President Donald Trump’s appearance at the 2026 World Cup Final was met with a loud — and unmistakable — reaction from the crowd.

After Jennifer Hudson performed a gorgeous rendition of the U.S. national anthem at the Sunday, July 19, championship game, Trump, 80, was shown clapping while standing from his section inside Metlife Stadium in East Rutherford, New Jersey.

As the camera panned to him, Trump was audibly booed by the audience. He watched the match — where defending champs Argentina faced off against Spain — beside his wife, Melania, and FIFA President Gianni Infantino.

Weeks earlier, Trump made headlines when he called Infantino to review the red card given to United States men’s national team player Folarin Balogun after the round of 32 game.

Related: Celebrities Attend the 2026 World Cup Final: See All the Photos

As Team Argentina and Team Spain faced off on the 2026 World Cup pitch, they received an onslaught of cheers from a sea of famous faces. The highly anticipated FIFA championship tournament held on Sunday, July 19, featured Argentinian star Lionel Messi hoping to lead his team to another victory over Spain. Thank You! You […]

“All I did was ask for a review. I didn’t say, you have to do this,” Trump said at a White House media briefing earlier this month, per ESPN. “This man is a smart, tough man, Gianni Infantino. He’s a smart, tough man, and his stock has gone through the roof because the job he has done has been great. I feel like we have to have all the best players on the field.”

Trump called Balogun’s one-game suspension, which a player automatically faces with a red card, “very unfair.”

“How do you penalize them for a game that hasn’t been played?” Trump said, noting that the red card was a “horrible” call. “I didn’t think it was a foul. I thought it was two great athletes that crashed each other and got entangled.”

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“I saw the play, and I’m a person that loves sports … that wasn’t a foul. That wasn’t even an infraction … this referee, who is a little bit suspect if you check his past. He made a call that nobody could believe … he’s our best player, or one of our best players. And he gave him a red card. I didn’t know what that meant,” he continued. “Yes, I asked for a review by FIFA. [Balogun] didn’t do anything wrong, and he’s our best player or one of our best players.”

Related: All the Celebrities Cheering on Global Soccer at the 2026 World Cup

The 2026 World Cup is officially here— and the stars are stepping out to root for their favorite teams. The global soccer tournament will be held in the United States, Canada and Mexico, with the qualifying teams competing in matchups throughout the three countries this summer ahead of the championship game at MetLife Stadium in […]

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After Trump’s comments, FIFA later announced that Balogun was able to play. “Thank you to FIFA for doing what was right, and reversing a great injustice!” Trump wrote via X at the time.

At the time, the Royal Belgian Football Association (RBFA) said it was “astonished” by the decision, per AP News. The United States men’s national team ultimately lost the round of 16 matchup against Belgium.

Khloé Kardashian is mourning the loss of her beloved grandmother Mary Jo “MJ” Shannon after her death at 91.

“My sweet MJ 🦋. Thank you for showing us that life is meant to be celebrated, that laughter is healing, and that love is the greatest legacy we can leave behind,” Kardashian, 42, wrote via Instagram on Sunday, July 19, sharing a montage of throwback family photos. “You lived so fully, so gracefully and so beautifully.”

She continued, “One of my greatest blessings will always be that my children knew their great-grandmother. That they experienced your hugs, your stories, your joy and the incredible light you carried so effortlessly.”

Shannon, the mother of Kardashian-Jenner matriarch Kris Jenner, died earlier this week. She is survived by Kris, 70, and her multiple grandchildren and great-grandchildren. (Kris is mom of Khloé, Kourtney Kardashian, Kim Kardashian, Rob Kardashian, Kendall Jenner and Kylie Jenner. Kris’ late sister, Karen Houghton, was the mother of Natalie Zettel.)

Related: Kris Jenner’s Mom Mary Jo ‘MJ’ Shannon Dead at 91

Kris Jenner’s mother, Mary Jo “MJ” Shannon, has died at age 91, less than two weeks before her 92nd birthday. “Today, we said goodbye to my beautiful Mommy MJ. 😞💔,” Jenner, 70, wrote via Instagram on Thursday, July 16. “There are no words that could ever capture what she has meant to me or the […]

“You taught us that love never leaves,” Khloé, who shares two kids of her own with ex Tristan Thompson, added in her memorial tribute. “It lives on in the family you built, the traditions we’ll continue, the stories we’ll tell, and every time we choose joy. Your love will forever be woven into who we are. Thank you for every lesson, every laugh, every embrace and every piece of your heart you gave so freely. You were truly one of one.”

The Good American designer continued, “I know Heaven welcomed you with open arms, surrounded by everyone who has been waiting to see you again.”

Khloé further speculated that her grandmother “kept [her] promise” to tell the reality TV star’s late father, Robert Kardashian Sr., “how deeply [they] love him” and “miss him.”

“I know you’re happy having your coke, tuna sandwich and graham crackers with Papa Harry while Karen dances around you,” Khloé added of her deceased grandfather and aunt. “Until we meet again, my sweet MJ! I love you.”

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Related: Kim Kardashian Seemingly Shares Final Texts From Late Grandmother MJ

Kim Kardashian seemingly revealed some of the final text messages that her family sent to grandmother Mary Jo “MJ” Shannon days before her death at age 91. Kardashian, 45, posted a screenshot on Friday, July 17, showing messages from her “Entire OG Family” group chat where she and mom Kris Jenner recently exchanged inspirational Bible […]

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MJ shared Kris and Karen with husband Robert Houghton, who died in 1975. She later remarried Harry Shannon and they were together until his death in 2003.

