Entertainment
20 Best Movie Soundtrack Songs of All Time
A great movie has the ability to transport you to a place beyond our present. Sometimes it’s to places beyond our wildest imaginations. A great movie should make you feel something. Maybe it’s a powerful monologue or a visceral image. Or, perhaps the perfect song at the perfect moment. It’s these songs that, when you hear them outside the film, transport you back. It’s a mark of something special.
Throughout Hollywood history, we have been inundated by some of the greatest songs from movie soundtracks. Thematically perfect or perfectly situated within a moment, these songs have stuck with us for generations. There are certainly countless songs that could join this list, but these 20 represent a wide spectrum of styles, eras, and film genres. Though your favorite may have missed the list, let’s celebrate these other monumental hits.
20
“Take My Breath Away” by Berlin
‘Top Gun’ (1986)
Very few pop songs operate as a recurring musical theme in a film. Oftentimes, you hear them once at the top of the movie, during the closing credits, or within the film itself. Then there was “Take My Breath Away” by Berlin. Not only did you hear it within the film, but it then served as the romantic anchor for the story. It was such a powerful song that producers actually went back and reshot a steamy bedroom scene in silhouette between Maverick (Tom Cruise) and Charlie (Kelly McGillis) just to provide a visual worthy of the song’s emotional weight. The iconic 1986 film Top Gun, Lieutenant Pete “Maverick” Mitchell (Cruise), a reckless, cocky Navy fighter pilot who attends the elite TOPGUN school. He must compete to be the best, overcome personal tragedy, and learn the value of teamwork in a celebration of military aviation. Top Gun was a high-octane action film, and the song provided a much-needed emotional balance.
“Take My Breath Away” is a dreamy synthesizer-driven track with aching vocals by Terri Nunn, providing an anthem that went well beyond the film. It helped represent the decade. There’s a calming sense of intimacy innate to the track. The song has a weightlessness to it that counterbalances some of the bigger, more bombastic tracks from the film, including “Danger Zone.” Nunn’s breathy, restrained delivery evokes a deep yearning that, when the song is underscored, four times, in fact, it alerts the audience to the importance of the intimacy. The track transcended the film to become a massive cultural phenomenon. Written by Giorgio Moroder and Tom Whitlock, it went on to win both the Academy Award for Best Original Song and the Golden Globe Award for Best Original Song in 1986. From a pop perspective, “Take My Breath Away” helped propel the Top Gun soundtrack to sell over 9 million copies, firmly cementing the film’s legacy in the MTV-era history.
19
“Let the River Run” by Carly Simon
‘Working Girl’ (1988)
If you were to pinpoint a singular decade of the best soundtrack songs, it very well might be the 1980s. Many filmmakers sought out surefire hits to help define their films; “Let the River Run” by Carly Simon not only set the tone for Working Girl, it was a pure anthem. The film, directed by Mike Nichols, tells the story of Tess McGill (Melanie Griffith), a sharp Staten Island secretary, who takes revenge on her conniving boss, Katharine Parker (Sigourney Weaver), by impersonating her. After pitching a major corporate merger to an investment broker using her boss’s stolen ideas, she falls in love with Jack Trainer (Harrison Ford), saves the deal, and exposes her boss’s fraud. “Let the River Run” opens the film as a triumphant anchor, with the song playing over the opening credits while the Staten Island Ferry approaches the Manhattan skyline.
The opening sequence, with its accompanying song, serves as an integral opus. It sets a heroic, bustling tone that frames New York City as a place of endless possibility for our protagonist. If Tess had a Walkman, she would be playing the song on her way into the office, determined to tackle the day with confidence. The lyrics are an anthem for empowerment. It champions the film’s feminist themes. Working Girl is truly about a dreamer who sets out to “wake the nation.” The song comes two more times, including a choral version that is equally empowering. The track won the Oscar, Golden Globe, and Grammy for Best Original Song. It was the first time in history that a single artist wrote, composed, and performed a song that won all three awards. Simon has had a plethora of hits and other movie songs, but “Let the River Run” is the most definitive.
18
“9 to 5” by Dolly Parton
‘9 to 5’ (1980)
It all begins with the shuffling of the nails for an iconic track to be born. When Dolly Parton is a part of your project, it’s inevitable that she’d contribute music to it. In the case of 9 to 5, the title not only reflected the film, but it also stood proudly on its own as a pop country crossover. In the classic workplace comedy, three female office workers, Judy Bernly (Jane Fonda), Violet Newstead (Lily Tomlin), and Doralee Rhodes (Parton), who plot revenge against their sexist, egotistical, lying, hypocritical bigot boss, Franklin Hart (Dabney Coleman). “9 to 5” pairs perfectly with the film an upbeat, irresistible melody with deeply relatable, working-class lyrics. The moment it plays alongside the street’s bustle, the mood is set.
The song captures the daily grind of horrible bosses, lack of appreciation, and being “just a step on the boss man’s ladder”. Yet, pouring a “cup of ambition” and taking care of business give workers a sense of dignity and ownership, as the trio so triumphantly do. Dealing with serious themes, the tune provides a fusion of a joyful, toe-tapping rhythm with empowering sentiments, just like the film. The anthem reflects what were once radical themes— systemic office reforms like flexible hours, job sharing, and on-site daycare. Thanks to the film and the song, these revolutionary ideas became the norm. It also helped prove that female-led films had massive commercial appeal. “9 to 5” remains a steadfast Parton hit that’s synonymous with the film.
17
“Diamonds Are Forever” by Shirley Bassey
‘Diamonds Are Forever’ (1971)
Now, before the James Bond loyalists come for this list, this slot could have gone a plethora of ways, as many Bond anthems are great. We could have gone to the modern era, but those songs ran because of the classics. Then there are a handful of great artists who sang the tracks in the heyday, but no one did it quite like Shirley Bassey, the only artist to have multiple Bond songs. As infamous as “Goldfinger” is, her biggest and best is “Diamonds Are Forever.” In the film Diamonds Are Forever, James Bond (Sean Connery) goes undercover as a diamond smuggler to uncover a ring controlled by his nemesis, Ernst Stavro Blofeld (Charles Gray). He discovers Blofeld is stockpiling the gems in Las Vegas to build a space-based laser weapon, which he plans to use to blackmail the world’s nuclear superpowers. The titular track explores themes of emotional detachment, materialism, and cynical romanticism.
“Diamonds Are Forever” remains the standout Bond single thanks to powerhouse vocals, John Barry’s dramatic orchestration, and Don Black’s sly, sultry lyrics. The song perfectly balances seductive innuendo with the sleek, high-stakes glamour of the 007 franchise. The song evokes a sexy jazz feel that’s perfectly dangerous and seductive. The central theme with the lyric “Diamonds are forever, but men are mere mortals who are not worth going to your grave for” offers a cold, material, and unapologetically atmospheric edge. While the song may be big, brassy, and dramatic, with Bassey at the helm of the risqué, sexual innuendos, it’s pure camp, matching the shift in the direction of the franchise. The song has left a lasting legacy, as artists like Sabrina Carpenter have reimagined it as a new metaphor. It’s a transcendent song that links the necessity of a theme song to the franchise.
