Entertainment
21 Savage Post About ‘Big Mama’ Album (PHOTO)
Social media users are diving into 21 Savage’s comment section following his post about Latto’s recent album release.
RELATED: Awww! Fans Think 21 Savage Confirmed The Arrival Of His Baby With Latto & The TL Is In Shambles (PHOTOS)
21 Savage Posts About Latto’s Album
On the evening of Thursday, May 28, 21 Savage took to Instagram to share a post in promotion of Latto’s latest album, ‘Big Mama.’ To note, the album was released at midnight on Friday, May 29. Furthermore, 21 captioned his post, which featured the album’s cover art, “Midnight 🤯🤯🤯🤯”
Social Media Users Are In 21 Savage’s Comment Section Following His Post About Her Album
Social media users hopped into 21 Savage’s comment section following his post about Latto’s album.
Instagram user @thagreenbox wrote, “Her baby daddy even post the single 🔥🔥🔥🔥🔥🔥”
While Instagram user @1vonb added, “That’s you big bro?”
Instagram user @naffygangsta wrote, “Now what yall gotta say 👀🥰👌🏾”
While Instagram user @senki.lincoln added, “My guy is this a soft launch🤩🤩”
Instagram user @makiyadanee wrote, “ik that’s right, support your girl!”
While Instagram user @pinkydidit1st added, “Yes tell Everybody to mind their own Damn business when it comes to to y’all relationship ❤️”
Instagram user @callmebeautiful__x3 wrote, “Yk what song I’m listening to first on the album 🤣”
While Instagram user @bawsycarter added, “LOVE THIS ❤️”
Instagram user @hareeesy wrote, “Congrats on the transition big bro”
While Instagram user @ganger_design added, “Tell the world what ur baby mama got🔥”
Instagram user @man_g_nifique wrote, “Man really had a whole family and a baby on the way and managed to keep it completely undercover!”
While Instagram user @mojelamaria added, “Congratulations 🎊”
More On Latto & Her Album
As The Shade Room previously reported, on Thursday, April 28, Latto teased that her interview with Apple Music would be dropping on Friday. Furthermore, the interview would seemingly highlight her now-released album and her stepping into the new chapter of motherhood. Latto teased the sitdown by sharing a short visual of what her life is looking like nowadays.
RELATED: Mommy Era?! Fans Say Latto Is Giving Full “Big Mama” Energy With Baby Bottle Prep In Interview Teaser Clip (WATCH)
What Do You Think Roomies?
Entertainment
Billy Joel celebrates his 10-year-old daughter graduating elementary school: 'Beyond proud'
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“Amazing things are in store for this girl,” the singer said after Della Rose’s milestone moment.
By Joshua Tyler
| Published
The 1990s belonged to Steven Spielberg. Having established himself as the most bankable director in Hollywood with movies like Raiders of the Lost Ark and E.T. in the 1980s, the now-iconic filmmaker entered the decade with the cachet needed to do just about anything he wanted.
What he wanted more than anything else was a lavish production adapting Peter Pan, the most iconic children’s story ever written. So he went to work creating, building, and crafting. By 1991, his passion project was complete and set for release as the year’s biggest Christmas entry. Then it all went horribly wrong.
Spielberg, used to endless success, found himself targeted and mocked. As the sharks circled, his movie became an endless punching bag for people who thought he needed to be knocked down a peg. Worst of all, none of that negativity was deserved.
This is why Hook failed.
Steven Spielberg’s Team Up With Michael Jackson
Steven Spielberg had been obsessed with Peter Pan since before he was the guy who made blockbusters. As a kid, he staged his own backyard version of the story. As an adult, he kept trying to turn that fascination into a movie, and kept failing to find the angle.
At first, that led him to Michael Jackson. Like Spielberg, Jackson was obsessed with Peter Pan. Michael saw himself as the boy who never grew up, and it’s why he named his sprawling compound Neverland Ranch. So, with Spielberg actively working on a way into the world of Peter Pan, Michael Jackson approached him with a pitch, and Steven Spielberg was into it.
Solving The Peter Pan Problem
The project reportedly moved far enough along that there were serious creative discussions about songs, tone, and scale. But it kept stalling for the same reason every other Peter Pan version stalled for him: it didn’t solve the biggest story problem inherent in any Peter Pan project. That story problem is this: Peter Pan never changes.
Main characters need an arc; they need to grow and develop as people. Yet, the entire point of Peter Pan is that he doesn’t grow; he doesn’t change. It’s why Wendy is the main character of J.M. Barrie’s book, and not Peter Pan.
But Spielberg wanted to make a movie about Peter Pan. To do that, he had to find a way to give Peter Pan room for growth. His solution was a script called Hook.
His Michael Jackson version was abandoned, with some of its best elements working their way into what Hook became. The bright theatrical sets, the heightened performances, even the occasional musical energy, they’re leftovers from that version of the movie that never got made. Instead of trying to preserve the Peter Pan myth as Jackson wanted, Steven Spielberg built a story about what happens when that myth breaks down.
Robin Williams Is The Manic Child Inside Us All
Spielberg landed on Robin Williams as his Peter because he needed duality. Williams could play both the burned-out adult and the manic child underneath, all in one movie. The movie wouldn’t work without that, and there’s never been another actor who could pull that off the way Williams could.
Next, he brought on Dustin Hoffman as Captain Hook, disappearing so completely into the role that early crew members reportedly didn’t recognize him in costume.
The Cost Of Building Everything
To preserve the magic and wonder of the Peter Pan myth, everything about the movie was built the old-fashioned way: massive practical sets, constructed almost entirely on soundstages at Sony Pictures Studios. Neverland was built piece by piece, out of wood, paint, and sheer scale, with sprawling pirate ships and the Lost Boys’ hideout physically constructed.
The result is one of the most beautiful movies ever filmed, but it took forever and cost a fortune. The production became notoriously long and expensive, pushing past $70 million, a huge, huge number for the time.
