Love Island USA‘s Kenzie Annis and Corbin Mims appeared to find a way to secretly hook up on screen — with the night cameras catching a glimpse of their encounter.

During the Thursday, June 11, episode of the hit Peacock series, the cameras in the villa showed each couple in bed after lights out. It was the view of Kenzie and Corbin, however, that made audience members question if they were secretly having sex.

The couple didn’t directly address the seemingly steamy moment — but Kenzie did hint at their chemistry, adding, “We have a really good physical connection in the bed.”

Love Island USA viewers had a front row seat to the sexcapades that took place this year in Fiji. While past seasons featured some couples finding ways to share an intimate moment or two, it felt like season 7 set some kind of record with the amount of sexual “journeys” taking place in the communal bedroom.

“We did have a code word [for sex which was] ‘journey’ and it kind of traumatizes me now. When somebody outside is like, ‘Oh, a journey?’ I’m like, ‘How dare you!’ I am clutching my pearls,” Amaya “Papaya” Espinal joked on the “Call Her Daddy” podcast in July 2025. “People were having journeys.”

Since there wasn’t room for much privacy, Amaya confirmed that it did get awkward at night, adding, ”I’m like, ‘Can I sleep?’ We already don’t get enough sleep around here and then you hear [sexual noises]. The earplugs [we got] were not plugging? Those were low quality earplugs because we were still able to hear things. Especially if there’s a couple right next to you.”

Amaya was also asked about her time in The Hideaway with fellow winner Bryan Arenales. (The pair have since split.)

“It was steamy, all right. We were hot and we were sweating. It really was a great feeling to just have that private and intimate moment,” she gushed. “We actually do want to talk to each other and we love being next to each other. The next morning, we were just sitting and we were just quiet. It was beautiful and silent.
I really did feel like I found my best friend where I could yap away or have a quieter moment.”

When asked whether Bryan really did “eat that kitty in The Hideaway,” Amaya coyly replied, “Well he definitely took that advice. We had a great night.”

Related: ‘Love Island USA’ Status Check: Which Couples Are Still Together?

They got a text — and found love in the Love Island USA villa. The beloved British dating show made its way across the pond in 2019, following a crop of American bombshells searching for The One in a luxury tropical villa. In season 1, eventual winners Elizabeth Weber and Zac Mirabelli had a connection […]

While Love Island USA viewers know that “journey” is a code word the Islanders use for sex, the term “folded” is another one that has been brought up multiple times last season. Chris Seeley quietly revealed to Bryan that he “folded” the night prior with Huda Mustafa, adding, “I wasn’t going to tell anybody. [But] I couldn’t do it any more. I really tried [to hold out]. I just didn’t want to tell the other boys.”

In a confessional, Chris elaborated on how having sex has helped his connection with Huda evolve.

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“I feel like that was just a great step into our physical connection that we probably don’t show in front of everyone else,” he noted. “It definitely made us feel stronger in our physical connection. That is really all I can say about that.”

New episodes of Love Island USA are released six days a week — except for Wednesdays — on Peacock.

Join Us Weekly and Bracketology.tv in our first-ever Love Island USA fantasy league! This is your chance to predict who you think will win Season 8 and rank the Islanders weekly based on how confident you are that they will survive the next elimination. You will be playing against our editors, get access to exclusive content and have the chance to win fun prizes. Sign up for free today!

Alan Ritchson has warmed the hearts of audiences as the burly and principled Jack Reacher, but his 2024 World War II action-comedy is much more flashy. Guy Ritchie’s The Ministry of Ungentlemanly Warfare is currently streaming on Peacock and is a spiritual successor to Quentin Tarantino’s Inglourious Basterds. Richtson stars as one of the members of Winston Churchill’s initiative to fight Nazis through underhanded means.

Aptly called The Ministry of Ungentlemanly Welfare, this band of brothers did not follow the rules of engagement as were established at the time. Instead, they used subterfuge, spies, and murder to combat one of the most evil authoritarians in world history. Their methods were so outrageous that if they were disavowed by the British government and if they were discovered, they would be imprisoned. The stakes were high, resulting in a high-octane action narrative fueled with blood and explosions.

‘The Ministry of Ungentlemanly Warfare’ Blows Typical World War II Expectations Away

Serious and heartfelt World War II stories like Band of Brothers and Saving Private Ryan handle this period with reverence. This was supposed to be the last great war and the last conflict that had a righteous cause. Part of the joy of The Ministry of Ungentlemanly Warfare is that it strips all these expectations away. This was a real unit, and all the characters portrayed actually existed. Unlike Inglourious Basterds, which is revisionist history, Guy Ritchie’s movie uses truth to tell an engaging and hilarious story, taking out all the pomp and circumstance of a time that feels so long ago.

The Ministry is led by Gus March-Philips, played with particular glee by Henry Cavill. Opposed to any self-serious roles he has played in the past, this is a refreshing change. March-Philips is characterized by his misanthropic approach to combat and his general disregard for the rules. He is perfect to pull off a mission to diminish the Nazis, though he insists on bringing his own team, who are just as wild as he is.

Cavill’s antics in the film are as hilarious as they are brutal, as are the rest of his squad. Alan Ritchson exercises his comedic chops as the Danish archer, Anders Lassen, who wants as many Nazi hearts as he can get. The violence, paired with the winks at the audience, subverts other war narratives of its kind. It is Ritchie in his purest form and an acceptable continuation of his other pieces of action fare. Its greatest asset, however, is the vigor it brings to killing Nazis onscreen. Nazi-killing has been a fad recently, with bonkers ventures such as Sisu, and it continues to resonate no matter how many times it happens.

The villains of The Ministry of Ungentlemanly Warfare are something that everyone can agree on, which makes this adventure particularly enjoyable to watch. Now streaming on Peacock, the war comedy isn’t typical of the genre, but in the end, that is what makes it a streaming success. The stacked cast of rebels eviscerating Nazis is exactly what viewers are signing up for when taking on this film.

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Release Date

April 19, 2024

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Runtime

120 minutes

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Jennifer Lopez isn’t afraid to share her honest opinion, even when it involves one of the most celebrated films in recent Academy Awards history. 

During a candid appearance on Brett Goldstein’s podcast, the actress and singer was asked a question that left her visibly uncomfortable: name the worst movie she has ever seen. 

While Lopez carefully avoided attacking the people behind the project, she eventually revealed her answer, surprising fans by choosing an Oscar-winning drama that earned widespread critical acclaim.

Jennifer Lopez appeared on Brett Goldstein’s “Films To Be Buried With” podcast, where guests are asked to reveal the worst movie they have ever watched. The question put Lopez in a difficult position.