Following MJ’s death, Khloé’s siblings and mom have all honored her memory with their own social media tributes.

“When I look at my kids and my grandkids, I will forever see pieces of you in all of us. There is not a part of me that isn’t shaped by you,” Kris wrote via Instagram on Thursday, July 16. “If I have done anything right in this world, it’s because I spent my life trying to live in a way that would make you proud. Every memory, every moment, every blessing, it was all because of you, and I will forever thank God every single day for making you my mommy. My heart is broken into a million pieces… thank you for giving me the greatest childhood and oh what a beautiful blessed life. I love you forever Mommy. Thank you for giving us everything.”

Editor’s note: The below interview contains spoilers for The Vampire Lestat finale.

It may seem hard to believe, but The Vampire Lestat took its final bow tonight with the premiere of its season finale. Over the last few weeks, we’ve been on quite the wild ride, courtesy of none other than Lestat de Lioncourt (Sam Reid) himself taking over primary narrating duties, but, instead of ramping up to a climactic concert, the season’s curtain call becomes more of a surreal, emotional meditation.

As Lestat is forced to grapple with his greatest failings as a vampire, a maker, a lover, a human being, it doubles as a trip down memory lane, with reappearances from characters you likely never expected to see again. One cameo, especially, serves as the closure Lestat needs to better understand his on-again, off-again companion Louis (Jacob Anderson), while another sequence may very well have put an end to his immensely complicated dynamic with Gabriella (Jennifer Ehle) — but at the end of it all, the experience of nearly dying and being brought back to life is poised to change Lestat forever, right as AMC’s vampire thriller is on the verge of moving into a completely new era.

Ahead of the premiere of “The Failures,” Collider had the opportunity to speak with Reid about some of the biggest revelations Episode 7 unearths for Lestat regarding his failures, the major shifts in his most important relationships, how much he knows about where the show is headed, and more.

COLLIDER: The conceit of the finale, at least for Lestat, starts with a dinner party at the long table with his fledglings, the “failure finders.” What did you enjoy about getting to look back at some of Lestat’s most defining moments from previous seasons through this new lens?

SAM REID: “Enjoy” is a strong word. [Laughs] It’s the framework of the whole season, this long table, from when he has the apparition of Baby Jenks falling above the ceiling in Episode 1. She says, “They’re coming for you,” and he says, “Who’s coming?” Magnus tells him that they’re eating his soul at the long table, getting towards this place where Lestat does finally accept that he has failed fundamentally as a human being and as a vampire. This character who has such a joie de vivre and attempts to brush off all trauma, and every time, he hits the floor. He rises out of a burning car, and brushes his shoulders off, and keeps going. That’s his modus operandi.

Then, it’s all coming to a grinding halt where he is dying, physically dying, and in his death, acknowledges that he has failed as a vampire and as a human being, and as an individual. So, whether or not that’s the real figure or that’s his own reflection on his life, it’s kind of sad because it’s a closing. It’s a ribbon around this character’s mental state, but that does lead him to acknowledge that he is responsible for this post-apocalyptic event, that he’s recording this Failures album to whoever it is that has bought the recording.

It’s loads of fun to see the actors who we had in the show throughout multiple seasons, who you haven’t seen for five years, turn back up again. Also, because the long table’s caricatures of those characters were so grandiose and so fun and twisted and grotesque, like Lestat in that space, as well. So, it’s a really fun, kind of wacky place to do it all.

Sam Reid Explains Lestat’s Big Speech in ‘The Vampire Lestat’s Finale

“I know I have all of these faults, and I know that they are inescapable and irredeemable, but at least I am trying.”

Image via AMC

When the long table pivots to the concert, Lestat does have that declaration of, “I was pretty fucking great,” but then he says, “If I failed, that means I actually attempted something.” What did it mean for you to have Lestat come to that conclusion about himself? It feels like it brings the whole season full circle, in a way.

REID: Exactly. But then you look at the whole speech. He says, “Even if you hated me, even if you found me too grotesque in the way that I loved and the way that I desperately needed your love and attention, even if you feel these things about me, at least I was trying. I know I have all of these faults, and I know that they are inescapable and irredeemable, but at least I am trying. At least I tried. And actually, I think I was pretty fucking great,” but immediately he’s hit by, “No. You can’t have that.”

And then, as he is truthfully dying, what does he remember? In that last bit, he goes, “Might be nice. Hands touched.” He remembers Louis. This is the one thing. He loves Louis so much, but he doesn’t know that [Louis] loves him, and it’s driven him crazy. It’s driven him down this whole rabbit hole of chaos in the whole season that we’ve just watched because it does drive him wild. He needs validation so much for a variety of reasons, which hopefully, people sort of understand why now. That’s what he remembers. And then he starts to die, and then he realizes that as he’s dying, he has fully failed. He cannot even form a structural sentence correctly; he’s caught up on the grammar. And as he withers away, it is a petering out of this very outwardly confident character.

So, I thought it was a really beautifully structured little speech, and really fun because you kind of get the whole mental context of why he’s performing as this rock star. He’s like, “No, I’m going to redefine myself one more time. That’s why you’re the opening, and I’m the headliner. Thanks very much.” And the song is playing, but he can’t get to the song. He can’t put the performance on anymore. His body is physically dying, and then that withers away, and then what is left is a semblance of peace and understanding that he cannot succeed, that he cannot go forward, and that he has accepted death, and maybe death is a beautiful thing.

When Paul walked out, I had a very emotional reaction. It’s so unexpected, but it’s really just quiet and lovely. There are also moments of humor, too, like when he has to add, “I still wish you were a woman,” and then you have that line of, “Me too, sometimes.” What was it like to get to play that quietly impactful moment with Steven [G. Norfleet]?

