Related: ‘Summer House’ Season 10 Extended Reunion: What Viewers Missed
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If you’re looking at overall great decades for cinema, and trying to single out which was the best one overall, the two main competitors – at least of the 20th century – are likely going to be the 1970s and 1990s. What follows is not an argument that the 1990s was better, but an acknowledgment that the decade was at least one of the very best in cinema history, with a selection of movies to showcase that.
These are among the best of the ‘90s, and they also feel like the most important movies of the ‘90s. If a movie made a splash at the time, or seemed to summarize the decade in some way, or did a bit of both while having enduring legacies beyond the 1990s, then such a movie has a chance of landing on this ranking.
The soundtrack plays a fairly decent role in Trainspotting being as beloved a cult classic as it is, and the music’s also one factor in the movie’s overall ‘90s energy and style. Yes, there are songs in the soundtrack from before the 1990s, but those older tracks are paired well with more contemporary (or modern at the time) music, and the attitude of doing that and making it work in such a way feels fitting for the time. Somehow. Again, vibes.
Narratively, Trainspotting is mostly about addiction, and the chaos that comes about when life, already with its ups and downs, is made simultaneously more exhilarating and more despairing when drugs enter the picture. You do get an exploration of the good with the bad, which makes Trainspotting surprisingly nuanced, and there is almost a level of danger to the whole film that would’ve been alarming in 1996, and still feels quite surprising, in some ways, three decades later. Oh, and the film led to a surprisingly good legacy sequel 21 years down the line, too.
Approaching The Matrix now, it’s a little hard to tell whether it was the culmination of the 1990s, or a foreshadowing of the decade to come. It’s classic science fiction, in any event, with some parts of it feeling distinctly of the time, while other aspects were indeed forward-thinking, so it’s a bit of both. And, anyway, an important part of a decade’s end is what it means for the next decade.
In the case of The Matrix, it was helping to alter what was popular action-wise, with a martial arts resurgence that it helped kick off on an international scale, alongside Crouching Tiger, Hidden Dragon (2000) and then maybe Kill Bill, too. Focusing on The Matrix, though, it has that sort of edgy ‘90s vibe and angst, yet channeled into something unique, all the while being the perfect sort of science fiction movie for that specific time in history.
No disrespect to Reservoir Dogs, which came earlier and so was arguably more important for establishing the whole “indie” boom, signified by various young directors unapologetically making their mark on cinema in the first half of the 1990s. Quentin Tarantino really did do that with Reservoir Dogs, which is a largely great film, but with Pulp Fiction, he did something similarly bold and made something even better.
Pulp Fiction tells three fairly chaotic and darkly funny crime stories that sometimes collide violently, but nonetheless collide in ways that make an odd sort of sense.
Also, Pulp Fiction is one of the first movies people will think about when they hear the term “1990s cinema,” and that’s for better or worse (because the films that tried to be Pulp Fiction, but failed, were often painful to get through). As for what this one’s about: lots of stuff, with three fairly chaotic and darkly funny crime stories sometimes colliding violently, but nonetheless colliding in ways that make an odd sort of sense. It’s an easy film to take for granted nowadays, but if you place yourself back in 1994 as best as you can, you can hopefully appreciate what a shock to the system Pulp Fiction was, at the time.
If someone wants to scoff at the idea of Titanic being singled out as a genre-defining movie, then hey, they’re welcome to. People can disagree with any movie being here, or feel grumpy about any movie not being here. There’s freedom there, but Titanic is here on the basis of it being a huge deal, and one of the all-time great pieces of mass-appeal cinema, owing to its marriage of the romance and disaster genres rather seamlessly.
It’s all about the titular ship, and more specifically, about two young people from different backgrounds on that ship who fall in love, and then all the inevitable drama and heartbreak that comes about when they try to survive its sinking together. Much of Titanic is still spectacular, and even if there are things to be cynical about here (such is the case for lots of broadly appealing movies), it’s also an easy film to get swept up in, if you’re willing to give yourself over to its emotional core.
It’s hard to pick which Coen Brothers movie of the ‘90s is more iconic, out of Fargo and The Big Lebowski, so consider the latter’s shout-out there as something of an honorable mention. Fargo might well be a more perfect movie, and perhaps more striking, not to mention succeeding as a blend of the dark comedy, crime, tragedy, and thriller genres, alongside maybe some other things, too (possibly even film noir, or at least neo-noir).
There’s also something about Fargo’s energy and look that feels very 1990s, which might sound like a weird thing to say when the movie’s technically set in the late 1980s, but it’s a vibe thing. Fargo does a lot emotionally and succeeds in taking you on an odd sort of ride, and there really isn’t anything else quite like it, even if some Coen Brothers movies at least partly scratch the same itch (like Blood Simple), and even with the fact that there is a Fargo TV series based on/inspired by the film.
Heat is an all-timer of a heist movie, and also much more than just a heist movie. Like, the two main characters are a police detective and a master thief/criminal, respectively, and the movie is mostly about the former trying to stop the latter from pulling off a massive bank heist, yet there’s a good deal of drama (plus a fair few side characters) to make Heat feel like more than just an action/crime film.
Without any shootouts or chases, it would still be riveting because of how it explores aspects of human nature, especially relating to men. It’s a movie kind of for the boys, sure, but it’s nuanced and has things to critique regarding the things that men (on either side of the law) do. And then it’s also just cool and exciting. It manages to have the cake, eat the cake, still have the cake, eat more of the cake, somehow the cake comes back and stays had, then the cake’s nibbled at again, and on and on, until Heat wraps up after a very satisfying (almost) three-hour runtime.
