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By Jonathan Klotz and Joshua Tyler | Updated

There was a time when watching sci-fi on television meant keeping things PG-13, and only in movies could you see content that went to the edge. That began to change with the introduction of pay cable, and that line was obliterated in the early 2000s by peak TV. Now, some of the most graphic, most extreme, crazy, gory, and messed-up things ever displayed on a screen can be found in science fiction television.
If you’re looking for TV shows that go hard, we’ve got you covered. These are the most graphic sci-fi TV shows of all time, ranked in order by which show is the MOST extreme.

I can see the comments now: Fringe? That aired on Fox? How is that graphic?
Did you watch Fringe? The show pushed the boundaries of how dark a show can get on Fox. One episode has a man turning solid while halfway through a bank vault. Another has a man cut into little pieces to achieve the critical mass needed to travel to another dimension. The first two seasons of Fringe are all a prologue, filled with monster-of-the-week episodes that are worth watching today, to the real plot of the series: a battle for survival between two warring dimensions.
There’s body horror, there’s cold-blooded murder, there are noble sacrifices. Fringe even kills off its main cast multiple times. It’s an absolutely wild series, and did I mention the body horror? Walter Bishop, the role John Noble was born to play, is a mad scientist working for the good guys, but he’s still a mad scientist, and it’s amazing how many problems can be solved by injecting the right chemicals into the human brain.

Often described as a modern-day version of The Twilight Zone, Black Mirror doesn’t have volumes of blood and gore, but when it gets violent, it’s gut-wrenching and leaves you an emotional wreck.
Season 7’s “Common People” is a standout, showing how technology can save lives, but there’s always a price, a literal one in this case. It’s also the same hook from Marvel’s Infamous Iron Man, but with the rise of subscription services in the last few years, the 2025 episode’s dystopian future is disturbingly close to reality.
The hardest episode to watch remains the series debut, “National Anthem,” the infamous episode about the British Prime Minister having sex with a pig. It’s enough to make you wish for more episodes like “Men Against Fire,” where a military tool tricks soldiers with augmented reality to commit heinous crimes against humanity, or Arkangel’s swarm of killer bee drones.
There’s something to be said for Black Mirror’s habit of building all episodes to one, singular outburst of violent emotion. It stands out among the other shows on this list for its restraint and its ability to emotionally manipulate the audience into a near-nervous breakdown. Black Mirror’s greatest act of violence isn’t on screen; it’s the scream you let out at the end of “Beyond the Sea.”

Raised by Wolves was a 2020 HBO sci-fi series set on a hostile alien world where two androids, Mother and Father, are tasked with rebuilding humanity by raising human children after Earth is destroyed by a war between atheists and religious zealots.
The premise sounds controlled, but the execution isn’t. The show leans hard into body horror, religious extremism, and sudden, brutal violence.
Mother isn’t just a caretaker; she’s a weapon capable of tearing people apart in seconds, often on screen. The series repeatedly escalates into imagery most sci-fi avoids: mutilation, forced births, psychological breakdowns, and violence involving children. It doesn’t cut away, and it doesn’t soften the impact.
The result is a show that uses its sci-fi setting to push into territory that feels closer to horror, making it one of the most graphic and extreme entries in modern television.

Netflix’s other hit South Korean series, Kingdom brings zombies to 17th-century Korea. Zombies make everything better, including historical costume dramas. It’s also filled with decapitations, burning flesh, and gruesome zombie transformations.
Crown Prince Ju Jio-hoon is torn between investigating the origins of the zombie outbreak and uncovering a political conspiracy that threatens to destroy his family. Old allies turn into enemies long before their flesh is diseased. And if only it were the dead eating human flesh, life in the Kingdom would be much easier.
Dealing with zombies without the benefit of modern technology presents an interesting problem, but then again, there are castles. Like zombies, castles are awesome. So are swords. By the time you finish both seasons of Kingdom on Netflix, you’ll wonder why more studios don’t try a historical zombie apocalypse.
Imagine the Roman Legion marching against the undead, or a Renaissance invasion where Leonardo Da Vinci’s inventions turn the tide. For now, we have Kingdom, a wild ride if you can handle the whole flesh-eating thing.

The Alien movies featured prominently on our list of the most graphic sci-fi movies, so it makes sense that the franchise’s TV show version would end up here. Alien: Earth doesn’t go as hard as the movies, but where there’s a Xenomorph, there’s bound to be plenty of horrific, blood-soaked deaths.
It begins with an alien ship carrying a Xenomorph crash-landing on Earth. That kicks off a plot involving the technology and corporations of the Alien universe alongside an exploration of human consciousness.

Like the game series, Fallout isn’t violent or graphic. Most of the time. Then the Deathclaws arrive, and that changes real fast. Season 2 introduced the dangerous Wasteland mutants, and all of a sudden, Fallout became a horror series for a moment. Then again, depending on how you feel about the heavily mutated ghouls, every episode is pure horror.
Walton Goggins Ghoul is an incredible character. Mutated by radiation exposure into his current, melted form, he left behind his past to become a bounty hunter. The Ghoul is a legend in the Wasteland, though he does have a taste for ass jerky. It’s not cannibalism if you have to survive.
Fallout is so good; it’s changed what a video game series can be. It’s partly because of the great writing, the fantastic performances, and the way it doesn’t shy away from depicting violence. Cannibalism, large claws ripping humans limb from limb, and every other way they can arterial spray to hit Lucy, Fallout expertly times moments of graphic violence for a 100% hit rate.

