Actor Shamier Anderson is best known for his roles in Syfy’s Wynonna Earp as Xavier Dolls, the bounty hunter known as The Tracker in John Wick: Chapter 4, and as Trevante Cole in Apple TV’s stunning sci-fi series Invasion. Now, he’s stepping behind the camera for his directorial debut, Call Me Tim, in which Anderson took full creative control of the 18-minute short film, serving as writer, producer, director, and lead.

Call Me Tim is a deadpan mockumentary that centers on a city outsider who purchases a rural hunting shop, inadvertently causing a rivalry with a local animal rights activist.

In this interview with Collider, Anderson stops by the Collider Media Studio, presented by Campari and The Cayman Islands, to discuss how he initially embarked on this new creative endeavor, taking us from the script to filming with friends at home in Toronto.

“I’m embarking on a new journey, Steve, where, as a creative, you kind of get bored, and you start doing things in your off time, so I wrote a script. Not only did I write a script, I decided to shoot this script and made it a short film, and this short film is called Call Me Tim. In short, it’s following the Blackest redneck in the north, and I play the Blackest redneck. It’s a comedy, clearly. It’s not a drama, because that would be very bad — or maybe it’d be very good.

It was a passion project, because when I’m not working on set and doing these big, big franchises and big hundred-million-dollar movies, I like to be on the farm. I like to be in the wilderness, I like horses, I like country shit — I got shit-kickers on, which is cowboy boots, for those who don’t know that specific term — and it was important for me to capture that. So, I made a short film with my friends, shot it at home in Toronto for two or three days, edited it, I submitted it to a festival, and I got into the Toronto International Film Festival on the Shortcuts program, and we sold out both nights, which is amazing.”

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Anderson goes on to map out his plans for the future, for fans to see Call Me Tim in a longer format, and the shows that inspired him, explaining:

“The dream is I’m a big fan of shows like Letterkenny with Jared Keeso, Shoresy, Trailer Park Boys, a big fan of Christopher Guest and all the mockumentaries he’s made. So, my North Star is to turn this into a long format, and I think Hollywood consumers want to see things fairly quickly, and instead of me pitching a script, which is the traditional way of doing things, I used this proof of concept to go into the market. And surprisingly, I’ve been getting a lot of calls about this from some high-level producers that want to meet with me on this.

So yeah, I definitely want to turn Call Me Tim into a series, and hopefully, the next time we talk about it, ‘Shamier, Netflix just bought your show in a competing situation, and Apple can’t get it,’ type of thing. Knock on wood, hopefully.”

The filmmaker and actor also reflects on why bringing his debut to TIFF is so special, sharing it with his family, and plays a fun round of Get to Know Shamier Anderson! Check out the full conversation in the video above, with time codes provided below.

• 03:49 – Shamier Anderson answers a series of questions like what he collects and his go-to karaoke song!
• 09:02 – Anderson reflects on his time in the John Wick franchise.
• 10:16 – He discusses the ending of Apple TV’s Invasion and why he’s okay with it.
• 11:38 – Anderson introduces his short film Call Me Tim.
• 12:52 – He discusses writing, directing, producing, and starring in the short.
• 14:24 – Anderson explains the writing process and deciding on the film’s runtime.
• 15:34 – He shares the story of recording his mother and aunt’s initial reactions to the short.
• 16:32 – Anderson reveals his hopes for the future of Call Me Tim.
• 17:49 – Anderson shares what premiering his directorial debut at TIFF means to him.
• 19:57 – Anderson teases his upcoming projects, including a feature with Netflix.

Check out Collider for more updates from TIFF 2026.

Former Miss Jamaica is seeking accountability from the Miss Universe Organization following her traumatic experience at a competition last year. Dr. Gabrielle Henry says falling approximately five feet from a stage in Thailand left her with brain and other injuries. Now, she’s suing.

RELATED: Ouch! iShowSpeed Takes Hard Fall After Balloons Holding Him Pop Mid-Air During His 60 Million Subscriber Celebration (VIDEO)

Miss Jamaica Seemingly Fell HARD In Thailand

The incident reportedly occurred on Nov. 19, 2025, as Dr. Gabrielle Henry graced the pageant stage in Bangkok, Thailand. She was there for the preliminary portion of Miss Universe’s 74th competition. Henry wore a stunning, shimmery orange evening gown and was preparing to represent Jamaica on stage. All of a sudden, footage showed her body falling off the stage, face forward. Videos following the incident showed medical officials rolling Gabrielle Henry away on a stretcher. She missed the Miss Universe pageant finale the day after the fall and never made it to the finals. This, despite statements from the organization and its owner, Raul Rocha, that Miss Jamaica was in “good care” without “life-threatening injuries.”

What Does The New Lawsuit Against Miss Universe Claim? 

Less than a year after the fall, Dr. Henry is ready to tell her story and get her justice. According to PEOPLE, the former Miss Jamaica filed her lawsuit on Sept. 21 in the Delaware Superior Court. She listed the Miss Universe Organization along with several related companies in the paperwork. In her complaint, the beauty queen claims that she followed the rehearsal directions before falling near an unmarked, uncovered opening with lighting equipment. She doesn’t even remember falling and after hitting the bottom of her fall, she allegedly lost consciousness.

“I have no recollection of the fall,” Gabrielle Henry said. “I just know that the bottom of that hole was a concrete base.”

Her first memory post-fall was briefly waking up to her mother’s face. Ultimately, her injuries weren’t so simple. She stayed in the Bangkok hospital, including the ICU, for over a week from Nov. 19 through Dec. 10. Her brain was injured in the fall, including suffering bleeding around and between the brain and in the frontal lobe, which was also bruised. Also, she reportedly suffered from a fracture and facial lacerations. Amid returning to Jamaica, she needed help from a medical escort.

“I know for a fact I did not trip,” the former Miss Jamaica said. “I do think it could have been avoided.”

In her recent comments to media outlets, Gabrielle Henry described sustaining a brain injury as “one of the most traumatizing things.” Adding, “I would not wish it on my worst enemy.” 

Despite almost a year of recovery, Dr. Gabrielle Henry says she still feels pain that sometimes keeps her awake at night. She’s also allegedly had to relearn how to walk and undergo physiotherapy and medical monitoring. Professionally, the fall, she says, robbed her of an opportunity to represent her country.

“I’m filing this lawsuit now because accountability matters.”

How Is The Organization Responding?

Furthermore, Gabrielle Henry’s lawsuit claims the danger was avoidable, especially if someone had addressed it before she took the stage. Reportedly, she wasn’t the only one to complain about the stage and its lighting. She says the lighting itself made it hard to see the stage’s end. Allegedly, more lights were added around said stage following her fall.