The Hollywood star seemed reluctant to criticize another filmmaker’s work, especially knowing her answer could spark backlash.

Still, after some hesitation, she eventually named 2021’s “Nomadland,” the acclaimed drama starring Frances McDormand and directed by Chloé Zhao.

The film was one of the biggest award winners of its year, taking home Best Picture, Best Director, and Best Actress at the Academy Awards.

Rather than criticizing the quality of the movie itself, Lopez emphasized that her issue came down to personal taste. “It’s hard to say ‘worst’ because it’s a beautiful film,” she explained per the Daily Mail.

Lopez clarified that the movie simply represented her least favorite type of storytelling rather than a poorly made production.

Lopez Explains Why ‘Nomadland’ Didn’t Work For Her

While many critics praised “Nomadland,” Jennifer Lopez admitted the film’s themes and pacing did not connect with her.

“It’s just a taste thing. And I know we need movies about grief! I understand,” she said. When Goldstein suggested she simply did not enjoy watching those types of stories, Lopez quickly agreed.

“I just don’t wanna watch them,” the “Office Romance” actress shared. She then compared her feelings toward grief-centered dramas with her lack of interest in horror movies.

According to Lopez, she goes to the movies looking for a different kind of experience. “It’s not why I go to the movies,” she explained.

The 56-year-old described “Nomadland” as “a slow-moving thing about grief” and said the story lacked the kind of escapism she personally enjoys.

Though she acknowledged that she appreciates certain serious dramas, she admitted that particular film simply wasn’t for her.

Jennifer Lopez Reveals The Types Of Movies She Loves

Lopez’s answer offered insight into the kind of entertainment she gravitates toward both as a viewer and performer. “You can tell from my taste in movies what I think about this,” she said.

The star pointed to classics such as 1961’s “West Side Story” and 1983’s “Flashdance” among her personal favorites. She also listed the genres she consistently enjoys.

“I like musicals. I like romantic comedies. I like thrillers, you know?” Lopez revealed. Those preferences align closely with the projects Lopez has chosen throughout her own career.

Films like “The Wedding Planner” and “Maid In Manhattan” helped establish her as one of Hollywood’s most successful romantic comedy stars.

More recently, she has headlined action-driven projects including “The Mother” and “Atlas,” both of which found significant audiences. 

For Lopez, movies often serve as an escape from reality, making emotionally heavy stories a harder sell.

Lopez Still Had High Praise For Frances McDormand

Despite naming “Nomadland” as her least favorite viewing experience, Jennifer Lopez made it clear she has enormous respect for the people involved.

In particular, she praised Frances McDormand’s work in the film. The “Marry Me” star called McDormand’s performance “amazing.”

She went even further when discussing the Oscar-winning star’s talent. “She deserves all the Oscars,” Lopez added.

The discussion also arrives amid ongoing conversations about the Academy Awards and the types of films that typically receive recognition.

Some moviegoers have argued that Oscar voters often reward films that critics embrace more enthusiastically than mainstream audiences. 

Meanwhile, Lopez herself has never received an Oscar nomination despite earning praise for her performance in 2019’s “Hustlers,” a role many fans believed deserved Academy recognition.

Jennifer Lopez Reportedly Enjoying ‘Genuine’ Connection With Brett Goldstein While Thriving Solo

Away from the podcast, Lopez appears to be embracing her single era while enjoying a close connection with her “Office Romance” co-star Goldstein. 

According to a report from The Blast, a source revealed that the star has been having fun promoting the Netflix rom-com and genuinely enjoys Goldstein’s company, fueling ongoing speculation about their chemistry. 

The insider claimed Lopez’s “flirty energy” with the actor is “genuine” and that she “really likes him,” though there is reportedly no pressure for the relationship to become anything more.  

The pair have sparked attention through red carpet appearances, interviews, and their natural rapport while promoting the film. 

Lopez previously praised Goldstein, saying they “had great chemistry to begin with,” and even referred to him as her “No. 1” rom-com co-star.  

Despite the buzz, sources insist Lopez is perfectly content on her own following her divorce from Ben Affleck. The insider said she is “in a great place on her own right now though and doesn’t need a relationship to feel happy.” 

Instead, she is reportedly focused on work, family, and the people closest to her while enjoying life as it is. 

As Spencer Pratt’s high-profile race to be the next mayor of Los Angeles comes to an end, the stars are speaking out.

News broke on June 7 that Los Angeles City Council member Nithya Raman had jumped to second place in the polls behind incumbent Karen Bass, whose place in the November election was already solidified.

Raman leapfrogging over Pratt in the political race means The Hills alum will no longer be in the running. Raman and Bass will continue their battle to become mayor, facing off in a runoff election later this year.

Breaking his silence on the result, Pratt wrote via X on June 11, “Are they done counting yet?” The quip was in reference to the lengthy process of counting votes in Los Angeles County.

Related: Did Spencer Pratt Win Los Angeles Mayoral Race? Where He Stands Now

Spencer Pratt’s L.A. mayoral run is effectively over, as he failed to advance in a primary election. The Hills alum, 42, competed against incumbent Karen Bass and a slew of others when Los Angeles voters hit the polls on June 2, 2026. Under California primary rules, Bass needed more than 50 percent of the primary […]

Pratt announced his bid for mayor in January 2026 — exactly one year after his family’s house burned down in wildfires in Pacific Palisades, California.

“The system in Los Angeles isn’t struggling; it’s fundamentally broken,” Pratt said at the “They Let Us Burn” public demonstration on January 7, 2026. “It is a machine designed to protect the people at the top and the friends they exchange favors with, while the rest of us drown in toxic smoke and ash. Business as usual is a death sentence for Los Angeles, and I’m done waiting for someone to take real action.”

He continued, “This just isn’t a campaign; this is a mission, and we’re gonna expose the system.”

Several stars have reacted to the news Pratt won’t be leading the city. Superman star Dean Cain threw his support behind the former reality TV star. Others, including Jimmy Kimmel, appeared to be breathing a sigh of relief as they joked about the result.

Scroll on for all the celebs who have reacted to Spencer Pratt’s mayoral race loss.

Jimmy Kimmel

Jimmy Kimmel offered to send Pratt a U-Haul to help him pack, reminding the political candidate that he vowed to leave town if he didn’t win the election.

“He clearly promised that if Karen Bass or Nithya Raman were elected mayor, he’s going to move out of L.A.,” Kimmel said on June 9 broadcast of Jimmy Kimmel Live! “He said he was done with L.A., and Spencer, if you’re watching, we are so, so sorry to see you go.”

He added, “Moving is expensive, so, to help you out, we rented you a U-Haul. It has plenty of room. It’s got two beds, tables, chairs, all your crystals, whatever you want. Our staff spent the whole day decorating for you.”

