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One of the great strengths of the thriller genre is its ability to delve more deeply into unsettling subject matter and themes, as the grounded realism of the genre lends itself to these topics better than any other genre. It’s especially the case when these thrillers adopt a grittier, sleazier style to truly emphasize the grime and ruthless nature of their characters, world, or overall message.
Throughout film history, there has been an exceptional craft in creating gritty cinematic experiences within the thriller genre. Whether it be one of the many masterpiece thrillers of the ’70s or prominent icons of the modern age, many overwhelmingly gritty thrillers have become legendary. The films on this list go beyond the basic level of rawness for most thrillers, with many of them being some of the most shocking experiences within the genre.
Often, the grittiest and grimiest thrillers will shed away and not delve into action to not distract from the larger painful themes and messaging. One of the best examples of a thriller that still adheres to action thriller elements is Denis Villeneuve‘s Sicario. This intricate story of revenge, told through the attempts to take down a brutal drug cartel, is complete with twists, overwhelming violence, and painful subject matter, with each of these elements adding to the film’s gritty nature.
It is the absolute apex of this style of dreary, painful action thriller, reveling in the destructive and most painful attributes of modern humanity and showing corruption on all sides and angles. The film also gets a lot of inherent strengths from its exceptional script written by Taylor Sheridan, who cuts to the heart of the moral decay of justice in America and how these tactics used to fight evil can be evil in themselves.
The Safdie Brothers have amassed an exceptional reputation for themselves in the thriller genre, creating many modern-day classics that utilize an ever-growing sense of anxiety and tension to amplify their wild goose chase plots. However, while films like Uncut Gems and Marty Supreme may be more immediately recognizable, their initial foray into this style with Good Time is easily the grittiest and most morally ruthless of the directing duo’s thriller outings.
The inherent sleaziness that permeates throughout derives from several sources, including the abhorrent actions of lead character Connie (Robert Pattinson) and the inherent anxiety of his journey through the criminal underbelly of New York. With each additional layer, Good Time paints a wider picture of pain not just in terms of Connie’s character, but also in the system that allowed him to perpetuate and manipulate to such an absurd degree.
Few singular filmmakers have become as legendary and influential for their work within the thriller genre as David Fincher, whose various thriller masterpieces have helped push the genre forward into the modern age and are still massively celebrated to this day. While many of his thrillers are attributed as classics of their era, Fight Club has achieved a life of its own as one of the absolute darkest films that Fincher has ever released.
The film actively utilizes grittiness as a tool for its characterization and themes, with the tone going hand in hand with its messaging on commercialism and the destructive nature of toxic masculinity. These inherent themes wouldn’t be nearly as impactful or explored without a heaping dose of grittiness to set the stage for the characters and world, with Tyler Durden (Brad Pitt) himself proving to be one of the absolute grittiest characters in cinema history.
While not all of his films are thrillers, Michael Mann is still an absolute icon of the genre, creating some of the most exceptional and well-crafted crime movies of all time. Thief is just one such example of his mastery as a filmmaker, with its distinct flavor of atmospheric grit and cool factor making it one of the most compelling masterpieces of the ’80s. The film sees James Caan in an electrifying performance as a professional safe cracker, signing on with a top gangster for a massive score that will set him up for good.
The aesthetic amplifies the gritty energy of the film at large, with its spiteful worldview through the eyes of a no-nonsense criminal who understands the deception taking part in everyday life and chooses to exploit it to its absolute limit. It makes for a highly engaging exploration of the criminal mindset as a whole while tastefully making great use of its grittiest elements for a mixture of depth and entertainment value.
The enragement and anger of perceived injustices enacted on one’s life are at the heart of many gritty, unfeeling worlds and stories in cinema history. However, Falling Down goes steps beyond in terms of its depiction of aggressive anger towards the status quo, following a shocking story of psychotic violence, fueled by a mixture of grittiness and its growth into unhinged madness. The film sees Michael Douglas as an everyday suburban man who, after one too many annoyances in his daily life, goes on a violent rampage as he cracks under the pressure.
It isn’t exactly difficult to imagine how a film where an ordinary man snaps to the point of madness features a lot of bleak elements. The brilliance comes not from its depiction of such a spiral into madness, but from the pieces and economic failures that led to his creation in the first place. The film has achieved cult classic status over the years as one of the most celebrated films in the late great Joel Schumacher‘s filmography.
Yet another exceptionally bleak thriller from Denis Villeneuve, Prisoners tells a similar story of the failings of morality in a stressful situation. However, while Sicario‘s moral dilemmas come from a place of widespread corruption, Prisoners focuses on spiraling desperation. It makes for a supremely depressing yet infinitely captivating mystery thriller, largely amplified by great performances by Hugh Jackman and Jake Gyllenhaal.
It follows the various consequences and difficulties that plague a community in the wake of the kidnapping of two six-year-old girls. While everyone is doing their part to search for answers, father Keller Dover (Jackman) decides to take matters into his own hands. His investigation leads him to kidnapping and torturing for the sake of his daughter. It’s an exceptionally bleak and gritty watch that transforms the love that a parent has for a child into a tool for abhorrent, sickening actions.
The ’70s were one of the absolute best times when it came to thrillers, as many legendary filmmakers delved into the psychological intricacies of this classic genre. No other ’70s thriller quite as effectively taps into this mixture of bleakness and irreverence for filmmaking as Chinatown, a gloriously concocted neo-noir mystery that is still considered one of the bleakest films of the ’70s.