Meanwhile, the Miss Universe Organization claims it hasn’t received the lawsuit, per Complex and PEOPLE. Previously, it claimed to have covered the former beauty queen’s medical, hospital and rehab expenses in Thailand and her escort back to Jamaica. However, it recently clarified that Henry has not made any separate requests for additional medical costs. She, in her lawsuit, said she has received little comms about her ongoing medical bills.

RELATED: Prayers Up! 23-Year-Old Woman Passes Away In Japan After Man Falls From Building Onto Her

Whew, Roommates! What’s your petty level when it comes to an ex? The internet thinks Russell Simmons might’ve just taken his OFF the meter with his latest message for Kimora Lee Simmons. The record executive hopped on social media with a few words for his ex-wife while sharing an AI video trend that has folks side-eyeing and asking, “What was the reason?” Kimora hasn’t responded to Russell’s just yet, but fans wasted NO time stepping in and calling out what they felt was a lil’ shade in Russell’s post.

RELATED: Kimora Lee Simmons Says Her Ex-Husband Russell Simmons Used To Credit Her For His Many Female Admirers (VIDEO) 

Russell Simmons Raises Eyebrows With AI Video Featuring Kimora Lee Simmons

Y’all know the internet LOVES a good trend! The latest one taking over social media has folks creating their own AI versions of Quavo and Takeoff’s viral performance of their hit single, ‘HOTEL LOBBY.’ Russell Simmons decided to join the fun on Instagram, but chileeee, he chose Kimora Lee Simmons as his wing woman. The video alone threw fans for a loop, but Russell’s message alongside it really left folks confused. He reflected on their marriage and friendship, writing, “We worked good as a team for 15 years of dating and marriage and Another 20 years as very close friends after..also as i hope you know.” 

From there, Russell congratulated Kimora on her new documentary, ‘Kimora Lee: On Her Own,’ which is currently streaming on Lifetime. But he didn’t stop there. Russell seemingly hinted that he might eventually tell his side of the story, too! Whew, it looks like some tea is brewing!

“I’m still available for my 3 godchildren and when my story is told i will only remember you fondly praying for your continued success. Congratulations on your new documentary and I hope ur next chapter is a home run,” he wrote.

Social Media Side-Eyes Russell’s Message For Kimora

Y’all already know once The Shade Room dropped Russell’s video and message, the Roommates went OFF in the comment section. Some folks said if they were Kimora, they would be popping on Russell over the post. Meanwhile, others felt he could’ve simply picked up the phone and called her instead of sharing his post.

Instagram user @sandeeworst wrote, “Lmaoo if I was her this would’ve pissed me off 😂😭😭” 

Instagram user @theelevatedlovergirl wrote, “I would be pissed if my ex husband put us in an AI video together 😭😭😭😭😆🤣🤣🤣🤣🤣” 

While Instagram user @piscesbrwn wrote, “Does Kimora know she did this collab? 😂😂” 

Then Instagram user @morgannrae_ wrote, “When Russell’s story is told, we’re all gonna be saying, ‘I can’t believe Uncle Rush went out like that.’”

Another Instagram user @choc__beauty wrote, “Come to the US and tell her 😁😁😁” 

Instagram user @nigguhsbeweird wrote, “One thing about social media, y’all run them trends in the damn ground 😂😂😂” 

Then another Instagram user @ourlove.abroad wrote, “He miss her. She need to gone head & move over there to Bali with Uncle Russ 😂”

Finally, Instagram user @shanae310 wrote, “He could have called her and told her this himself 😭😩” 

Russell & Kimora Previously Traded Words Online

Even though Kimora hasn’t entered the chat with a response to Russell’s latest post, they have traded words online before. Back in December, things between the Baby Phat queen and Def Jam Records founder got a lil’ spicy after Russell seemingly called Kimora out for capping! Russell appeared to question Kimora’s claim to PEOPLE that she doesn’t “really have a relationship with her kids’ fathers.” He fired back, saying he has continued to support her and their two daughters, Aoki and Ming Lee Simmons, and serve as a godfather to her other three children.

“I gave u $50,000 a month for 20 years. I was ur best/only friend. I’m the godfather to your other 3 kids, until one day you stole my stock. I have been fighting for my kids love and my bread ever since. You threatened that if I sued you, I would never speak to my kids again. There are two sides to every story.”

Kimora wasn’t feeling his clap back AT ALL! She quickly hit her Instagram Story with a message of her own and accused Russell of being the one who wasn’t telling the truth.

“My ‘girls’ are GROWN WOMEN! You know these are lies. Why are you typing from thousands of miles away in a non extradition country?” Kimora said, referring to his current living location in Bali. “Go negotiate and answer your accusers.”

RELATED: Oop! Kimora Lee Simmons Snaps At Russell Simmons After He Slams Her Claim Of Having No Relationship With Her Kids’ Fathers 

As a lifelong certified shorty, I’ve dealt with my fair share of shopping struggles. Each fall, I go through the same routine — spot something cute online, buy it, realize it’s way too long and ultimately fail to take it to the tailor. I’ve wasted more dollars than I’d care to count, so this year I’m doing thorough research and only spending my hard-earned dough on dresses I know are petite-friendly.

In my book, sharing is caring, and I wouldn’t be a very good shopping editor if I kept my finds to myself. Ahead, I’ve rounded up a list of petite-friendly fall dresses that really do flatter shorter frames. My top picks feature height-boosting details, just-right lengths and plenty of reviews that swear they won’t drag along the ground . . . even if you’re 5’0″ like me!

13 Petite-Friendly Fall Dresses That Flatter Shorter Frames

1. My Favorite: I swear I’ve seen the same collared sweater dress style on luxury retail sites, only those options cost hundreds more. The belted detail ensures this timeless, rich mom design is figure-flattering, and a 4’11” shopper gave it the most glowing review, joking that the look will “make you feel like taking over the world.” Sold!

2. Easily Adjustable: I like my mini dresses to hit well above the knee, which is why I look for options with adjustable waistlines, like this long-sleeved, cotton-blend option. The drawstring lets me customize the length while cinching the waist for a sleeker, slimmer look.

3. Fall Florals: Not every fall dress has to be knit. This stretchy brown-and-blue floral option is ideal for chilly but not cold weather, and it feels elevated enough for both the office and events. The style hits right near the ankles on petites, and pairs well with seasonal leather boots.