Despite his initial comments about leaving L.A., Pratt later clarified to Us Weekly that he was making a “point” that Los Angeles was “not going to be livable” if his campaign wasn’t successful.

Meghan McCain


Meghan McCain didn’t see the funny side when it came to Kimmel’s comments about Pratt’s loss, blasting the comedian for being “heartless.”

“Jimmy Kimmel is a mean, heartless b*****d and no amount of on air crying will convince me or anyone else otherwise,” McCain wrote via X on June 10. “The day he is off air will be a better day for the country.”

Dean Cain

Superman star Dean Cain threw his support behind Pratt, despite the failed mayoral bid.

“They had to cheat to beat you, Spencer.  But now they’re exposed.  If nothing else —  you changed the game. Well done,” he wrote via X on June 11.

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Related: Spencer Pratt Breaks Silence on Los Angeles Mayoral Election Results

Spencer Pratt is speaking out after the results were confirmed for the Los Angeles mayoral election. “Are they done counting yet?” Pratt, 42, wrote via X on Thursday, June 11, in reference to the lengthy process of counting votes in Los Angeles County. While the official answer is no, news broke on Sunday, June 7, […]

Katie Maloney

Vanderpump Rules alum Katie Maloney took aim at a social media user who claimed the election was “stolen” from Pratt.

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“Please stop with this. It’s so tired,” Maloney wrote via Threads on June 11.

Wilson Cruz

Actor Wilson Cruz also joked about Pratt’s comments that he’d leave Los Angeles if he didn’t win the election.

After Pratt’s post about whether the votes were still being counted, Cruz replied via Threads on June 11, “Are you still here? Let me help” He attached an image of flights out of Los Angeles to his post.

We’re nearing the end of the first season of Apple TV’s near-perfect supernatural series, Widow’s Bay, and fans are eager for what’s coming next. Already, the show has garnered high praise from the masterful Guillermo del Toro and drawn comparisons to the king of horror himself, Stephen King. For a streamer that’s staked its claim as the leading sci-fi television, Katie Dippold’s horror comedy not only proves Apple TV’s dedication to stellar storytelling across the board but also to meticulous attention to high-quality in all departments.

Recently, Collider’s Steven Weintraub had the pleasure of moderating an exclusive panel with Dippold, executive producer and director Hiro Murai, and star Matthew Rhys after a special event screening of Episode 3, “The Inaugural Swim.” With the penultimate episode, “Emergency Shelter,” set to premiere this week, don’t miss the full conversation in the video above or in the transcript below for our behind-the-scenes discussion, where Dippold shares the initial inspiration for Widow’s Bay, Murai explains how his previous hit series, Atlanta, helped find the balance between these two genres, and Rhys shares his approach to Mayor Tom Loftis’s exasperation on the haunted New England island. The trio also look ahead to a potential Season 2, what lessons they’ll carry with them, and why Rhys can’t wait to continue the story.

Guillermo del Toro Is Raving About Apple TV’s ‘Widow’s Bay’

Creator Katie Dippold also explains why the show resonates so much with audiences.

Image via Apple TV

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COLLIDER: Widow’s Bay is exploding right now. What do you think it is about the series that’s resonating with so many people? What is it like when Guillermo del Toro starts raving about it on Twitter?

KATIE DIPPOLD: That was thrilling. I was out to dinner, and I walked out, and my phone had just blown up like there was some terrible accident or something, and then I saw it was about to tweet, and it lived up to the expectation. It was so exciting. He’s such a hero. He’s such an authentic… I think he’s just what’s good about show business and Hollywood. He’s just so creative, and just the way he lives, like the stories about how his house and his office set up is. I’m a big fan, big fan, so that was a real treat for us all.

What do you think it is about the show that’s resonating with so many people right now? I want to point out that it’s number one on Apple TV. There’s so much buzz on it. What do you think it is that’s connecting with people?

DIPPOLD: Matthew? [Laughs]

MATTHEW RHYS: That’s not for me. That’s for the adults!

DIPPOLD: Honestly, I think one thing that was both exciting and terrifying to us is that we had no idea how it would land with people.

HIRO MURAI: That’s kind of a tough question to answer for us, but I think the thing we kept keying into is we know what it feels like for terrible things to keep happening over and over again, and then you kind of get to this, like, numbed-out state.

RHYS: It’s called Hollywood.

MURAI: Yeah. [Laughs] And there’s something about that that felt baked into the show that was really real and resonant. But it’s not like you’re aiming for it to land a certain way. You’re just kind of trying to do the best version of the show you can.

DIPPOLD: I also feel like, I don’t know, it feels like life has felt like a bit of a nightmare for a while, and I think it’s watching this character go through a nightmarish experience. I don’t know if that’s what’s pulling people in. I’m not sure, honestly.

So someone online called Widow’s Bay the funniest supernatural horror Stephen King never wrote. I’m just curious what your reaction to that is.

DIPPOLD: Oh, that’s a dream description. Stephen King, I feel like he’s a main figure in all of our lives, just what he’s done and what he’s built. Being able to try to live in that world was really a goal, that atmosphere.

How ‘Widow’s Bay’ Found Its Unique Horror-Comedy Tone

“To be honest, I actually don’t like most horror comedies…”

Image via Apple TV

When you’re building a town like Widow’s Bay, what comes first: the mythology, the characters, or the weird local rules?

DIPPOLD: The characters. In the writers’ room, we approached it from different angles, but it definitely started with character. Well, okay, that’s not true. Honestly, I wanted a haunted island to exist off the coast in New England. I really wished that there would be a world that I would take a ferry to and just this strange island, and feel like there are nooks and crannies to discover and little different terrifying stories and different places. That’s just something I wished to exist, but then you can’t do that unless you then focus on the characters living there. So, characters are most important, but a little haunted island is how it starts.

One of the trickiest things to do in anything, especially in a show like this, is the tone and finding the right balance. Can you talk about getting the right tone and finding the tone in the editing room and when you were on set, and same with you when you’re doing the performance?

DIPPOLD: It was constant trial and error. I spent a long time figuring it out. To be honest, I actually don’t like most horror comedies. I have my favorites like American Werewolf in London, Cabin in the Woods, and Shaun of the Dead, and Sam Raimi movies, and those are all very different from each other. But other than those, for the most part, I feel like you’re neither laughing or scared, you know? So, it’s tricky.

So, I was trying to find a way to make sure the scary never feels silly, so it doesn’t feel like a spoof, and then also being brutal on the jokes. Like, there could be a joke that would make us laugh so hard in the writers’ room, but if it felt like it was going to take away from the story, we just have to cut it. So, it was a lot of being really strict on stuff like that. Then it was a lot of feeling it out on set, what felt right and what didn’t.

