Entertainment
Quincy Tyler Bernstein Confirms Which ‘Furious’ Character Nora Is Ready To Take Down in Season 2
Editor’s note: The below interview contains spoilers for the Furious finale.
It may seem strange to point out that Hulu’s Furious actually has a comedic side, but those moments of levity and dry wit are often the balm viewers need to get through the more harrowing aspects of creator Liz Meriwether‘s crime thriller. In that regard, perhaps the deadpan, wearied FBI agent Nora Washington, played by Quincy Tyler Bernstine, was always destined to become a fan favorite character.
Amidst the major revelations that lead investigators to billionaire Jay Easton’s (Peter McRobbie) home, resulting in a standoff that results in fledgling serial killer Catherine Grace (Lola Petticrew) finally being apprehended and FBI agent Alice Black (Emmy Rossum) having a secretive hand in Easton’s demise, the agency now has its hands on a flash drive containing videos of many victims, Alice included, which Nora ultimately encourages her coworker to dig into when she’s finally ready. It’s unclear, based on Alice’s reaction, exactly what will be done with the drive and its contents, but as Nora bluntly asserts to her corrupt boss, ASAC Ed George (Danny McCarthy), it doesn’t bode well for anyone who may have been even tangentially caught up in Easton’s web of trafficking and abuse.
Ahead of the finale’s airing, Collider spoke with Bernstine about her road to joining the cast of Furious, the complicated twists and turns of Nora and Alice’s relationship, how she prepared to play someone who has to look into the darkest parts of humanity regularly, what’s on her personal wishlist to explore for Nora in Season 2, and more.
COLLIDER: What was your journey to becoming a part of Furious?
QUINCY TYLER BERNSTINE: It was last July. I was sitting on my couch in my living room watching Dying for Sex and thinking, “What an extraordinary, tough show, and wouldn’t it be amazing if I could work with Liz Meriwether someday?” I got through Episode 4, I checked my email, and I had an email from my agent asking if I’d like to Zoom with Liz, who had this adaptation of the film Black Widow, and would I like to participate? Or at least meet with her. And I said, “Of course, of course, of course!” I read the sides, was blown away; read the pilot, was blown away; saw that Emmy [Rossum] was attached, and the rest is history. I had a Zoom, I had a chemistry read, and here we are today.
Nora feels like such a distinct character. I’m sure that she popped off the page for you, but in preparing to best embody her, was there a specific scene or line of dialogue that best helped you find her voice?
BERNSTINE: I was given that first hospital scene with Nora and Alice, when Nora is telling the story of Medusa. I was given the scene when they’re in the car, waiting for Tina to come out, and Nora is singing K-Ci & JoJo, and I was given the scene where they first meet, where Alice is like, “I want to work with you,” and Nora’s like, “Put it in an email.”
But the two moments that kind of captured Nora for me were the Medusa story and the singing of K-Ci & JoJo. They were just such extreme things, and I just saw who she was in those extremes. And like you said, she jumped off the page. I saw who she was immediately and was like, “I have to sink my teeth into this somehow and get this part.”
Quincy Tyler Bernstine Had To Prepare To Face the Darkness as Nora on ‘Furious’
“I always try to just take the best care of myself that I can so that I, Quincy, am as healthy as I can be to do this kind of work.”
Nora’s very multifaceted, but she’s also someone who has to stare into the horrors that humanity is capable of on a day-to-day basis. Did you do anything special to prepare yourself to play a character who is having to deal with that darkness as part of her profession?
BERNSTINE: I can’t say that I did anything special. I always try to just take the best care of myself that I can so that I, Quincy, am as healthy as I can be to do this kind of work. I had the opportunity to speak with several people who do this actual work for a living, and just them talking about the horrors of what they have to see on a day-to-day basis. My main question to them was, “How do you get through this day every day?” And they all, to a one, talked about how they took care of themselves physically and mentally and how important family was and how important, sometimes, religion was.
It’s so sad because Nora doesn’t have those tools, but I, Quincy, wanted to make sure that I exercised and put good food in my body and just was the healthiest vessel that I could be in order for her to come out, if that makes sense.
Like you said, Nora doesn’t really have a lot of personal or professional connections. It really feels like it’s not until Alice comes in as this sort of bridge between the FBI and the NYPD that these two women forge this unlikely camaraderie. One of my favorite sequences is Episode 4, where the two of them are working the city late at night, and then it spills over into the early morning, and they’re still walking around and talking.
BERNSTINE: Exactly. That shot along the water was dusk, so we had a very limited time. It’s supposed to be early morning, but it was dusk, and so the sun kept setting, so we had to kind of do it quickly. I remember there was that element of pressure to it.
That’s one of my favorite scenes, and the scene leading up to that when we were in the car, because there is a real, like you say, camaraderie, a real sisterhood that develops over the course of those first four episodes that I love so much. I love that Alice is determined to get under Nora’s wing, and Nora reluctantly lifts her wing up and takes her in. It’s just really, really moving to me.
Simultaneously, there is the reveal that Nora was previously involved in closing Isabel’s case, but, as much as you would think that the show would use it as an obstacle in her partnership with Alice, it also speaks to the broader systemic issue and how these women so often find themselves stuck between a rock and a hard place. What did you like about how that subversion where Nora and Alice’s relationship almost takes on a new dimension, as opposed to just having them be at odds for the rest of the season?
BERNSTINE: What I love, and what Liz is so brilliant at, is you think it’s going one way, and it goes another. Every other moment, you’re surprised. As I was reading these scripts week after week, I didn’t know where it was going, and so I was sort of on the edge of my seat, as I think audiences have been on this journey, as well, wondering where these relationships are going to go.
Nothing is precious, and that’s what makes, I think, for such great television. And also sort of watching along with people and getting texts like, “I loved Nora, but now I don’t know.” We’re just constantly questioning, and it’s been fun to experience it in that way.
