By Chris Snellgrove
| Published 4 seconds ago

While I mostly lurk these days, I’m still hanging around on X, formerly known as Twitter. Admittedly, the place has become a real hellscape, with a feed constantly serving up ragebait and idiots constantly asking Grok to do their thinking for them. Speaking of idiots, X is filled with people who pay for blue checks, and as you might imagine, the people who pay extra to force their comments to the top almost never have anything interesting to say. Why am I still there, then? Because every single day, there’s some insanely brilliant bit of sh*tposting that makes me utter the motto every Twitter veteran: “I’m never leaving this site.” 

For example, even though the last House episode aired nearly a decade and a half ago, new fans are constantly discovering the show. New haters, too, as evidenced by one user (@jan_murray) starting Season 1 and griping about the show’s repetitive episode formula. Normally, this would be no big deal; people posting bad media takes on X is hardly anything new. What made her critique noteworthy, though, is that House star Hugh Laurie actually provided a response so wonderfully sarcastic and withering that it’s like he brought his famous TV doctor back for one last rodeo. A Golden Globe-winning actor dunking on a random fan out of nowhere? Man, I’m never leaving this site!

The New Main Character Is Here

All of this began with X user Janet Murray’s capsule review of House. Admitting that she was “late to the party,” she described starting Season 1 and getting annoyed with its repetitive story structure. “Patient has mysterious illness. Hugh Laurie (House) gets diagnosis wrong. Patient nearly dies.” She goes on to describe how the titular characters will get the diagnosis wrong again and nearly get fired, with the patient almost dying again. Finally, “Hugh Laurie has last minute leftfield idea. Gets diagnosis right. Doesn’t get fired.” She ends her critique with a rhetorical question: “Eight seasons of this?” 

As expected, many House superfans began mocking her criticisms. But that was nothing compared to Hugh Laurie, House himself, coming into the comment section like a wrecking ball. He immediately began with his character’s signature snark, criticizing her use of brackets in the original post. The actor then sarcastically noted that the crew tried a couple of episodes where “House gets it right the first time, but they were only 6 minutes long. NBC weren’t happy.“ He then joked that they tried episodes “where House never gets it right and the patient dies. The audience wasn’t happy.”

Making A House Call

Honestly, this was already brutal enough, but Laurie wasn’t done. Continuing, he wrote, “One could apply your trenchant analysis to other art forms: JS Bach wrote 30 Goldberg variations on the same chord structure; Frida Kahlo painted 50 portraits of herself…The point is, or was, variations on a theme; if all you see is hospital, medical blah blah, then it wasn’t meant for you.” As if he could hear the House fandom crying for him to finish her, Laurie added an absolutely devastating final sentence: “Nonetheless, I look forward to your first novel!”

Aside from the relative novelty of a famous actor talking sh*t to a sh*t poster, what makes Hugh Laurie’s response so great is that it might as well have been written by House. From the initial mocking of her communication to dragging her for not understanding media, the whole thing feels like a (slightly) more polite version of the TV doctor’s famous onscreen takedowns. Plus, Laurie’s final dig, essentially pointing out that this is creative criticism from someone who hasn’t created much, feels like the kind of thing House might throw out, mid-argument, before dramatically walking away.

The Diagnosis Is Correct

Beyond the sarcasm, Laurie offers some pretty spot-on media analysis. Most great new stories are, in fact, variations on stories we have seen before. Joseph Campbell pointed this out in his groundbreaking 1949 book Hero with a Thousand Faces. According to him, most great myths (ranging from The Odyssey to the Bible) tell the same essential story using different variations of the same tropes. He called this the “monomyth,” and his theories influenced George Lucas. This is why the first Star Wars, despite being sci-fi, has so many King Arthur callbacks: a magical mentor, an enchanted sword,  and a hero of destiny who has to rescue a damsel in distress from a terrifying castle.

While many fans and even a few of the show’s actors have been hoping for a House revival, nothing has been announced. Realistically, we may never get another TV series that brings back Hugh Laurie’s famously cantankerous physician. However, this hilarious kerfluffle over on X is a reminder that fans can effectively summon House back for more wit and wisdom whenever they want. All they have to do is say something really, really stupid where Hugh Laurie can see it, and then brace themselves for the most hilarious clapbacks in celebrity history!

Fantasy TV is often dominated by the biggest and flashiest names in the genre. Shows like Game of Thrones and The Lord of the Rings: The Rings of Power dominate most of the conversation, and for good reason. However, the catch is that while everyone is busy binge-watching the greats, a bunch of other brilliant fantasy shows get left behind.