Alice in Borderland is a Japanese take on the classic death game concept. Based on the best-selling manga, Alice in Borderland has quietly been one of Netflix’s best shows for years. Combining the puzzle box of Lost with Squid Game, it’s a one-of-a-kind experience.
With no explanation, a group of Japanese teens finds themselves in a desolate version of Tokyo, where they have to play games to survive, or they will be killed by giant lasers from space.
This isn’t Squid Game. The games here start as tag, the most tragic version of hide-and-seek ever, and then they progress to a Witch Hunt, Kick the Can with exploding cans, climbing Tokyo Tower, and Runaway Train, in which they run through an abandoned train filled with nerve gas.
Over the course of three seasons, the total death count sits at 493. Not every death comes from the strange death games, though; the competition to earn cards and, hopefully, escape leads to a bloody back-alley fight against one of the Kings. It’s brutal, and it’s one of the show’s best moments.
Alice in Borderland walks a fine line between gruesome character deaths and its high-brow sci-fi backstory. Best of all, the three seasons on Netflix tell a complete story, which, unlike Lost, includes an ending.

The 1973 movie Westworld, directed by author Michael Crichton, is violent for its time thanks to Yul Brenner’s performance as the killer Gunslinger robot and the whole robot uprising thing. HBO’s 2016 Westworld series starts off with the same basic premise: the robotic attractions at an amusement park turn against their human creators. Human visitors could engage in every violent and sexual impulse they had, and every night, the robotic Hosts would forget what happened. Until they started remembering.
Every Delos corporate board member is murdered, park guests are brutally killed, and humanity comes face to face with extinction. The Season 1 finale is an incredible payoff to one of the finest sci-fi seasons of all time, but the show kept airing. It’s hard to reach that type of height again, and Westworld wisely pivots to a more surreal, slow-burn storyline involving the dangers of AI and corporate control.
Honestly, the story wouldn’t have worked nearly as well if it weren’t for the violent outbursts. Westworld is a perfect example of violence used to further the story, and not simply violence for violence’s sake. Fans of the original novel and movie even get to enjoy a modern update on the Gunslinger’s murder spree as a reward for Anthony Hopkins‘ philosophical musings on the nature of consciousness.

The Last of Us is another zombie apocalypse, except this time the zombies are the result of a deadly fungal infection that makes them fast-moving, aggressive, rage-filled. Since it’s adapting the best-selling video games, you might think you know what’s going to happen in The Last of Us, but you’re wrong.
Except for THAT moment. It was the Red Wedding all over again; fans fell in love with Pedro Pascal as Joel, blissfully unaware of what was going to happen. Joel’s murder is dragged out, brutal, and emotionally devastating. Unless you played the 2020 game and saw how brutal it was on the PlayStation 4. The show held back.
That’s the ongoing issue with HBO’s The Last of Us: It holds back constantly. This is a brutal, post-apocalyptic world on the brink of being overrun by fungal zombies any day; humans are slaughtering each other over scarce resources, and it never feels like the blood and guts go far enough. It’s there, and the series constantly teases violence, but even when the story calls for it, it goes halfway and then stops. The series is good, not great, and a pale shadow of what it could have been.

After Battlestar Galactica, creator Ronald Moore turned his attention to a high-tech Arctic research station after a mysterious viral outbreak. Helix is the type of slow-burn high-concept sci-fi we rarely get to see on television. That and it’s filled with bleeding eyeballs, bleeding ears, government conspiracies, cults, and more genetic technobabble than any other sci-fi show, ever.
There are also familiar faces in the cast: Star Trek Voyager’s Seven of Nine, Jeri Ryan, is a high-powered corporate CEO, while the star of the show is Billy Campbell. Don’t recognize his name? How about The Rocketeer?
Airing for two seasons, Helix decides to go batshit crazy in its second season. It’s as if the writers knew SyFy would eventually remember the show existed and swiftly cancel it. Which is exactly what happened, as the show started hemorrhaging viewers, with fewer than half a million tuned in for the Season 2 finale. Obviously, they needed most of the best part of Season 1: people slowly going insane while their flesh melts off in quarantine.

Airing on the DC Universe app, Swamp Thing quickly became a fan-favorite series from the very first episode. Dark, moody, disturbing body horror, interesting characters, this was everything fans of Alan Moore’s incredible 80s run had ever wanted. Filmed on location in an actual swamp, practical effects all over the place, and it embraced the horror side of the DC Universe? We were robbed with only one season.
The plant effects, the multiple characters drowning in dark swamp water, Swamp Thing isn’t afraid to get down and dirty. Unlike other superheroes, Swamp Thing has no code against killing. Wander into his swamp with evil intentions, and you’re a dead man walking.
Swamp Thing looks incredible, the story is pure comic pulp, and it doesn’t insult your intelligence. It only failed because Warner Bros. didn’t get the filming tax credit they expected, putting the series budget at over a million per episode, well out of reach for the DC Universe app.

David Fincher wanted to make a new Heavy Metal. The director of Fight Club, Aliens 3, Panic Room, and Se7en, wanted to update the legendary 80s adult animated masterpiece. Working with Tim Miller, the director of Deadpool, the result is Netflix’s Love, Death, & Robots. The anthology series is filled with striking animation and original sci-fi stories that will remind you why you fell in love with the genre.
A few are fun short films, including the early episode, “Witness,” which is one long chase sequence, but others, such as Season 2’s “Bad Traveling,” use a violent alien to make philosophical points about humanity. What do you do when a killer alien has set up in the hold of your ship and demands to be let off on a populated planet? After you tricked the crewmember you hate into being eaten, of course.
There are even bits of traditional horror, including a subterranean adventure gone wrong when an ancient evil is unleashed, and a later episode, In “Vaulted Halls Untombed,” that’s one of the best modern cosmic horror stories, and as is the case with most of those stories, it ends on a horrifying final shot that will linger long after the credits end.
No episode of Love, Death, & Robots overstays its welcome, some are as short as six minutes, some seventeen minutes, and one, that’s entirely a Red Hot Chili Peppers video, might as well have a runtime of zero minutes. Why would I watch that when I can watch rats in a death match with an advanced cybernetic killing machine?

