Entertainment
10 Fantasy Movies That Will Keep You Hooked From Start to Finish
A movie can have kingdoms, prophecies, monsters, curses, gods, ghosts, impossible landscapes, swords, spells, and lore stacked to the ceiling, and none of it matters if the story ever starts pausing to show off instead of pulling you forward. The best fantasy movies never make that mistake. They understand that wonder is strongest when it is attached to movement.
That is why the Lord of the Rings franchise or Harry Potter franchise became what they did. And those are the kind of movies this list is about. Not just the best fantasy movies in some broad museum sense. I mean the ones that grab hold early and keep tightening.
10
‘Stardust’ (2007)
I will always go to bat for Stardust because it understands something a lot of fantasy forgets: charm is not softness. Charm can be propulsion. This movie moves because it keeps turning every fairy-tale idea into a story problem with actual momentum behind it. Tristan (Charlie Cox) goes searching for a fallen star for the dumbest, most human reason possible: romantic humiliation and the need to prove himself. That is a great start. Then the movie makes the star a woman, gives her opinions, puts witches after her, puts dead royal sons in the sidelines mocking everything, and suddenly the whole thing has comic velocity.
That is why it stays so watchable. Yvaine (Claire Danes) keeps changing the emotional center of the story because once Tristan starts actually knowing her, the original goal becomes embarrassing. Lamia (Michelle Pfeiffer), meanwhile, comes in with exactly the right amount of wicked glamour. Every time the witches get involved, the movie sharpens. And then Captain Shakespeare (Robert De Niro) shows up and the film somehow gets even more lovable without losing pace. Stardust works because every fantasy element is there to complicate love, survival, identity, or succession. Nothing just sits there looking whimsical.
9
‘The Northman’ (2022)
This movie hooks because it does not flirt with myth. It commits to it at full intensity. From the opening, The Northman tells you that this is not going to be one of those fantasy-adjacent epics where revenge sits politely in the background while the movie arranges prestige imagery around it. And then, what makes it work from start to finish is that revenge never becomes abstract. The movie keeps dragging it through new emotional terrain.
First there is the boy seeing his father die and his mother taken. Then there is the years-later transformation into a man who has built his entire identity around returning to that moment and answering it with blood. Then the film starts complicating him. Amleth (Alexander Skarsgård) is shaped by murder, exile, prophecy, and a vow so absolute. Olga (Anya Taylor-Joy) changes the energy. The farm changes the energy. The truth about his mother changes everything because revenge stops being a clear inheritance story and becomes something much nastier. Suddenly Amleth is not just avenging purity and gets caught in a lineage of corruption, appetite, and violence that predates him.
8
‘Pan’s Labyrinth’ (2006)
Pan’s Labyrinth follows Ofelia (Ivana Baquero) moving through tasks, creatures, and riddles while fascist violence is sitting in the next room, at the dinner table, in the forest, in the face of Captain Vidal (Sergi López). Every fantasy beat matters more because it is positioned against cruelty that is painfully human. What makes the movie impossible to shake is that the real-world thread stays just as gripping. Vidal, just like most monsters of fantasy, does not belong to fantasy at all. He belongs to power, patriarchy, and fascism in their ugliest plain form. The film keeps cutting between worlds and both worlds keep tightening. That is why it never lets go.
And it never loses that grip. The toad sequence is strange and gross and immediately tells you this underworld runs on rules, not soft dream logic. Then the Pale Man scene arrives and basically brands itself into your brain forever. Ofelia is such a strong center too because she behaves like a child with imagination, fear, and will. You believe that she wants to be brave and also that she is terrified.
7
‘The Green Knight’ (2021)
I love this movie because it hooks by refusing to explain away its strangeness. It starts with a challenge that sounds simple enough. Gawain (Dev Patel) takes the Green Knight’s blow and must seek him out a year later to receive one in return and then lets that promise haunt everything afterward. The genius of the movie is that it keeps turning the journey into a test not just of bravery, but of self-concept.
Who does Gawain think he is? Who is he pretending to be? What part of knighthood is courage and what part is theater?