MURAI: The script was so funny, and it’s clearly also very scary, but when we started talking, I think the most important thing and it was very clear that we just needed to be real and grounded and character-first, so the horror and the comedy of it can just sit on this real kind of baked world.

A lot of that, the execution of that, came from performance and casting. You watch this show now, and you kind of take for granted that Matthew is sort of inhabiting this world and telling you how to watch the show in a really naturalistic way, but if it were any other actor, it would tip your understanding of the show in a different way. So, it was an ongoing conversation, and as we got this group together, it became clearer and clearer what the tone of the show needed to be.

Image via Trent Barboza

RHYS: You kind of, from the get-go, said, “Look, we’re going to create a very real world with real people, real backstories, real situations. You play it for real, and that’s it.” It was kind of an emancipation of tone then because I was like, “Okay, you do tone with music and editing and cinematography, and we’ll just play it for real.” But it did. It was a great relief to hear you say that.

There is truly no one better than him. What you never did was refer to tone. You always advanced the next take by giving the most laser-specific notes or questions about where should the next part go. So, you’re constantly staying active about the scene, as opposed to being taken away by what tone was. And then he also said, “If you get the tone wrong, I’ll fucking kill you.”

MURAI: I do remember saying that. Yeah, yeah.

DIPPOLD: Yeah, you would shout, “Funnier, please.” [Laughs] He did not do that, I swear.

Katie, your background is heavily rooted in iconic workplace comedy. You worked on Parks & Rec. So, if Mayor Tom Loftis had to deal with a sudden, aggressive town hall visit from Leslie Knope or Ron Swanson while a supernatural fog is rolling into Widow’s Bay, who cracks first?

DIPPOLD: Oh, God, that’s a great question. God, I don’t think any of them would give up, you know what I mean? In different ways. First of all, that scene would be very strange. I kind of think, for different reasons, none of them would give up.

MURAI: I agree.

How ‘Atlanta’ Helped Shape the Horror-Comedy Style of Apple TV’s ‘Widow’s Bay’

“The cinema that they bring to this show is so crazy and beyond my wildest dreams.”

Image via FX

When you go in and pitch Apple on the show, and they’re getting ready to make it, how much do they want to know that you have, like, a three-season plan, or that you have an overarching storyline, and how much is it like, “Let’s just make one awesome season and see where it goes?”

DIPPOLD: I talked them through the first season. We talked a lot about how it would feel. I told him where I saw this season going and how I saw it ending, and gave examples of things that would happen along the way. Then, we spoke about what the show in general meant to us and where we could see it ending, but that was about it. I mean, it sounds like a lot, but it was in a five-minute pitch, so it wasn’t too detailed.

Hiro, you directed the first three and the last two. In the first three, you’re obviously finding the visual aesthetic. The Director of Photography, Christian Sprenger, you’ve worked with many times. Can you talk about coming up with the visual aesthetic for the show and setting the tone and everything for everyone?

MURAI: I’ve worked with Christian for over a decade at this point. I always joke that I have more photos of Christian on my phone than of my wife, because we’ve been on set in so many different places. I think our approach for everything is kind of what we talked about with tone and performance, too. We just want to feel like we’re in a real place first and foremost, especially when the content can be kind of absurd or heightened, and then you just want to find a base level to walk in on.

He’s just so good at finding locations and lighting in a way that feels of the world. There’s nothing really artificial about the way he approaches it, but he also knows how to play up the emotions of the scene. So, he’ll kind of supplement a close-up with a little bit of ambient light just to punctuate a certain emotional beat, but he’s got a really light touch.

Some of this stuff that we’re doing on this show, we kind of played around with on our show, Atlanta, where we played a little bit of comedy-horror, and we really enjoyed the process of playing with those two levers. Because I think they both play with tension building and puncturing, and so it becomes a game of, like, you stay on this set-up longer than you want to, so you as an audience are starting to feel a little weird about it, and then when you cut to the other side, it gives a release valve. So, these are things that we came in wanting to play with, and then we just kind of fleshed it out on the show.

DIPPOLD: Can I just say too, as a comedy writer, the cinema that they bring to this show is so crazy and beyond my wildest dreams for this show. It’s very fun to have a half-hour comedy show look the way they made it. It’s really crazy. So I’m very, very grateful for that.

I completely agree with what you said. This is one of those rare shows where everything works across the board.

Matthew Rhys Tackles a Career First in ‘Widow’s Bay’

“I’ve never done anything like it.”

Image via Apple TV

Matthew, how much of Tom’s deadpan exasperation is meticulous acting and how much is it just your genuine reaction to reading the scripts?

RHYS: A little bit of both, and just exasperation with the people I had to act with, an awful troupe. No, especially in the town hall, there are so many comedy Olympiads in this that you really need to let those people do it. Tom is kind of alone in many ways, and so I wanted to make him feel as if he’s the only person going through these things. So, he’s exasperated not only, obviously, by the scripts, but I just wanted to, at times, isolate him in a way where he’s just like, “Jesus Christ, if only I had an ally on this mad island.” But also, it was just so much fun to do.

Your performance in this is just fantastic. You’ve done a lot of drama, but I’ve never seen you do physical comedy the way that you do in an upcoming episode. What is it like for you when you’re reading the script and you see what you’re about to go through?

RHYS: I’ve never done anything like it. I’d never read anything like this before. We talked earlier about what it was, and why is it this now? I’d never read anything like this before, which is partly, I think, why it’s — it’s very unwell to say it’s doing so well, but it’s doing so well. I think it’s singularly unique.

To go back to physical comedy, I did grow up watching Harold Lloyd. I was obsessed with Harold Lloyd, and so, as much as it terrified me because it’s not something I’d done, I think when you read it, you go, oh my God, that’s going to take a certain degree of… I don’t want to use “slapstick” because it always has to remain somewhere very real. It’s frightening, and we would find it. We’d play around and experiment, and sometimes it was too broad, and sometimes the stunt coordinator would tell me off, and then we’d try and find somewhere in the middle that was real.

Image via Trent Barboza

DIPPOLD: Can I just say, I think he’s one of the greatest actors of all time. I really do. He really is. He’s going to hate this so much. He’s going to hate this, but he’s truly one of the greatest actors of all time. But also, he’s so funny, but he doesn’t ever try to be funny because he knows what funny is, and he has pitch-perfect comedic timing. So, he’s being very kind talking about the scripts, but I just can’t imagine the show working without him.