Some of these shows premiered before the audiences started appreciating fantasy TV, and some lacked the marketing power of bigger franchises. Despite that, many of these overlooked series delivered the same sense of wonder and imagination that viewers appreciate in the more popular titles. For anyone looking to venture beyond the mainstream, here are the forgotten fantasy shows that are perfect from start to finish.

‘The 10th Kingdom’ (2000)

Image via NBC

The 10th Kingdom is a true blue fantasy adventure for the whole family. The miniseries focuses on what happens after the happily ever after, and in doing so, it delivers a clever, funny, and surprisingly ambitious story that feels like a love letter to the genre. The narrative follows young New Yorker Virginia Lewis (Kimberly Williams), whose ordinary life is turned upside down when a magical mirror transports her and her father, Tony Lewis (John Larroquette), into a realm made up of the Nine Kingdoms. There, familiar fairy tales have continued long after their original endings, and descendants of legendary characters now rule kingdoms of their own.

Now, when Snow White’s grandson, Prince Wendell (Daniel Lapaine), is transformed into a dog by the Evil Queen (Dianne Wiest), Virginia finds herself entangled in a quest that could determine the fate of the entire realm. The 10th Kingdom is genuinely one of the most creative fantasy shows of the 2000s. The series constantly finds inventive ways to reinterpret fairy-tale mythology and weaves together characters, locations, and lore from classic stories into a world that feels both familiar and yet completely original. This is what gives The 10th Kingdom a charm that holds up even today. This show is the definition of a forgotten gem that deserves to be rediscovered.

‘Neverwhere’ (1996)

Image via BBC

Neverwhere, created by Neil Gaiman, is a six-part BBC miniseries that takes a simple premise and transforms it into one of the most imaginative fantasy worlds ever put on television. The story follows Richard Mayhew (Gary Bakewell), an ordinary London businessman whose life changes forever after he helps an injured young woman named Door (Laura Fraser). That single act of kindness traps Richard in London Below, a hidden realm that exists alongside modern-day London.

As Richard searches for a way home, he joins Door on a dangerous adventure while being pursued by the sinister assassins Mr. Croup (Hywel Bennett) and Mr. Vandemar (Clive Russell). Neverwhere really shines in its worldbuilding because of how the show takes familiar London landmarks and transforms them into fantastical locations. It’s easy to tell that the show was made on a modest budget, but what it lacks in technicality, it more than makes up for with its compelling storytelling.

‘Pushing Daisies’ (2007–2009)

The premise of Pushing Daisies sounds absurd on paper, but the show is whimsical and quirky in all the right ways. The series follows pie-maker Ned (Lee Pace), who has the extraordinary gift of bringing the dead back to life with a single touch. Of course, that ability comes with strict rules, and if Ned touches someone a second time, they die forever. If he leaves a revived person alive for more than a minute, someone else nearby must die in their place. Chaos ensues when the protagonist starts helping private investigator Emerson Cod (Chi McBride) solve a murder and ends up resurrecting his childhood sweetheart, Charlotte “Chuck” Charles (Anna Friel), whom he does not want to lose again.

Aside from this hooking premise, Pushing Daisies feels like a storybook come to life with its colorful, elaborate sets and playful dialogue. Ned and Chuck’s love story is the most heartwarming part of the show. The two are hopelessly in love, yet can never physically touch each other without catastrophic consequences. Most would treat that limitation as a gimmick, but Pushing Daisies turns it into the emotional heart of the series. The fantasy comedy revolves around the idea of death itself, but never feels cynical. Even years after its cancellation, audiences still celebrate it as a one-of-a-kind TV masterpiece that ended way too soon.

‘His Dark Materials’ (2019–2022)

Image via HBO

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His Dark Materials, based on Philip Pullman‘s acclaimed novels, begins with the story of Lyra Belacqua (Dafne Keen), a seemingly ordinary orphan living at Jordan College in an alternate version of Oxford, where every human soul exists outside the body as an animal companion called a daemon. Things take a turn when Lyra’s best friend mysteriously disappears, and she sets out on a journey to find her. Along the way, she crosses paths with armored polar bears, witches, scholars, angels, and Will Parry (Amir Wilson), a boy from another world whose destiny becomes linked to her own.

His Dark Materials is one of those rare shows that grow with the audience. Season 1 has all the makings of a classic fantasy, but as the story progresses, the show makes way for its more philosophical themes to coexist with its elements of adventure and wonder. The series stays true to Pullman’s immersive world-building and, across three seasons, tells a complete story with a powerful emotional payoff.

‘The Almighty Johnsons’ (2011–2013)

Image via TV3

The premise of The Almighty Johnsons could have easily taken a ridiculous turn, but the New Zealand series remains surprisingly grounded till the very end. The show follows Axl Johnson (Emmett Skilton), an ordinary student who discovers he is actually the reincarnation of Odin on his 21st birthday. Not just that, but all his family members are reincarnated Norse gods, whose divine abilities are weakened. It’s up to Axl to find the reincarnation of Frigg (Siobhan Marshall), Odin’s destined wife, to restore his family’s full powers.

