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Cinema in the 20th century was defined by a litany of genres, from the screwball comedies of the ’30s and early ’40s to the Westerns of the ’50s and ’60s, the intense realism of the ’70s, and the action bombast of the ’80s. However, few genres, styles, or stories experienced the evergreen audience approval, ceaseless critical acclaim, and ferocious cultural staying power of crime drama across the century.
Through groundbreaking direction, daring storytelling, thematic intensity, and a confronting appetite for grit and violence, crime has established itself as one of cinema’s most absorbing and challenging genres through a plethora of perfect pictures that showcase the allure and awe of such stories. From pioneering noir masterpieces of the ’30s and ’40s to cerebral psychological thrillers of the ’90s, these crime movies are completely without fault, and their iconic status and universal adoration are a testament to their quality.
At 170 minutes, Heat is a monumental epic that sees Michael Mann marry the innate character drama and complex moral focus of crime cinema with some of the most arresting action sequences the medium has ever seen. A picture with little interest in the ethical line of the law, it treats both cops and criminals as deeply flawed people driven by an obsessive professionalism, creating a richly compelling dichotomy of principles, philosophies, and sacrifices as it follows bank robber Neil McCauley (Robert De Niro) and the cop who hunts him, Lt. Vincent Hanna (Al Pacino).
Simply casting De Niro and Pacino in the same movie made Heat an instant icon. Even beyond that bit of star power, the film’s qualities of grandiose spectacle, scintillating realism, and absorbing drama have remained enrapturing. Mann’s command of the story is immaculate, with the high-octane tension of the famous shootout scene and the quiet, dialogue-driven intensity of McCauley and Hanna’s diner meet-up both standing as two of the most masterful and mesmerizing sequences in crime cinema. It is a perfect crime-action film as well as one of the most ageless triumphs of ’90s cinema.
The Maltese Falcon is the spark that ignited the flurry of film noir classics that took Hollywood by storm through the ’40s, and while it has had many imitators, it remains unsurpassed in terms of both spectacle and style. Its aesthetic is of shadow and cynicism, with its finely-dressed figures all hiding dirty secrets as they try to outwit each other, or exploit one another for self-gain.
Based on Dashiell Hammett’s novel of the same name, it follows San Franciscan private eye Sam Spade (Humphrey Bogart) as the murder of his partner embroils him in a web of deceit and duplicity surrounding the criminal underworld’s search for the invaluable statuette, the Maltese Falcon. A tale of greed and desperation propped up by enthralling performances, compelling visuals, and wonderfully confounding plotting, The Maltese Falcon is one of Hollywood’s most iconic classics and is a pioneer of crime cinema mystique. It is quite astonishing to think it was John Huston’s directorial debut.
The quintessential Quentin Tarantino movie, Pulp Fiction is an infectious combination of iconic dialogue that is as rhythmic as it is hysterical and outbursts of ultra-violence that define the irreverence and dare of the ’90s’ indie counterculture movement. Absurdly entertaining, the sprawling non-linear narrative follows several criminals in L.A. as their chaotic lives overlap through a series of wild and often deadly chance encounters.
Its impact on pop culture and cinematic trends is apparent, making it one of the most important and defining movies of its decade. Today, Pulp Fiction is still considered one of the most entertaining movies ever made, a magnetic procession of great lines, unforgettable scenes, perfect characters, and outstanding music. It fills every second of its 149-minute runtime with compelling drama, intensity, and comedy. Pulp Fiction is the epitome of style and excess in crime cinema, Tarantino’s magnum opus, and a triumphant touchstone of ’90s film.
It is so often the case that palpable atmospheric intensity proves to be the greatest asset to crime mystery thrillers; Se7en is a stunning, albeit harrowing, example. Directed by David Fincher, the film is a masterclass in technical excellence, using every tool at its disposal—the rain-soaked setting, the muted color palette of greens and shadows, even the towering urban environment that feels as though it pushes down on the main characters—to conjure a sense of moral decay and visceral griminess.
The story itself is no lean feat either: Andrew Kevin Walker’s tightly constructed screenplay follows two detectives as they investigate a serial killer using the seven deadly sins as inspiration for his murders. Using traditional neo-noir elements while also incorporating ideas from horror, Se7en simmers throughout its runtime, tension burning in a pressure-cooker that engulfs viewers right up until its unforgettable finale. Disturbing and dark, it represents crime cinema at its unflinching and scarring best, and it stands as one of the genre’s most notorious and iconic titles because of it.
A German film that was decades ahead of its time, M is one of the earliest classics in crime cinema, a foundational masterpiece that pioneered new ways of using sound as a storytelling device that are still used to this day. It conjures a haunting atmosphere with its use of expressionistic visuals and the implementation of Edvard Grieg’s “In the Hall of the Mountain King” as an eerie leitmotif that heralds the central villain, the child-murdering serial killer Hans Beckert (Peter Lorre).
The movie uses the villain’s reign of terror as a catalyst to examine morality and necessity on both sides of the law. With the public in panic over the at-large killer, police begin to flood the streets, hoping to break the case open. As the police presence thwarts the operations of organized crime, mobsters set out to apprehend the murderer themselves so they can resume their illegal activities. It is a timelessly fascinating examination of responsibility and self-interest, and at the heart of it all is Lorre’s captivating and oddly sympathetic antagonist.