Take Under the Dome. Make it good. That’s From, a horror sci-fi series airing on MGM+, about a small town that acts like a roach motel: people can enter, but they can’t leave. It’s another sci-fi mystery box series, but this time, there are strange, nightmarish monsters, a society that’s rapidly unraveling, and Lost’s Harold Perrineau gets to do more as Boyd in two episodes than he did in two seasons as Michael.
As the sheriff and mayor of the town, Boyd tries to keep everyone together and working to uncover the mystery, even as each discovery raises more questions. A hidden mineshaft? That’s weird. A man chained inside the mineshaft? Even stranger. A music box that plays itself? A series of numbers with no discernible pattern? The mystery goes deep in From.
The problem for the town’s residents is that on top of the mystery is the pressure that all of them are doomed to die there with no hope of getting out. How would you react? Would be a Boyd, and attempt to hold onto your sanity? Or would it become The Purge? From has a few inventive murders alongside the intriguing mystery, and it’s the best dark sci-fi series of the last decade.

Long before the Marvel Cinematic Universe existed, Wesley Snipes’ Blade showed the world Marvel superheroes could be cool. Two years before Iron Man, rapper Sticky Fingaz brought Blade to the small screen. Airing on Spike, Blade: The Series was ahead of its time. Violent and bloody, the series was able to get away with swearing and nudity on Spike, and against the odds, it was successful.
It was also expensive, which is what led to the cancellation, despite name-dropping other Marvel superheroes, including Moon Knight and Doctor Strange, setting up the larger Marvel universe for future seasons. Blade: The Series had begun to focus less on Blade and more on Krista Starr, a former soldier-turned-vampire out for revenge. Sticky Fingaz had the look, but he was no Wesley Snipes.
Blade: The Series pushed the boundaries of what was allowed on television at the time; Spike TV was a cable channel, but not premium cable. There was more sex and violence than any other show at 10 PM. Except for the local news out of Peoria.

Before MTV became the Ridiculousness channel, it pioneered adult animation through Liquid Television, a groundbreaking block of shows that included the debut of Beavis and Butt-Head, but also the silent shorts of Aeon Flux. The first run of the series features animation that’s mind-blowing today, never mind in 1991, but also in every single episode, Aeon dies.
Her neck is snapped, she’s shot, eaten by an alien, trapped in paralyzing fluid and set adrift at sea. Her end is frequently brutal, swift, and decisive. Then in the next episode, she’s back, working against the Breen and sabotaging her arch-enemy, also her lover, Trevor. For a series of experimental, silent shorts and than a more traditional half-hour show, Aeon Flux is surprisingly complicated.
To say the series became a hit is an understatement. Over 30 years later, Aeon Flux is still creative, subversive, and very, very violent.

The Walking Dead is one of the most graphic shows in history. You can debate a lot about it, from whether it was ever actually any good to whether the show aired for far too long, and whether it was worth A&E building an entire network around one show. What you can’t debate is that the series brought a level of violence never before seen on cable television.
One moment in particular stands out as so graphic, so violent, that it caused half the audience to go away and never come back again. The debut of Negan and his bat, Lucille. Glenn’s head splattering across the ground with each swing of the bat was the height of the show’s popularity and its apex of violence. Afterward, it dialed back, but by then, the audience had left, unable to recover from what they saw.
Not every death on The Walking Dead was a brutal display of violence, but every season had at least one or two standout moments. You also have to credit the series for not holding back and showing children turned into Walkers, bloody car seats, and the pharmacy sink, just to name a few of the dozens of examples.
It’s a shame that The Walking Dead turned into a slog by the end, as the detail in the worldbuilding and the willingness to show a zombie apocalypse where no one is safe were a breath of fresh, undead air.

If Rick and Morty weren’t animated, it would be number one on this list. Rick Sanchez and his grandson Morty leave a trail of broken bodies, ruined civilizations, and bodily fluids as they journey through all the universes. From the Cronenberg dimension to Rick’s ship keeping Summer safe, the Purge planet, Dimensional TV, and, well, any one of Rick’s various guns, even the tamest Rick and Morty episode is going to include some guts.
Trying to pick out the bloodiest, most graphic moment is impossible: Is it Birdman’s brutal murder at his wedding? Is it the Vindicators falling for his elaborate death trap? The destruction of the Citadel by Evil Morty? Alright, that one resulted in the deaths of thousands of Mortys, and as we’ve learned, those don’t count.
Though it’s fallen from the heights of previous seasons, Rick and Morty set a new standard in adult animation through the sheer density of its gags, absurd nihilistic humor, and willingness to show the most vile, disgusting things that haunt the dreams of caffeine-powered animators.

After he was Chad, before he was Reacher, Alan Ritchson starred in Syfy’s forgotten series, Blood Drive, as Arthur Bailey, a cop forced to participate in a brutal death race across America using cars powered by blood. Blood Drive is complete trash. I say that with love, because this bizarre combination of 70s grindhouse western, horror, sci-fi, and a little bit of Lovecraft is unlike anything else.
Cars eat people, people stab and shoot each other, they beat each other to death; the writers made it their mission to come up with the strangest, most original death in each episode. It’s secretly an anthology series, with Arthur and his homicidal partner Grace coming across a different small town, truck stop, or other haven for weirdos and freaks, resolving whatever issue the area has (usually through murder), and then they keep driving.
Now that Twisted Metal is a hit, it’s easy to dismiss Blood Drive as an early attempt to copy the video game series, but give the show 5 minutes. You’ll see why it’s different, why it’s awesome, and why it might be the bloodiest show to ever air on Syfy.
By Chris Snellgrove
| Published

