordinary moments that have flown under the radar. One Life‘s narrative is one of those moments that is truly hard to believe. It explores the true story of Anthony Hopkins’ Nicholas Winton who, in his old age, looks back at when he arranged the evacuation of over 600 children from Czechoslovakia during Nazi occupation — almost single-handedly — while trying to find a home for his scrapbook that details his heroism. The way One Life focuses on Winton’s humility — as he has never been truly recognized for his achievements yet never wishes for them — makes Winton an instantly lovable hero, and Hopkins plays it perfectly. His soft demeanor, with a quiet, shuffling body language, conveys a sincerity that reflects his younger self.
The film switches between a young Winton (Johnny Flynn) and him in the present day, just as it does Ziggy Heath and Jonathan Pryce, who play Winton’s friend Martin Blake, the one who initially invites Winton to Prague to assist with humanitarian efforts. Whereas Flynn and Ziggy Heath play their younger versions with more urgency, due to the stakes, Pryce and Hopkins give their characters slower, more thoughtful deliveries, conveying the weight of their past and how they must have thought about this a thousand times.
Other war films, such as Hacksaw Ridge, explore how much difference one person can make. In the case of that movie, Desmond Doss (Andrew Garfield) is committed from the start to simply save whoever he can, and the high-intensity action almost makes the decision for him on how he must act. Instead, One Life is a snowball effect, as Winton only slowly begins to put the pieces together of how difficult saving these children actually will be, and yet his drive to do the right thing shows how anything can be overcome or made possible. Whether it is the British government being incredibly unhelpful in providing visas for children to use to escape, or the Nazis providing a more sinister and urgent threat, Nicholas Winton is constantly told there is no hope, and he must rely on sheer relentless effort to save lives. In today’s world, where institutions fail people consistently, One Life shows how we should believe in making the world a better place one step at a time with our own actions, whether the systems in place are there to help us or not.
Nicholas Winton almost refuses to take credit for his heroism, insisting that he was only doing the right thing and that anyone would have done the same in his shoes. Even when faced with one of the most hateful, destructive threats the world has ever experienced, Nicholas Winton never backed down. He didn’t want money or fame, and he didn’t necessarily think his efforts would win the war and stop evil for good. He just believed it was simply the right thing to do, and there are very few war movies that truly embody this message as well as this one does. One Life is a war movie you don’t want to miss out on.
By Jonathan Klotz
| Updated

Nearly 40 years after it debuted, The Brave Little Toaster is available to stream on Disney+. For generations, the animated classic was lost media. The last time it was released for home media was in 2003, with a bare-bones DVD release, but before you congratulate Disney on restoring a lost classic, you should know, it’s their fault that it was locked away for decades. In 1987, most kids first came across the film on Disney VHS or on the Disney channel, but it’s not actually a Disney movie. Well it is, but … it gets complicated.

The Brave Little Toaster follows a group of appliances, a toaster, a blanket, a radio, a lamp, and a vacuum cleaner, as they leave a summer cabin to find their young master, Rob, who hasn’t come by in years. Going through forests, down a waterfall, and since it was the 80s, into swampy quicksand, they risk life, limb, and low battery to reach their master. What they don’t know is that it’s been so long that the now college-bound Rob and his girlfriend are trying to find them.
If it had been made 10 years later, The Brave Little Toaster wouldn’t be as traumatic a story as it is. Other appliances come across as deranged, starting with the air conditioner, voiced by Phil Hartman, that sets itself on fire, and culminating with a repair shop of old, busted appliances. A literal nightmare sequence of the Toaster includes insane clown firefighters and a giant tub of water. Not even the catchy musical numbers can fully offset the deranged nightmare visuals. Even then, it’s a favorite of Millennials for a reason, and you will have to wipe off a tear at the ending.