Double Indemnity was crucial to highlighting the timeless allure of ’40s noir cinema and establishing the moody subgenre as a major influence on crime cinema going forward. Co-written and directed by Billy Wilder, it follows an insurance clerk seduced into a devilish scheme by a married woman who wants to kill her husband and cash the life insurance. Despite their extensive plotting, the duo finds themselves under pressure when an insurance investigator becomes interested in the case.
Reveling in noir cinema’s rich complexity with its story of greed, lust, and murder, Double Indemnity remains utterly transfixing to this day. Its macabre suspense and the way it places viewers on the side of the scheming killers make for wonderfully wicked entertainment. It’s all supported by three stellar performances and a screenplay full of twists, tension, and the brand of acidic wit that the best Old Hollywood movies tended to master.
Throughout his illustrious career, there is hardly a genre Akira Kurosawa didn’t master. While many know him best for his epic samurai films, the Japanese filmmaker also had a distinct penchant for crime cinema, with 1963’s High and Low being his finest accomplishment in the genre. A pressing tale of morality and social inequality, it transpires as a business executive with designs on buying a shoe company finds himself at the center of a hostage negotiation when his driver’s son is kidnapped and the criminals responsible demand a huge ransom in exchange for his life.
This ceaselessly compelling story of responsibility and reason receives tremendous weight from Kurosawa’s technical prowess. Theatrical shot compositions divide people based on class, the rigid structure and meticulous design of the framing reflecting the inescapable order of the society that Toshiro Mifune’s businessman lives above and routinely ignores. When chaos erupts, Kurosawa switches to handheld to capture the frenzied intensity of the situation. Like so many of the best movies the genre has seen, High and Low uses its crime story to illuminate cultural issues, becoming both timelessly perfect and perfectly timeless.
Considered by many to be the greatest screenplay ever written, Chinatown is a masterclass in elaborate mystery suspense that truly takes flight with its stunning performances, atmospheric intensity, and ability to blend traditional noir elements with a renewed social cynicism that was commonplace in the ’70s. Jack Nicholson stars as Jake Gittes, a private investigator in 1930s L.A. who is entangled in a web of political corruption and murder conspiracy after being hired by an impostor to tail the chief engineer of the Department of Water and Power.
With not a second of screentime being wasted or misused, Chinatown is a masterclass in smart and efficient storytelling. It uses visual cues and an air of imposing, sinister dread to not only bolster the intensity of the narrative but also enrich its central themes of power, corruption, and greed. It remains the definitive example of neo-noir cinema, combining its absorbing and complex mystery with a sense of realistic tragedy to strike a brutally mature tone regarding real-world evil and the immunity of the wealthy.
“As far as I can remember, I always wanted to be a gangster.” The opening line of Goodfellas is both a relatable yearning for prestige and power and a cold caution of the tale of violence that follows. The biographical masterpiece sees Martin Scorsese operating at his absolute best as it explores the life story of Henry Hill (Ray Liotta), an impressionable youth who starts working for the mob and, along with his two friends, does anything required to rise up the ranks of the organized crime syndicate.
A masterclass in fast-paced storytelling courtesy of Scorsese’s direction and Thelma Schoonmaker’s editing, Goodfellas is both relentless and utterly transfixing from its opening moments. Its sense of style, buoyed by its sublime soundtrack and technical brilliance, feels inviting, almost dangerously so, as if the audience is being seduced by the allure of a life of crime as Hill is. However, Scorsese never seeks to glamorize such a lifestyle, with the movie soon descending into a ferocious frenzy of self-saving paranoia that turns Hill’s luxurious life into a waking nightmare. Goodfellas is a masterpiece of crime cinema, a propulsive thriller that grounds the viewer in Hill’s rise and harrowing fall.
Not only the pinnacle of crime cinema, but arguably the two greatest movies ever made, The Godfather and The Godfather Part II, are the height of filmmaking perfection. Everything from their cinematography and direction to the performances and sense of Shakespearean tragedy defines the movies’ splendor. The first film follows a tumultuous transition of power in the Corleone crime family as the aging Vito (Marlon Brando) hopes to hand over power to his reluctant son, Michael (Al Pacino). The second film, split across two separate stories, documents Michael’s efforts to expand his criminal empire and a young Vito’s rise to power in 1920s New York.
It is impossible to revere one film without acknowledging the greatness of the other, with both movies standing as medium-defining epics tackling issues of power, corruption, and the violent greed of the American dream with profound depth and artistry. The brilliance of both films is enduring. Over 50 years have passed since they were released, and yet they remain two of the most discussed and analyzed movies of the modern day. Additionally, they helped pioneer a new dawn of confronting realism and thematic depth in Hollywood cinema, making them essential cultural touchstones of filmmaking excellence as well as ageless masterpieces of crime drama.
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“We laughed, frolicked, square danced… and ate a dream cake any 12-year-old would adore.”
Hayden Panettiere is reflecting on her complicated relationship with her mother, Lesley Vogel, who once served as her manager before they became estranged. In a candid account, the actress recalls key moments from their past, shedding light on the challenges the strained their relationship and how the separation has shaped her personal growth and perspective over the years.