What do you think the biggest plot hole in Star Wars is? You might think it’s the Emperor inexplicably surviving Return of the Jedi, thus making all that “chosen one” stuff from the prequels pretty meaningless. Or maybe Tatooine simultaneously being a crappy little backwater planet and yet a featured location in five franchise films and three television shows. For many of us, though, the biggest plot hole goes all the way back to the beginning, when Obi-Wan Kenobi tells Luke Skywalker that Darth Vader murdered the young man’s father. In reality, Luke’s dad was Vader, and his new mentor simply lied.
Or, as Obi-Wan lamely explains later, he told the truth…from a certain point of view. The real-world reason for this plot development is that George Lucas was still trying to figure everything out. In-universe, it’s still a crazy lie, one that Luke was quite literally fated to discover. However, a canceled Star Wars project would have explained this plot hole while adding depth to one of the franchise’s favorite characters. That project was Obi-Wan Kenobi, the film that was shuttered in favor of creating the Obi-Wan Kenobi television show. In the canceled movie, Obi-Wan would have discovered the dangers of passing his own guilt onto young Luke Skywalker, potentially explaining his later omission of the truth.

The Obi-Wan Kenobi TV show proved to be good, not great. It was fun seeing Ewan McGregor and Hayden Christensen square off again, but the entire main story (a weird Princess Leia side quest) was completely superfluous. In retrospect, the canceled Obi-Wan Kenobi movie was much, much more interesting. Writer Stuart Beattie had a story where a guilt-ridden Commander Cody, aging twice as fast as other humans, has dedicated his life to protecting Obi-Wan Kenobi. In turn, Kenobi has dedicated his life to protecting young Luke Skywalker, the Force-sensitive child of Anakin Skywalker.
However, things go unpredictably sideways. In his zeal to protect Skywalker, Obi-Wan has projected his will onto the kid, which has an unexpected side effect. He loses much of his connection to the Force, leaving him vulnerable, a la the Man of Steel in Superman II. Eventually, he goes to the shrine of a goddess and ends up back on Mustafar, fighting a de-aged version of Mark Hamill as an evil Luke Skywalker. Obi-Wan nearly loses the fight before snapping awake with a revelation: that putting his guilt for failing Anakin and the rest of the Jedi would doom Luke to the Dark Side. He learns to mellow out, restoring his connection to the Force.