The reason why The Almighty Johnsons is so entertaining is that the show runs wild with this setup. It treats mythology less like a spectacle and more like a series of relatable family problems in modern Auckland. This approach gives The Almighty Johnsons a personality that is unlike the standard, flashier fantasy shows. The series builds its fantasy through sharp writing and the idea that ancient gods might be just as confused and emotionally complicated as everyone else.

‘Carnivàle’ (2003–2005)

Image via HBO

HBO’s Carnivàle is one of the most underrated fantasy shows of all time. The series is set during the Dust Bowl years of the Great Depression and follows Ben Hawkins (Nick Stahl), a young farm boy with mysterious healing abilities who joins a traveling carnival after his mother dies. As Ben travels across the American Southwest with the carnival’s collection of performers, fortune-tellers, and outcasts, he becomes haunted by strange visions that seem connected to a drifter named Henry Scudder (John Savage). Simultaneously, in California, charismatic preacher Brother Justin Crowe (Clancy Brown) begins discovering supernatural powers of his own, completely unaware that his path and Ben’s are leading toward an inevitable confrontation.

Carnivàle blends intimate character drama with a grand battle between good and evil. The show’s mythology is extremely ambitious. It draws from religion, folklore, tarot symbolism, prophecy, and even American history, but never loses sight of the character arcs that drive the narrative. Carnivàle also remains one of the most visually stunning fantasy shows ever produced, accurately portraying the era in which it is set. However, the show’s greatest strength is how confidently it embraces mystery. It trusts the audience to piece together clues and symbolism, which makes for the kind of active viewing experience that the fantasy genre calls for.

‘The Magicians’ (2015–2020)

Image via SYFY

The Magicians is a treat for anyone who loves Harry Potter but wants a story that feels more grown-up. The series, based on Lev Grossman‘s novels, begins with Quentin Coldwater (Jason Ralph), who discovers that magic is real when he is unexpectedly accepted into Brakebills University, a secret institution that trains magicians. Things quickly become far more complicated as Quentin and his fellow students learn that magic is dangerous, unpredictable, and often comes with devastating consequences. The real twist comes when they discover that Fillory, the magical fantasy world from Quentin’s favorite childhood books, isn’t fiction at all.

Not only is it real, but it’s also far more dangerous than anyone imagined. Now, Quentin definitely serves as the entry point to the story, but The Magicians quickly evolves into a true ensemble show. It follows characters including Julia Wicker (Stella Maeve), Eliot Waugh (Hale Appleman), Margo Hanson (Summer Bishil), and more as they grow, fail, lose friendships, and deal with personal struggles along with the magical threats they face. The series isn’t afraid to tackle dark themes like depression and addiction, but even then, it never loses its sense of wonder. Obviously, the cast’s brilliant performances allow such tonal shifts to work without ever feeling disjointed. The Magicians kept reinventing over its five seasons, and is easily one of the distinctive fantasy shows of the last decade.

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The Magicians

Release Date

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2015 – 2020-00-00

Directors

Chris Fisher, James L. Conway, Joshua Butler, John Scott, Carol Banker, Scott Smith, Guy Norman Bee, Rebecca Johnson, Salli Richardson-Whitfield, Meera Menon, amanda tapping, Bill Eagles, Jan Eliasberg, Kate Woods, Shannon Kohli

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• 
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  Olivia Taylor Dudley

  Alice Quinn

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Real Housewives of Miami star Lenny Hochstein is addressing the sexual assault allegations being made against him in a new lawsuit.

“I’ve never drugged or raped anyone in my life.” Hochstein, 59, claimed to Us Weekly on Monday, June 8. “I know who this girl is. She is a girl I met over a year ago and I have a video of her leaving my house the next morning smiling and dancing.”

Hochstein admitted that he and the woman did participate in sexual activity but he vehemently denied that it was rape.

“I absolutely did not drug anyone,” he told Us. “I did not rape anyone and would never do that in my life.”

Related: Everything to Know About Lisa Hochstein’s Messy Divorce From Lenny Hochstein

The Real Housewives of Miami star Lisa Hochstein and ex-husband Lenny Hochstein announced their split in May 2022 — but going public was only the beginning of their messy divorce proceedings. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email Please enter a valid email. Subscribe By signing up, I agree to […]

Hochstein alleged there are witnesses who can advocate on his behalf. He also questioned the alleged victim for not reaching out to the authorities.

“If you feel like you were raped, why would you not go to the police?” he continued. “No one from the police has reached out to me.”

