Taylor Frankie Paul is stepping further away from the spotlight after announcing her exit from “The Secret Lives of Mormon Wives.”

The reality star has now wiped her Instagram feed and handed her social media accounts to her assistant. The move comes days after Taylor announced that she no longer wanted to continue with the Hulu series.

Taylor Frankie Paul has been part of “SLOMW” since its first season in 2024. Her time on the series has increasingly been surrounded by cast conflict and controversy, including tensions following her reported legal issues involving ex Dakota Mortensen.

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Followers noticed the change on Wednesday, September 23, when Taylor’s Instagram feed suddenly had no posts. Her bio also revealed that someone else would temporarily be handling the account. It read, “Assistant here @madshellander running her account for a bit.”

Taylor’s assistant, Maddy, later explained the change through an Instagram Story. “Hi guys, I’m Maddy—Taylor’s assistant. I will be helping her with socials for a bit,” she wrote. She added that followers could continue sending inquiries through Taylor’s direct messages.

Maddy also defended her role after criticism over a glimpse into her workday. She explained, “I’m here to help Taylor however it may be that day.”

She added that there was “much more that goes on outside of social media” before asking people not to judge their daily activities. The social media move follows Taylor’s announcement that she was leaving the reality show. 

The 32-Year-Old’s Exit From ‘SLOMW’ Came With Fan Support

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Taylor announced her departure from “The Secret Lives of Mormon Wives” on September 21. She thanked the networks that supported her but said, “I don’t desire to move forward like this.” She also explained that she had previously been willing to leave so the other women could continue with less stress.

Her announcement arrived during a difficult period for the cast. Mikayla Matthews had already said she would not return if Taylor remained involved with the show. Mayci Neeley and Layla Taylor had also expressed uncertainty about returning for another season.

Fans responded to Taylor’s announcement with messages of support. One commenter wrote, “Fully support you, Taylor. I agree with everything here.” Another praised her for “finally addressing the bullying,” while others criticized how some cast members had treated her.

Taylor also accused some of her co-stars of collectively piling on after knowing what she had experienced, as per The Blast. She claimed there had been “ongoing abuse through the system the last 8 months.” She later described the situation as “bullying for months now” and said she was “relieved to be out.”

Taylor Frankie Paul’s ‘SLOMW’ Exit Not Enough To Lure Mikayla Matthews Back

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Mikayla has made it clear that Taylor’s departure has not changed her decision. She directly addressed questions about whether she might reconsider after Taylor announced her own exit. “To answer your question, no, I will not be coming back,” Mikayla wrote.

Mikayla said she was the only cast member who chose to leave for “MANY reasons.” She also said she had repeatedly taken her concerns to the “right people” and believed there were “so many things wrong with this situation.”

Her comments made clear that her decision was based on more than one issue. Mikayla also called for broader changes surrounding the situation.

“I think we can collectively agree that a lot of changes need to be made,” she said in an Instagram Story. She acknowledged that she could not predict what might happen in the future. Mikayla had previously tied her decision directly to Taylor’s return.

The Blast noted that she said she agreed to film because Taylor was not involved, but changed her mind after production allowed Taylor back. Mikayla said she told production, “Great, then I will not be participating, god bless and goodbye.”

The Reality Star Gets Pulled Into Another MomTok Clash

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Taylor’s show exit has also unfolded alongside another public disagreement involving Miranda Hope. The Blast reported that the latest exchange began after Emma Ellis posted a video featuring Chase McWhorter, Hope’s ex-husband. Taylor responded with an “I’m kind of jealous” sticker after McWhorter appeared to lean toward kissing Ellis.

Hope responded with a sticker calling Taylor a “B-tch” and accusing her of being on “some weird sh-t.” Other commenters also criticized Taylor’s response, with one calling it “Another day, another double standard from TFP.” Another person questioned whether Taylor was “on drugs again, sweetie.” The exchange drew mixed reactions from viewers. 

One commenter suggested Taylor meant she was jealous that McWhorter could kiss Ellis. Others were less sympathetic and questioned why she would comment publicly. The tension also revived questions about Taylor and Hope’s complicated history. Their friendship has previously been described as existing in a “gray area.” 

Taylor Frankie Paul’s ‘SLOMW’ Cast Tensions Run Deeper

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The latest clash is not the only disagreement Taylor has faced with members of her “SLOMW” circle. Earlier tensions with Mikayla included accusations that Taylor reminded the group she was responsible for certain opportunities.

Mikayla later described that behavior as “weaponizing and manipulating your following” to maintain a “power position.” The disagreements became more serious when production on Season 5 was halted amid Taylor’s legal troubles involving ex Dakota. 

A majority of the cast reportedly refused to film with Taylor during the height of the situation, creating a major roadblock for production. Mikayla had also previously said she wanted to keep her distance from Taylor and Dakota while the legal drama was unfolding.

Taylor was expected to appear in the first half of Season 5, but some of her scenes were reportedly filmed separately from the other cast members.

She reportedly entered a rehab facility while dealing with the fallout surrounding her split, court restrictions, and television career. Taylor has since spoken about trying to move beyond the distrust and resentment surrounding her recent experiences. She said she feels “at war” and is “afraid of who I can trust.” 

