Entertainment
Family Raises Over $1 Million for Erin Piacenti’s Daughter
Erin Piacenti‘s family has raised over $1 million for her baby girl after she was fatally stabbed in New York City’s Times Square following her first day back to work from maternity leave.
Piacenti, 32, just finished her first day back to work as a vice president at the Bank of America when Pamela Cisneros fatally stabbed her in the abdomen. She died just five months after she and her husband, Frank Piacenti, welcomed their first child, a daughter, together.
Following her death, Erin’s loved ones set up a GoFundMe to help raise money for her daughter in the aftermath of the tragedy.
While the fundraiser had an initial goal of $750,000, the donations totaled up to more than $1.08 million as of Tuesday, September 15. Once the fundraiser met the original goal, the target amount was increased to $1.2 million.
A GoFundMe to support Lindsay Clancy’s parents, Michael Musgrove and Paula Musgrove, has increased its overall goal to $3 million — and continues to raise funds — after a Massachusetts judge declared a mistrial in the mother’s high-profile murder case. “I’ve decided to raise the goal of this fundraiser since this process has been extended, […]
Several major companies — including Bloomingdale’s, The Rockefeller Group and Major League Baseball — have donated to the fund, as well as supporters from across the country and around the world.
In the GoFundMe description, Erin’s family said that being a mother was her “lifelong ambition” and welcoming her daughter was the “greatest possible joy.”
“Erin’s life was defined not by the circumstances of her death, but instead by the way she lived. Erin was deeply devoted to her family and friends, exceptionally bright and accomplished, and was someone who brought warmth and energy to the people around her,” the page read.
Erin graduated from the University of Pennsylvania before she started her career as a buyer at Bloomingdale’s. She later graduated from Fordham University School of Law magna cum laude and worked at Davis Polk for several years before she joined the Bank of America.
“Erin’s career accomplishments, however, speak to only a small portion of who she was. To the people who knew and loved her, Erin was a thoughtful daughter and sister, a loyal friend, a devoted partner and companion in every aspect of Frank’s life, and, most recently, an incredibly loving mother,” the description continued.
“Erin and Frank celebrated their second wedding anniversary this summer, had just returned from a family road trip upon her passing, and were preparing to build a life together with their new daughter,” the page read. “That life changed incomprehensibly in an instant.”
After Cisneros, 49, stabbed Erin, she attacked Tak Kam as he exited the subway. Kam, 68, was taken to Bellevue Hospital and is expected to make a full recovery.
Officers with the New York City Police Department quickly intercepted Cisneros after the stabbings, and she was fatally shot when she refused to put the two knives she was holding down.
While Cisneros had no arrest record, authorities said she had known to the NYPD and she had a documented mental health history.
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Entertainment
What To Know About ‘Neagley’ Before Prime Video’s ‘Reacher’ Spin-Off Officially Premieres
The Reacher television franchise is about to expand with the upcoming debut of its first-ever spin-off. In Neagley, Reacher alum Maria Sten takes center stage as the eponymous character, pursuing a new mystery with very personal ties to her background — and doing it without Alan Ritchson‘s Reacher by her side. Here’s everything you need to remember about Neagley and her previous appearances before her new show drops on Prime Video this week.
Frances Neagley Is Reacher’s Closest Ally
A former U.S. Army Master Sergeant, Frances Neagley served with Reacher in the Military Police’s 110th Special Investigations Unit. Although still mourning the tragic loss of his first protégé, Sergeant Dominique Kohl (Mariah Robinson), Reacher eventually took Neagley under his wing, and they formed a close bond, with Neagley learning from her superior officer at “the school of Reacher,” as she described it. Neagley makes her first appearance in Reacher Season 1, Episode 4, “In a Tree.” After the 110th Special Investigations Unit is disbanded, Neagley becomes a private investigator in her hometown of Chicago, Illinois.
During Reacher Season 1, Neagley’s assistance proves crucial in helping Reacher, Finlay, and Roscoe Conklin (Willa Fitzgerald) take down the Kliners and their counterfeiting operation. In Season 2, Reacher and Neagley reunite with the surviving members of the 110th, David O’Donnell (Shaun Sipos) and Karla Dixon (Serinda Swan), to topple the conspirators who murdered their former colleagues. Neagley returns in Season 3 as well, where she assists Reacher in exacting revenge against Francis Xavier Quinn (Brian Tee), the corrupt Army Intelligence operative who murdered Sgt. Kohl.
Neagley Is a Much More Complicated Character Than You Think
Because of their time together in the 110th, Reacher and Neagley have forged a close friendship, a fact that Reacher himself even acknowledges in the Season 2 finale. Neagley has proven to be an invaluable ally for Reacher, saving his life multiple times before the events of the flagship series, and they would both drop anything at a moment’s notice to come to each other’s aid.
Although Reacher and Neagley are both highly skilled investigators and hand-to-hand combatants, the characters are distinct. An expert at close-quarters combat, Neagley is an ace sniper, demonstrating her sharpshooter skills to Detective Oscar Finlay (Malcolm Goodwin) in the Season 1 finale, “Pie,” before dropping one of the series’ best lines after sniping two guards at the Kliner warehouse: “Put the biscuit in the basket.” In her leisure time, Neagley loves playing video games and strongly prefers sugary breakfast cereals, one of her favorite foods. While Reacher frequently pursues romance with various female allies throughout his series, Neagley interestingly remarks in Season 2 that she isn’t attracted to anyone.
Additionally, Neagley suffers from haphephobia, a condition that results in a serious aversion to touching or being touched by anyone. During Reacher Season 2, Detective Guy Russo (Domenic Lombardozzi) is fatally wounded while protecting a witness from gunmen working for Shane Langston (Robert Patrick), and Neagley pushes through her haphephobia to grasp Russo’s hand and console him as he dies, which remains one of the series’ most impactful moments.
Neagley Finally Gets the Spotlight in Her Own Series
Although Neagley has primarily been Reacher’s chief ally throughout his own series, she’ll take the main spotlight in her new self-titled spin-off. In the first season of Neagley, the P.I. investigates the mysterious death of a childhood friend, who appears to have died by suicide. Neagley suspects foul play, leading her to investigate a potentially deadly conspiracy connected to the mysterious Echo Canyon Farm. Ritchson reprises his role as Reacher in Neagley, but only in a guest-starring capacity, as the series’ new allies for Neagley include Chicago PD Detective Hudson Riley (Greyston Holt), Renee (Adeline Rudolph), a colleague at Neagley’s investigative firm, and Keno (Jasper Jones), a young street hustler and con artist.
The most exciting aspect about Neagley is that series co-creator and executive producer Nick Santora, who also oversees the flagship series, plans to finally delve into the titular character’s backstory, something that even Neagley’s creator, author Lee Child, avoided when writing his Jack Reacher novels. As the author explained to The Wrap, “I didn’t want to go too deeply into what made her who she is. I felt that would burst the bubble somehow, so I shied away from it.” Santora revealed that the series will explore “why [Neagley] became who she is,” suggesting fans will finally get an answer for what caused Neagley’s intense haphephobia in the first place.
The new chapter of the Reacher saga debuts September 16 on Prime Video, with all eight episodes available at launch.
A tightly controlled narrative, focused storytelling, high-impact themes, and stunning visuals — these are all part of what makes a miniseries perfect. With the expansion of streaming networks through the 2010s and 2020s, fans have discovered some incredibly well-made miniseries that can be called perfect end-to-end. Not all of these shows were critical darlings or won any awards, but through their resonant storytelling and unique visual experience, each of them has delivered a truly elevated experience.