4. Ultimate Go-To: You know those ’emergency dresses’ you keep on hand because they work for just about anything? This PrettyGarden pick is about to be your new favorite. It’s stretchy, flowy and fall-friendly, thanks to its long sleeves. Plus, the maxi length isn’t too long for petites.

5. Samantha Parkington: Excuse the American Girl reference, but is this not your favorite doll’s signature look reinvented for 2026? I love the brown plaid print, which makes a statement on its own, letting you keep the rest of your outfit simple.

6. Comfy-Cute: While minis are known for making legs look longer, not every style is ideal for chilly fall weather. This soft, mock-neck dress is just as cozy as your favorite hoodie but much more elevated and fashion-forward.

7. Mom-Approved: If you’re too busy getting everyone else ready to plan your own stylish ‘fit, you’ll be happy to have this long-sleeve dress in your closet. Although it’s technically a midi, the dress delivers more of a maxi length on those with a shorter stature. It instantly reads as ‘comfy yet put-together;’ just add sneakers, and you’re out the door.

8. Fit-and-Flare: Take a break from ridiculously oversized dresses, and try an option that’s a tad more snug. This mini dress hugs the body, while the ruching disguises your middle section. Shoppers note the that length is neither too long nor too short on those who are 5’0″.

9. Perfectly Preppy: If you love the preppy polo look but aren’t into rugby stripes, this sweater dress captures that wealthy, collegiate vibe in a quiet-luxe way. It’s chunky and warm without swallowing up smaller frames.

10. Layering Essential: An easy, petite-friendly fall outfit idea? Layering a pinafore dress over a turtleneck or sweater. The straps on this one are easily adjustable, so you can create your perfect fit.

11. Khaki Cool: With a corset-like silhouette and a length that hits mid-calf, this petite-friendly dress is incredibly flattering and subtly slimming. The light brown shade is optional (there are other colors available), but it feels very autumnal and vintage-inspired.

12. Jean Queen: The beauty of a denim dress? It’s as versatile as your favorite jeans and never needs ironing. Some reviewers claim this long-sleeved Levi’s design seems a little short, but if you have short legs, that detail is much appreciated.

13. Weekend Staple: On those days when you want to look cute while remaining comfy and low-key, a sweatshirt dress is a no-fail solution. The elastic waist defines your shape and makes it easy to adjust, so unlike other styles, you won’t look like you’re swimming in it.

UsNow Fall Sale Alert: These chic fashion finds are up to 60% off – plus free shipping

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This fall we’re bidding adieu to crewnecks, turtlenecks, hoodies and the usual lineup of bland basics. Chic mockneck sweatshirts are about to become our whole personality, and Amazon definitely has the goods. Far from being just another cozy layer, mockneck sweatshirts deliver real structure, polish and that signature cool-girl energy we love. We tracked down […]

Nick Cannon had a few nice things to say about his ex-wife, Mariah Carey, more than a decade after their divorce.

Nearly a decade after their divorce, Cannon and Carey continue to maintain a close relationship built on mutual respect and shared parenting duties.

The two were married from 2008 until they finalized their divorce in 2016, and they have 15-year-old twins together. 

Why Nick Cannon Calls Ex Mariah Carey His ‘Greatest Friend’ and ‘Teacher’

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Speaking in a new cover story, Cannon reflected on his seven-year marriage to pop icon Carey and the strong bond they have maintained since their 2016 divorce.

He revealed that the former couple remains in constant communication regarding their twins, Moroccan and Monroe. He also praised Carey’s positive outlook, deep faith, and ability to protect her private life, saying to US Weekly,

“We were able to, kind of, move on and be amicable and be the best parents we can.”

Cannon shared that he and Carey are so close that they talk “almost every day or every other day” about their kids.

He also noted that despite this regular communication, his ex-wife still knows how to protect her privacy and keep certain meaningful things to herself. 

The entertainer further praised Carey for positively impacting his life, noting that he has learned a lot from her.

“I learned so much. I always say Mariah Carey was my greatest friend and my greatest teacher all at the same time,” he said.

Speaking on their shared parenting duties, Cannon said, “ We gotta operate as a unit, but it’s definitely departmentalized.” 

As their children grow older and begin exploring interests in the arts, he emphasized that both parents are focused on encouraging their ambitions while ensuring they stay grounded.

Nick Cannon Previously Reflected On Supporting Mariah Carey During Their Marriage

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Cannon’s revelation comes over a year after he offered insights into his past marriage with Carey. 

At the time, The Blast reported that Cannon credited their relationship’s success to the deep respect they both held for each other’s achievements. 

He noted that they were each pursuing a “boss-level trajectory” in their respective careers. As such, rather than viewing her monumental success as a challenge to his own standing, he was satisfied stepping back to uplift her when necessary.

He added that his self-confidence let him adapt effortlessly to whatever she needed, whether taking charge or yielding the spotlight.

“I went in understanding, like, wow, this is one of the most amazing people to ever grace this planet, so I was able to play my position in a way,” he stated. 

Mariah Carey Chose Discretion When Addressing Her Ex-Husband’s Personal Life 

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While Cannon has spoken openly about their enduring friendship, Carey has occasionally taken a more reserved approach regarding her ex-husband’s public life.

During an interview on “CBS Mornings” with Gayle King, the Grammy-winning singer stepped around a question about her co-parenting dynamic with Cannon, choosing not to elaborate on his activities.

She blatantly said that it would be “best” if she didn’t speak about him because he can “just be in his own world,” per The Blast.

Despite keeping details about her ex-husband private, Carey emphasized her commitment to maintaining a balanced environment for their teenage twins. 

The Singer Was Left Speechless Over Her Ex-Husband’s Multimillion-Dollar Insurance Policy

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Building on her deliberate choice to maintain distance from her ex-husband’s headlines, Carey also delivered a hilarious reaction when confronted with one of Cannon’s most unusual public revelations.

During an appearance on “Watch What Happens Live,” host Andy Cohen asked Carey for her reaction to learning that Cannon had insured his testicles for $10 million during a game of “Plead the Fifth.”

Visibly taken aback by the question, the singer rolled her eyes and expressed surprise at the news and said, according to The Blast, “He announced this? Lord, help me.”

Nick Cannon Addressed His Teen Daughter’s Misunderstood Social Media Post

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Connecting back to Cannon’s efforts to keep family life positive, he addressed the public spotlight on his children.

As reported by The Blast, the host addressed a viral post by his 15-year-old daughter, Monroe, in which she stated she only had one brother. 

Cannon clarified that her statement was taken out of context, explaining that she was simply shutting down online rumors from strangers claiming to be related to her rather than dismissing her younger half-siblings.