There are other iconic Steven Spielberg movies he directed during the 1990s for sure, beyond just Jurassic Park. Schindler’s List even came out the same year as Jurassic Park, and was obviously a very different sort of movie, and then 1998’s Saving Private Ryan was also one of the most important movies of the ‘90s. Yet Jurassic Park is going here, even if those war films of Spielberg’s might technically have more to say.
Jurassic Park is important for the decade for other reasons. Namely, it was revolutionary in terms of technology and special effects, and then it was also arguably the definitive blockbuster of the ‘90s, or it sits alongside Titanic when looking at movies from the decade that went big and succeeded immensely. Also, no movie with dinosaurs has ever come close to being as good as Jurassic Park, just like how no shark-related movie has ever really come close to touching Spielberg’s Jaws.
While it’s unfair to say that gangster movies made before Goodfellas lacked any kind of brutal honesty, Goodfellas does feel like it went the extra mile in that regard, and probably influenced The Sopranos more than any other gangster movie. And, hey, if you count a show’s decade as the one in which it began airing, then you could call The Sopranos the best show of the 1990s. Even if not, Goodfellas influenced the best gangster show of the 2000s, so to spin that in a lawyerly way, look at that: its influence went well beyond the decade it was released during.
It’s about two and a half hours of Henry Hill guiding you through life in the mafia, albeit without ever being a full-fledged made guy. Goodfellas bounces around tonally, being funny, bleak, sad, and sometimes even quite disturbing, feeling coherent throughout regardless, and overall being a candidate for the crown of “best gangster movie ever.”
There’s a lot to be disturbed by in Fight Club, especially if you’re somehow able to enter into it without knowing what happens by the film’s end, but there’s also quite a bit here that’s genuinely entertaining and darkly funny. The best way to succinctly summarize the film is to say that it’s about a listless and lonely man who meets a far more charismatic individual, and then his life gets changed in ways that are first exciting, and later confronting.
Fight Club feels incredibly 1990s in style and tone, perhaps even more so than The Matrix, which came out the same year and could also be seen as an inadvertent culmination of the decade that had been. Plenty of the film still holds up and feels compelling nowadays, of course, yet there really doesn’t feel like any other point in history at which Fight Club (or at least this version of Fight Club) could’ve ever been made, besides the late ‘90s.
There are plenty of thrilling and/or scary films based on Stephen King stories, sure, but The Shawshank Redemption is arguably better than any of those, and outside of some dark moments, it’s really not in thriller or horror territory. Instead, it’s a drama set in prison, and a mostly character-focused one at that, being about two men with different outlooks on life – and their time behind bars – striking up a gradual but undeniably enduring friendship.
Put simply, The Shawshank Redemption is about as beloved and easy-to-like as movies get, so regardless of the decade it came out in, it’d probably be a good candidate for “best of” – or “most significant movie of” – that decade. If you can find someone who doesn’t like a single part of this movie, they might well be 1 in a billion (for better or worse).
September 23, 1994
142 minutes
Frank Darabont
Frank Darabont
Nicole “Snooki” Polizzi is entering a new chapter. As longtime fans continue wondering what comes next for the “Jersey Shore” franchise, the reality TV icon has officially announced her latest project alongside longtime best friend and co-host Joey Camasta. The duo is bringing their hit podcast, “It’s Happening with Snooki & Joey,” to The Volume, marking a major expansion for the show as the entertainment and sports media company continues growing its pop culture footprint. The revamped version of the podcast officially launches Wednesday, June 10, with Hard Rock Bet serving as presenting sponsor.

For Snooki and Joey, the move represents more than just a new platform. The pair said joining The Volume offers an opportunity to grow the show while staying true to the chaotic energy listeners have come to expect.
“We are pumped to be partnering with The Volume for a fresh new look to our show!” Snooki shared via a press release sent to The Blast. “We’ve had our podcast for years now with loyal, amazing listeners and have always wanted to give them the best show possible.”
The former “Jersey Shore” star also teased what fans can expect when the show relaunches. “We’re coming back with more chaos, messy moments and new content that we’re super excited to share!” she said.

Joey echoed Snooki’s excitement, hinting that longtime listeners should expect an even bigger version of the podcast they already love. “As we bring ‘It’s Happening with Snooki & Joey’ to The Volume, it feels like stepping into the future of podcasting, and they’re already leading the way,” he said.
Camasta added that despite the changes, the duo plans to keep the same chemistry that built their loyal audience. “It’s the same show at its core, just bigger, louder, and a little more unhinged, which should honestly concern everyone (but in a good way),” he added.
Known for their candid conversations, celebrity gossip, and unfiltered takes on friendship, relationships, and life in the spotlight, Snooki and Joey have built a devoted fanbase through the podcast’s couch-chat vibe.

The podcast expansion also arrives at an interesting time for Snooki as fans continue speculating about the future of MTV’s “Jersey Shore” universe. More than 15 years after the original reality series first turned Snooki, Mike “The Situation” Sorrentino, Pauly D, JWoww, Vinny Guadagnino, Ronnie Ortiz-Magro, Deena Cortese, Angelina Pivarnick, and Sammi “Sweetheart” Giancola into household names, questions continue to swirl about what comes next for the franchise.