Hayden Panettiere started appearing on TV when she was a baby, her first professional job being a commercial. From then on, she appeared in shows, including “Guiding Light” and “One Life to Live,” and also appeared in movies, such as “Remember the Titans” alongside Denzel Washington. Panettiere’s mother, who was once a soap opera actress, served as her manager.
In “On Purpose with Jay Shetty,” the 36-year-old actress shared how she severed her professional relationship with Vogel when she was 19 years old. At that time, Panettiere starred in the sci-fi NBC series “Heroes,” wherein she played the role of Claire Bennet.
“She came into my trailer during lunch when we were filming ‘Heroes’ and I said to her, ‘I don’t want us to work together anymore. I just want you to be my mom,’” to which Vogel replied, “You owe me.”

Panettiere told Shetty that she didn’t expect that reaction. Moreover, she wasn’t sure what her mother meant when she said she owed her. “That’s all she said, and she walked out,” the actress said, explaining that she later found out Vogel wanted money.
After that exchange, Panettiere hoped she would somehow have a better relationship with her mother. However, she said “once the business aspect was removed,” Vogel didn’t seem to want a relationship with her anymore. The actress also revealed that they are currently estranged.
Panettiere said growing up with her mom as her manager was tough, and she was desperate to get her mother’s approval. “I had to make sure that she was happy with it and I wasn’t in trouble, because if I didn’t do it right, I was in trouble… It was not a good reaction,” she shared.
Panettiere reflected on her life as a young actress, sharing that while she was still a child who was relying on her parents, she was also the one given the responsibility to make money. “I was working hard, making money, and this money was going towards things that I wasn’t privy to,” she said.
At one point in the interview, Panettiere became emotional as she talked about her younger brother, Jansen, who died in 2023 at just 28 years old due to an enlarged heart. Panettiere recalled a moment in which her mother once blamed her for missing out on her brother’s life due to accompanying her to auditions and being her manager. “That was a punch in the gut,” the actress said.
Panettiere said that while she was grateful, she wasn’t the one who decided to pursue an acting career. “I didn’t beg you to give me your life, to sacrifice all of this so that I could have this career,” she wanted to tell her mother.

In an interview with Us Weekly, Panettiere said that while she and her mother currently don’t have a relationship, she is still open to the idea of reconciling with her. “That doesn’t mean that I don’t leave the door open for the opportunity to present itself one day. It’s hard for me to say, but I’ve chosen to be brutally honest,” she said.
Panettiere said that writing her memoir, “This Is Me: A Reckoning,” and sharing her story was her way of being honest with her mother, and she knows she might not get a positive reaction. However, it’s her “way of doing it” after struggling to express her feelings throughout her childhood and early adulthood.

Elsewhere in the Us Weekly interview, Panettiere shared that she was bisexual. In response, Vogel told the Daily Mail, “I do not believe it was being hidden, but there is no historic proof that this is the case… I do think the timing of this coming out is very interesting.”
As for their estrangement, Vogel said they stopped communicating sometime in September 2025. “After 20 years of trauma, chaos, addictions, and accusations, I felt I had no other option but to choose no contact,” Vogel said, adding that she hopes Panettiere “will find her own path to inner peace.”
Chicago Med’s season 11 finale ended with a happily ever after for Hannah and Archer — but will it be short-lived?
Warning: Spoilers below from season 11, episode 21 of Chicago Med.
“I don’t see her ready to let anything go in her professional [life],” Jessy Schram, who plays Dr. Hannah Asher, exclusively told Us Weekly when asked whether Hannah is ready to relinquish control in her life after welcoming her baby girl, Mabel, during the Wednesday, May 13, season finale.
The actress, 40, noted that Hannah has that “controlling matter of making sure that she doesn’t lose anywhere, anything,” especially because she’s worked “so hard with her sobriety, with her career, with her relationships to get them in a certain place.”

That sense of control will roll over into season 12 and Hannah’s relationship with Dr. Dean Archer (Steven Weber), who is the father of her child as well as her coworker, as he reminds her during the episode, “I love you Hannah and I have for a long time.”
“I feel like she’s letting go [to] the extent that she can now be in ‘the now’ [since] the baby’s here,” Schram teased of what’s to come for Hannah and Archer. “Archer has cleared his feelings with her. She’s clearing her [feelings] — she’s gonna figure them out. So I think that right now, Hannah may still have some controlling elements.”
She explained that moving forward, Hannah is “open to seeing what can unfold” which is “different from where she’s been these last couple of seasons.”
“She’s ready to be present and see what ‘the now’ brings,” Schram added, hinting that Hannah and Archer could have a full-blown romance now that their daughter was born safely following a hospital lockdown and a prisoner holding Archer at gunpoint. (Archer was still miraculously able to make it in time for the baby’s delivery.)
Chicago Med showrunner Allen MacDonald exclusively told Us that there is a moment at the end of the finale “where it may just be for a moment in TV land, but, like, [Hannah] is in a moment of peace at the end.”

That moment came after Archer professed his love for Hannah and she responded with a “thank you.”
Hannah then kissed Archer and looked over to their daughter, who was swaddled up next to them. Archer, for his part, looked longingly at Hannah and back to the baby, but she never took her eyes off their little girl.
“It wasn’t an accident that he looks at her and she’s looking at the baby, and that she doesn’t look back, she smiles at him, but she keeps her eyes on the baby,” MacDonald revealed. “There’s a reason that she didn’t, you know, look back, but the kiss is real at the same time. So I think it’s ambiguous.”
He teased, “There’s a lot of emotions in the pot. It’s all cooking and possibly going to boil over soon.”
“Hannah’s allowing herself to be in the moment for now,” Schram reiterated, while MacDonald hinted that their bliss might not last forever.
The showrunner shared with Us that season 12 will have its challenges for Hannah and Archer. “There are bumps in the road coming,” MacDonald confirmed. “And the one thing that we really wanted to capture in that final scene is that things are a little ambiguous.”
He teased, “They both have feelings for each other. The emotions are real, but they’re, like, kind of not aligned perfectly.”
When asked whether fans will get a glimpse at Hannah and Archer’s home life — outside the hospital — MacDonald played coy.
“If you say at home that insinuates they might be living together. So I mean, no comment,” he said with a laugh.
Chicago Med returns for season 12 on NBC in fall 2026.
Chicago Med’s season 11 finale featured many twists and turns — but the possibility of Goodwin leaving the ED for good isn’t sitting well with fans.
Warning: Spoilers below from season 11, episode 21 of Chicago Med.
During the Wednesday, May 13, episode, Sharon Goodwin (S. Epatha Merkerson) backed up Dr. Daniel Charles (Oliver Platt) as Dr. Theo Rabari (Manish Dayal) prepared to petition the hospital board to take over his role as head of psychiatry.
As Charles dug deeper into Rabari’s past, he learned that he has antisocial personality disorder, which played a part in Rabari’s attack on Charles and the personal side of the medical discipline. Charles, however, vowed that he wouldn’t use his disorder to discredit his work or his plan to try and push out Charles.