Earlier on Monday, news broke that a woman anonymously filed a lawsuit in civil court against Hochstein for sexual battery and intentional infliction of emotional distress. According to court documents obtained by Us, the woman, who has been referred to as Jane Doe, accused Hochstein of drugging and raping her after she was invited to a party at his house on Star Island in Miami.

She’s asking the court for more than $50,000, including attorneys fees and costs.

Doe claimed that she was visiting Miami from London in May 2025. While out at the Sopra Club, Doe met another man, who she refers to in court docs as a “decoy,” invited her to the Star Island home for an alleged party. She claimed that when she arrived at the property there wasn’t a party.

After meeting Hochstein, Doe accused him of repeatedly hitting on her and she rejected his advances.

He allegedly “offered to give her a tour of the Star Island” home that ended in his bedroom at around 3 a.m. when he allegedly “kissed” her and she “immediately told him that things would not go any further and that she would not be having sex with him.” She allegedly “repeated the refusal multiple times throughout the night.”

She also claimed he gave her a sleeping pill and she took it because he is a doctor. (Hochstein is a well-known plastic surgeon.)

Doe claimed that after she took the pill, he “began making increasingly aggressive and continuous sexual advances.”

She further claimed that he “attempted to remove her underwear with his hand” which she refused, and she allegedly told him that “she would not be having sex with him.”

Doe claimed that she blacked out shortly after taking the pill and woke up the next morning “extremely hazy” when he “attempted to have sex with her.”

At that point, she “realized that her underwear had been removed from her body at some point during her period of unconsciousness,” per the docs.

Doe claimed that he told her that “she should have sex with him because the two of them had already had sex the night before.”

She alleged that she was “incapable of giving and did not give valid consent to any sexual contact.”

Related: Lisa Hochstein Surrenders, Takes Mugshot After Allegedly Spying on Ex Lenny

UPDATE — 4/15/26, 11:42 a.m. ET: The Real Housewives of Miami star Lisa Hochstein has turned herself in to authorities. Hochstein’s attorney, Jayne Weintraub, confirmed to TMZ on Wednesday, April 15, that the surrender was voluntary and her client “has nothing to hide” as the legal process plays out. Hochstein posed for a mugshot before […]

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Doe claimed in a text message exchange between them following the incident, Hochstein told her that he had “given her melatonin.”

However, Doe claimed in the docs that it was Ambien because she remembered what it looked like and researched it online.

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TMZ was first to report the news of the lawsuit filing.

Lenny rose to fame for appearing on Real Housewives of Miami alongside ex-wife Lisa Hochstein. Lisa made her debut during season 2 which aired in 2012. She has remained on the cast since. On the Bravo series, Lenny and Lisa endured multiple issues including their fertility struggles and a tumultuous divorce. The exes split in 2022 and finalized their divorce two years later.

If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673).

The ‘80s were a great decade for cinema, and not just a popular one. Although it can sometimes be conflated that it was the decade that brought the end to the “New Hollywood” era because it saw a rise in studios trying to make blockbuster franchises, it’s impressive to see how many legendary directors began their careers over this ten year span.

The ‘80s are seemingly more popular than ever thanks to the wave of nostalgia that has a grasp over all of the media, but not all of the best films of the decade were recognized as such at the time that they were released. In fact, many of these films didn’t get the recognition that they deserved until they became more popular on home media, or in recent years when they became more accessible on different streaming services.

10

‘Bird’ (1988)

Image via Warner Bros.

Bird was a very different film for Clint Eastwood, who at the time was best known for his work on Westerns, action, and war films. Bird is a musical biopic of the legendary jazz player Charlie Parker, who is played by Forest Whitaker in one of the greatest performances of his career; it’s not a traditional “based on a true story” type of film, as Eastwood opts for a more impressionistic approach that approaches Parker’s career in a creative way, often feeling like a jazz song.

Bird stands out as being a truly original and accessible music biopic, which is notable today because of how cliched the genre has become due to films that seek only to appease existing fans of established artists. Eastwood has made many great films, but Bird should be recognized as one of his most underrated.

9

‘Sea of Love’ (1989)

Image via Universal Pictures

Sea of Love was a significant film at the time of its release because it marked the major return of Al Pacino, who had essentially taken almost the entire decade off after a few notable bombs. Although Pacino had reached a point in his career where he was beginning to chew the scenery and give more over-the-top performances, Sea of Love was a grounded crime drama that anticipated the wave of serial killer thrillers that would become more prominent within the ‘90s.

Pacino gives one of his better performances in Sea of Love, but the film is actually stolen by Ellen Barkin, who managed to hold her own against an acting legend. When looking back at Sea of Love, it truly feels like “the type of film they don’t make anymore” because this type of grounded crime story would most likely be turned into a television show in 2026.