Behind the scenes, it wasn’t exactly smooth sailing either. Julia Roberts, cast as Tinker Bell, earned tabloid attention for reported on-set tensions and was infamously labeled “Tinkerhell” in the press, while Spielberg himself later admitted he felt creatively adrift during filming, unsure if he was making a kids movie, a dark adult allegory, or something awkwardly in between.
Stress And Tension Makes Magic Happen
Stress and tension, combined with something deeply personal and meticulously crafted, sometimes makes magic. That’s exactly what happened with Hook.
Peter Pan grew up. That’s the story. That’s Spielberg’s solution to his unsolvable problem.
The movie begins with the story of Peter Banning, a man who is everything Peter Pan was never supposed to become: a corporate lawyer, glued to his phone, too busy to notice his own kids slipping away. Then his kids actually do slip away, literally. They’re snatched out of their beds and dragged to Neverland by Captain Hook, who’s tired of waiting for his old enemy to grow up and finally does it for him.
Peter Banning follows, but the problem is he’s forgotten he was ever Peter Pan. He can’t fly, can’t fight, and barely remembers who he used to be, which makes him useless in a place built on belief.
The Lost Boys don’t buy him; their current leader, Rufio, flat-out rejects him, and Hook toys with him like a washed-up relic. What should have been a rescue mission turns into a midlife crisis with swords, as a man grapples with what really matters to him in the world.
To save his kids, Peter has to relearn imagination, rediscover joy, and essentially undo adulthood long enough to become the thing he abandoned. That’s exactly the kind of character development Spielberg spent decades looking for.
Renewed, revitalized, and with the welfare of his kids as his focus instead of empty corporate networking, the movie’s grand finale is Peter Pan versus Hook, round two, and this time it’s for everything. It’s a perfect story for every adult facing down the stress of middle age, while also a family story filled with all the magic and wonder kids need to fire up their own imaginations.
The Attack On Hook
Though it’s now often regarded as a masterpiece and regularly defended as one of the 90s’ best fantasy movies, that’s not what happened to Hook when it was released. The budget, the production problems, it all loomed large over everything. Because of that, pundits treated it like a flop, a failure, when in reality it wasn’t at all.
Everyone expected a juggernaut. This was Steven Spielberg at the peak of his powers. The powers that be demanded another E.T. Instead, released in December 1991, Hook opened solidly but not spectacularly, pulling in about $13 million its first weekend.
It faced immediate competition from Beauty and the Beast, which was surging on word of mouth and becoming a cultural event, siphoning off the family audience Hook was counting on.
Smelling blood in the water, everyone pounced. Reviews at the time painted it as overstuffed, sluggish, and strangely joyless for a movie about rediscovering childhood. Many pointed out that Steven Spielberg, usually so precise, seemed lost in his own production, delivering something visually extravagant but emotionally unfocused.
Critics refused to accept Robin Williams as a serious actor, making cracks about Mork from Ork and dismissing him as not worthy of standing against Dustin Hoffman. All of it was ridiculous, especially given that Williams had already proven himself as an actor with Dead Poets Society.
Hook’s Slow Burn Box Office
Domestically, Hook went on to earn around $119 million, with a worldwide total landing in the $300 million range. On paper, that looks like a hit.
In reality, the film’s production budget, hovering around $70–80 million, huge for the time, combined with marketing costs meant the margin wasn’t nearly as impressive as the raw numbers suggest. This wasn’t E.T. money. It wasn’t even Indiana Jones money. It was a step down, and for Spielberg, that was framed as a miss.
Framing it that way was especially easy to do because of how Hook earned its money. It eventually turned a profit because the movie kept playing in theaters as word of mouth prompted more and more repeat viewing.
I was thirteen years old, and remember seeing it at least six times, going over and over again with the families of friends who’d heard it was good and decided they’d check it out. “I think we are going to go see Hook, I’ve heard it’s good,” someone would say. To which I’d respond, “I love Hook, count me in!”
Hook never had that BIG box office weekend that gets people talking. It just kept playing, kept being seen and enjoyed, as people showed up and watched.
That’s Hook in a nutshell. Lavish, beautiful, and deeply personal. The kind of movie you love, cherish, and keep to yourself until you’re ready to share it with someone you love.
Hook Comes Out On Top In The End
Now most of the ludicrous condemnation of the movie has vanished. It’s a respected family classic, one people get excited about showing to their kids.
Hook is a high-water mark in 1990s family filmmaking excellence, the kind of lavish production that Hollywood is no longer capable of producing and wouldn’t want to try to make, even if it could.
Action thrillers live or die by momentum. The genre depends on tension, pacing, charisma, and escalation. The viewer has to feel that events are spiraling constantly forward. To achieve this, the best of these movies hit us with expertly choreographed action sequences as well as characters that we can genuinely invest in.
With that in mind, this list attempts to rank some of the most entertaining action thrillers in movie history. The titles below span a range of styles and tones, from gritty detective stories and practical stunt showcases to hyperkinetic martial arts spectacles and globe-trotting espionage epics, each exhilarating in its own way.
10
‘The Raid’ (2011)
“Pulling a trigger is like ordering a takeout.” This banger boasts a simple but juicy setup: an elite Indonesian SWAT team enters a towering apartment complex controlled by a ruthless crime lord (Ray Sahetapy), only to become trapped inside after their cover is blown. From there, the movie transforms into one of the most relentless action experiences ever filmed. The protagonists must fight their way through every floor of the building like levels of a video game, each more intense than the last.
The combat choreography is off the charts here, and shot in a style that perfectly ups the impact. The fight scenes, heavily influenced by the Indonesian martial art pencak silat, are savage, fast, and painfully physical. Refreshingly, they never get repetitive. These sequences are chaotic and multidimensional, but director Gareth Evans makes sure they’re easy to follow.