While “Jersey Shore: Family Vacation” remains a fan favorite, cast members have increasingly expanded into outside ventures, with Snooki continuing to grow her personal brand through business, live appearances, and now a newly elevated podcast partnership.
For The Volume, Snooki and Joey’s arrival also signals a broader push into entertainment content beyond sports. “We’re all about giving dynamic personalities a real stage to connect with fans – and Nicole and Joey do that effortlessly,” Kelly Martin, The Volume’s Head of Talent, said. “They’re hilarious, honest, and their chemistry is undeniable.”

The podcast relaunch also comes just weeks after Snooki candidly opened up about one of the most frightening experiences of her life: her stage 1 cervical cancer diagnosis.
During a May appearance on Kristin Cavallari’s “Let’s Be Honest” podcast, the “Jersey Shore” star admitted she spiraled emotionally after learning the news. “Terrifying. Like, hi, am I dying? What is going on? I definitely had a breakdown,” Polizzi confessed.
The reality star admitted her mind immediately jumped to worst-case scenarios. “Like, ‘Oh, my God, what am I gonna do? Gotta get my will in place. What’s gonna happen?’ Planning my funeral. I was being so dramatic,” she said.
Snooki later explained that researching the diagnosis helped calm some of her fears, especially after learning stage 1 cervical cancer is highly treatable. Still, the diagnosis took an emotional toll on her family.

Polizzi, who shares Lorenzo, Giovanna, and Angelo with her husband, Jionni LaValle, revealed that her children struggled to understand what was happening.
“My little one was like ‘mommy, are you going to heaven?’” she recalled. “I’m like, ‘can we stop?’ I like, had a mental breakdown. I was like ‘Everything’s going to be fine, mommy just has to do her tests and stuff and her surgeries.’”
The reality star has since shared that she plans to undergo a hysterectomy this summer and remains “terrified” about the procedure, but said she chose to speak publicly after hearing from other women who shared similar experiences online.
Good special effects can obviously be like icing on an already good cake, but that cake has to be good. Otherwise, even the best special effects don’t really go far in making something worth watching for those effects alone. Good special effects can make a good movie even better, and then there are also some very good movies that don’t have great special effects, but those somewhat janky moments feel forgivable (like, maybe some instances of less-than-perfect de-aging effects… looking at you, that one slightly too physically demanding scene from The Irishman).
So, in the interest of showcasing how good special effects can’t really save a bad movie, here are some movies that miss the mark in most regards, but have special effects that were mostly impressive for their time (and maybe even to this day). Most of this will focus on movies with computer-generated imagery, but not exclusively; there are some films below that contain impressive practical or more old-school effects, too.
If you look over all The Matrix movies, the first one is obviously a classic, being an introduction to a fascinating world, a great concept, and some spectacular action. The second movie is a little shakier when it comes to pacing, and maybe the story isn’t quite as interesting, but it still looks great, and much of the action is as good – or possibly even slightly better – than the action found in the first. That’s probably a massive hot take… The Matrix (1999) still wins out as a sci-fi movie, but The Matrix Reloaded could be a hair better as an action movie.
Skipping ahead to the fourth, that one is definitely ambitious, for better or worse, and has some wild and fairly interesting ideas you kind of have to admire. And then the third movie… uh… it looks quite good. All the movies in The Matrix series look pretty great, and even if the fourth has some weirder special effects, it’s still going for something bold, and has moments of eye-catching imagery. The first three all look and feel pretty consistent. That third movie, The Matrix Revolutions, does disappoint a bit when it comes to both the narrative and the action, but at least it looks good and is generally more than sound on a technical level.
There is a movie about the attack on Pearl Harbor from 1970 called Tora! Tora! Tora!, and for the most part, it still holds up. It doesn’t have modern-day special effects, obviously, but the techniques used to recreate the attack are immense, to the point where it sometimes feels easy to forget you’re watching a movie. About 30 years later, there was a very different movie about the same attack, simply called Pearl Harbor, with it being less of a docudrama, more of a melodrama, and also a good deal longer (and Tora! Tora! Tora! itself wasn’t exactly short).
Tora! Tora! Tora! achieves more in a shorter runtime, with a Japanese and American perspective on the event given, and more effort that goes toward making it feel believable. Pearl Harbor might’ve got away with being broader and more romance-focused than you might’ve expected if that side of the movie had actually been good. There is a somewhat effective utilization of then-cutting-edge special effects for some of the bigger and more action-heavy sequences here, but that really is about all you get by way of genuinely good stuff.
The entirety of the Terrifier trilogy is the sort of thing that’s not going to be for everyone, since all three movies so far (it is threatening to be more than just a trilogy) are unapologetically brutal, and also pretty blunt with what they set out to do. It’s possible to see how people might be fans of the second and third Terrifier movies, because they have the sadistic violence and memorable villain of the first movie, but there is an attempt in both those films to have something of a story, some character development for the victims, and a bit by way of an overall mythology for certain things.
That first movie, though, is barely a movie. It’s hard to remember anything that happens beyond some of the exceedingly grisly violence. Yet the effects done to make Art the Clown’s sadistic tendencies come across as particularly brutal and bloody are impressive, and particularly so when you consider that Terrifier (2016) was far from expensive. Even by low-budget horror movie standards, it was low budget, if that makes sense.
The Golden Compass is sort of based on a very good book called Northern Lights, the U.S. name of which was The Golden Compass. Emphasis on “sort of based,” because The Golden Compass just stops short of actually having the interesting ending that the source material does, which sets up two even more ambitious sequels that end up rounding out the His Dark Materials trilogy.