8

‘Casualties of War’ (1989)

Image via Columbia Pictures

Casualties of War was a very divisive film from Brian De Palma, who tackled the Vietnam War in a way that truly scandalized audiences. Although there had been films like Apocalypse Now and Platoon that reflected the theme of “war is hell,” Casualties of War presented a scenario in which the American soldiers were unambiguously the villains, as they abused their authority to create terror among the civilians who had their country torn apart by conflict.

Casualties of War presented a far grittier role for Michael J. Fox than he had ever had before, and became even more notable because it was released the same year as Back to the Future: Part II. It also featured a truly terrifying performance from Sean Penn, who was already proving himself to be unparalleled in terms of committing to intense roles that required him to get deep into character.

7

‘Talk Radio’ (1988)

Image via Universal Pictures

Talk Radio is one of the most underrated films by Oliver Stone, and tends to get overlooked in his filmography because it was released in-between Wall Street and Born on the Fourth of July, two massive hits that ended up winning Oscars. Talk Radio starred Eric Bognosian in a true story about a radio host who was known for making transgressive, controversial broadcasts, and was eventually killed in a horrific hate crime.

Talk Radio was ahead of its time in looking at the discourse within the media and how easily it became toxic, as the film holds up even better when considering everything that has occurred within the Internet era. It was also a major role for Bogosian, who adapted his own play as the film’s screenplay, and proved to be a great collaborator to Stone when he was in his best decade.

6

‘Patty Hearst’ (1988)

Image via Atlantic Releasing

Patty Hearst is one of the most underrated films written by Paul Schrader, who has never shied away from tackling material that is bound to ruffle some feathers. The film is based on the true story of a wealthy woman who was kidnapped by a radical anti-authoritarian movement and brainwashed into joining their organization. Although the film may have been too disturbing and avant garde to ever become a major critical darling, Natasha Richardson gives an incredible performance in the titular role, and deserved to receive an Academy Award nomination for Best Actress.

Patty Hearst confronts its audience with a bleak story and does not direct the viewer to feel a certain way. Given how modern cinema tends to beg its audience to understand a message without giving them any room to figure it out for themselves, it’s refreshing to see a film that is comfortable in its ambiguity.

5

‘Tin Men’ (1987)

Tin Men was a fairly successful film at the time of its release, but tends to be forgotten today. It was directed by Barry Levinson just a year before he would win the Academy Award for Best Director for Rain Man, and starred Danny DeVito and Richard Dreyfuss as two businessmen who have a dangerous feud after they get into a car crash in which they blame each other.

Tin Men is fairly dark for a mainstream comedy, and is willing to paint both of its leads in a fairly negative light. Younger viewers may not be aware that, long before It’s Always Sunny in Philadelphia, DeVito was a dynamic leading man who could breathe life into oddball characters. Dreyfuss tends to be a much more divisive actor, but he’s rarely been better cast than he was in Tin Men.

4

‘Salvador’ (1986)

Image via MGM

Salvador is another great film from Stone that tends to get overlooked because it was released the same year as Platoon, the masterpiece that won him Best Picture and Best Director. The film is centered around the same period in history and is part of the spiritual “Vietnam trilogy” that Stone made alongside Platoon and Born On the Fourth of July.

Salvador is a great journalism drama that effectively conveys the perspective of a reporter who feels helpless to improve a situation he cares deeply about, despite doing his best to remain objective. Stone rarely fails to get tremendous performances out of his actors, but he made a particularly brilliant choice casting James Woods in Salvador. Woods tends to be a character actor who plays peculiar side characters, so seeing him in a darker lead role earned him a very well-deserved Academy Award nomination.

3

‘Code of Silence’ (1985)

Image via Orion Pictures

Code of Silence was originally written to be a Dirty Harry sequel, but was repurposed into an original action thriller directed by Andrew Davis, the underrated filmmaker behind The Fugitive and Under Siege. The film stars Chuck Norris in his best performance ever as the one noble cop on a corrupt police force.

Code of Silence is one of the most underrated Chicago-set films, as it uses the city’s locations to create a real sense of time and place. Davis has always had a talent for making high-wire thrillers that deal with more intimate themes, and Code of Silence explores the difference between honor and loyalty in profound ways that were unexpected for what looked like a B-movie. Norris is obviously best known for being a renowned martial artist and action star, but Code of Silence proved that he could give a real, sensitive performance in a legitimate crime film.

2

‘Lost in America’ (1985)

Image via Warner Bros.

Lost in America is one of the greatest films by Albert Brooks, a legendary writer, director, actor, and comedian who has had a significant influence on many of the funniest people working today. Brooks is great at taking realistic situations and escalating them to the point of excruciating awkwardness, and Lost in America is a hilarious satire of the “American dream” that doubles as a great road trip film.