Even the fine, smaller details of Chinatown build toward an essence and energy of contempt in its world and characters, amplifying the grittiness of noir-style archetypes to an astronomical degree. The film is further elevated by two of the most impactful performances of the decade in Jack Nicholson‘s Jake Gittes and Faye Dunaway‘s Evelyn Mulwray, who add even more layers of intrigue and depth to this cesspool of corruption and deception.
Even among the many controversial and gritty thrillers of the ’70s, Sam Peckinpah‘s Straw Dogs stands tall as arguably the most controversial and shocking of this wave of films. In fact, it’s often cited as an important shift in films feeling more violent and perverse, in line with the more distrustful state of culture.
Its gritty tone persists throughout the runtime, but especially comes to a head during two painfully complicated rape sequences and the overwhelming violence that comes in their wake. Straw Dogs is exceptionally miserable, not shying away from the evils of humanity and the justification of these actions in the name of community. It shows exactly how those who perceive themselves as intellectually superior will be quick to abandon their civility in the name of primal rage and revenge.
No Country for Old Men is one of those legendary thrillers that it’s difficult to sing new praises for. Indeed, it has been such an icon and dominating force of pop culture for so long that everything that can be said about the film has been said about it. Its reputation largely precedes itself as one of the faces of gritty execution in a crime thriller, emphasized by some incredible performances and its insightful messaging on the dynamics of fate and free will.
This legendary magnum opus of the Coen Brothers has stood at the forefront of gritty cinema ever since its release, with its bleak, almost depressing outlook on life having massive ramifications and influence upon the entire genre in the wake of its release. Still, few modern thrillers influenced by its success come close to the flavor of the raw, unadulterated grit and unforgiving nature of the film.
Funny Games is an outlier in the realm of bleak, uncomfortable cinema, simultaneously playing into the classic tenets of a shocking, gritty thriller while also satirically commenting on the very nature of such topics being compelling for audiences to watch in the first place. The German masterpiece by Michael Haneke remains one of the most subversive works of art in the thriller genre, being fully aware of its gritty, sadistic nature and gleefully knowing that it’s exactly what audiences want.
The film invites the audience to question how they perceive violence in cinema, showing painful acts of torture and brutal sadism that dare the audience to turn away, all the while knowing they won’t. However, Funny Games goes a step further and becomes a commentary on the popularity of this style of grittiness, with its blurring of fiction and reality forcing the audience to come to terms with how desensitized they are to these stories of dread.
The Bold and the Beautiful has Deacon Sharpe (Sean Kanan) absolutely crushed because Taylor Hayes (Rebecca Budig) turned down his marriage proposal. And it looks like he might be questioning everything and wondering if he made the right choice when he left Sheila to get with Taylor because the rejection is hitting him hard.
We’re going to talk about how Deacon Sharp may realize that he made a mistake and he may dump Taylor Hayes and then go running back to Sheila Carter (Kimberlin Brown). And now let’s talk about how things are shifting and where we’re going.
We just saw Deacon get down on one knee and he asked Taylor to be his wife. And poor Deacon did not get the response that he was hoping to get. It looked like he really thought Taylor was going to say yes. And she didn’t. She told Deacon no. But she says not because she doesn’t love him.
Taylor told Deacon she loves their relationship just the way it is and she doesn’t see any reason at all to get married. Taylor thinks at their age and because she and Deacon have both been married and divorced before that things are different and Taylor was saying, “Oh, you know, we don’t need a ceremony.” Plus, she said she’s afraid that if she and Deacon get married, it will change their relationship for the worse.
But Taylor also told Deacon there are just too many complications because of Steffy Forrester (Jacqueline MacInnes Wood) and Sheila. And honestly, that shouldn’t even be a factor for Taylor because at this point, Sheila’s leaving them alone. And right now, all Deacon’s ex cares about is having a relationship with Finn Finnegan (Tanner Novlan) and her grandson Hayes.
But as we know, the drama is off the charts where Sheila, Finn, and Steffy are concerned right now. Sheila gave Deacon a divorce and she’s leaving him and Taylor in peace. So, she’s really a non-issue for them. And as far as Steffy goes, she has mostly accepted Taylor’s relationship with Deacon. And of course, it would be a little of a bit of a shock if Steffy found out that Taylor and Deacon were getting married. But Steffy would accept that eventually as long as her mom’s happy.
So, it sounds like Taylor is just coming up with every excuse in the book to not marry Deacon, to not say yes. And he told Taylor, “It’s okay. They don’t have to get married as long as they’re still together.” But you could see the heartbreak. Poor Deacon was crushed. So much so that he asked Taylor if he made a mistake by divorcing Sheila to be with her because Deacon definitely thought they were going to have a future as husband and wife. And now Taylor’s telling him that’s not going to happen. And it sounds like she meant never. So Deacon’s taking it hard.
I absolutely don’t blame him at all for getting his feelings hurt like this because if Taylor really loved him, you know, if she truly cared about Deacon, she would let nothing stand in the way of marrying him. And Taylor tried to say if they were in their 20s, it’d be different. No. Love is love and Deacon loves her and it looks like he loves her a lot more than Taylor loves him. And of course, she still wants to be with Deacon, but the fact that she’s not willing to legally commit to them as a couple might be something that Deacon can’t get over.