I agree. I actually want to dig in a little bit more with your performance because I’ve always loved your work. When you have a big scene coming up on a Monday, something that might take a lot out of you, or physical comedy, whatever it is, what is it like in the days leading up to a day that you have circled on the calendar, knowing it’s going to be a really big day? Are you spending extra time reading lines or practicing?

RHYS: At home it’s like this, “I’ve got a big day on Monday! Shut up! No one understands! Christ!” That’s what the lead-up is. That’s where this physical comedy comes from.

Inside ‘Widow’s Bay’s Most Ambitious Episode Stunt Yet

Ex-SEALs, scuba teams, and sharks had Rhys wondering, “The fuck are we doing in the water?”

Image via Apple TV

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Katie, how did you decide what the show’s rules would be in terms of figuring out the line of “How weird can we get?”

DIPPOLD: In terms of the horror, it felt like the fog was a nice entry point because it fits the New England setting, and then it was just thinking of things that would scare us, but were fitting to the island. Like, I would believe that there is an inn that has centuries of terrible history there, like a hag makes sense. You know what I mean? I just feel like there will be some kind of hag on this island. Then it starts to branch out a bit and go in different places, but it felt like trying to slowly lure people in.

I mentioned it earlier, but the set design on this show is just incredible, like the hilarious newspapers and the historical society, the bizarre games in the hotel in Episode 2. Can you talk about working with the set designers and the production design teams in bringing all that to life? Because I really think some of that stuff just adds so much to the show and elevates everything.

DIPPOLD: I have to say, in the room, we’d pitch the comedy board games, and we’d have them all down, but then it goes to this other level. I don’t think the script mentioned anything about the little pieces with the newspaper and the bat. My favorite thing about the Daddy’s Home board game was that I always imagined just kind of an angry dad, but [Hiro] had pitched that more bewildered face, which I think is the funniest detail.

MURAI: We had a lot of fun working on this because it’s so lovingly crafted in the script. The execution was even more fun because we had all these artists and artisans getting to enjoy it, too. We keep talking about it, this set is the most detailed set I’ve ever been on. Every single piece of board game toy, like you’ve spoken about it as an actor, you sometimes would open a drawer, and there would be nothing in there, but in this world, each drawer was custom-built for the character. So, there’s just a lot of love and care in the details.

DIPPOLD: We had a really great production design team who were just absolute maniacs in the best way and just put so much into it. There’s a lot of care, and it was a really great group.

I love learning about the behind-the-scenes of a show or a movie that you can’t read on Wikipedia or in the press notes. For each of you, what’s something you’d love to share or let everyone know about the making of the show? Any surprises? Any cool behind-the-scenes stories?

RHYS: We had to sign a lot of NDAs, so this is quite tough, especially about Jeff Hiller and Dale Dickey getting in a fist fight.

DIPPOLD: [Laughs] This is a weird story, but you know what was a fun moment? I remember when Jeff got nominated for his Emmy in the middle of shooting the season. I was in my office, but I had a monitor on, and the monitor was on standby on Stephen [Root] and Kate [O’Flynn], and I could hear someone introduce, “Oh, Emmy-nominated Jeff Hiller,” and I could see Stephen and Kate so happy for him and cheering for him. This is a weird story, but I remember I was so moved by it. They just looked so happy for him. You know what I mean? It was so sweet. And I’m like, “Oh, these lovely actors that are supporting each other!” That’s a weird story to bring up, but it really stuck.

Image via Trent Barboza

RHYS: It was one of the happiest experiences I’ve ever had. Really, really deep, deep crying, laughing, directors going, “Please, can you focus?” We’re like, “Yes, yes, sorry!”

MURAI: I have one. When we first started doing the first block, how you would usually work with actors is you shoot the scene, and if you needed to shoot inserts, the actor doesn’t necessarily have to do the motion, like, if you’re getting a shot of someone writing or typing or something. But Matthew was really adamant that he does all of his own insert work because he wanted his physicality and hand in there, and I was just like, “What? Why are you so dedicated to the small things?” And he goes, “Well, there’s a show I did one time where I just kind of did the scene, and then they told me that they were going to get someone else to do the hands of typing on a computer, and so I left. Then later on, I saw the show, and they cut to me typing, and then they showed the hands, and he’s going like…” [flails hands].

RHYS: I’ll tell you what the show was. It was the last, ever, Colombo. That’s not a lie. And I was robbed by the typing hands.

DIPPOLD: I really wanted to do a prank where we did a fake insert shot in one of the episodes to show to you, but we just didn’t have that kind of time.

RHYS: Good.

That’s called Season 2, I think.

DIPPOLD: Also, one of my fondest memories was shooting “The Inaugural Swim” because the production was so crazy. It’s a very ambitious show, and watching Hiro in the wetsuit in the water with another camera in the water, and you have a scuba team for disaster, and you having to swim back and forth, and I’m standing perfectly fine in my normal clothes, I’m like, “Oh, this is a big ordeal. This is a real thing.” That was exciting.

RHYS: They’re all ex-SEALs, and so we’re all in the water, and I said, “So there are no sharks here?” And they went, “Oh yeah, there’s sharks.” I was like, “The fuck are we doing in the water?”

Matthew Rhys Says He Was Contending With “Improv Olympiads”

“I don’t stand a chance here. This isn’t fair.”

Matthew, what was the most fun part of playing someone who’s constantly trying to be rational in increasingly irrational situations?

RHYS: It’s the reactions of others. The fun part as a human being, not an actor in this project, was being so amped up, and then you’re looking at Dale Dickey looking at you, and she’s open-mouth coughing. That was the fun. It was the reactions of these people around me that just made it very hard to do. Then you had real improv Olympiads like Neil Casey, who were in a two-shot or a wide, and he’s off, and you’re like, “I don’t stand a chance here. This isn’t fair.” It’s like sprinting against Usain Bolt. It’s like, “I can’t do this.” That was the joy of it, watching those people fly.

DIPPOLD: I just remember Neil was trying to do something because when you shot Neil coming out of the room, there was some divide of time between that bit and the conversation downstairs before you go up. He was trying to either lose or gain weight between the two weeks so when he came out of the room, it looked like he had put on weight. [Laughs] He really was trying his best to do that.

MURAI: I did not know that. That’s really funny.

Image via Apple TV

DIPPOLD: Another favorite Neil Casey thing is in Episode 4. This doesn’t spoil anything, but Neil Casey’s supposed to be eating these deviled eggs, and the director of [Episode] 4 had to have Neil keep eating. He must have eaten 14 deviled eggs.

RHYS: He’s like Cool Hand Luke.

DIPPOLD: And there is not one single shot of him eating a deviled egg in the episode. [Laughs]

That actually leads me to a question that I’m curious about. Everything changes in the editing room. It’s the final rewrite. How did this show possibly change in the editing room in ways you guys didn’t expect?