That question gives every episode on the road weight. The scavengers matter. The ghost matters. The lord’s castle matters. The sash matters. The giants matter. None of it feels like random fantasy decoration because every encounter presses on Gawain’s insecurity from a different angle.
6
‘The Princess Bride’ (1987)
Almost 40 years later, The Princess Bride still keeps people hooked. The movie circles the fact that sincerity and wit can be romantic, funny, dangerous, ridiculous, and surprisingly moving without ever feeling unstable. The setup is perfect. Buttercup (Robin Wright) and Westley (Cary Elwes) fall in love in the most storybook way possible, Westley disappears, Buttercup is pushed toward a political marriage, and then suddenly the film becomes a kidnapping tale, a sword-fight comedy, a revenge story, a miracle story, and a fairy tale that keeps one-upping itself without losing shape.
Every character helps. Inigo’s (Mandy Patinkin) cleanest emotional motor with his six fingers makes every scene with him gain force. Fezzik (André the Giant) adds warmth. Vizzini (Wallace Shawn) adds manic comic pressure. Humperdinck (Chris Sarandon) keeps the stakes mean. Miracle Max (Billy Crystal) shows up late and somehow the movie gets bigger without getting baggier. That is hard to do. And the reason this works on almost everyone is that the movie never acts above its own pleasure. It wants you delighted. It wants you invested. It wants you laughing and then suddenly surprisingly touched. That confidence is what makes the whole thing fly.
5
‘Crouching Tiger, Hidden Dragon’ (2000)
Crouching Tiger, Hidden Dragon hooks with longing. Not vague beauty. Longing. The first theft of the Green Destiny opens a whole chain of desire, discipline, resentment, and fate that keeps tightening until the movie becomes emotionally unstoppable. You have Li Mu Bai (Chow Yun-fat) carrying years of restraint. You have Shu Lien (Michelle Yeoh) carrying those same years from the other side. You have Jen (Zhang Ziyi) exploding into the story with talent, arrogance, hunger, and the refusal to accept the cage her life is supposed to become.
That triangle of emotional energy is why every action scene matters. The fights are gorgeous, yes, but they are never empty grace notes. Jen’s rooftop flight is thrilling as she is showing off power she has not emotionally earned control over yet. Her duel with Shu Lien is thrilling because it is basically discipline and fury arguing with weapons. The desert flashback with Lo (Chang Chen) changes the whole movie because suddenly Jen is no longer just reckless disruption. You understand the appetite underneath her rebellion. And then the ending comes and the movie leaves you with that ache only great fantasy can deliver: the feeling that beauty, freedom, and tragedy were all braided together from the beginning.
4
‘Spirited Away’ (2001)
Spirited Away grabs hold the second Chihiro (Rumi Hiiragi) enters a world that is operating on rules she does not understand and adults around her are already being punished for greed and stupidity. That is a perfect fantasy hook. Even viewers don’t understand or can expect what would happen next. And what makes it great is that the film keeps deepening rather than simply escalating. Every new element pulls you further in. Haku (Miyu Irino). Yubaba (Mari Natsuki). The bathhouse. No-Face. The stink spirit. The train ride. Kamaji. Zeniba. The reason the movie never loosens its hold is that each of those things changes Chihiro. She is constantly working, adapting, observing, and becoming a person with more steadiness than the frightened child we met at the start. That growth gives the fantasy world emotional structure.
And what I love most is that the movie never behaves as though mystery needs to be solved into flatness. The world stays strange. Spirits arrive with their own textures and moods. The train sequence is one of the most hypnotic passages in fantasy because it slows down without losing grip at all. You are still locked in. Maybe even more than before.
3
‘The Fellowship of the Ring’ (2001)
The Fellowship of the Ring hooks because it gets the order of things exactly right. First it makes the Shire feel worth loving. Then it threatens it. That is why everything after works. Frodo (Elijah Wood) is asked to carry a ring that immediately begins bending the atmosphere around him. And then once the journey starts, the film just keeps feeding you reasons to stay in. Bree, Weathertop, Rivendell, Moria, Lothlórien, Amon Hen — every stop changes the emotional shape of the story.