9
‘Speed’ (1994)
“Pop quiz, hotshot.” Speed is the most breakneck action movie of the 1990s, hitting the ground running and never letting the tension ease for a second. After a terrorist plants a bomb on a Los Angeles bus, LAPD officer Jack Traven (Keanu Reeves) must keep the vehicle moving while trying to outsmart the bomber before dozens of civilians are killed. The bus will explode if its speed drops below 50 miles per hour. Opposite Traven is Annie Porter (Sandra Bullock), a passenger who unexpectedly finds herself behind the wheel.
The leads have a great dynamic, keeping their characters playful and human amid the escalating danger. Meanwhile, Dennis Hopper’s villain is just the right amount of theatrical. That said, it’s the practical stuntwork and ever-ratcheting suspense that ensures Speed’s place in action movie history. Every obstacle becomes a potential disaster, and catastrophe could strike at any moment.
8
‘The Fugitive’ (1993)
“I didn’t kill my wife!” Harrison Ford leads this one as Dr. Richard Kimble, a man who is falsely convicted of murdering his wife (Sela Ward). While being transported to prison, Kimble escapes during a train crash and begins desperately trying to uncover the truth behind the murder while evading relentless U.S. Marshal Sam Gerard (Tommy Lee Jones). A lot of action flicks are one-note, but The Fugitive is well-rounded, hitting us with a perfect balance of suspense, action, and character development.
A big part of this is due to the everyman protagonist. Kimble is sympathetic because he behaves like an ordinary, intelligent guy forced into impossible circumstances. He isn’t a trained assassin or action hero. He survives through improvisation, desperation, and determination. That vulnerability makes every chase sequence feel genuinely tense, and his victories all the more satisfying.
7
‘Casino Royale’ (2006)
“The bitch is dead.” After years of increasingly exaggerated gadget-driven spectacle, the James Bond franchise desperately needed reinvention. Casino Royale accomplished exactly that by stripping Bond back down to something rawer and more vulnerable. The story sees the newly promoted MI6 agent (Daniel Craig) attempting to bankrupt terrorist financier Le Chiffre (Mads Mikkelsen) during a high-stakes poker tournament in Montenegro. At the same time, Bond’s relationship with Vesper Lynd (Eva Green) provides some much-needed emotional weight.
The drama and action are more grounded and realistic this time around, anchored by a well-written script. Fight scenes are messy, exhausting, and painful rather than effortless displays of coolness. Bond sometimes gets his butt kicked, even gets taken prisoner and tortured. Our suave protagonist loses his aura of invincibility, which makes us a lot more invested in his journey.
6
‘The Bourne Ultimatum’ (2007)
“Get some rest, Pam. You look tired.” By the time the third instalment arrived, the Bourne franchise had already reshaped modern action cinema. Yet Ultimatum somehow escalated everything further, delivering one of the most tightly constructed and relentlessly paced thrillers ever made. In it, Jason Bourne (Matt Damon) closes in on the truth behind the CIA’s Treadstone and Blackbriar programs while being hunted across multiple countries by assassins and intelligence agencies.
There’s a lot of ground to cover, both narratively and literally (the plot takes us from London to Madrid to Tangier to New York), but the movie is incredibly economical, never wasting a scene. The editing, sound design, and handheld camerawork create an overwhelming sense of urgency without sacrificing coherence. Not to mention, the action sequences remain masterpieces of grounded tension, from the Waterloo Station pursuit to the white-knuckle Tangier rooftop chase.
5
‘Mission: Impossible – Fallout’ (2018)
“I won’t let you down.” The most ambitious of the Mission: Impossible movies, Fallout perfected the franchise’s recipe, delivering a near-perfect fusion of practical stunt work, espionage tension, and blockbuster spectacle. Tom Cruise is at his most charismatic here as Ethan Hunt, racing to recover stolen plutonium while preventing a catastrophic nuclear attack. Sure, the plot is pretty elemental, serving more as connective tissue for the big action sequences. But what action sequences they are!
Every major set piece feels constructed with obsessive precision. The HALO jump is unbearably tense, the Paris motorcycle chase transforms urban traffic into controlled chaos, and the helicopter finale becomes one of the most jaw-dropping practical stunt showcases ever filmed. Knowing that Cruise performed many of these stunts himself adds to the enjoyment. In an era dominated by CGI excess, Fallout feels physically real and genuinely dangerous.
4
‘Dirty Harry’ (1971)
“You’ve got to ask yourself one question: ‘Do I feel lucky?’ Well, do ya, punk?” Few action thrillers have left a cultural impact as massive as Dirty Harry. Clint Eastwood turns in a legendary performance here as San Francisco police inspector Harry Callahan, hunting a sadistic sniper (Andy Robinson) terrorizing the city. Loosely inspired by the Zodiac Killer, the movie combines procedural detective work with explosive bursts of violence. At the eye of the storm is Harry himself, one of cinema’s most iconic antiheroes.
Don Siegel was a master of tough, cynical cinema, and here he directs with lean efficiency, stripping scenes down to their essentials and allowing tension to build naturally. He also conjures up a world that was strikingly bleak and morally gray for a ’70s cop movie. In Dirty Harry, bureaucracy, legal loopholes, and institutional weakness constantly obstruct justice, forcing him to take matters into his own hands.
3
‘The Dark Knight’ (2008)
Image via Warner Bros. Pictures
“Introduce a little anarchy.” The pinnacle of superhero cinema, and one of Christopher Nolan‘s most well-rounded movies. In The Dark Knight, Batman (Christian Bale) attempts to dismantle organized crime in Gotham while confronting the Joker (Heath Ledger), a terrorist anarchist determined to psychologically break both the protagonist and the city itself. From here, the film fires on all cylinders, reaching new heights of comic-book tension, intensity, and dramatic sophistication.