Taylor’s kind of reminding me of how Electra Forrester (Laneya Grace) was with Will Spencer (Crew Morrow), where she always put her family and others ahead of Will, whereas Melissa Dylan (Sydney Bullock) is the person who puts Will first. And Deacon definitely puts Taylor first. I mean, he risked a lot divorcing Sheila for her. Deacon could have lost half of Il Giardino. And if Sheila went berserk, Deacon might have lost his life. But Taylor’s putting her anxiety over Sheila and Steffy before her love for Deacon.
I also suspect Taylor’s worried about how Ridge Forrester (Thorsten Kaye) will react because, you know, he won’t take it well if he hears that Deacon and Taylor got engaged. I’m sure Ridge and Steffy are hoping Taylor and Deacon would eventually fizzle out. So, they’ll be happy that Taylor said no to Deacon. By comparison, Sheila would have done anything to stay with Deacon.
Yeah, she overstaffed when she kept the Luna Nozawa (Lisa Yamada) secret from him, but that wasn’t about Sheila not loving Deacon. That was her also loving her granddaughter and trying to protect her. I mean, really, Sheila worshiped Deacon. And now we’ve got Taylor rejecting something that Sheila would jump at the chance to have.
So, things are out of balance with Deacon and Taylor. They were not with him and Sheila. When Deacon was with Sheila, she loved Deacon completely and unconditionally. And there was nothing that Sheila wouldn’t have done for Deacon. Nothing that I can think of. Aside from Finn, we know that Deacon is and was Sheila’s everything. She even loved Deacon enough to let him go when he said he wanted Taylor.
Sheila didn’t like it, but she agreed because in the end, she wanted Deacon to be happy, even if that was with Taylor. And Sheila really didn’t interfere a lot in his relationship with Taylor. After some initial begging, you know, please don’t do this. Sheila did hold back the divorce papers and was trying to negotiate, but in the end, she signed them because it’s what Deacon wanted.

After Taylor rejected him, Deacon may be having some buyer’s remorse about giving up Sheila. And of course, being with Taylor looks better for Deacon. He’s not with the town pariah like Sheila, somebody who everybody’s scared of. Deke Sharpe (Harrison Cone) even told his dad Deacon that the Il Giardino staff didn’t like her. And of course, Sheila shouldn’t have lied about Luna. However, Sheila never did anything malicious to Deacon and she never wanted to hurt him. And she never would have rejected him like this. And all of this might be on his mind when it comes to Taylor and her rejecting his proposal.
How long ago was she engaged to Ridge? It wasn’t that long. About a year. Not only that, but it was Taylor who proposed to Ridge. A little over a year ago. It was June 2025. Taylor asked Ridge to marry her. She was only a year younger than she is now when she’s saying that they’re too old to be getting engaged and married. So, I wonder if that’s weighing on Deacon. It should be.
And then a couple of months after Ridge accepted Taylor’s proposal, he turned around and dumped her for Brooke Logan (Katherine Kelly Lang). So, all this may have Deacon reconsidering being with Taylor. You know, why is it okay for her to get engaged to Ridge and plan to marry Ridge, but not Deacon?
And honestly, Taylor has to know Deacon would never do her like Ridge did her when he dumped her and ran off and married Brooke. Except now that she has, you know, rejected him, maybe he will. In the end, Deacon may decide what Taylor’s offering isn’t enough. Why should Deacon settle for Taylor’s non-committed love when he could go back to Sheila, who saw Deacon as her everything?
And yeah, Sheila came with some baggage, but she absolutely adored Deacon. And Taylor seems to have a bunch of priorities that she puts before Deacon. Meanwhile, he’s totally smitten with Taylor. So maybe Deacon’s in that mindset of seeing Taylor as somehow above him and that Deacon’s lucky to be with her because he’s got her on a pedestal. But how long can he live like that? Right?
Seems like Sheila might actually wind up getting another shot with Deacon before all is said and done because at this point Taylor is in control of their relationship. She’s clearly not giving Deacon everything that he needs. And I doubt that he is going to accept this in the long run. I’m looking forward to seeing him in scenes with Sheila once she’s back from Monte Carlo. And I wonder if Deacon will tell his ex-wife that he proposed and Taylor said no. And I wonder if Sheila will tell him, “Come back to me.” I kind of hope so.
Netflix‘s been having a rough run lately. Its flagship franchise, Stranger Things, ended with a finale that left fans unsatisfied. Original series are seeing a decline in viewership due to prolonged production cycles and increasing subscriber costs. The “second screen” approach to structuring storytelling has turned away a lot of viewers, as it leads to repetitive plot points that drag down some genuinely inventive approaches. That’s not even counting other streaming services, which are finding their own ways to stand out in a crowded landscape. However, Netflix’s salvation might lie in one of its upcoming science fiction series.
Said series is The Future Is Ours, which is based on Philip K. Dick‘s novel The World Jones Made. The World Jones Made is set squarely in a dystopian future, where the fallout of World War III has led to an authoritarian government taking over America. A young man, Floyd Jones, starts receiving visions of the future, including an alien race called the Drifters coming to visit Earth. The Future Is Ours will be adapting the same story, but it’s taking a unique approach that’ll hopefully make it stand out in Netflix’s catalog, and the television landscape as well.
What makes The Future Is Ours stand out is that the entire production is based in Latin America, including its cast and crew. Some of Netflix’s biggest hits, particularly Squid Game, have been foreign language series; it’s proof that a great story can resonate with its audience no matter where it might take place. Filtering Philip K. Dick’s work through another cultural lens could also bring a fresh take to the story, especially as Floyd Jones has been reimagined as a priest named Jonás Flores. How will Jonás be able to reconcile his visions with his faith? How will the government respond to a leader who’s able to see every move they make? The setting might have shifted, but the rich themes that permeate Dick’s work remain.