One moment that really stands out to me as almost a way to sum up the emotions that Nora’s dealing with — or maybe not dealing with — is the monologue that you have about different types of anger in Episode 4. How did you prepare to deliver that speech, and what did you want to come across about how Nora is using it, not just as a way to wax philosophical, but also to send a message to Ed?
BERNSTINE: I absolutely loved that scene. From the moment I read it, I was blown away, and I couldn’t wait to work on it. I’m not going to blame Ed entirely, but he is largely responsible, I believe, for Nora’s drinking situation. She reached out to him years ago and asked for help and was denied help. Nora didn’t come into this job as a drinker. As we were talking about, it’s being in the basement and carrying around all of these weights.
So, this anger has been brewing inside her for a long time, and not just anger about her situation — anger about this system that she’s been trying to work within, trying to get justice for these women, oftentimes in vain. That’s infuriating, to say the very least, and so that’s what I wanted to come across. It’s like there’s a lid on it, but it boils over, and eventually the lid is gonna pop off.
Quincy Tyler Bernstine Explains Why Nora Encourages Alice To Look at ‘Furious’ Sinister Flash Drive
“You do it on your own time, but if you want to get anywhere, if you want to do this work, if you want to save these girls, you have to start with yourself.”
I’m realizing now, in doing these interviews, I’ve unexpectedly followed the path of the flash drive. First, I spoke with Steve [Way], and then Scoot [McNairy], and I asked both of them about their characters’ roles in making sure that the drive gets into the hands of the right people, but in the finale, Nora encourages Alice to look at what’s on it. What was your read of that scene, and why do you think Nora ultimately does encourage Alice to face what’s on the drive?
BERNSTINE: I think it’s really in the line. You want to do this job, you face it. I feel like it’s about facing your demons, facing the monsters. We’re looking at a whole lot of darkness, and it kind of starts with self. You know what I mean?
I feel like it made perfect sense that Nora would encourage her, almost demand. “You do it on your own time, but if you want to get anywhere, if you want to do this work, if you want to save these girls, you have to start with yourself.” And the fact that Alice finally gets that code and the first thing that she is seeing is the mirror is herself is chilling to me.
There’s some catharsis in the finale because of what happens with Jay Easton, but there are still reminders of how widespread and pervasive this is. There are people in positions of power who worked to cover this up. Yet, in Nora’s final scene with Ed in the elevator, it almost feels like there’s a power shift, with the leverage that Nora now holds. How did you prepare for that moment?
BERNSTINE: The entire season, I was like, “Liz, are we going to get Ed? Are we going to get Ed?” And Liz was like, “We’re going to get him. We’re going to get him.” I didn’t know how. I didn’t know what it looked like. We’re coming off of Episode 6 where Nora is at the top. She’s triumphant — until she is not.
One of my objectives is to get Ed, because “the bane of her existence” is like an understatement. But he needs to go. And so I was so delighted that she finally gets that flash drive, and I feel like that’s the key. I do believe that she is going to get him. We end with that scene, and I’m like, “Okay.” Because she has all the cards now. There’s a desperation that we see coming from him. I really believe that we’re going to get him finally.
Quincy Tyler Bernstine Reveals Her Personal Wishlist for ‘Furious’ Season 2
“I’m actually very curious about her history…”
What’s on your bucket list, in addition to nailing Ed, for where Nora’s story could go in Season 2 and what you would like to have the chance to explore more with the character?
BERNSTINE: I’m actually very curious about her history, like where she has come from, how she got to C20. I don’t know what it looks like, but I would be curious to see what picture Liz and the other writers might paint, as far as that goes.
What do you think Nora’s reaction would be if she knew about Alice’s hand in what happened to Jay Easton?
BERNSTINE: Oh, wow! That’s a hard question. I don’t know. Maybe a little bit of a smile. You know how Alice had that little bit of a smile at the end? Maybe there’d be a little upturn of the mouth. Who knows? Alice is very, very good at her job. That’s all I’ll say.
All episodes of Furious Season 1 are now available to stream on Hulu.
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Dancing With the Stars: The Next Pro contestant AJ Pritchard’s fiancée, Zara Zoffany, is clearing the air after her recent criticism of DWTS pro Rylee Arnold.
In a Monday, August 31, TikTok video, Zara, 32, apologized to Rylee, 21, over comments she previously shared on social media about the semifinal episode of DWTS: The Next Pro. Rylee made a guest appearance on the episode, dancing with AJ, 31, and later fed back to the judges that she felt AJ was too critical during their rehearsals.
After the episode aired, Zara claimed in a social media comment directed at Rylee that AJ “wouldn’t have had to critique you in the first place if everything had been right.” She also alleged that AJ suffered a concussion during rehearsals with Rylee. Rylee’s DWTS costar and friend, Ezra Sosa, fired back, defending the professional dancer, while DWTS: The Next Pro judge, Shirley Ballas, also came to Rylee’s defense.
In her video on Monday, Zara said that she has been frustrated about the “constant online videos” about AJ, “about his sexuality, about our relationship,” since The Next Pro began, calling the reaction to AJ from viewers overly “negative.”
Dancing With the Stars pro Rylee Arnold is grateful for the support of her community after facing backlash for her The Next Pro appearance. “I love you all so very much,” Rylee, 21, captioned TikTok footage of herself bedazzling makeup containers on Friday, August 27, alongside troupe dancer Carter Williams, who replied, “Us just bedazzling […]
“So when I got to the Riley edit, I was already up to here with how they’ve perceived him with the villain edit, with all the criticism, all the comments, all the TikToks,” she said.
“I just feel like there’s a fine line between criticism and confidence, and when you’re so confident in your craft and you know the textbook so well, you want it to be perfect,” Zara said in defense of AJ.
Zara said that Rylee has “earned” her spot on Dancing With the Stars, adding, “I just want to make it clear that I never said she wasn’t qualified. I think that stemmed from Ezra’s reply [to me] saying that she’s more than qualified … and I think that’s where those Chinese whispers were misconstrued.”