16
“Wind Beneath My Wings” by Bette Midler
‘Beaches’ (1988)
Very few power ballads pack such an emotional gut punch as “Wind Beneath My Wings.” Especially in the context of the film Beaches. The 1988 film follows the decades-long, tumultuous friendship between brassy Bronx performer C.C. Bloom (Bette Midler) and wealthy San Francisco lawyer Hillary Whitney (Barbara Hershey). Despite clashing personalities and jealousies, they remain deeply bonded through life, love, and tragedy, culminating in a poignant final summer at the beach as Hillary faces a terminal illness. Directed by Garry Marshall, Beaches is a tearjerker, made more emotional when you hear the star belt out the infamous track. While the ballad serves as the primary musical theme for CC and Hillary’s lifelong friendship, it is used purposefully rather than being played repeatedly.
The song is played during the montage in the final act as the two main characters spend meaningful time together. It’s when you completely empty your tissue box. The song serves as the emotional anchor that reframes their relationship by acknowledging that Hillary was the one who enabled CC to shine, acting as the “wind” beneath her wings so she could “fly higher than an eagle.” The song has been a touchstone for emotional support between friends, family, and everyone in between. When it comes back for the closing credits, you’re left with a lasting impression, tears still flowing. Though the song had been previously written and was not for the film, it won Grammy Awards for both Record of the Year and Song of the Year in 1990.
15
“Rainbow Connection” by Jim Henson
‘The Muppet Movie’ (1979)
“Why are there so many songs about rainbows and what’s on the other side?” Very few songs begin so simply and profoundly. And it comes from one of the most iconic characters: Kermit the Frog. In The Muppet Movie, Kermit leaves his Florida swamp for Hollywood after a talent agent spots his potential. Along the way, he meets other aspiring performers, including Fozzie Bear, Miss Piggy, and Gonzo. Together, they are chased by Doc Hopper (Charles Durning), a ruthless restaurateur wanting Kermit as a mascot for his fried frog legs. “Rainbow Connection” serves as the ultimate “I want” song. The song emotionally establishes Kermit as an optimistic dreamer, driving his motivation to leave the swamp and seek a larger purpose in Hollywood.
Co-written by Paul Williams and Kenneth Ascher, “Rainbow Connection” effortlessly encapsulates the movie’s overarching message: the power of believing in yourself, following your dreams, and embracing a creative, welcoming community. It’s why the song has resonated with so many individuals across generations. “Rainbow Connection” is a masterpiece of lyricism, brilliantly evoking childlike wonder with profound philosophical depth. The song uses a stripped-down musical arrangement, relying heavily on a sweet, comforting banjo and gentle, sweeping strings that enhance its emotional intimacy. It earned The Muppets their first Academy Award nomination for Best Original Song and has since been covered by everyone from Willie Nelson and Kacey Musgraves to Gwen Stefani.
14
“The Man That Got Away” by Judy Garland
‘A Star Is Born’ (1954)
It takes a very special individual to be deemed the voice of a generation, but when it comes to Hollywood actresses, that honor is deservingly bestowed upon Judy Garland. In one of two entries on this list comes the Garland classic “The Man That Got Away” from A Star Is Born. In the second iteration of the film, a fading alcoholic movie star, Norman Maine (James Mason), discovers and promotes a talented young singer, Esther Blodgett (Garland). As Esther’s career skyrockets under the stage name “Vicki Lester” and they fall in love, Norman’s self-destruction and career downfall drive a wedge between their lives. The song arrives early in the film when Norman tracks down Esther at an after-hours jazz club. He stands out of sight in the shadows and watches her sing informally with her musicians. As a storytelling device, it showcases the raw talent of a star that’s born.
The song, with music by Harold Arlen and lyrics by Ira Gershwin, serves as a micro-adaptation that mirrors the impending tragedy of the lovers’ relationship and officially establishes music as a driving force in the franchise’s narrative. It operates as a narrative turning point while providing one of the most infamous sequences in Hollywood history. Director George Cukor pushed for an agonizingly complex setup to achieve perfection, shooting it in numerous takes, and ultimately relying on an iconic, single-take sequence that ends with Garland singing directly to the camera. The song became Garland’s monumental career comeback that cemented her connection with her raw, vulnerable power. The visceral pain of heartbreak through a striking mix of moody, conversational lyrics and dramatic, swinging jazz melodies became a truly defining moment.
13
“Beauty and the Beast” by Celine Dion and Peabo Bryson
‘Beauty and the Beast’ (1991)
This list could be filled with Disney tracks after Disney tracks. For fairness, we’re limiting it to one classic annd one from the Disney Animation Renaissance. The latter honor goes to “Beauty and the Beast” from Beauty and the Beast. In the film, a selfish prince (Robby Benson) is cursed by an enchantress into a hideous monster. To break the spell before an enchanted rose wilts, he must learn to love and be loved. He imprisons the inventor’s daughter, Belle (Paige O’Hara), who eventually teaches him compassion, ultimately transforming him and his servants back. But for that moment to arise, it needed a “tale as old as time.” In the story, Mrs. Potts (Angela Lansbury) sings the central love theme as the titular duo shares their iconic ballroom dance.
Beauty and the Beast is one of the greatest romantic fantasy films of all time, live action or animated. It’s this scene and this song that are pointed to. Written by Howard Ashman and Alan Menken, the lyrics explicitly describe how the couple learns to overlook differences and change one another for the better through a thoroughly timeless myth of inner beauty. The song won the Academy Award for Best Original Song and helped make the movie the first animated film in history to be nominated for Best Picture. During this period in Disney animation history, the film’s pinnacle songs would receive a pop single release. The titular track was given to Celine Dion and Peabo Bryson, who made it a radio hit, earning chart success and Grammy wins and nominations in the process. Had it not been written and composed in the manner it had, it could have been just another cartoon song. Instead, it’s one of the most beloved Disney classics.
12
“Flashdance…What a Feeling” by Irene Cara
‘Flashdance’ (1983)
What a feeling indeed! The titular track from Flashdance is strategically placed twice in the film, and both times it evokes the spirit of the story. The ‘80s classic tells the story of Alex Owens (Jennifer Beals), an 18-year-old working-class woman in Pittsburgh who spends her days as a steel mill welder and her nights dancing at a local club. Alex pursues her dream of becoming a professional ballerina while navigating a romantic relationship with her boss, Nick Hurley (Michael Nouri). Serving as a soaring anthem for the protagonist, “Flashdance…What a Feeling” represents the liberating feeling of being in control of one’s destiny. In turn, it operates as an anthemic theme of, against all odds, chasing one’s dreams. The film and song blew up so much that they became a pop culture phenomenon, launching fashion trends like leg warmers and leotards to replicate the moment.
A song for a genuine heroine, co-writer and singer Irene Cara ensured the lyrics came from Alex’s perspective, so when it plays at the beginning of the film, you’re engulfed in Alex’s journey immediately. When it returns during Alex’s famous, climactic dance audition in front of the repertory dance company board, it serves as the perfect bookend. It’s not only evocative of the film, but it also defines the era. The film used the song to set the pace for its fast-cut, music video-style sequences, which changed how Hollywood marketed youth-oriented movies in the 1980s. The song became a massive success on its own, topping the Billboard Hot 100 for six weeks. It was universally celebrated, ultimately winning the 1984 Academy Award for Best Original Song and the Grammy Award for Best Female Pop Vocal Performance.