The Future Is Ours also stands out from other Philip K. Dick adaptations by having one of his family members involved in the creative process. Dick’s daughter, Isa Dick Hackett, will serve as an executive producer on the series under her Electric Shepherd Productions banner. Electric Shepherd previously brought another one of Dick’s books to life with Prime Video’s The Man in the High Castle, and Hackett expressed her desire to make sure that The Future Is Ours would be a series of the same caliber.
“It’s an honor and a privilege to collaborate with Netflix, Francisco Ramos, and this stellar creative team on the first Spanish-language adaptation of my father’s work for the screen. Mateo’s adaptation of the novel is inventive and bold while retaining the essence of the original. I have long believed that the rich culture and incredible talent in Latin America provide an extraordinary setting for this sort of ambitious project, and the passion expressed by the entire team is truly inspiring.”
The Future Is Ours comes at a perfect time for Netflix, as the streamer is leaning more into science fiction shows. In addition to returning hits like 3 Body Problem and Black Mirror, Netflix is also bringing original content like the sci-fi thriller Human Vapor to its library this year. It’s a smart move, as some of Netflix’s biggest hits have been in the sci-fi space, and a timely one as more streamers are starting to lean heavily into the genre. Disney+’s biggest franchises, particularly Marvel and Star Wars, provide plenty of science fiction adjacent series while Apple TV remains one of the most reliable services to find good sci-fi series.
Netflix could also use a win in the sci-fi space, particularly after The Boroughs was unceremoniously canceled. Many loved The Boroughs for its star-studded cast, including Alfred Molina, and for the fact that it was willing to put older characters at the center of a sci-fi story rather than having them be supporting characters. Its absence created a glaring hole in Netflix’s library, and that’s a hole that The Future Is Ours can fill.
The Future Is Ours is slated to premiere on Netflix in 2027. Stay tuned to Collider for future updates.
Young and the Restless hot new spoilers for next week include Billy Abbott (Jason Thompson) acting out and burning bridges. And when he does, Cane Ashby (Billy Flynn) is furious. Plus, Nate Hastings (Sean Dominic) takes a big risk to change his future. We’ve also got a huge return and lots of family drama and infighting.
We’ve got your latest Y&R spoilers for the week of August 17th through the 21st. Plus, next week we’re going to have more scenes of Traci Abbott (Beth Maitland), who is back on the scene, as well as more drama with Nick Newman (Joshua Morrow) in rehab. Let’s start with Abbott family drama.
So, next week’s Y&R spoilers have scenes with Christine Blair Romalotti (Lauralee Bell). She’s hanging out at the Shadow Room, of course, where her hubby Danny Romlalotti (Michael Damian) is now the manager and Traci is there. And we’re going to talk in just a second about why she’s back on the scene. But Christine says she knows the Abbott family has had a lot going on and just a lot of drama in their household lately. And Traci says that’s another reason why she really needs a night out.
And then the big return for next week happens in this scene. Trisha Cast is back as Nina Webster and she sneaks up behind Traci and says about needing a night out, you and me both. And Nina and Traci share a big hug. So, the reason they need the Abbott sister on the scene, is because of what Billy is up to. In the final episode of this week, he is with Jack Abbott (Peter Bergman) and Kyle Abbott (Michael Mealor) at the cafe and Billy tells them he found the big secret that he suspected Jill Abbott (Jess Walton) was keeping and says it was buried deep.
And of course, Billy has been on this obsessive scavenger hunt at Chancellor, going through the archives and he found it. And then he drops a bomb on Jack and Kyle. Billy says the Abbotts actually own Chancellor and Billy says he can prove it. He found paperwork about a loan. Basically, John Abbott (Jerry Douglas) loaned Chancellor money to keep it out of bankruptcy. And if the loan wasn’t repaid within 20 years, then Jack’s dad John or his heirs would get ownership of Chancellor. And Billy had the paperwork he found authenticated, and he said that loan was never repaid to John.
So, Jack says he believes that that is something that their father John would have done, set up something like that. But Jack’s wondering if Katherine Chancellor (Jeanne Cooper) knew about it. Jack assumes she didn’t because she would have paid John back. But Billy is so excited to drop this bombshell on Cane, of course, because you know, Billy wants to yank Chancellor away from his sort of brother and away from Lily Winters (Christel Khalil). This is all back to Billy’s mommy issues where Cain and Jill are concerned.
So, Jack thinks Billy needs to slow down and he says, “If Victor still had Chancellor, of course, go for it. Take it from him.” But since Lily owns it, Jack isn’t so sure. So, Billy pushes back and he’s griping about Jack trying to kill the dream. Billy also said he’s not going to accept some kind of offer from Cane to back off. Billy wants Chancellor. He wants to run it. And he tells Jack that the company is rightfully theirs. And Kyle points out this could drag out years in court.

Billy insists the contract that was made with Chancellor and John must be honored. And then Jack accuses Billy of deluding himself. Jack doesn’t think this is what Billy needs. And of course, he gets mad. Doesn’t like Jack telling him what he needs. And Jack tells Billy this could be an expensive fight. Billy doesn’t care. And then Kyle asks how Sally Spectra (Courtney Hope) feels about this Chancellor thing.