What will Taylor Frankie Paul do next?

The X-Men have spent decades trying to build a future for mutants, and the team from the ’90s animated series knows better than most how hard that can be. They’ve fought Sentinels, watched their friends become enemies, and kept fighting for Xavier’s dream even when the world gave them every reason to give up on it. Marvel’s next story for this version of the team puts that dream to a test that punching a villain won’t solve.

An incursion brings two Earths together, and neither survives the collision unless someone makes an awful choice first. Marvel has already lined up five one-shots exploring the final days before Secret Wars, each with a different set of heroes caught between their own world and someone else’s. The ’90s X-Men are about to discover that the people on the other Earth believe in the same future they do.

In X-Men ’92: Incursions #1, the team inspired by X-Men: The Animated Series faces the younger mutants of X-Men: Evolution. The one-shot, written by Craig Kyle and Christopher Yost with art by Salva Espin, goes on sale January 6, 2027. Marvel announced the Incursions lineup in August, but its latest release confirms the full schedule and brings this particular matchup back into focus. The older X-Men must save their Earth knowing that victory could mean destroying a world inhabited by younger versions of themselves.

‘X-Men ’92’ Is Bringing an Old Fan Debate Into ‘Secret Wars’

It’s a matchup that invites fans to compare two animated teams, but the premise gives them a much worse question to argue about. The X-Men: Evolution characters are still young enough to believe Xavier’s dream can work, while their older counterparts know how much they’ve had to sacrifice to keep pursuing it. If the ’90s team chooses its own survival, it may wipe out the very hope it claims to protect. And if it refuses to fight, both Earths could be lost. They aren’t the only mutants facing that choice. The separate X-Men: Incursions #1 arrives November 18, pitting the mutant-dominated reality of House of M against the future of Days of Future Past. Alex Paknadel and Jim Towe’s story leaves Kate Pryde just eight hours to decide which world survives. It’s the first of the five one-shots, setting the stakes before the animated teams meet in January.

Marvel’s other collisions are just as personal. Spider-Gwen faces Mayday Parker when Earth-65 meets Earth-982 in Spider-Man: Incursions #1 on December 9. A gamma-powered Fantastic Four and cosmic-powered Bruce Banner arrive in Fantastic Four: Incursions #1 on December 23, while January 20’s Avengers: Incursions #1 sends Thanos and his Cabal against a world where the founding Avengers are still together. Those fights offer no easy way out, but the X-Men ’92 issue has an especially nasty twist: this team has to decide whether the mutants it once was deserve a future more than the mutants it has become.

The Season 4 finale of Star Trek: Strange New Worlds gave us a glimpse of the future as two versions of the USS Enterprise crossed paths on either side of a black hole. Just one year from the current timeline, the Enterprise will officially be in the hands of Captain Kirk (Paul Wesley). While some of his crew will look very familiar with the likes of Uhura (Celia Gooding), Scotty (Martin Quinn), and Nurse Chapel (Jess Bush), Kirk’s Enterprise will introduce a few more characters we haven’t seen since The Original Series.

I recently sat down with Paul Wesley to discuss the final episodes of Strange New Worlds Season 4, and during our discussion about the finale, I asked what the early days of Kirk’s Enterprise might look like to him. He explained that these episodes — and the ones that await in Season 5, are giving him the tools to become the Kirk we know and love. He told Collider:

“First of all, I think all of these episodes with Reger, whatever, all these things that he’s experienced are giving him the tools to understand who he wants to be as a captain. And I think for me, when I took this role, one of my goals was to create an arc and an evolution from this guy who’s not necessarily sure of himself, doesn’t really understand who he is as a captain, to eventually becoming someone who understands who he is. I think all of these things — figuring out who his father is, understanding his relationship with his son, falling in love — all of these things allow him to better understand himself for better and for worse. In some ways, he’s scarred. In some ways he’s grown. I think all of those things hopefully culminate in this final season, in the finale, in seeing this guy that is oddly familiar to us.”

As we head into the final season — which is expected to bring the prequel series full circle and drop audiences off at the beginning of The Original Series — fans can also expect to meet a few more members of Kirk’s crew before the show ends. Late last year, it was revealed that Thomas Jane and Kai Murakami had been cast in the series as Bones and Sulu​​​​​​, respectively. Speaking about what made these two actors the right people to round out Kirk’s beloved crew, Wesley said: “The only thing I can say is that I know that some of the magic of TOS, The Original Series, was the chemistry that all those characters had with one another — all those actors had with one another, I should say — and I will say that when we were shooting, I felt that. I felt this kind of like, “Oh, this is working. He feels like Bones,” and “Oh, he feels like Sulu.” It just kind of clicked. We all kind of clicked in terms of just our chemistry on screen, and so I’m very excited for people to see it because I do think it has a similar kind of magical quality to it that is not necessarily explainable.”

