By Robert Scucci
| Published 6 seconds ago

I love a solid B movie as much as the next guy, but sometimes low-budget charm isn’t enough to sustain a feature-length film. For every Alienator and Dead End Drive-In, there’s something like 1993’s Mandroid, a movie that muddies the waters with a ham-fisted sci-fi plot. Mandroid has all the right trappings but none of the execution, making it one of those films that’s not “so bad it’s good,” but rather “so bad you start wondering why you’re still watching.”

It’s not that Mandroid is inherently terrible. It has potential. But it’s such a mess thanks to less-than-adequate acting, laughable special effects, and a plot that barely makes sense even though you understand exactly what it’s trying to accomplish.

A Remote-Controlled Robot Riot

Set in post-Cold War Russia, Mandroid centers on Dr. Karl Zimmer (Robert Symonds) and his partner Drago (Curt Lowens), who develop the titular robot. In simple terms, Mandroid is a human-sized machine controlled through a headset and gloves, essentially turning its operator into a real-world avatar. The idea is to use the robot to conduct scientific experiments too dangerous for humans, specifically to synthesize a powerful superconductor by combining volatile substances.

Zimmer, along with daughter Zanna (Jane Caldwell), sees enormous practical applications for Mandroid. They intend to hand the technology over to the United States in good faith with assistance from Agent Joe Smith (Patrik Ersgard) and Dr. Wade Franklin (Brian Cousins), who have ties to the CIA.

Drago, however, has more sinister ambitions. He plans to steal Mandroid and sell it to the military for his own gain. The tension between these two camps escalates into a violent showdown, with only one clear victor by the end. Will Mandroid be used in pursuit of scientific progress, or will it be reprogrammed into a killing machine unlike anything we’ve seen before?

Mandroid Looks Pretty Cool, Though

Despite its lack of meaningful effects work, Mandroid itself looks cooler than it has any right to. It’s a sleek, black humanoid robot, and while it’s obviously a guy in a suit, the design is futuristic enough to sell the premise. Once the central conflict kicks in, the screenplay’s ambition quickly outpaces what’s actually on screen because the budget simply isn’t there for the kind of epic showdown it’s aiming for.

That’s where B movie charm usually saves the day. Films like Alienator succeed because they lean into their camp. Even when the acting is shaky, the schlocky delivery lands with audiences who value concept and charisma over execution.

There’s usually something tangible to grab onto with a great B movie. I’m disappointed to say Mandroid doesn’t quite have that X-factor. It’s fine for what it is, but the material might have worked better as a short in an anthology series instead of a full feature. The nuts and bolts are there. The assembly just leaves a lot to be desired.

As of this writing, Mandroid is streaming for free on Tubi.

Young and the Restless spoilers for next week reveal Phyllis Summers (Michelle Stafford) is returning to Genoa City furious and Victoria Newman (Amelia Heinle) flipping the script with a bold new plan to get back the Newman’s assets.

We have the latest Y&R spoilers for the week of February 23rd, including Nate Hastings (Sean Dominic) and Devon Hamilton Winters (Bryton James) on a mission to find Lily Winters (Christel Khalil), and Daniel Romalotti (Michael Graziadei) in big, big trouble. Plus, the threat of Matt Clark (Roger Howarth) is looming.

Young and the Restless: Nate and Devon Search for the Missing Lily

All right, let’s start with the Winters family. At the end of this week, Nate is catching up with Devon at Society. They’re talking about Dominic Chancellor (Ethan Ray Clark) and being happy he’s home safe, but Devon and Abby Newman (Melissa Ordway) are really angry because Mariah Copeland (Camryn Grimes) is walking around free. That ankle monitor keeps her in Genoa City, but it doesn’t keep her away from Dominic, the kid she kidnapped.

The guys are also talking about Devon and Abby getting increasingly angry at the Mariah situation and debating whether she belongs in prison versus a mental institution. They’re just all worried about Dominic and any residual threat.

Turns out Devon is also increasingly worried about his sister, Lily. He tells Nate they haven’t heard from Lily in a while now. Devon thought Lily went to a spa, but it’s been weeks and they haven’t heard from her. So Nate and Devon are questioning: is it time to get worried about where she’s at?

Victor Newman’s Disappearance and Lily’s Secret Location on Young and the Restless

Next week over at the Chancellor Mansion, Nate and Devon check in with Abby and they tell her that they need to leave town. They think they have a lead on what happened to Lily and they want to go check it out. Abby says, “Do whatever you got to do. Make sure everybody’s safe.”