He also used the opportunity to teach Monroe to be more careful about what she says on social media because people can blow it out of proportion.

Every year, the Toronto International Film Festival introduces audiences to the fall’s hottest upcoming movies, from pending awards contenders to surprise word-of-mouth sensations. While the festival celebrates cinema across the globe, it’s always a treat when a local specialty like The Stunt Driver premieres. Directed by Canadian filmmaker Michael Dowse, best known for comedies like FUBAR, Goon, and The F Word, The Stunt Driver is a dramatized account of human daredevil Ken Carter, arguably Canada’s Evel Knievel.

Jay Baruchel reunites with Dowse 15 years after Goon to play Carter in this raucous yet heartfelt comedy about a man with lofty ambitions who died doing what he loved most: performing dangerous, live-wire stunts. It’s a story that most American audiences are oblivious to, but that will all change when viewers experience the rollicking laughs and thrills of The Stunt Driver, which also stars Ed Helms and Ben Foster as the legendary Evel Knievel.

Collider‘s Steven Weintraub hosted a Q&A session in LA with Dowse to discuss The Stunt Driver, which releases in theaters on September 25th. The film follows Carter as he prepares to pull off the most extraordinary and riskiest stunt of all: a jump in a rocket-powered Lincoln Continental across a mile-wide expanse of the St. Lawrence River. Both a madcap adventure and a poignant reflection of ambition, The Stunt Driver is based on the 1981 documentary about the real Carter, The Devil at Your Heels, directed by Robert Fortier.

In the conversation below, Dowse shares the influence of the documentary on his narrative film and how he integrated archive footage into The Stunt Driver. Dowse may not have been performing death-defying stunts, but he related to Carter’s aspirational values and perseverance in the face of insurmountable odds when making this independent project.

Below is a full transcript of the conversation between Dowse and Weintraub, with the full video of the Q&A available above.

Michael Dowse Was “Blown Away” by the Documentary That Inspired ‘The Stunt Driver’

Dowse also reflects on the early days of his filmmaking career.

Image via TIFF

COLLIDER: Thank you all again for coming out tonight. Thank you to IFC for teaming up. This was your first time seeing [the movie] outside of Canada?

MICHAEL DOWSE: Yeah, it was. That’s why I watched it. It’s only screened at TIFF and a couple times in Canada. So yeah, it’s great to see with the L.A. crowd.

For people that don’t realize, the world premiere for this was just like days ago. What was it like? I saw you in Canada and you guys came into the studio. You’ll be able to watch that interview on Collider, but what was it like experiencing the TIFF crowd? Because I would imagine a lot of people in Toronto know Ken [Carter]’s story.

DOWSE: Less than you would think. He’s not very well known. He is our Evil Kneivel, but nobody really knows who he was. When I saw the documentary about [him] like 12 years ago, I was blown away by the story and wanted to bring attention to it. But yeah, I mean, it’s a home crowd for sure. When you screen it at TIFF , it helps if it’s a Canadian-themed film, for sure. So it went over great.

Before we jump into why I get to talk to you tonight, I always like going backwards. So if someone has never seen your work besides this film, what’s the one you want them watching first, and why?

DOWSE: Oh, that’s a good question. I don’t know. I think It’s All Gone Pete Tong is a pretty interesting film. It was shot in Ibiza, like, 20 years ago now–Jesus. I’m old. That one’s pretty interesting in terms of using sound in a film. And Goon would probably be the other one, if you’re a hockey fan.

Yeah, Goon is real fucking great. Which of your films changed the most in the editing room in ways you didn’t expect going in?

DOWSE: I would say Goon. Goon definitely changed the most in the edit suite. Just once you unraveled this idea that if you had a shot of a scoreboard and you could put any number in the scoreboard, and you could change the colors of jerseys, and you could really shape sort of a season of what happened from game to game, it sort of opened it up. We had Brent White come in and help on that film, who’s Judd Apatow’s and Paul Feig’s editor. He’s amazing. That’s probably the film that changed the most in the edit suite.

Let’s jump into Stunt Driver. Was there a moment when you first heard Ken’s story and said, “oh, I absolutely need to make this movie?”

DOWSE: [It was] after I watched the documentary. A lot of the doc is in this film. We used a lot of the footage from the doc to do a lot of the stunts and shots of the ramp, and stuff like that. We built the ramp, we built our own version of the ramp, like a 60 ft version of the ramp. The real ramp was about 90 ft, and we had to build our own scale version of the car. I felt I had as much challenge as Ken did, except I didn’t have to do the jump by any means. When I saw that doc, I just fell in love with the scale of the jump and just how big it was. And I just thought it would make a great story. And then once you get to know Ken and you research his story, you just fall in love with the guy. He’s such a dreamer and he’s so optimistic. You just want the guy to succeed, and he gets backstabbed. Anything that could go wrong did go wrong with him. When you see beyond it, what happened after that jump and how tragic it was, it just felt like a really compelling story about [a] “careful what you wish for” idea.

Michael Dowse Found a Clever Way to Handle ‘The Stunt Driver’s Action Sequences on a Small Budget

“It’s a nice testament to how brave the real man was and what he accomplished.”

Image via IFC

What a lot of people don’t realize is that you actually didn’t do any of the stunts.

DOWSE: No, we built a car with no motor, because we couldn’t afford it. Every single time the car is moving, it’s Robert Fortier’s documentary, The Devil at Your Heels, which you can watch on the National Film Board of Canada’s website. It’s an amazing doc. For some reason, the Australians have really taken it over, and there’s a huge Australian cult following on the doc, and they’re like, “why have you not named streets after Ken Carter in Canada?” His doc is amazing. He followed him for five years, so we were able to license the doc from the NFB and then we used it to really, as I said, set the period, and do the things that were impossible. If we had tried to do that jump, we could have ensured it, but it would have taken another six weeks of shooting to try and do all the jumps. I also think it’s a nice testament, like every single jump you see in there, that’s Ken doing them, and it’s a nice testament to how brave the real man was and what he accomplished.

Also, if you were going to do these stunts, you’d need a Fast and Furious budget.

DOWSE: Yeah, exactly. It’s insane, the scale of it. The first budget we did was like, “let’s do everything and not license anything.” And then you slowly realize you can’t do that. And then it really creatively opened up ideas in terms of trying to get behind the doc–if you flipped it on its head and usually it’s the other way around. But if you did sort of a making of the doc with a 2: 39: 1 aspect ratio, of a [Robert] Altman film from that time, what would that feel like in terms of cutting between those two formats?