REID: Steven Norfleet is amazing. He’s an incredible actor and is so beautiful. His voice is like honey in your ear. It’s just extraordinary. It’s such a beautiful resolution for Louis and Lestat for it to be Paul, because the last time Louis said “I love you” to somebody was Paul, and he committed suicide shortly afterwards. So it does give Lestat a closure and an understanding of Louis better. He’s like, “I’ve been pushing and pushing and pushing for validation from this person who I love,” without giving him a full acknowledgment of his own traumas and his own understanding, because he’s been so self-absorbed and wrapped up in his own need for love and validation. He doesn’t need to hear “I love you” from Louis anymore because he knows he loves him. He just knows that Louis has got a lot of issues there, a lot of pain. It’s very beautiful.

Going forward, now that they have both survived, I don’t think Lestat’s going to be pushing him that much. He’s not going to be like, “Just say that you don’t love me.” They understand each other better through their near-death experiences. So, it’s incredibly beautiful in that regard. I just thought it was so mind-blowing. And that has always been bubbling there underneath the surface in the references to the birds, and there’s been so much Paul beating underneath the heart of the show, so it was really lovely for him to appear in that moment.

‘The Vampire Lestat’s Sam Reid Explains Why the Finale Is a Major Turning Point for Lestat and Gabriella

“He doesn’t need to be seeking approval from the fundamental person whose approval he’s always needed.”

Image via AMC

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After Louis and Lestat get put back together, they have that brief moment on the tour bus, but then it’s almost drowned out by the cacophony going on outside. The vampires are getting rowdy. Gabriella is saying Lestat has to perform, and he starts screaming at her, and then the scene cuts off on him calling her a “fucking monster.” It feels like an unleashing of emotion that we’ve never really seen him direct right at her, especially on the heels of what happened last week. What do you think Lestat’s reaction to Gabriella in that scene signals about how his feelings towards her are shifting?

REID: I think he’s obviously learned something pretty fundamental at the long table. I think he was probably pretty ready to die, and then he has been brought back to life to, once again, act on behalf of other people and on behalf of Gabriella, or on behalf of the Talamasca, who want him to perform his concert for their own reasons.

So, he has been brought back to life, and there is a semblance now where he does feel loved. He has woken up and realized, “Where’s Louis? He loves me. This is my safe place, and hopefully I am his safe place, as well. I am loved, and I’m not going to do this anymore.” He doesn’t need to be seeking approval from the fundamental person whose approval he’s always needed, who has directed his life from the beginning, and has sent him down all of these really bizarre avenues in life. I think that’s really clear in the long table where they say that he has two makers. Magnus left. Magnus committed suicide. He was not there. He transformed Lestat, but Lestat turned his mother into a vampire very quickly, and so he and his mother have remained mother and child, maker and fledgling, from almost their conception as vampires. So, he doesn’t really understand the world without seeking her approval, but he doesn’t necessarily need it anymore.

That means now that chapter is closing, which is exciting. One, that means a lot to Lestat, because who is Lestat now on his own, and how long will he be able to stay on his own before he’s brought under the wing of somebody else? Because he is a lover, for all intents and purposes. And unfortunately, because he loves so deeply, he does end up getting very swayed by the ones he loves. But it also means something for Gabriella, as well, because to close that chapter or to feel like she no longer has that sway over Lestat, it might mean that that character has a different level of growth and has room now to go in a different direction.

The last shot of the finale — what a way to tee up another potential season. Has Rolin given you any kind of hint as to what to expect from a Season 4?

REID: Yep. [Laughs] If we’re lucky enough to get one, if we did go on, yeah. We talk about this stuff all the time because I can imagine it’s frustrating for an audience wanting everything as soon as it’s there, and wanting everything all the time. But we are adapting a huge breadth of material, and the way that they adapt these books, it’s very detailed, and they put a lot of thought into it.

Yes, I need to know what is going on. Where is he when he’s making those recordings? What has happened? Where is he in the story? Where does that lead to? These are the things that I need to know, so we do talk about them at length. Why are we seeing certain things from his past in certain ways? Why have they been represented in such a fashion? What is he fundamentally trying to unpick when he looks back in a certain way to what it relates to where he is right now? Why is he examining his failures? Why is he examining why he is not successful as a vampire or as a human? Why are we looking at that in that lens? Where are we? It’s very important to me to run to understand, so yeah, I know a lot, but I can’t tell you beyond those things.

All episodes of The Vampire Lestat are now streaming on AMC+.

After lending their support to the New York Knicks’ successful NBA Finals run, Timothée Chalamet and Kylie Jenner are turning their sights to the 2026 World Cup pitch.

Chalamet, 30, and Jenner, 28, stepped out at the Sunday, July 19, championship match between Argentina and Spain at New Jersey’s MetLife Stadium.

The couple watched the game from a private box, where Jenner went glam in a black, V-neck sweater and coordinating Otra Eyewear sunglasses. Chalamet, for his part, sported a blue, long-sleeved tee with white and red stripes.

In the midst of the action, the lovebirds couldn’t resist packing on the PDA. Jenner was spotted wrapping her arms around Chalamet, who appeared to lean in for a sweet kiss.