11
“Stayin’ Alive” by Bee Gees
‘Saturday Night Fever’ (1977)
There are some film soundtracks dedicated to a single artist. For Saturday Night Fever, that honor belongs to the Bee Gees. If there’s one song from the film that perfectly encapsulates the spirit of the story, it’s none other than “Stayin’ Alive.” In the 1977 classic, Tony Manero (John Travolta) is a restless 19-year-old Italian-American in working-class Brooklyn. By day, he is trapped in a dead-end job at a paint store; on weekends, he escapes to a local disco where he reigns as the undisputed “king of the dance floor.” Beneath the iconic Bee Gees soundtrack and vibrant disco lights, the film is a coming-of-age urban tragedy. Played over the opening credits, “Stayin’ Alive” captures Tony as he struts through the streets of Brooklyn. And at that moment, a classic scene was born. The importance of the song and the scene stems from masking working-class hardship and urban struggle with swagger, survival, and disco escapism.
Despite being a dance anthem, the lyrics deal with the gritty reality of trying to stay afloat. It operates as an emotional undercurrent as to the importance of dance to the protagonist. The Bee Gees specifically designed the vocal harmonies and driving bassline to propel the groove. Not only did it energize the film, but it reshaped the disco genre on the real-life dance floors. The song comes in again during the venue’s loudspeaker when Tony and Stephanie (Karen Lynn Gorney) are officially announced as the winners of the 2001 Odyssey disco dance competition. Its inclusion serves as Tony’s triumph tune. The pulse of the song has moved beyond the film, becoming the CPR song, as its tempo perfectly aligns with the life-saving rhythm required. It’s an undeniable masterpiece.
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Adam Levine and Behati Prinsloo are celebrating a major relationship milestone, but their anniversary has also reignited discussion about one of the most difficult chapters in their marriage.
As the longtime couple marked 12 years together with a romantic getaway in St. Tropez and a heartfelt social media tribute, new reports suggest the Maroon 5 frontman has spent the years since his 2022 messaging scandal working to rebuild the trust he nearly lost.
Nearly four years after his texting controversy dominated headlines, insiders say Adam Levine has worked to move beyond the scandal that threatened both his family life and career.
According to one source, the fallout became a turning point for the singer, forcing him to reevaluate how he approached both fame and his personal life.
“Adam has spent the last several years trying to repair his public image following the texting scandal. It was a wake-up call on multiple levels,” the insider told the Daily Mail.
They added, “It hit his ego, his public perception, and ultimately his earning potential.” Another source claimed the 47-year-old eventually realized he needed to change course if he wanted to protect everything he had built.
“Ultimately, he realized the industry wasn’t going to bend to him forever. He had to adapt or risk losing the career and lifestyle he’d built,” the insider explained.
Levine And Behati Prinsloo Reach A Major Marriage Milestone
Those reported changes come as Adam Levine and Behati Prinsloo celebrate 12 years as husband and wife.
The pair recently escaped to St. Tropez, where they were photographed sharing affectionate moments aboard a yacht before Levine honored the occasion on Instagram.
“Twelve years married to my favorite human. I love you… over and over again for the rest of my life,” he wrote.
Besides the public affection, another insider believes their relationship has made significant progress since the scandal erupted.
“Their relationship is in a much healthier place than it was in the immediate aftermath of the scandal,” the source explained.
They added, “That doesn’t mean everything is perfect… but Adam has made enough changes to keep the marriage intact and avoid repeating the mistakes that nearly cost him everything.”
Adam Levine’s Texting Scandal Sparked Widespread Scrutiny
Levine’s personal life came under intense scrutiny in September 2022 after model Sumner Stroh posted a TikTok claiming she had carried on a “year-long affair” with the singer while sharing screenshots of alleged conversations between them.
“Essentially, I was having an affair with a man who’s married to a Victoria’s Secret model,” Stroh said, adding that they were seeing each other for about a year.
Among the alleged messages was, “It is truly unreal how f-cking hot you are.” Stroh later described herself as “young,” “naïve,” and “manipulated,” claiming she believed Levine’s marriage was effectively over before Prinsloo announced she was expecting their third child.
She also alleged the singer wanted to name the baby after her. Additional women later shared alleged exchanges of their own, including one message that read, “I shouldn’t be talking to you, you know [that] right?” and another saying, “Yes but it’s a bit complicated,” when asked about his marriage.
Following the allegations, Levine denied having physical affairs but admitted that his online behavior crossed a line.
Levine Was Described As A ‘Super Weird Guy’
While Adam Levine has largely stayed focused on his family and career in recent years, one insider claimed the controversy exposed long-standing issues with how he handled fame.
“Adam Levine is a super weird guy… he has not handled fame well. He is not warm and fuzzy, and he used to be arrogant,” the source alleged.
The insider also claimed the situation had been especially difficult for Prinsloo, adding, “It has been hard on Behati as he has flirted with other women. She has just taken it. She has stood by his side because she is very in love with him.”
Even so, multiple sources now say Levine has embraced a different outlook, with his attention centered on maintaining both his marriage and the career he nearly jeopardized.
Adam Levine Says Fatherhood Changed Him In Unexpected Ways
Levine’s recent anniversary celebration with Behati Prinsloo isn’t the first time he’s reflected on how much his family has changed him.
Before marking 12 years of marriage, the Maroon 5 frontman opened up about the impact fatherhood has had on his life, revealing that raising his three children has made him far more emotional than he ever expected.
Speaking to PEOPLE in February 2025, Levine said becoming a dad didn’t alter his coaching style, but it transformed him personally.
“I’ve softened a lot as a person in a lot of other ways,” he explained, adding that he has always tried to treat people with kindness because he believes it’s never productive to be mean.
The star also admitted fatherhood had made him much more emotional, joking, “I have three kids, I cry every day,” while describing raising his children as “the best sh*t ever.”
Levine added that leaving home for work was difficult, but providing for his family had become his greatest motivation.
Influencer Ulissias Marcelli and her boyfriend Vinícius Souza de Carvalho were reportedly shot to death ahead of a festival appearance in Brazil.
The alleged murders were announced by Brazil’s Festival Rock Gaya, as Marcelli and Carvalho were scheduled to appear at the festival prior to their deaths at ages 30 and 28, respectively. (Marcelli was expected to host Festival Rock Gaya festivities on Saturday, July 25.)
“We’re still trying to find the words for a moment like this. It’s hard to believe that someone who was about to share such a special moment with us is gone so soon,” the festival announced on Saturday, July 18. “At this moment, the entire team of the Rock Gaya Festival joins together in solidarity with the family, friends and everyone who has had the privilege of knowing it. Rest in peace Ulyssias.”
Per People and local outlets, civil police in Bahia, Brazil, confirmed that a farm worker found Marcelli and Souza de Carvalho’s bodies on a rural roadside in Porto Seguro on July 17. Gunshot wounds were reportedly visible on the late couple’s bodies.
Ulissias Marcelli Courtesy Instagram / Ulissias Marcelli
Local outlet G1 reported that police suspect that Marcelli and Souza de Carvalho may have been held captive by their alleged killers before their murders. Investigators are looking into whether the alleged murders may be connected to drug trafficking and the sale of narcotics in the area.