You should also mention that you shot in more than one format.

DOWSE: We shot real 16 mm when we knew we were going to go into the doc footage. We kept an Aires package on the truck, and then we shot four other formats. We shot 2: 39: 1, fake 35 [mm], fake 16 [mm]. We even had a shitty video camera for when we got into the 80s that I, for some reason, was the operator on the shitty video camera.

Can I ask which camera was the shitty 80 camera?

DOWSE: I cannot remember, but it was something from the early 2000s or something.

Was there a piece of archival footage that you saw with Ken that completely changed how you and Jay played a scene or approached a scene?

DOWSE: There was an interesting story about the hypnotism off the top. That was shot, but it was never used in the documentary. Robert couldn’t find a place for it. As you researched with Robert Fortier, he would tell his stories about meeting Evel Knievel and a bunch of stuff that I can’t repeat. He told the story of this hypnotism, and it was sort of a testament to how much of a showman Ken was. He went through this entire hypnotism. It was at a radio station in Montreal where he went under and somebody burned his hand, and he kept with the bit and didn’t break out. And then at the end, he went up to see, [if he’s] okay. And he’s like, “yeah, I’m right as rain.” He had totally made up the entire thing in terms of the hypnotism and to try and raise awareness for it. We couldn’t find the archival footage of the interview, but we found an audio of it on YouTube and you can listen to it. It’s fascinating because, even though he’s sort of “making it up,” all that stuff is pulled right from that interview about why he jumps and his background of having to raise his brothers and sisters and coming from nothing in Montreal. He’s really an interesting character. He literally came from nothing. He graduated grade four at 14 and failed three years, and then went in and became just like a grease monkey and then fell into the traveling circus of.. Oh, God, what’s his name? God, I’m going to forget his name because we had to use a fake name in the movie. This very famous traveling road show, and that opened up his life, and that’s how he really defined himself, when he was nothing. His bravery was all he had. He’s a really compelling person.

How did you figure out the actual structure of the movie? Because there’s many versions of the story you could tell.

DOWSE: I started basically transcribing the documentary, and then you realize the documentary has so many repetitive bits–they do like 3 or 4 car tests. There’s like 12 characters over the five years. It’s a thing of condensing it and trying to streamline it into something. I’m extrapolating in certain scenes with Gloria [Carter], and that’s from getting to know her a little bit and talking to her. There’s obviously some extrapolations for dramatic purposes. I also kind of wanted to stick to what happened, and how those five years went down.

Why Jay Baruchel Was the Perfect Person to Bring Ken Carter to Life

“In terms of improvisation, you get to let those guys run a lot.”

Image via IFC

You bring up what I wanted to ask. How much do you feel obligated to the facts, and where did you give yourself the permission to say “this makes a better movie”?

DOWSE: Yeah, I think comedy goes a long way. Jay [Baruchel] gives such a great performance, and he really put this film on his back. He’s like a thoroughbred. In terms of improvisation, you get to let those guys run a lot. He, Ben Foster, Ed [Helms] are all brilliant actors. On the day where you let them run, they’re doing stuff. I just thought of trying to dig into the heart of the movie a little bit. We wanted to dig into Gloria a little bit, but that’s with talking to her and researching her. And then, it’s really about just finding snippets from the documentary and diving into it. In the documentary, Ken refers to the conversation he has with Bill Wilkins, who’s a combination of three characters, and he talks about what happened to him that day. The real guy’s name was Kenny Powers, which is a direct connection to Eastbound and Down. They’ll never admit to it! He talks about it, but it was extrapolating from that, and writing out those scenes that he refers to. So it’s a bit of adding a little bit of your own juice, but also trying to stay as true to what happened as possible without really making a ton of shit up.

Ken is an underdog, but he’s also incredibly stubborn and self-destructive. How important was it that the movie did not romanticize him too much?

DOWSE: I think I kind of romanticize him, but I think I wanted to keep it real to who he was, to a certain degree. I mean, what he’s doing is quixotic. It’s romantic. I think it’s baked in already. It’s insane what he’s doing. We had the car in Toronto, and [it’s not] until you stand beside a scale model of what that car is, do you really understand how fucking insane it is to to try and launch that thing. When you stand on top of the ramp, even the 60ft ramp, which is two thirds of what it is, you’re like, “this is fucking insane what he tried to do.” It wasn’t hard to romanticize what he was doing, and he’s very open about his fear. I found such a human quality in something so relatable. It was the guy. He talks about it openly–he’s scared of what he’s about to do. I just found that very relatable. I think anybody in their life has a 90ft ramp that you want to attack. For me as a filmmaker, I think every film I try to make feels like you’re trying to launch yourself off a 90ft ramp for glory.

Well, the other thing is, he was talking about his feelings and his fear in an era that people really didn’t do that.

DOWSE: For sure. In the doc, he’s very open about it. He’s not shaking or anything like that. In the movie there are more delays. There’s delays upon delays, upon delays that we truncated. You see the human aspect of it. You also see that side of people getting worn out by it as he keeps talking. He was scared, and I think the stuff about the runway is accurate. He was worried about the water. He was worried that the runway wasn’t ready, and he was correct about that. But he was not a scared man. He was a brave, brave person. I think anybody who does that for 30 years, it’s going to wear on your nerves a little bit. I think it’s all totally relatable and understandable that you’d get a little raw after a while.

Well, the other thing is, he was doing these stunts without the use of computers, physics, and math. They’re doing shit where they’re like, “I think this is going to work.”

DOWSE: There’s no real testing at all, except to send it off. There’s no 3D model or AI model of what would happen for him. There’s no real safety stuff, not really. As you can see, when it goes into the water.

In the end of the film, you show the real footage of his tragic accident. How much did you guys debate over including that, not including that, or how much to include?

DOWSE: Yeah, it’s a good question. I thought about it, and then I thought, “why pull a punch?” That’s where he gets crushed. He dies later in the ambulance. That’s what happened on that day. That’s how he died, and we should show that. He died doing what he loved. It’s awful, but it’s what happened. When you’re using archive footage, you have to respect the truth, especially when you’re dealing with that.

So I asked you this earlier, but I am curious, you have a cut that you’re happy with. How did this film get shaped in the editing room? Did anyone see an early screening and give you a note that basically said, “how did I miss this? I gotta fix this”?

DOWSE: What do you mean?

I’ve spoken to a lot of directors and they failed to mention that “this was like the 1982 race.” There’s always something that–it’s obvious to you, but maybe not obvious to the audience.