Related: Timothee Chalamet and Kylie Jenner Have Courtside Date at Knicks Game

Timothée Chalamet and Kylie Jenner cheered on the New York Knicks’ historic victory from courtside at Rocket Arena in Cleveland. The couple both wore blue-and-orange Knicks T-shirts as they watched the team punch their tickets to the NBA Finals for the first time in 27 years with a 130-90 win over the Cleveland Cavaliers. The […]

Jenner, who shares two children with ex Travis Scott, has been dating Chalamet since 2023. They’ve since become fixtures on the red carpet and at various sporting events. New York native Chalamet has even converted his girlfriend into a Knicks fan before the couple attended multiple games on the road to the NBA championship last month.

“Way rather this than the Oscars,” Chalamet gushed in a postgame interview after the Knicks’ victory over the San Antonio Spurs for the title. “Come on, baby! Knicks are champions, baby!”

While Jenner wasn’t present for the last game, she attended multiple other matchups alongside her beau. In addition to catching sports games with her man, Jenner is also a proud supporter of his career.

“That’s hard for me because I feel like I really love them all,” Jenner said on Kid Cudi’s “Big Bro” podcast in April, when asked to pick her favorite of Chalamet’s movies. “ Call Me by Your Name is pretty perfect … and I really love [the Dune movies].”

The makeup mogul added that she watched his film Wonka “seven times,” referring to his Oscar-nominated flick.

As for Cudi, 42, he revealed that he also likes to watch Chalamet’s films.

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Timothée Chalamet is used to fans getting starstruck around him, but this time it was the other way around when he met the Dallas Cowboys Cheerleaders. The Dune actor was among the celebrities in attendance at the 2026 FIFA World Cup semifinal game between France and Spain on Tuesday, July 14, at AT&T Stadium in […]

“He was winning awards, and he would thank me and talk about me,” Cudi said of the actor previously crediting the rapper with his career choice. “I would just be like, ‘This kid keeps thanking me in this speech.’ I was like, ‘Do I know him?’ Because he does not look the same as when he was 17. It looked like a totally different person,. His team reached out, and then I figured it all out. I was like, ‘Oh, that’s the kid that I met when he was 17.’”

Chalamet and Cudi initially met when the actor was a teenager. They reunited in adulthood.

“Ever since then, when we reconnected, he took me to see Call Me by Your Name in the theater,” Cudi told Jenner. “He bought the tickets, and we went to a spot in Los Feliz, and [it was] super dope. And ever since then, that’s been our thing for us to watch his movies together.”

Zendaya, Sydney Sweeney, and Jacob Elordi have gone on to become household names because of Euphoria. All three of them have had substantial 2026 runs so far. Elordi was in Wuthering Heights opposite Margot Robbie. Sweeney has been the face of a highly successful denim and apparel campaign spread. Zendaya, on the other hand, played Athena in Christopher Nolan’s The Odyssey, and her Spider-Man: Brand New Day is scheduled to be released in movie theaters on July 31, 2026. And while HBO Max’s Euphoria has already concluded with its third season, there’s still a chapter that remains to be seen.

HBO is now giving the drama series one final release, and no, it is not a continuation or deleted episode. It’s a new special that looks backward at the production that launched in 2019, survived an unusually long gap between seasons, produced two standalone episodes, and helped turn Zendaya, Sydney Sweeney, Jacob Elordi, Hunter Schafer, and Angus Cloud into defining faces of modern HBO television.

The release is Euphoria: A Look Back, an HBO Max retrospective arriving July 24. The trailer returns to early interviews in which a much younger Elordi and Cloud introduce themselves; Schafer exclaims how they “were literal babies,” when it all started; and there’s footage from Zendaya’s original press appearances, production-floor celebrations, emotional wrap moments, and cast reflections recorded before anyone knew how culturally large the series would become.

‘Euphoria’ Became HBO Max’s Response to Netflix’s ‘Elite’ DNA

Euphoria ended its seven-year run on May 31, 2026, when the 93-minute Season 3 finale closed Rue Bennett’s (Zendaya) story and creator Sam Levinson confirmed that the third season was also the end of the series. Euphoria and Netflix’s similar Elite both turn teenage life into heightened adult drama, using sex, drugs, violence, class tension, and beautiful young casts to make school feel dangerous. The difference, however, is scale and structure.

Elite operated like an expanding soap thriller and rotated students through murder mysteries, scandals, and new class conflicts across multiple seasons. Euphoria stayed more contained around Rue, Jules, Cassie, Nate, Maddy, and their immediate circle, spending far more time inside addiction, shame, desire, and self-destruction. That tighter focus helped it become something larger than a teen series. Its makeup, fashion, soundtrack, cinematography, and awards attention turned the show into a cultural launchpad that elevated Zendaya, Sydney Sweeney, Jacob Elordi, Hunter Schafer, and Angus Cloud into global stars.

HBO describes Euphoria: A Look Back as a collection of interviews and behind-the-scenes footage from “the show that captured a generation.” And its release two months after the ending makes it an epilogue to the production itself.

Euphoria: A Look Back arrives on July 24 on HBO Max. Stay tuned to Collider for more updates.

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Release Date

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2019 – 2026-00-00

Network

HBO

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Showrunner

Sam Levinson

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Directors

Jennifer Morrison, Augustine Frizzell

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Geri Halliwell (Ginger Spice), Victoria Beckham (Posh Spice), Mel B (Scary Spice), Melanie Chisholm (Sporty Spice) and Emma Bunton (Baby Spice) formed the Spice Girls in 1994 and went on to become one of the most beloved music groups of all time.

The band was originally called Touch, but they later changed their name to Spice after cowriting a song titled “Sugar and Spice.” However, they once again altered the name to the one that eventually stuck, Spice Girls, after discovering that another artist already used the moniker Spice.