‘Star Trek: Strange New Worlds’ Is Abandoning Its Winning Formula for Season 5

With a shortened final season of only six episodes, Strange New Worlds is officially putting one of its best features aside to make sure it lands the ship, so to speak, for the characters. When asked if there would still be big genre swings, Wesley told Collider, “I will say it’s a little bit not as much, because this is a show that is a huge ensemble and every character has to conclude their character arc.” Akiva Goldsman, speaking to Collider in another interview, also confirmed there would essentially be “no genre hopping” in Season 5. But as Wesley explains, Goldsman and co-showrunner Henry Alonso Myers will be using these final episodes to make sure these characters get a fitting send-off​​​​​​. “Because there are only six [episodes], there’s less flexibility to have those kinds of fantastical episodes, said Wesley. “It’s going to be more just like a conclusion to these wonderful characters that we all have been thankfully blessed with, because a lot of shows end and you don’t get to conclude things.”

Within these final episodes, Wesley is particularly proud of the work he’s done with Ethan Peck to fill out the early years of Kirk and Spock’s relationship, a relationship that Wesley rightfully calls the most important in the franchise. Telling Collider what he’s most pleased with from his work on the series, Wesley said:

“It’s so hard to put that into words because there have been so many moments. But I will say, my friendship with Ethan [Peck] is very important, my friendship with Christie, and I think some of that shows onscreen. Some of the stuff that Spock and I do in the finale, frankly, the series finale, is really special because the Spock-Kirk relationship is arguably the most important relationship of the entire story, from all the Star Treks. I guess I’m a little partial to that, but I am proud of what we accomplished together on screen throughout this series.”

Wesley couldn’t end the conversation without giving Anson Mount his flowers for his work as Captain Pike. When asked about a time in these episodes where one of his castmates blew him away with their performance, Wesley was quick to praise the whole ensemble, saying, “It happens often. They’re all so talented, so it happens often. I’ve seen all of them do special things, very, very special things.” But much like Kirk himself, Wesley was particularly impressed with everything Mount brought to Star Trek’s original Captain. “I’m always amazed at Anson [Mount]’s ability to portray such a… I actually look at Anson, and I go, “Oh, wow, he’s a captain.” And I think in many ways, Kirk, as a lieutenant who’s around Pike all the time, takes a lot of Pike’s gravitas and his ability to lead and learn from that,” Wesley explained. “So, certainly me as an actor, I was able to look at Anson’s performance and go, “Oh, I want to do that. That’s how I want Kirk to be one day.”

The Season 4 finale of Star Trek: Strange New Worlds is now streaming on Paramount+. Season 5 is expected to air sometime next year. Stay tuned at Collider for more.

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Release Date

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2022 – 2027-00-00

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Paramount+

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Showrunner

Henry Alonso Myers, Akiva Goldsman

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Directors

Dan Liu, Amanda Row, Maja Vrvilo, Akiva Goldsman, Dermott Downs, Eduardo Sánchez, Jeffrey W. Byrd, Jonathan Frakes, Jordan Canning, Leslie Hope, Valerie Weiss, Sydney Freeland, Christopher J. Byrne, Rachel Leiterman

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Onitra Johnson

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Thrillers tend to focus on the plot, engaging readers with clever twists, mysterious characters, and relentless pacing. However, the genre’s best novels serve up stellar prose alongside the tense storytelling; indeed, they are finely constructed on a sentence-by-sentence level.

With that in mind, this list looks at some of the best-written thriller books of the last quarter-century. Some blur the boundaries between literary fiction and genre writing, while others incorporate elements of horror or historical fiction. Despite their differences, all the titles below boast exceptional technical skill.

‘My Sister, the Serial Killer’ (2018)

Image via Doubleday

“The most loving parents and relatives commit murder with smiles on their faces.” Korede is a hardworking nurse whose younger sister Ayoola has an alarming habit of killing her boyfriends, allegedly in self-defense. Each time it happens, Korede quietly helps dispose of the evidence, convincing herself that protecting her family is the right thing to do. However, that fragile arrangement begins collapsing when Ayoola develops an interest in the man Korede secretly loves. Korede grows increasingly concerned that he will be her sister’s next victim.

It’s an intriguing premise that Nigerian author Oyinkan Braithwaite spins into a tense dark comedy rippling with psychological tension and barbed social commentary. This debut novel earned rave reviews and took home the 2019 Los Angeles Times Book Prize for Best Mystery/Thriller.

‘Where the Crawdads Sing’ (2018)

Image via G.P. Putnam’s Sons

“There are some who can live without wild things, and some who cannot.” This one was adapted into a so-so movie starring Daisy Edgar-Jones, though the original novel is a lot stronger. The story alternates between Kya Clark’s isolated childhood in the marshes of North Carolina and the later investigation into the death of local celebrity Chase Andrews. As the timelines gradually converge, we come to understand the protagonist’s years of loneliness and quiet observation.

Along the way, Where the Crawdads Sing melds several styles and subgenres, including drama and coming-of-age, all of them united by the expertly sustained murder mystery. It’s a tricky balancing act that author Delia Owens pulls off with aplomb. She also excels at her descriptions of nature, practically turning the marsh into a character in its own right. Not for nothing, the book was a runaway success, selling well over 18 million copies.