Obviously, the strongest element here is the towering performance from Ledger. He transforms nearly every conversation into psychological warfare, radiating an undercurrent of tension even during quieter scenes. The character is a force that cannot be reasoned with, yet no mere cartoon either. It’s unlikely that any superhero villain performance will ever surpass it. That said, the movie’s action is masterful, too, and the writing is intelligent, making this not just a banger superhero flick but one of the great modern crime thrillers.
2
‘Hard Boiled’ (1992)
“Give a guy a gun, he thinks he’s Superman.” The magnum opus of Hong Kong icon John Woo, Hard Boiled follows hard-nosed cop “Tequila” Yuen (Chow Yun-fat) as he wages war against violent gun smugglers while reluctantly partnering with an undercover cop (Tony Leung) embedded deep within the criminal organization. The plot itself is relatively straightforward, but the execution borders on mythic. Woo transforms gunfights into balletic spectacles filled with slow motion, long takes, dynamic camera moves, shattered glass, dual pistols, doves, and impossible levels of destruction.
The best example of this is the famous hospital shootout (still one of the greatest action sequences ever filmed), which escalates almost absurdly in scale and intensity while somehow maintaining perfect momentum. Nevertheless, there’s also real emotional heft behind the action, including Woo’s trademark fascination with loyalty, brotherhood, sacrifice, and honor.
1
‘Die Hard’ (1988)
“Yippee-ki-yay, motherf—–.” There is a reason so many action thrillers continue getting described as “Die Hard on a…” something. John McTiernan’s masterpiece effectively perfected the modern contained-location action formula, creating a blueprint that countless movies have borrowed from in the decades since. Bruce Willis is at the top of his game here as John McClane, an NYPD officer forced into a desperate one-man battle to rescue hostages being held by terrorists, including his estranged wife Holly (Bonnie Bedelia).
A big part of the protagonist’s appeal is how he balances vulnerability and competence. McClane feels like an actual person trapped in extraordinary circumstances (though one with some awesome skills). He gets exhausted, terrified, injured, and frustrated. All of the performances are great, in fact, with Alan Rickman (in his film debut!) nailing his turn as the villain. Hans Gruber is intelligent, calm, witty, and ruthlessly pragmatic, providing the perfect counterbalance to McClane’s improvisational chaos.
Die Hard
- Release Date
-
July 15, 1988
- Runtime
-
132 minutes
- Writers
-
Jeb Stuart, Steven E. de Souza, Roderick Thorp
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“Law & Order: Organized Crime” and “Brilliant Minds” are among the shows coming to an end.
By Robert Scucci
| Published
If there’s one piece of media that sums up our current consumption habits, it has to be Adult Swim’s Too Many Cooks. It’s an 11-minute musical short that plays out like a classic family sitcom intro before quickly going off the rails, devolving into sci-fi, crime procedurals, medical dramas, and even slasher territory before it concludes. The song itself is about how when there’s too many cooks in the pot, everybody loses the plot, and then we just kind of have to roll with it.
The segment originally aired on October 28, 2014 during Adult Swim’s Infomercials block, debuting at 4:00 a.m. Having seen this one live in real time, I remember wondering what the hell I ate before bed, and then when I looked it up the next day, it all started to make sense. It wasn’t a fever dream, but it plays like one. When you’re drifting in and out of sleep, it just seems like a bunch of senseless non sequiturs, but the more you unpack it, the more obvious it becomes that this bit, written and directed by Casper Kelly, was more prophetic than it had any right to be.
It’s slop, but it’s satirical slop. Looking back at it now, it feels like a warning shot.
It Takes A Lot To Make A Stew, A Pinch Of Salt And Laughter Too!
Too Many Cooks starts out like any other family sitcom from the ‘70s, ‘80s, or ‘90s. A sickeningly upbeat song plays while the principal characters are introduced. The problem is, the characters never stop being introduced. It just keeps going. First, it’s your typical nuclear family. Then there’s a talking puppet cat. Then we’re introduced to people in the neighborhood. Suddenly, you start to notice that one guy has been lurking in the background the entire time, and he just so happens to be a serial killer on the loose, primed to go on a rampage.
The short runs its audience through every genre imaginable, and the characters keep coming. Even worse, everybody living in Too Many Cooks becomes vaguely aware they’re trapped in a never-ending sitcom intro loop, and there’s no escape. The glowing floating signs that tell us each character’s name are actually real, and they follow the characters around. This becomes especially inconvenient when a damsel in distress hides from the crazed killer in her closet, only for her name sign to illuminate through the slats in the door.
Pushing into increasingly dark territory, the most harrowing sequence in Too Many Cooks involves the girl running through the production lot, the music coming and going depending on where she’s located. It creates a Doppler effect that’s infinitely more unnerving if you’re listening with headphones. It makes everything feel real, as if you’re running for your life while an upbeat song plays from the other room, almost like it’s laughing at you.
Things get truly absurd when Too Many Cooks goes full-on Battlestar Galactica, introducing an entire sci-fi premise where the serial killer is now loose in space, and C.O.O.K.S. stands for Cybernetic Operational Optimized Knights of Science, who defend humanity against the Beast Rebels of the Hellscape, or B.R.o.T.H., boasting the tagline, “When it comes to the future, you can never have too many cooks.”
Too Many Cooks Predicted Conformity Gate
Too Many Cooks is a prime example of what happens when too many people get involved in a single project. Without a hint of irony, it reminds me of Stranger Things Season 5. What started as a simple cosmic horror Netflix series with a tight, ensemble cast playing into our fear of the unknown, suddenly named its primary antagonist Henry and made him a weird tentacle tree monster. The mysterious Upside Down that robbed Hawkins, Indiana of its safety and innocence suddenly had dozens of rules and explanations, and none of it made sense. It just kept barreling forward, becoming increasingly ridiculous, convoluted, and unhinged, completely unaware of the fact that it lost the plot after Season 3.