So, what does this have to do with Obi-Wan lying to Luke about who his father really was in A New Hope? Simple: by this point, the Jedi Master would have spent nearly a decade trying to keep his own guilt from affecting Luke from afar. But actually sitting down with the kid, dishing about the most traumatic days of your life, plus explaining his legacy and pitching a rescue mission? That is a lot for the emotionally stunted hermit to take on in one day. Actually explaining the fall of Anakin Skywalker and the rise of Darth Vader would have been too much, so Kenobi took the easy path and lied.
It’s not a perfect explanation, of course, and nothing changes the fact that Luke was always going to discover the truth. But this canceled Obi-Wan Kenobi movie does provide a simple, emotionally satisfying reason for the old Jedi Master lying. Basically, he was trying to push past his own trauma and be the mentor Luke needed him to be. Sadly, this Obi-Wan Kenobi movie was canceled, so we’ll never have any adventures between the titular Jedi and Commander Cody. But we do now have some easy head canon that explains the truth of Kenobi’s actions. Truth told in the purest Star Wars fashion: from a certain point of view.
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Sarah Jessica Parker has spent decades perfecting the art of looking polished without looking like she tried. Since her Carrie Bradshaw days, she’s mastered that effortless, slightly undone glow. According to a source shared with Us, her secret for maintaining soft, glossy lips is a budget-friendly balm hiding on Amazon.
According to a source for the brand, Parker reportedly keeps the Finding Ferdinand Black Lip Balm in Berry on hand — a $19 Amazon find that blends hydration with a flattering hint of color. The balm offers a sheer, glossy tint while nourishing lips. It’s exactly the kind of practical-meets-pretty staple that fits her signature aesthetic.
Get the Finding Ferdinand Black Lip Balm for $19 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
The Finding Ferdinand Black Lip Balm in ‘berry’ fits seamlessly into Parker’s low-maintenance beauty routine. Instead of layering multiple products, this one delivers a sheer, buildable tint that enhances your natural lip color. The vitamin-rich formula is designed to keep lips hydrated for hours, giving you that soft, glossy finish without constant reapplying.
What sets it apart is the tone. The cool berry shade creates that just-bitten look that flatters a wide range of skin tones. It’s sheer enough to swipe on without a mirror but can be built up for a slightly deeper wash of color, making it an easy day-to-night option.
Shoppers are just as impressed. One reviewer raved about the “creamy” texture, adding they’ve even used it as “blush in a pinch” for a coordinated, fresh-faced look. Another said they were “blown away” by how “very natural looking” the shade is, noting it makes their lips “look youthful and ever-so-slightly shimmery.”
Beyond the flattering berry tint, this balm works overtime to smooth dryness, deliver lightweight hydration and keep lips feeling comfortable all day. The non-sticky formula glides on effortlessly, while the slim tube makes quick touch-ups easy wherever you go.
Sarah Jessica Parker’s pick proves that achieving soft, polished lips doesn’t require a luxury price tag — just one smart, everyday staple.
Get the Finding Ferdinand Black Lip Balm for $19 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more from Finding Ferdinand here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
Crime mysteries about missing kids are nothing new. From network procedurals like NBC’s Found to glossy miniseries like Peacock’s All Her Fault, these cases serve as the driving force for many a TV series — and for good reason. The stakes are automatically high when there’s an innocent child in danger. Harlan Coben adaptations have been a staple of streaming for a while as well, from hits like Stay Close, about a journalist, mother, and detective all united by a traumatic event, and The Stranger, starring Richard Armitage and Hannah John-Kamen as a family man and a mysterious woman who knows a plethora of life-changing secrets. No matter what kind of subject matter Coben is tackling, there’s a straightforward but suspenseful style that defines his work, and it’s one that audiences have clearly grown to love. His shows often skyrocket to the top of the Netflix charts and stay there for a good while as people make binge-watching a priority. I Will Find You is bound to be no different.
I Will Find You centers on David Burroughs (Sam Worthington), whom we meet in prison. He’s been there for the last five years, after being found guilty of killing his young son Matthew (Ashton Cressman), though he maintains his innocence. Things get more complicated when his sister-in-law, Rachel (Britt Lower), visits him in prison with a recent photograph of a child who looks exactly like Matthew. David’s friends on the inside, a father-son duo named Philip (Peter Outerbridge) and Adam Mackenzie (Jonathan Tucker), agree to help break David out so he can discover the truth, which he attempts to do while evading a nationwide manhunt, originally led by Max Williams (Chi McBride) and Sarah Greer (Logan Browning).
In typical Coben fashion, there’s far more to this story than originally meets the eye. We’re introduced to characters like old-school crime boss Nicky Fisher (Clancy Brown), the ultra-wealthy and commanding Gertrude (Madeleine Stowe), Rachel’s influential on-again-off-again boyfriend Hayden (Milo Ventimiglia), David’s grieving ex-wife and pediatric surgeon Cheryl (Erin Richards), and more, most of whom are keeping a secret or two and could be connected to the mystery in some way.
One of the biggest strengths of I Will Find You is its commitment to shooting on location. From filming the prison (and eventually prison break) sequences in a former penitentiary to going to Times Square, there’s a natural immersiveness you simply can’t get with sound stages and green screens. As a result, it’s grittier and less sleek than similar shows, for better and for worse. While there is some impressive stuntwork, tense moments of suspense, and thrilling action sequences, I Will Find You never develops much of a distinct visual style. More often than not, the direction and cinematography fall flat, with standard camerawork and bland colorization. It feels like a missed opportunity to elevate the aspects that make the show unique.
I Will Find You’s pacing can also land a bit strangely. Despite the car chases and shootouts, the first half drags a bit, with some repetitive beats and information relayed multiple times to various characters. At the same time, a slew of new people are introduced in quick succession without a ton of context, making relationships and alliances difficult to keep track of.
Luckily, by the midway point, it’s easier to follow the tangled web of characters, and the show manages to find its groove. Something admirable about Coben’s work is that, while the twists can veer towards the outlandish and the cliffhangers are undoubtedly shocking, there’s still an authenticity that grounds things in reality. The pieces all fit together without too much force, and there’s a throughline of rationality through all the wild reveals. There’s a refreshing lack of cheap tricks or cheating, with everything coming together in a hard-to-believe but still logical and satisfying way.
Casting directors Lyndsey Baldasare and David Rapaport deserve credit for assembling the actors they do. Not only do the cast members embody their characters well, but they also have solid chemistry with one another. Worthington has followed in the footsteps of actors like Liam Neeson and Alan Ritchson, carving out a niche of rugged action stars who have a paternal warmth simmering under the surface. He does what he does best as David, bringing nice emotional depth to the role. Stowe, too, leans into what people have come to love about her performances, sinking her teeth into the juicy campiness of Gertrude. It’s a delicious treat to watch.
Lower and Ventimiglia’s will-they-won’t-they dynamic is both exciting and electric while also comfortable and lived-in. It’s easy to buy into the fact that Rachel and Hayden have a long, complex history with one another that’s rooted in a deep, lasting love. They are at the center of many of the series’ most impactful and interesting moments. The relationship between Max and Sarah is engaging, too, with some moments of genuine emotional impact, though the show withholds too much information regarding their past in favor of more cliché, by-the-book police work scenes. There’s something fascinating brewing between them, but the show stops shy of thoroughly exploring the complications until it’s too late, which lessens its potential impact.
I Will Find You is grounded in its characters and their arcs, but there is ultimately a genericness that permeates, leaning into tropes and archetypes — the persistent reporter, the shady benefactor, the rogue cop, etc. — instead of creating more well-rounded, fleshed-out individuals. At the end of the day, the show’s focus leans toward crafting a shocking plot rather than delving too deeply into the psyches of its characters. The result is a show that’s not particularly revolutionary but still a solid way to pass the time that will satisfy those who love to binge Coben’s shows the day they premiere.
I Will Find You is now streaming on Netflix.
June 18, 2026
Netflix
Robert Hull
Adam Davidson, Maggie Kiley, Maja Vrvilo, Brad Anderson
Robert Hull, Harlan Coben
University of Kentucky football player Nic Smith exhibited worrying behavior in the days before his death by suicide at age 20.
A Fayette County Coroner’s Office report exclusively obtained by Us Weekly on Monday, June 15, determined that the defensive lineman from Loganville, Georgia — who redshirted his first season — took his own life on June 8, 2026. Investigators discovered his body in his dorm room at around 10:40 a.m local time.
Law enforcement’s subsequent investigation revealed that Smith had previously spoken to friends about suicide and allegedly crashed his car while driving drunk in the days before his death. According to friends, Smith struggled following the death of his sister, Keitlynn, in April 2026.
“I post this to let those who knew my son and loved him of the passing of our gentle giant,” Smith’s mother, Genedra Rountree, announced via Facebook on June 9, 2026. “I know there are more people that I can call or think who loved and cared about my son and was rooting for him.”
Police reports obtained by Us offered key details into Smith’s state of mind before his death and disclosed new information about the aftermath.
Keep scrolling for more information on the investigation into Smith’s death.
Officers were called to conduct a wellness check when a resident assistant in Smith’s dorm could not make contact with him. Once Smith’s locked bedroom door was opened, he was found unresponsive.
Firefighters on the scene tried to administer life-saving efforts but were not successful.
A police report filed on June 9, 2026, documented an investigator speaking with someone who recalled a phone conversation with Smith from June 7, 2026. In that conversation, Smith allegedly told the friend that “he was not sure if he could continue.”
This friend initially asked Smith’s roommate to knock on his locked bedroom door on June 8, 2026, but there was no response. The roommate went off to a workout but shared his concerns with others.
A friend relayed to University of Kentucky police on June 10, 2026, that he’d witnessed some distressing behavior from Smith during the last weekend of his life.