“So I just want to say, if you are watching this, Riley, from the bottom of my heart, I am truly sorry if I made you feel like a certain type of way. That was never my intention,” Zara said, addressing Rylee.
Dancing With the Stars veteran Val Chmerkovskiy is not impressed by what he’s seen so far of Dancing With the Stars: The Next Pro contestant AJ Pritchard. Chmerkovskiy, 40, criticized Pritchard, 31, on the Tuesday, July 21, episode of his “Stepping on Toes” podcast, cohosted by Danielle Fishel, while breaking down episode 2 of The […]
As for her earlier comment, Zara said, “I really don’t think that the message I wrote deserved this, and I feel like I don’t deserve this.”
Following the August 24 episode of The Next Pro, Zara took aim at Rylee’s criticism of AJ via an Instagram comment.
“[Rylee] — @aj11ace wouldn’t have had to critique you in the first place if everything had been right,” she wrote. “Dancing with Bailey [McKnight] last week showed how he danced with an amateur & their dance was amazing. This week was suppose [sic] to be dancing with a pro … very different dynamics & what people didn’t see in rehearsals was that you injured him when you hit him in the head, leaving with a slight concussion and needing to see a [doctor].”
Ezra, 25, responded, “I usually stay out of stuff like this, but this genuinely made me sick to my stomach. Rylee is my best friend, I love her and I will speak up for her. Rylee is more than qualified to be a pro, and one dance with a completely different partnership does not erase the years of training, talent and work that earned her that title.”
During Monday’s live The Next Pro finale, Adele Zaikman was victorious over AJ and Selena Hamilton. She is set to join the DWTS season 35 cast of pro dancers when the show returns on September 15.
Entertainment
Ralph Macchio’s New Crime Thriller Officially Brings Together 4 Fan-Favorite Stars [Exclusive]
Everyone’s favorite stars from their childhood are joining forces for a new movie, written and directed by Brando Benetton. Released by Samuel Goldwyn Films and set to release this September 4, The Girl in the River puts some of your favorite ’90s icons together to solve a murder mystery. Starring Ralph Macchio (The Karate Kid) and Casper star Devon Sawa, the movie is a dark change of pace for fans of the two legends. They’re joined by Lost star Maggie Grace and Emmy winner Tiffany Haddish; and today, Collider is thrilled to bring you an exclusive new sneak peek from the film.
Set in rural Mississippi, The Girl in the River puts Haddish, Macchio, Sawa, and Grace all in a race against the clock to try to save one twin sister and stop a murderer, all while struggling with their need to find answers while still following the rules put out before them. The film is described as follows: “A seasoned criminologist and a young female psychologist are lured to a remote American town to investigate the murder of a little girl and the disappearance of her twin sister as they crawl inside the killer’s mind in a race against time.”
The clip shows Haddish’s character standing before a room of citizens in a church. She talks about the word for losing a spouse (a widow), says there is a word for when you lose your parents (orphans), but then points out that there is no word for losing a child. As she’s talking, Macchio and Sawa are discussing the case and deciding who thought it was a good idea to hold this meeting of sort. It is clear from this scene that tensions are high as people try to figure out what happened to these girls.
Ralph Macchio in a Mystery Story Is Peak Nostalgia
Macchio is obviously known for his work in The Karate Kid franchise, including the Netflix series Cobra Kai. But outside of being Daniel LaRusso, Macchio is also beloved for his role in two classics: My Cousin Vinny and The Outsiders. Both movies had a mystery feel to them and have left a lasting impact on audiences. It makes The Girl In the River feel a little bit like a return to form for Macchio after spending so much time as Daniel. Seeing Daniel LaRusso and Casper the Friendly Ghost work together, though, is going to be a fun time for audiences.
You can see The Girl in the River in theaters on September 4.
- Release Date
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September 4, 2026
- Director
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Brando Benetton
- Writers
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Brando Benetton
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If you want your teeth to dazzle, you don’t need an expensive professional whitening treatment. Heck, you don’t even need at-home whitening strips. You can easily whiten your teeth every day with Opalescence’s new Fluoride-Free Toothpaste. Bonus: For a limited time, shoppers can take 15% off with code USWEEKLY15.*
Using a whitening toothpaste every day is an especially good idea if you regularly consume coffee and wine (guilty!). This gentle but effective formula from Opalescence (developed by dentists!) is stronger than your standard whitening toothpaste, thanks to 10.5% nano-hydroxyapatite, which is proven to whiten teeth without triggering sensitivity.
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Despite featuring 16 seasons and 366 episodes, fans are still completely obsessed with this fantasy masterpiece. Running from October 2004 to March 2012, this supernatural series follows a high school student gifted with the ability to see ghosts from birth. When his family is attacked by one such ghost, albeit a malevolent one, he becomes a Soul Reaper, dedicating his life to protecting the innocent and helping the tortured spirits themselves find peace.
Inspired by Tite Kubo’s renowned manga, Bleach is officially taking over Hulu 14 years after its final episode aired. As of this publication, the shōnen action anime ranks as the third most-watched series on the streamer in the U.S. as well as sixth overall for movie and TV shows. This may be unsurprising, given the recent release of the anime sequel’s final season, which naturally prompts fans to catch up or revisit iconic moments in the adventure series. Moreover, Bleach appears to be a trending title on TrueID in Thailand, as well as on Disney+ and Amazon Prime Video in international territories.
‘Bleach’ Officially Comes to an End This Year
Titled Bleach: Thousand-Year Blood War, the sequel series debuted its fourth and final season, The Calamity, on July 25, 2026, streaming exclusively on Hulu in the U.S. and Disney+ in select international markets. The first three episodes previously aired in U.S. theaters a month earlier, in both Japanese with English subtitles and an English dub. Furthermore, the Bleach sequel ranked among Japan’s most anticipated summer 2026 anime, taking second place behind the new reboot Ghost in the Shell and making it the most anticipated returning anime of the year.