Marcelli is survived by a 13-year-old son, according to G1. Her Instagram bio indicated that Marcelli was from the Porto Seguro area.
Marcelli grew a loyal fanbase of more than 20,000 Instagram followers with her ornate and elaborate styling and cosplay videos. She became known for an aesthetic that embraced gothic and modern horror elements.
She was also reportedly famous for her eye-catching live stage performances where she often incorporated fire into her choreographed routines.
Following news of her death, fans flooded Marcelli’s Instagram comments section to pay tribute to her life and legacy.
“Unfortunately, I only got to know this goddess after her demise. May Hekate keep her spirit with great glory,” a newer fan wrote in the comments section of Marcelli’s pinned Instagram post.
Another fan added, “May spirituality welcome you and your companion 😢 and take care of your child and kitten 😢 who’s going to pay!!! If you calm down, follow the light, everything will be alright.”
“Shocked, I really enjoyed seeing her posts, she was beautiful. God comforts the hearts,” a third fan wrote.
“I’m in disbelief 😭 ! One of my biggest inspirations, one of the most beautiful people I’ve ever seen. Rest in peace,” an admirer added in the comments section of another recent post.
After several seasons on “Saturday Night Live,” Chloe Fineman is reflecting on what it was like to leave the long-running sketch comedy series. While the comedian is excited about what comes next in her career, she admitted that saying goodbye to the iconic show was a bittersweet experience and shed light on her relationship with her former cast members.
On July 16, Chloe Fineman took to Instagram to announce her departure from “Saturday Night Live” after seven seasons. She included a carousel of screengrabs from sketches and photos with her fellow cast members, writing, “It’s cliché to say this but working at SNL has been the greatest privilege of my life. I still can’t really believe I got to be a part of it.”
Fineman also addressed “SNL” creator Lorne Michaels and said, “I want you to know that I am forever in your debt.”
Days after the announcement, The Hollywood Reporter caught up with the comedian and asked her about her departure. Fineman said it was difficult to leave the show and her co-stars.
“It’s a hard show, but the people, it’s because of hours and everything. But, like, it really is a family, and I’ve been crying, like, sweet tears,” she shared.
Following Fineman’s exit announcement, an insider claimed that the comedian found it difficult to establish a rapport with some cast members, as The Blast previously reported. Another source disputed the claim and said she had no issues with her co-workers.
Fineman shed light on her relationship with the “SNL” cast, sharing that she has formed a meaningful bond with them. “I’m genuinely really good friends with everybody and I genuinely couldn’t love that job more. So, it’s really bittersweet,” she explained, adding that she will still be staying in New York, down the street from where “SNL” is filmed.
Why Did Chloe Fineman Leave ‘SNL’?
Fineman’s departure follows the exit of other cast members, including Heidi Gardner, Ego Nwodim, and Bowen Yang, who all bid farewell to the sketch series in 2025. The former left after eight seasons, and the other two exited after seven seasons.
“Seven years is kind of like the classic way,” Fineman said about leaving. The comedian revealed that her contract with “SNL” was about to end when she was presented with an opportunity to pursue another avenue. “It just felt like the perfect time,” she added. As she noted in her social media post, “It’s time for my next chapter.”
Fineman said that her former co-stars have been supportive of her decision, and they have reached out to her. Yang, Nwodim, Sarah Sherman, Marcello Hernandez, and Kenan Thompson all posted sweet replies to her social media post.
“SNL” big boss Lorne Michaels was preoccupied when Fineman called to tell him she was leaving the show. “In classic form, he was watching England vs. Argentina,” she shared.
Lorne said he was going to call her back because he was watching the game, to which Fineman joked, “I assume you’re rooting for England because you’re energetically very British.” Michaels, indeed, returned her call, and while she didn’t share details about what they talked about, she told Variety that they “had a really lovely chat.”
Before joining “SNL,” Fineman was a sketch improv artist and had minor roles on TV. She became a cast member in 2019 and became widely recognized for portraying original recurring characters such as Kelsey and The Snack Homiez Boy. She also impersonated celebrities including Drew Barrymore, Britney Spears, JoJo Siwa, Sydney Sweeney, and Timothée Chalamet.
Chloe Fineman Joins Cast Of Upcoming Netflix Series
Fineman stars in the upcoming sports comedy from Apple Original Films titled “The Dink” alongside Jake Johnson, Ben Stiller, Mary Steenburgen, Ed Harris, Patton Oswalt, and Aaron Chen. It is scheduled to be released on July 24.
Furthermore, the comedian landed the role of sports reporter Parker Quinn in Netflix’s “Myron Bolitar,” a drama series based on the collection of thriller novels written by Harlan Coben. The show will focus on the titular character, played by Colin Woodell, a sports agent who protects his clients while navigating the world of professional sports.
“Myron Bolitar” is currently in production, but a release date has yet to be announced.
Silo did not become one of Apple TV‘s most beloved original series by sticking to the script. Although the show is based on a trilogy of books by Hugh Howey, the story has been expanded and changed quite a bit in the adaptation, and fans haven’t complained. Howey’s novels were short and self-published, and practically begging for more detail. However, Season 3 kicked off this month with one of the first changes to cause widespread muttering among fans — the story of Juliette’s (Rebecca Ferguson) induced amnesia. Now that we’re three episodes in, it’s clear that this was actually a brilliant move for the TV show, and perhaps an overall improvement to the story.
When the trailers for Silo Season 3 began to show Juliette suffering from amnesia, fans and critics came up with all kinds of theories about how and why this plot line was added. We feared it might feel like a stretch, added just to draw out Juliette’s story while other things were introduced to the narrative. Even then, there were some ideas online about how the amnesia arc might work well, but they all fell short of showrunner Graham Yost‘s actual vision.
Viewers Get A Timeline While Juliette Loses Hers
A major unforeseen aspect of Juliette’s amnesia plot line is that it juxtaposes the experience of the audience themselves. Viewers have spent two seasons now wondering how, when, and why humanity ended up confined to these underground shelters, and the mystery has been woven into complex knots without coming any closer to a solution. Readers of Howey’s books new that we’d have to start answering these questions with the storyline of Congressman Daniel Keene (Ashley Zukerman) in Season 3, yet we didn’t imagine how well these info-dump flashbacks would work alongside Juliette’s amnesiac nightmare.
Of course, the connection works narratively as well, since Keene’s story deals directly with the same memory loss drugs afflicting Juliette in her story. In fact, it’s becoming clear how much groundwork the show has done to set up the memory loss drugs in general. The storyline concerning Dr. Cnkovich (Matt Craven) is already hitting harder on the show than it did in the books. It’s always a good idea to add more depth to the fantastical elements of a sci-fi series, and it looks like the Silo team has been planning this from early on.
This week, Season 3 Episode 3 “A Dark Web” gave some clear indications of where the amnesia plot line is going and how it will flow into the next phase of Juliette’s story. By all appearances, it’s going to work very smoothly. The show won’t miss anything from the books, and it will feel perfectly natural to get back on track. Some may still call this a detour made just for the sake of the show’s run-time, but even then, it’s not necessarily a bad thing. With most streamers tightening their belts and shortening the seasons on their most expensive shows, it’s a relief to see one series taking its time and pacing things right.