The Fellowship itself is the key. Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), Gimli (John Rhys-Davies), Boromir (Sean Bean), Gandalf (Ian McKellen), Merry (Dominic Monaghan), Pippin (Billy Boyd), Sam (Sean Astin), the film keeps making the group dynamic richer, so when danger comes you are not just responding to spectacle. You are responding to people whose strengths, weaknesses, loyalties, and temptations matter. Boromir is a huge part of why the movie has so much pull late. His weakness is not random. The ring has been pressing on exactly the wound he carries, and when he breaks and then tries to answer that failure with courage, the film suddenly becomes devastating. That is why The Fellowship of the Ring is not just great setup but a full-blown emotional journey with its own heartbreak. And it’s only the beginning of a trilogy and then prequels.
2
‘Mad Max: Fury Road’ (2015)
Yes, it belongs here. Mad Max: Fury Road is a fantasy by force of world, myth, and pure invented reality, and it hooks harder than almost anything. This movie is basically one long chase. Every stretch of movement introduces a new problem, a new emotional pressure, or a new visual idea. It is perhaps the best revival of a franchise in the past two decades. One of the reasons it stays addictive is its characters and on top of which are Furiosa (Charlize Theron) and Max (Tom Hardy).
Once you understand what Furiosa is trying to do, not just flee, but take these women out of a life of ownership and rape and turn escape into possibility, the movie gains a heart hot enough to power all the spectacle. Max, on the other hand, gets dragged into purpose rather than striding nobly toward it. That reluctance helps. It lets Furiosa become the film’s blazing center. You have to watch it to know what it does.
1
‘Pirates of the Caribbean: The Curse of the Black Pearl’ (2003)
This is number one because it may be the most entertaining fantasy movie of the modern blockbuster era, full stop. It hooks immediately because it starts with atmosphere and mystery the right way: the ship in the fog, the child, the gold medallion, the pirate song hanging in the air before we even fully understand what it means. Then it grows outward with ridiculous confidence. Will (Orlando Bloom) wants Elizabeth (Keira Knightley). Elizabeth wants more than the life she is boxed into. Jack Sparrow (Johnny Depp) enters the frame already operating like he belongs to a better, weirder movie than everyone else and then the film brilliantly becomes his movie without ever losing the others.
That balance is why it never slips. Jack is funny, yes, but he is also slippery in a plot-driving way. Every alliance with him is unstable. Every scene gets better because he is always trying to tilt it. Barbossa (Geoffrey Rush) is the perfect villain. And then there is the pure propulsion of it. Port Royal, Tortuga, the Black Pearl, the island, the mutiny history, the underwater walk, the final duel — the film just keeps delivering without that sag so many blockbusters get after the midpoint. It understands exactly when to give you romance, when to give you comedy, when to reveal the supernatural hand, and when to let a character’s choice matter more than the spectacle around it.
President Donald Trump has spoken out after he shared a picture on Truth Social that appeared to depict him as Jesus Christ.
RELATED: What Was Posted?! Social Media Is Goin’ OFF After Clip Shared On Trump’s Truth Social Account Showed Obamas Depicted As Apes (VIDEO)
Donald Trump Shares Picture That Appears To Depict Him As Jesus Christ
According to CNBC, on the evening of Sunday, April 12, President Trump took to Truth Social and shared a photo that appeared to depict him as Jesus Christ. Furthermore, per the outlet, the image appears to have been created using artificial intelligence. Additionally, it appeared that Trump shared the photo after Pope Leo XIV reportedly criticized the U.S. for its “war against Iran and for military action against Venezuela.”
He Speaks Out As Social Media Goes OFF
Furthermore, on Monday, April 13, Trump deleted the photo amid it sparking backlash. Additionally, during a press conference, he spoke on why he shared the photo and denied any intention to compare himself to Jesus Christ.
“I did post it. I thought it was me as a doctor, and it had to do with the Red Cross,” Trump reportedly said. “… It was supposed to be me as a doctor, making people better. And I do make people better. I make people a lot better.”
Per the outlet, former Republican congresswoman Marjorie Taylor Greene took to X to assert that Trump published the photo “to attack the Pope.”
“On Orthodox Easter, President Trump attacked the Pope because the Pope is rightly against Trump’s war in Iran and then he posted this picture of himself as if he is replacing Jesus,” she wrote.