Lost in America was released at the right time in the midst of the Reagan-era, and stands up well as a satire of class, privilege, and the illusion of autonomy. Brooks is always great at casting himself to be nebbish characters who bite off more than they can chew, and Lost in America was a great example of how he could present himself as being slightly obnoxious, yet still very charming.

1

‘1984’ (1984)

Image via 20th Century Fox

1984 was one of the all-time best years for films, so it shouldn’t be all that surprising that it also saw the debut of an adaptation of the most legendary novel by George Orwell. Although there have been many films that speak to Orwellian themes or acknowledge some of the ideas that were critical to his work, 1984 is one of the rare examples of a straight adaptation of his text.

1984 is just as bleak as the material called for, which may be why it wasn’t necessarily a successful film at the time of its release. While many of the lines from the novel are faithfully executed, the film also works to make the characters more engaging, and includes a stunning performance by John Hurt at his most devastating. It’s very easy to miss the point with Orwell; just look at what happened with Animal Farm.

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1984

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Release Date

March 22, 1985

Runtime

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113 Minutes

Director

Michael Radford

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Writers

Michael Radford, George Orwell

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For years, critics of Meghan Markle have pushed the theory that the Duchess of Sussex never intended to fully embrace royal life and instead influenced Prince Harry to step away from the monarchy. But a new royal book is pushing back on that narrative.

In “Divide & Rule,” author Catherine Mayer challenges claims that Meghan entered the Royal Family with a secret agenda, disputing suggestions that she convinced Harry she would settle into royal duties only to later pull him away from his family. Instead, Mayer argues the reality behind Prince Harry and Meghan Markle’s departure was far more complicated.

According to Mayer, one popular theory, promoted by critics including Meghan’s biographer, Tom Bower, and royal photographer, Arthur Edwards, suggests Meghan always intended to separate Harry from royal life.

The narrative alleges Meghan led Harry to believe she would accept the role of a working royal while privately planning a very different future. But Mayer says her own reporting uncovered a different story. “My own research, which has included conversations with deeply informed sources, produced a different picture,” Mayer writes.

Rather than manipulation, Mayer describes “two people, naively optimistic that they could develop their own interpretations of the royal job, thrown off balance as they hit resistance and swiftly developing a siege mentality.”

Prince Harry And Meghan Markle Reportedly Wanted To Reimagine Royal Life

According to the book, Harry and Meghan initially had no intention of abandoning royal service altogether. Instead, Mayer suggests the couple hoped to carve out a more modern version of royal work while maintaining their support for Queen Elizabeth II. At one point, the Sussexes reportedly envisioned living abroad while continuing to serve the Crown “still doing work for the Queen, but beyond the reach of the press.”

Mayer also argues that Meghan appeared to thrive in many aspects of royal life despite criticism from palace insiders. “Her in-laws might recoil from her hugs, but strangers on the street leaned into them,” the author writes, suggesting Meghan naturally connected with the public.

Meghan Markle Was Reportedly Viewed As ‘Too Political’

The book also addresses criticism that Meghan was viewed by some within royal circles as overly political. However, a well-informed source cited by Mayer suggested Meghan never viewed herself as rebellious.

Instead, the source claimed Meghan’s public support of the #MeToo movement in 2018 stemmed from the belief that ending sexual harassment was a mainstream goal rather than a political statement. Still, tensions reportedly escalated as Harry and Meghan encountered resistance from palace officials while attempting to shape a new role for themselves inside the institution.

Mayer writes that, unlike couples who balance one another out in moments of conflict, Harry and Meghan often reacted similarly under pressure. “Where some couples moderate each other’s responses, the one more inclined to conciliation, the other to confrontation, Harry and Meghan share similar reflexes,” the author writes.

Why ‘Megxit’ Eventually Became Unavoidable

According to Mayer, palace officials increasingly viewed Harry and Meghan as unpredictable during a pivotal period for the monarchy. With Queen Elizabeth II aging and future transitions to King Charles III and Prince William looming, palace priorities reportedly shifted toward stability. In that environment, Mayer claims that some insiders began to see the Sussexes less as an opportunity for modernization and more as a potential risk.

The book claims concerns grew that Meghan “would not have respected boundaries” and that Harry and Meghan risked becoming “more Andrew-and-Sarah than Anne-and-Timothy.” As tensions mounted, Mayer argues the institution focused less on helping Harry and Meghan expand their role and more on containing them.

For the author, “Megxit” was not the result of a master plan, but the breakdown of a relationship between two people who believed they could reshape royal life and an institution unwilling to bend with them.