Rabari eventually canceled the meeting with the board, and he and Charles ended the episode with mutual respect for each other. In a twist, board member Miranda Lewis (Orlagh Cassidy) declared that while Charles can stay, Goodwin is “out” as the executive director of patient and medical services after allegedly leaking Rabari’s medical information.
“If you want a fight, you’ve got one,” Goodwin told her, as a stunned Charles was left wondering whether his longtime friend could have leaked the information to save his career.
In the final moments of the episode, Goodwin made it clear with one bold look to the camera that if someone wanted her job, they’d have to take it from her with force.
That look, an intense stare, is what showrunner Allen MacDonald exclusively told Us Weekly means that Goodwin will be back for season 12 — and she’s ready for battle.
“I would say the answer is all in the look of Goodwin’s eyes as she stares at the camera in the final shot, and she’s ready for a fight, and there’s going to be one. I can confirm that,” MacDonald said, noting that Merkerson, 73, came up with that idea to stare down the camera all on her own.
He recalled, “She did that on the fifth and final take of that shot. And we all got goosebumps.”
MacDonald played coy about whether Charles and Goodwin’s friendship will be affected by her alleged actions, but told Us that fans will get answers next season.
“That’s something that we will unpack as we go into next season,” he confirmed.
The showrunner also weighed in on what’s next for Dr. Mitch Ripley (Luke Mitchell) and Dr. Caitlin Lenox (Sarah Ramos) after they both said, “I love you,” during the season finale. (Plus, Ripley pushed Lenox to tell her brother the truth about her positive prion disease diagnosis.)

“They have moved on to another tier now. Lenox is being vulnerable with another person in a way that she really never has in her life,” MacDonald explained. “Because she’s been trying to protect herself from that sort of vulnerability, because she wanted to achieve, achieve, achieve while she still could in the off chance that she ended up being positive the prion [disease] which she now knows that she is.”
Jessy Schram, who plays Dr. Hannah Asher, exclusively told Us that Lenox’s relationship with Ripley has also “pushed her to be honest” with her brother, which is very new for the doctor.
“I feel like the truths that have to come out, like this relationship allows her to get to another level,” Schram, 40, said.
MacDonald added, “The difference between Ripley in the first scene and the Ripley in the last scene is that he knows that she told her brother, and that changes everything for him.”
Hannah, for her part, successfully gave birth to her and Dr. Dean Archer’s (Steven Weber) baby girl during the finale. The episode ended with Hannah kissing Archer after he admitted he has always loved her, which Schram told Us is part of Hannah’s new plan to “live in the now.”

Jessy Schram as Dr. Hannah Asher and Steven Weber as Dr. Dean Archer. Elizabeth Sisson/NBC
The finale also featured a major development in Dr. John Frost’s (Darren Barnet) life after his father — who he had a rocky relationship with after having to pay for his parents’ lifestyle as a child star — died.
“In the short term, he will continue to lean on Dr. Naomi [Howard],” MacDonald said of Frost’s romance with Naomi (Ashlei Sharpe Chestnut). “I think there’s a real chemistry between those two characters.”

The showrunner noted that now that Frost has “made his peace with his father” prior to his passing, it is a “weight lifted off him that now frees him” to grow closer to his mom.
“This closes the book on the past,” MacDonald said of the death. “One of the big things we’ll be doing with Frost next year is moving forward. He was moving forward emotionally, but it required going back into his past more, and I think that we’ve told that story now.”
Chicago Med returns for season 12 on NBC in fall 2026.
Katharine McPhee and David Foster threw a lavish fundraiser for L.A. mayoral candidate Spencer Pratt in their Brentwood Park backyard.
One America News Network host Alicia Summers shared footage via Instagram of the event on Monday, May 13, including a snippet of Foster, 76, playing the keyboards as McPhee, 42, sang new lyrics for Tina Turner’s hit “The Best.” McPhee crooned that Pratt, 42, is “better than Karen Bass and Nithya Raman,” his two leading opponents.
At one point, McPhee seemingly forgot Raman’s first name, referring to her incorrectly as “Cynthia.” When she pointed out the mistake, Pratt shrugged as if he wasn’t sure of the L.A. city council member’s first name either.
Per Vanity Fair, the guest list at Foster and McPhee’s “Spencer Pratt for Mayor” fundraiser included Brian Grazer, the Hollywood titan who produced Apollo 13, A Beautiful Mind and The Da Vinci Code with his Imagine Entertainment partner Ron Howard.
Us Weekly has reached out to representatives for McPhee, Foster and Grazer for comment.
Foster has a longtime connection to the former Hills star through Pratt’s friendship with the songwriter’s former stepson Brody Jenner. (Foster was married to Jenner’s mother, Linda Thompson, from 1991 to 2005. He was also married to B.J. Cook from 1972 to 1981, Rebecca Dyer from 1982 to 1996 and Yolanda Hadid from 2011 to 2017. He tied the knot with former American Idol star McPhee in 2019.)
In his recent memoir The Guy You Loved to Hate, Pratt recalled frequently watching Foster perform and described the musician as the “G.O.A.T,” an acronym for the “Greatest of All Time.”