Smith drove the two to a party on June 5, 2026, but the football player “was drunk and accidentally wrecked his vehicle by hitting a curb,” his friend alleged.
“After Nicholas crashed his vehicle, [the friend] told me Nicholas said he wanted to off himself,” the officer wrote. “[The friend] believed Nicholas didn’t mean anything by it and was just drunk and pissed off that he wrecked his vehicle.”
Smith attributed his talk of ending his life from the previous night to frustration over crashing his car.
“[The friend] told Nicholas he should continue for his [late] sister [who died in April] and that Nicholas was crying at this point,” the report read. “[The friend] didn’t tell anyone else about this due to being afraid Nicholas might get in trouble with the coaches and that he didn’t want to look like a snitch.”
The football star attended the Railbird Festival in Lexington, Kentucky, on June 7. His ticket was paid for by the friend who’d witnessed the drunk driving crash.
“At the concert after 1:00pm he saw Nicholas drink at least a few drinks, possibly Beatbox ones, and that he told Nicholas to not drink due to early morning workouts the next morning,” the friend recalled to police for a June 10, 2026, report.
The friend observed that Smith was “acting normal, happy, acting country and enjoying himself” all day at the festival, except for one moment where the friend group were all talking to girls.
“Nicholas didn’t have [a girl] to talk to and he started walking away, but that [the friend] pulled him back to the group and told him they were there to have a good time and not to worry about it,” police noted.
As the group left the festival, “Nicholas told them he was very thankful to him for taking him to the concert.”
“Nicholas continued to say he appreciated them and was thankful for them being good to him and eventually saying he loved them as well,” the police report specified. “[The friend] told me he asked Nicholas if he was alright, to which he told them he was good. [They] said they went to WG4 [Woodland Glen Four dorm at UKC] together and that was the last time he saw Nicholas Sunday night.”
However, while at the concert, Smith allegedly posted an Instagram Story at around 11:30 p.m. that read, “IDK if i should continue on.”
The friend explained to University of Kentucky police that he’d have reported any unusual behavior, but didn’t notice anything worrying at the festival.
Smith’s roommate spoke to investigators on June 10, 2026. During their discussion, the roommate recalled having a brief conversation with Smith in their dorm the night before his death.
“Nicholas had told [the roommate] about wrecking his vehicle over the weekend, but that he didn’t know much information other than that he damaged his vehicle and seemed mad at himself over it,” the report read.
Smith and the roommate agreed to switch morning workout times for June 8, 2026. While heading out for his workout, the roommate received a call telling him Smith had not shown up on time for practice.
The roommate told police that he returned to the dorm to find Smith’s bedroom door was locked, which he described as “unusual.”
“[The roommate] banged on the door very loudly, even worrying about Nicholas getting mad, and even played alarm sounds through a small Bluetooth speaker to try and wake Nicholas up,” police wrote. “Nicholas never answered the door.”
University of Kentucky police detailed an examination of Smith’s iPhone on June 11, 2026. They found multiple messages from the night of the Railbird concert, where he shared that he was “pissed.”
“And honestly I wanna say f*** everything … I’m tired of ts,” he wrote to a redacted person.
The device confirmed that Smith texted both his mother and father that he loved them on the morning of his death, though those messages were not delivered.
Kentucky police noted on June 10, 2026, that they’d spoken with Smith’s mother and two sisters about his death. One key line of questioning involved Smith’s wallet being missing from his dorm bedroom.
“[His mother] did not know what kind of wallet it was, or exactly what was in it aside from ID cards and bank cards,” the officer noted.
The officer mentioned that Smith’s mother “expressed concerns” about his father and stepmother though the exact reasoning was redacted in the report.
A second friend spoke to police on June 10, 2026, about having phone conversations with the athlete “up to 3 or 4 times a day.”
He described the Smith’s allegedly complicated family dynamic, claiming that “Nicholas’ mother only seemed to call him when she wanted money and always asked for money ‘constantly.’”
“One time recently Nicholas’ mother called Nicholas and told him it was her anniversary and that he should send her money for it, to which [the friend] believes Nicholas sent several thousand dollars,” the friend alleged. “This relationship would stress Nicholas out and put further stress on him regarding money.”
On the flipside, this friend said that “everything seemed fine” between Smith and his father.
This friend admitted “he didn’t understand why Nicholas didn’t call him if he was upset or going through something Sunday night.” Smith allegedly referenced suicide to this friend in the past, even claiming that he’d unsuccessfully tried to end his life once before.
“[That incident] served as a wake up call to Nicholas to never do something like that again, but that he would still call him if he was feeling depressed,” the friend insisted.
However, this same friend acknowledged that Smith had recently told him, “When I go, I want you to take all of my stuff.”
Smith was in contact with this friend after his alleged drunk driving crash on June 5, 2026.
“Nicholas told him he was drunk driving Friday night or Saturday morning and hit the curb on Sports Center Drive and damaging some of his tires,” police wrote in their report. “[The friend] said Nicholas was pissed at himself for damaging his vehicle. [The friend] told me he was working with Nicholas to get the vehicle towed and fixed and that he reassured him they would figure it out, but that Nicholas was stressed out and upset with himself.”
Security cameras in UKC’s Woodland Glen Four dorm building recorded Smith several times over the final two days of his life, yet police wrote in their June 10, 2026, report that “nothing suspicious or out of the ordinary” was observed.
If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.
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“I’m having to wash the uniforms,” the comedian quipped.
Fans are mourning the loss of Daveigh Chase, the actress best known for voicing Lilo in ‘Lilo & Stitch.’ According to TMZ, Chase was reportedly admitted to a Los Angeles hospital earlier this month after suffering from malnutrition.
Per TMZ, Daveigh Chase’s boyfriend, Roy Hernandez, confirmed that she died on Tuesday, June 16. He shared that meningitis and a blood infection caused septic complications that ultimately led her body to shut down. As of now, no one has shared how long Daveigh experienced symptoms before her passing. Chase was 35 years old. Daveigh’s boyfriend also launched a GoFundMe in her honor. On the fundraiser page, Hernandez shared that her condition had become critical and said that, before her passing, Daveigh simply wanted to feel safe and happy. He added that he wanted to give her that sense of peace during her final days. Hernandez also thanked everyone who offered support and expressed his gratitude in advance for every donation.
Daveigh started her career as a child actress and broke out when she voiced Lilo in the 2022 film ‘Lilo & Stitch.’ She also voiced Chihiro Ogino in ‘Spirited Away.’ Horror fans probably remember her as Samara Morgan in ‘The Ring,’ a role that earned her an MTV Movie Award for Best Villain. She also landed a recurring role in the HBO series ‘Big Love.’
After The Shade Room shared the news of Daveigh’s passing, fans flooded the comment section with reactions. Many remembered her roles, while others expressed heartbreak over her passing at such a young age.
Instagram user @_un_known.e wrote, “Being a obsessive person of stitch this hurts 💔💔💔”
Instagram user @rvdxo_official wrote, “Why are so many entertainers passing away in 2026 and we all act like it’s normal 🤷🏾♂️”
While Instagram user @_suckafreesi wrote, “We’re losing way too many young people to meningitis smh my heart hurts hearing this 💔”
Then, Instagram user @cashmase wrote, “So many people are leaving this earth at such a young age. It makes you wonder what’s really going on. Condolences to her loved ones. 🙏🏾”
Another Instagram user @knhiya wrote, “somebody check on stitch please! 😢”
Instagram user @brittany_latrice wrote, “I will never forget how she got on top of Mertle & whoopeddddd her 😢👏🕊️”
Then another Instagram user @_.taepapi wrote, ‘Very young.😢 , they taking away all our childhood people!”
While another Instagram user @iam_superman_1914 wrote, “So sad to hear 🙏🏾”
Finally, Instagram user @thegr8tkellen wrote, “This is terrible 🥹”
What Do You Think Roomies?
Fans are still in shock after news broke that Jelly Roll filed for divorce from his wife, Bunnie XO. Even though reports claim the split was a mutual decision, folks online immediately flooded their posts with reactions. Many fans pulled up to Bunnie XO’s latest comment section, leaving hearts and tears as they continue to process the update.
As fans wait to hear from Jelly Roll and Bunnie XO, they are continuing to send comforting messages across social media. On the same day the news of their divorce went public, Bunnie dropped a post of her vibing out to Nickelback’s ‘How You Remind Me.’ She rocked a bralette top and jeans while she lip-synced the lyrics, giving full energy in the clip. In the caption, she didn’t say much — she just called the song a “banger” and added a kiss emoji.
Fans immediately flooded the comment section of Bunnie’s latest post as the news spread. Some dropped uplifting messages and others appeared to pick sides, showing support for Bunnie amid the split. Peep some of the reactions below.
Instagram user @reneegraziano wrote, “Team Bunnie!!! FOREVA.”
Instagram user @sadiee.skyee wrote, “Sending prayers for you sweetheart ❤️”
While Instagram user @lovemydoggggg wrote, “You helped him when he was homeless and helped him get custody of his daughter and now that he’s made a name for himself he’s leaving you see this is why I have trust issues.💔”
Then Instagram user @selfmade_1176 wrote, “bunny, bunny, bunny you will be OK. i can’t believe you stayed as long as you did. never been a jelly roll fan but i’ve always been a fan of you 🫶🏻♥️⭐️✨”
Another Instagram user @becc.a_love wrote, “😢😢😢 Just heard the news about you and Jelly. I’m saddened. Sending love and peace your way. ❤️❤️❤️”
Instagram user @la_jefa_princesa wrote, “The vibe of a woman who knows her worth 🙌 his loss . Her gain. ✨🏆 don’t ever let a man keep you down.”
Then another Instagram user @ashlynnejxox wrote, “❤️❤️❤️ we all love you.”
While another Instagram user @iloveabomb wrote, “You’ll be good ❤️”
Finally, Instagram user @murderousjewels wrote, “Just wanted to let you know I think you are an amazing woman. Sending you so much love and light. ❤️❤️❤️❤️”
TMZ first broke the news about Jelly Roll and Bunnie XO’s divorce. The outlet reported that the country singer filed the documents on May 18 in Williamson County, Tennessee. He listed May 9 as their separation date and cited irreconcilable differences as the reason for their split. TMZ sources also claimed that the decision was mutual and related to a private family matter. Jelly Roll and Bunnie XO have been together for 10 years. They first met in 2015 at one of his Las Vegas concerts. A year later, he proposed to her onstage at another Vegas show and that same night they eloped at a courthouse chapel.
What Do You Think Roomies?
By Chris Snellgrove
| Published