Bleach: Thousand-Year Blood War Part 4: The Calamity, which consists of 10 episodes, picks up as the conflict between the Soul Reapers and the Quincies nears its end, according to the synopsis. The Royal Guard’s Squad Zero confronts Yhwach as he breaches the Royal Palace, destroying Squad Zero’s Bankai before entering the Reio Greater Palace. Ichibe Hyosube tasks Ichigo and his allies with protecting the Soul King, but Yhwach’s deception leads Ichigo to strike down the Soul King himself, triggering distortions across the Three Worlds. The Thirteen Court Guard Squads and surviving Quincies advance on the Royal Palace, now transformed into the Wahr Welt under Wandenreich control, setting up battles against the Royal Guard as Ichigo confronts Uryu’s true motives and the Almighty-empowered Yhwach.
Bleach streams on Hulu. Follow Collider for the latest streaming news.
- Release Date
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2004 – 2012-00-00
- Network
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TV Tokyo, TV Osaka, TV Aichi, TVh, TVQ, TSC, BS TV Tokyo
- Showrunner
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Tite Kubo
- Directors
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Mitsutaka Noshitani, Junya Koshida, Hodaka Kuramoto, Yasuto Nishikata, Hiroaki Nishimura, Kazunori Mizuno, Akira Shimizu, Rokou Ogiwara, Kazunobu Shimizu, Akane Inoue, Hikaru Murata, Tomoko Hiramuki, Kazuo Nogami, Taiji Kawanishi, Shigeki Hatakeyama, Eiko Nishi, Takushi Kimura, Koji Aritomi, Ogura Shirakawa, Kiyomu Fukuda, Yukio Okazaki, Mitsue Yamazaki, Yasuhiro Matsumura, Eitarou Ano
- Writers
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Masahiro Okubo, Masashi Sogo, Kenta Shimoyama, Genki Yoshimura, Kazuyuki Fudeyasu, Rika Nakase, Michiko Yokote, Natsuko Takahashi, Kento Shimoyama
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Masakazu Morita
Ichigo Kurosaki (voice)
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Fumiko Orikasa
Rukia Kuchiki
Between its work in the Marvel, Star Wars, and animated fields, Disney has already added billions to its box office total in 2026 with more on the way. After finding a $1 billion hit with Toy Story 5, Disney is expected to continue this trend later in the year with Avengers: Doomsday, the multiverse-shattering Marvel film starring Robert Downey Jr as Doctor Doom. Looking back to the end of 2025, Disney found tremendous box office success with Avatar: Fire and Ash, the third installment in James Cameron’s epic sci-fi saga set on the fictional moon of Pandora. One of Disney’s 2026 movies that perhaps didn’t return the desired results at the box office is the live-action Moana, but it does boast a strong 88% from audiences on Rotten Tomatoes, certifying it as a fan-favorite.
Moana sailed into theaters on July 10, and in traditional Disney fashion, the big screen has been the only way to watch the film for nearly two months now. This tactic helped Moana, which sees Dwayne Johnson reprise his role as Maui in live-action, score over $300 million at the box office, and now the film is preparing to enter a different stage of its life. Disney announced early this morning that the live-action Moana movie is officially hitting digital platforms like Prime Video and Apple TV on September 8. Furthermore, the film will be available on 4K Blu-ray Ultra HD, regular Blu-ray, and DVD around a month later, on October 6, along with a breathtaking 4K Steelbook. The official synopsis for Moana, which also stars the young breakout Catherine Laga’aia, reads as follows: “In Disney’s live-action reimagining of the beloved animated adventure, Moana (Catherine Lagaʻaia) answers the Ocean’s call and, for the first time, voyages beyond the reef of her island of Motunui with the infamous demigod Maui (Dwayne Johnson) on an unforgettable journey to restore prosperity to her people.”
When Is ‘Moana’ Coming to Disney Plus?
Disney has not yet announced when Moana will make the jump from digital platforms to its premier streaming platform, Disney Plus. It’s tough to pinpoint exactly when Disney plans to release the film on streaming, as there’s always variance in this timeline due to box office performance. Avatar: Fire and Ash didn’t hit Disney Plus until around six months after its theatrical release, but Disney has more incentive to leave the film in theaters for longer with its box office performance. Moana’s most likely window for a Disney Plus streaming release is late October at the earliest, but likely sometime in November or possibly even December.
Check out Moana on digital platforms later this week and stay tuned to Collider for more updates and coverage of the film’s physical media release coming on October 6.
- Release Date
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July 10, 2026
- Runtime
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120 Minutes
- Director
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Thomas Kail
For a bookworm, there’s nothing quite like a truly great book that gets great right as things kick off. Some of the greatest pieces of literature take a while to really get going, but throughout history, ten particular masterpieces have shown that it’s possible to offer a first ten pages that make it abundantly clear that what one is about to read is an absolute masterpiece.
Whether it’s a foundational classic like Jane Austen‘s Pride and Prejudice or a modern piece of speculative fiction like The Name of the Wind, these are the sorts of books that I knew for a fact would be masterpieces from the moment I hit page 10. Unsurprisingly, I wasn’t wrong. These should all be considered essential reading for anyone and everyone who loves genuinely great literature, novels that show just how close books can really come to perfection.
‘Pride and Prejudice’ (1813)
Jane Austen was one of the most important and massively influential authors in the history of English-language literature, a complete master of her craft credited with helping invent the modern realistic novel. She did that with timeless masterpieces of the caliber of Pride and Prejudice, perhaps the single most legendary romance novel in history. It completely redefined the romance genre and the “enemies to lovers” trope, serving as one of the most influential books in the history of the English language.
It’s one of those romance books that are perfect from the first page to the last, and you can tell just how great it’s going to be from just reading its opening 10 pages. What follows one of the most legendary opening lines in all of 19th-century literature is equally perfect in every way, full of masterful dialogue, biting satire, and perfect worldbuilding that makes it clear right off the bat that this is a reality that runs on reputation, not romantic love.