‘Silo’ Adds Stories Without Replacing Anything
Adaptations are generally criticized for any changes to their source material, and for the most part, that’s valid. Popular novels tend to work as they are, and changes threaten to destabilize the entire house of cards the story stands on. Modern audiences are particularly traumatized by shows like Game of Thrones, and these days it can be a full-time job cataloging all the changes in an adaptation and debating them online.
Somehow, Apple TV has attained an exemption from this trend. The network’s adaptation of Foundation by Isaac Asimov might be unrecognizable to the author himself or one of his contemporary readers. However, its approach to changes is very similar to that of Silo — they fill in gaps in the books rather than change events and characters. This mostly serves to deepen worldbuilding, add visual flair, and make the most out of the talent on hand.
For Silo, this amnesia plot line might be their biggest addition so far, yet it doesn’t really replace anything essential. So far, the show has thoroughly adapted Howey’s first novel Wool, which ends at the point when Juliette returns to Silo 18. The second novel in the trilogy is Shift, which completely ignores Juliette’s story to follow Keene through his flashbacks. Only in the third book, Dust, do we pick up the story and move it forward.
Naturally, Silo Season 3 did not want to drop Juliette’s plot entirely. It seems likely that the season will begin including material from Dust, but in the meantime, this amnesia plot is a clever way to tell two parallel stories without losing the momentum of the series altogether. On top of that, this addition doesn’t need to replace or alter anything about the beginning of Dust. If anything, Juliette’s memory loss will flow perfectly into her time as mayor and her confused scramble to help her people before it’s too late. Many aspects of the story will make more sense this way in the end, and will emphasize the undercurrent of manipulation and social engineering that keeps the silos running.
Silo Season 3 continues on Fridays on Apple TV. Previous seasons are streaming there now, and Howey’s books are available in print, digital, and audiobook formats.
- Release Date
-
May 5, 2023
- Network
-
Apple TV
- Showrunner
-
Graham Yost
- Directors
-
Morten Tyldum, David Semel, Michael Dinner, Aric Avelino
- Writers
-
Graham Yost, Hugh Howey, Jeffery Wang, Lekethia Dalcoe
NFL legend Aaron Rodgers reunited with his family after at least a decade of estrangement, though one member of the Rodgers clan was seemingly missing.
On Monday, July 20, Aaron, 42, shared an Instagram carousel of himself posing with his parents, Ed and Darla Rodgers, and older brother, Luke Rodgers. While the family was all smiles in these new photos, Aaron’s younger brother, The Bachelorette star Jordan Rodgers, was noticeably absent.
“Another bonding week,” Aaron captioned the carousel.
Aaron’s rift with his family reportedly dates back at least a decade. When Jordan, 37, competed on future wife Jojo Fletcher’s season of The Bachelorette, he revealed to her that he wasn’t in touch with Aaron.
“Like I said, I have a great relationship with my brother Luke. Me and Aaron don’t really have that much of a relationship,” he said in the 2016 episode. “It’s just kind of the way he’s chosen to do life and I’ve chosen to stay close with my family and my parents and my brother. Yeah, it’s not ideal and I love him and I can’t imagine what it’s like to be in his shoes and have the pressure he has, the demands from people that he has. Don’t have hard feelings against him, it’s just how things go right now.”
The Bachelorette memorably left two empty chairs for Aaron and his then-girlfriend Olivia Munn at a family dinner — which the Pittsburgh Steelers quarterback took issue with.
“They go on a bulls*** show and leave two empty chairs,” Aaron said on his 2024 Netflix series Enigma. “They all agreed this was a good thing to do, to leave two empty chairs at a stupid dating show that my brother just went on to get famous — his words, not mine. That he ended up winning. But a dinner that was during the season, I was never asked to go to. Not that I would’ve gone.”
Aaron was not in attendance when Jordan and Fletcher, 35, tied the knot at the Sunstone Winery in Santa Ynez, California, in May 2022.
In another Aaron Rodgers: Enigma scene, Aaron briefly touched on the origins of his rift with Jordan.
Megan Briggs/Getty Images; Kareem Black/USA Network Given the very public estrangement with his family, Aaron Rodgers certainly hasn’t been eager to share the spotlight with his brother. While Aaron, 40, was competing in the American Century Championship celebrity golf tournament in Lake Tahoe in 2016 — which coincided with his younger brother Jordan Rodgers, 35, […]
“It wasn’t like I was super duper close with everybody in the family. I was close with my little brother,” Aaron said of his brother. “But in actuality, it goes back to stuff from high school that kind of made me feel distant. Stuff in college, stuff post-college.”
He also pointed to his “rigid” religious upbringing as a point of contention.
“I grew up in a very white, dogmatic church and that just didn’t really serve me,” he recalled in Enigma. “It was very rigid in structure. I’m not a rigid person. Shame, guilt, judgment. It was like, ‘We have the truth. Our way or the highway. Our way is heaven; your way is hell.’ Even talking to my parents, it was very black and white. Like, somebody has to be wrong, somebody has to be right. I just slowly uncoupled from that in high school.”
More recently, Aaron blasted his family for speaking publicly about their rift for years before he finally decided to address the situation.
As Aaron Rodgers celebrates his new marriage, he revealed the hostility within his immediate family continues to rage on. Rodgers, 41, appeared on ESPN’s The Pat McAfee Show on Tuesday, June 24, where he discussed his wife, Brittani, for the first time since he announced they had tied the knot recently. In doing so, Rodgers […]
“If you look at the saga with my family, for years it was one-sided,” Rodgers said on The Pat McAfee Show in March. “They were making shots in the media saying bulls***.”
He added, “I never said anything until it got to the point where I’m like, ‘Alright, enough is enough.’”
It is not clear whether anyone in Aaron’s family was in attendance when he married wife Brittani in 2024.
The year 2020 will forever be known in history as the year that the world shut down. Nevertheless, you can’t stop horror movies — especially vampire movies, as the crepuscular crop that’s been produced since then has included some of the most outstanding films in the entire eerie canon. Indeed, the eternal plague of ageless bloodsuckers has been at the forefront of many talented filmmaker’s minds, and the work produced has been thankfully immortalized on film.
Welcome to the roaring/sucking 20s of vampire cinema. Some of the macabre moving pictures of the last six years have resurrected old fables from far-off lands, like in The Vourdalak, while others tackled morbidly modern mischief, as in the thrill-a-minute genre mash-up Abigail. No matter how you slice it, vampires are here to stay, and they are only getting more and more complex and creepily charming. So, break out the holy water and crucifixes, and enjoy these six malevolent masterpieces. Just remember…there’s a lot at stake.
6
‘Blood Red Sky’ (2021)
Director/co-writer Peter Thorwarth’s innovative vampire story is quite fast-paced; 500 miles per hour, to be exact (it’s set on a plane). Indeed, the story is a wild, riveting one that never lets up on the heart-rate-accelerating action. It’s a dazzling mixture of horror, action, and suspense, with bold vampiric scares and blazing fight sequences to spare.