Anyway, that ending – or lack thereof – is the biggest problem with the film adaptation of The Golden Compass, and it does also lack a certain magic and charm that the book has, quite effortlessly. Yet on a technical level, the special effects are strong for their time, and though the movie’s almost 20 years old, a fair bit of it holds up better than you might expect. It won Best Visual Effects at the Oscars, and then it was also nominated for Best Art Direction (with that side of things also contributing to the movie looking and feeling pretty great overall).
Batman v Superman: Dawn of Justice is saved from being an outright terrible superhero movie on account of it looking quite good, and also for having some engaging action scenes. The problem is, there are really only a couple of properly good action scenes, and they’re buried within a movie that’s quite long, at 2.5 hours, and yet it’s paced in a chaotic way that makes it feel even more drawn out.
Throughout the whole thing, at least you get special effects that are well-executed, and an overall level of technical competency you can expect from most Zack Snyder movies. The problem comes about when Batman v Superman: Dawn of Justice offers little else, and sort of doubles down on some of the problems already present in the flawed – but not as bad – Man of Steel. This was only sporadically entertaining as a movie about the titular showdown, and as a movie setting up the dawn of the Justice League, it really didn’t work very well at all.
Like Zack Snyder, Michael Bay doesn’t always make great movies (sometimes getting things right, though, also like Snyder), yet both directors are generally good at making their expensive movies actually look expensive. You saw it with Pearl Harbor, which was mentioned before and stuff… that was another Michael Bay movie. It’s not a high bar, and it’s not always enough to make the movie actually bearable, but it is technically better than nothing, and you do find it with Bay’s Transformers sequels, most of which aren’t very good (some might even argue the first is flawed, but it’s also easy to get nostalgic about parts of that one).
Of the sequels, Bay directed four, including the second film overall, Transformers: Revenge of the Fallen. It’s a technically impressive movie, in some ways, like the first, but it really falters when it comes to how it’s written, paced, edited, and acted. If you want to see impressively rendered robots transform, battle, and get blown up, that stuff does technically look more than technically sound, but you’re going to be digging pretty deep – and probably to no avail – if you want to find more than just that in a movie like Transformers: Revenge of the Fallen.
Of all the Paul Verhoeven movies, most are honestly quite good, some are pretty much great, and then a fair few are rather underrated, too. The worst of the bunch, though, would almost have to be Hollow Man, and that’s hopefully not much of a hot take. This takes on an invisible man premise, but with a good deal more outwardly shocking content than you’d see in those older movies about invisible people, with admittedly more impressive and up-to-date special effects here, too.
It got an Oscar nomination for Best Visual Effects, in fact, but it’s safe to assume that it wasn’t close to getting nominated in any other categories.
No, beyond that, the special effects were impressive for 2000. A lot of money went into making Hollow Man, and sure, some of that went to the cast (like Kevin Bacon, even if his character ends up being invisible a lot of the time), but it seems like a lot also went into the special effects, and that side of things paid off. It got an Oscar nomination for Best Visual Effects, in fact, but it’s safe to assume that it wasn’t close to getting nominated in any other categories, because outside the effects (for their time), Hollow Man just keeps on consistently missing the mark. You really are better off not seeing it.
Begrudgingly, it must be conceded that The Lion King (2019) does not look as garish as some other Disney remakes that have been in live-action, or have featured photo-realistic animation instead of the hand-drawn/2D variety. Some of those movies had a ton of money thrown at them with seemingly no gains from it, with Snow White (2025) being perhaps the worst offender, in that regard.
Don’t get it twisted: The Lion King (2019) still doesn’t look nearly as striking or timeless as The Lion King (1994), which is still one of the best-looking animated movies, and also one of the flat-out best animated movies quality-wise, too. The Lion King (2019) is lifeless and without the kind of color and expression needed for the emotional story at hand, but if there was an intent to have the computer animation here look pretty darn close to real life (well, real life if lions and other animals talked and sang and stuff), then mission accomplished. Yay?
Apple TV hit its sci-fi stride when Hugh Howey’s addictive series was adapted for the streamer. Starring Rebecca Ferguson, Silo is the masterful television version of his books Wool, Shift, and Dust. Dystopian and grim, the drama is set in a post-apocalyptic world where Earth has become so toxic that humanity has survived for generations in huge silos underground. No one remembers how the world ended, or if they can ever leave, and yet, the remains of society still find a way to subjugate its people as humanity is wont to do.
The world of a caste system and a murderous conspiracy fascinated viewers, as did the powerful performances from Ferguson. Seasons 1 and 2 largely followed the first book, but that will change with the imminent third season. In fact, Silo is taking a sharp turn away from the source material altogether. The hard sci-fi masterpiece appears to be rewriting its biggest story, according to the new trailer.
Silo is undoubtedly one of the most masterful series on television, but it isn’t immune to criticism. Season 2 slowed down the narrative quite a bit as it tackled the last few chapters of the book, Wool. Instead of devoting one book per season, the series got a little more creative with its storytelling. The thrilling sci-fi venture still follows the books, but takes its time getting there. Now it seems that Juliette’s path to leadership will be delayed once again, as the trailer reveals she gets amnesia after surviving the decontamination chamber.
The hot box full of flame seemed to have some effect on her mental faculties — or at least that’s what Silo 18 wants her to think. The governing body is likely manipulating her to stop her from releasing crucial information. This amnesia plotline is not present in Hugh Howey’s books, considering the second book, Shift, is a prequel. To its credit, Silo appears to be covering this story as well.