From socio-politically inclined shows that speak to our modern context to gorgeous and timeless works of visual art, modern miniseries are not simply striving for accolades, but for long-lasting, widespread impact on the genre, pop culture, and the industry as a whole. With that in mind, here’s our selection of miniseries that are all perfect from beginning to end.
1
‘Over the Garden Wall’ (2014)
An animated dark fantasy adventure miniseries created by Patrick McHale and based on his animated short film, Tome of the Unknown, Over the Garden Wall centers on half-brothers Greg and Wirt, voiced by Collin Dean and Elijah Wood, who get lost inside a strange forest called the Unknown. To find their way back home, they must go through the mysterious land, encountering fantastical creatures and strange occurrences. Other main characters are voiced by Melanie Lynskey, Christopher Lloyd, Jack Jones, and Samuel Ramey.
A hit Cartoon Network miniseries, Over the Garden Wall earned sweeping accolades when it premiered and easily ranks among the greatest miniseries of this century. The animated series puts a whimsical spin on the enchanted forest trope with 19th-century American folklore-inspired storytelling and a vintage animation style. Goofy, cozy, and endlessly imaginative, Over the Garden Wall is a wonderfully nostalgic and surprisingly deep series.
2
‘Chernobyl’ (2019)
The best HBO miniseries of 2019, created and written by Craig Mazin and directed by Johan Renck, Chernobyl is a dramatized retelling of the real-life disaster at the titular nuclear plant in Ukraine in 1986, which devastated the entire town and impacted human lives and the environment for generations to come. Largely based on Nobel laureate Svetlana Alexievich’s book about the incident, the miniseries takes a candid look at the disaster, the events that led to the explosion, the key people involved, and the aftermath. The series stars Jared Harris, Stellan Skarsgård, Emily Watson, Paul Ritter, Jessie Buckley, and more as real-life people of the time.
Considered one of the greatest and most immersive TV dramatizations of a real historical event, Chernobyl is a masterclass in miniseries production. The show recreates the 1986 nuclear disaster in intense detail, unpacks complex concepts clearly, and delivers all that in a tight narrative through powerful performances, particularly by Harris and Skarsgård. Even though the show’s facts and fictions often overlap, Chernobyl succeeds in capturing the harrowing intensity and emotional gravity of a historical tragedy in the most vivid way.
3
‘Devs’ (2020)
A haunting sci-fi thriller created by Alex Garland in his first TV project, Devs revolves around the employees of a highly secretive, experimental quantum computing company called Amaya, where a software engineer named Lily investigates the sudden death of her boyfriend, who was killed on his first day working on the titular project. Lily soon learns about the company’s secretive, elusive CEO, Forest, and the secrets behind his equally mysterious project that pose serious questions about human consciousness. Sonoya Mizuno, Nick Offerman, Allison Pill, Zach Grenier, and Carl Glusman play the main characters.
Deeply intellectual and thought-provoking, Devs is truly a one-of-a-kind sci-fi series that stands out with its distinct narrative style and an ambitious take on existentialism. Despite its short runtime, the show feels exhaustive and immersive with its enigmatic, trance-inducing visuals, mind-bending storytelling, and hypnotic performances. With a definitive beginning, middle, and end, where every plot point, symbol, and visual callback serves the core theme, Devs is as perfect as a sci-fi miniseries can get.
4
‘The Fall of the House of Usher’ (2023)
The fifth television series in Mike Flanagan’s prestigious horror catalog, The Fall of the House of Usher is an adaptation of Edgar Allan Poe’s short story of the same name and also draws from his other poems and short stories. The series follows siblings Roderick and Madeline Usher, the corrupt and ruthless owners of a pharma company, whose dark past comes to haunt them when a mysterious woman named Verna resurfaces with deadly repercussions. The show features an ensemble cast that includes Carla Gugino, Bruce Greenwood, Mary McDonnell, Mark Hamill, and more.
Often considered a relatively underrated gem among Flanagan’s works, The Fall of the House of Usher remarkably translates Poe’s Gothic horror classics into a 21st-century small-screen masterpiece. With its anthology-style character studies and diabolical depiction of unbridled hubris and poetic justice, the eight-part show feels like a slow descent into madness. The fantastic set designs, slow-burn tension, and the powerhouse performances by Gugino, Greenwood, and McDonnell make The Fall of the House of Usher perfect from the first through the final episode.
5
‘Pluto’ (2023)
A must-watch miniseries for Astro Boy fans, Pluto is an anime adaptation of the manga by Naoki Urasawa and Takashi Nagasaki that expands on Osamu Tezuka’s universe, featuring Atom and other advanced robots as they investigate the mysterious deaths of several high-profile robots and humans. When a robot detective named Gesicht investigates the murders, Atom becomes integral to his search for the truth, as he unravels a complex conspiracy that could completely upend the laws and policies that protect both robots and humans. Shinshū Fuji, Hiroki Yasumoto, Koichi Yamadera, Yoko Hikasa, and Minori Suzuki voice the main characters.
Pluto is an extraordinary show that turns a classic arc from an acclaimed children’s story into a deep, mature murder mystery. The show sits right at the intersection of hard sci-fi, futurism, evolution of AI, existential philosophy, and the human condition. Simultaneously a spectacular anime and a serious meditation on the fate of humanity, Pluto is thrilling and thought-provoking at every turn, and ranks among the best anime miniseries of all time.
6
‘Ripley’ (2024)
Written, directed, and created by Steven Zaillian in his sophomore television project, Ripley is a neo-noir thriller adaptation of Patricia Highsmith’s popular crime classic, The Talented Mr. Ripley, and revolves around the titular conman and his diabolical pursuits. Hired by a wealthy New York businessman to bring his prodigal son Dickie home from Italy, Tom worms his way into Dickie’s life, developing a dangerous obsession with his mark and setting off on a path of no return. Johnny Flynn, Dakota Fanning, Eliot Sumner, Margherita Buy, and Maurizio Lombardi play the main characters, with Andrew Scott leading the cast with a chilling personification of the titular grifter.
A cinematic masterpiece, Ripley is modern black-and-white cinematography done beautifully, and methodical storytelling done just right. The Hitchcockian tale of lust, greed, and betrayal plays out stylishly against the rich camera and light work that cleverly uses chiaroscuro effects and Giallo cinema motifs, doing every bit of justice to its source material. With its stunning visual experience and masterful performances, every episode of this Netflix original is a perfect treat for the eyes and mind.
7
‘Adolescence’ (2025)
A razor-sharp psychological drama that became a major conversation topic in media and politics, Netflix’s Adolescence tells the tragic story of Jamie, a 13-year-old boy who is arrested on suspicion of killing a fellow school student. When the investigation brings up further information about Jamie, it shocks everyone around him and devastates the entire family’s life, forcing his parents to face every parent’s worst nightmare. Stephen Graham co-created the show with Jack Thorne and stars as Jamie’s father, alongside Owen Cooper as Jamie, with Erin Doherty, Christine Tremarco, Ashley Walters, Faye Marsay, Mark Stanley, and more in key roles.
Adolescence is terrific in every aspect of its making — story, cinematography, acting, direction, and audience impact. While the fact that every episode is shot in a single, continuous, real-time shot is a cinematic delight, its visceral depiction of the hidden digital lives of modern teenagers strikes a deep cultural nerve. An emotionally charged story of the afflictions of adolescence, this Netflix four-part crime drama says so much more with less than many popular multi-season shows.