‘Beloved’ (1987)
Winner of the Pulitzer Prize for Fiction and generally regarded as one of the greatest and most important pieces of American fiction of the 20th century, Toni Morrison‘s Beloved is Southern Gothic literature at its very best. One of the best Gothic book masterpieces ever, it fundamentally reshaped how the legacy of slavery in the United States was discussed in literature going forward. Even aside from its Pulitzer victory, the novel’s cultural and artistic impact cannot be overstated.
In that same vein, Morrison is wise enough to not open with the first 10 pages that feel didactic or “educational” in the slightest. Instead of explaining slavery’s legacy after the American Civil War, this wonder of magical realism literature immediately immerses the reader in the physical, emotional, and psychological reality of slavery’s almost supernaturally haunting aftermath. Morrison’s prose in this opening flows like a deeply recollection of memories, and that’s why it packs such a punch.
‘The Secret History’ (1992)
Far more than just the greatest and most important campus novel in the genre’s history, Donna Tartt‘s The Secret History is perhaps one of the greatest books of the 1990s as a whole, a real page-turner from cover to cover. It almost single-handedly created the dark academia aesthetic, offering a completely different kind of detective story whose idiosyncratic uniqueness has allowed it to age like fine wine.
Incredibly well-paced and wonderfully written in every way, The Secret History shows off its creativity right off the bat by functioning as an inverted detective mystery. In the first 10 pages, you find out who was murdered. Though that would be a disastrous way to open any other kind of murder mystery, Tartt leverages the premise to shift the mystery from the question of who committed the murder to the question of why and how they committed it. Thanks to its first 10 pages, The Secret History feels less like a whodunnit and more like some kind of whydunnit.
‘The Name of the Wind’ (2007)
Even though Patrick Rothfuss has kept fans waiting a whopping 15 years by this point for the third installment in his exceptional Kingkiller Chronicle series, the first installment, The Name of the Wind, is undeniably one of the greatest fantasy novels of the last two decades. It’s one of those fantasy books you know will be a masterpiece from the first 10 pages, a riveting character study with some of the strongest world-building the genre has seen in years.
Rothfuss’ prose is beautifully poetic and rhythmic, and you get a feel for how it elevates the story of Kvothe right from the first few pages of the book. Rothfuss is concerned about establishing tone and atmosphere well before he even delves into exposition, allowing the first 10 pages of The Name of the Wind to quietly build toward the mystery of its fascinating protagonist. Rothfuss opens the book by spending a surprising amount of time describing silence, and there could be no better encapsulation of what makes this book so uniquely memorable.
‘The Hobbit’ (1937)
J. R. R. Tolkien‘s The Lord of the Rings is generally recognized as the greatest and most influential fantasy book of the entire 20th century, and for good reason. But all of history’s best book series gems have to start somewhere, and in the case of Tolkien’s Middle-earth, that was the children’s novel The Hobbit. One fateful day, Tolkien thought of the words “In a hole in the ground there lived a hobbit.” From that flash of inspiration came one of the most groundbreaking children’s books in history.
The Hobbit is one of those fantasy books whose every chapter is a masterpiece. The first 10 pages of “An Unexpected Party,” one of the most iconic opening chapters in the history of speculative fiction, are certainly no exception. Tolkien builds an instant sense of curiosity about the ins-and-outs of this enrapturing magical world while also perfectly establishing what makes hobbits like Bilbo Baggins tick. It’s charming, kid-friendly worldbuilding without any fluff or unnecessary lore dumps, the perfect way to kick off one of the most wonderful fantasy books ever written for younger readers.
‘The Stranger’ (1942)
At the age of 44 in 1957, French philosopher, writer, and political activist Albert Camus became the second-youngest recipient of the Nobel Prize in Literature in history. Some call him one of the most important existentialists ever, though he himself firmly rejected the label. The fact of the matter is that he wrote some incredible books and plays throughout his life, including the masterful The Stranger, which is one of the best novellas of all time.
One of the greatest, most irresistibly fascinating and gripping ways of opening a book that the world has ever seen.
“Mother died today. Or maybe yesterday, I don’t know.” One of the greatest, most irresistibly fascinating and gripping ways of opening a book that the world has ever seen. The novella’s first 10 pages instantly and perfectly establish the core philosophical concept that drove pretty much all of Camus’ work: the Absurd, the theory that the universe is irrational and meaningless by nature. We’re probably talking about some of the most stylistically bold and philosophically charged opening 10 pages in the history of literature.
‘The Picture of Dorian Gray’ (1890)
Seeing as he was one of the leading voices of the late Victorian era, saying that Oscar Wilde was one of the most important and influential authors of the 19th century would be an understatement. What’s his magnum opus? Most people would point to his best-known work, the only novel Wilde ever wrote: the Gothic masterpiece The Picture of Dorian Gray. It’s philosophical fiction at its most timeless and fascinating, and even though it was controversial upon release, it has only gotten better and more interesting with age.
Dorian Gray is one of the most perfect horror book masterpieces in history, even though it wouldn’t be until around the 1980s that it would start being pushed into the Gothic mainstream. For one, the book’s first ten pages include some of the most stunning use of language that English literature saw at any point during the Victorian era. The novel’s whole philosophical, thematic, and aesthetic framework is flawlessly established in just these first few pages, instantly captivating the reader with wit, high sensorial descriptiveness, deep character work, and masterful foreshadowing.
‘1984’ (1949)
By this point, George Orwell‘s 1984 and its cautionary messages against totalitarianism, mass surveillance, and the destruction of objective truth have become so well-known that it may be easy to forget just how important, timely, and eternally relevant that messaging is. Indeed, the only reason why 1984, one of the most intense books of all time, became so iconic in the first place is that it completely revolutionized dystopian literature.