DIPPOLD: God, there was always more to find. You know what I mean? We were always finding it, like there’s a rhythm. The process of finding the tone was from beginning to end, I would say.

MURAI: Yeah. It’s not a show where the structure of the story changed much in the edit. I think the scripts are always really tight, and there was a clear progression in the story. The things that changed were these microscopic rhythm and timing stuff that really affected the tone and flow of the scenes.

DIPPOLD: Sometimes there’d be big cuts. Sometimes I forget. Like [Episode] 4, for example, has a couple of nights before… You know what I mean?

MURAI: That’s right. That’s right. People have kind of blacked it all out.

DIPPOLD: Yeah, yeah, yeah. The scripts are, say, 36 pages long, and Maria [Mantia], our first A.D., would be like, “These are not 36 pages long.” You know what I mean? It always took much longer, so that was a whole thing.

Matthew Rhys Teases Big Changes Ahead for Tom in ‘Widow’s Bay’ Season 2

“I have horns, I have a goatee, I’ve got hooves.”

Image via Apple TV

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Assuming you guys get to make a Season 2, which I’m confident you will have a Season 2, what were the big lessons for each of you that you learned making the first season? Because in the first season, you’re figuring out how to make the show. What were some of the big things you learned that you’ll take with you into a second season?

DIPPOLD: That’s a good question. I don’t know if I have specific examples, but it was a process of learning, because we would constantly on set look at each other and be like, “Does this feel right? Does this feel bad? Does this feel good?” And so I feel like by the end of it, you just sort of learned what works and what doesn’t. So, I’m hopeful, and I may be jinxing it, but I think there’d be a little less trial and error. But maybe that’s wrong. I don’t know if you felt like that.

MURAI: I think that’s right. Season 1 is impossible.

DIPPOLD: Yes.

MURAI: You’re making the plane as you’re flying it. It’s crazy. It’s crazy. Also, the thing about TV shows is that you’re putting the people together, and you hope that it all takes on a life of its own. The actors start riffing off each other, you know your dynamic, and there’s a very organic sense of play there. So by the end of it, I feel like we had a really good grasp of what the show should be in a way that we didn’t when we started.

DIPPOLD: I totally agree.

RHYS: It’s not quite the question, but what I’m more excited about is where we leave off at the end of Season 1. The difference for Tom in Season 2 will be that much greater, and that’s what I’m excited about, is going, “Oh my God, where does he go from there?” Because he’s changed. I have horns, I have a goatee, I’ve got hooves. It’s brilliant. But no, that’s what I’m kind of more excited about, that you’ve laid the groundwork, you’ve done the foundation work, and now that’s all embedded in it, and now you can really hopefully take flight.

DIPPOLD: I mean, in some ways, Season 1 feels like a prequel to life on this island.

RHYS: Right, because we’ve set up so much now that you’re ready to go.

Widow’s Bay releases new episodes exclusively on Apple TV every Wednesday.

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Release Date

April 28, 2026

Network

Apple TV

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Showrunner

Katie Dippold

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Directors

Sam Donovan, Andrew DeYoung, Hiro Murai, Ti West

Writers

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Alberto Roldán, Neil Casey, Kelly Galuska, Colton Dunn, Dave Harris, Katie Dippold, Mackenzie Dohr

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It’s officially the off-season for Off Campus Season 1. Based on the bestselling books by Elle Kennedy, the series follows scholarship music student Hannah Wells (Ella Bright) and promising hockey star Garrett Graham (Belmont Cameli), who agree to a fake-dating arrangement. In return, Hannah gets help making her crush jealous, while Garrett hopes to ace his upcoming philosophy oral presentation. But the longer they play pretend, the more they realize just how compatible they are.

Season 1 may be over, but there’s no need to worry. With Season 2 of Off Campus officially in the works, another couple will be in the hot seat. But for fans who can’t get enough of Hannah and Garrett’s chemistry, there are plenty more books where that came from. From fake dating for a wedding to fake dating to pay the bills, here are the must-read books to enjoy while you wait for Off Campus Season 2.

‘Heated Rivalry’ (2019)

Written by Rachel Reid

Image via Carina Press

Now a television sensation, Heated Rivalry follows the turbulent 10-year situationship between Canadian hockey player Shane Hollander and Russian star Ilya Rozanov. The two have their first awkward encounter at 17, and over the years — caught in the chaos of competition and rivalry — Shane and Ilya slowly develop sparks for each other, but never quite enough to turn it into a serious relationship.

Athletes famously don’t have the luxury of prioritizing their feelings, especially when they’re young prodigies like Shane and Ilya. But that pressure becomes even heavier in a sport known for its toxic hypermasculinity and unforgiving locker room culture. Over time, Shane and Ilya are forced to reckon with whether their hockey careers are worth sacrificing their happiness for.

‘The Duke and I’ (2000)

Written by Julia Quinn

Image via Avon Books

The hype for Bridgerton wouldn’t exist without its first novel, The Duke and I. True to the Netflix adaptation, the novel follows social debutante Daphne Bridgerton, who is under pressure during the matchmaking season. Unlike the television counterpart, the story shows Daphne entering her second season in the marriage mart, and it doesn’t help that most of the men around her only see her as just a friend.

Meanwhile, Simon Basset, the Duke of Hastings, returns to London. While mothers of the ton set their sights on him as the perfect match for their daughters, the Duke has no interest in marriage. When he learns of Daphne’s predicament, he suggests a fake courtship to solve both of their problems, which eventually grows into something real.

‘To All the Boys I’ve Loved Before’ (2014)

Written by Jenny Han

Image via Simon & Schuster

Fake dating became the ultimate feel-good rom-com trope thanks to To All the Boys I’ve Loved Before. Hopeless romantic Lara Jean Covey has spent sixteen years of her life writing secret love letters to all her unrequited crushes. But things spiral out of control when those letters mysteriously go missing. Worse still, one of them is mailed to her older sister’s now ex-boyfriend, Josh.

Luckily, Lara might have a solution. Also on her “list” is Peter Kavinsky. Peter is everything Lara is not: outgoing, charismatic, and wildly popular — which makes him the perfect fake-dating candidate to cover up her awkward situation with Josh. Peter agrees to help, but it’s only a matter of time before they start catching feelings for each other.

‘The Love Hypothesis’ (2021)

Written by Ali Hazelwood

Image via Berkley Books

Chemistry’s brewing in The Love Hypothesis, and it’s not happening in the lab. Slated for a film adaptation, the academic romance follows Olive Smith, a Stanford Ph.D. candidate who impulsively locks lips with a stranger to prove she’s over her ex. To her horror, the “stranger” she kisses is none other than Dr. Adam Carlsen.