8
‘Spider-Noir’ (2026)
Created by Oren Uziel and starring Nicolas Cage in his first television lead role, Prime Video’s Spider-Noir is loosely based on the Marvel Comics character Spider-Man Noir. The series completely reimagines Cage’s protagonist as an older, grizzled private detective living in New York City during the Great Depression, whose superhero identity is history. But when an enigmatic woman knocks at his door with a puzzling missing persons case, it forces Ben to reconnect with his past and get involved with the city’s most dangerous people. Li Jun Li, Lamorne Morris, Karen Rodriguez, Abraham Popoola, Jack Huston, and Brendan Gleeson play other main characters.
Spider-Noir is a perfect example of how hard-boiled detective fiction, superhero action, comic-book style and tone, and Hollywood noir can be cleverly blended into a satisfying, self-contained miniseries. The series trades massive cinematic universe setups and cosmic-level challenges for a vintage pulp fiction narrative, treating the superhero elements as an extension of classic noir tropes. Gritty, witty, and thrilling, every episode of Spider-Noir is a pure cinematic treat anchored by Cage’s unexpectedly refreshing reinvention of the fan-favorite superhero.
- Release Date
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2026 – 2026-00-00
- Network
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MGM+
- Showrunner
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Oren Uziel, Steve Lightfoot
- Directors
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Harry Bradbeer
While the world waits for Christopher Nolan‘s The Odyssey to arrive on digital, divisive action auteur Zack Snyder‘s 2006 fantasy epic 300 is currently burning up the charts on Paramount+. Despite decades of imitation and parody, the painterly comic book film remains a stirring watch to this day, especially as a sort of mission statement for the rest of Snyder’s career. And it’s no wonder that home audiences are returning to it.
Snyder’s 300 was a smash hit at the box office, earning some $456 million on a $65 million budget —a success that was no doubt fueled in large part by an iconic, Nine Inch Nails-scored trailer that lit up the burgeoning internet film bro scene, and juiced by the success of Sin City (which was also an adaptation of a Frank Miller graphic novel) the year before. The film also boasted a genuinely unique (for the time) look, as well as committed performances by Gerard Butler, Michael Fassbender, and Lena Headey. Love or hate its green screen-heavy, speed-ramped vision, it’s a film that will never go away — and it’s certainly a fun piece of counter-programming for The Odyssey.
‘300’ Etched Many New Careers In Marble
Snyder, a music video veteran, exploded on the genre film scene in 2004 with his spectacularly gritty and lively Dawn of the Dead remake, and 300 cemented his status as a low-brow Hollywood auteur — but he brought others along for the ride. Gerard Butler got his show-stopping, bellowing leading-man debut as Leonidas, with several of the bearded, muscle-bound hero’s line readings now part of cinema history. And right alongside him was a young Fassbender, whose screen presence and physique made for an explosive Hollywood debut, playing a spirited young soldier named Stelios.
Pre-300, Butler was mostly known for his turn in the titular role in Joel Schumacher‘s camp masterpiece adaptation of The Phantom of the Opera. But this part almost immediately catapulted him to action hero royalty; he was soon facing off against Jamie Foxx in the gory, outlandish F. Gary Gray thriller Law Abiding Citizen, then going on to headline so very many simple, sturdy studio action pictures like Olympus Has Fallen and Plane, to name just a couple. And Snyder’s longtime cinematographer, a fellow music video veteran named Larry Fong, helped sculpt the film’s singular look; he went on to oversee not just the look of Snyder’s next several films, but also blockbusters including Kong: Skull Island and The Tomorrow War.
‘300’ Is Still an Outlandish, Psychedelic Action Spectacle
Snyder’s visual style was never meant to appeal to everyone. Take a look at the Letterboxd ratings for his latest three films, all clearly auteurist projects, on which he served as his own director of photography. In 300, he had a wide, explicitly graphic novel-based canvas on which to paint his elaborate action tableaux — and, despite years of mockery, they’re still astonishing. Blood soars (and sometimes outright pauses) in the air as his airbrushed, roaring ubermenschen clash their shields, spears, and swords. His depiction of the invading Persian army is grotesque in an almost Clive Barker-esque fashion, with body piercings and wanton orgies shown as Satanic omens of societal collapse, which makes the Spartans eventual successful triumph over them all the more cathartic.
But Snyder has never been a fascistic filmmaker. In fact, his career, post-300, has had an explicitly anti-fascist tint to it, and he made it clear that 300 was intended satirically in a contemporaneous interview, when he invoked legendary Robocop director Paul Verhoeven. “If I was (Paul) Verhoeven, and I had made this movie, I probably would have won the fricking festival with it. Because everyone would be like, ‘Oh my God, it’s genius,” Snyder said.
That doesn’t stop the film (like even some of Snyder’s most maligned later releases) from being an outrageous, visceral thrill. Before we expected our superhero films to be shot largely in front of green screens and with flat lighting, to make post-production changes easier, something like 300 was the kind of weirdo blockbuster we’d get from time to time. And if you surrender yourself to it, this is the cackling, blood-soaked, postmodern mythological/historical (heavy quotes around both terms) film that may just satisfy before The Odyssey comes home.
- Release Date
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March 7, 2007
- Runtime
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117 minutes
- Director
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Zack Synder
- Writers
-
Kurt Johnstad
- Producers
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Bernie Goldmann, Frank Miller, Gianni Nunnari, Jeffrey Silver, Scott Mednick, William Fay, Ben Waisbren, Craig J. Flores, Deborah Snyder
It’s been almost one year since Taylor Swift released The Life of a Showgirl, but is she already planting seeds for a potential 13th album?
In the months since Swift dropped her 12th studio album in October 2025, eagle-eyed fans have wondered whether the pop star has started leaving Easter eggs about future projects.
“There are dos and don’ts. I’m never going to plan an Easter egg that ties back to my personal life,” Swift said on husband Travis Kelce’s “New Heights” podcast in August 2025 about her penchant for dropping clues about her records in advance. “It’s always going to be toward music or something that I have coming up. A plan I have coming together. Something that you don’t know I’m saying for a specific reason that you’ll hear later and go back and go, ‘Oh, my God.’”
Swift, who married Kelce in July 2026, has not revealed any plans for a 13th album — though it’s no secret the number is the Grammy winner’s favorite.
Could Taylor Swift’s highly anticipated 13th studio album already be on the way? Swift, 36, and fiancé Travis Kelce attended a friend’s wedding on Saturday, May 16, where the pop star’s ensemble fueled fan speculation a new record is on the horizon. Swift glittered in a golden Maria Lucia Hohan gown, which she paired with […]
Allow Us to break down the biggest clues that Swift’s 13th record could be in development:
All About the Numbers
While attending a friend’s wedding in May 2026, Swift paired her golden Maria Lucia Hohan gown with opal drop earrings. The baubles featured 13 stones, which would correspond to the potential album number.
Swifties were quick to point out that Swift similarly wore red earrings with 12 stones to the 2025 Grammy Awards — months before she announced The Life of a Showgirl.
Lilac in London
Swift stepped out in London in August 2026, rocking a lavender-colored Delphine mini dress as she exited a members’ only club. She was previously spotted leaving the same venue in August 2024 while in town for her Eras Tour performances at Wembley Stadium.
Swift sported a plaid Vivienne Westwood blazer and matching miniskirt at the time, following a period of multiple plaid getups. Showgirl was ultimately released on National Plaid Day.