DOWSE: We screened it to lots of people. It’s just an ongoing thing. If anything, I probably cut it too short, initially. I started as an editor, so I’m very tough on that stuff. And then, we let it breathe a little bit more. In terms of things that we discovered, I think we discovered how important Gloria was to the story. That was the feedback that I got that I tried to take to heart. Laurence [Laboeuf] is an incredible actress, and she does breathe life into this part, but it’s a tough part. She does very well with some ham-fisted dialogue that I wrote for her.

I don’t know if you’ll remember this, but what was the last thing that you cut out before picture-locking? For people who don’t know, picture lock means you’re not making any more changes.

DOWSE: The scene of them in the hotel room, when he’s in the yellow sweater. That was the last thing.

Goon has a similar, lovable underdog with a dangerous obsession. What did you learn from that film that carried you into this one?

DOWSE: Just energy, and just letting actors go and trying to get that energy from improvisation In terms of the character, there’s a lot of parallels towards Doug Glatt (Sean William Scott) and Ken Carter, so it’s [about] molding that similar character. Doug Glatt is much more of a Rocky Balboa meets Chauncey the Gardener (from Being There) type. Ken is his own thing, but I think there are a few parallels to those guys, for sure.

One of the things about making a movie, and especially one that you’re making on a budget–every movie is on a budget–but you get what I mean, is that you have a set, you have a limited schedule, and a limited amount of time. Where did you feel like “we really only have time for like two takes here,” and where did you feel like you needed to deploy additional resources to make sure a certain scene really worked?

DOWSE: We shot this film in 21 days, so we hammered this fucking movie, I gotta say.

For people who don’t realize, that’s really not a lot of time.

DOWSE: I produced it with my wife. We didn’t have a studio. We were funded by some fine folks up in Canada. It was really like a mom and pop shop. 21 days was tight to begin with, but I think the Evel stuff is definitely something we wanted to make sure we had enough time for them to play around. All the Senneterre stuff was really important, because it was shot at the same location as where they shot 50 years earlier, so we wanted to make sure we had enough time there. What was interesting was that there’s that jet car thing, where he’s in a Montréal street. We only put two shots in there, and then the rest of that is the documentary. We just built 20ft of a backdrop, which is actually the Molson brewery, and put that behind the car, and then put her actors in front of that same piece of wall. And then we were able to intercut that in with most of the other footage. 21 days was possible because we knew we had some scenes that were mostly archival, and we were just putting a little bit into it.

That’s still just a crazy short schedule.

DOWSE: It’s a crazy short schedule, but I shoot fast.

What did Jay do on set that maybe surprised you?

DOWSE: He just owned it. I love Jay. He’s a great friend and a great actor, and a great writer and director himself. When I called him four years ago to do it, I just knew he was the guy. I think as a filmmaker, you get pulled a bunch of ways. Like, “oh, you need this big name, you need this big name for foreign sales, blah, blah, blah.” I saw BlackBerry and it suddenly dawned on me that Jay was 38. He was the same age as Ken Carter, and he was perfect. He’s from the same neighborhood. His parents probably ran in the same circles as Ken. He understands what it is to be an Anglo in Lower Notre-Dame-de-Grâce in Montreal, which is a very specific reference, but it’s a poor area, so he understood the culture. Then he just proceeded to put this film on his back like he prepped incredibly. He’ll say that it was the first movie he did a lot of homework on, and he would just send me these strange voice memos where he had repeated some of the dialogue from the doc verbatim, and I would just pop up on my phone every once in a while. He really took it to heart. For us, it wasn’t about a facsimile of the character. It was about him finding that gray area, that Venn diagram of him and Ken Carter and finding that middle ground where he’s embracing himself, but he’s also bringing in some of the characteristics of Ken. It’s just about it making it feel honest. He’s just so funny. He can ad-lib with some of the best of them, and his brain works in mysterious ways.

Michael Dowse Explains What ‘The Stunt Driver’ Is Really About

Image via IFC

I completely concur with what you just said. Ken spends years chasing one giant moment. Do you see the movie ultimately as being about pursuing a dream or about knowing when you should let one go?

DOWSE: I think it’s about pursuing a dream. I don’t think it’s about letting one go. It’s tragic what happens to him–that’s what happened to him. You could say he maybe painted himself into a corner in terms of the career he chose. I think this movie’s about a dreamer, for sure, and hopefully it’s inspiring, even though the guy dies. I think there’s something interesting about somebody just being so focused on doing that for five years. And it’s a cautionary tale, as well, I guess in the same breath.

Now that you spent years thinking about Ken Carter, do you personally understand why he needed to make that jump?

DOWSE: Absolutely. It’s the same reason why I had to make this film. It’s like it just eats away at you. This took 12 years for me to make this film, so it’s on the back of your mind as you do other movies. You’re always thinking about this movie. Yeah, I totally related to him. I think anybody who has something that feels insurmountable, if you’re writing a novel or an album or whatever you’re doing in your life. I think this story is inspiring because it shows, even though you know, it doesn’t go the way you planned, but he just has so much positivity about doing it. I recommend you guys should watch the doc, too. They’re both standalone films, but the doc is very interesting because he’s a very compelling character.

You worked on this, as you said, for 12 years. How many times were you nervous that someone else was going to make the movie before you could get it made?

DOWSE: So many times. Because another producer had the option for like ten years, they, at one point, sent me their version of the script for me to direct, and I just turned it down. I sent it right back. I didn’t even read it. I just sent it right back to my agent and was like, “Do not send me anything else to do with this. I want to make it myself. I was very nervous. Then, at one point, I think [Leonardo] DiCaprio was going to do an Evel Knievel movie with Damien Chazelle, and I thought the timing of that would have been exquisite, because it was right around when we were going into pre-production that we got wind, and we thought if there was a Leonardo DiCaprio, Evel movie to go with ours, that would be perfect.

There is so much footage of Ken from the doc, and you include some of it in the film. How much did you debate which scenes and what stuff of the real Ken to include?

DOWSE: There’s one shot where they’re walking at night, which is Ken’s back. There’s a shot where he gets pulled, and obviously all the driving and stuff is Ken. It was tough to pick the moments. The ones that we wanted to use were the ones that gave the film scale. We wanted to use anything that had the ramp in it or anything that would set the time period or the era, for sure. Ed [Helms] is sort of an amalgamation of Dick Keller in this guy called Slamming Sammy Miller. There’s a great scene in the doc where Slamming Sammy Miller tricks him and says, “oh, you’re only going to go 200 miles an hour?” There are some scenes where we lift the dialogue completely from it. The press conference was one that we lifted completely, for the most part, which I just loved how heartbroken the real Ken was in that scene. There’s a lot we grabbed directly from the doc for sure.