Which raises the question, if The Brave Little Toaster is such a great, beloved film, why has Disney kept it trapped in the vault for decades? John Lasseter, the man who helped create Toy Story, wanted to turn the film into the first fully 3D CGI animated feature, over a decade before Buzz and Woody. The pitch was received so well by Disney executives that they fired Lasseter.
That gave an opening for two Disney employees, Tom Wilhite and Willard Carroll, to take over the film at their new company, Hyperion Pictures. Disney owned the rights to the film, and co-financed it alongside CBS and TDK (an electronics company), with a total budget of only $5.6 million, which was very, very low for a full animated feature.

Disney had the home video and television rights, which is why they purposely moved the Disney Channel debut of the Brave Little Toaster to before its opening weekend in theaters. You think the movie release window is small now in the age of streaming, this was simply unheard of. If Disney wasn’t going to see any money from theaters, it wasn’t going to let anyone get money from a wide release.
On May 26, 2026, Disney finally released The Brave Little Toaster onto Disney+, and immediately, it landed in the top ten on the service. Those who were raised on Toaster and friends can now share the adventure with their own kids, or, and this is truly painful to type, grandkids. It’s one of the best animated films of the 80s and once you see it, you’ll know exactly where John Lasseter got the idea for Toy Story.
The Brave Little Toaster is finally streaming on Disney+.
The sequels have been streaming for years, but we don’t talk about those.
By Chris Snellgrove
| Published

When it comes to Star Wars, most fans agree that Darth Vader is the scariest guy in the entire galaxy far, far away. However, what’s scarier than this Dark Lord of the Sith? Simple answer: whatever scares Vader is scarier than Vader. Since he has access to an entire Empire and the Dark Side of the Force, there are few people he actually fears. One of the only people is Grand Moff Tarkin, who serves as the real Big Bad of the first Star Wars movie.
Sure, Tarkin didn’t look like a robot samurai, and he didn’t wield magical powers. But he’s the one guy, aside from the Emperor, who bosses Vader around. Leia is telling the truth later on: Tarkin really does hold the Sith Lord’s leash. If that sounds a little kinky for Star Wars, you don’t know the half of it. One relatively unknown Star Wars story makes it clear that Grand Moff Tarkin had a secret love affair with the Stormtrooper whose armor Luke Skywalker steals. Oh, and they send booty call messages with that little mouse droid from the Death Star!

Ok, this is a pretty weird tale, even by the standards of Star Wars. It begins with “Of MSE-6 and Men,” one of the short stories in the anthology book From A Certain Point Of View. Written by Glen Weldon, this story takes place on the Death Star and mostly focuses on two people: MSE-6-G735Y (the adorable mouse droid that Chewbacca roars at) and TK-421, a Stormtrooper. The trooper begins a gay relationship with an unnamed, high-ranking officer, whom the author later admitted was supposed to be Tarkin. Their secret, passionate affair ends when Luke Skywalker blasts the Stormtrooper, taking his armor and hiding the body in a crawlspace aboard the Millennium Falcon.
So, how do we know the unnamed officer is supposed to be Grand Moff Tarkin? “Of MSE-6 and Men” drops some heavy-handed hints, including the fact that this guy has Alpha One security clearance and a super-swanky office aboard the Death Star. Oh, and he has an even swankier penthouse back on Coruscant. Mostly, though, we know because of author Glen Weldon’s posts on X. He has frequently responded with shrugging memes when people ask if the officer is Tarkin and posted smirking Cersei Lannister pictures alongside his own internet search for “tarkin gay.” Weldon also posted a picture of Tarkin and TK-421 side by side and called it a “couples costume idea.”

While people more interested in culture wars than Star Wars might freak out about this short story, Grand Moff Tarkin being gay doesn’t really change anything people like about the character. He’s still just as intimidating, thanks in large part to a masterful performance by Peter Cushing. The same is true for Darth Vader: knowing his sexuality doesn’t make him any less of a scary robot man. Although knowing that he was regularly bumping uglies with Natalie Portman before she died of sadness and his penis burned off in lava admittedly goes a long way towards explaining why he’s so angry all the time.