‘The Girl with the Dragon Tattoo’ (2005)

Image via Norstedts Förlag

“People always have secrets. It’s just a matter of finding out what they are.” Published only after author Stieg Larsson‘s death, The Girl with the Dragon Tattoo was an immediate global sensation, hugely reshaping thriller writing in the late 2000s. The plot pairs journalist Mikael Blomkvist with the brilliant hacker Lisbeth Salander as they reopen the decades-old disappearance of Harriet Vanger, a mystery that has haunted one of Sweden’s wealthiest families for generations.

Harking back to the great mystery tradition, the plotting here is masterful, loaded with misdirection and subtle clues that first appear insignificant but later turn out to be crucial. Complementing this, the prose style is economical and punchy, written in plain language and deploying a dry but effective procedural tone. It’s brisk and clear and keeps the pages turning the whole way through.

‘Gone Girl’ (2012)

Image via Phoenix

“Like a child, I picture opening her skull, unspooling her brain and sifting through it…” Gone Girl has already cemented its reputation as one of the most impactful thrillers of the century so far. It begins with the disappearance of Amy Dunne on her fifth wedding anniversary, leaving her husband Nick under immediate suspicion. Competing narratives emerge, and hidden motivations come to light, forcing readers to reconsider everything they believed they understood about both characters.

The book plays the audience like a fiddle, hitting us with red herrings and shocking narrative switcheroos, and keeping the psychological tension at a fever pitch. The writing style is sharp and cynical, almost cold to the touch, filled with dark humor and sharp cultural critique. The best example is the iconic “Cool Girl” monologue, which is masterful even without Rosamund Pike‘s brilliant delivery.

‘A Brief History of Seven Killings’ (2014)

Image via Riverhead Books

“Reason is for rich people. We have madness.” Although it extends far beyond conventional thriller boundaries, A Brief History of Seven Killings contains enough political intrigue, assassination plots, criminal conspiracies, and white-knuckle action to please the genre’s fans. Inspired by the attempted assassination of iconic singer Bob Marley in 1976, the novel follows an enormous cast of politicians, gang leaders, journalists, intelligence operatives, and ordinary citizens as decades of violence reshape both Jamaica and the wider world.

Along the way, the writing style effortlessly shifts between several distinct narrative voices, each possessing a singular rhythm and vocabulary. It’s symphonic and energetic, full of stream-of-consciousness and unfiltered, racing thoughts. The imagery is larger than life, too, making the characters and settings (and the unflinching violence) practically leap off the page. It’s all quite musical, influenced by reggae and hip-hop.

’11/22/63′ (2011)

Image via Scribner

“We never know which lives we influence, or when, or why.” 11/22/63 ranks among the very best of Stephen King‘s 2010s output, confidently blending thriller mechanics with time travel, historical fiction, and romance. In it, English teacher Jake Epping discovers a portal leading to 1958. Presented with the opportunity to prevent JFK‘s assassination, he embarks upon a mission that becomes far more complicated than he ever imagined. Every attempt to alter history creates unforeseen consequences, and the past itself appears determined to resist being changed.

This premise could easily have crashed and burned into a pulpy mess, yet King pulls it off gracefully, resulting in one of his most enjoyable and well-rounded stories from that period. The main characters are compelling and likable, the plot is always engaging, and, despite the immense narrative ambition, the emotional weight never falters, even across 800-plus pages.

‘The God of the Woods’ (2024)

Image via Riverhead Books

“He liked to trick people, to confuse and disorient them until they lost their bearings, and their minds.” The God of the Woods is the most recent novel by Liz Moore, who also wrote Long Bright River. Set around an Adirondack summer camp in the 1970s, the story begins with the disappearance of thirteen-year-old Barbara Van Laar, whose older brother vanished under similarly mysterious circumstances years earlier. Investigators, family members, camp staff, and locals become entangled in the search, dredging up secrets and traumas that have shaped the community for decades.

What we have here is an unusually intelligent crime novel, one that combines expert pacing with genuine psychological depth. Rather than relying on constant twists, the novel patiently builds suspense through layered perspectives, carefully revealed history, and richly developed relationships. Moore’s handling of multiple timelines is particularly impressive as well.

‘In the Woods’ (2007)

Image via Penguin Books

“I had learned early to assume something dark and lethal hidden at the heart of anything I loved.” This psychological mystery (Tana French‘s first book) swept the thriller awards circuit in 2008, including winning an Edgar Award. It follows Dublin detectives Rob Ryan and Cassie Maddox as they look into the murder of a twelve-year-old girl in the same woods where, twenty years earlier, two of Rob’s s childhood friends disappeared without explanation. Rob himself was found traumatized and unable to remember what happened.

French builds this setup into a truly haunting thriller, nimbly fusing police procedural and character study. Perhaps most of all, In the Woods stands out from most crime novels thanks to its three-dimensional characters, who react to their circumstances in believable ways. It also paints a vivid, immersive portrait of contemporary Ireland, another element that gives the book a lot of personality.

‘Mystic River’ (2001)

Image via William Morrow

“The person you love is rarely worthy of how big your love is.” Many readers will know this one from the phenomenal film adaptation directed by Clint Eastwood. Mystic River is the magnum opus of author and screenwriter Dennis Lehane, who also penned Shutter Island and Small Mercies. The novel revolves around childhood friends Jimmy Marcus, Sean Devine, and Dave Boyle, whose lives were permanently altered after a traumatic event in their youth.