Image via IFC

If Ken could see this film, what do you think he’d want people to walk away understanding about him?

DOWSE: That he tried. That he wasn’t scared. Talking to his girlfriend, Gloria, who’s still alive in Montreal and going to the Montreal premiere next week, she said he would be proud of this movie. It does what he wants. He wanted people to remember his name, you know? Hopefully this film is a small part of cementing his legacy as an incredibly brave, stunt driver and daredevil. I hope he would have liked it.

I am 100% sure he would really like this. I really appreciate your work and making this on your own. It’s really fucking hard to do, and I commend anyone who can do it. For the fans of yours, are you currently writing anything? Is there another project you’ve been working on for 12 years?

DOWSE: There’s a film called, Cult-de-sac, which is about a doomsday cult that’s correct, that I’ve been trying to make. I wrote it with a bunch of other guys. It’s complicated. That’s one that I’m trying to make. And then I’m writing a horror film right now. Those are the two big ones right now that I’m trying to make.

Horror goes through a lot of ebbs and flows, but right now it’s on a very strong high. There’s so many horror films that have done so well. Does it make it any easier, or is it still always a challenge?

DOWSE: There’s obviously a massive market for it. I love the medium, just because I think some of the most creative work right now is in horror, where they also get to blend in comedy and a bunch of things. Backrooms is an amazing film, and it’s almost like a German arthouse film. And the fact that kids went out to it and supported it so wholeheartedly is so inspiring and great for the marketplace and for the business. It’s incredible that something that abstract found such a huge audience, and it’s encouraging. I like horror because it’s not necessarily cast-reliant. So you can cast the right actors, and it doesn’t need to be the most famous person. They’re super creative films, and they allow you to work on some different muscles as a director.

The other thing with the horror space is that you can really take some swings. People are willing to go along and studio people are willing to go along because you’re not spending a lot and there’s a lot of upside.

DOWSE: I think people want to get engaged. People want to feel an emotional relationship with any story. That’s what I miss about comedy–people laugh and there’s a reaction. I think people are getting that same thing from horror where they’re feeling scared and there’s an emotional connection with the project or with the film.

I think Resident Evil is playing in one of the theaters next door because it was so loud with all the people getting killed and whatever’s going on in that movie. It sounds like a beast. That’s another horror movie.

DOWSE: Exactly, and Zach Cregger is killing it. His filmmaking is insane. It’s wonderful

The Stunt Driver opens in select theaters September 25.

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Release Date

September 25, 2026

Runtime

99 minutes

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Director

Michael Dowse

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By Robert Scucci
| Published 30 seconds ago

It’s the 1980s, and you desperately need to join a frat because it’s the 1980s and that’s all anybody does in raunchy comedy films of this era. 1986’s Vamp, however, isn’t your traditional raunchy college comedy because it barely takes place on campus, but rather inside a strip club full of voluptuous vampire vixens who are ready to sink their teeth into whoever dares enter the front door.

As somebody who went to college in the early aughts, and who hadn’t seen Vamp yet, I had no idea that making friends would be so easy. There I was trying to force small talk and crack the occasional joke, when all I really had to do was what our heroes do in this movie. My way was boring and involved a disappointing lack of sexy vampires, so if you’re wondering what my “what would you do with a time machine” fantasy is, it’s now something similar to what you’d see in this movie.

Not Exactly An All-Ages Club 

In Vamp, Keith (Chris Makepeace) and AJ (Robert Rusler) are college students trying to get into a fraternity, and the best way to accomplish this, in their minds, is by hiring a stripper for a party. Wealthy classmate Duncan (Gedde Watanabe) reluctantly provides the Cadillac for transport, and the three head into the city looking for entertainment. They eventually land at the After Dark Club, where Katrina (Grace Jones) puts on the kind of performance that convinces AJ he absolutely needs to meet her backstage.

This proves to be a poor decision because Katrina is a vampire, and AJ quickly becomes much more involved with the club than he intended. When he doesn’t come back, Keith goes looking for him and runs into waitress Amaretto (Dedee Pfeiffer), who insists she knows him from somewhere. Keith soon figures out that the After Dark is crawling with vampires, while the neighborhood outside is being terrorized by a street gang led by Snow (Billy Drago), so basically every available exit comes with its own problem.

Once Keith discovers what happened to AJ, his fraternity errand becomes a fight to make it until sunrise without joining the club’s undead clientele. With Amaretto helping him navigate the increasingly hostile night, Keith has to survive vampires, his newly transformed buddy, and one extremely questionable trip into the city that could have been avoided by simply throwing a worse fraternity party.

Knows Exactly What It Is

Vamp gets by on its self-awareness because it absolutely has to. Keith trying to impale AJ’s heart with a wooden stake, only to find out that the shattered countertop he sourced it from was actually made out of Formica, is just one of several instances where it’s made abundantly clear that Vamp has no right to be taken seriously, but that’s where all the fun comes from. The other hint is all of the vampire strippers teasing their clientele into submission so they can have their next meal lined up.

That’s all you really need to know about Vamp. It’s a silly endeavor from start to finish and actually has some pretty great practical effects for a movie that was shot for just a little over $3 million. Rubber masks, prosthetics, and fog machines do most of the heavy lifting, while the streets are colored with tinges of neon and magenta, and what I imagine might be dry ice gives the air some movement. That’s all you need when you’re watching movies like Vamp.

You’re not supposed to treat movies like Vamp seriously by any stretch of the imagination. You’re supposed to throw this on when you’re drowsy and just let its ridiculousness wash over you like a spectral blanket that reminds you that you’re not always supposed to take life so seriously. Add some cheesy dialogue and undead maniacs to the mix, and you’ll have a good time if you’re familiar with the kind of schlock you’re about to get into.

As of this writing, you can stream Vamp for free on Tubi.

The Bold and the Beautiful fans know Steffy Forrester (Jacqueline MacInnes Wood) is keeping the awful secret from Finn (Tanner Novlan) that she and Carter Walton (Lawrence Saint-Victor) got drunk and they had a one night stand the night that Steffy flew home alone, upset from Monaco.

And to make matters worse, as you know, Steffy is pregnant with Carter’s baby. And now Steffy and Carter are staging this fake surrogacy. But soon Finn could make a huge mistake that levels the playing field in their marriage.