Suddenly, the ensemble cast featured way too many secondary, tertiary, and ancillary characters taking on more significant roles, leaving little room for the growing staff writers, producers, directors, guest stars, and guest directors to properly housekeep. It got so bad that by the time Stranger Things wrapped for good, half its fanbase had a psychotic break, broke down every continuity error, and used them as “evidence” to suggest there’s actually a secret series finale coming that will somehow make it all better. An embarrassing blip on our screens known as “Conformity Gate.”
That’s the pun. That’s the joke. There were too many cooks in the pot, and what started as one thing became something else entirely. Across 11 minutes, the shift is gradual at first, but then it barrels headfirst into a surreal void of insanity that never lets up or makes any sense. Too Many Cooks is funny as its own standalone bit, but looking at the bigger picture, and how shows are jammed through a slop machine and written by committee today, it certainly feels like one writer’s desperate attempt to warn us about what was coming, and we didn’t listen.
It’s only fitting that Too Many Cooks, which is available to watch on Adult Swim’s YouTube channel, plays out like a show that jumped the shark years ago but doesn’t know how to call it quits. After all, it’s 12 years later, and we’re still getting new episodes of The Simpsons.
Entertainment
Star Sightings: Olivia Rodrigo Wears a ‘Saturday Night Live’ Jacket, Emily Ratajkowski Shops in New York City
Here’s a look at what celebrities have been up to as of late!
Olivia Rodrigo poses in the ROOTS limited-edition Saturday Night Live 50th Anniversary bomber jacket after hosting the show in New York City.
Alicia Keys appeared on American Idol wearing KSUBI’s Barrel Jacket in black.
Chase Infiniti attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City in the DELPHINE Florence Gown in Citron.
Jennifer Lawrence enjoyed a stroll in New York City while carrying CYKLAR’s Perfume Oil in Modern Patchouli.
Nikki Glaser attended Netflix Is A Joke Festival Presents: Night of Too Many Stars in Los Angeles, California, where she carried the Hazel Bow Bag from Charles & Keith.
Doja Cat, Tate McRae, Simone Ashley, Lisa, and Alexa Chung attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City wearing Stringys. The brand also launched their first-ever bra.
Kylie Jenner stepped out in Los Angeles, California wearing Helsa’s Beckette Knit Capris.
Nina Dobrev walked her dog in New York City while wearing the Seeley Double Breasted Longline Coat by ASTR The Label.
Becky G celebrated the release of her single “EPA” in West Hollywood, California while wearing Outcast’s Niko Shorts in Black Stripe.
Lily Collins filmed Emily in Paris in Mykonos, Greece while wearing high-waisted floral shorts from Maje.
Shay Mitchell posed on Instagram in a pair of Alana Stiletto Pumps from JUSTFAB.
Miranda Kerr, Karlie Kloss, Ciara, Lindsey Vonn, and more attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City after getting facials by celebrity aesthetician Mimi Luzon.
Doechii snapped a selfie for Instagram wearing the KSUBI Low Rider Exposed Swept Mini.
Bella Hadid vacationed in Saint-Tropez, France in OTRA’s Esme sunglasses in Olive to Gold / Olive.
Eva Longoria posed for a picture on Instagram in the Kinley Earrings in gold by Petal & Pup.
Lindsay Hubbard celebrated the premiere of In The City in New York City while wearing the Natalie Rolt Julietta Dress.
Selena Gomez attended the premiere of Marty, Life Is Short at The Egyptian Theatre Hollywood in Los Angeles, California wearing feathered diamond earrings and a round, brilliant cut diamond ring from Stephen Silver Fine Jewelry. The singer also enjoyed a stroll in London, England while wearing the AGOLDE Dame Short in Convert.
Suki Waterhouse snapped a selfie for Instagram in the DUCIE Holly Long Hair Jacket.
Emily Ratajkowski shopped at the gimaguas pop-up in New York City.
Tina Fey attended a press day for The Four Seasons in Los Angeles, California wearing the INEZ Lola Heels and again to the premiere of the television show.
Emily Blunt, Sarah Pidgeon, Grace Gummer, Sarah Paulson, Luke Evans, and more attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City after getting their skin prepped by celeb facialist Lord Gavin McLeod-Valentine and Skin Lab lead facialist Desireé Delia using The Method by Augustinus Bader.
Katie Couric hosted a live conversation with Cameron Rogers at the Reinventing Relationships event at City Winery in New York City, where they discussed generational healing, family dynamics, and the importance of open conversations around mental health.
Heidi Montag appeared on the Coming in Hot podcast to discuss her comeback as a pop artist with her album, “Superficial”, her marriage to Spencer Pratt, and losing their Pacific Palisades, California home in the Palisades Fire.
Jamie Lynn Sigler shared her love for CYKLAR’s Vanilla Verve Body Oil with New York Magazine.
Terry and Heather Dubrow celebrated the college graduations of their twins, Max and Nick Dubrow, at Loyola Marymount University in Los Angeles, California.
Cameron Diaz and Katherine Power partnered with PAIGE to kick off Summer Fridays season by offering shoppers a complimentary Avaline Wine every Friday from May 22 through Sept. 2.
Hudson Williams starred in a BVLGARI jewelry campaign wearing the SIMKHAI Gibson Leather Shirt Jacket.
Gia Giudice hosted the social takeover of NBCUniversal’s 2026 Upfront presentation at Radio City Music Hall in New York City.
Jesse Solomon appeared on the Summer House reunion wearing ALDO’s Axwell Loafers.
Amanda Frances announced the relaunch of the Vibe Membership with a lower price point and added value.
Holly Humberstone participated in Free People’s FP Sessions performance and interview series wearing the brand’s Clarise Mini Dress, Viola Over-the-Knee Socks, Aurora Flats, In This Groove Mini Slip, Frye for FP Campus Boots, Feeling Again Lariat Necklace, It’s Romantic Brami, In Full Swing Shorts, and Cecily Clogs.
Jimmy Butler attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City in a custom ALO outfit.