Pratt’s campaign has received support from numerous public figures, including former Los Angeles Lakers owner Jeanie Buss making an $1,800 donation to Pratt’s mayoral bid in April, according to a contribution report viewed by Us. Former View cohost Meghan McCain, Jax Taylor, Kristin Cavallari and Jonathan “FoodGod” Cheban, among others, have all endorsed Pratt’s mayoral run.
Per KTLA, current L.A. Mayor Bass maintained the edge over Pratt in a new Emerson College Polling/Inside California Politics survey, leading him 30 percent to 22 percent. The candidates are headed for a primary on June 2. If no single candidate receives a majority of the vote in that primary, the top two will move forward to the general election on November 3.
Pratt has based his campaign on what he sees as Bass’ failed response to the Palisades Fire in January 2025, in which he lost his home. News broke this week that Pratt, his wife Heidi Montag and their two sons have moved from a temporary trailer into the glitzy Hotel Bel-Air in California.
As some questioned the cost of his move, Pratt fired back via X on Wednesday, April 13, “Hey guys, why don’t they wanna talk about why I need a hotel in the first place? Karen Bass let my home burn down. Also 6,000 of my neighbors. NBD.”
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The medical drama will return for season 12 this fall.
Jeff Ross has a few people in mind whom Netflix should put in the hot seat next for a roast.
The stand-up comic was one of several high-profile stars at “The Roast of Kevin Hart,” and after taking his shot at the “Ride Along” star, he hinted that names like Stevie Wonder and Drake could make strong targets for future roasts.
His suggestion quickly drew reactions on social media, with some also sharing their own ideas about who should be roasted next.
Following Hart’s successful live roast show, Ross gave Variety a behind-the-scenes look at the event’s preparation, including who he would like to see in the hot seat next.
Speaking to the outlet, Ross said one of his top choices would be to have a musician face the heat, before narrowing it down to Drake as one of his preferred picks.
“A pop star or a rock star would be great. A rapper would be great. I could see Drake getting roasted and being a great one,” Ross said.
The comedian also mentioned veteran singer Stevie Wonder as another top option.
“One of my all-time favorite ideas is Stevie Wonder. I always say, ‘The Roast of Stevie Wonder: You’ve got to hear it to believe it,’” he added.

On X, fans shared their thoughts about Ross’ choices, especially regarding his preference for Wonder.
“Stevie Wonder roast would be legendary. Jeff Ross knows exactly what he’s doing with that one,” one individual joked.
As for the possibility of Drake being placed in the hot seat, most users claimed it would likely never happen.
“Drake got roasted by the whole country for over a year. I think he will probably pass,” one user said, referencing the rapper’s widely-publicized beef with Kendrick Lamar.
“Drake is too thin-skinned for a roast. Frankly, it’s hard to find a music star who isn’t,” another added.

Hart’s roast is the second installment in Netflix’s “GOAT” roast series hosted by Shane Gillis. For now, there is no word on whether a third “GOAT” has agreed to be roasted, but Ross believes another high-profile figure may opt in soon.
“Kevin doing it opens it up to almost anybody who is at the top of their game and wants to show the world they’re a good sport,” Ross told the outlet.
“It humanized even Kevin, whom we feel like we know everything about. It made him show some vulnerability by laughing at himself. A lot of celebrities could use that kind of injection of laughter into their career,” he added.

For Hart’s roast, Ross appeared to hold nothing back, taking a swipe at the comedian over his attendance at a Diddy party and joking about his “pieces of sh-t” movies. He also brought up the actor’s upbringing and even referenced his relationship with Dwayne “The Rock” Johnson.
“Your dad was a street hustler and addicted to crack cocaine,” Ross quipped. “So, I guess being dependent on the Rock runs in the family.”
Despite how boundary-pushing the jokes were, some went even further and seemingly did not make it into the roast for that reason.
“One that I was saying all week that I wound up dropping was: Kevin, your dad sold crack, and you literally sell everything except crack. From his comedy to his tequila to his chain of vegan fast-food restaurants, Kevin is always looking for new ways to make people throw up,” Ross joked.
Elsewhere in the conversation, Ross also revealed that many people have been curious about whether any topics were off-limits during the roast.
On this, he shared that Hart never imposed any such restrictions, but he acknowledged that it is only logical not to go too far over the edge.
“For me, there’s a sportsmanship to it… I want to scratch the skin, but I don’t want to break it. Nothing was off limits. I don’t think there was a single topic from Kevin’s life that didn’t get brought up. It’s really just a question of how overt you want to be,” he remarked.
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Danson ultimately ended up leading the hit NBC sitcom, which ran from 1982 to 1993, as bar owner Sam Malone.
West Wilson and Amanda Batula always had a playful friendship, but after news broke in March of their budding romance, their Summer House season 10 actions are being called into question.
Season 10 on the Bravo series premiered in February, one month after Amanda and Kyle Cooke announced their split following four years of marriage. Throughout the season, which was filmed in summer 2025, viewers have seen the beginning of the end of Amanda and Kyle’s tumultuous relationship.
However, it’s the intimate moments between West and Amanda that are now turning heads following their joint March 31 announcement that their feelings for each other have recently “evolved” from friends to something more.
“We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected,” the pair wrote in a joint Instagram post. “Our connection grew out of a genuine, longstanding friendship, which made it especially important for us to approach this with care.”
Kyle broke his silence over the scandal on April 1, admitting that he now sees West’s season 10 actions towards Amanda in a different light.
“Looking back, there’s a lot of us that look at his body language and how touchy and handsy he is with her,” Kyle told Adam Glynn in a three-part TikTok video. “And I kinda just gave him a little bit of a hall pass, [saying], ‘Oh, it’s West.’”
Fans of the show have also taken note of West and Amanda’s deepening connection captured by the Summer House cameras during season 10 scenes, pointing out that many of their moments haven’t aged well.
Scroll down for a look back at their eyebrow-raising moments this season:

During the season premiere, which aired in February, West hosted a “county fair” themed party to kick off summer. Amidst milking a fake cow to get White Russians and doing a keg stand, West was pied in the face by his ex Ciara Miller. West then grabbed a few pies of his own and got Ciara back before grabbing Amanda and smashing the pie in her face.
West later shared photos from the first weekend in the Hamptons via Instagram, revealing that he and Amanda were both covered in whipped cream after the fun at the party. In one photo, West held onto Amanda’s neck as they both sat alone on the floor.
At the end of episode 1, West was among the housemates who decided to jump into the pool to clean off after the pie war. When Amanda took off her bandana top and was in just her nude bra and underwear, West was the first to notice.
“Wait, Amanda is naked!” West yelled, pointing it out to the group. His eyes got wide as Amanda walked into the pool looking nearly nude.
“Your tits are so out it’s kind of insane,” West told her when she came close to him in the pool.
When Ben Waddell handed Amanda a towel, her husband, Kyle, noticed she was scantily clothed and yelled at her for being “naked.” Amanda clapped back, pointing out she was wearing clothes and everyone was in the pool.
Amanda made fun of West’s voice during episode 2, after he sounded like a bear while asking, “Are we doing a boys’ car?” After Amanda mocked him, he ran over to her near the car and gave her a big bear hug.
The playful interaction came one night after Kyle claimed to West and other guys in the house that he and Amanda’s sex life was non-existent because she “smokes weed every night.”