When Jimmy’s teenage daughter is murdered decades later, the investigation forces all three men to confront painful memories they have spent years trying to bury. This sets the stage for a heartbreaking mystery/drama hybrid, one that at times feels like a Greek tragedy set in a suburban setting that’s both simultaneously familiar and alien. It’s melancholy and thematically dense, with so much to say about stolen innocence, tribal loyalties, and the way violence propagates across generations.

‘London Falling’ (2026)

Image via Doubleday

“If you misstepped on a slick cobble after a night out drinking, the black water could suck you under in an instant.” Although it’s a work of nonfiction, London Falling reads like the tensest thriller. Written by Say Nothing‘s Patrick Radden Keefe, it’s an investigation into the death of the ordinary English teenager Zac Brettler, who leaped into the River Thames in 2019. However, as the author digs deeper, he finds out that Zac had been hanging out with several potentially unsavory businessmen… and telling them that he was the son of a Russian oligarch.

In piecing together the chain of events that led up to Zac’s death, Keefe constructs a grim but compelling portrait of an entire city, one where crime and corruption roil beneath the surface, and the authorities frequently turn a blind eye to wrongdoing by those with money and power. It’s a remarkable, compulsively readable book but also a rather sobering and somber experience.

Apple TV has thoroughly earned its illustrious reputation as the home for sci-fi series that, in terms of quantity and consistent quality, one can’t find on other streamers. By and large, the platform’s flagship shows (Pluribus, Severance, Silo) and their hidden gems (Constellation) are unconventional, cerebral, daringly complex, and meticulously constructed. Although creative partners Jantje Friese and Baran bo Odar have worked with Netflix thus far in their joint career, the pair’s television projects deserve to be in the same conversation as their Apple TV counterparts — as visionary masterpieces simultaneously perfecting and reinventing the genre’s fundamentals.

In 2022, the unpredictably ingenious pair followed up Dark, their existential time travel thriller, with the formidable 1899. Equal parts period piece, sci-fi horror, and murder mystery, 1899 concerns itself with the convergence of hundreds of 20th-century strangers aboard a state-of-the-art steamship bound for New York. Friese and bo Odar’s second series is perhaps the first legitimate successor to Lost: a one-season wonder, it’s enthralling, sinister, marvelously perplexing, intricate enough to warrant viewers’ rapt attention, and — despite those superlative descriptions — halfway to indescribable.

What Is ‘1899’ About?

Each passenger on the Kerberos is trying to escape the secrets, scandals, and traumas associated with their respective pasts. Their journey toward freedom barely begins before the Kerberos unexpectedly discovers its sister vessel, the Prometheus, which vanished during its Atlantic-crossing voyage. As soon as the ocean liners make contact, life aboard the Kerberos descends into a living nightmare. Inexplicable deaths, unfathomable triangle symbols, and unreliable narrators plague the trapped passengers at every turn, all while a looming observer orchestrates the horrors for reasons unknown.

1899 truly is a case where the less you know, the better your viewing experience will be. Indeed, Friese and bo Odar’s sophomore enterprise is an experience of the highest order, and a tremendous endeavor across every department. 1899 drips with striking efficiency and confidence, from the series’ exquisite visual identity (opulent sets, distinct costumes, one of the most cinematic and organic uses of the Volume to date) to the partners’ command over atmosphere. Claustrophobia and paranoia increase by strategically agonizing degrees until the dread feels unshakable, especially once 1899 evolves from its opening premise into something else entirely — many things, technically, given the genre-blending between historical fiction, supernatural mystery, hard sci-fi, and existential drama.

‘1899’s Uniqueness Succeeds on Virtually Every Level

1899 isn’t a case of showrunners whose metaphorical eyes are bigger than their stomachs, however. The “aha!” payoff moments for this series’ calculatedly interdependent structure are worth every penny. Friese and bo Odar make each second of their eight episodes count, dispensing enough clues to stoke tension but never spinning their narrative wheels until they turn circuitous. Nor do they rush breakneck toward the jaw-dropping reveals at the expense of either their philosophical concerns or the ensemble’s character depth. On both fronts, the turn-of-the-century setting and multicultural cast encourage a worthwhile exploration into the manifold ways geopolitics, forced social propriety, class stratification, religion, race, gender, and sexuality intersect.

Like too many ambitious modern epics, 1899 was cancelled before its time. Friese and bo Odar had mapped out two more seasons before Netflix swung the show’s death blow, which makes this loss heavier; going off Dark‘s three-season structure, we can assume that the duo’s uncontained uniqueness was properly calibrated to the story’s precise needs. Too many questions are left unanswered, but 1899 is immensely rewarding because its brain-melting experimentation challenges traditional TV structures — while remaining more addictively accessible than one might think. These tumultuous waters are worth traversing again and again.

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1899

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Release Date

2022 – 2022-00-00

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Network

Netflix

Directors

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Baran bo Odar

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• 

  Andreas Pietschmann

  Eyk Larsen

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• 

  Emily Beecham

  Maura Franklin

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“The Real Housewives of Rhode Island” star Alicia Carmody is grateful to be part of the beloved franchise 20 years after its inception. During an exclusive interview with The Blast, Carmody not only reflected on filming an episode of “The Real Housewives Ultimate Girls Trip,” but she also revealed which Bravolebrity she was most excited to link up with at Bravo Fan Fest in Charleston.