Lux Pascal attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City in a custom Cult Gaia look.
Maude Apatow attended the 2026 Met Gala celebrating Costume Art at the Metropolitan Museum of Art in New York City in the Brilliant Earth Perfect 4-Prong Diamond Stud Earrings and Brilliant Earth Diamond Rings and HUE’s Opaque Sheer to Waist Tights.
Jennie stepped out in New York City in Black Suede Studio’s Easy 50 Mule and again in the Reformation Amelia Thong Wedge.
Deacon Phillippe strolled in New York City in ATM’s Slub Jersey Long Sleeve Destroyed Wash Tee.
Mika Abdalla posted on Instagram wearing the Skye Top in Espresso by Atelier Solana.
Sandra Vergara attended the Vulture Reality Masterminds Celebration at The Lawn Club in New York City wearing The Transformer in Crystal/Black by ROCKNOT.
Allie Eklund appeared as one of the newest cast members in the Season 3 trailer of McBee Dynasty at NBCUniversal’s Upfront presentation at Radio City Music Hall in New York City.
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Sophie Saint teased new music, set to be released in June.
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Hammitt hosted an intimate presentation for the Summer ’26 collection at Virginia Robinson Gardens in Beverly Hills, California, where guests enjoyed sips, light bites, music, fashion, and more.
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G&B Digital Management and College of Influence selected five winners of their inaugural College Creator Micro-Grant ’26.
elysewalker Southampton announced that it will be a permanent store location open year-round in Southampton, New York.
BTS The City Arirang teamed up with Black Tap Craft Burgers & Beer at The Venetian Resort Las Vegas in Las Vegas, Nevada to debut the “Our Love Song” combo, which includes the K-Town Chicken Sandwich and Strawberry Cheesecake Classic Shake, available through May 31.
SASHA THERESE launched a new limited-run collection filled with hardware-led sexy minimalism designs with built-in belt detailing, buckle accents, and draped accessories.
SEV Laser conducted a survey with Gen Z and Millennial women, where they found that 1 in 3 have cancelled summer plans because they didn’t feel beauty ready, with over 40% saying it happens more than once a month, highlighting what the brand is calling the Spontaneity Gap. To reduce time spent on routine grooming and upkeep, SEV Laser suggests aesthetic treatments like their laser hair removal, which saves 50 days of shaving and waxing over ten years.
Levain teamed up with Sweet Rose Creamery to bring back cookies à la mode, alongside new offerings like mini-ice cream sandwiches and affogatos.
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OMI introduced two targeted additions to its Hair Growth Peptides™ collection, HARMONIZE and REVITALIZE, peptide-powered formulas designed to address specific causes of thinning and shedding.
Lee launched the Tee Shop, a curated selection of crew necks, logo styles, relaxed silhouettes, pocket tees, and statement graphics across men’s and women’s styles.
Melissa teamed up with GANNI to launch the Melissa/GANNI collaboration featuring the Thong Kitten Heel and Flip Flop Swim.
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PatPat launched a new Star Wars-inspired collection to celebrate the theatrical release of The Mandalorian and Grogu.
Augustinus Bader launched The Overnight Restorative Cream with the brand’s Advanced TFC8® technology to work in sync with the skin’s circadian rhythm and peak regeneration hours for a complexion that appears firmer, smoother, and revitalized.
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Thrillers get ranked too neatly when people talk about them. As if there is one obvious answer and the rest are just honorable mentions orbiting below it. I do not buy that for a second. The greatest thrillers do radically different things to your nervous system. Some tighten one room until it feels like the whole world is trapped inside it. Some weaponize curiosity. That is why the best thriller ever argument never really ends, and thank God for that.
What matters is not only quality. It is a specific kind of possession. The movie that keeps you leaning forward even when you know the turn. The one where every rewatch makes the setup feel more ingenious or the dread feel more intimate. The one whose images have stopped being scenes and turned into permanent furniture in your mind. These ten all qualify. I could absolutely imagine somebody planting a flag on any one of them and saying, no, this is it, this is the greatest thriller ever made. And honestly, on the right day, I might agree with them.
10
‘Zodiac’ (2007)
What makes Zodiac worthy of this conversation is that it understands obsession as suspense. That sounds simple until you really sit with what David Fincher is doing. The killer is terrifying, yes. The murders matter, yes. But the movie’s deepest hook is that the case becomes a slow spiritual infection in the lives of the men trying to understand it. Robert Graysmith (Jake Gyllenhaal) does not just get curious. He gets claimed. The further he moves into the case, the more the movie stops being about crime-solving in the ordinary sense and starts becoming about the terrifying human need to force pattern onto chaos before chaos humiliates your whole idea of order.
That is why it gets better every time. The basement scene is famous for obvious reasons, though the movie’s real power lies in how mundane obsession can look while it is eating a life. Offices, paperwork, handwriting samples, phone calls, awkward home-life deterioration, long stretches where nothing thrilling in the conventional sense is happening, yet the movie keeps tightening. That is a rare skill. Zodiac proves a thriller can be procedural, melancholic, and almost anti-climactic on purpose.
9
‘Memories of Murder’ (2003)
Pain is what gives Memories of Murder its place in this conversation. It starts with the shape of a serial-killer procedural, rural detectives, women being murdered, clues half-grasped, mounting panic, incompetent local policing trying to become adequate under pressure. The cops are often foolish, brutal, improvisational, vain, out of their depth. That is the point. Evil has entered a world not prepared to meet it, and the unpreparedness becomes part of the horror.
The reason somebody could call this the greatest thriller ever is that it never treats the murders as isolated mystery beats. They alter the moral atmosphere of the town, the investigators, the weather, even the fields. Rain starts feeling cursed. Darkness starts feeling like accomplice terrain. Detective Park Doo-man (Song Kang-ho) becomes the movie’s central wound, a man who begins with arrogant instinct and gradually discovers instinct is useless against certain kinds of absence. It is a thriller about the unbearable emptiness after the thrill should have ended.