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The British girl group released their debut single, “Wannabe,” in July 1996. As their popularity skyrocketed, their first album, Spice, followed in November of that year. The Spice Girls — who adopted their nicknames from Top of the Pops magazine — went on to drop a slew of hits, including “Spice Up Your Life,” “Who Do You Think You Are” and “Stop.”

Halliwell announced her intentions to leave the band in May 1998. As the members of the group pursued solo careers and their personal lives flourished, the Spice Girls took an indefinite hiatus in December 2000. Seven years later, all five of the women revealed their plans to reunite for a worldwide tour. They gathered again in August 2012 to perform a medley of their greatest hits at the closing ceremony of the 2012 Summer Olympics in London.

Scroll through the gallery below to see what Scary, Sporty, Posh, Baby and Ginger Spice are up to today:

The 21st century has seen a great many trends in entertainment emerge. Chief among them has been the rise of television drama, which has cemented its place as one of the most prestigious forms of entertainment through a litany of iconic and acclaimed titles. With the ascent of the medium, and especially with the onset of streaming services over the course of the past decade, the first quarter of the 21st century has become the golden era of the limited series format.

Featuring everything from absorbing war epics to gripping true crime tension, meditative post-apocalyptic sci-fi, poignant romantic drama, and even milestones of modern horror, these miniseries stand as the best audiences have been treated to in the past 26 years. They display not only the storytelling prowess of the small-screen format, but the experimental dare, variety, and cultural impact it wields as well.

10

‘Normal People’ (2020)

Image via Hulu

Boasting two star-making performances from Paul Mescal and Daisy Edgar-Jones, Normal People is a devastating and radically honest portrayal of the messiness and might of first love. It follows the relationship that blossoms between an affluent and outspoken girl struggling to find social acceptance and her classmate, a popular high-achiever who battles anxiety in secret. Their secretive romance in the final days of secondary school grows more serious when they attend university together, but complications soon arise as they each discover their life goals will tear them apart.

Anchored in the palpable chemistry of the two stars, the series brilliantly juxtaposes the passion and power of young love against the callous reality of growing up. It’s raw and relatable, handling issues of youthful miscommunication, class disparity, and the toll of mental health struggles with an empathy that makes it both quietly captivating and ceaselessly outstanding. Written, directed, and performed with utter perfection, Normal People is a profoundly moving romantic drama that honors Sally Rooney’s novel to present what is perhaps the best romantic miniseries of all time.

9

‘The Haunting of Hill House’ (2018)

Image via Netflix

The 2010s marked an era of resurgent brilliance for horror, with the genre revival being spearheaded by experimental and thematically bold stories that have become instant icons of cinema. It is no surprise that television was also a beneficiary of horror’s return to form, with Netflix’s 10-part miniseries The Haunting of Hill House a stand-out achievement of small-screen terror owing to its piercing exploration of family dynamics and lingering trauma, Mike Flanagan’s astute direction, and its cerebral spin on the concept of ghosts.

Through a non-linear approach, it depicts two stories 26 years apart. In 1992, the Craine family moved into the dilapidated Hill House to renovate the mansion, only for the five young children to feel a subdued but growing paranormal threat. Years later, the surviving members of the Crain family reunite when tragedy befalls them and forces them to confront the dormant terrors that reside in Hill House. Ferociously frightful, arresting with its dramatic heft, and loaded with resonant thematic ideas, The Haunting of Hill House stands tall among the greatest horror stories the small screen has ever seen.

8

‘Over the Garden Wall’ (2014)

Image via Cartoon Network

A largely forgotten gem of animation that premiered on Cartoon Network, Over the Garden Wall flaunts a mature mixture of youthful adventure, dark fantasy, and dramatic honesty as it follows two half-brothers who get lost in a mysterious forest. While they befriend several inhabitants of the magical woodland, they also find themselves being pried apart by their own natures, as the worrisome Wirt (Elijah Wood) is enveloped by his own thoughts and anxieties while Greg (Collin Dean) becomes enamored with the wondrous world around him.

Confined to just 10 11-minute episodes, Over the Garden Wall wastes no time with its presentation. It enthralls viewers with a dazzling and atmospheric vision of autumnal tenderness, complete with rustling leaves, warm, earthy colors, and a cozy sense of natural vibrancy. This wholesome allure is somewhat in contrast to the miniseries’ eerie sense of lingering dread, one perpetuated by its unnerving folk-horror score that imbues each episode with a sense of surreal melancholy and unnerving eccentricity. However, grounded by the sweetness of the character dynamics, Over the Garden Wall excels as a transfixing high-concept fantasy that is quaint, cute, and completely absorbing from beginning to end.

7

‘Station Eleven’ (2021)

Image via HBO Max

A criminally underrated production from HBO, Station Eleven’s post-apocalyptic tone was perhaps not what audiences were looking for in the midst of the COVID-19 pandemic of the early 2020s, but it is a shame that the masterful ten-part miniseries hasn’t been rediscovered in hindsight. Based on Emily St. John Mandel’s novel, it transpires 20 years after a deadly flu virus decimates humanity as a group of traveling actors roams between settlements to perform for survivors.

While it isn’t oblivious to the dark depravity of the human condition, Station Eleven largely flips the script on post-apocalyptic dystopia as it presents a hopeful and touching meditation on the endurance of community and the impact of art. Even in its flashbacks to the chaos amid the outbreak of the virus, it presents a profound puzzle of human connection and memory that is mature and wise while still being optimistic. Buoyed by a sublime ensemble cast, striking apocalyptic visuals, and its unique storytelling approach, Station Eleven is a mesmerizing miniseries that deserves to be enjoyed by the masses.