Alicia Carmody Reflects On Joining ‘The Real Housewives’ Franchise In Year 20

Carmody will appear in the season finale of “RHUGT: Roaring 20th” alongside her “Rhode Island” co-stars.

She’s one of the 80+ “Real Housewives” personalities who filmed scenes for the tribute season, and while reflecting on it during an exclusive interview with The Blast to promote her new partnership with Ferrero, she admitted the moment was too surreal.

“It was like a dream, like I actually was like, ‘Pinch me, wake me up, how is this happening?’” she said. “I just took it all in, and I was just blessed.”

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Life Has Been ‘Wild’ For Alicia Carmody Since Becoming A ‘Real Housewives’ Cast Member

“The Real Housewives of Rhode Island” became an instant hit amongst Bravo watchers, leading to an almost-immediate second season renewal.

With all the love pouring in from fans, it’s no surprise that Carmody’s life has been a bit chaotic since the show’s premiere.

“I will walk into a Whole Foods or shopping or my daughter’s school and people will scream, ‘Cracker!’ It’s just wild to me that people scream cracker, and I jump for joy,” she told us.

• Alicia Carmody bumped heads with Rosie DiMare during the first season of “RHORI.”
• Liz McGraw clapped back at “preposterous” claims she left the show over criminal past.
• Vicki Gunvalson called the “RHORI” ladies “very aggressive” while filming “RHUGT.”
• Andy Cohen praised the Rhode Island ladies in March 2026: “They are the drama.”
• Kelsey Swanson defends herself against “escort” claims at the “RHORI” reunion.

Alicia Carmody Is Looking Forward To Her Appearance At Bravo Fan Fest

To celebrate her first year as a “Real Housewives” star, Carmody will link up with other Bravo personalities at Bravo Fan Fest in Charleston, South Carolina.

Joining her will be talent from “RHOA,” like Angela Oakley, Ava Dash from “Next Gen NYC,” “Real Housewives of Dubai” star Chanel Ayan, and “Southern Hospitality” OG Joe Bradley.

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But who part of the star-studded lineup is Carmody most excited to connect with? “I love them all,” she said. “I’m so excited to see Teresa [Giudice], Dolores [Catania] again. I love “Southern Charm,” to meet these people. I love them all for different reasons; it depends on the day.”

Carmody Partners With Ferrero To Bring ‘Adultoween’ To Life

Elsewhere in our interview, Carmody, the reality star and mother of one, opened up about her partnership with Ferrero, one of the world’s largest sweet-packaged food businesses and the company behind beloved treats like Nutella, Kinder, and Tic Tacs.

As part of their partnership, Carmody is promoting the company’s “Adultoween” campain, reminding adults that Halloween is as much for grownups as it is for kids.

“You’re never too old to celebrate Halloween! So, this year, my candy jars are full, my dolls are on display, my costume is on, and Ferrero treats are right alongside my bag of crackers,” she said. “Partnering with Ferrero means showing adults everywhere that Adultoween is a VIBE!”

This Halloween, Ferrero is also fielding its third consecutive Adultoween survey to capture the latest trends and findings on this year’s Halloween season and traditions.

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“Adultoween started as an insight the Ferrero Group discovered and has grown into a cultural
movement,” said Chad Stubbs, Chief Marketing Officer of Ferrero North America. “We’re excited to see where this year’s trends land and how they’ll shape the way we engage and show up for our fans in bigger and better ways this Halloween and beyond.”

Carmody Reveals This Year’s Halloween Costume

In last year’s findings, Ferrero found that 62% of Americans base their Halloween costumes on pop culture figures, including singers, actors, and even some reality stars, and according to Carmody, that’s one spooky season trend she can totally get behind. “I love dressing up as pop culture,” she told The Blast. “This year, I’m dressing up as one of my favorite Rainbow HIgh Dolls, Bella Parker. So, I love it.”

If things had gone as Rosie ‘O’Donnell planned, she would have used her last night as guest host on “Jimmy Kimmel Live!” to deliver a powerful message.

When O’Donnell temporarily took the reins of the daytime show, she did not hide her known displeasure with Donald Trump and blasted him at every opportunity. 

As part of her advocacy efforts, the former “The Rosie O’Donnell Show” star also hoped to use the platform to feature alleged victims of Jeffrey Epstein. However, that idea never materialized.

Rosie O’Donnell Says Her ‘Epstein Survivors’ Segment Was Scrapped From ABC Show

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O’Donnell recently opened up about why she wanted to include the abuse victims, and explained why the topic mattered to her. 

“My idea for the last night was to do the Epstein reveal, and they said that they were certain that could not happen,” O’Donnell shared in the latest episode of “The Jann Arden’s Podcast.”

After being told the segment would not move forward, the actress took a different route and shared the project on social media instead. According to the broadcaster, eight alleged survivors participated, joining forces after she shared with them why speaking out is necessary.

“We met, and I told them about my history and why it means so much to me and the human race and why this is of vital importance,” O’Donnell added. 