The mere mention of Adam’s name is enough to send chills down anyone’s spine. With a notorious record of making dissertation students cry, Olive approaches him to see if he would like to enter into a fake-dating arrangement with her. Surprisingly, Adam agrees, as the university would see it as him settling down — convincing enough to help secure research funding. That wouldn’t be the only thing the two end up securing, though.

‘The Spanish Love Deception’ (2021)

Written by Elena Armas

Image via Atria Books

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It’s an international match made in heaven — if only it weren’t fake. The Spanish Love Deception follows Catalina Martin, a Spanish woman living in New York City and nursing a broken heart. Her family, constantly pushing her to move on, finally gets under her skin. With her sister’s wedding in Spain approaching, Catalina ends up accepting help from her arrogant coworker, Aaron Blackford.

Trouble begins as soon as they land in Spain. From sharing a hotel room and a single bed to facing Catalina’s larger-than-life extended family, things only get more complicated when she’s forced to deal with her ex-fiancé’s comments. Surprisingly, the usually cold Aaron is having none of it, and that’s when their workplace rivalry slowly starts to shift into something else.

‘A Not So Meet Cute’ (2021)

​​​​​​​Written by Meghan Quinn

Image via Hot-Lanta Publishing

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Things aren’t going well for Lottie Gardner in A Not So Meet Cute. Recently fired by her influencer best friend, drowning in debt, and living with her mother, she jokingly sets out to find a rich husband in Beverly Hills. Her wishful thinking comes true when she crosses paths with wealthy real estate developer Huxley Can.

Huxley’s in a sticky situation. He might have lied to an important client about being engaged to a pregnant fiancée. Desperate times call for desperate measures. Lottie plays the role of Huxley’s expectant fiancée, while he pays off her student loans and helps fund her future. From breast pump fittings to baby classes, they make a great fake husband-and-wife-to-be.

‘Funny Story’ (2024)

​​​​​​​Written by Emily Henry

Image via Berkley Books

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Daphne Vincent thought she had her life planned out in Emily Henry‘s Funny Story — that is until her fiancé, Peter, leaves her just before their nuptials for his longtime friend, Petra. Stranded in Michigan, Daphne ends up living with Miles Nowak, Petra’s heartbroken ex-boyfriend. When Peter and Petra invite them to their wedding, Daphne impulsively claims that she and Miles are dating.

However, Daphne doesn’t plan on keeping up the charade for long, especially since she intends to move away from Michigan after her library’s all-night fundraiser. Before she leaves, though, she is determined to make the event a success. Knowing her time in Michigan may be coming to an end, Miles decides to spend as much time with her as possible.

‘The Love Match’ (2023)

Written by Priyanka Taslim

Image via Salaam Reads

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It’s heart over mind in the Pride and Prejudice-inspired The Love Match. High school graduate Zahra Khan dreams of going to college, but those plans seem out of reach when her struggling family can’t afford her education. Worse still, Zahra’s mother has already arranged a marriage for her, believing it is the best way to secure her daughter’s future and protect her from poverty.

Zahra is matched with the wealthy Harun Emon, who, much like Zahra, has no interest in marrying young. The two agree to fake their courtship while quietly sabotaging the match. Meanwhile, Zahra begins developing feelings for Nayim Aktar, the new dishwasher at her tea shop. As she finds herself torn between duty and desire, Zahra learns that money doesn’t always guarantee happiness—sometimes, what matters most is the freedom to choose her own future.

‘The Cheat Sheet’ (2021)

Written by Sarah Adams

Image via Dell

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Former ballerina Bree Camden is at her wits’ end in The Cheat Sheet. With rising rent looming, Bree struggles to keep her dance studio for low-income children afloat. Her lifelong best friend, NFL superstar Nathan Donelson, secretly purchases the building to help her, but the gesture only frustrates Bree.

After drowning her feelings in tequila, she accidentally confesses her long-hidden love for Nathan to a TMZ reporter, and the video quickly goes viral. Suddenly, the public is convinced they are the perfect couple. To capitalize on the attention and earn enough money to save the studio, Nathan and Bree agree to a three-week fake-dating arrangement.

‘Red, White & Royal Blue’ (2019)

Written by Casey McQuiston

Image via St. Martin’s Griffin

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There’s tension between the United States and the United Kingdom in Red, White & Royal Blue, centered on two young men: Alex Claremont-Diaz, the First Son of the United States, and Prince Henry of Britain. The two share a long, bitter history, which comes to a head when they accidentally ruin a cake at a royal wedding.

In an effort to keep up appearances, Alex and Henry are forced to stage a public truce. But when the cameras are off, their staged friendship blossoms into something more. Soon enough, the two quickly learn that there is a cost to sharing their newfound romance, especially when their lives revolve around politics and public opinion.

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Red, White & Royal Blue

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Release Date

August 11, 2023

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Runtime

121 Minutes

Director

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Matthew Lopez

Writers

Matthew Lopez, Ted Malawer

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By Chris Snellgrove
| Updated 26 seconds ago

There’s no living director as controversial as Quentin Tarantino. The man makes undisputably great films: Pulp Fiction is the ultimate argument that style and substance can be one and the same. Kill Bill is the ultimate love letter to the boldest, bloodiest movies ever created. Once Upon a Time in Hollywood, meanwhile, is a powerful deconstruction of the media machine that is so fundamental to our lives. What makes Tarantino so controversial, then? Sometimes, it’s the filthy content of his movies, with haters complaining about everything from the ultraviolence to the abundance of racially-charged language. More recently, though, Tarantino has gotten himself in trouble by dropping hot takes on various movies and actors.

For example, it wasn’t that long ago that Tarantino described beloved actor Paul Dano’s performance in There Will Be Blood as “weak sauce” and the actor as “the weakest f*cking actor in SAG.” After that, the entire internet wanted the director’s blood. However, with Toy Story 5 on its way, I thought it was time to revisit one of Tarantino’s less controversial takes: that Toy Story 3 was such a perfect ending to the franchise that it made no sense for Pixar to create any more of these movies.

Hollywood’s Filthiest Director Loves A Children’s Movie

In December 2025, Quentin Tarantino appeared on The Bret Easton Ellis Podcast to talk about a subject near and dear to his heart: his favorite movies of all time. He said a lot of crazy things during this appearance, including the extremely controversial comments about Paul Dano. But perhaps the most shocking thing Tarantino said in the interview was that Toy Story 3 was his second-favorite film of the century and “almost a perfect movie.” He went on to describe how “That last five minutes ripped my fuck*ing heart out” and how “if I try to even describe the end, I will start crying and get choked up. … I can’t even do it.”