The trailer also features the time before, as the silos were constructed as a way to survive the end of the world. Juliette’s storyline is a way to keep the character in the narrative, but it isn’t the most original concept. Per the books, Juliette is meant to become the Mayor of the Silo and be a source of justice and truth for the inhabitants. Instead, her character arc is being stalled once again in favor of a more flashy storyline. This may impact the series negatively as all the momentum of her character arc will be lost.
Season 2 was already drawn out as it lacked the drive that the first season did. Halfway done with Silo’s life, this is the time to strike. While it was necessary to keep Rebecca Ferguson in the driver’s seat, there could have been a more dynamic way to do it, instead of mentally handcuffing her prominent character.
There has been more than enough evidence that supports the idea that once a television series deviates from the source material, it’s on shaky ground. Universally beloved hard sci-fi series, The Expanse, was largely faithful to the books, even if it did cut the show off three seasons too early. James S.A. Corey were heavily involved and kept the magic from the books intact. Both Game of Thrones and House of the Dragon have deviated from the books with controversial results. It is natural to want to include Rebecca Ferguson as the primary point of contact for Silo, but it may have refreshed the series to adhere to the narrative that followed past events.
Season 3 has a surge of surprise casting, including Jessica Henwick, Colin Hanks, and Jessica Brown Findlay as characters set in the past. While the footage from the trailer is brief, it is the most exciting thing about the upcoming season. These characters create silos with the idea that they can one day head to some utopian future, when clearly the opposite is going to happen. This is an engaging idea on its own and may have been just the thing to create even more anticipation once Juliette returned for the final installment.
The new lore surrounding Juliette’s amnesia may distract from the tried and true content that fans have prepared themselves for. This plotline is only delaying the inevitable, which should come to pass when Silo enters its final season down the line. Until then, viewers will just have to wait and see how that comes to fruition when Season 3 premieres on July 3.
May 5, 2023
Graham Yost
Andy Cohen spilled some major tea about the fan who cracked the case of the Summer House season 10 reunion leak.
The host, 58, unveiled the name of the Bravo-loving sleuth during the Tuesday, June 9, episode of Watch What Happens Live With Andy Cohen.
“There’s been a lot of speculation of who that Bravo superfan was, with a lot of people assuming it was Jennifer Lawrence. And I just want to say, Bravo superfans are the best. You rode with us on this, you knew that this was bad that it was leaked and you wanted to see it when we presented it,” Cohen began before revealing the behind-the-scenes hero. “Well, with the last episode of the reunion airing tonight, I wanted to personally thank that superfan. Folks, that super fan was indeed Jennifer Lawrence. Her online sleuthing helped our investigators solve this mystery! Bravo fans are the most loyal and dedicated. Jennifer Lawrence, Oscar winner, you are the top of the class!”
Days before the televised reveal, Cohen teased the identity of the fan while addressing speculation that Jennifer Lawrence solved the Summer House leak.
“I absolutely love this rumor,” Cohen said during a Friday, June 5, appearance at Newport Beach TV Fest. “I said over and over, ‘I’ll reveal the fan,’ and then I forgot. My cohost on the radio the other day said, ‘When are you gonna do that?’”
When pressed about whether Lawrence was the “detective” who put an end to the leak mystery, Cohen added, “It was a Bravo superfan.”
In April, audio from the Summer House season 10 reunion taping leaked online, sparking an official investigation by Bravo.
“This represents a serious breach of trust and a clear lack of respect for the cast, crew and the integrity of the production process,” a Bravo spokesperson told Us Weekly at the time. “We take this matter very seriously and have launched a full investigation and we will take appropriate action based on our findings.”
Cohen, for his part, slammed the leak after hosting the dramatic three-part reunion, which saw the cast confronting Amanda Batula and West Wilson over their shocking relationship.
“People laid their souls out emotionally for 10 hours yesterday and it’s disgusting and illegal for someone to leak or distribute this,” he wrote via Threads at the time. “It’s disrespectful to the work and tears the cast put in yesterday. Let the season play out. You will see it all in due time.”
Later that month, Bravo’s investigation ended after the source of the leak was discovered.
“An investigation into the recent leak of the Summer House reunion audio has concluded that the audio was an unauthorized recording and distributed by an individual involved in the production of the reunion,” a network spokesperson told Us in an April statement. “There is no evidence that any member of the cast was involved in the recording of the audio. We take these matters seriously and will continue to take appropriate measures to respond to the unauthorized distribution of our content.”
The statement concluded, “We are aware that there is additional improperly obtained audio circulating and we caution all parties and platforms to refrain from posting, sharing or amplifying any unauthorized audio.”
After the investigation, Cohen insisted that he never believed anyone in the Summer House cast was involved in the leak.
“There were these hot takes blaming the cast, which I knew immediately — I was like, ‘The cast did not leak this,’” he said during an April episode of SiriusXM’s Andy Cohen Live. “I was like, ‘This is stupid,’ and I love this cast and I just, I was like, ‘Oh, now people are blaming this cast.’ I will say, I felt so bad in the next 24 hours after that, that the cast was … feeling the need to come out and say, ‘I didn’t do it. I didn’t leak it.’”
The Summer House reunion concluded on Bravo earlier on Tuesday night, with the extended and uncensored version hitting Peacock Wednesday, June 10.