In the video O’Donnell posted, all the women gathered to sing Helen Reddy’s “I Am Woman.” In the caption, O’Donnell explained that the post was made “after the corrupt AG (Trump’s former personal lawyer) implied that he did not believe men accused of sex abuse would be charged as a result of the Epstein files – despite mountains of evidence.”

Rosie O’Donnell Slams Donald Trump On Her Exit Episode 

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Although O’Donnell did not bow out the way she initially planned, she still used her last appearance to send a message tp the president.

As The Blast reported, the comedian opened her remarks by revisiting the nickname Trump once gave her, “Nasty Rosie O’Donnell.” She then launched into a musical critique, using the Irish classic “Danny Boy” to highlight a range of issues she associates with Trump.

Her lyrics referenced his polling numbers, comments about inflation, handling of tensions involving Iran, and the return of measles outbreaks.

For her final comeback, she used Trump’s own campaign slogan back at him. Singing directly to him, she quipped, “Since we all know you’ll never be Obama, why not resign and make this country great again?”

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O’Donnell’s final appearance was not the first time she targeted Trump during her brief run on the program.

According to The Blast, the 64-year-old kicked off her guest-hosting duties with criticisms aimed at Trump, warning viewers that her appearances would feature jokes tied to their decades-long feud.

The host went down memory lane, recalling that she left the States primarily because of the political climate, after reading Project 2025. She continued, saying that even though she initially asked her son not to share the news, he went ahead and did it. 

The TV personality recalled her boy telling a classmate they were moving because “the President of the United States hates my mother.” O’Donnell laughed it off, adding that she probably dislikes him even more.

O’Donnell Has A History Of Taking Down The World Leader On Air

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O’Donnell’s latest remarks are only the newest chapter in a feud that has unfolded publicly for decades. A video from 2006 has resurfaced showing O’Donnell blasting Trump during an appearance on “The View.”

At that time, Trump was famously known for championing NBC’s “The Apprentice.” Per The Blast, O’Donnell questioned his moral standing, referencing his history of infidelity while weighing in on his reluctance to give Miss USA Tara Conner a second chance after her own public scandal.

She pointed out his marriages and alleged affairs, noting that he even had children during those relationships. 

Tucker Carlson Claims Trump Wanted Epstein Files Kept Hidden

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As O’Donnell continues her beef with the 80-year-old and spotlights the alleged survivors of Epstein, renewed attention has fallen on Trump’s connection to Epstein files. 

Tucker Carlson recently claimed that Trump supported keeping the records from becoming public. Carlson revealed that he warned Donald Trump that keeping Epstein‑related files hidden could backfire politically. However, Trump gave a “bunch of answers” as to why it should remain out of public view.

“The order to keep it under wraps came from Trump,” Carlson claimed, according to The Blast. “When I asked him why, he gave me this long, emotional explanation, saying it was all part of a plot against him, like Russiagate.”

Taylor Swift gave fans something new to celebrate on Tuesday when she unveiled “Patient Zero,” her upcoming single. 

However, instead of spending the day dissecting lyrics, theories, and release details, a surprising part of the rollout quickly took center stage. 

Within minutes of the announcement, attention shifted from the music to the cover art, sparking a wave of online debate that turned what should have been a straightforward reveal into an unexpected conversation about image editing.

Taylor Swift’s New Single Announcement Quickly Loses The Spotlight

For most artists, a new music announcement is designed to keep the focus firmly on the song. In Taylor Swift’s case, however, the visual accompanying “Patient Zero” became the bigger talking point.

The image showed the singer leaning against a concrete wall while wearing a high-neck sleeveless dress. 

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Rather than discussing the single itself, fans immediately began scrutinizing the photograph, with many pointing to what they believed were heavy editing choices. 

As the Daily Mail revealed, some viewers focused on the area around the Grammy winner’s arm and side, arguing that the image appeared overly smoothed and lacked natural definition.

The criticism came from both casual observers and devoted supporters. One person wrote on X, “The Photoshop on Taylor Swift’s ‘Patient Zero’ cover is horrendous… girl, you’re a billionaire, please get a professional photographer.” 

Another questioned the editing, saying, “I’m so sorry but why does the side of her look so poorly edited? It looks way over-airbrushed and almost AI.”

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Swift Fans Defend The Star While Criticizing The Artwork

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Interestingly, many of the loudest critics made it clear they were still firmly in Taylor Swift’s corner. 

Rather than attacking the music icon, much of the backlash targeted whoever handled the final image.

One fan noted, “No shade, but they edited her armpit to HELL,” before adding, “I love Taylor, by the way.” Another social media user took issue with multiple aspects of the cover, listing “The FaceApp blur, the badly cropped picture, the tilted horizon… she just pissed me off so bad.”

Others approached the situation with humor. A supporter joked, “I can edit you better for free on Canva,” while affectionately referring to Swift as “mom” and lamenting, “They Photoshopped your shoulder out of existence.”

Even amid the criticism, many fans emphasized that the artwork would not diminish their excitement for the music itself. One supporter summed up the mood by writing, “The Photoshop is so horrendously bad, but god, Tay, you’ll shine through forever and always.”