Well, as it turns out, Billy hasn’t told Sally yet. And Kyle reminds Billy he’s supposed to be putting Sally and the baby she’s having first. Billy thinks he can do both. And he’s certain that Sally is going to support him in this. But Jack doubts it because Sally almost left Billy once before and it was about Chancellor and his fixation. That’s the point on Friday where Billy’s tantrum is going to reach fever pitch and he stomps away from them. But Kyle checks out the documents that Billy found and he actually agrees they look legit. Kyle says, “Maybe Billy’s right. Maybe we do actually own it.”
So, Jack and Kyle talk about how to handle this, but they don’t think it’s up to just them. Jack and Kyle think they need to bring Traci and Ashley into this conversation because Chancellor would belong to all of John’s kids, not just Billy. But of course, he’s going to rush over and tell Cane and Lily. So, at the end of this week on Young and the Restless, Lily is talking to Cane over breakfast, and she asks how Billy’s doing at Chancellor. Cane says he doesn’t want to talk about Billy. And that makes Lily way more curious and nervous.
And Cane tells her that Billy has been stirring things up because he thinks there is a secret in the Chancellor records. Cane says it’s something that Billy thinks Jill didn’t want Billy to know about. And then Cane says Billy thinks that it’s something that will give him control of Chancellor. And Lily’s annoyed and says over my dead body. But Cane is confident. He says Billy won’t find anything and this will all blow over. But Lily wants Cane to just fire Billy now. Lily wants him gone before Billy can cause any trouble. And Cane asks for more time. He’s really advocating for his brother. And Lily caves and finally says, “Fine, it’s up to you.”
So, Cane thinks that Billy will be different because of the baby on the way. But then he walks up on Cane and Lily and she asks Billy about him doing all this digging in the archives. And Lily tells Billy he just needs to stop that and focus on Chancellor’s future. And Billy says, “No more digging because he found what he was looking for and now he has the keys to the kingdom.” and he tells Lily he admires and respects her, but Chancellor belongs to him and he can prove it. I’m sure this is going to blow up in a big bad way.
Next week on Young and the Restless, presumably with Sally still out of the loop, we’ve got Audra Charles (Zuleyka Silver) approaching Billy at the bar and asks what amazing thing he’s celebrating and he tells Audra, “Join me and I’ll tell you about it.” Now, it seems like a bad idea for Billy to tell Audra before he tells Sally. But again, we’re back to Billy being Billy. And I’m curious if Audra will immediately phone Sally. You know, Audra may give Sally a warning that Billy is fixated on Chancellor and now thinks he owns it.
Plus, I’m sure Cane and Lily are going to dig in and find out if Billy’s assertion is true. I expect Cane to call Jill and get verification. That’ll probably happen offscreen. But Billy is skipping over a very important part. that Chancellor belongs to the Abbotts, not to him. Also, next week, it looks like Nate is ready to take a big step towards returning to his career in medicine.
He told Lily and Devon Hamilton (Bryton James) recently about a new procedure that might help. So, in next week’s Young and the Restless spoilers, Nate is talking about it to Stephanie, and Nate asks what happens if the surgery on his hand works. And Stephanie Simmons (Vivica A. Fox) says Nate will be back in the operating room wowing people with his talents once again.
When The Ninth Jedi first debuted as one of the standout episodes of Star Wars: Visions, fans immediately wanted more. Thankfully, Lucasfilm and Production I.G. delivered. Star Wars: Visions Presents – The Ninth Jedi expands that original concept into a full eight-episode adventure, and for the most part, it’s a thrilling addition to the galaxy far, far away.
Rather than relying on familiar faces or endless callbacks, The Ninth Jedi confidently tells its own story. Lah Kara continues her journey to become a Jedi while searching for her missing father, the legendary lightsaber smith Zhima. The series builds on the fascinating mythology introduced in the original short, particularly the concept of lightsabers that change color based on their wielder’s connection to the Force, giving the franchise one of its most unique Force-related ideas in years.
Visually, the series is stunning. Production I.G. delivers fluid action sequences, cinematic camera work, and expressive character animation that often rivals theatrical anime. Lightsaber duels feel fast, impactful, and beautifully choreographed, while the environments help create a galaxy that feels both familiar and refreshingly original.
The biggest strength, however, is its sense of adventure. Kara is an easy protagonist to root for, and the supporting cast develops naturally throughout the season. The series embraces classic Star Wars themes of hope, mentorship, and choosing one’s own path without becoming weighed down by decades of continuity.
Star Wars Visions Presents – The Ninth Jedi
Not everything lands perfectly. A few middle episodes slow the pacing, and some supporting characters could have benefited from additional development. The story occasionally feels like it’s setting up future installments rather than fully resolving every thread by the finale.
Still, those are relatively minor complaints in what is one of the franchise’s strongest animated offerings in recent years. Critics have similarly praised the series for bringing fresh energy to Star Wars, with outlets like The A.V. Club calling it “a breath of fresh air” and early reviews earning it an 84 Metascore with universal positive reception.
Star Wars: Visions Presents – The Ninth Jedi succeeds because it remembers what made the original short so compelling while expanding its world in meaningful ways. It’s imaginative, beautifully animated, and confident enough to tell a Star Wars story that stands on its own.
If this is the future of the Visions Presents banner, it’s a direction Lucasfilm should continue exploring.
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‘Slippers’ may sound casual, however, Julia Roberts wore them in a way that makes them anything but. The star’s latest shoe style kept the cool-mom ease but gave the silhouette an incredibly luxe upgrade. We found her classy flats look on Amazon, and although it appears expensive, the $23 price tag says otherwise.