“This taysighting was the beginning of the massive plaid era taylor wore during 2024-2025 which we later found out was pointing to plaid day when showgirl was released (october 3rd),” a fan tweeted on August 2026. “Two years later, Taylor is seen in the exact same spot dressed in a color that has been highly theorized to be the ts13 color and with an exit sign nearby which was heavily emphasized during the Showgirl era….. like HELLO.”
Swift promoted Showgirl in fall 2025 with the release of multiple covers shot by Mert Alas and Marcus Piggott. In one pic, Swift rocked a bedazzled corset while standing underneath an exit sign backstage. (Showgirl was written about Swift’s life during the Eras Tour, which was also the catalyst for her romance with Kelce.)
Look to the Top of the Empire State Building for Clues
The official social media accounts for the New York City landmark shared photos of the skyscraper lit up in green on August 20, 2026.
“WhaTS happening?” the caption read, capitalizing Swift’s initials.
On Instagram, the account event tagged Swift’s page.
While it’s entirely possible the Empire State Building social team could be feeding into fan frenzy, some Swifties have guessed the pop star might be hinting at a new album or a rerecorded version of her debut LP. (Swift’s self-titled first album will celebrate its 20th anniversary in 2026.)
Back to Her Roots
Swift spoke at the Grammy Museum in August 2026 for a 20-year career retrospective, waxing poetic about her start in the country industry.
“I love my country roots more and more as I go further in this path,” she told attendees. “I wanna honor them more and more, the artist who shaped who I am, and that all happened in Nashville.”
From Swift’s own admission, several fans believed that TS13 could have a country twang.
The next month, Swift’s Toy Story 5 song, “I Knew It, I Knew You,” was nominated for Single of the Year at the 2026 CMAs.
“Looks like I haven’t yee’d my last haw,” Swift wrote via her Instagram Stories at the time, hinting at her awards ceremony attendance. “See you there Nov 18.”
After Swift’s message, some fans speculated that her presumed 13th album would have a country sound like her first few records.
“Everyone’s like ‘Debut TV incoming’ no babes TS13 country is coming,” one X fan theorized, with another guessing the LP would mark a new era for Swift, adding, “TS13 isn’t a bookend, it’s the start of a new era in Taylor’s life. It’s the album being released after the realisations that hit while making IKIIKY. Taylor cutting her hair also goes so well with her setting the sun on this past decade, which also started with a fresh cut. Exciting times ahead!”
It All Comes Back to ‘Bejeweled’
In the 2022 music video for “Bejeweled,” Swift rode on an elevator with different colored buttons. Fans deduced that each button corresponded to the colors associated with Swift’s past albums, including red for Red, blue for 1989 and yellow for Fearless. The 13th button at the top was painted lilac.
“Taylor has been teasing TS13 being lilac since the Bejeweled [music video]. The 13th floor is 💜,” one fan wrote via X in August 2026. “But the 💜is paired with 🧡tones, she did it with [‘I Can Do It With a Broken Heart’] mv, ‘Anti-Hero’ mv, at Eras with the mixed colors [‘1989’] outfit, and today with the pap walk outfit.”
Another fan noted that the same color scheme was featured in Swift’s Eras Tour book.
Easter Eggs at the Emmys
Though Swift did not attend the 2026 Emmy Awards in person, the pop star surprised fans with a pre-taped cameo in one of the sketches hosted by Law & Order star Mariska Hargitay. In the Special Victims Unit-themed sketch, Hargitay — in character as Captain Olivia Benson — assembled her team to solve the fictional case, “Will Taylor Swift Be at the Emmys?”
As the squad connected several Swiftie Easter eggs to Emmy Award-nominated shows, Swift herself joined the group to deliver a special message directly to the camera: “Saccharide, Aries, from the vineyard, north or south.”
The cryptic statement immediately sent Swifties into investigation mode as they deciphered possible meanings, with some believing the phrases are connected to track names on Swift’s 13th album or even a hidden release date. (“Aries” could point to March or April 2027.)
Of course, many Swifties also theorized that the words were hints about the long-awaited release of Taylor’s Version of her debut album. Either way, it seems something may be coming soon.
Re-canonizing the Chuck Norris of the galaxy far, far away would likely mean printing money, but would or could Disney even dare? First introduced rather unassumingly to audiences with the 1995 Doom clone FPS Dark Forces, Kyle Katarn was the original canon mercenary hero who stole the first Death Star plans before Disney threw out the beloved Expanded Universe and retconned this entire chapter in Star Wars chronology.
A badass, infamously OP human man with the moral complexity and charm of Han Solo and the Force-sensitive wonder of Luke Skywalker, while very much being his own thing, Kyle’s status holds a mythic status amongst the fandom. As for this writer, I’m a lifelong Star Wars fan, and I’ve come to love him as my favorite character in the entire franchise, thanks in large part to his well-conceived, genuinely moving arc over several games and other media. Distinct points in Katarn’s journey, and even the supporting characters around him, would be—let’s say, charitably, echoed— in Disney Star Wars‘ rebellious Stormtrooper Finn (John Boyega) and of course Cassian Andor (Diego Luna). One of these newer characters certainly proved to be far more interesting and fleshed-out than the other, but for many longtime Star Wars fans, there simply is no replacing Kyle Katarn. The following ranks every Kyle Katarn Star Wars game from worst to best.
5
‘Star Wars Jedi Knight: Mysteries of the Sith’ (1998)
Originally released on Microsoft Windows
This Jedi Knight expansion pack is really only for completionists, and yet it’s an essential part of Kyle Katarn’s chronology. This is the moment where, as canon and not just an alternate ending like in Jedi Knight, Kyle truly falls to the dark side, for a finite amount of time. For a majority of Mysteries of the Sith, we actually play as the iconic Expanded Universe character Mara Jade (you know, George Lucas’ favorite).
A former protégé of Emperor Palpatine before defying his final orders, Jade serves as Kyle’s apprentice before eventually saving him from the pull of the dark side. It’s a satisfying ending to a game that’s uneven, occasionally brilliant. Highlights of Mysteries of the Sith include some well-appointed atmosphere and overall fun gameplay. The level design can be obnoxiously confusing at times though, and the difficulty spikes are… unfair.
4
‘Star Wars: Dark Forces’ (1995)
Originally released on PC and Macintosh
At this point in the list, pretty early on, we’re dealing entirely with some of the greatest Star Wars games ever made. You might be expecting the OG to rank a little higher on this list, and while it’s easy to admire Dark Forces for its chronological significance, and even for its gameplay a bit, but this thing has aged undeniably. Even after a recent remaster on PS5, this early FPS is fairly inaccessible to the casual gamer. Cry “skill issue” all you want, but who couldn’t get lost multiple times in these maps? And it’s not a fun kind of lost.
There’s so much to admire and enjoy here, though. Kyle beats a dragon to death with his bare fists, and holds his own against Boba Fett. He also steals a portion of the Death Star plans in the opening mission. The central conspiracy concerning the Dark Troopers is interesting enough to propel the action, but frankly, Dark Forces is begging for a full-blown remake beyond a remaster. The same could be said for every game on this list, but it feels most urgent here.