The first 10 pages of 1984 instantly hook the reader with worldbuilding that doesn’t take any longer to feel irreparably oppressive and anxiety-inducing. Disorienting, immersive, creatively written, and incredibly potent in how they set the stakes sky-high early on, the first few pages of 1984 should be able to capture anyone’s attention. By the time you hit page 10, the world established by Orwell already feels remarkably well-rounded, and it’s hard to put the book down after that.
‘One Hundred Years of Solitude’ (1967)
Gabriel García Márquez‘s One Hundred Years of Solitude is arguably the most important and colossally influential piece of Spanish-language literature of the 20th century, a work whose mastery of magical realism elements has ensured that it remains one of the most timeless books the genre has ever seen. No matter where they’re from, what languages they speak, or what they typically like to read, everyone should consider this classic a must-read.
From reading One Hundred Years of Solitude‘s first pages, you can know beyond a shadow of a doubt that you’re in for one of the best magical realism books of all time. The 10 pages that follow one of the greatest opening lines ever written for any novel are all equally perfect, with prose that keeps expanding and a world that seems to keep growing more creatively elastic and powerfully surrealistic. It’s impossible to start One Hundred Years of Solitude and not want to finish reading it as soon as humanly possible.
‘Blood Meridian’ (1985)
Few American authors have ever been better or more important than Cormac McCarthy, who—among many other things—wrote one of the best Western books of all time. Indeed, the epic anti-Western Blood Meridian is nowadays widely regarded as McCarthy’s magnum opus, even though critical reception was lukewarm upon its publication. The debate on what The Great American Novel could be is a never-ending one, but many tend to propose that it’s probably Blood Meridian.
But setting those superlatives aside, there’s no denying that the book’s first 10 pages are about as close as literature can come to true flawlessness. We’re talking about an introductory 10 pages that feel quasi-Biblical, perfectly establishing the enrapturing tone and narrative philosophy. Before the plot actually kicks in, McCarthy encapsulates the trajectory of his protagonist’s life in a fascinating microcosm that makes it immediately clear that what we’re reading is one of the English language’s greatest classics.
Certain pieces of popular culture are credited with changing the creative model altogether, and The Twilight Zone is among the rare shows that have withstood the test of time. Recently, the iconic sci-fi anthology series has been climbing the charts on the Apple TV store, proving that even 67 years after its premiere and in the streaming age, the series still captivates audiences. The Twilight Zone was an anthology series of horror, supernatural, and science fiction stories that presented bizarre concepts of warped reality. Created and hosted by Rod Serling, the series is responsible for coining many phrases and plot mechanics that have been adopted by filmmakers ever since. Although there are a number of modern masterpieces that can either directly or spiritually be linked to the influence of The Twilight Zone, the original series remains a must-watch for anyone who considers themselves to be a television buff.
The Twilight Zone was an anthology series in the truest form, but it differed from the other television programming at the time of its debut in 1959. Although it was common for there to be anthology shows that collected works of theater, comedy, or literary adaptation that had already been depicted in some form or another, The Twilight Zone was startlingly original and responded to the issues that were relevant to the audience who was engaged. With its allusions to hatred, isolation, mob mentality, xenophobia, and capitalist corruption, The Twilight Zone provoked timely ideas that asked audiences to think about the world in different ways.
‘The Twilight Zone’ Was a Gateway to Imagination
The genius of The Twilight Zone is that the show presented concepts that were extraordinary, but only slightly removed from reality. One example is the Season 1 episode “The Monsters Are Due on Maple Street,” which imagines a power outage that affects a small community, causing panic among the occupants who fear an extraterrestrial invasion. The degree to which the power is disrupted and the suggestion of an alien attack might feel like science fiction, but the portrait that the episode paints of the closely-knit community of a small town, and how it could easily crumble as the result of tension, was startlingly realistic. One of the best aspects of The Twilight Zone is how it forces discussion and debate. There was a conversation to be had at the end of each episode’s airing about how viewers would have reacted if they were in the same situation, and which characters they felt were morally in the right. The series was unique for the sci-fi genre because it often highlighted normal people caught in extraordinary circumstances, and did not center on the sort of superficial heroes that appear in the space opera serials of the ‘30s and ‘40s.
The Twilight Zone had the benefit of an expansive mythology that includes many types of stories, and the show kept audiences on their toes because there was nothing expected about what would happen the next week. Although there were some instances in which Serling seemed to have a more optimistic view of humanity, there are a number of notable twist endings that went in a darker direction in order to prove a point. The supernatural was a constant presence, but The Twilight Zone also dealt with contemporary sore spots, with many of the best episodes exploring the fallout of casualties of a potential nuclear war, which was seen as a real possibility at the height of the Cold War. There was also a platform for individual writers, directors, and actors to get a showcase thanks to the show’s format, which essentially allowed the creators to have a tremendous amount of creative freedom on each episode because they were standalone.
‘The Twilight Zone’ Has a Lasting Cultural Influence
The Twilight Zone became a brand that inspired several offshoots, analysis, expanded universe material, and three separate revivals, none of which ended up surpassing the original show in terms of quality. The Twilight Zone was brought to the big screen in 1985 with an anthology film that consisted of four different chapters helmed by successful filmmakers; there are some compelling stories within the film, but they are unfortunately overshadowed by the tragedy that took place on set. Perhaps the most outstanding legacy of the show is the Twilight Zone Tower of Terror attraction that is stationed at the Disney parks; although the edition at the California location was taken down in 2017, two other rides exist in Florida and Paris.
The Twilight Zone has had a tremendous impact on cinema, as there are many famous films that cite Serling as an inspiration. Richard Kelly’s 2009 science fiction thriller The Box was an expansion of the 1986 episode “Button, Button,” and the Oscar-nominated sci-fi sports film Real Steel was based on the 1963 episode “Steel.” There’s also a number of films that present themselves in the style of a classic The Twilight Zone premise, including everything from The Sixth Sense and Us to this year’s The End of Oak Street. The Twilight Zone has always had something to say about human nature and problem-solving that doesn’t require any historical context; even if the show is now a period piece, its imagination remains timeless.