Additionally, the reactions continued in TSR’s comment section.
Instagram user @cbellamy2 wrote, “We haven’t had a DAY of normalcy since this man took office ”
While Instagram user @the_ghanaian_alpha added, “Pay close attention to the type of people who finds ways to justify.and normalize this in these comments
Mad times 🤦🏾♂️🤦🏾♂️”
Instagram user @_sunnyyyyd wrote, “We really live in a southpark episode”
While Instagram user @unemployed.donny added, “Same guy who refused to put his hand on the bible btw”
Instagram user @1iyananicole wrote, “He think it’s all fun & games until it’s judgment day. Money, status, or power ain’t saving you trump 😂😭”
While Instagram user @i_am_ed_hardy added, “I know other countries be laughing at us 🤦🏻♂️”
Instagram user @thatguyian6 wrote, “We hate him, but this shit is hilarious😂😂😂”
While Instagram user @iswellconnected added, “Wrap this presidency up immediately”
Instagram user @debs.d7 wrote, “In the clouds with glowing hands, right…”
Before Donald Trump Shared Picture That Appeared To Depict Him As Jesus Christ, He Made Headlines By Way Of Candace Owens
Before Donald Trump shared the picture that appeared to depict him as Jesus Christ, he made headlines by way of Candace Owens. As The Shade Room previously reported, Owens had been public about disagreeing with the U.S. war against Iran. In turn, Trump reportedly called her and other individuals out, saying that they have “low IQs.”
In response, Owens clapped back, calling Trump “grandpa,” in part.
RELATED: Grandpa Gotta Go! Candace Owens Claps Back After Trump Calls Her Out Over Iran War Stance (PHOTO)
What Do You Think Roomies?
By Chris Snellgrove
| Published
Like many fans, I burned out on the Marvel Cinematic Universe after 2019’s Avengers: Endgame. That film felt like the natural culmination and conclusion of something the franchise had been building toward since 2008. After losing their glorious purpose, though, Kevin Feige and crew have seemingly been stuck going through the motions. Marvel movies have become tired and predictable, and superhero fatigue has set in as fans realize that the same generic storytelling blueprint is being used film after film. The Marvel TV shows on Disney+ are even worse, with most of them feeling like homework for a class that general audiences have long since dropped out of.
Because of this, I hesitated to watch Daredevil: Born Again, and I feared that Disney would completely neuter everything that made the earlier Daredevil series on Netflix so compelling. However, the news that Krysten Ritter would be reprising Jessica Jones (one of my favorite characters long before she joined the MCU) for Season 2 made me cave in and watch the new show. To my shock, I really loved the first season, in large part because it felt like nothing else in today’s superhero media. That’s when it hit me: Daredevil: Born Again is successful specifically because it breaks all the storytelling rules of modern Marvel media.
Not Exactly Kid-Friendly
Modern Marvel media has often tried to walk a tightrope between appealing to adults and appealing to the youngsters they are trying to sell toys to. The Thunderbolts is a great example of this. As a movie where the real Big Bad is crippling, soul-destroying depression, this film has a core message that an older audience can really vibe with. Because it’s meant to be a blockbuster superhero movie, though, we also have to get a steady stream of bad jokes, most of them courtesy of David Harbour’s insanely over-the-top Red Guardian character.
Daredevil: Born Again embraces its TV-MA rating to tell a story by adults and for adults. There’s no real push to sell toys (or, for that matter, Marvel Rivals skins), so the writers can focus on telling a story that is centered on trauma. The first episode begins with one of Matt Murdock’s closest friends getting shot by Bullseye, leading to the show’s first real balls-to-the-wall action scene. When he hears that friend’s heartbeat stop, Matt does two things that once seemed impossible: he tries to kill the attacker and subsequently hangs up the horns for good.
The story that unfolds doesn’t feature any Spider-Man-like quips from our hero. For that matter, nobody utters any of those Whedon-esque lines like “Well, that just happened.” Instead, the narrative focuses on the guilt that our protagonist feels over his life as a superhero, ultimately getting his best friend murdered by a costumed villain. Everything (including a horrifically honest portrayal of police brutality and a serial killer subplot straight out of Hannibal) feels refreshingly mature. The TV-MA rating isn’t just about letting Daredevil drop f-bombs. Instead, it’s a license to, like the earlier Marvel shows on Netflix, return to telling rich stories rather than selling cheap toys.