The premise of this film is great. It’s about a mom, Nadja (one minute lovely, the next terrifying, Peri Baumeister), who has a rare “blood disorder.” She hops a flight from Germany to New York with her tiny son, Elias (Carl Anton Koch), in hopes of receiving medical treatment for her blood…issue. The only problem is that the flight is hijacked midway through by terrorists, led by Berg, (scary in his own right, Dominic Purcell). The aforementioned problem really belongs to Berg and his insidious crew, since Nadja is a (beautifully bald) vampire who will stop at nothing to protect her lil’ pointy-toothed progeny. Brimming with tantalizing twists and rocking reveals, this film quenches even the most discerning vamp enthusiast’s thirst for boldly bloody fun.
5
‘The Vourdalak’ (2023)
We always hurt the ones we love the most. This appears to be the major theme of French director and co-writer Adrien Beau’s visually lavish period piece The Vourdalak. It’s a uniquely conceived tale with very memorable (and terrifying) imagery that also manages to entertain with ironic humor and cleverly subtle commentary. Based on a Slavic vampire yarn from the 1800s, this sometimes humorous, often chilling tale is highly ambitious, and manages to deliver the stylized goods at every turn.
The story begins with a 19th century nobleman, Marquis d’Urfé (Kacey Mottet Klein), who finds himself lost in the deep, dark woods. He entreats locals to grant him entry (a little room and board, mayhaps?), yet is denied at every turn. Eventually, he’s directed to the rustic Gorcha homestead, where the family members eagerly await the return of the patriarch of the clan. This proves to be a big mistake, since papa Gorcha has been fighting hordes of evil in not-so-nearby Turkey. In fact, he warned his fam that he would most likely return as a wickedly evil entity intent on draining them of their blood (manifested in a disgustingly skeletal puppet, which the director voiced). Nevertheless, the fam welcomes his horrid homecoming, and the fish-out-of-water Marquis is smack-dab in the middle of all this. Gorcha’s clan (with the comely daughter Sdenka, played by Ariane Labed, as the standout) is torn between murking daddy and letting him feed — and the horrific hijinks are doled out in deliciously ironic fashion. Certainly a different type of vampire film, The Vourdalak is a glorious watch for fans of the darkly different.
4
‘Humanist Vampire Seeking Consenting Suicidal Person’ (2024)
A different French co-writer/director, Ariane Louis-Seize, tackles a bunch of the standard vampire tropes in Humanist Vampire Seeking Consenting Suicidal Person — like existential angst, morality versus primal impulses, and insatiable hunger — but she goes a few steps further with this nuanced reflection on the very nature of the human condition. Immortality comes with some hidden terms and conditions, Louis-Seize clearly posits.
Sasha (the precociously talented Sara Montpetit) is an early teen vampire who, for some bizarre reason, has a huge reserve of empathy, which has impeded her fangs from “dropping.” This is problematic for a sucker of blood, since it’s imperative that vampires have a killer instinct in order to survive. Her family (who has been supplying her with fresh, tasty hemoglobin) gets fed-up with her overly human sensibilities and gives her the directive: “find your own blood, or die.” Luckily for Sasha, she encounters Paul (Félix-Antoine Bénard), a lonely teen looking to end it all. Voilà. A beautiful bond is born, in a symbiotic relationship for the ages. This coming-of-(endless)-age tale is wryly comedic and sensitively unveiled. A biting dissection of familial alienation, this is a poignantly presented work that gives new meaning to the term “enfant terrible.”
3
‘Nosferatu’ (2024)
Gothic film master director Robert Eggers was handed quite a challenge: remake one of the most iconic horror films ever (that’s already received a bloody bevy of terrific remakes) and improve upon it. Well, he certainly was up to the expressionistic challenge with Nosfertatu. The tone, color palette, mood, and overall look are stunning; a truly well-designed and sublimely executed take on an undeniable classic.
The story (more commonly known to everyday filmgoers as Dracula) is focused on a relatively innocent girl, Ellen Hutter, played with wide-eyed wonder by Lily-Rose Depp (who, despite her nepo-baby status, does a remarkable job with the role). Ellen is betrothed to the dashing Thomas Hutter (Nicholas Hoult), who’s been called away to the Carpathian Mountains to secure a land deal with the mysterious (and thoroughly revolting) Count Orlok (Bill Skarsgård, who, despite his matinée star looks, has quietly made a lucrative career in playing the creepiest of antagonists). Orlok sees an image of Ellen in Tommy boy’s locket, and immediately becomes obsessed with making her his dark bride. The rest of the (near black and white) film plays out as one would imagine, with Orlok using his mystical powers of the night to try to seduce Ellen into joining him in demonically damned eternity. Eggers received a ton of acclaim for his careful handling of the gruesomely beautiful gothic material — and he deserves it. The film is a true work of baroque art, even if it’s the 4,582nd version of this story.
2
‘Abigail’ (2024)
Who said vampire movies can’t be fun? Definitely not directors Matt Bettinelli-Olpin and Tyler Gillett, who delivered one of the most action, laugh, and gore-packed vampire flicks of all time. Basically every morsel of this multi-genre mash-up movie is super entertaining. The story (conceived by screenwriters Stephen Shields and Guy Busick) is extraordinarily rich, crammed with clever subplots and twisty twists that permeate the entire tale. Add to all these already fantastic elements a perfectly assembled cast that delivers the goods — especially the titular star — and you’ve got one of the best vampire films of any time period.
The supremely well-crafted story revolves around a diverse cadre of criminals, kidnappers, if you will, that receive some (eventually revealed to be suspicious) intel about a massively valuable target housed in a huge estate. The thing is, each member of this crew has got quite the backstory — but none as layered as that of the main character, Joey (Melissa Barrera, who’s poised to become the next scream queen of the moment). So, they gear up, ready to snatch the person…who turns out to be a little girl…who turns out to be a sneaky, devilishly precocious vampire. Meet Abigail (the outlandishly gifted young actress Alisha Weir). Once her true, vampirific nature is exposed, things devolve into a nightmarish web of horrors for the kidnapper crew, as they try to navigate the booby-trapped home. Truly wonderful supporting performances by Kevin Durand as Peter, Dan Stevens as Frank, Giancarlo Esposito as Lambert, and Matthew Goode as the ambiguous, undead patriarch “Father” really bolster the already imaginative story, ferocious fight (and dance) choreography, and visually luscious art direction. Abigail dispatches the ultimate lesson of “never underestimate your opponent.”
1
‘Sinners’ (2025)
Music and cinema have always gone together. In fact, music has been an integral part of movies before there was even talking in them. So, when writer-director Ryan Coogler set out to develop one of the most entertaining and profound vampire films of all time, he knew that the specific music of the era that he was capturing had to be woven into the story in a groovily smooth manner. He definitely achieved this goal, as Sinners features the most soulful soundtrack and score of possibly any horror film ever.