Ciara Miller questioned whether West Wilson was a “sociopath” during part three of the Summer House reunion — and she stands by the thought.
Taking to Threads just hours after the final part of the reunion aired on Tuesday, June 9, Ciara, 30, rebuffed West’s claim that taking a beta blocker prior to filming helped him “stay composed as much as possible” amid facing backlash over his romance with Amanda Batula. (Cleveland Clinic describes beta blockers as a class of medication “most commonly used for problems involving your heart and circulatory system.”)
“Just a medical note: beta blockers DON’T remove emotion,” Ciara, a registered nurse, wrote via the social media platform. “They work by blocking adrenaline from binding to beta receptors in your heart, blood vessels, and muscles (the receptors responsible for the physical symptoms of anxiety like increased heart rate, raised blood pressure, and trembling).”
Ciara, who dated West, 31, off and on before he and her former close friend Amanda, 34, embarked on a secret relationship in February, continued, “The emotional experience remains, but the physical stress response can’t fully activate. It’s like putting your fight or flight symptoms on DND [do not disturb] … enough with the beta blocker bulls***.”
West’s admission to administering beta blockers came after host Andy Cohen asked whether he was “on a bunch” of meds due to the blank expression he offered to emotional feedback directed his way during the reunion’s third instalment.
“Everybody’s so emotional around you, about you and their relationship with you and you’re like this [blank face]?” Cohen, 58, asked West, who then explained that he was conscious of maintaining composure.
“Or, you’re just a sociopath,” Ciara offered before West then claimed he took one beta blocker prior to filming. “That’s why I’m not sobbing. This matters to me. I apologize if I don’t read emotional enough,” West responded.

Ciara Miller Rodin Eckenroth/Getty Images
Fans on Threads were quick to show their support for Ciara, with one person commenting, “It’s actually hilarious that they thought that would work while in the presence of a nurse.” Another person added, “Can confirm. I’m a beta blocker girlie and can fully express my emotions.”
Part 3 of the Summer House reunion also saw West and Amanda address whether they’d found love with one another amid the scandal. When asked by Cohen whether their romance had turned that serious, West said before expressing his commitment to the relationship, “We are not using the word ‘love’ right now. It’s been two months, three months.”

West Wilson Cindy Ord/Getty Images for SiriusXM
Amanda, who announced her separation from ex-husband Kyle Cooke in January, agreed that it was too “early” to declare that they’d found love, but the pair were “having conversations about [how] serious our feelings [are] and where it’s going.” (Amanda and Kyle, 43, split after four years of marriage.)
After weeks of speculation at the time, Amanda and West announced via a joint Instagram statement on March 31 that they were indeed romantically involved.
Taylor Swift paid tribute to her country roots — and her favorite Toy Story character — while celebrating the film series’ fifth instalment.
Stepping out for the Los Angeles premiere of Toy Story 5 at the Dolby Theatre on Tuesday, June 9, Swift, 36, rocked a strapless Western-inspired patchwork Erdem corset gown on the red carpet.
Swift, who penned her original track “I Knew It, I Knew You” to be featured in the film, paired the fall/winter 2026 creation with a gold horseshoe necklace and gold peep-toe heels. The ensemble’s country theme nodded to Toy Story’s Jessie, who inspired Swift’s new song and also influenced her childhood dress-up days, as revealed by the singer via social media last week.
The romantic ensemble was accentuated with the singer’s signature red lip and cat eye makeup, as well as a half-up hairstyle that showed off her soft bangs.
According to InStyle, Swift leant on styling guidance from Joseph Cassell Falconer, who “has worked with her since her Speak Now era.” (Speak Now was Swift’s third studio album, originally released in October 2010 before it was re-recorded and released again in July 2023.)
The musician posed for photos on the red carpet with the stars of Toy Story 5, which will be released on Friday, June 19, including Tom Hanks, Tim Allen, Joan Cusack, Greta Lee and Conan O’Brien.
An X video, shared by Hollywood Reporter journalist Borys Kit, also captured Swift enjoying time within the theatre itself. Footage showed her speaking to a young child as podcaster Kelly Stafford watched on with her own children.
Additional social media footage shared by Variety showed Swift on stage in the venue, performing “I Knew It, I Knew You” for the first time in public. THR also posted a video that captured Swift joining fellow musician Randy Newman for a live rendition of his Toy Story track “You’ve Got a Friend in Me,” treating the audience to a costume change that saw her perform in a vivid yellow floor-length gown.
Swift took to Instagram on Friday, June 5, to mark her inclusion on the Toy Story 5 soundtrack. “Writing this song felt like a musical departure and coming home at the same time. Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a @toystory kid from the age of 5 til now … is an adventure I plan to be on, to infinity and beyond,” she wrote.
Rare childhood footage of Swift accompanied the post, showing her as a youngster stomping around a house dressed in a Jessie-inspired cowgirl outfit complete with a cowboy hat and boots.
Crediting her co-creator Jack Antonoff within the post, Swift continued, “We wrote this with so much adoration for these characters that made us laugh and helped us learn lessons and think outside the backyard all throughout our childhoods.”
By Chris Snellgrove
| Published

Star Trek has been entertaining sci-fi fans for 60 years through TV shows, movies, books, and comics. There’s only one entertainment sector where the franchise historically falters: video games. If we’re being honest, there have only ever been a handful of really good Star Trek games, and the best ones came out literally decades ago. Because of that, any Star Trek fans looking to lose themselves in a good video game would be forgiven for giving a Bones-like prognosis to the state of modern Trek titles: “it’s dead, Jim!”