Meghan Markle Is Compared To Princess Diana

Elsewhere in “Divide & Rule,” Mayer also draws striking comparisons between Meghan and the late Princess Diana, arguing Prince Harry’s fears about history repeating itself may have shaped many of the couple’s decisions.

According to the author, Harry became increasingly protective of Meghan as media scrutiny intensified, believing his wife faced many of the same pressures his mother endured during her years inside the monarchy.

Mayer writes that Harry sought to protect Meghan “in a way he could not protect his mother,” while also suggesting Meghan’s growing public backlash mirrored the criticism Diana once faced before eventually becoming one of the most beloved figures in royal history.

By Chris Snellgrove
| Updated 28 seconds ago

The ‘90s were a heady time for movie lovers. We got new sci-fi masterpieces like The Matrix, brilliant genre deconstructions like Pulp Fiction, crowd-pleasing blockbusters like Independence Day, and so much more. But we also got something very unexpected: the renaissance of raunchy films. Movies obsessed with sex and vulgar punchlines were a staple of the ’80s, but they had started to die out by the beginning of the next decade. The late ‘90s brought back the raunchy sex comedy genre with American Pie, kicking off a decade-long revival that finally died out when movie studios got nervous about making R-rated comedies.

Of course, nothing happens in a vacuum. Have you ever wondered why American Pie was such a breakout hit? It’s largely because of another movie that came out just one year earlier: There’s Something About Mary (1998). This is the movie that took dirty sex comedies to the next level with some of the grossest gags ever put on film. Before this, it would have been unthinkable for a mainstream movie to include a joke about a woman accidentally using semen to style her hair. Fortunately, the Farrelly Brothers taught us just how funny sex could be, and you can now stream their raunchy magnum opus on Netflix.

Raunchy And Romantic

The premise of There’s Something About Mary is that a magazine writer (Ben Stiller) is still pining over the high school crush he never got to date. He hires a private investigator (Matt Dillon) to track her down, but the plucky PI ends up falling head over heels for this stunning woman (Cameron Diaz).  Soon enough, the writer and the detective are both vying for her affection, which leads to one madcap romantic mishap after another. Arguably, these mishaps are the best part of the movie, allowing the filmmakers to examine modern anxieties about sex and dating through the lens of vulgar, slapstick comedy.

Surprisingly, the movie has a wholesome core and crunchy themes about finding true love. Don’t get me wrong, every scene has at least one raunchy gag that you’d hate to watch with your parents in the room, so this isn’t an overly sentimental story. But it’s also not overly nihilistic, and it presents the main character’s search for love as a Quixotic quest for self-fulfillment. That makes his struggles relatable, and the characters’ romantic struggles are arguably more relatable than ever before. You might not notice, though, because you’re too busy laughing at some of the grossest gags of the entire decade!

The Grossest Gags Of the ‘90s

There’s Something About Mary was clearly inspired by raunchy films from earlier decades, including classics like Animal House and Porky’s. However, those movies were typically content to simply flash some nudity, make a few vulgar quips, and call it a day. By comparison, There’s Something About Mary took gross-out gags to the next level in scene after scene. For example, Ben Stiller’s character misses a date because his balls get caught in a zipper. Other scenes include semantics surrounding self gratification, and the heady combination of foot fungus and Slim Jims (talk about a road snack!).

Of course, it’s impossible to talk about There’s Something About Mary without focusing on its most notorious moment: the infamous “hair gel” scene. Stiller’s character decides to “flog the dolphin” before a date with Diaz’s character in order to take the edge off. Later, she finds some of the mess he made on his ear, which he claims is just hair gel. Taking him at his word, she puts it in her own hair, resulting in a very sticky situation for her lovely lady locks. It’s a jaw-droppingly hilarious gag, one that helped cement (especially if you let it dry!) Cameron Diaz as one of Hollywood’s funniest and sexiest women. 

A Star Is Born 

There’s Something About Mary isn’t Cameron Diaz’s first film. She actually made her Hollywood debut as the blonde bombshell love interest in The Mask. However, it was this later role that established her as one of Hollywood’s most beloved leading ladies. After all, everyone already knew she could act and that she was absolutely gorgeous. But it was There’s Something About Mary that proved that she was game for the absolute craziest scenes, and she pulled them off with the same poise and grace that made her Hollywood’s favorite girl next door. In a movie filled with acting greats like Ben Stiller and Matt Dillon, she effortlessly gives the best performance.

The success of There’s Something About Mary transformed Cameron Diaz into a bankable movie star. She subsequently headlined major film franchises like Charlie’s Angels and more experimental films like Vanilla Sky, but she never forgot her raunchy comedy roots, which is why she starred in films like The Sweetest Thing and Sex Tape. To this day, Diaz is the best part of almost any project she joins, but she wouldn’t be in nearly so many things without the success of There’s Something About Mary, a film that’s a bit like her character’s “hair gel”: sometimes sweet, often salty.