Silo Season 3 isn’t quite over yet, but Episode 9, “Farwell” crossed an important threshold for the series. The episode got the highest rating on IMDb in the series’ history, with a near-perfect 9.3 out of 10 score. That’s the best Silo has seen in years, surpassing the previous record of 9.0 for Season 1, Episode 10. It’s a great sign for the series ahead of the Season 3 finale and the final season coming next year. It’s also an indication that most fans are enjoying this season despite its deviations from the original books by Hugh Howey, and the rapid changes to the scope of the story.
Silo Season 3 has thrown a lot at viewers — a split timeline, revelations about the nature of this apocalyptic future, and ramped-up use of sci-fi concepts like nanobots and memory drugs. All that would have been the case even if the show had stuck with the story in Howey’s novels, but that wasn’t the plan. Instead, Season 3 has twisted and revised Howey’s work more than ever, meaning even those who read ahead were in the dark on several occasions. Through all of that, Season 3 seems to be keeping fans hooked and even winning back some who had begun to doubt the show. That’s very good news as we head into the Season 3 finale, then a final season that is sure to be the most jaw-dropping installment we’ve seen yet.
‘Silo’ Season 3 Has Not Played it Safe
When it comes to science fiction book adaptations, it’s easy to sit back and say they should simply translate every line of the novels onto the screen without changes. It would avoid the most common complaints against these shows, and would give the producers a great counter-argument to any criticisms. However, these productions are rarely 100% faithful to the source material for one reason or another, and Silo has embraced change from the start. By approaching change gradually throughout the story, Silo has built something that feels distinct from the book. Changes feel intentional, not dictated by the limitations of TV budgets or writers’ whims.
That approach is paying off now, as Season 3 has changed the story more than either of the previous installments. Some changes are easy to understand at a glance — the show has a more cinematic pace than the books, with more consideration for cliffhangers and tension. However, when it comes to changes like keeping Bernard (Tim Robbins) alive or giving Juliette (Rebecca Ferguson) amnesia, the trust between the audience and the writers is critical.
It’s encouraging to see a show where the long-term plan has prevailed without pivoting halfway through. Silo Season 2 wasn’t quite as popular as Season 1, and some commenters online even questioned whether the show had strayed too far. That’s reflected in the IMDb ratings that inspired this article — while most episodes of Season 1 were rated an 8 or higher and none were rated below 7.3, most episodes of Season 2 were rated under an 8. The lowest, Season 2 Episode 8, was rated 6.9 out of 10, and the season average dropped by a full half point.
Season 3 has slowly built that score back up by paying off some of the biggest mysteries in the story. It makes the slow-burn approach feel worth it, and in the process reminds viewers why they love a real-time TV event. It all culminated this weekend in a 9.3 out of 10 episode.
‘Silo’ Will Hit the Ground Running in Season 4
It’s safe to assume that the Silo team has saved some of its most climactic moments for the season finale, but the story doesn’t stop there. The series has already filmed its fourth and final season, which is expected to premiere next year on Apple TV. This is a huge advantage in an era when a two-year wait between seasons is becoming the norm. It means all the excitement of Season 3 will still be fresh in our minds when the series returns.
For that to work, this season will need to end on a major high note, and things are looking good in that department. That’s all thanks to the cast and crew of Silo taking risks with this story. Another adaptation might have played it safe by simplifying the weird technology involved in the apocalypse, or the drugs used to induce amnesia. Some might even have tried to keep the story contained underground where it’s more familiar to viewers, but this crew knew when it was worth opening the hatch.
Silo Season 3 concludes on Friday, September 4 on Apple TV. Season 4 will premiere next year. Howey’s novels are available now in print, digital, and audiobook formats.
- Release Date
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May 5, 2023
- Network
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Apple TV
- Showrunner
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Graham Yost
- Directors
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Morten Tyldum, David Semel, Michael Dinner, Aric Avelino
- Writers
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Graham Yost, Hugh Howey, Jeffery Wang, Lekethia Dalcoe
Kanye West’s long-running legal battle with former Donda Academy Employee Benjamin Provo is heating up ahead of trial. Provo is asking the court to stop the rapper from relying on an “Unsound mind” argument when the case reaches a jury.
The former staffer is reportedly turning West’s own words against him. He’s pointing to the rapper’s own deposition testimony where he said he was “close to me being myself” during the period at the center of the lawsuit.
Provo’s legal team argues that the remark undercuts any attempt to suggest that the rapper was not of sound mind at the time.
Per TMZ, which obtained the new court filing, Provo is making an attempt to block West from using an argument regarding his mental state at the trial.
The former security employee claims the rapper failed to produce evidence during the discovery process that would support such a defense.
Provo reportedly argues that West did not provide medical records, expert testimony, or other evidence to establish that he truly was of “Unsound mind” during the period in question. His legal team believes that should prevent the rapper from using the argument once the case reaches a jury.
No ruling has been made on the request at this time.
Kanye West’s Own Deposition Testimony Could Complicate That Defense
Beyond the alleged lack of medical evidence, Provo is also pointing to West’s own sworn testimony as another reason the mental state argument should be kept out.
During his deposition, the rapper was reportedly asked whether he felt he was “not yourself” during the period in question. “No. I think that was close to me being myself,” West allegedly replied. The rapper also reportedly remarked, “Sometimes I intend to do good and still end up in deposition.”
Provo’s legal team is now citing those comments as evidence that West’s own description of his mental state is in direct conflict with any attempt to argue the opposite. Whether the court agrees with that interpretation of events remains to be seen.
This New Motion Comes Just Before Their October Trial
The latest filing comes as West and Provo prepare to take their years-long legal dispute to trial in October. As The Blast previously reported, Provo sued the rapper back in 2024 after working as a security employee for Donda Academy and other properties connected to West.