3
‘Star Wars Jedi Knight: Jedi Academy’ (2003)
Originally released on Microsoft Windows, Mac OS X and XBox
A natural progression of the story from Kyle’s greatest outing, Jedi Academy actually offers minor gameplay upgrades over its immediate predecessor but can’t match the depth of its storytelling. Not that the story is bad; it’s fun, a little macabre and campy, ultimately satisfying, it’s just no match for the games where we truly feel Kyle Katarn’s struggle with anger, grief, the pull of the dark, and finally arriving in the light on his own terms. Kyle is actually a supporting character this time around, though present throughout and very much in top form. Players mold their own protagonist here, an Academy recruit named Jaden Korr. There’s a great deal of replayability to this title in particular, given the modifications you can make to your character, lightsaber fighting style, and even the order in which you complete many of the missions. Many will say this game has the best lightstaber combat in video game history, even in a post-Cal Kestis modern world, and Jedi Academy is just plain fun from start to finish.
2
‘Star Wars Jedi Knight: Dark Forces II’ (1997)
Released on Microsoft Windows
The time is post-Battle of Yavin, and about a year before Return of the Jedi. The MacGuffin is the Valley of the Jedi. And Dark Forces II is a far superior game to its predecessor in every conceivable way. The live-action cutscenes are about as cheesy as can be, but honestly that adds to the charm, not to mention much-needed emotional connective tissue, even with the emotions a little cartoonish. Unlike its predecessor, Jedi Knight lives up to its title as a Jedi simulator. One of the defining features of this particular, influential and even historic title is the option to choose the path of the dark or light side of the Force. It’s a choice that you don’t explicitly make yourself, rather it’s based on choices you’ve made in response to temptations throughout the game up to the third act. This was incredibly advanced stuff for 1997, and the game is still a treat to play.
1
‘Star Wars Jedi Knight II: Jedi Outcast’ (2002)
Originally released on Microsoft Windows
Though its gameplay has some rough edges, and some dated elements, from clunky blaster play to an infamous Nar Shadaa level literally nobody likes, Star Wars: Jedi Knight II – Jedi Outcast is a terrific action game, and something like a masterpiece from a storytelling perspective. This is the version of Kyle Katarn that is forever immortalized in the hearts of fans. Perhaps Jedi Outcast’s greatest claim to fame is lightsaber combat that truly set the bar, along with Force powers from the dark and the light at the same time. I’d argue the best thing about the game, though, is Katarn himself.
Building on emotional stakes first were first hinted at in Jedi Knight, Outcast gives Kyle one of the deepest and most satisfying arcs in Star Wars history, gaming or otherwise. For much of the game’s playtime, Kyle believes his trusted partner and lover, Jan Ors, to be murdered. He flirts once again with the pull of the dark side in his anger, and especially the “easier, more seductive” nature of that path, but none other than Luke Skywalker, in the best take on the character since 1983, helps pull him back to the light. Fighting back-to-back with Skywalker is one of the most pleasurable moments in any Star Wars game, and Jedi Outcast deserves its status as a franchise landmark nearly a quarter-century later.
This year is shaping up to be one of the best for Guy Ritchie‘s fans. The writer-director is finding major success on television after launching Young Sherlock on Prime Video earlier this year. The series was a success and was renewed for another season. Meanwhile, his hit Netflix crime thriller The Gentlemen, starring Theo James, has returned for a second season, and even though the long delay between seasons has dealt it a blow, it is still the second most-popular show on Netflix globally at the time of writing. And this week brings arguably one of his most popular shows ever.
Unlike The Gentlemen, this show is relatively on schedule, since the first season premiered last March. It stars Tom Hardy as Harry Da Souza, a fixer associated with one of London’s biggest crime families. The series features a stacked cast, including Pierce Brosnan (Conrad), Helen Mirren (Maeve), Paddy Considine (Kevin), Joanne Froggatt (Jan), and more. Titled MobLand, the show explores the complicated world of London’s criminal underworld, where loyalties are fragile and danger is always lurking.
MobLand doesn’t return for Season 2 until Friday, September 18, when a new episode debuts at 9 am ET, but fans aren’t waiting. With a little over a year having passed since the season finale, there is no better time to freshen up on what transpired before the show returns. That’s why MobLand has surged on Paramount+ over the last few days, currently ranked sixth by FlixPatrol at the time of writing. A surge like this is common before a show returns and suggests anticipation is high. Is it high enough to dethrone Taylor Sheridan‘s Lioness, which is currently dominating Paramount+ and is now trending on Prime Video? We’ll know on Friday.
What To Expect In ‘MobLand’ Season 2
If there is one thing MobLand Season 1 proved, it is that the Harrigan clan is crazy. They will lie, cheat, manipulate, and kill to have their way. But viewers had not seen just how unhinged some of them can be, and Season 2 peels back the layers. In the new season, selfishness threatens to undo the Harrigan empire as the fractures in their relationships strain unity. Can they come together to face a common threat? And what can Harry do to avoid going under with the rest of them? He must walk a tightrope to ensure everything sticks together. The MobLand Season 2 trailer teases an even crazier season that fans can’t miss.
Catch up with the first season on Paramount+ and don’t forget to watch the new episode on Friday, September 18 at 9 am ET, and stay tuned to Collider for more updates.
- Release Date
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March 30, 2025
- Network
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Paramount+
- Directors
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Daniel Syrkin
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Pierce Brosnan
Conrad Harrigan
The COVID-19 pandemic was but one of the reasons why the 2020s have been absolutely transformative for not just speculative fiction, but literature as a whole—fantasy literature being no exception. From the boom in popularity of the cozy fantasy subgenre, the rise of romantasy through its popularity on social media, a push for more diverse voices and international mythologies, and a dramatic surge in sales, fantasy literature has seen several key evolutions over the course of the 2020s so far. As a natural result of those transformations have come several exceptional books that, a few decades from now, will likely be counted among the greatest works of fantasy from the first half of the 21st century.
Whether we’re talking about a momentous installment in a beloved high fantasy book series, such as The Wisdom of Crowds; an unforgettable standalone title for those not looking to get into any new series, such as Piranesi; or any other sort of fantasy gem, the best books that the genre has delivered since 2020 are all proof of how great of a decade this has thus far been for people who love reading fantasy. These last six years have indeed delivered something exceptional for pretty much any and all sorts of fantasy literature fans, so there’s no excuse to not check out what contemporary times have to offer in this department.
6
‘Piranesi’ (2020)
Piranesi is the second novel by the exceptional English author Susanna Clarke, whose groundbreaking 2004 debut, Jonathan Strange & Mr Norrell, won the 2005 Hugo Award for Best Novel. It was due to a severe case of chronic fatigue syndrome that it took 16 years for the world to be treated to Clarke’s sophomore novel, but the wait was more than worth it. Heavily inspired by the short stories of legendary Argentine writer Jorge Luis Borges, Piranesi is written as a journal, following a man who lives alone in a building of infinite size, called The House, whose massive layout he lives to meticulously catalog. People looking for a great standalone fantasy book that requires no series commitment ought to check out Piranesi.
Radically original, profoundly emotional, and powerfully surreal in its fantastical world-building.
Piranesi is just about as close to true perfection as fantasy can come, a beautifully inventive and hypnotically written work whose themes and environment unsurprisingly resonated greatly with readers locked down in quarantine due to the pandemic. Radically original, profoundly emotional, and powerfully surreal in its fantastical world-building, it’s a deep philosophical meditation on themes like identity, the reconstruction of self, and the relationship between humanity and the natural world. The very concept The House was already instantly fascinating on paper, but the way Clarke leverages a unique structure and perfectly-paced prose to elevate that premise makes it all the more admirable.