The sublimely structured story is set in a very specific place and time, which informs all the action of the film. Sammie Moore (Miles Caton) is a young blues-loving guitarist in the Mississippi Delta in the 1930s. His preacher poppa wants him to follow in his devout footsteps, but Sammie would rather jam out at his cousins’ new juke joint. Yes, Elijah “Smoke” Moore and Elias “Stack” Moore (Michael B. Jordan in his Oscar-winning role(s)) have breezed back into town from the Windy City and have their hearts set on using their city slicker ways to make a buck in their old community. Stack’s old flame, Mary (Hailee Steinfeld, who is phenomenal at exuding smoky sexuality, earnest emotion, and then brazen wickedness), gets involved in the mix, complicating things tremendously (and not just because she’s white). Now, to the vampire aspect; a trio of Irish-born vamps desire entry to the Juke Club, and are met with some resistance…yet Remmick (the beguilingly dark Jack O’Connell), their de facto (de fango) leader, will not be thwarted. Of course, hefty themes of racial inequality, injustice, faith, and a lot more heady topics are explored here that elevate this film to one of the best of the decade, but now…back to the music. Sammie plays his guitar with such passion and soul that he is able to invoke the musical spirits of his ancestors…and even future descendants. The way Coogler and his sound crew blend the blues with the luxurious sounds of other eras is a wonder to behold (and then, naturally, the manner in which they masterfully mix in the scary score to accompany the vicious vampire parts is also perfectly executed). Overall, this moving movie is a knockout all around (just ask The Academy), and the earthy, pulsating sounds of the South will be resonating in the ears of vampire-movie-lovers for a long, long time.
We’ve already found our first two billion-dollar movies of 2026. The first, unsurprisingly, followed in the footsteps of the Chinese animated hit Ne Zha 2 and last year’s Zootopia 2 by being the latest animated sequel to make $1 billion. The video game adaptation sequel, The Super Mario Galaxy Movie, which stars the likes of Chris Pratt, Charlie Day, Anya Taylor-Joy, and Jack Black, will forever be known as the first billion-dollar 2026 movie.
The target was then recently hit by Antoine Fuqua’s musical biopic, Michael, which followed up on a successful run in U.S. theaters by opening in Japan and finally crossing the line. But fear not, order looks ready to be restored, and another animated sequel looks set to hit $1 billion soon. This is thanks to Woody (Tom Hanks), Buzz (Tim Allen), Jessie (Joan Cusack), and the rest of the Toy Story 5 gang, surpassing the $900 million mark worldwide last weekend,
In the U.S. alone, in its fifth weekend, Toy Story 5 made another $14.8 million and finished fourth in the domestic ranks. Not just a box office smash, the latest in the groundbreaking Pixar franchise is also a critical darling, earning a strong 92% score on review aggregator Rotten Tomatoes, alongside a 95% rating from audiences. Collider’s Taylor Gates gave the movie an 8/10 rating in her review, saying, “The impressive fifth installment not only justifies its existence but feels like a necessary response to how much the world has changed in the past three decades.”
Could the Next Billion-Dollar Movie of the Year Have Just Debuted?
As Toy Story 5 edges closer to that all-important box office milestone, a new contender for the prize in 2026 has debuted. Last weekend, Christopher Nolan‘s most ambitious film yet, The Odyssey, crashed onto theatrical shores with an almighty bang, shaking the foundations of the 2026 box office with an opening weekend that is Nolan’s highest ever. The movie, dubbed “a filmmaking feast” by Collider’s Perri Nemiroff, has earned a whopping $264 million in its first weekend and sets sail on a likely successful journey to the billion-dollar boundary.
Toy Story 5 is in theaters now. Make sure to stay tuned to Collider for more box office updates.
- Release Date
-
June 19, 2026
- Runtime
-
102 Minutes
- Director
-
Andrew Stanton, Kenna Harris
-
-
Tim Allen
Buzz Lightyear (voice)
-
-
Greta Lee
Lilypad (voice)
By TeeJay Small
| Updated
By now, even the most casual Simpsons fan is aware of the controversy surrounding Apu Nahasapeemapetilon. The fan-favorite character, once voiced by Hank Azaria, first appeared all the way back in the show’s inaugural season and has become a staple of the series for decades. Unfortunately, Apu has been all but written out of The Simpsons and ignored since 2017, following the release of a documentary titled The Problem With Apu. In the years since, Fox has effectively pretended that the Kwik-E-Mart clerk doesn’t exist, until a recent social media post.
On July 11, the official Simpsons X account shared an image of Apu passing a golden, glowing Squishee cup across the counter at the Kwik-E-Mart. Eagle-eyed fans quickly recognized the frame as being pulled from the 2016 episode “Much Apu About Something.” Others questioned if the still was from an upcoming episode, which would place Apu back in the spotlight. Either way, there were a myriad of reactions from fans regarding this sudden acknowledgment of a character who has been relegated to the distant background since “Gucci Gang” and fidget spinners were all the rage.
Soft Lanch, Or Hot Air?
In case you’re not up to date, comedian Hari Kondabolu created The Problem With Apu to raise concerns regarding Indian stereotypes in media, and the damaging effects they can have on real-life Indians. In the special, Kondabolu claims that he and others have been tormented by refrains like “thank you, come again,” and jokes which call back to The Simpsons as a singular cultural touchstone. Needless to say, the Indian people are not a monolith (the diaspora accounts for some 1.4 billion), and others, like Akaash Singh, have argued that the character actually brings positive representation to the cultural forefront.
If this social media post is indeed a soft-launch of Apu’s return, the network will surely be met with plenty of questions. For starters, will Hank Azaria return to the role, or will Apu be recast by an actor of actual South Asian heritage? Azaria has been asked multiple times if he’s open to a return, and made it perfectly clear that he has no plans to offer up a “thank you, come again” any time soon. Other Simpsons characters, including Dr. Hibbert and Carl Carlson, have been recast in recent years, as a greater cultural push demands characters be played by actors who share their lived experience.
The Simpsons is not the only animated series that’s faced this backlash. Futurama, Family Guy, and Big Mouth have also agreed to swap caucasian voice actors out of non-white roles. BoJack Horseman (which concluded before this controversy became relevant) was criticized for Alison Brie’s performance of Diane, a Vietnamese-American with very few roots to her ethnic homeland.
No matter what happens with the Apu character, some subset of fans will surely be up in arms. For now, it seems like Fox will make their decision based on market research, and try to offend as few potential viewers as possible, while cashing in on rage-bait politics with cryptic social media posts.
Streaming was once seen as an alternative to basic cable with more options and fewer distractions, but the industry has increasingly updated its subscription services to feel more like traditional television. Amazon Prime used to make a clear distinction between its ad-supported free content and a more streamlined subscription model; until 2024, the “Freevee” app for ad-supported content was independent of Prime Video, but now all content is hosted in the same place with different tiers. Amazon is replacing its existing “ad-free tier” with Prime Video Ultra, which allows for increased offline viewing, five concurrent streams, and Ultra HD and 4K quality picture and sound by Dolby Atmos. Given that any new perks within streaming come with price hikes, the Prime Video Ultra tier has been raised from $14.99 to $19.99 per month.
While it should be expected that services will ask for more when adding new benefits, Prime Video has framed its ad-supported tier as the baseline subscription, as even those who pay the yearly rates for all Amazon Prime capabilities will have to deal with ads. Ads might have been an annoyance that could be dealt with for those using the free tier, but Prime Video isn’t even suggesting that an ad-supported subscription is the cheaper option anymore; the basic Prime Video subscriber should expect ads, as only those willing to tack on additional viewing capabilities will be exempt from distractions. There have been many questions about how streaming services will continue to be profitable as content spending goes up and the maximum subscriber count has plateaued, and the pivot towards ad integration provides an answer.