After Kyle blew up at Ciara during episode 3 for interrupting his group apology at dinner, Amanda started to laugh. Carl Radke went to talk to Kyle and then reported back to the group that Kyle feels like Ciara doesn’t ever have his back.
West, who was seated next to Amanda at the time, then started to laugh. He made a face while looking at Amanda and insisted that Kyle was “fine.”
West hosted a singles’ mixer in New York City during episode 4, which Amanda attended with Lindsay Hubbard as her plus one. (Kyle was out of town for the event.)
When the ladies arrived, West greeted them, telling Lindsay, “You look hot!” As he hugged Lindsay, he looked over her shoulder and added, “You look good too, Amanda.”
“No, it’s OK, I’m married,” Amanda replied, brushing off the delayed compliment.
Later that episode, Amanda and West were chilling on a couch at their shared house in the Hamptons when she revealed she wasn’t feeling well and might need to skip Kyle’s DJ set.
“Your boyfriend has a big performance,” West told Amanda in a joking tone. “My boyfriend,” Amanda replied, laughing along with West.

When it came to Amanda’s birthday dinner, she was once again seated next to West — with her husband Kyle on the other side. During episode 6, which aired in March, the cast went around the table and said something nice about the birthday girl, including West.
“Amanda, since I’ve known you, you’ve accomplished so many big things from where you were,” West told her while looking into her eyes. “I know you were struggling before and you’ve been out of your shell and it’s fun to watch you do s***.”
“That was very nice,” Amanda replied.
During episode 8, Kyle accused Amanda of not supporting him before yelling, “F*** you,” and storming inside the house. The name-calling appeared to come out of nowhere, and although Amanda wanted to forget it happened, West wasn’t OK with the altercation.
Once Amanda was in her bathroom getting ready for bed, West came in to console her and show her support.
“Objectively, nothing just happened. That’s bizarre to me,” West confessed. “That’s the first time where I’ve ever seen something where 100 percent [it] was unprovoked.”
Amanda thanked him for “understanding” her side and started to cry off camera. “There was a part of me that was like, ‘This is the best I’m ever going to do. And he loves me so much,’” Amanda told West through tears. “[I was] constantly making excuses.”
“I care about both of them and I want them both to be happy. If Kyle is being a f***ing d***head, I don’t know, who has Amanda’s back?” West said during a confessional.

Kyle and Amanda got into a bigger argument during episode 8 after he claimed she “ignored” him and only wanted to hang out with their friends. Kyle then called his spouse a “f***ing dumbass bitch.”
Amanda left the room to go to the kitchen where she encountered West in the hall. As she walked into West he tried to grab her hand for comfort but she pushed him off. Eagle-eyed fans later noticed that Amanda actually grazed West’s arm and pulled her own hand across his back before going into the kitchen.
West confronted Kyle over being “unnecessary” with Amanda during episode 9, claiming that he was completely unprovoked.
West advised Kyle to apologize to Amanda, adding that both he and Jesse Solomon had his “back,” but he needed to say “sorry” once and for all after calling Amanda names one episode prior.
When Jesse shared with Amanda how West “literally told Kyle off,” she was happy, saying, “I love you guys.”
She then revealed, “You guys are the best and that’s why I keep coming back,” joking, “I don’t come back for him,” in reference to Kyle.
During episode 11, which was filmed in August 2025, Amanda and West had a cozy moment — that all of their castmates saw.
As Jesse explained to the group what he envisioned for his Las Vegas-themed party that weekend, Amanda asked whether there would be “pool boys” walking around. West playfully yelled back, “No!”
Minutes later, West went and sat on Amanda’s stomach as she lounged on one of the pool chairs. As West and Amanda listened to Jesse’s plan, Kyle was seated alongside them seemingly unaware of their closeness.
“Stop farting on me, you sicko,” Amanda told West at one point, getting a big grin on her face as she teased him.
The moment comes after West had a similar moment with Ciara during episode 6. In a confessional, Ciara revealed, “Here’s the thing about West: When he sits on you, he has a crush.”

Amanda was upset during episode 11 after she realized she hurt Ben’s feelings when she joked to his girlfriend about him allegedly wanting to “have sex” with her when they first met in Italy the prior summer. West, however, thought the whole situation was funny.
“I love that you got in trouble for something,” West told Amanda in the kitchen after she confessed she was stressed about having to apologize.
“No, I’ve cried like five times about it,” she explained, noting that she told Ben’s girlfriend, Sabrina Belle, all about “how great he’s been all summer” to try and fix her mistake.
West pretended to be Ben, saying how “he wants to f***ing slam me.” Amanda laughed as West put his hands on her shoulders to calm her down.
Throughout episode 11, West raised eyebrows among his housemates when they noticed him kissing a random girl and flirting with her in front of ex Ciara. When Amanda clocked it, she asked pal Mia Calabrese, “OK so who’s this girl that West is about to f***?”
Amanda decided to intervene and go and lay in bed with West and the girl, who was later identified as a woman named Emmie.
“Whatcha doing? Can I come in for a cuddle?” Amanda asked as she laid down next to West on a big lounge bed by the pool. “Am I crashing your party?”
West replied, “No, absolutely not” after squeezing Amanda’s arm and putting it around her.
As Amanda started to talk to the girl, West played with Amanda’s hair and brushed her shoulders. Amanda didn’t skip a beat, instead she gushed about her husband Kyle to the random woman, calling him the “best DJ in the Hamptons.”
When Amanda got up from the bed, wearing just a bikini, she told West, “I gotta go. Watch my butt when I walk away.”