6

‘We Own This City’ (2022)

Image via HBO

Another underappreciated gem produced by HBO, We Own This City excels as a true crime drama that, while unrelenting with its fast pacing and non-linear complexity, stands as a timely deconstruction of police corruption, institutional inertia, and the devastating societal ramifications of America’s War on Drugs. Co-created by David Simon, who was also a co-creator on The Wire, and based on Justin Fenton’s nonfiction book, the six-part series covers the reign of the Baltimore Police Department’s Gun Trace Task Force, an elite unit granted impunity who use their authority to profiteer from street crime.

Framed as an FBI investigation into the squad’s corrupt and unlawful practices, We Own This City jumps between different points over a 15-year stretch to explore how Sgt. Wayne Jenkins (Jon Bernthal) came to be in control of the GTTF, and the unit avoided repercussions for their actions for so long. Beneath its winding narrative complexity, We Own This City soars as an urgent dissection of systemic issues in the police force that allow corruption to go unpunished, cultural misunderstandings of how the institution can go about investigating such criminality within the force, and the ripple effect that police brutality has on communities and adjacent social systems.

5

‘The Queen’s Gambit’ (2020)

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The cultural spearhead of Netflix’s forays into limited series drama, The Queen’s Gambit gained instant recognition on account of its masterful storytelling, breathtaking performances, stunning period production value, and thematic exploration of such issues as addiction, trauma, and personal growth. Anya Taylor-Joy is outstanding as Beth Harmon, a rising chess prodigy in the mid-20th century whose commitment to become the greatest player in the world is hindered by her spiraling drug habit, obsessive nature, and the social pressures and hostilities she faces in a male-dominated environment.

Written and directed by Scott Frank, and based on Walter Tevis’s novel, The Queen’s Gambit delivers seven episodes of absorbing drama. It’s meticulous in its narrative design, ensuring every essential beat is given enough time to develop without ever running at a languid, dragging pace. Winning widespread critical acclaim while also becoming one of Netflix’s best-performing miniseries of all time, The Queen’s Gambit is a true icon of modern storytelling.

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‘Unbelievable’ (2019)

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A masterclass in emotionally evocative drama, Unbelievable uses a grueling true-story basis to inspire contempt for America’s legal system and how it treats victims of sexual assault, while also exploring the complex path to overcoming trauma. When teenager Marie Adler (Kaitlyn Dever) reports being raped, only to be advised by police to recant her story, she then finds herself facing charges for falsifying a police report. As she is subjected to a callous legal procedure, two detectives from Colorado begin investigating an at-large serial rapist in a case that could prove Adler’s initial report to be true.

Commended for its sensitivity, nuance, thematic depth, and the astonishing power of the performances, Unbelievable earned widespread critical acclaim. It boldly balances the visceral anger the story inspires against the undercurrent of hope and humanity that is propelled in the exploration of Marie’s recovery. Its eight-episode arc stands as one of the timeliest and culturally important series of the 21st century thus far, even if it isn’t the most comfortable viewing experience.

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‘When They See Us’ (2019)

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Another stunning Netflix miniseries from 2019 that finds a sense of gripping wrath in its basis on real-life injustice, When They See Us delivers another scorching indictment on the institutional failures of the judicial system as it explores the case of the Central Park Five. It begins in 1989 when five Black and Latino youths from Harlem are arrested and charged with the assault and rape of a jogger in Central Park. Despite maintaining their innocence, the five men are sentenced to prison, where they spend years fighting their convictions, hoping to one day be exonerated.

Directed and created by Ava DuVernay, When They See Us captures a sense of cultural ire through its story of false imprisonment, one that is loaded with thematic ideas of racial profiling, systemic prejudice, and socioeconomic hardship. However, it aspires to be more than merely a rage-inducing coverage of true events, with the attention it gives to the family members of the detained men imbuing the miniseries with a meditative heart focused on the human toll of injustice. Its four-episode run marks the greatest limited series Netflix has ever produced.

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‘Chernobyl’ (2019)

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Standing tall among HBO’s finest ever productions, Chernobyl is a scintillating yet shocking exploration of the Chernobyl nuclear power plant disaster of 1986. Across its breathtaking five-episode run, it looks into the immediate trauma of the reactor meltdown, the extensive operation that is assembled to minimize the radioactive fallout, and the political ramifications that befall the Soviet Union when its duplicity, subterfuge, and false reporting of the incident are exposed on the world stage.

Grounded by its exceptional performances and utterly faultless production design, Chernobyl delivers a harrowing descent into the middle of the catastrophe, one that heightens the omnipresent dread of radioactive exposure to be a source of constant tension throughout the series. Striking a perfect balance between honoring the heroism of those who sacrificed their lives to contain the fallout, addressing the convoluted web of bureaucracy that exacerbated the disaster, and delivering a piercing message on the cost of political corruption, Chernobyl is the best miniseries audiences have seen for many years.

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‘Band of Brothers’ (2001)

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Not only the greatest miniseries of the 21st century, but arguably the finest achievement in the history of television, Band of Brothers thrives off the back of Steven Spielberg and Tom Hanks’s creative input to deliver what is one of the best and most captivating examinations of WWII. Anchored by the stories of real soldiers whose experiences are depicted, it follows the men of Easy Company from their training regime and their drop into Normandy on the eve of D-Day, through their campaign on the front lines of several major battles in the European Theater, and culminating with their uneasy presence in Germany at the end of the war.