The Return Of The King
Unsurprisingly, Charlie Cox does an amazing job as the titular hero of Daredevil: Born Again, and he injects his tortured character with so much pathos that you’ll stay invested in his every move, whether he makes them in a courtroom or on a rooftop. But the primary reason to watch this show is the triumphant return of Vincent D’Onofrio as Wilson Fisk, better known to friends and foes alike as the Kingpin of Crime. In the original Daredevil show, the actor pulled off the impossible by showing us tantalizing glimpses of the vulnerability hidden behind Fisk’s mask of violence and domination. Incredibly, he doubles down on all of this with his showstopping Born Again performance.
In this newer show, Kingpin becomes the mayor of New York City in an attempt to improve lives, but he can’t shake the criminal nature that made him infamous in the first place. D’Onofrio helps to sell the fact that his character does not see this as a contradiction or a sign of hypocrisy. Rather, he sees a city spiralling into chaos, and he believes costumed vigilantes are a symptom of the larger problem rather than a solution. Accordingly, he runs the city with the same ruthlessness that he ran his criminal empire, with the ultimate goal of restoring order.
Daredevil: Born Again’s ambitious plot works on several levels, with Kingpin’s government (complete with ICE-like enforcers) serving as a clear parallel to Donald Trump’s government. Thanks to D’Onofrio’s performance, though, Kingpin always comes across as a complex character rather than a political parody, which gives all of this strident social commentary a downright electrifying frisson of tension. As with Cox, D’Onofrio isn’t here to sell toys, and he’s not here to be a mustache-twirling farce. Unlike most Marvel villains, he’s in this show to illustrate how the banality of evil will always be wrapped in a cult of personality and the best suits that money can buy.
Law & Order: MCU
Aside from his fun cameo in Spider-Man: No Way Home, Charlie Cox’s most substantial Marvel role before Born Again was his cameo in She-Hulk: Attorney at Law. That series did a good job at bringing the funny, and its lighthearted approach to storytelling (despite what the haters would tell you) often felt like a breath of fresh air. However, She-Hulk suffered in one major regard: its courtroom scenes. It was a show about a lawyer-turned-superhero, and unfortunately, nobody involved with the show could write a compelling courtroom scene if their lives depended on it.
Fortunately, Daredevil: Born Again delivers an ongoing legal plot (Matt Murdock must defend a costumed vigilante accused of killing a corrupt cop) worthy of the best Law & Order episode. This plot drives many of our heroes’ actions and makes for one of the most compelling aspects of Season 1. It felt like a magic trick, really. In a season that brought back both Jon Bernthal’s Punisher and the franchise’s killer action scenes, nothing kept me on the edge of my seat more than when I was waiting for the jury’s verdict with bated breath.
Forgive Marvel, For They Have Sinned
Obviously, the quality of Daredevil: Born Again doesn’t make up for modern Marvel mostly being a disappointment. Furthermore, it’s entirely possible that Season 2 (which is still ongoing as of this writing) will manage to drop the ball. But if you’re like me and have been burned out on what the MCU has to offer, it’s worth checking out this sequel series. If nothing else, additional audiences tuning in may let Disney know exactly what we want from superhero movies and shows: mature writing, deep characterization, and the intersection of several killer plots.
You don’t need superpowers to know where to find Daredevil: Born Again. Like all things Marvel, it can be streamed today on Disney+. That streamer is also the home of the earlier Marvel movies that once premiered on Netflix. When Born Again inevitably makes you nostalgic for the days of exciting Marvel TV shows, you can always go back and watch the original Daredevil. Just do what I did and try to ignore that you’re watching it on the same streamer that brought you stinkers like Secret Invasion and Iron Fist.
Daredevil: Born Again SCORE
By TeeJay Small
| Published
If you’ve got your finger on the pulse, you’ve probably already heard of Apple TV‘s Shrinking. The series, which just wrapped its third season, is the latest venture from Scrubs creator Bill Lawrence.