5
‘Jade Legacy’ (2021)
Fonda Lee has not yet established herself as a true giant of contemporary speculative fiction, but she’s well on her way to doing just that—largely thanks to her incredible Green Bone Saga trilogy, an urban high fantasy story about a family leading a martial arts crime syndicate in a brutal clan war over a rare mineral that grants superhuman powers. The final installment in the series is Jade Legacy, winner of the 2022 Locus Award for Best Fantasy Novel, where the Kaul family’s struggle for survival transforms into a decades-long global geopolitical conflict over the monopoly of the titular magical resource.
It’s one of the best fantasy books of the 2020s so far, because where many high fantasy trilogy conclusions as action-packed as Jade Legacy end up feeling rushed or overly focused on action, Lee develops her story with remarkable patience. Perfectly paced, hugely ambitious, and emotionally riveting, this fantasy epic has a story that spans the course of a whopping three decades, with some of the most masterfully natural and well-executed use of time jumps in the modern history of fantasy literature. All the character arcs come to satisfying boiling points, the world-building (deeply inspired by different Asian cultures) is phenomenal, and the book’s philosophical meditations are massively effective. All in all, Jade Legacy is a must-read for fans of both high fantasy and urban fantasy.
4
‘Tress of the Emerald Sea’ (2023)
The 21st century has seen many a master of fantasy literature hard at work, but few giants of the genre have been as prolific and successful throughout the last 26 years as Brandon Sanderson. The author and his groundbreaking Cosmere shared universe have completely re-shaped the fantasy genre throughout the 21st century, so it was terribly exciting when Sanderson announced in 2022 that he had written four secret novels during the COVID-19 pandemic. Through a public funding campaign, he released the first of the Secret Projects and the opening installment of the Hoid’s Travails series: Tress of the Emerald Sea, about an ordinary girl who stows away on a ship to rescue her friend from a dangerous sorceress.
Though sometimes categorized as Young Adult fantasy, this masterpiece inspired by William Goldman‘s The Princess Bride can be thoroughly enjoyed by fantasy lovers of all ages, seeing as it’s one of the best high fantasy books of the last five years. It’s an exquisitely subversive fairy tale that feels refreshingly different from the rest of Sanderson’s oeuvre, instead delivering a cozier adventure that’s a total love letter to classic high-seas swashbuckling fantasy. Tress is a delightful protagonist to follow around on her adventures, the magic system and world-building are about as enrapturing as any Sanderson fan would expect, and Hoid’s witty narration is as brilliantly satirical as it is surprisingly deep.
3
‘The Burning God’ (2020)
R. F. Kuang‘s Poppy War trilogy is one of the most significant landmarks in the modern history of grimdark fantasy, a masterful series that maps mid-20th-century Chinese history onto a high fantasy setting in ways that proved nothing short of groundbreaking. The final installment in the series is The Burning God, where fire shaman Rin returns to her home village after surviving betrayal and a brutal civil war. While The Poppy War, the first book in the series, heavily mirrored the Second Sino-Japanese War; and The Dragon Republic, its sequel, shifted the focus to political splintering; The Burning God is a specific parallel of the Chinese Civil War and the early years of the People’s Republic of China.
Deconstructing the archetype of the traditional fantasy hero while masterfully exploring the deepest nuances and intricacies of Chinese history.
However, one doesn’t need to be Chinese, or even be particularly knowledgeable about Chinese history, in order to deeply enjoy The Burning God is a high fantasy fan. It’s one of the best fantasy books of the last 10 years, a brutal tale with a level of commitment to realism and themes of the cyclical trauma of colonization and war that you don’t often see in speculative fiction. Deconstructing the archetype of the traditional fantasy hero while masterfully exploring the deepest nuances and intricacies of Chinese history, Western colonialism, and white supremacy, Kuang delivered a gem that’s bound to be a modern classic a few years from now.
2
‘The Wisdom of Crowds’ (2021)
Joe Abercrombie‘s First Law series is one of the greatest in the modern history of fantasy. Composed of two trilogies, two short story collections, and three standalone novels, it completely revolutionized grimdark fantasy and showed how the genre could be used to deconstruct traditional epic fantasy tropes. The series’ second trilogy is the Age of Madness trilogy, whose final installment, The Wisdom of Crowds, is deemed by some to be Abercrombie’s magnum opus. In it, the collapse of an industrialized empire into mob rule replaces old oppression with a chaotic new form of tyranny. What follows is a big part of the reason why the Age of Madness series could be considered one of the best fantasy book trilogies of all time.
Packed with the brutal cynicism, sharp sense of satirical humor, and brutal realism that makes the entire First Law series and Abercrombie’s oeuvre as a whole so special, Wisdom of Crowds is a masterful study of themes of revolution and the bloody cycle of tyranny which will likely only keep getting better with age. It’s flawlessly subversive and full of complex thematic and narrative layers, bolstered by its fascinating character arcs and exceptional pacing. At over 500 pages in length, the book maintains a relentless sense of momentum through it all, aided by Abercrombie’s biting dark humor and masterful use of shifting points of view.
1
‘Babel’ (2022)
Also known as Babel, or The Necessity of Violence: An Arcane History of the Oxford Translators’ Revolution, Babel is another masterpiece by the groundbreaking R. F. Kuang, perfect for those who loves the Poppy War trilogy. Set in an alternative fantastical version of Oxford in 1830s England, where Britain’s global supremacy are fueled by the use of magic silver bars, the book is a powerful critique of British imperialism, racism, and relentless capitalism. Politically complex, thematically layered, wonderfully imaginative, and perfectly paced, it’s more than worthy of being hailed as the greatest fantasy book of the 2020s so far.
Babel is one of those fantasy books that are absolutely perfect masterpieces, a magnificently ambitious and meticulously researched fantastical period piece whose vital messages are transmitted with such passion and originality that instead of feeling didactic, they feel genuinely thought-provoking and complex. It’s one of the most revolutionary works that the dark academia genre has ever seen, written with a level of understanding of all of its genres and subgenres that it adds something of tremendous value to each and every one of them. If one wanted to understand what has made 2020s fantasy literature so special over the course of these last six years, there would be no better place to start than Babel.
Zach Snyder directed 2017’s “Justice League” but left the production early following the tragic death of his daughter. The studio then brought in Josh Whedon to oversee post-production, which led to tons of changes. Now, years later, he’s opening up about the ordeal amid promoting his new movie, “The Last Photograph,” at the Toronto International Film Festival.
Snyder spoke to Variety in September 2026 following the premiere of “The Last Photograph” at TIFF. During the conversation, which included his reaction to negative reviews of the new film, Snyder was also asked about not only losing his daughter but also having his movie taken away from him, which led him to essentially take his name out of the running to help future DC films.
Specifically, when asked about “having the DC universe taken away,” the director said, “The circumstances around it were so particular. It just kind of crawled over me. What was happening with me and my family was so intense.”
He then discussed learning about the extensive reshoots done for the movie. According to him, “It was so loud — that part was so loud — that, in retrospect, asking, ‘How’s the movie going?’ And they go, ‘Oh, it’s fine! They’re doing some reshoots.’”
After that, Snyder stated that his wife, Deborah Snyder, went to see the movie after Whedon’s changes. The director added, “And I go, “Oh, OK. F-ck it.” So, Debbie went and watched the Joss [Whedon] version of the movie, and to have her come back to me and say, “You can never see that movie,” and to realize then that it was 60 pages of rewrites that they did for it.”
Zach Snyder Has Never Seen Josh Whedon’s ‘Justice League’
Snyder continued his Variety interview by saying that he wasn’t sure if there were actually 60 pages of rewrites for “Justice League.” He said, “I’ve never seen the movie, so I don’t know.”