Bold and the Beautiful: Steffy Beside Herself

All right. So, right now we’ve got Steffy drowning in guilt over her one night stand with Carter and the fact that she is carrying his baby. Plus, Steffy doesn’t want to give that baby up to Daphne Rose (Murielle Hilaire) and Carter. This is absolutely agonizing for Steffy even to think about it. And now Carter is forcing her to tell even more lies. Steffy is sick at the thought of having to lie to Finn and everybody else for the rest of her life. But despite all that, Steffy seems to be pushing forward with the fake surrogacy scheme because she just told her hubby Finn that she will be the one to give Carter and Daphne the baby that they so desperately want.

And of course, Finn was absolutely stunned and he tried to talk Steffy out of going through the surrogacy, saying that there are plenty of other surrogates out there and that 1 of these other women can give Daphne and Carter the family they want, that it doesn’t have to be Steffy. And Finn doesn’t like the egg donor thing either. So, he’s just not happy. But we know Steffy is going to go through with it because this surrogacy scheme is the only way to hide her and Carter’s secret one night stand and the pregnancy and to salvage both of their marriages.

Finn Blindsided on B&B

But we’ve got Finn reeling from this surrogacy news right at the moment that he is headed out of town for a medical conference and something that happens there could change everything for him and Steffy. So, if you remember, Finn told Steffy that he could bail on the medical conference. Finn said he’d stay home because of how upset that Steffy was. But she told Finn to go and have a good time. Steffy said, “Relax and have a few drinks.”

And that was before she dropped the surrogacy bomb on Finn. So, it immediately got me thinking when Steffy said, “Have fun, have a few drinks, why mention booze?” So Finn’s heading to this conference and he’s stressed out about Steffy. He may do some drinking to forget the drama. But Finn is so stressed out about this surrogacy that I kind of think The Bold and the Beautiful might be setting the stage for him to unintentionally cheat on Steffy. Not in a planned way, in a whoops way.

The same way that Steffy cheated on Finn. So, he’s quite upset about Steffy talking about being Carter and Daphne’s surrogate. And while Finn is away, Steffy may add to the stress. She may call Finn and tell him she agreed to be the surrogate. And Steffy may say, if he objects, “Oh, it’s too late. I already did the procedure.” Because time is of the essence for faking this.

Bold and Beautiful: Finn Gets Wasted?  

And for Steffy to say she did it while Finn’s gone, that absolutely makes sense because then he can’t try and go along to the appointment and Steffy and Carter have to move fast and sell this because there is no procedure because of course Steffy’s pregnant. But then I could see Finn getting really upset because Steffy was supposed to think about it and Finn wanted to discuss it more when he got back from the conference. But Steffy may lie and just say that she already did the procedure. It’s a done deal.

And that might cause Finn to have a little too much to drink and maybe he makes the same kind of mistake that Steffy made. Finn might end up having a one night stand. And this could happen a few ways. You know, Finn might be upset and do some drinking on his work trip and then just like Steffy did, Finn may wake up and realize, “Oh no, I just had a one night stand.” You know, maybe it is a random that he just meets at the bar. Or Finn may chat with a doctor he knows. You know, maybe somebody Finn knows from medical school. And Finn’s one night fling might even show up in LA later for even more drama.

B&B Twist: Finn Has a Baby on the Way Too?

Even worse, if he cheats on Steffy while stressed and drunk. The worst and most insane outcome would be if this woman from the one nighter shows up pregnant. That would be the ultimate irony with Carter having gotten Steffy pregnant on a stressed out one night stand accidentally and then her hubby does the same thing. I’m sure that Finn would be horrified if he woke up next to somebody and would want to confess to Steffy, just like she wanted to confess to Finn.

But then Carter begged her not to. But I could see Finn coming right home and confessing to Steffy, unless of course there is a 3rd twisted possibility. You know how much her mom Taylor Hayes (Krista Allen) loves to go to medical conferences. The Bold and the Beautiful has sent Taylor off on so many of them. So, it would be insane if Finn was at the conference and then Taylor showed up at the same conference where Finn is and then Taylor and Finn get drunk and have a one night stand.

Bold and the Beautiful Shocker: Finn & Taylor Turn to Each Other?

Finn is upset about this surrogacy and Taylor’s not happy that Deacon Sharpe (Sean Kanan) has been talking with Sheila Carter (Kimberlin Brown) and that those two have been confiding in each other and getting close again. So, Taylor might take off to the medical conference and then she and Finn talk and then they confide in each other over drinks and the liquor is flowing.

And Taylor and Finn have a few too many drinks and then whoops, the worst possible one night stand that he could have would be with his mother-in-law Taylor. That would be so messy if Finn and Taylor had a whoopsie like that. And it would certainly benefit Sheila because she would end up getting Deacon back. But in a weird way, it would also benefit Steffy because of how she has wronged Finn.

Finn & Steffy on Equal Ground on Bold

Now, I will say in her defense, Taylor’s not really the one night stand type. So, it would be out of character for her. She’s only had 1 one night stand before that I can remember, and that was James Warwick (Ian Buchanan). He was a virgin. He and Taylor were trapped because of an avalanche and James and Taylor thought they were going to die and James didn’t want to die a virgin so Taylor slept with him.

That was back in the Hunter Tylo days. So, that was a special circumstance kind of thing for Taylor. As I said, she doesn’t usually do it. So, if this happens and no matter who it’s with, a drunken one night stand, then Finn would lose the moral high ground that he has right now over Steffy.

Now, Finn doesn’t even know he needs that moral high ground. But he does have it at the moment. But if he does this, then Finn and Steffy would have both had one night stands. So, it’s even Steven, right? But Finn, I think, would still have the upper hand unless his one night stand turned up pregnant, especially if he came home and told Steffy directly. Plus, Steffy has told a lot of other lies to compound the cheating. It would be really wild if Finn not only cheated, but he cheated with Steffy’s mom.

Bold and Beautiful Repeats History?

And The Bold and the Beautiful has done things like this before. Remember Brooke Logan (Katherine Kelly Lang) cheated on Ridge Forrester (Thorsten Kaye) with his dad, Eric Forrester (John McCook)? And I think when she was with Eric, then she cheated with Ridge. I think she did it in both directions.

I’ll have to double check my memory. But I’m sure some of you guys remember. It would not be unprecedented for The Bold and the Beautiful is my point. And it would be devastating for Deacon. He’d probably end up back with Sheila and she wouldn’t be happy that Taylor slept with her son Finn.

We’ll see how it goes. But right now, Steffy is so deeply in the wrong that the Bold and the Beautiful writers might be doing something to lower Finn down to her level. It’ll be really soapy.