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Taylor Swift Countdown Fuels Frenzy Over Secret Announcement

About a year ago, you guys did a truly unfathomable thing. Something that completely blew my mind… You gave The Life of a Showgirl the biggest first week for an album in history. I took a trip to Sweden to celebrate with Max and Shellback, my two collaborators on this album.… pic.twitter.com/zFDgFLpbAd

— Taylor Swift (@taylorswift13) September 23, 2026

The conversation around “Patient Zero” did not begin with the cover art. Days before the single was officially unveiled, Swift had already sent fans into detective mode with a series of cryptic online changes that suggested something bigger was coming.

According to ELLE, the star quietly launched a countdown on her official website that was set to expire at 2 p.m. ET on Tuesday, immediately triggering speculation across the fandom. 

Fans also noticed a third document beneath her statement about regaining ownership of her masters. At the same time, Swift altered her Instagram bio, replacing several “O”s with zeros so it read, “And, baby, that’s sh0w business f0r y0u.” 

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The clues did not stop there. Swifties pointed to similar changes on Apple Music and began debating whether she was preparing to announce a deluxe album, a rerecording, or an entirely new project. 

Some even revisited the Easter eggs from her recent Emmy Awards sketch, where fans believed she had planted hidden clues. 

When the countdown finally ended, fans got their answer. Swift revealed she would be releasing “Patient Zero” on Friday, confirming that weeks of theories had indeed been leading somewhere. 

More From The Blast

Swift Expands ‘Showgirl’ Era With Four New Songs

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As it turned out, “Patient Zero” was only part of the surprise. 

Less than 24 hours after announcing the single, Taylor Swift revealed “The Life of a Showgirl: The Encore,” an expanded edition of her hit album featuring four additional songs: “Patient Zero,” “Cleveland!,” “Pink Clouding,” and “Babylon.” 

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The project is scheduled for release on September 25. In a message to fans, Swift explained how the new music came together.

“About a year ago, you guys did a truly unfathomable thing. Something that completely blew my mind…” she wrote on Instagram, adding, “You gave The Life of a Showgirl the biggest first week for an album in history.” 

Swift said she later traveled to Sweden with collaborators Max Martin and Shellback to celebrate the album’s success. 

“Really we just wanted to reflect and take in how grateful we were for the moment we were in, but there was a studio there and we did what we do when we feel anything at all: We wrote more songs,” she added.

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Swift concluded, “I hope you love them, because they were born out of pure gratitude for your exuberance for and celebration of the album we made.” 

Taylor Swift Reacts To Historic MTV Honor

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The mystery surrounding Swift’s countdown may have ended with “The Life of a Showgirl: The Encore,” but another major announcement soon followed — one that had nothing to do with a new song.

As PEOPLE revealed, MTV revealed on Monday that Swift will receive the inaugural Artist Director Honors at the 2026 MTV Video Music Awards, making her the first artist ever selected for the newly created recognition. 

According to the network, the award honors musicians whose work behind the camera has helped expand the possibilities of music videos and visual storytelling. 

MTV described the honor as celebrating artists who have “pushed creative boundaries and developed a clear directorial voice.” 

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The announcement also comes as Swift heads into the VMAs with a massive presence across multiple categories, including nominations for Video of the Year, Best Direction, Artist of the Year, and Best Album.

Robert Pattinson may already be Gotham’s Batman, but some fans are now wondering what he could do on the other side of the cape and cowl.

Pattinson’s performance in A24’s upcoming Primetime has sparked comparisons to the Joker, with clips from the film circulating across social media ahead of its theatrical release. Pattinson stars as a fictionalized version of To Catch a Predator host Chris Hansen, bringing an eccentric and increasingly unsettling energy to the role.

That performance has apparently been enough to convince some fans that Pattinson could have made a memorable Clown Prince of Crime. One viral post suggesting his Joker could have been “generational” has accumulated more than seven million views.

When Entertainment Weekly asked Pattinson about the comparisons and the possibility of playing the iconic DC villain, the actor quickly pointed toward the man already occupying that corner of Gotham.

“Oh, Jesus. I mean, it’s such a great part…but Barry’s the man.”

Pattinson said.

Pattinson was referring to Barry Keoghan, who made a brief appearance as the Joker at the end of Matt Reeves’ The Batman. Keoghan also filmed a much longer deleted sequence in which Pattinson’s Batman visits the villain at Arkham while investigating the Riddler.

Robert Pattinson in ‘Primetime’. Credit: A24

Pattinson had nothing but praise for Keoghan while recalling their time filming the scene together.

“I loved doing that scene with him so much,” Pattinson said. “I love Barry as well. I think he’s such a phenomenal actor.”

Pattinson made his preference clear, adding that he wants to see Keoghan continue with the character.

“But yeah, I want him to do it. I’m much more interested in that.”

Whether Keoghan will return as the Joker in The Batman: Part II remains officially unclear. The character’s limited appearance in the first film, along with the subsequently released deleted scene, has fueled speculation about his future in Matt Reeves’ Gotham for years.

For now, Pattinson seems perfectly happy remaining on Batman’s side of the equation.

Primetime arrives in theaters September 25, while The Batman: Part II is currently scheduled to hit theaters February 18, 2028.