After that, the interviewer asked him to confirm he’d never seen the movie. Snyder responded, “I’ve never seen it. There was a point when the movie was released that was a low point for me because the pile-on effect was so insane.”
He continued, “Not only did I lose my daughter, but also they’ve released this version of the movie that I had nothing to do with, and my name is on a movie that I didn’t make.”
The ‘Justice League’ Director Says A Warner Bros. Executive Told Him He Was Right
“Justice League” was released in November 2017 and debuted to abysmal reviews. Currently, the film holds a 39% from critics on Rotten Tomatoes. In a Variety interview, he also said he heard from a Warner Bros. executive after the movie was released who praised his vision for it.
According to him, “But there was this catharsis of, I met with this executive at Warner Bros. who’s long gone since — I won’t say who it was — and he said to me, ‘You know, Zack, I’ve got to tell you one thing: You were right about everything.’ And I was like, ‘That’s kind of you.’”
Snyder added, “And he goes, “We were fighting you, and in the end you were right.” Snyder was then asked what the studio had fought him over. He responded, “The whole vision for the DC universe and the way I made movies and everything. They did this attempt to control it — and I’m just talking about the regime that was there that’s no longer there.”
Still, he can understand Warner Bros./ DC Studios wanting to “protect” the intellectual property.
He Reflected On ‘Zach Snyder’s Justice League’ In 2021
DC Studios released “Zach Snyder’s Justice League” on HBO Max in March 2021 after massive fan outcry. While discussing the movie with Esquire, he was asked how it felt to finally have his vision for the movie see the light of day.
Snyder responded, “It’s very cathartic. It’s like this incredible relief, to be honest.” After that, he stated that the movie was dedicated to his late daughter before adding, “and the thing I was most stressed out about was, frankly, that the movie wasn’t good enough.”
He continued, “That gave me the most anxiety. But then as we finished it, I felt better about it. She was a bit of a dork, so I thought she would have really liked the movie. Regardless of whether people liked it or not, I took solace in the fact that she would have liked it. It is nice that the fans seem to really love it. That’s good news.”
Snyder’s New Movie Isn’t Receiving Good Reviews
Snyder’s newest film “The Last Photograph” premiered on September 13 at the Toronto International Film Festival. So far, the action thriller hasn’t had the best reception, with an 18% positive rating on Rotten Tomatoes.
The filmmaker reacted to the poor reaction in his Variety interview, with the reporter noting that much of the hate came from the depiction of excessive violence toward women. He responded, “I mean, I don’t know. First of all, I would argue that the violence toward women and men is equal and that nobody is spared — men, women, children, everybody.”
He also blamed the reception on “preexisting opinions” about him and his movies.
From time to time, one needs the catharsis that can only come from banging your head to rock and/or roll. But time is precious, so you can’t wait for the good parts that are five minutes into “Stairway to Heaven” or “Bohemian Rhapsody.” To that end, we bring you 10 bangers that clock in at 2 minutes or under: all thrill, no fill. It’s the adrenaline shot you need when you need it.
1. “Song 2” by Blur
Released in 1997, “Song 2” is literally unlike anything else English Britpop band Blur had released to that point, and almost didn’t make the cut for their fifth album, Blur, with the band thinking it was too short. But it’s the fact that it is so short that makes it work as well as it does. It’s the second track on the album, with its two verses and two choruses clocking in at two minutes and two seconds (coincidentally reaching No. 2 on the U.K. charts), with two drum kits being played simultaneously to create a wall of high-energy sound.
The lyrics are nonsensical, the “woo-hoo” of the chorus is brilliantly simple and catchy, the guitar drives, and the length of “Song 2” doesn’t allow for any downtime whatsoever. Not bad for a track that was meant to be a parody of the grunge genre exemplified by the likes of Nirvana and Pearl Jam.
2. “All I Want” by The Offspring
The lead single off of 1997’s Ixnay on the Hombre, “All I Want” is 1:55 of skate-punk perfection, fast and aggressive from the moment it begins. It wears its anti-establishment “f**k off and leave me alone” bend right up front. It also proves that after the huge success of their third album, “Smash,” they stuck to the fast, aggressive style that got them there, despite working under a major label, Columbia, for the first time after their ugly split from indie label Epitaph.
3. “Stone Cold Crazy” by Queen
According to guitarist Bran May, “Stone Cold Crazy” was one of the first songs that Queen ever played together, a rollover from one of Freddie Mercury‘s earlier bands, Wreckage. At the time, it had an “easygoing riff that didn’t have much pace to it,” but May thought that the frenetic lyrics deserved a frenetic pace. Thus was born the 2:16 thrasher that is “Stone Cold Crazy” from their third album, Sheer Heart Attack, with May saying, “It’s nice and heavy. I still remember going in to do the definitive version of it, and it was faster than ever – we just went for it! There’s a lot of adrenaline.” In that same interview, May alleges that the song may have been “the birth of thrash metal.” A bit much? You decide: Metallica released their cover of the song in 1990, and there’s not much that separates them.
4. “Buffy the Vampire Slayer” theme by Nerf Herder
An instrumental has the unenviable task of communicating without relying on words and catchy choruses to do so. An instrumental for a TV series theme has it even worse, needing to summarize the feel of the show in a minute or less. The Rembrandts‘ “I’ll Be There for You,” the theme to Friends, is one example that nails it, a light, breezy song that sums up the series’ premise about the strong bond between a group of friends.
But let’s be honest: “I’ll Be There for You” is hardly a banger. Maybe a pop-music nod here and there, but not a red-hot surge of adrenaline. No, for our purposes here we turn to Nerf Herder‘s excellent Buffy the Vampire Slayer theme. Their “geek rock” cred made perfect sense for a series with its feet in both nerd and mainstream culture, with Alyson Hannigan the one to bring the band to the attention of the creative team. The song marries modern punk with gothic horror, with an ominous undertone, cleverly set by the use of an old bell chime, behind its frantic meet-you-at-the-end surf rock energy. It is, in a word, perfect for a series that does the very same.
5. “Wart Hog” by The Ramones
You can’t have a list like this without including the Ramones, icons of the short and not-so-sweet: “Judy Is a Punk,” “Now I Wanna Sniff Some Glue,” and their stunning cover of the theme to 1967’s Spider-Man cartoon just a handful of examples. Another is “Wart Hog” from 1984’s Too Tough to Die, which is one of their most aggressive and unique songs. For one, it’s bassist Dee Dee Ramone on vocals, with usual vocalist Joey Ramone taking a backseat. Inspired by Dee Dee’s time in drug rehab, the lyrics, not so much sang as they are screamed, are practically unintelligible, save for the “wart hog” chorus (but it didn’t stop Sire from leaving the lyrics off the initial album printing due to their explicit nature). The addition of drummer Richie Ramone, the “fastest and most powerful drummer” in the band’s history,” took it over the top, giving the band a harder and faster hardcore element to their classic sound.
6. “White Riot” by The Clash
Like your music with a little social commentary? Check out “White Riot” by The Clash, which comes in at 1:58. The band’s first ever single, it set the stage for their penchant for activism and railing against disenfranchisement. The song was written after Joe Strummer and Paul Simonon were witnesses to the Notting Hill riots of 1976, which saw black youths lash out at police officers after being constantly harassed. It’s a call for white, working-class youth to fight against the establishment, to challenge authority like the black youth were, instead of passively sitting back, too afraid of losing their privilege to take action.