In his original lawsuit, Provo accused West of discriminating against Black employees and alleged that they were treated differently from their white counterparts. He also claimed that West demanded he cut off his dreadlocks, and later proceeded to fire him after he refused the order.
So far, West has denied any wrongdoing in the case. The new filing does not introduce another allegation against the rapper, but rather focuses on what West will be allowed to argue in his defense once the case reaches a jury.
Kanye West Wants His Controversial Social Media Posts Excluded from Trial
West is making his own effort to limit some of the material that could eventually be presented to the jury. According to a separate TMZ report, the rapper’s legal team has asked the court to prevent Provo from introducing a large collection of West’s controversial posts on social media at the trial.
The rapper’s attorneys reportedly argue that the posts could unfairly influence the jury against West and are not relevant to the former employee’s specific claims. Provo, on the other hand, wants to introduce some of the material as evidence to support his case further.
This gives the judge another major issue to settle before the October trial. The court will have to determine the relevance of the posts, weighed against their potential to create any prejudice on the part of the jury.
Bianca Censori Could Potentially Be Called As A Witness
Kanye West’s wife, Bianca Censori, could also be drawn into the courtroom drama when the trial begins in October. She was previously reported to be among 22 potential witnesses who may be called in connection with the case.
She has been closely connected to the rapper’s business world in addition to their marriage, making her knowledge potentially relevant to certain parts of the dispute. West himself and Former Yeezy chief of staff Milo Yiannopoulos is also reportedly among the potential witnesses identified.
However, despite being listed as potential witnesses, there’s no guarantee that any of them would actually be called to testify.
Director Kenneth Lonergan is defending Mark Ruffalo after the actor was accused of being antisemitic.
“Mark Ruffalo has been talking about Israel since long before the Gaza war,” Lonergan, 63, wrote in a letter to The Hollywood Reporter published on Monday, August 31. “Apart from some routine social media ping-ponging, nobody serious I know of had accused him of antisemitism. Now Paramount has done just that, in the face of his sustained attacks on David Ellison and the upcoming Paramount merger.”
On Friday, August 21, Ruffalo, 58, took to Instagram to criticize the proposed Paramount-Warner Bros. Discovery merger while tying billionaire Larry Ellison — father of Paramount CEO David Ellison — and Oracle to Israel’s military actions in Gaza. In his post, he shared a recent clip of Safra Catz, Oracle’s executive vice chair and a Paramount board member, speaking about “profoundly scary technologies” Oracle shared with the Israeli government following the October 7 terror attacks in 2023. (Over 70,000 Palestinians have been killed since Israel launched military operations in the region, according to Gaza’s Health Ministry, including more than 20,000 children.)
Paramount Skydance responded to Ruffalo’s public criticism with a statement the corporation later denounced as antisemitic.
John Cusack is standing in solidarity with Mark Ruffalo after the actor addressed claims he’s antisemitic. “Solidarity — well said,” Cusack, 60, wrote via X on Saturday, August 22, quote-tweeting Ruffalo’s recent statement after coming out in fierce opposition to Paramount Skydance’s executives’ ties to the Israeli government. “The accusation that I am antisemitic is […]
“We are, as always, troubled when antisemitic tropes are invoked in purported service of a business dispute,” a Paramount spokesperson said in a statement on Friday. “Words like ‘genocide’ and ‘apartheid,’ applied to a corporate transaction, aren’t just wrong — they’re a bridge too far, and they cheapen the very real suffering those words are meant to describe. This doesn’t deserve a response in kind — and to be clear, we don’t tolerate prejudice of any kind, against anyone.”
In his letter defending Ruffalo, Lonergan continued, “While I hope I share Mark’s basic humanitarianism, and likewise deplore the conduct of the war as I understand it, I disagree profoundly with many of his positions on the Middle Israel, Gaza, and Iran’s constellation of fanatical Islamic fundamentalist proxies. I think we share an equally dim view of fanatical Messianic Zionist fundamentalism.”
Lonergan, who worked with Ruffalo on the 2000 drama You Can Count on Me, added that he and the Marvel actor have been friends for 30 years.
“The notion that he is antisemitic is overtly preposterous, and the accusation itself a cynical and disgusting lie. I wish the Simon Wiesenthal Center, at least, would review his remarks and their own response, and clarify where exactly they detect any antisemitism,” he noted. “A similar indictment of Mark for his latest social media screed — a screed, mind you, as it was characterized this week by K.J. Yossman of Variety — comes from Ari Infel and the Creative Community for Peace. It is likewise evidence-free, scurrilous and shameful. Shame on its authors and signers — especially those few signatures who know Mark, have worked closely with him and know better.”
Listen up, fellas! Mark Ruffalo, Ryan Gosling and more of Hollywood’s leading men have staunchly supported their female colleagues and utilized their platforms to speak out in celebration of feminism and gender equality. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email Please enter a valid email. Subscribe By signing up, I […]
Lonergan concluded, “I have no problem with anybody who wants to contest Mark’s – or anyone’s – ideas. But like all such deflections, the tissue-paper accusations levied at him by his targets lead directly back to the soft places in their own positions, which they can’t or won’t defend by actually addressing what he has to say. It’s an old trick, and a sorry one.”
Ruffalo previously defended his remarks in an X post on Saturday, August 22.
“The accusation that I am antisemitic is appalling and fundamentally dishonest,” the 13 Going on 30 actor wrote. “Criticizing the actions of the Israeli prime minister, a military technology contract, or the executives who supply it is not the same as criticizing Jewish people. This critical and necessary dialogue is then dishonestly framed as being anti-Israel.”
He continued, “To be clear, my views come from my own political convictions and should never be interpreted as hostility toward Jewish people, for whom I have deep love and respect. Everything I know about acting, activism, and humanism has been profoundly shaped by the Jewish friends, colleagues, and loved ones who have been integral and family throughout every point of my life.”
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