It’s packed with star-power, loaded with toxic positivity, and feels like a warm, cozy blanket if you’re spending a night inside, reminiscing about the times your tight-knit group of friends razzed each other over dinner and drinks. Despite some of the show’s major highlights, I’ve got extremely mixed feelings about Shrinking, and I can’t quite place how I’d rank it overall.
Shrinking Should Be Top Tier
For starters, Shrinking has a top-tier premise. A Southern California-based therapist grapples with the death of his wife, all while managing clients, a teenage daughter, and a growing group of supportive pals. Also, his gravelly boss is Indiana Jones.
The show features leading performances from Jason Segel, Jessica Williams, Lukita Maxwell, Christa Miller, and Harrison Ford. Rising star Luke Tennie also takes center stage in the series, which might leave you with your jaw agape if you just finished watching him on Abbott Elementary and The Pitt.
A Therapist Jimmying His Clients
Segel’s Jimmy Laird opens the series by coming out of an almost year-long fog. In the immediate aftermath of his wife’s untimely passing, he indulged in alcohol, drugs, and parties with hired women. As he tries to return to the reality of his daily grind, he struggles to reconnect with his daughter before she leaves for college. Meanwhile, Jimmy takes his therapeutic practice to bold new places by ‘Jimmying’ his clients, pushing them to make big choices both inside and outside of his office.
Former Daily Show correspondent Jessica Williams is my personal highlight of Shrinking, as she brings an undeniable charisma to the show. Harrison Ford is also a major bright spot, serving as Jimmy’s boss, and a reluctant mentor to pretty much every other person on screen at any given time. Some fans have suggested that this role will be Ford’s last, and if that’s the case, I couldn’t ask for a better career send-off.
A Flippant Disregard For Therapist Boundaries
Shrinking has its flaws. The most glaring issue is the show’s flippant view on the relationship between a therapist and their client.
For Jimmy, violating the ethical practices laid out for a shrink is kind of the whole point. But beyond that, the series seems to think therapy functions more like a boozy brunch than a years-long discipline. Throughout the whole series, therapists hang out with clients in social settings, offer straight-up illegal advice in place of coping mechanisms, and bring their personal problems into sessions, taking up valuable time gossiping instead of focusing on the patients.
I understand that a straightforward and realistic show about therapy would be very boring, but it just feels a little too over the top for a show with such deep themes.
The Unbearable Stench Of Wealth
The other major flaw with Shrinking is the unbearable stench of wealth. The main characters live in a very affluent neighborhood in Pasadena, where they seemingly spend every waking moment getting wine drunk, planning spur-of-the-moment vacations, driving pristinely restored classic cars, and never worrying about money at all. The least wealthy character is Luke Tennie’s Sean, and even he gets to live in Jimmy’s pool house for free.
Again, I’m not suggesting that characters on Shrinking need to be hyper-realistic or descend into abject poverty in order to be entertaining. I’m just saying, sometimes I have to grit my teeth as the characters decide on a whim to buy a car they don’t need, or give away a rental property that would cost me $4,500 per month before utilities.
Some weeks, I catch Shrinking the moment that new episodes hit Apple TV. Other times, I have to decide whether to spend my money on groceries or on paying down high-interest debt. When those weeks rear their head, the very last thing I can tolerate is a show about a wealthy man crying in his mansion.
Shrinking Will Never Be A Prestige Show
If you’re in the market for a feel-good show and don’t mind it getting occasionally so saccharine that your blood sugar spikes, Shrinking might be exactly what you need. There’s also a pretty massive How I Met Your Mother reunion couched within the second and third seasons, so it’s worth watching if you’re a longtime fan of that sitcom.
Still, Shrinking will never be a prestige show on the level of Breaking Bad, Severance, or even Curb Your Enthusiasm. It’s the kind of show you throw on when you’re homesick and looking for some empty comfort. Shrinking is currently streaming on Apple TV.
SHRINKING SERIES REVIEW SCORE
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“The View”'s Sunny Hostin calls for use of 25th Amendment after Donald Trump shares image of himself as Jesus: 'Blasphemous'
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“God is not to be mocked,” former Trump staffer Alyssa Farah Griffin said.