“White Riot” is one of the few songs on the list that could have benefited from a longer run-time, with people misunderstanding the song’s intent. There are claims that the song is a call for a race war, despite the overt lyrics that suggest otherwise, so it’s possible that another minute or so might have cleared it up. Unlikely, however, given how that narrative is likely largely driven by those that don’t get The Clash.
7. “We Are Not Going to Make It” by The Presidents of the United States of America
Arguably one of the most underappreciated bands of the 1990s, The Presidents of the United States of America were seemingly everywhere for a time. “Lump” and “Peaches” were big hits, they recorded the theme for the 1997 live-action adaptation of George of the Jungle, and contributed a cover of “Cleveland Rocks” for the theme song to all nine seasons of The Drew Carey Show. Their winning combination of self-deprecating humor and lively, straightforward rock is best exemplified by “We Are Not Gonna Make It,” off their debut self-titled album. It’s an impossibly catchy earworm that starts with a botched entry before kicking it into high gear, hilariously bemoaning how they’re not good enough to make it big (“We don’t have the talent, and we don’t have the time. We don’t have the patience, and we don’t know how to rhyme”). Fast n’ funny.
8. “Chromatic Death” by Stormtroopers of Death (S.O.D.)/ Anthrax
“Chromatic Death” was originally recorded by Stormtroopers of Death, aka S.O.D., a side project of Anthrax band members Scott Ian, Charlie Benante, and Dan Lilker. It was then covered by Anthrax proper for Attack of the Killer B’s, one of two S.O.D. covers on the album (“Milk (Ode to Billy)” being the second), which also features their groundbreaking cover of Public Enemy‘s “Bring the Noise.” The primarily-instrumental song mixes thrash metal with hardcore punk, with the mischief and intensity both bands are known for.
9. “Fell in Love With a Girl” by The White Stripes
Released by brother/sister married couple The White Stripes in 2001, “Fell in Love with a Girl” is garage-rock at its best, a fast and furious dynamo that is messy and aggressive over its 1:50 run time. Jack White packs a lot of words in that time, singing about the conflict between rational and impulsive, and an earworm-inducing “aah, aah, aah, aah” chorus. It’s relentless, real, and short — like this.
10. “Eruption” by Van Halen
Off their debut album Van Halen, “Eruption” is wholly revolutionary, loudly declaring Van Halen and their lead guitarist, virtuoso Eddie Van Halen, had arrived. Eddie does magical things on the track, at an unprecedented speed, and that he filled it all in at just 1:42 is awe-inspiring. Eddie’s mastery of two-handed tapping, whammy bar effects, arpeggios and seamless lines, played out on his famed modified guitar, the “Frankenstrat,” was unlike anything before it in popular music, and a high bar to hit for anything following it.
It’s a new Big Brother live feeds update. Even though things have been relatively dead in the house, we’ll talk Melody Morris screaming at Drew Campbell in what could be their last moments together in the Big Brother 28 house. And Barrett Pfeiffer‘s in victim mode – is it justified? Plus, Angela Murray losing a culture war.
So, right now, the yard is closed and we’re on the countdown to the double eviction. The Devens-Yash virus spread to Drew who’s feeling sick. Yash Patel‘s recovering. Devens spread the funk around and we’ll see if Barrett brings it to jury on Thursday.
Big Brother: Melo-Drew Drama
If Barrett wins Blockbuster on Thursday, Melody’s likely out and the showmance ends. But let’s start with straddle-gate. After the wild west water comp, Devens and Taylor Brown were in the kitchen.
Melody came downstairs still drenched from the comp and from the stairs, she leapt onto Drew. Melody jumped and he caught her. She wrapped her legs completely around Drew’s waist and then he carried her off to the bathroom.
And Devens and Taylor were looking stunned and Devens was like, “Well all right.” And then he repeated the story to everybody in the house. Also, Drew’s sad because Taylor’s not cooking for him.
Big Brother 28: Barrett’s Family Hurt His Game?
When they got family videos, Melody and Taylor worried because they felt like their moms were withholding information. Drew’s family video was apparently very funny and Dee Valladares and Devens loved it. And now they’re back to loving Drew.
But Barrett’s video from home has the Survivors on high alert. Remember on Barrett’s HOH, he had pulled out the oven mitt when Devens spoke? It was a blatant slam at Devens, who does a little oven mitt thing often.
So, Barrett’s family wore oven mitts in the video. And one of his family members apparently did Mallory Aurichio‘s cut-throat gesture. So, Dee and Devens took this as Barrett’s family encouraging him to continue to go after the icons.
Dee and Devens want Barrett out already to punish him for nominating them anyway. So it’s not like the video shifted their perspective. It just seems to have reinforced their feelings.
And speaking of Barrett videos, this was insane. He was sitting alone in the gym and production had a live feed camera on him. And they zoomed in and then grayed him out like they do post-eviction to the evicted houseguest. Felt like foreshadowing.
Big Brother: Production Hassling Barrett?
Other odd things. Barrett still hasn’t got his clothes back from production when they did the HOH laundry service. Yet Yash’s already came back. Fans also suggested the pressure cooker wasn’t fair because they didn’t accommodate his significant height.
To be fair, they didn’t seem to accommodate the shorter people either. All of the polls and platforms seem to be equal height. But also, the rotating Have-Not bed stopped rotating for a couple weeks but restarted when Barrett’s a Have-Not.
Are they’re messing with Barrett? Also, he’s been self-isolating and crying in the Have-Not room. Devens has given him several pep talks and tried to get Barrett to come hang out with the rest of the house.
Barrett told Devens he ruined relationships last week. But he reassured Barrett, that personal relationships aren’t ruined. Devens said after the game, it’ll be fine. He’s being nice to Barrett and also working that jury vote.
Survivor Talk on BB28
Dee and Devens answered houseguest questions about Survivor. They asked him and Dee if they forage food like leaves. And Devens said that they don’t tell you what you can eat but they do give you a chart saying what you can’t eat because it’s toxic.
Dee and Devens both talked about them both saying they’d never play Big Brother. And Devens mentioned an interview he did saying the fandom for Big Brother is toxic. Devens said, “Now I love the fans.” Dee said that clip’s been reposted by now.
Dee agreed they’re a little crazy. Devens then talked about them tearing apart people in Big Brother. Devens said by the end of the season, the fandom hates everybody. Dee and Devens agreed they are both probably getting torn up right now on X.
Big Brother: Drew and Yash Scatter Lies
By the way, Dee’s fooled. The other houseguests couldn’t hear Drew and Yash’s deal making at the end of the POV comp. The guys told Dee they were arguing and are happy they fooled her. Drew and Yash seem to have made a 2-person ceasefire deal.
Let’s talk about the Culture alliance of Yash, Devens, Taylor, and Dee. And Yash said there’s never been an alliance like that that included an Indian and a Hispanic, a Black person and a white person.
BB28 Block Pouty (not Party)
Dee and Drew were goofing off in the bathroom and Melody shrieked at Drew twice to shut up. Barrett also got irritated and was pouting around. Drew’s fine because he won veto and got himself off the block. Taylor knows she’s safe.
Barrett and Melody know they’re the ones at risk and are losing it. Speaking of the way Melody treats Drew, his dad Buzz commented on that topic. He said people ask if I’d like Melody for my son Drew outside the Big Brother house.
Buzz said, “I would support whatever Drew chooses on one condition. Watch the entire season first.” Also Dee and Devens are really working on their jury vote with Taylor because they are helping clean the kitchen.
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