Roberts ran errands in New York City while wearing a white blouse, navy cardigan and baggy blue jeans. She tied it all together with cream-colored ‘footie’ flats, a shoe style that turned heads from supporters and skeptics alike. This sleek version has the same low profile without going full footie, so it’s a universally stylish way to dip into the trend.
Get the Afeetsing Round-Toe Ballet Flats for $23 on Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Like Roberts,’ these delicate flats are designed with a rich beige hue, cute bow tie and an understated silhouette. But instead of hugging your toes, they have a polished round shape, making them ideal for upscale occasions.
With such a plush, pillowy insole, you’ll want to wear these timeless flats everywhere from everyday errand runs to fancy fall weddings. According to one happy shopper, they’re even comfier than trainers!
They wrote, “This pair arrived right before a cruise, so no time to break them in. I figured they would be okay for evening. They are so comfortable and fit so well that I even wore them home on the plane, because honestly they felt better than my sneakers!”
Clearly, you don’t have to choose between comfort, polish and trendy style. These beige beauties hit all of the above with the added perk of versatility. They pair just as well with dresses as they do with trousers, skirts and jeans, as Roberts showed Us. If you’re thinking what we are, you’ll do all of the above. Nail the NYC cool-mom trend below!
Get the Afeetsing Round-Toe Ballet Flats for $23 on Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more chic flats, and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
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Hours after Bethenny Frankel officially opened her Supermodel Café in the Hamptons, the establishment was served a stop-work warning.
“Today’s Supermodel Café launch drew an extraordinary turnout, and we are incredibly grateful for the overwhelming support from the community,” a rep for Frankel, 55, told Us in a statement on Thursday, August 13. “The café received a yellow notice labeled ‘Warning Stop Work Order’ following concerns surrounding the unusually high volume of launch-day attendees.”
The spokesperson continued, “The team is working cooperatively with local officials and taking the appropriate steps to address those concerns. The notice does not require the café to close, and there is no anticipated disruption to business. The café will operate during its regular daily hours of 8 a.m. to 3 p.m.”
Us has learned that more than 700 people turned out to the Supermodel opening on Wednesday, August 12, and the chicken salad was the first menu item to sell out.
Newsday reported that the order was posted on the pop-up shop’s window, claiming that Frankel’s team failed to comply with New York State and Southampton’s respective building code and town ordinances.
“We’re also going to be issuing some violations and/or summonses from the Fire Marshal’s office as well for sidewalk obstructions and unpermitted signage too,” Southampton Town Public Safety and Emergency Management Administrator Ryan Murphy told the newspaper, adding the notices were “already given” out before Supermodel’s opening. “They failed to take corrective action.”

Frankel, who has not publicly addressed the stop-work order, recently told Us that she was entirely focused on launching Supermodel Café.
“I’ve never worked harder, and I literally have never considered myself a CEO until this summer,” the Skinnygirl founder exclusively told Us on Wednesday, August 12. “I finally, for the first time, I’m like, ‘OK, I’m a CEO. I’m working every day.’ Really working, not just hard. My brain is fried at the end of the day. I don’t do anything half-assed, so it then became, like, now it was nutritional information and decor and merch and marketing and the Jitney came to us.”
In addition to collaborating with the famed Hamptons bus line, Frankel revealed that other “multibillion-dollar companies” offered to distribute her goods. The former Bravo star’s vision for Supermodel extends far beyond the shop doors.
“That is going to change the entire industry,” she told Us of her endeavor. “The way that it’s going to be in the marriage of content, venture capital, brand incubation, brand-building and production. This is probably going to be a café in New York with a studio next to it, and in that studio, brands will be built and paired with creators.”
The Hamptons pop-up remains open with Frankel sharing footage from the eatery to her Instagram Stories on Friday, August 14.
Lauren London has once again reminded the timeline that she doesn’t need to do too much to make a statement. The actress recently gave fans a peek at her time in Martha’s Vineyard, and the photo dump had her serving the kind of effortless beauty that had folks doing a double take.
In a new Instagram post, Lauren captioned the series, “Boogie on the Vineyard. Martha was tea.” She posed in a butter-yellow dress paired with a Nippy Tussle necklace, dark shades, and gold hoops, while rocking a sleek, middle-parted bun and French tips. With a natural beat and the sunlight hitting her just right, Lauren looked every bit like that girl while taking in the Vineyard views.
Fans ran to TSR’s Instagram comment section, running it up with praise for Lauren London’s latest look. Some said Lauren has always been stunning, while others joked that she only pops out when it’s time to celebrate Nippy Tussle. Meanwhile, a few fans joked that Martha’s Vineyard costs way too much dough.
One Instagram user @geishalee said, “I was gonna plan a trip there after seeing the show “Forever” but the price 🥲🫢”
This Instagram user @sagittariusmindset claimed, “Big Sagittarius ❤️♐️ face card forever A1 ✨”
And, Instagram user @laurenlondonfanpage.84 commented, “Been that girl! 😍😍🐐”
Meanwhile, Instagram user @1frankjordon added, “She only pop out when her 🥷🏾 album drop, like a true 👑”
While Instagram user @_suckafreesi shared, “Love seeing my Y2K baddies getting more beautiful with time 🥹🤎”
Finally, Instagram user @_bella.1991 wrote, “She’s always been THAT girl 👏👏👏🔥”
This wasn’t Lauren London’s first time serving a look, either. Earlier this year, she had fans turning heads with a carousel from The Gold Party 2026, where she stepped out in a black flowy gown featuring a midsection cutout, gold hoops, and matching jewelry. With her hair swept into an updo, Lauren once again proved she didn’t need much to have the timeline talking.