This summer, something unthinkable happened. The Mandalorian and Grogu, the first Star Wars movie since 2019, ended up earning less in its opening weekend than Solo, the lowest-performing live-action movie in the franchise. Soon enough, the movie was getting its butt kicked by Obsession and Backrooms, two low-budget horror movies. Once upon a time, Star Wars was the biggest sci-fi franchise in the world. Now, it’s generating less buzz than scary movies by a couple of directors who weren’t even alive when The Phantom Menace came out. For fans of a galaxy far, far away, this leaves one question: where did everything go wrong?
Needless to say, you won’t be hearing too many official statements from Disney or Lucasfilm about when and where their expensive franchise went off the rails. However, in an ironic twist, the most hated Star Wars director may have accidentally revealed the franchise’s biggest problem. While working on The Last Jedi, Luke Skywalker actor Mark Hamill frequently questioned director Rian Johnson’s decisions. At one point, Hamill told Johnson, “We gotta think of what the audience wants.” Whenever he mentioned this, the director uttered the words that arguably doomed the entire franchise: “No, we’ve gotta think of what we want.”

Way back in December 2017, Rolling Stone interviewed several of the creators and actors behind the Star Wars Sequel Trilogy. They uncovered plenty of interesting tidbits, including the fact that Rey actor Daisy Ridley cried when she learned that J.J. Abrams wasn’t coming back to direct The Last Jedi. But the outlet also learned more about something that would eventually set the fandom on fire: the creative disputes between Mark Hamill and Last Jedi director Rian Johnson. Over the years, we’d learn about plenty of the actor’s objections, including the fact that he hated Luke giving up on everything and ultimately dying at the end of the film.
The reason the debate between actor and director got so much attention is that Hamill was (as if seeing the future through the Force) trying to warn Johnson about all the things the fandom was going to hate about The Last Jedi. In his interview with Rolling Stone, Hamill revealed an exchange that arguably foreshadowed the failure of the Star Wars franchise. “At times, I’d say to Rian, ‘We gotta think of what the audience wants.” To this, Johnson would always offer the same response: “No, we’ve gotta think of what we want.’