Amanda called out West during episode 11, which aired in April 2026, for getting “too comfortable on probation” after he kissed a girl while sitting next to ex-girlfriend, and her longtime friend, Ciara.
“To a fault I’ve tried to protect whatever the f*** our relationship is, which I don’t even know what it is,” West told Amanda and a few of their other housemates in defense of his party faux pas.
Amanda, however, wasn’t buying it. “You guys have been making progress, so my question is: why at this small, intimate party do you decide to have this girl sitting in your lap the whole time? And, like, making out with her?” she asked.
Kyle took West’s side, telling Amanda, “That’s not fair!” Amanda clapped back at her spouse telling him not to “make me get mad at you.”
Amanda then turned back to West, telling him, “All I’m saying is if you want to make progress in your relationship with Ciara there’s a level of respect that we have to have to live here together.”
Amanda and Kyle met up with West during episode 12 to help him raise money for a pet adoption charity in New York City. While Kyle got West and Amanda drinks at the bar, Amanda checked in to see how West was doing after he messed up one week prior, kissing a woman in front of his ex and her then-friend Ciara.
“What upset me the most is that you’ve been such a good friend to me all summer long,” Amanda told West after the pair shared a long and lingering hug, as many fans pointed out on social media.
She reminded him, “It bothers you when you see Kyle disrespects me. [You’re] someone who’s been so supportive of me and looking out for me and standing up for me. Then to watch you disrespect Ciara in that way, it puts this weird dynamic in place.”
West explained that he had been “trying to protect everything,” but it hadn’t gone to plan. “I’m a f***ing idiot. I understand why it was disrespectful and hurtful,” West continued, before asking Amanda, “What did I just jeopardize?”
Amanda acknowledged that there are “a lot of moving pieces and a lot of layers” to West and Ciara’s dynamic, but she pointed out that it’s more complicated because they don’t hate each other.
“If you hated each other, go ahead and do whatever you want,” Amanda quipped, before making a face at him. “But you guys are also, rumor has it, super flirty when you go out at night?”
When Amanda exchanged a cheeky glance at West, he replied, “That is true,” confessing, “Now the friendship is f***ed.”
West finished the conversation by asking if Amanda had “any advice” for him, laughing awkwardly.
“Don’t go silent. Take accountability. Apologize. Then there’s no ands, ifs and buts,” Amanda advised in the eyebrow-raising scene.
Amanda stayed in New York City during episode 13 while Kyle headed to the Hamptons with their friends. While Kyle said she rarely responded back to his texts that weekend, Amanda did call her spouse while he was on a boat with their pals to vent about feeling left out — but only when it came to West.
“When West said, ‘Best night of my life,’ and you said, ‘Damn,’ was that, like, sarcasm?” Kyle asked Amanda when she called him, referring to a text message she sent to the group the night before.
Amanda confessed it was not sarcasm, explaining that she meant, “Way to rub salt in the wound.”
“Wow, so she was feeling jealous,” Kyle said under his breath to Ciara on the boat.
Amanda explained, “West’s best night of his life is the one night I’m not there? Yeah, that feels great.” Kyle fired back, “You made it about you, but I get it,” to which Amanda replied, “Of course I did.”

After missing the weekend in the Hamptons, Amanda reunited with the cast — and West — at Carl’s SoftBar soft launch during episode 13. When Amanda asked West about his conversation with Ciara, during which they seemingly made amends, he said it “couldn’t have gone better.”
Amanda replied, “That’s good,” but her facial expression was less enthusiastic.
West explained that after he and Ciara worked out their issues, the rest of the cast arrived and met them at the docks. “They all came later and got out of the car, I was like, ‘Uh, I wish Amanda was getting out of this f***ing car,’” West said, without expanding on why. (Kyle was standing next to them.)
Later that night, Jesse told Amanda that Ciara and West were “hanging out” after the launch party, which totally caught her off guard.
“Tonight? They have plans?” she responded, visibly shocked by the exes going on a “double date” with costars Ben and his girlfriend, Sabrina.
Jesse confessed, “I haven’t talked to West about it, but yeah, they’re back to being normal friends again, I guess.”
“OK, but like, that’s not friends,” Amanda said, once again expressing a disappointed look on her face. “How did we go from zero to 100? … West has to be cautious because I don’t think that [Ciara] can handle just a friendship. But we’ll see.”
After Amanda learned that Ciara and West had mended their friendship, she got real about her feelings toward the situation.
“I was like, ‘The last thing I would ever do is invite Ciara and West out on an intimate date,’” Amanda told Mia during episode 14, which aired on May 5. “They just became friends.”
Mia agreed it’s “too soon” for people to be shipping West and Ciara following their ceasefire one week prior.
“Even if they got back together — happy. Literally would make me the happiest person in the whole entire world. The happiest,” Amanda claimed. “But he needs to be f***ing ready. It’s him.”
Amanda confessed, “I’m skeptical and weary of him,” noting that Ciara is “a very special, incredible person and you need to treat her differently than any other woman in the world.”
She hinted that West was not who she had in mind to rise to the occasion. “Until a man is capable of doing that I don’t trust anyone with her heart. I would die for that girl,” Amanda claimed. “The way I would cut West off in one f***ing second if she looked at me. If she gave me one look, [I’d] attack.”
At the end of episode 14, Kyle began to spiral after Lindsay made a quip about his life choices, saying, “Kyle lost his wedding ring, but he found a DJ career” this year.
When Lindsay called out Kyle for pursuing a DJ career “without talking to your wife about it,” Kyle lost it. “Don’t gang up!” he yelled at the group.
Kyle then turned his attention to Amanda, who was sitting across from him at the table, and said, “F*** you.”
The group was instantly upset by Kyle’s outburst, with Lindsay telling him, “No, no! If you want to say, ‘f*** you,’ say it to me.”
West, meanwhile, told Kyle, “That’s the one thing I’ve stood up for all summer, don’t say that.”
West then moved his chair from one side of the room to sit next to Amanda and have her back, literally. “Talk to Lindsay, don’t look at Amanda. You’re fine,” West told Kyle, trying to deescalate the situation.
When Kyle began to yell at everyone, screaming, “F*** everybody,” both West and Carl jumped up to try and make him “chill the f*** out.”