Here’s what I wonder. If you recall, Victor Newman (Eric Braeden) abruptly disappeared from Genoa City by the end of this week. Adam Newman (Mark Grossman), Nikki Newman (Melody Thomas Scott), Nick Newman (Joshua Morrow), and Victoria—none of them knew where Victor crept off to. If you remember, he threatened Cane Ashby (Billy Flynn) again and said, “Get Phyllis to give back this stuff or else Lily pays.”

I wonder if Victor went to see Lily to talk things through with her. I agree with Adam in suspecting that Victor promised to give Chancellor to Lily if she did this, but Phyllis doesn’t even have that now—Billy Abbott (Jason Thompson) does. Not that I think Victor would have honored his word anyway, but maybe he went in person to tell Lily what’s happening and to say, “I need you to stay hidden longer.”

Young and the Restless: Is Victor Holding Lily Winters Captive?

Worst case, because Nikki is so worried about Victor doing a bad thing, maybe he went and changed Lily’s voluntary fake kidnapping into a real kidnapping and has her locked away. Lily might have decided, “Okay, this is enough. I’m not going to keep staying off the grid. If you didn’t get it done by now, that’s it.” Victor may say, “Oh, well, no, that’s not the end of it.”

I don’t put it past him. Everything they own and have and want is gone, so there are no depths to which Victor will not sink. What’s interesting is then Devon and Nate may find Lily somewhere that Victor has stashed her. That means the whole Winters family would be absolutely furious with the Newman’s family.

I think the rest of Victor’s family would be upset, too, because Nikki was telling Sharon Newman (Sharon Case) and Noah Newman (Lucas Adams) this week she’s very worried Victor is off doing something shady. And he might well be.

Nick Newman Spirals with Illegal Drugs and Aggressive Behavior

Speaking of shady, Nick just stepped onto a dark path. He took the first step. We knew it was coming, but as of the end of this week, it looks like Nick has popped his first fentanyl. If you recall, he was in a lot of pain and he told Nikki and Sharon that he needed to go home and take a pill because he said he left his bottle there.

Then Nick came back with a lot more spring in his step. He looked like he was in less pain, but he was acting way off-kilter. He told them he had one pill left in his bottle but said he needs to get more. But we know he lied to Sharon and Noah because he was out of the prescription pills. He’s got no refills and I bet the doctor won’t write it.

The thing that Nick had, though, was that big baggie of illegal drugs that Matt gave him. Sharon’s worried because Nick is not acting like he took a pain pill like she’s used to seeing. Instead, he’s twitchy and he sounds weird. Honestly, he’s being more aggressive than usual. Sharon mentions this to Noah and now they’re both on high alert and keeping an eye on Nick.

Victoria Newman Plots Revenge Against Billy and Phyllis

Meanwhile on Young and the Restless, the Newman’s family debated the timing of Victor jetting off because it came at the same time that Phyllis left Genoa City. At the same time, Victoria is cooking up her own vengeful plan to punish Billy and Phyllis and force them to give back what they took.

Victoria is going after their kids. She already hit out at Billy; she sent their kids off to boarding school and he was really ticked off about that. Next, Victoria is planning to get Daniel Romalotti and Summer Newman (Allison Lanier) on the Newman family side because she knows that will devastate Phyllis.

That’s kind of interesting because Cane already thought of that approach. He went to Daniel looking to get him to help force Phyllis’s hand to give stuff back. Plus, Cane is calling Phyllis to try and reconcile with her, which I find highly suspect. Nikki doesn’t think Victoria’s plan is going to work, but honestly, I think Nikki might be selling Victoria short.

Phyllis Summers Returns to Explode at Daniel Romalotti Jr.

I suspect that either Victoria or Cane’s plan to get Daniel as an ally is successful because next week Phyllis is back in town and she blows up on her son. Daniel and Tessa Porter (Cait Fairbanks) are at Crimson Lights playing guitar and chilling. Phyllis barges in there, fresh off her trip, and lays into Daniel.

She uses his full name, Daniel Romalotti Jr. That’s when you know your mom’s mad, when you get the full name. Phyllis is raging at Daniel next week that she won’t forgive him for this. I can’t wait to find out what he did to infuriate Phyllis, and I’m here for it.

Hot on the heels of her return, guess what? Victor is also back in Genoa City and he’s got bad, bad news for the Newman’s family. It has nothing to do with their business, which is all bad news. The new bad news that Victor delivers to the family is personal.