8
‘Oldboy’ (2003)
There are thrillers that twist. Then there are thrillers that take your sense of emotional safety out back and beat it with a hammer. Oldboy is in the second category. The premise is already bizarre enough to hook anyone, a man imprisoned for years without explanation, suddenly released, then thrown into a revenge mystery where every answer seems designed to make the question worse, but that only explains the skeleton. What makes the movie genuinely great is the way revenge mutates from purpose into poison here. Oh Dae-su (Choi Min-sik) moves through the story like a person whose whole identity has been distorted by captivity and hunger and the need to know why.
That is what gives the film its terrible rewatch power. The corridor fight is spectacular and brutal and deservedly iconic, but the real violence in Oldboy is architectural. The villain has built a psychological space for Dae-su to suffer inside long before the two men meet face to face. Every encounter, every clue, every erotic beat, every tenderness, all of it has been contaminated in advance. That is why someone could argue it is the greatest thriller of all time. Very few thrillers are this formally alive and this emotionally cruel at once. It is not content to surprise you. It wants to leave your soul feeling rearranged.
7
‘The Silence of the Lambs’ (1991)
Control alone would give The Silence of the Lambs a place in this argument. It is almost offensively precise. Not a wasted scene. Not a wasted gesture. Not a wasted piece of information. Clarice Starling (Jodie Foster)’s journey works because the film understands from the start that suspense becomes more charged when it is running through a character who is not just trying to solve a case but trying to move through rooms built to diminish her. That is the first genius. Clarice is always reading menace on more than one level, literal violence, sexual scrutiny, institutional condescension, male pathology dressed as intellect, and Foster makes all of that visible without ever turning Clarice into a symbol instead of a person.
Then there is Hannibal Lecter (Anthony Hopkins), obviously, but what makes him unforgettable is not mere creep-show brilliance. It is that the film uses him as a different kind of threat than Buffalo Bill (Ted Levine). Lecter attacks psychologically, aesthetically, conversationally. He makes insight feel invasive. The movie becomes extraordinary because Clarice has to move between two distinct nightmares, the cultivated one that wants to know her and the chaotic one stalking women’s bodies in literal space. That is why the climax works so hard. The basement sequence, in particular, is the whole movie cashing its emotional checks at once. Gender, vulnerability, darkness, training, fear, instinct. It all converges. If someone called this the greatest thriller ever made, I would not fight them much.
6
‘Se7en’ (1995)
Disease is what gives Se7en its claim. Fincher here does not just stage a murder investigation. He creates a whole city where moral decay seems to have turned into weather. Rain, grime, cramped apartments, fluorescent fatigue, everyone in the movie looks like they have already been sleeping badly for ten years. That matters. John Doe’s (Kevin Spacey) crimes do not feel like intrusions into ordinary life but like a monstrous logic emerging naturally from a world already halfway broken. That is what makes the film so sickeningly persuasive.
The structure is brilliant because it keeps the two detectives from becoming simple archetypes. William Somerset (Morgan Freeman) is not only weary wisdom. David Mills (Brad Pitt) is not only a hotheaded youth. They are two different reactions to living in a world that keeps forcing the soul into uglier and uglier shapes. Their conversations matter because the movie is really asking whether despair is intelligence or surrender. Then once John Doe enters physically, the whole film changes temperature without losing momentum. That is hard to do.
5
‘Rear Window’ (1954)
This may be the purest movie ever made about the way suspense and spectatorship are secretly married. Rear Window gives you L.B. Jeffries (James Stewart) stuck in his apartment with a broken leg, looking out at windows across the courtyard, watching strangers live pieces of their lives, and then slowly starting to believe he has seen evidence of murder. That setup is one of Alfred Hitchcock’s most beautiful acts of cruelty.
It makes the audience complicit immediately. Watching becomes the movie. Curiosity becomes danger. Distance becomes intimacy. You are not just seeing Jeff be trapped. You are trapped inside the same act of looking. What makes the film universal is that it understands voyeurism as something almost embarrassingly human. You do not need to be bad to start looking too long. You only need time, proximity, fragments, boredom, imagination, and a slight suspicion that what you are seeing may add up to something awful. Lisa Fremont (Grace Kelly) and Stella (Thelma Ritter) are incredible additions because the suspense gains extra emotional texture once Lisa starts entering the danger physically while Jeff remains forced to watch. That helpless-watchfulness is the whole genius of the movie.
4
‘North by Northwest’ (1959)
Elegance is what lets North by Northwest make its case. Hitchcock takes Roger Thornhill (Cary Grant) mistaken for a nonexistent spy and turns the whole American landscape into a running misidentification nightmare. Thornhill is witty, vain, poised, and then slowly forced to discover that poise is not protection once the plot stops caring who you think you are. That gap between style and vulnerability becomes part of the movie’s rhythm, and it is one of the reasons the film remains so easy to fall into.
The set pieces are immortal, the crop duster, the auction, Mount Rushmore, all deservedly, but they are not iconic just because they are well staged. They are iconic because the movie knows how to isolate a person inside open space. Vastness can be as claustrophobic as a locked room if the threat is organized correctly. Eve Kendall (Eva Marie Saint) matters enormously too, because the romance is not decorative. It is part of the trap and part of the thrill. North by Northwest makes suspense feel sexy, funny, and expansive without ever going soft. That is almost impossible.
3
‘Jaws’ (1975)
Jaws is such an unbeatable contender for thrillers too and precisely because of primal fear. The shark matters, obviously. The attacks matter. The beach dread matters. But the film is perfect suspense because it never relies on the creature alone. It gives you town politics, masculine pride, public denial, class arrogance, economic cowardice, parental terror, sea-myth bravado, and one of the best dramatic escalations ever built in studio filmmaking. Chief Martin Brody (Roy Scheider) becomes the center of that escalation because fear enters through the shark and then infects the whole social body around him.