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Two decades on, Christopher Nolan’s cinematic magic trick still satisfies.
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The 75-year-old actress says she was unable to walk or talk.
There’s no shortage of competition shows right now, but Netflix’s latest unscripted pickup sounds like it’s aiming for something a little meaner, rougher, and a lot less polished. This one isn’t about baking, bluffing, or making a fortune in a mansion. It’s about stripping people down to the basics and seeing what’s left when the comforts of modern life disappear. And with a concept like that, it makes sense that Netflix went looking for someone who actually looks like he could survive the end of the world.
That someone is Alan Ritchson, who is officially bringing a new survival competition series to the streamer. The currently untitled show comes from Bunim/Murray Productions and will test the grit, resilience, and instincts of a group of high-profile influencers and headline-makers as they’re pushed far outside their comfort zones. With their usual luxuries gone, the contestants will have to rely on determination, survival skills, and each other to make it through the experience.
The series will ask whether these carefully curated public figures can actually endure life in the wilderness when there’s no fame, no followers, and nowhere to hide. Ritchson will, of course, need to fit this in alongside numerous big projects and, of course, shooting Reacher, the fourth season of which is set to premiere later this year.
What Can We Expect From ‘Reacher’ Season 4?
Ritchson has already hinted that this season is the most action-heavy yet. In his earlier comments to ScreenRant, he said the show may include roughly 30 fight sequences across its eight episodes, while also admitting he worried about “fight fatigue” if the action did not serve the story. He stressed that the team was not just adding fights for the sake of it.
“We shot… God, I don’t even know, man. 30? We’ve never shot this many fights. There’s so many. And it’s not just that we’re just going for the sake of it. I worry about fight fatigue for audiences. I watch my wife watch Game of Thrones, and I am yawning my way through it, and then the fights start. I’m like, ‘Now it’s getting good.’ The fights start, and she’s like, ‘Oh, wake me up when the fights are done.’ And I’m like, ‘What is that?’ I don’t ever want somebody to disengage because they’re just seeing all the fights in the world thrown on screen.”
Stay tuned to Collider for more updates on Alan Ritchson.
- Release Date
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February 3, 2022
- Network
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Prime Video
- Showrunner
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Nick Santora
- Directors
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Omar Madha, Carol Banker, Julian Holmes, Lin Oeding, M.J. Bassett, Norberto Barba, Stephen Surjik, Thomas Vincent
- Writers
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Cait Duffy
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Alex Cooper calls out Alix Earle for 'passive-aggressive' behavior: 'I know what happened and so do you'
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Earle’s “Hot Mess” podcast used to be part of Cooper’s Unwell Network until February 2025.
Internet users are swarming Emily Huff‘s social media accounts amid her liking a comment that asked if she “beat” Jayda Cheaves.
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Internet Users Swarm Emily Huff’s Social Media Amid Her Liking A Comment That Asked If She “Beat” Jayda Cheaves
Emily Huff’s social media has been a gathering spot for social media users. On Instagram, her latest post, shared over the weekend, showed her standing on a beach while carrying a Black Goyard bag.
“Let’s take a trip bae 🫢,” she had captioned the photo.
Then, in her comment section, the reactions rolled in.
Instagram user @tgomezpls wrote, “Dess took you up through there poodie @theemilyhuff”
While Instagram user @topdollmakkah added, “Them ppl turnt you every whicha way”
Instagram user @raeaintnoforeign wrote, “did dess whoop u? yes or no”
While Instagram user @blackrose_724 added, “Yall mad she got Jayda😭🤣”
Instagram user @therealchelskardash_ wrote, “WE RIDE FOR JAYDA 😬”
Furthermore, under a photo shared before that one, the comments continued.
Instagram user @chaingangggggggg wrote, “Jayda got beat up on the walk up 😭”
While Instagram user @krystalforever added, “You shoved her into tomorrow 🥲😂”
Instagram user @swovey wrote, “I new I would find y’all here 😭😂”
While Instagram user @g1rlyfaceee_ added, “Dang you can’t fight @theemilyhuff”
Instagram user @alex_oitnb123 wrote, “How you swing first and you got your ass beat😭😭🤣🤣🤣🤣🤣🤣”
Additionally, the comments even rolled in under her latest TikTok.