The Rom-Com, Redefined

Dudes everywhere celebrated when There’s Something About Mary came out. It wasn’t just because there was a new movie with unforgettable gags, a quotable script, and a smokeshow of a lead. No, dudes were celebrating because this film transformed their least-favorite genre: the romantic comedy. Far too many rom-coms are bad at both the “rom” and the “com,” giving us warmed-over relationship platitudes centered around bland, inoffensive jokes. However, There’s Something About Mary blends hilarious jokes with a genuinely sweet (albeit insanely unconventional) love story. It’s a film that men and women alike can enjoy and spend a lifetime quoting at each other.

Do you need a little more raunchy comedy in your life? Maybe you want to gawk at Cameron Diaz in her prime, or just get the most unhinged haircare secrets ever caught on film? Whatever the reason, now is a perfect time to grab a beer and stream There’s Something About Mary on Netflix. It’s a perfectly imperfect, R-rated blockbuster about sex, dating, and love. It also offers some important life lessons to all of the men watching it. For example, after watching what happens to Ben Stiller’s character early in the film, you’ll always, always be careful when zipping up your pants!

By Jonathan Klotz
| Updated 49 minutes ago

They say imitation is the sincerest form of flattery, which means John Carpenter has been flattered more than most people. The genius behind Assault on Precinct 13, Halloween, The Thing, and Big Trouble in Little China is one of the most imitated directors of all time. One film got a little too close for his tastes though and he took the writer to court, who happened to be another famous director, Luc Besson. Luc Besson’s 2012 film Lockout was derisively described as Escape from New York in space, and Carpenter agreed, taking the Frenchman to court over the movie. 

Escape From New York In Space

Escape from New York stars Carpenter’s frequent collaborator Kurt Russell as Snake Plisken, the eye-patch wearing convicted tough guy to take on a mission to save the President from a New York turned into a gigantic prison complex. Lockdown stars Guy Pearce as Marion Snow, a convicted felon sent to a gigantic space prison to save the President’s daughter, Emilie,  (Maggie Grace) and clear his name in the process. Don’t worry, it gets worse. 

Frank Doubleday’s great performance as the Duke of New York’s second Romero in Escape from New York is replicated in Lockout with Hydel, played by Joe Gilgun, the psychotic second in command who ends up stealing every scene he’s in. There’s also a ticking clock: in Escape from New York, it’s the impending murder of the President and then embedded explosives, while in Lockout, it’s a CIA officer willing to blow up the station to cover his tracks. Copying one or two elements could be overlooked, that’s how we got Torque, but following Carpenter’s suit, a French court ruled in his favor. 

Carpenter filed suit in 2015, three years after Lockout bombed in theaters but managed to make some money on home media. The French court ruled in his favor against countryman Luc Besson, who made the choice to appeal. Prior to the appeal, Besson and his production partners were ordered to pay €20,000 to Carpenter, €10,000 to his writing partner Nick Cave, and €50,000 to StudioCanal. After the appeal was struck down, the court increased the total damages to €450,000. 

Lockout Is Dumb Fun

Lockout isn’t a bad movie, it’s a perfectly fun dumb action movie. Guy Pearce does a great Kurt Russell impression, and the action set pieces are, again, fun but dumb. Had Luc Besson directed the film with the manic energy he brought to The Fifth Element and Lucy, it would have been far more over the top and memorable instead of the perfect lazy Sunday afternoon streaming movie for fans of the Cleveland Browns.

One particular cringey scene takes place after Marion has saved Emilie, where they have to disguise her. This involves a sudden cut to Guy Pearce with offscreen noises from Maggie Grace as he rubs black oil and cuts her hair, then she stands back up in the next cut with black hair and a short haircut. No one thought Lockout would have one of the most blatant edits in movie history, but here we are. 

Audiences largely avoided Lockout which was saved financially by the overseas market. Making $32 million, it didn’t lose money, but a budget of $20 million before marketing costs means the profit was very slim. We were never going to get another Guy Pearce Marion Snow film even before the lawsuit. 

The Future Of Escape From New York

Lockout is currently free to stream on Tubi and time has been kind to this film. It’s the type of sci-fi action we need more of, though Alan Ritchson’s War Machine on Netflix has helped fill that gap. It was a one-and-done, but on the other hand, Escape from New York is about to become more relevant. 

The good news for fans of Snake is that a sequel is in development. The bad news is that Zach Snyder is writing and directing it. Will it be the Snyder who gave us Army of the Dead and 300? Or the Snyder who wrote Sucker Punch and Rebel Moon?