What Do You Think Roomies?
Bailey Tippen is entering a major new chapter in her career, with the return of Netflix’s breakout hit “Beauty in Black” and the upcoming Paramount+ drama “Route 187,” putting the rising actress in the spotlight.
Tippen recently sat down with The Blast to chat about her “Beauty in Black” character’s evolution in Season 3, the challenge of portraying a teenager navigating increasingly difficult realities, and what she learned from working alongside Tyler Perry. She also discussed her desire to take on diverse roles, the importance of the powerful storyline of “Route 187,” and the passion that continues to drive her career.

Tippen started her acting journey around the young age of 5. After taking some classes, she started acting professionally at age 7. Through her training, she learned how to get comfortable in front of audiences, all about scripts, how to understand her characters, and more.
When asked what it was that got her interested in acting, she credited the “Disney Channel.”
“As a kid, I really wanted to be on Disney,” she told The Blast exclusively. “I love ‘Hannah Montana,’ so definitely that was it.”

When the conversation moved to discuss Tippen’s role in the hit Netflix series, “Beauty in Black,” she gave us a little sneak peek into what this season holds for her character Sylvie.
“From Season 2, we really get to see Sylvie hitting her breaking point and on her fight for survival. Then towards Season 3, we see in the trailer, she begins to question her reality and the people she’s around,” Tippen told The Blast. “Sylvie’s been through a lot of emotional heartbreaking moments.”
The most challenging part of bringing Sylvie to life on screen is that she’s a teenage girl and Tippen needs to tap into that “headspace” to remember what it was like being that age.
“Your world seems so big at the moment. Your emotions are so big,” she said. “As you get older, you realize, well maybe I was tripping on that. So just definitely connecting and going back into that mindset.”

When Tippen first began portraying Sylvie, she saw a “young girl who just had dreams and hopes of making it out of her living situation.”
“She had toxic family members and I just wanted to assist her through that journey,” she said. “But as she got older, as the story progressed, we can see more of her; she’s a bit naive with little rose tint glasses on, and as the story progresses, we see the shift of her coming to terms with reality. So it’s been a fun ride.”
Watching the audience connect with Sylvie has been something Tippen calls “amazing.” She loves to hear the conversations the fans are having and learning that so many people support each season.
“Every time it releases, it’s been number one,” she told The Blast. “And that alone is just so outstanding. We’re getting support from all over the world globally and it’s just amazing. I love it.”

Tippen said it’s been quite the experience getting to work with Tyler Perry on “Beauty in Black.” She said, “there’s nothing he can’t do.”
“Mr. Perry is just wonderful,” Tippen said. “He wears so many hats in this production, and in his other productions as well. But what I know specifically to this production, so many hats — he’s the producer, he’s the writer, he’s the director, he’s the showrunner – but he also understands acting and he knows how to connect with it. I think that is so magical. I think it inspires me more than just an actor, but just as a creative. You can really pursue any avenue with the passion and the right drive.”

Tippen’s other project, “Route 187” is a bit different from her work on “Beauty in Black.”
“It’s a crime, it’s a drama,” she said. “Totally different [from playing Sylvie]. I am excited to share it with the world. It comes out on the 16th of September.”
She added, “there are murders, disappearances of Black women, and I just feel the time that we are living in now, these stories aren’t too far fetched from reality.”
Tippen said getting these stories on TV screens means keeping necessary conversations alive.
Tippen is known for playing a variety of characters, and enjoys seeking out different types of roles to add to her impressive resume.
“I love playing different characters, different roles. That’s where my heart is – connecting with so many different types of people,” she said. “And I will continue to hopefully be able to do the same.”
As far as what’s next for the actress, she said she’s got some things in the works, but she’s not able to talk about them just yet.
Outside of her career, she’s hoping to one day be able to check the box on skydiving since it’s something she’s wanted to do for a while.
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From “The Princess Diaries” to “The Odyssey,” these are the Oscar-winning actress’ best performances of the last 25 years.
Beyond the Gates may see Randy Parker (Maurice P. Kerry) soon throwing Haley Lawson (Marquita Goings) under the bus because her sloppy scheme could ruin his life. Randy warned Haley time and again upping Bill Hamilton’s (Timon Kyle Durrett) poison dosage for a faster result to get to be a rich widow. And we know Haley’s tired of playing around and she wants her hubby dead.
And even though Bill went down, he is not out yet. He’s still alive thanks to Caroline Lee (Ellie Wang). But this may be bad news for both Randy and Haley. We’re going to talk about how this plays out for Randy and if he’s going to take the fall or wind up taking her out.
So, with Bill needing a pacemaker and still no answers as to what’s happening with his health, Joey Armstrong (Jon Lindstrom) stopped by the hospital with a little bit of advice. He told Bill he should go get a second opinion and he may take Joey’s recommendation and consult someone outside of Garland Memorial. Because there is a toxin in his system doing all this damage.
But Bill doesn’t know it and Madison Montgomery (Kenjah McNeil) hasn’t found it. And Randy reminded Haley that the toxin isn’t supposed to leave a trace. But Randy’s not sure if that’s true at the much higher doses that Haley’s been giving Bill. That’s why it was so crucial for Haley to kill Bill in St. Barts. No autopsy, a doctored up death certificate, and then Bill shipped home in an urn while Haley’s cashing checks.