However, all of that is changing. We already got Star Trek: Voyager—Across the Unknown, a game that puts us in command of Voyager as the crew tries to make it back home from the Delta Quadrant. Later this year, we’ll be getting a SimCity-style game (Star Trek: Outposts Unknown) as well as a digital, customizable card battler (Star Trek Warp). Next year, Star Trek: Shadow Frontier will put us in control of Ro Laren, with Michelle Forbes reprising her role from The Next Generation. So, what’s the deal with all these games? What are they about, and when can you play them? Keep scrolling to replicate answers to all these questions!

The first game to kick off the Star Trek video game renaissance is Star Trek: Voyager—Across the Unknown, and it takes the franchise where it has never gone before. You take control of Voyager after it is zapped into the Delta Quadrant, and like Captain Janeway, you must help everyone find their way back home to the Alpha Quadrant. Much of the game is spent managing finite resources and using your best judgment of which systems to prioritize. Speaking of judgment, you’ll have to make snap calls in several adventures (including recreations of iconic Voyager dilemmas, like whether to kill Tuvix) that can save the day or possibly get everyone killed.
The general consensus on Star Trek: Voyager—Across the Unknown (which is out now on console and PC) is that it’s good but not great. The most notable thing about it is arguably its sandbox nature and its emphasis on resource management. Historically, many Star Trek games have been shooters, real-time strategy games, and RPGs filled with bonkers puzzles. This was the first game to focus extensively on both resource management and narrative choices, making it arguably the best Starfleet captain simulation since the 2002 title Star Trek: Bridge Commander.

Surprisingly enough, we’re going to get two more Star Trek games this year. One of them is Star Trek: Outposts Unknown (which will be released for PC and console sometime this year). This game is designed like SimCity, but with a Trek twist. Basically, you are trying to build, maintain, and defend an outpost on a distant planet. That means exploring strange new worlds, gathering resources, and defending everyone from the planet’s most hostile creatures. While not exactly a cozy game, the Outposts Unknown demo (which is out on Steam) proved surprisingly relaxing, which may be good news for players who don’t like the intensity of games like StarCraft.
The other big Star Trek video game of 2026 is Star Trek Warp. This title is described as a “card battler” that lets players “choose characters from a huge roster of Star Trek legends, heroes, and villains, and deploy them at iconic locations like Ten-Forward and the Warp Core.” With seven virtual lanes to defend, this game is designed to keep you on your toes; the title also features both PvE and PvP modes. Overall, Warp sounds like the weird lovechild of League of Legends (what with the lane defense) and the old Star Trek Customizable Card Game. That might just help it appeal to both young fans and older fans.

The most exciting new Star Trek game won’t be coming out until next year. Star Trek: Shadow Frontier is a survival horror title where a Starfleet officer must survive on a mysterious planet. The twist? That officer is Ro Laren, who once left the Enterprise-D to join the Maquis before making her way back to Starfleet. Since her surprise appearance in Picard, fans have been wondering how she went from being a principled rebel to being a good, rule-abiding officer. Shadow Frontier may very well give us that explanation. If nothing else, it will give us something unique: a Silent Hill-type game set in the Star Trek universe.
So, what’s up with this sudden influx of Star Trek video games? The smart money is that Paramount is continuing to throw everything at the wall with this franchise to see what sticks. No Star Trek show is currently in development, and the only definitive thing on the horizon is a movie intended to give this universe its second huge reboot. Trek games (particularly those featuring characters like Ro Laren and Tuvok) are a way of appealing to older fans who like the IP and younger fans who just like gaming. By seeing what sells, Paramount can finally get to the bottom of a decades-old question: what the heck Star Trek fans actually want.
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Dark circles and puffiness can make you look exhausted even when you’re well-rested, which is why finding an eye cream that actually delivers is no small feat. One that’s developed a devoted following among skincare shoppers is the Eight Saints Skin Care All In Eye Cream. The lightweight formula is designed to tackle multiple concerns at once, helping to hydrate, brighten, smooth and depuff without feeling heavy or greasy.
One of the standout features of the cream is its ingredient lineup. It contains a blend of protein peptides, hyaluronic acid, niacinamide and caffeine, all of which work together to address common signs of fatigue and aging around the eyes. Hyaluronic acid, specifically, helps draw moisture to the skin for a plumper appearance, while caffeine can help reduce the look of puffiness. Niacinamide, meanwhile, can help brighten the appearance of dark circles over time and support a more even-looking skin tone.
Get the Eight Saints Skin Care All In Eye Cream for $36 (originally $44) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Unlike some rich eye creams that can feel heavy or look cakey underneath makeup, this one absorbs quickly into the skin, making it easy to incorporate into both morning and evening routines. It layers seamlessly underneath concealer and helps create a smoother canvas for makeup application. Plus, it has a non-greasy finish, which is perfect for those who want hydration without the risk of product pilling.
Beyond its moisturizing benefits, the eye cream helps the eyes appear brighter, more refreshed and less tired after consistent use. It can also help minimize the appearance of fine lines and wrinkles, leaving the skin looking noticeably smoother.
One Amazon shopper called it a “game-changing eye cream” that “completely transformed my under-eye area.” At the same time, another reviewer said it reduces “puffiness” and “dark circles,” and makes “fine lines less noticeable.”
If you’re looking to simplify your skincare routine with a multitasking eye treatment, Eight Saints Skin Care All In Eye Cream is definitely worth adding to your lineup!