However, as with many of the short stories in From A Certain Point of View, “Of MSE-6 and Men” does force you to look at several aspects of A New Hope through fresh eyes. It’s wild to think Tarkin was on the down low with a random Stormtrooper (one who puts on a fake hick accent, no less) and sending texts via a droid. When Chewbacca yelled at this little droid, was he secretly c*ckblocking the scariest guy in the galaxy? As for Tarkin, did he refuse to evacuate the Death Star because he was obsessed with killing the Rebel hero who murdered his rough trade sidepiece in cold blood?

There’s a lesson here, Star Wars fans: when you’re celebrating Pride Month this June, don’t forget Grand Moff Tarkin. Thanks to this bonkers short story, he’s now the most prominent gay icon in a galaxy far, far away, if only because Lucas and Disney just keep C-3PO in the closet. On the topic of Pride, though, “Of MSE-6 and Men” does leave me with one lingering question: do you think the Empire makes a big deal about their rainbow PFPs on social media in June, or do they keep everything gunmetal grey, all year long?
The success of HBO’s Chernobyl and Netflix’s The Queen’s Gambit a few years ago reignited mainstream interest in Cold War-era politics. This interest was no doubt fueled further by Christopher Nolan‘s Oppenheimer, which revisited the tense years spent creating the world’s first atomic weapons, and ended up grossing nearly $1 billion worldwide. The Cold War was over, but Russia was once again emerging as a popular antagonist on the geopolitical stage. This streak continued last week with Star City, an austere spin-off to Apple TV’s For All Mankind, which takes place in an alternate history where the Space Race never ended. Star City presents the Soviet perspective of the contest, brimming with political intrigue and intense paranoia.
The Space Race remains perhaps the most well-known soft power showdown between the two warring nations and their allies during the Cold War. It was framed as though the nation that made the greatest advances in aerospace would gain an edge over the other. Other proxy battles were famously held in the arena of video games and sports. The Soviet ice hockey team emerged as the greatest in the world at the time. The Soviets also dominated the world of chess for the entirety of the Cold War, with grandmasters such as Anatoly Karpov and Garry Kasparov picking up from where Mikhail Tal and Boris Spassky left off. However, there was one notable exception in the history of chess where an American emerged as the world champion — the sole non-Soviet player to hold the world title in around five decades.
He claimed the title in a legendary Cold War-era face-off against Spassky. This face-off was dramatized in a movie directed by Edward Zwick and released in 2014. The movie in question, Pawn Sacrifice, stars Tobey Maguire as the legendary Bobby Fischer and Liev Schreiber as Spassky. Both Fischer and Spassky were being used as pawns for their governments, which put immense pressure on them to secure prestige for their countries. Pawn Sacrifice underperformed commercially, grossing just $5 million worldwide. It now holds a “Certified Fresh” 73% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Anchored by a sensitive performance from Tobey Maguire, Pawn Sacrifice adds another solidly gripping drama to the list of films inspired by chess wiz Bobby Fischer.” The movie is currently streaming for free in the U.S. on Tubi. Stay tuned to Collider for more updates.
September 16, 2015
115 Minutes
Edward Zwick
A good, long-running show is perfect to sink your teeth into when you want a big commitment. There are shows with multiple seasons I ended up watching and binging late in the game, like Lost and Hannibal. But if you just so happen to have a free week or night, you might be looking for a short and sweet miniseries to entertain you from start to finish.
Netflix has tons of miniseries from which to choose, including quality ones that run only four, five, or six episodes long. Basically the length of a movie double-feature, you can grab a bowl of popcorn, a blanket, and relax with these miniseries, watching right through to the conclusion.