During episode 15, which aired on May 12, Carl and Kyle got into a heated argument outside the Hamptons house after Kyle yelled, “F*** you” to Amanda at the group table.
“What happened?” Amanda asked West when she finally came outside to see what was going on between the two. “They’re fighting, but let them go,” West responded.
Amanda, however, said, “No,” and tried to interject and calm Kyle down as he continued to yell at Carl.
As Amanda grabbed Kyle’s face and told him to stop screaming at Carl, West came up behind her and put his hands on her shoulder to seemingly support her. (He also placed his hands around her back and ribcage.)
West later told Kyle that it was Lindsay who started everything, adding, “You kept looking at Amanda.” West claimed, “Your s*** with Amanda comes out when other people are talking to you,” arguing that “Amanda didn’t say anything.”
Following the end of the fight — Kyle apologized to Carl later that night — West had an intimate moment with Amanda when he was walking inside to grab a chair.
“You pulling up your f***ing chair next to me,” Amanda started to say, before getting emotional and crying into West’s chest, suggesting that she felt supported at that moment. (West previously moved his chair behind Amanda at the dinner table when Kyle started to raise his voice.)
West massaged her hair as they hugged in the foray. “Thank you,” Amanda said as West pulled her in and gave her a kiss on the cheek. “I love you,” she added. West asked if Amanda was “OK” to which she nodded in approval.
During the same episode, West and Jesse pondered over the idea that Kyle and Amanda should separate amid their marriage problems — which Ciara had suggested earlier that weekend.
“He’s just so dramatic that I don’t think he could let her do that and not make it into, like, ‘She’s leaving me,’” West said of Kyle, claiming he wouldn’t agree with a break.
West, however, noted, “I think space would be fantastic for both of them.”
Jesse didn’t agree, replying, “I don’t think that’s the answer either. That sounds like a step towards breaking up.”
Summer House airs on Bravo Tuesdays at 8 p.m. ET.
Whew, Roomies! Coach Stormy Wellington has the internet popping off with reactions after she shared details about her 20-year probation. The multi-level marketing influencer recently sat down with Carlos King for an exclusive chat, where she broke down how she ended up on probation and how she plans to move going forward.
While chatting with Carlos King, Stormy Wellington opened up about her 20-year probation. The lengthy period comes after the Federal Trade Commission (FTC) previously accused her of using misleading income claims to recruit people into two different companies. During her interview, Wellington made it clear she never made a person a millionaire before. However, she said she’s confident that she can lead people, but they still have to put in the work.
“I never made a millionaire. If I could make a millionaire, then all my kids would be multi-millionaires.” Stormy continued, “I could lead you, I can mentor you, I can show you. It’s up to you to do the work.”
From there, Stormy said she thinks it’s best to stay away from anything involving money, because you have to be able to back it up. The entrepreneur also said that legally, you can’t tell people how much they’ll make or claim you’ll help them make a specific amount. However, she did mention that she doesn’t think she the way she presented it was illegal. Additionally, the marketing influencer said she now understands how money and finances work, so she doesn’t want to talk about it right now. “I don’t want to talk about money anymore. I want to talk about who you gotta become to get the money!”
After The Shade Room dropped clips from Stormy’s interview with Carlos King, the comment section was flooded with reactions. Plenty of folks were divided, however some highlighted the importance of having a lawyer, while others couln get over her 20-year probation.
Instagram user @kayla_micah wrote, “This is why it is important to have a lawyer on your team. So many people have great ideas but it is all about the execution and playing by the rules.”
Instagram user @thecoreyshow wrote, “Her business is making money off people who want to make money. And similar to a casino, the house always wins.”
While Instagram user @aishathalia wrote, “I don’t know if I can act right for 20 years. 😩 I’d be scared to breathe wrong.”
Then Instagram user @msjazzee wrote, “This is a lesson for all the IG folks selling courses and mentorship. Ya’ll better learn the laws.”
Another Instagram user @lifestylewithkween wrote, “That’s my coach I’m sticking beside her !!!”
Instagram user @iamesquiher wrote, “20 years probation is a trap 🪤.”
Then another Instagram user @witem_burr wrote, “Probation is basically jail just not behind bars.”
Finally, Instagram user @jaguar__jag wrote, “20 years of probation is INSANE 🥴”
Stormy previously spoke about her settlement with the FTC during an interview on the ‘Isaiah Factor Uncensored’ podcast. Wellington made it clear that even if she decides to tap into future endeavors, she’s going to make sure that everything is done properly. Per Black Enterprise, Coach Stormy must ensure any future earnings claims stay truthful, non-misleading, and backed by written evidence.
“There are some things that I use as a marketer. There are some things that I use as strategies, you know, I’m a manifestor. I believe that life and death is in the power of the tongue. I learned through this experience that you can’t do that when you become a woman of my caliber. You can’t say things that’s based on wishful thinking,” Stormy explained.
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