Get the Eight Saints Skin Care All In Eye Cream for $36 (originally $44) at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
The Pitt is going through another major change — with a main character leaving the ER in season 3.
Shabana Azeez, who plays student doctor Victoria Javadi, told Bustle earlier this month that she will be returning to the hit HBO Max show in a different way, saying, “I’m not in the ER this season.”
Azeez broke down the reason for the shakeup.
“I’ve done my ER rotation, so I’m doing my psychiatry rotation,” she continued. “It’s a very different vibe for me. And I’m scared and nervous. But it’s an honor to be able to show that part of medicine.”
The season 3 update comes after The Pitt received backlash for Supriya Ganesh‘s exit. The actress made her mark on HBO Max’s The Pitt when she was introduced in the role of Samira Mohan.
Ganesh appeared in two seasons before news broke in March that she would be written out of the show after season 2. The decision wasn’t well recieved by fans who were still upset about Tracy Ifeachor‘s exit after season 1. Both departures were referred to as a creative choice.
“It’s sort of the nature of the show. Unfortunately, the way the medical profession works, you come in, you learn, you move on, and we want to try and be as truthful to that process as possible,” Gemmill explained to Us Weekly at the time. “So we’re going to turn over our cast. But I think it’s a great launching pad for people, and that’s the best we can do.”

Shabana Azeez Warrick Page / HBO MAX/ Courtesy Everett Collection
In a separate interview, Gemmill addressed the criticism surrounding multiple women of color leaving The Pitt.
“It eliminates the false jeopardy some shows have,” he told Vulture. “[Mohan] is somebody who doesn’t have a job lined up and might not know where she’s going next, and we’re trying to build up the uncertainty that these young physicians face.”
The interviewer pointed out to Gemmill that the show’s two major departures have both been women of color. In response, Gemmill called it “just a by-product of having a diverse cast,” adding, “We have a lot of women, and a lot of women of color. It’s just a coincidence more than anything else.”
Wyle, 54, also defended the casting shakeup.
“Emergency rooms have a high revolving door,” Wyle told Variety at PaleyFest’s screening of The Pitt earlier this month. “As always, we try to bring in new characters or promote from within as we go through these cast changes and try to keep the story lines fresh.”
Wyle didn’t rule out more departures before the show starts filming season 3, adding, “It’s an inevitability that’s going to happen every season with this show, because as writers we’re hard-pressed to figure out what a lapse of time we can have and keep most of the ensemble together realistically.”
He concluded: “Obviously Supriya has been a huge part of our show since the beginning. Dr. Mohan is a beloved character, and I love playing with her and working with Supriya, and we wish her all the best in her next endeavors, and we’re going to miss her.”
The Pitt has been renewed for season 3 on HBO Max.
Meghan Markle is celebrating the arrival of a new season with a rare look into her home life with Prince Harry and their children.
Markle, 44, took to Instagram on Tuesday, June 9, to post a carousel of candid photos snapped throughout the couple’s idyllic home in Montecito, California.
“Springing into summer 🌼,” the Duchess of Sussex captioned the post, which opened with a black-and-white snap of herself lying on the grass with a straw hat, concealing her face as she sprawled beside a bunch of fresh-cut blooms.
Another shot captured Harry, 41, kicking a super-sized soccer ball around the grass with the couple’s son, Archie, 7, while another image showed their daughter, Lilibet, 5, wearing a white T-shirt emblazoned with an illustration of Beyoncé. “B if for Beyoncé,” read a line of text above the drawing, which also depicted large hoop earrings that read “Queen Bey” from left to right.
A second black-and-white shot showed Markle and Harry from behind, seated on a bench seemingly amid a workout as Markle rested her sneaker-clad feet up next to her as she cuddled Harry, who wore a backwards cap.
Additional photos in the carousel showed the couple’s rescue beagle, Mamma Mia, sleeping under the sunshine just off the home’s porch, a bird’s nest filled with three white eggs and later with three baby birds, Markle rocking a double denim ensemble and slicing onions in the kitchen, and a basket haul of fresh vegetables and fruit seemingly harvested from the family’s garden.
Just five days prior, Markle celebrated Lilibet’s 5th birthday with a smaller Instagram carousel that showed both the youngster exploring a lush green garden and her being doted on by her beaming parents. “Our dream girl,” Markle captioned the post. “Happy 5th birthday, Lili.”
Markle and Harry tied the knot on May 19, 2018, at Windsor Castle’s St George’s Chapel in England. They celebrated their one-year wedding anniversary the same month that they welcomed Archie into the world. The following year, the pair announced their decision to step back as senior members of the royal family before relocating to the U.S. permanently.
News broke in August, 2020, that the couple had purchased a $14.65 million home in Montecito. A source told Us Weekly at the time, “Montecito is only just over an hour’s drive from L.A., which is where a majority of their work is based, yet far enough away to escape the crowds, paparazzi and tourism in Hollywood.”
Lilibet arrived in June 2021. The pair shared via a statement posted to their philanthropy website at the time, “On June 4th, we were blessed with the arrival of our daughter, Lili. She is more than we could have ever imagined, and we remain grateful for the love and prayers we’ve felt from across the globe. Thank you for your continued kindness and support during this very special time for our family.”
The couple added that their daughter’s first name was chosen to honor her late great-grandmother, Queen Elizabeth II, who died at the age of 96 in September 2022. She had held the family nickname, Lilibet, herself.
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