Though it received mixed reviews, His & Hers is a twisty mystery thriller that you’ll find impossible to watch any other way than binging all six episodes at once. Building suspense and intrigue, it’s the story of Anna (Tessa Thompson), a former news anchor who has withdrawn from her life but perks up when she hears there was a murder in the small town where she grew up. When she arrives, Anna runs into her estranged husband, Detective Jack Harper (Jon Bernthal), who is suspicious about why she has returned. Anna starts to wonder if secrets and truths from the past play a role in what happened.
There’s a lot going on in this totally unpredictable story based on the 2020 Alice Feeney novel, an exploration of hidden truths and buried pasts. The Collider reviewer notes that the series doesn’t necessarily “reinvent the wheel” as far as murder mystery shows go, but the twisty story will “tug at your heartstrings” and leave you wondering if there’s anyone you can actually trust.
The Perfect Couple is another in the murder mystery genre, set in Nantucket at the lavish wedding of the son of a wealthy family. All seems great until someone winds up dead. The six episodes from there explore the investigation to find out who is behind the murder and why. There are twists, turns, secrets revealed, and family fractures that begin to split open as the reality of the not-so-perfect life behind the scenes starts to peek through.
Earning mixed reviews, The Perfect Couple has a great cast including Nicole Kidman, Liev Schreiber, Eve Hewson, Meghann Fahy, and Dakota Fanning. It’s not quite at The White Lotus level in terms of quality and intrigue. But as a short story based on a novel, it’s a guilty pleasure that will keep you guessing right through to the end.
There’s so much attention around The Handmaid’s Tale and The Testaments, two series based on the writings of Margaret Atwood, that it’s easy to forget there was another popular one. Alias Grace is based on her 1996 novel of the same name and is about the true story of domestic servant Grace Marks (Sarah Gadon), a 16-year-old woman convicted of killing her boss and his pregnant housekeeper alongside farmhand James McDermott (Kerr Logan). While McDermott is sentenced to death, Grace is spared and sent to prison.
Through six episodes, the show explores the nuances of the case, including whether Grace was a cold-blooded killer or a victim of abuse. Hers was one of the most notorious cases of the 19th century and the series sets out to explore Grace’s mental state and themes of class, gender, and power dynamics through conversations with psychiatrist Dr. Simon Jordan (Edward Holcroft). A Canadian drama, Alias Grace was picked up for Netflix two years after it originally aired on CBC and became a streaming hit.
A juicy and quick five-episode watch, Sirens is a story about trauma and reinvention, leaving a sorrowful past behind. Simone DeWitt (Milly Alcock) tries to do this by moving onto a beach estate with her eccentric billionaire boss Michaela “Kiki” Kell (Julianne Moore). But her troubled sister Devon (Meghann Fahy) is convinced there’s something weird about Kiki and her sister might be in a cult, so she travels to the estate to find her. Naturally, conflict occurs as the rough-around-the-edges Devon doesn’t quite fit in and Simone is desperate to hide her past.
The perfect miniseries you can binge in a night takes you through the story never really knowing who to trust, who has ulterior motives, and if Kiki really is brainwashing people or just kooky. Once Kevin Bacon arrives as Kiki’s husband Peter Kell, the story takes more turns. The female-led dark comedy has laughs, heartwarming moments, and culminates in an explosive end.
Telling the true story of wellness guru Belle Gibson, who used her platform to promote alternative medicine with no real proof as to its efficacy, and her dealings with another popular guru, Milla Blake, Apple Cider Vinegar is based on the book The Woman Who Fooled the World by Beau Donelly and Nick Toscano. In the tragic story, Belle (Kaitlyn Dever) convinces her followers that she has cancer. She leverages the success of Milla (Alycia Debnam-Carey), a wellness influencer who publicly discusses her real battle with cancer and decision to pursue alternative medicine. Milla is thought to be inspired by the real-life Jessica Ainscough.
The story goes down a dark rabbit hole with these two women, a cautionary tale about the online community and how influential it can be, even when there’s no science or credibility behind claims. A story of snake oil influencers, Apple Cider Vinegar will infuriate you and break your heart at the same time. The Collider reviewer notes that while it’s slow moving, only really ramping up towards the end, the series is as much a story about consequences as it is about crime.