A feat of filmmaking that was unprecedented for the small screen at the time, Band of Brothers engrosses viewers in the scale and chaos of combat. However, while it does excel as a stunning portrayal of the full breadth of the Second World War, it still finds its dramatic pulse in character-driven emotional stakes, namely the sense of camaraderie and connection that develops between the troops and the psychological horrors they are exposed to throughout their service. It is the greatest depiction of WWII America has ever produced in any format, a masterpiece that serves as both a cautionary tale of the devastating impact of war and a touching tribute to those who served.

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Band of Brothers

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Release Date

2001 – 2001

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Network

HBO

Directors

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David Frankel, David Nutter, Mikael Salomon, Phil Alden Robinson, Richard Loncraine, Tom Hanks

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The WNBA has taken action after Toronto Tempo head coach Sandy Brondello’s comments about Angel Reese during a heated matchup sparked backlash online. Brondello has been suspended for one game without pay following the remark, with the league emphasizing the importance of professionalism and respect among coaches and team personnel.

RELATED: Whew! Toronto Tempo Coach Apologizes After Angel Reese Reacts To Her Calling Her A “Protected Species”

Sandy Brondello Faces Suspension After Viral Remark

According to ESPN, Sandy Brondello will serve her suspension on Monday when the Toronto Tempo face the Las Vegas Aces. The WNBA released a statement saying, “The WNBA expects all coaches and team personnel to uphold the highest standards of professionalism and respect that are fundamental to our league.”

The suspension comes after Brondello took to social media on Saturday, July 18, to apologize to Angel Reese after she was heard referring to her as a “protected species” during the Tempo’s game against the Atlanta Dream on Friday, July 17. The comment came as Brondello argued with officials over a play involving Reese and Toronto’s Nyara Sabally.

Angel Reese Responds To Brondello’s Apology

Angel Reese has since acknowledged Sandy Brondello’s apology following the controversial comment that resulted in the Toronto Tempo coach’s one-game suspension. Reese thanked Brondello for addressing the situation while also showing appreciation for the support she received, saying, “First, I appreciate Sandy’s apology, but I also appreciate the love and support that I’ve had for the last 48 hours.”

Reese added that the response was “very overwhelming” but said she was grateful the WNBA took action, emphasizing, “There is no place for discrimination or hate in this league from anyone — from fans to coaches to players.” She shared that she hopes everyone can now move forward, refocus on basketball, and continue pushing the WNBA in a positive direction.

Fans Are Split Over The Viral Exchange

Folks quickly made their way to TSR’s Instagram comment section to share their thoughts on the situation. Some commenters felt Brondello’s words were intentional and believed she meant what she said, while others argued the moment was taken out of context and shouldn’t have received the level of backlash it did. Meanwhile, the debate continued as fans weighed in on both sides of the controversy.

One Instagram user @browngirlz74 said, “If the roles were reversed the outcome would be different.”

This Instagram user @thetruebigkev commented, “I honestly don’t think that was racial…🤷🏾‍♂️”

And, Instagram user @chanrielle added, “She meant what she said”

Meanwhile, Instagram user @emmanyra claimed, “One game?????😮😮😮”

While Instagram user @iknowwhereiwanttoeat shared, “And what’s a day gone teach her .. 😂”

Lastly, Instagram user @shauni3boo wrote, “Idk I don’t feel it’s not that deep. Angel Reese is a rarity so wouldn’t she be a protected species.”

How The Controversy Between Reese And Brondello Unfolded

During the game, Sabally was reportedly defending Reese as she drove toward the basket and made contact with her. Brondello appeared to call for a foul and was heard saying, “Angel, she’s a protected species. Oh, come on. You can agree. It’s (expletive),” while speaking to officials. The play was reviewed and ruled a foul, though officials reportedly declined to upgrade it to a hostile act.

After the reaction online, Brondello apologized directly to Reese, saying she used a phrase she “shouldn’t have…” and that her frustration was directed toward officiating, not Reese. She also acknowledged that her words carried an impact beyond the moment, particularly for Black women in the league. She also apologized to Reese, her teammates, and the Atlanta Dream organization. Reese later addressed the situation on X, reposting a message that read, “Calling a Black woman a species…” before adding, “ARE WE SURPRISED?! @SBrondello 🤡” in response to the controversy.

RELATED: Internet Users Are Droppin’ Mixed Reactions To Angel Reese’s Recent ‘Fit Check (PHOTOS)

Whew, Roomies! Larenz Tate just turned up the heat on the timeline after dropping a fresh batch of selfies on social media, and the ladies are losing it. Fans wasted no time reminding everybody that he’s BEEN fine, while others crowned his wife, “one lucky lady!” 

RELATED: Doin’ Too Much? Larenz Tate & Nia Long’s Recent Link-Up Has The Internet Calling His Wife A “Strong Woman” (WATCH) 

Larenz Tate’s NEW Selfies Have The Timeline In Full Heart-Eyes Mode

Recently, Larenz Tate hopped on Instagram and dropped a fresh set of selfies, telling his followers he was just “minding his biz.” Well, that caption had the ladies cutting up, flooding his comment section — and probably his DMs too — letting him know they were trying to mind his business right along with him. Heart-eye emojis and fire emojis took over as plenty of women reminded everybody he’s BEEN fine, while others joked that he’s aging backwards. Swipe below to peep Larenz’s new flicks.

The Ladies Say Larenz Is Aging Like Fine Wine

Once The Shade Room reposted Larenz Tate’s photos, the comment section lit up. Plenty of ladies said they thought the pics were actually throwbacks at first, while others made it clear that it’s always going to Larenz for them.