But St. Barts was a bust and it seems like only a matter of time before Bill finds out that he has been poisoned repeatedly. And that’s when things could get really bad for Randy. Because I don’t see Haley confessing or giving up and going to prison for what she’s done. She’s flatout cutthroat and I think she would definitely throw Randy under the bus if it came down to a situation of her versus him. I have no doubt. So, let’s talk about what the future may hold for Randy.
With Bill in the hospital and Madison presumably on her way back from Denmark, I’m sure she’s going to dig for answers. But I also think Bill will do what Joey said and consult with some other doctors to find out what exactly is going on with his body and why it’s failing him. So, one outcome we could see is that Randy gets played by Bill. There’s still the rumor out there that Haley and Randy are doing the dirty deed. And Bill knows about this.
Haley got out in front of it and she’s the one who told Bill that Dani Dupree (Karla Mosley) accused her and Randy of having an affair. But Bill believed Haley’s denials and he chocked it up to Dani, Chelsea Hamilton (RhonniRose Mantilla), and Naomi picking on little horrible Haley. But Bill may soon see it differently as I think Dani and the girls aren’t going to let up on this.
And truly, they are wrong about Haley. She’s trying to kill Bill. But she is not cheating. But if Chelsea, Naomi Hamilton (Arielle Prepetit), and Dani keep pushing and you know, Kat Richardson (Colby Muhammad) be on it too, then Bill may really reconsider and then Randy winds up in his crosshairs. If Bill starts to believe this cheating rumor, that means Randy has played him for a fool by hooking up with his little wife.
And nobody does that to Bill. He’s the one who cheats, not the one who gets cheated on. So, aside from the poisoning, Randy might be on Bill’s radar, and he wants revenge for this alleged affair. He might ask Joey to do something to Randy as payback for sleeping with Haley. Joey already heard about this from Vernon Dupree (Clifton Davis), who had just found out the Haley Randy cheating rumor. And Vernon calling Joey to say Haley and Randy was a red flag.
So, it sounds like Vernon believes it. Joey may also and Bill might be right behind them. And that could put Randy in danger from Joey. Because another possible outcome for Randy from this whole mess involves Joey. We know that Randy is terrified of Joey more so than respecting him as a boss. Plus, we’ve got Heather Armstrong (Ashley Jones), Joey’s psycho sister in the DMV with a reputation even more evil than Joey’s. And we know Heather wants in on Joey’s business. And Heather lied, said she was in the DC area for other reasons. But Joey’s on to her.
Problem is, she’s like a shark and Heather can smell blood in the water and she might attach herself to Randy as a way into her brother’s world. Heather may find out that Randy is on Joey’s radar. And if Heather finds out Randy is mingling with Dani’s ex and is close to Bill’s wife and works for her brother, you know, Heather may see some juicy blackmail potential. She may approach Randy as an ally and offer to protect him. But if he starts working for Heather on the sly, you know, Joey might just kill him. Another outcome of all of this is Randy and Haley may turn on each other.
Randy and Haley are cousins, and Randy has helped her work many of her cons on guys over the years. But as we know, Haley is all about Haley, and she will do anything to save her own skin. And Randy may soon find out how far she’ll go, and that them being family doesn’t matter to Haley. If the poison is found in Bill’s system, I’m sure that Dani and their daughters and all the other dupes will assume that Haley is the culprit, which is accurate. But there’s also that cheating rumor.


The whole thing that Dani, Chelsea, and Naomi are pushing about Haley having an affair could actually work in her favor. She could make a false confession and say, “Yes, I’m cheating on Bill with Randy.” And then Haley could play dumb and say, “Oh no, maybe my secret lover is the one who is targeting Bill.” Can you imagine that? Haley could make it out like Randy is her jealous lover who wants Haley all to himself and that he decided to poison her husband Bill to make it happen.
But if Haley tried that, I’m sure that Randy would flip on Haley and spill about all of her crimes, not just the present ones. But also the past ones. Another possible outcome is that Randy flips on Haley proactively without waiting for her to do him dirty first. Right now, Dani, Chelsea, and Naomi are convinced Randy is sleeping with Haley. But once the poison is found in Bill’s system, then Dani might circle back to Randy and demand to know what he knows on Beyond the Gates.
And Dani might tell Randy if he doesn’t spill the beans on Haley, they will assume she was in on it and they were working together and he was helping Haley kill Bill, which of course would be accurate. But Dani may throw Randy a lifeline and tell him, “Look, I’ll get you a deal with the DA if you throw Haley under the bus.”
And if it’s a choice of prison or Randy ratting out Haley, I’m sure he would rat her out in a heartbeat. Especially if Randy knows Haley’s burned herself and she won’t be cashing out on this con and won’t be doing any future cons, so he can’t make any money off of her. Randy might be that cutthroat.
One last outcome for him could be that Randy sees blood in the water and he panics and he hightails it out of the DMV. He already tried to run once. If you remember, he stole some cash from Joey and took off. Randy would actually be dead now if not for Vanessa McBride (Lauren Buglioli) and Doug McBride (Jason Graham) intervening and saving him from Joey’s wrath.
So, this time, if Randy thinks the walls are closing in, he might run a lot farther and a lot faster than he did last time. But of course, if he runs, that could actually help out Haley. Because she could try and blame him and say Randy ran. Because he’s guilty. I had no idea he was doing this again with the we’re lovers false confession. I just don’t know if Randy could get far enough away though that Joey can’t track him down.
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