TikTok user 💎 wrote, “So yea yea what she walked up to you and said ?”
While TikTok user ThatRealLeeHappened added, “Do a story time and tag me 👀👀👀👀👀”
@theemilyhuff 10/10 “soft serve margarita” #atlanta #food #review #softserve #mexican
Here’s Why Internet Users Are Speculating About Altercation Between Emily Huff & Jayda Cheaves
As The Shade Room previously reported, over the weekend, footage surfaced of Jayda Cheaves and Dss Dior being involved in a physical altercation while at a club. At the time, details about the altercation remained scarce. However, the footage went viral and caught Yaya Mayweather’s attention.
Then, on Sunday, April 12, a tweet was shared that showed another angle of the altercation. Subsequently, fans began speculating that the footage showed Jayda Cheaves tussling with Emily Huff. To add, Huff even liked a comment which asked her if she “beat jayda or what.”
Swipe below to see the comment, and Huff’s like.
Why Might The Women Have Beef?
As The Shade Room previously reported, in January, Supa Peach alleged that Emily Huff dated Lil Baby before Jayda Cheaves. However, she added that at the time, Huff and Cheaves were friends. Around the time of Peach’s revelation, Huff appeared to confirm her recollection of events.
RELATED: Whew! New Angle Of Dess Dior & Jayda Cheaves’ Fight In Club Has Social Media Users Speculating It Involved Her Former Friend Emily Huff
What Do You Think Roomies?
Entertainment
One of The Greatest Fantasy Series of the 21st Century Is Officially Streaming For Free
When it comes to fantasy series, George R. R. Martin’s adaptations continue to dominate the genre, having started with Game of Thrones, which ran from April 17, 2011, to May 19, 2019. The tremendous success of the HBO show led to its spin-offs, House of the Dragon and A Knight of the Seven Kingdoms, both of which premiered on the network in 2022 and 2026, respectively. However, before any of these came to life, a forgotten fantasy series was all the rage, garnering positive attention throughout its run and still regarded as one of the greatest of this century.
Loosely inspired by British legends from medieval literature, the action-packed series aired for five seasons on BBC One between September 20, 2008, and December 24, 2012. In the US, it was broadcast on NBC from June 21, 2009, for a short while before moving to Syfy for Season 2, running through the final season in 2013. Merlin, also known as The Adventures of Merlin, is the fantasy masterpiece in question, created by Julian Jones, Jake Michie, Johnny Capps, and Julian Murphy for the BBC.
Eighteen years after the adventure series premiered, it is much easier to stream in the US without paying a penny. As reported, all five seasons of Merlin are currently streaming for free on Tubi, which won’t be the first time the fantasy drama was made available for free. Back in 2023, the free streaming service Plex launched a Merlin channel for US viewers, in addition to another channel airing on Amazon Prime Video’s Freevee.
How Well Do You Remember ‘Merlin’?
The acclaimed British show is a reimagining of the Arthurian legends, focusing on Prince Arthur and his manservant, Merlin, as ambitious young men struggling to understand their destinies. After saving Arthur’s life in the first episode, Merlin becomes the prince’s manservant. He soon learns that the reason for his magic is to protect the prince, but Merlin must hide his powers because magic was banned in Camelot by Arthur’s father, King Uther Pendragon, and those caught practicing are executed. Merlin starred Colin Morgan, Bradley James, Katie McGrath, Angel Coulby, Richard Wilson, Anthony Head, and John Hurt.
You can now stream Merlin on Tubi. Follow Collider for the latest entertainment updates.
- Release Date
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2008 – 2012
- Network
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BBC One
- Showrunner
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Julian Jones
- Directors
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Jeremy Webb, Alice Troughton, David Moore, Justin Molotnikov, Ashley Way, Alex Pillai, James Hawes, Metin Hüseyin, Ed Fraiman, Stuart Orme
- Writers
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Julian Jones, Jake Michie, Howard Overman, Ben Vanstone, Richard McBrien
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