Instagram user @meekieeee_ wrote, “Councilman Tate 😍😍😍😍” 

Instagram user @dr.healedhealer_ wrote, “He doesn’t age. So handsome 😍😍” 

While Instagram user @attractivebeing wrote, “I can feel his calm and pure energy, through the photos and his caption and that same beautiful aura, is a big part of his appeal 🩶” 

Then Instagram user @dainkgoddess___ wrote, “He been fine his whole life 😍 GOD took his time creating his parents and they took their time creating him cus Sheesh 🔥🔥🔥🔥 it’s good to see people looking healthy.” 

Another Instagram user @queenasiaimani wrote, “Damn I thought this might’ve been a throwback. Man been fine all his life 😍” 

Instagram user @wanderlust_adp34 wrote, “😍😍😍😍 Mr Tate!!” 

Then another Instagram user @thatgirlmekk_ wrote, “I been in love with you since I was 15 I’m grown now baby call my phone.” 

While another Instagram user @shessosher wrote, “He has not aged 😍😍. Still soo handsome. That man is married, respect to his Wife !!” 

Finally, Instagram user @aria3echo wrote, “It has always been Larenz… It will always be Larenz 🔥” 

Michael B. Jordan Also Had The TL Saying “Hol’ Up!”

Larenz Tate isn’t the only celebrity that had the timeline in a chokehold recently. Michael B. Jordan also had the girlies doing a double take when he popped out for Jay-Z’s Yankee Stadium concert on July 12. Michael B. switched up his usual sharp suit looks for a more laid-back fit, rocking a Knicks championship T-shirt, brown shorts, and black Converse sneakers. His casual look had the ladies saying, “Wayment, he looks different outside of his work clothes.” Peep the photos below.

RELATED: Whew! Michael B. Jordan Steps Out In “Regular Clothes” & The Ladies Are LOSING It: “B Stands For Blow My Back Out” 

By Chris Snellgrove
| Published 16 seconds ago

When James Gunn’s DCU began with a Superman movie, many superhero fans had the same question: when are we going to see a team-up with Batman? Unfortunately, an onscreen collaboration between the World’s Finest seems increasingly farther away. Nobody has been officially cast as the DCU’s Batman, and his first movie doesn’t have a premiere date yet. Weirdly enough, that hasn’t kept Warner Bros. from greenlighting numerous projects focused on the Caped Crusader’s foes, including Clayface (releasing October 23) and a Deathstroke/Bane team-up film. Now, it seems like our odds of seeing Batman in the DCU have gotten worse with the surprise delay of a completely separate project.

Separate from James Gunn’s cinematic universe, Matt Reeves has continued working on the sequel to his 2022 hit film The Batman. The sequel was previously scheduled to be released on October 1, 2027, and fans were counting down the days until they’d see Robert Pattinson kicking butt and taking names once more. Unfortunately, the countdown just got longer: The Batman II has been officially delayed to February 18, 2028. This is actually the second delay for the movie, and one that may effectively endanger the DCU by forcing two different Dark Knights to compete against each other.

Dancing With The Delay In The Pale Moonlight

Fans of Matt Reeves’ The Batman are getting all too used to the sequel getting pushed back. Originally, the movie had a release date of October 2, 2026, but the studio delayed it until October 1, 2027, to give Reeves more time for postproduction. Now, it has been delayed until February 18, 2028, which gives the director even more time to polish the sequel. Nonetheless, the repeated delays have concerned some fans who worry that the film is a Supergirl-style stinker Reeves is trying to fix in post. Others worry that even if the film is great, making us wait over half a decade between sequels will kill any momentum the movie could have had.

DC Studios co-CEO James Gunn disagrees, of course. On Threads, he mentioned how several sequels achieved critical and commercial success despite a long wait between films. “7 years between Alien and Aliens. 14 years between Incredibles. 7 years between the first two Terminators. 13 years between Avatars. 36 years between Top Guns. And, of course, six years between Guardians Vol 2 and Vol 3.” While he has a point, it’s worth noting that several of his examples (including Aliens, Terminator 2, and The Incredibles 2) succeeded back before audiences were collectively hooked on the never-ending stream of new content from platforms like TikTok.

Will Audiences Respond To The Next Bat-Signal?

In other words, a huge wait between The Batman and The Batman II might be a turn-off for younger audiences more attuned to movies like Obsession and Backrooms, both of which were created by filmmakers who first achieved success on YouTube. The real elephant in the room, though, is that delaying Matt Reeves’ latest film may end up hurting the eventual Batman DCU film. Rumors have been swirling that Warner Bros. is trying to find the right actor for the role, and the failure of Supergirl may encourage the studio to focus on a new Dark Knight movie sooner rather than focusing on another relatively minor character.

If that happens, the DCU Dark Knight movie (Batman: The Brave and the Bold) could come out very soon after The Batman II; possibly less than a year later. Should this occur, one or both of the films are likely to suffer at the box office. For example, if mainstream audiences know that The Brave and the Bold is coming, they may avoid The Batman II, like audiences avoided Blue Beetle and The Flash when they knew the DCEU was coming to an end. Conversely, if Reeves’ sequel is really great, The Brave and the Bold may suffer from comparison, with fans wondering why the latest DCU film can’t be as good as what came before.

Batman is my absolutely favorite superhero, so I’d love to be wrong about this. In my perfect world, The Batman II will be even better than the original, and Batman: The Brave and the Bold will be the best film in the DCU. But the failure of Supergirl (which had very little to compete with) has underscored how fickle audiences can be when it comes to superhero cinema. Delaying The Batman II for over half a decade may very well sink that movie’s chances at the box office even as it sabotages the next film featuring the Caped Crusader. Forget the Joker: as it turns out, Batman’s greatest enemy may be studio interference!