It’s admittedly wild to imagine Tarantino tearing up over a Pixar movie about toys. But he’s serious, and in 2024, he told Bill Maher that Toy Story 3 was so good that it completely killed his interest in watching further films in the franchise. “You literally ended the story as perfectly as you could,” he said. “So no, I don’t care if it’s good. I’m done.” It’s a comment that raised many moviegoers’ eyebrows, especially in the wake of Toy Story 5’s success. Now that Toy Story 5 is about to come out, though, we need to admit that Tarantino was right and that Pixar should have ended things with the third movie.

The Toys Are Back In Town

Toy Story 3 basically wrapped the story up for Andy, the owner of all those fantastic toys like Woody and Buzz Lightyear. By the end, he is headed off to college and ends up donating all of his old toys to Bonnie, a young girl in the neighborhood. Woody says goodbye to his oldest friend, and he and the rest of the gang settle in for life with a brand new kid. Tarantino’s absolutely right about this ending, by the way: it’s guaranteed to make you cry, and it’s wonderfully meta to see Andy put away his beloved toys even as we, the audience, put away the franchise we’ve been enjoying for decades.

Perfect ending, right? Unfortunately, Disney likes money more than they like art, so we ended up getting Toy Story 4 and, now, Toy Story 5. Bonnie is now the central character, but she never becomes quite as compelling as Andy. Even if she was, though, Toy Story 4 felt like a creative rehash of things we had seen before. The idea of toys being secretly alive and going on crazy misadventures is a powerful one, but what’s the point in going back to the well for a fourth time if the movie feels derivative? Honestly, Disney should have gone all Spaceballs on us and called this sequel Toy Story 4: The Search For More Money.

Toys Vs. Electronics

Now, Toy Story 5’s big gimmick is that Bonnie is a little older and wants to play with a tablet rather than her old toys. Like, seriously, who wants to watch that? Obviously, the rise of iPad kids has been a problem in the real world, but I doubt that parents want to see an onscreen recreation of the tablet arguments they are constantly having with their children every night. For that matter, I doubt that kids are in a serious rush to watch a movie that constantly reminds them they could be accessing the sum total of all entertainment and information instead of playing with a toy that has only a few points of articulation. 

Obviously, not everybody shares Quentin Tarantino’s thoughts on this matter. Toy Story 4 was a critical and commercial smash hit, earning over a billion dollars at the box office. Movies making that kind of money are guaranteed to get a sequel. However, the very existence of sequels to Toy Story 3 underscores that everyone involved cares more about an easy payday than anything else. The third film was, as Tarantino said, “almost perfect,” effectively providing a perfect ending to the franchise and (in many ways) our collective childhood.

If nothing else, maybe Tarantino’s hatred of these sequels will spur him on to finally create his next film. With movies like Inglourious Basterds and Once Upon a Time in Hollywood, the director has developed a penchant for rewriting history in ways that he finds more personally pleasing. Maybe, just maybe, we’ll get a Tarantino film where Pixar never made another Toy Story movie after the third one. That beats the alternative: a Toy Story reboot from Tarantino where a grown-up Bonnie’s feet somehow never leave the frame. 

Sharon Osbourne has responded to critics who accused her of turning her late husband’s legacy into a commercial venture following the announcement of an upcoming AI avatar based on him.

Addressing the backlash, Sharon made it clear that financial gain was not her motivation, insisting she had no interest in critics’ money and adding that Ozzy Osbourne would have fully supported the project. Details of the initiative have been circulating for some time, alongside growing speculation that the late singer and his wife will also be the subject of an upcoming biopic.

The Osbourne family has come under heavy criticism since announcing plans to create an AI avatar of the late Ozzy Osbourne.

Many critics have dismissed the project as a “cash grab,” prompting Sharon to speak out and defend the initiative against the growing backlash.

“The thing is, it’s like when there were propellers, and then there were jet planes. [People would question] ‘Why go on a jet when there’s a propeller? It’s a cash grab,” she said on “The Osbournes Podcast,” per NME.

“Well, you know what, technology moves on,” she continued. “And I’m sorry for those people. I’m not asking you to come. I don’t want your f-cking money. I don’t need your f-cking money. I’m doing very well.”

Sharon Says Ozzy’s Legacy Drives The AI Project

Ozzy died last year at the age of 76 following a heart attack complicated by other health factors, meaning he is no longer able to weigh in on the plans himself.

However, Sharon believes the legendary Black Sabbath frontman would have fully supported having his legacy preserved in this way.

“For somebody to turn around to me and say I’m doing a cash grab? No, you don’t know my husband, OK? I know my husband,” the former “The Talk” host said.

She added, “My husband would say to me over and over, ‘After I go, how long do you think I’ll be remembered?’”

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Jack Osbourne Explains The Family’s Decision

Ozzy’s AI avatar will be created in collaboration with Hyperreal, a company known for producing ultra-realistic digital human performances.

While it remains unclear when the project will debut, Sharon hopes it will become something that can be passed down through the family and help future generations, including their grandchildren, keep the iconic singer’s memory alive.

Meanwhile, Sharon’s son, Jack Osbourne, has expressed a slightly different perspective. He believes the project needed to be undertaken by the family, arguing that if they did not move forward with the idea, someone outside the family likely would.

“Either we do it, or someone else is gonna do it,” he said on the podcast. “And for me, it’s not about pretending he’s still alive. It’s making sure he’s never forgotten.”

Ozzy Osbourne Biopic Eyes 2028 Release

A biopic centered on Ozzy is also in development, offering another way to preserve the rock icon’s legacy for future generations of fans.

While speculation about the project has circulated for years, Jack has generated fresh excitement in recent months by sharing new details about its progress.

According to Jack, a 2028 release is the tentative target, although that timeline could still change as much of the project remains in development. Earlier this year, he also hinted at the storyline, which will focus on a pivotal chapter of his father’s life and career.

“It would be kind of the tail end of Sabbath, him going solo. [Because] you gotta have the love story. And that’s kind of the main focus of the film, and all the craziness that happened in the early ’80s and Randy’s [Rhoads] tragic death. But, yeah, it’s an origin story,” he said.

Jack Teases ‘Phenomenal’ Ozzy Osbourne Actor

For now, the actor set to portray the heavy metal icon has not been publicly revealed. However, the role has already been cast, according to Jack, who suggested fans will be pleased with the choice.

“We have our decided pick, and I can’t say anything [yet], but it’s a phenomenal, phenomenal actor,” Jack revealed during a radio interview.

At the time, he also confirmed that the project already has a director attached, although he did not reveal the filmmaker’s identity.

The director is expected to have the full support of Sharon, who will serve as a producer alongside her children, Aimee and Jack.