To hear Mark Hamill tell the story, Rian Johnson was right, and it was simply “a learning process” for the actor to process those words. To hear angry fans, though, the director’s words are a real smoking gun. He’s basically confirming that he cared more about doing what he wanted to do, something that would always take precedence over what the audience wants. So, that makes this a cut-and-dry case, right? Johnson and the rest of Lucasfilm dismissed what fans actually wanted and then did the shocked Pikachu face when fans stopped showing up, right?
Well…yes and no. In hindsight, it’s obvious that The Last Jedi was not what most audiences wanted. Sure, it made over a billion dollars, it annoyed fans enough that, half a year later, Solo: A Star Wars Story became the lowest-earning live-action movie in franchise history, a terrible record that may be beaten by The Mandalorian and Grogu. For that matter, it looks like the latest Star Wars movie is on track to make about 85 percent less than The Force Awakens. It would be easy to say that directors ignoring what the fans want has really killed Star Wars, a franchise whose movies used to regularly earn over a billion dollars at the box office.

However, it’s not that simple. As a kind of course correction, J.J. Abrams used The Rise of Skywalker to walk back the most controversial elements of The Last Jedi (like Rey being a nobody, like Snoke being the Big Bad, like Rose being a main character, etc.) and pander to our nostalgia with appearances from Emperor Palpatine, Lando Calrissian, and (most inexplicably) Han Solo. Basically, it was the most blatant attempt to give fans exactly what the director thought they wanted. However, the pandering failed, and the movie was considered such a critical and creative failure that Star Wars stayed out of theaters for seven years.
What’s the lesson here? Obviously, just ignoring what fans want to see is a great way to kill your franchise. However, trying to tilt into full-blown fan service is also a great way to turn people off because audiences still enjoy excitement and surprise. To create a successful Star Wars movie or show, you need to have people more like George Lucas: ones who have a passion for the universe, who know how to plan, and who are willing to take creative choices. Once upon a time, it seemed like The Mandalorian creator Jon Favreau was such a person; after all, he distilled the space western into its purest elements, to great audience acclaim.

Additionally, Dave Filoni took the best of what fans actually liked about the prequels to create Clone Wars, arguably the best Star Wars show ever made. Unfortunately, just as Lucas fell off with the prequels, Favreau and Filoni have both stumbled. The third season of Favreau’s The Mandalorian weakened as it tried to embrace the rest of the franchise, and Filoni’s devotion to his own past work has led to one cringe moment (like Cad Bane in The Book of Boba Fett) to another (like giving Sabine a weird Jedi retcon in Ahsoka). Now, The Mandalorian and Grogu (written by Filoni, directed by Favreau) is wheezing its way to the end of a disappointing theatrical run.
There’s some good news here: while they have had some recent creative misfires, both Favreau and Filoni have created really great projects for the franchise. However, Lucasfilm needs to hire some new creators who are basically unicorns. That is, we need somebody who is willing to take risks like Rian Johnson, someone who understands the rule of cool like Favreau, and someone utterly steeped in franchise lore like Filoni. The Last Jedi was risky but uncool; The Mandalorian and Grogu was cool, but not risky. If Lucasfilm can find someone who can bring balance to the franchise by combining all of the above qualities, they might actually save Star Wars.
Otherwise, Star Wars will die in the most ironic way: by continuing to play it safe by pandering to a fandom that can’t even agree on what they want.
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The 80-year-old actor recalls his struggles in Hollywood after the long-running ABC sitcom went off the air in 1984.
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The Louisiana rapper has also previously faced legal trouble.
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