Sofía Vergara impressed in the role of Griselda Blanco in Griselda, a six-episode tale of the life and crimes of the Colombian drug lord, who ruled the drug underworld in Miami in the 1980s and is widely considered to be the “Godmother of Cocaine.” It’s gritty and emotional, the normally comedic actor shedding her goofy skin to portray this dark and ominous character.
Beyond the entertainment value and the depiction of a woman’s rise to power at a time when women didn’t generally receive respect in that world, Griselda also highlights the dangers of that life, the dire consequences, and the emotional toll. “The Netflix series offers a fascinating look into a figure both controversial and intriguing,” says the Collider reviewer, reminding readers, as the show does in its opening scene, that Blanco was the only person notorious drug lord Pablo Escobar ever said he feared.
In the famous 1998 Central Park jogger case, five Black and one Latino young men are falsely accused of raping and assaulting a young white woman in the New York City park. Following the trials, they were each convicted and sentenced to the maximum terms. But a few years later, another man confessed to the crimes, exonerating these young men and prompting them to file a lawsuit against the city. When They See Us tells their story.
The crime drama is not a docuseries, but it uses actors and a dramatized version to explore the lives of the five juvenile men and how this case and the accusations upended them. The four episodes begin with the arrest and move swiftly through the interrogations and alleged pressures on the young men to confess and turn on one another, their troubling time in a juvenile facility, and their lives after release. It’s a gripping true story that will make you question the justice system and the concept of being innocent until proven guilty.
A heartbreaking tale based on a true story, Shira Haas plays Esther “Esty” Shapiro, a young woman who escapes from her Orthodox community right after an arranged marriage. She yearns for a life outside of her community, desperate to break free from the religious confines of the secular community. When her husband learns that she is pregnant, however, he rushes to Berlin, where she has traveled to find her and try and bring her home.
Unorthodox is one of the greatest four-episode miniseries, a German drama told mostly in Yiddish with English subtitles. But the story is universally understood about a young woman who feels oppressed and forced into beliefs and a life she does not want. The series is based on the real-life experiences of Deborah Feldman, who herself escaped from her Hasidic Jewish community in Brooklyn. Haas is electrifying in the role, bringing a sense of innocence and curiosity, but also fierceness, to this young woman who is finally standing up for herself and what she wants, not what’s mapped out for her.
If you love The Night Agent, you’ll appreciate Bodyguard as well, as both rank among the best political thriller shows. The British BBC political thriller that streams on Netflix centers around British army war veteran David Budd (Richard Madden) who is suffering from PTSD. After thwarting a train attack, he is assigned as personal protection for Home Secretary Julia Montague (Keeley Hawes) where his allegiances and views on politics are tested.
The story ramps up, however, when David is thrust into the middle of a terrorist plan and he, his family, and innocent citizens are in danger. It’s an intense ride through the six episodes, Madden electrifying in the role. Beyond the action, Bodyguard also dives into the topic of government surveillance and private citizen information.
The darling series of 2025 that earned tons of attention and accolades, Adolescence is a tough watch, a cautionary tale about youth, social media, and incel culture. When Eddie (Stephen Graham) and Manda (Christine Tremarco) are awoken in the middle of the night by police looking to arrest their 13-year-old son Jamie (Owen Cooper) for the murder of his classmate, their lives will never be the same. The story, told across four episodes as one of the best miniseries from the last five years, follows the heart-wrenching experience as they deal with the fallout and the reality that their son might actually be guilty.
The most difficult episodes to watch include Jamie’s conversation with forensic psychologist Briony Ariston (Erin Doherty), where the damage from online influence becomes apparent and the final episode as his parents reflect on signs they missed and what they might have done wrong. It’s a parent’s worst nightmare, a chilling tale that any parent of a pre-teen or teenager should watch and use as a step-off point for having difficult but important conversations with them.
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