Once the movie leaves the shore and goes onto the Orca, it becomes almost impossibly good. Brody, Quint (Robert Shaw), and Matt Hooper (Richard Dreyfuss) are three different relationships to fear, knowledge, and masculinity locked on a boat with a force of nature that does not care about any of them. By the end, the water is no longer setting. It is judgment. That is why Jaws sits near the very top of this argument.
2
‘Psycho’ (1960)
This is such a radical piece of thriller storytelling that even now, after decades of imitation, Psycho still feels like the genre realizing how much it can get away with. The film begins as one movie, stolen money, guilt, escape, Marion Crane (Janet Leigh) making increasingly bad choices while the audience gets pulled into the nervous momentum of her attempted reinvention, and then Hitchcock tears that movie apart midstream and replaces it with something much stranger and more destabilizing. That move alone would secure Psycho’s place in the canon forever.
But the reason somebody could call it the greatest thriller ever is that the film keeps getting better even after the famous shock. Norman Bates (Anthony Perkins) is the reason for that. He is unsettling not just because he is off, but because he is recognizable. Lonely, eager to please, trapped inside family poison, awkwardly boyish, desperate to seem gentle. That is what makes the horror inside him so effective. The Bates house, the motel, the stuffed birds, the swamp, the conversations, all of it feels like a complete psychological landscape. And the shower scene is not only iconic because of violence. It is iconic because the film has taught you to care about Marion’s panic before it destroys her. That is the deepest thriller trick of all: take away the future you had already started projecting. Psycho still does that better than almost anyone.
1
‘Vertigo’ (1958)
This is number one because Vertigo feels like the thriller genre dreaming about itself and then waking up sick with desire. It is not the most propulsive film on this list. It is not the most overtly violent. It is not even the one with the most conventional suspense clock. What it has, and what almost no other thriller has in this exact measure, is obsession as atmosphere. Everything in the movie bends toward fixation, Scottie Ferguson (James Stewart)’s fear, Madeleine Elster/Judy Barton (Kim Novak)’s performance, Gavin Elster (Tom Helmore)’s scheme, San Francisco’s dreamlike geography, color, repetition, mistaken identity, the impossible fantasy that love can be preserved by remaking the object of love until it becomes what your grief and desire demand. That is extraordinary thriller material because it makes looking itself dangerous.
Every rewatch deepens the wound too. The first half plays like haunted romantic mystery. The second becomes one of the cruelest studies of male obsession and erotic control ever put on film. Stewart is astonishing. Scottie’s weakness is the movie’s engine. It makes Steward a man whose acrophobia, yearning, vanity, and susceptibility make him usable by the plot long before he understands he has been used. Novak has one of the hardest jobs in cinema and delivers something uncanny, split, vulnerable, manufactured, and heartbreaking all at once. Vertigo is the greatest thriller ever, or close enough that the argument barely matters, because no other thriller on this list fuses suspense, romance, pathology, and visual hypnosis with this much power.
Vertigo
- Release Date
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May 28, 1958
- Runtime
-
128 minutes
- Writers
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Alec Coppel, Samuel A. Taylor
-
James Stewart
Det. John ‘Scottie’ Ferguson
-
Kim Novak
Madeleine Elster / Judy Barton
Social media users believe Latto revealed her baby’s gender on her recently released album ‘Big Mama.’
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Did Latto Just Reveal Her Baby’s Gender On Her New ‘Big Mama’ Album?
On Friday, May 29, Latto’s fourth studio album was released to the world. On the 17th track, titled ‘Mama,’ Latto initially paid homage to her mom, Misti Pitts. But then, on the second verse of the song, Latto seemingly directed her focus to her newborn baby. Ultimately, she seemingly revealed that she’s now a girl mom.
Social Media Users Think So
Social media users gathered in TSR’s comment section, sharing their thoughts on Latto seemingly becoming a girl mom.
Instagram user @killacj93 wrote, “Now I’m just imagining 21 Savage with curls 😭”
While Instagram user @justkamrie added, “I love that for her 🥹”
Instagram user @iamzariahlove wrote, “Y’all definitely thought it was a boy😂😂”
While Instagram user @divinechanell added, “that baby just dont know how rich she is 😂😂🔥”
Instagram user @1stlady.sbk wrote, “Latto gives girl mom anyways, I figured it was gonna be a girl 🥹💕”
While Instagram user @thecoreyshow added, “This the longest baby shower with no meatballs I’ve been to.”
Instagram user @_taylorraayy wrote, “Ain’t the baby here?? Ok chill with the updates unless you got a pic.”
While Instagram user @thebabyru added, “a girl is so perfect for her latto is a girls girllll”
Instagram user @briannakiee wrote, “knew whole time she was having a girl. 🥹🩷 omggg.”
While Instagram user @guymom91 added, “I love that she loves being a mother !!!! That baby is about to be spoiled asf lol”
Instagram user @therealnayblanco wrote, “The gender didn’t even cross my mind… yall too damn nosey 😩”
While Instagram user @iits.justchar added, “Look just like her daddy? 😕”
Instagram user @hello_badgal wrote, “Wow i thought it was a boy”
While Instagram user @liabx3 added, “GIRLMOMS ARE THE BEST TYPE OF MOMS 💓💓💓💓💓💓💓💓💓”
Instagram user @officialtonipayne wrote, “I love how she’s making this experience part of her album roll out. Just cut a check for the baby too, maam.”
Before Latto Seemingly Revealed Her Baby’s Gender On ‘Big Mama’ Album, 21 Savage Showed His Love
Hours before Latto’s ‘Big Mama’ album was released, 21 Savage showed his love. As The Shade Room previously reported, social media users believe Latto welcomed her first child with 21, who previously shared three children with two women.
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On Thursday evening, 21 took to Instagram to share a post promoting Latto’s album.
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What Do You Think Roomies?
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