Prime Video Is Reframing Its Streaming Tiers
It’s important to remember that every major streaming service has gone back on its initial promise to be ad-free, as the option to draw in new subscribers with a less expensive option was too alluring to pass up. Prime Video is unique in this regard because it was initially seen as a bonus for those using Amazon Prime for other reasons; if a subscriber was accessing content on Prime Video, they, in all likelihood, used Amazon for other consumer needs. While Freevee had operated as an experiment to test how well subscribers reacted to ad-supported content that was hosted in the Prime Video interface, there’s a different calculation involved when there is an actual subscription price. Similar to what Netflix and HBO Max have discovered, Prime Video recognized that the integration of ads provides more unique sponsorship opportunities for companies based on how existing users navigate the service. The data Prime Video has on how its users respond to prominent ad placements within the middle of streams is just as desirable for content sponsors as the advertising of their products.
Prime Video is in a position to pivot because it has developed “zeitgeist shows” that subscribers will sign up to watch, even if they don’t otherwise use Amazon Prime. Since its ad interactions allow Prime Video to cut more deals with companies, it is in the streamer’s best interest to develop shows that get a high amount of viewership; this might explain why Prime Video has been more ruthless in cancelling shows that had some degree of critical acclaim or niche fanbase. Prime Video has been savvy in cornering certain markets that haven’t been targeted by other streamers; while there isn’t another service that has produced as much great science fiction content as Apple TV, Prime Video has developed strong followings for its romantic and coming-of-age programs. Prime Video has also expanded some of its most popular shows with spin-offs, which will guarantee that viewers will spend more time on the platform and thus be exposed to more ads. Spin-offs for shows like Reacher, Bosch, and The Terminal List don’t just allow Prime Video to capitalize on some of its most successful properties but also give it the chance to develop a unique brand identity.
Ads Have Become Normalized on All Streaming Services
Prime Video is experiencing a broad strategic shift because its content has to be adjusted for ads to be incorporated. Some of Prime Video’s longest-running shows, such as The Boys and The Lord of the Rings: The Rings of Power, began airing on the service before ads were commonplace; these shows’ creators now must either find natural ad breaks in the episodes or risk taking the viewer out of the experience with an awkward transition. This is further complicated by the fact that Amazon Studios has found more success with its theatrically released films that hit the service months after they leave cinemas, such as Project Hail Mary, The Sheep Detectives, or Crime 101. Since the fact that these films hit Prime Video before other subscription-based services is part of the appeal, calculations are made to determine how to best incorporate ads; some feature an extended run of ads that run before the film so that there are no interruptions during playback.
Although it used to be an option to save extra on a monthly bill, ad-free streaming is now a luxury offered to those who want better restoration, multiple streams, and better surround sound. While it doesn’t come as a surprise that all streaming services seem to be following the same pattern, there’s no need for them to put up the guise that they’re much different from cable television. The massive amount of spending that Prime Video puts into its original content comes with a cost, and ads are clearly the strategy to be most profitable.
Bruce Springsteen’s political commentary has sparked plenty of debate in recent years, and another fellow musician has now joined the growing list of critics.
Journey keyboardist Jonathan Cain recently argued that politics has no place on the concert stage, saying artists should focus on entertaining audiences rather than sharing their personal views.
His comments not only took direct aim at the rock legend but also echoed concerns Mick Jagger recently raised about Springsteen’s increasingly political performances.
Bruce Springsteen’s increasingly political concerts have become a talking point beyond his own fan base, with fellow rock legend Mick Jagger offering a different perspective on how artists should approach the stage.
During an appearance on The New York Times podcast “The Interview” earlier in July, the Rolling Stones frontman was asked about Springsteen’s habit of addressing political issues from the stage.
While avoiding a direct personal attack, Jagger made it clear that his own philosophy was very different.
“The bottom line of my thing, really, is that my job in the live music world is [for] those people that come is to have the best time they possibly can,” he said, explaining that audiences should be able to forget “all their problems” for a few hours.
Jagger added that while he occasionally included political themes into his songwriting, he didn’t believe concerts were the place for extended commentary, concluding, “You don’t want to lecture them.”
Jonathan Cain Says Bruce Springsteen Should Leave Politics Out Of His Shows
Jagger isn’t the only rock legend to question Springsteen’s increasingly political performances. Journey keyboardist Jonathan Cain soon weighed in with a far more direct assessment.
The 76-year-old didn’t mince words while discussing Springsteen during an appearance on “The Complete Disaster Network” podcast.
Although Cain acknowledged that he held firm political beliefs, he insisted he had never felt the need to turn his concerts into political platforms.
Reflecting on his own views, Cain explained, “I used to be a Democrat back in the old days, but I couldn’t go there anymore, you know? I’m a diehard conservative.”
He then argued that Springsteen should adopt a similar approach, saying, “And guys like Bruce Springsteen should shut up. You know, really, honestly, shut up, Bruce, you know? Him and who’s the other one? Robert DeNiro. I mean, who cares, guys? Do your art. I try to keep politics out of my music.”
The musician added that while he once enjoyed Springsteen’s work, he now saw the singer as “an annoying, bitter old man.”
Cain Explains Why He Keeps His Personal Views Separate From Music
While criticizing Bruce Springsteen’s approach, Jonathan Cain also emphasized that his own political and religious beliefs remained just personal.
The “Separate Ways” singer said fans attended concerts to hear music, not political speeches.
“People say, ‘Well, you’re a Christian and you’re conservative,’ and I’m like, ‘So what?’” he explained, adding, “I don’t preach it on stage. I don’t spend 10 minutes talking about it.”
For Cain, live performances should provide an escape from everyday divisions rather than reinforce them.
He argued that audiences come together through shared songs and memories, regardless of where they stand politically, which is why he believed entertainers should resist using their performances to promote personal ideologies.
Cain Also Took Aim At Bruce Springsteen’s ‘Born In The U.S.A.’
Cain’s criticism extended beyond Springsteen’s recent public comments, reaching back to one of his biggest hits.
Discussing “Born in the U.S.A.,” the keyboardist argued that the song itself reflected a message he believed was overly critical of America.
“You were born in the USA, weren’t you, dude? So act like it,” Cain said before adding, “But even that song, if you look at the lyrics, I mean, it’s a kind of a diss toward our country.”
By pointing to the decades-old anthem, Cain suggested that Springsteen’s political messaging didn’t begin with his recent speeches but had been embedded in his music for years.
Jonathan Cain Believes Music Should Unite, Not Divide
Rather than using concerts to show political differences, Cain said he believed music should bring people together.
Citing Paul McCartney as an example, he recalled, “I mean, Paul McCartney said, ‘Hey, when I sing Hey, Jude, Democrats and Republicans all sing together.’”
Cain said he strived to create that same atmosphere whenever Journey took the stage.
“And I feel the same way with Journey,” he explained. “We have our parties out there in the audience, respective parties, and they’re singing Don’t Stop Believin.”
For the veteran musician, that sense of unity was what made live performances memorable, regardless of fans’ political affiliations.
Summing up his perspective, Cain argued that entertainers risked undermining that shared experience when they ventured into politics, concluding, “I just don’t think it’s cool to have celebrities going there. It’s a bad look.”
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