Matt Clark Escapes Custody as Nick Goes into Beast Mode

He tells everybody that Matt Clark has disappeared. The guy got out of police custody and took off. Nick, of course, goes into beast mode and says that Matt could be anywhere, even on the ranch property right now. Nick wants to know how this is happening and he’s going to come completely unhinged next week.

Between Matt getting loose and the fentanyl, it’s about to get crazy with him, basically just like Noah and Sharon were worried was going to happen. Despite Matt being on the loose, I don’t expect to see him for a couple of more weeks because Roger Howarth only recently returned to tape at Y&R and there’s like a four-week tape-to-air delay.

There is a lot of action going on next week. We also have the last three episodes of February Sweeps, which wraps up on Wednesday. So, check for that and be sure to watch our full weekly spoilers video that comes out this weekend, plus our predictions and two-week spoilers. It’s going to be good stuff the week of February 23rd through the 27th. Do not miss a minute of Y&R.

By Chris Snellgrove
| Published 13 seconds ago

Starfleet Academy’s sixth episode (“Come, Let’s Away”) was a standout tale that ditched the series’ infamous tryhard humor to deliver a tight action/adventure thriller. As someone who had been hard on the show before, I was morbidly curious if that grimdark outing represented the new normal. Would this Star Trek spinoff finally start taking itself seriously in every episode, or would the series be returning to sloppy comedy form?

The seventh episode (“Ko’zeine”) managed to surprise me, and not always in a good way: this story brought goofy comedy back to the forefront, but the humor is less forced and all the more fun for it. Plus, the episode channels the vibe of both indie coming-of-age films (like Garden State) and wedding rom-coms (like My Best Friend’s Wedding) into an uneven episode that packs plenty of character development. As a result, “Ko’ziene” is a deep improvement over earlier Starfleet Academy episodes, but it fails to pack the high-octane thrills and equally high stakes of “Come, Let’s Away.”

Spring Break Is Finally Here

The general premise of “Ko’ziene” is that the various cadets are headed home for Spring Break, but things quickly go awry for three of our heroes. Caleb has no family to return to, so he decides to stay aboard the Athena, trying to take his mind off the injuries sustained by his telepathic girlfriend when she successfully saved him from the Furies. She is recovering on Betazed, and Caleb is having trouble composing the right message to express his feelings; however, he gets a welcome distraction from Genesis, whose decision to steal back aboard the Athena hides a shocking ulterior motive.

Meanwhile, the B plot is that Jay-Den sees Darem getting abducted, and he follows the kidnappers to discover a rather insane surprise. You see, Darem has been nabbed by his own people as part of an ancient ritual, and he is about to marry the woman he was betrothed to many years ago. Jay-Den now has to serve as his best man, but that means he has to avoid a romantic getaway in Ibiza with Kyle, his himbo War College boyfriend.

Taking Aim At The Series’ Awful Humor

Before you say it, I want to let you know I get it. If you’ve hated most of Starfleet Academy up until this point, then “Ko’zeine” sounds like a double serving of the show’s two most annoying aspects: awkward romance and teen angst. However, this outing is better than earlier episodes this season for the simple fact that the writers are finally showing a bit of restraint with the show’s attempts at comedy.

Sure, there are still some overly goody bits here, like Caleb’s ears swelling up in a bit straight out of Star Trek (2009). Oh, and he and Genesis chase down a “warp snail” in a low-speed chase sequence so silly that it belongs in Lower Decks. As for the wedding plot, we get a few equally cartoony, overly trope-y bits, like Darem’s elaborate wedding suit tearing and him having a Bridezilla-esque freakout.

Mostly, though, this Starfleet Academy episode puts the forced humor into a dampening field, allowing the more serious elements of the story to have more impact. We get to see Caleb processing his feelings for Tarima in a surprisingly earnest way; he cares for her but doesn’t know how to express his feelings, which is relatively realistic for a teenage boy dealing with his own traumatic baggage. Jay-Den has to confront the depth of his romantic feelings and a potential love triangle, all while learning that his swaggering bully/classmate crush is a secret simp back home.

Star Trek Goes Indie

What holds everything together, though, is that returning Trek director Andi Armaganian shoots the A plot and the B plot through the lens of two very different genre films. Jay-Den and Darem get a wedding-based rom-com story, one that mines humor out of cultural misunderstandings and the two characters’ grudging mutual affection. Caleb and Genesis, however, get a twee coming-of-age adventure that shamelessly channels beloved indie hits like Garden State and Nick and Norah’s Infinite Playlist.

Needless to say, your enjoyment of these plots will hinge largely on your enjoyment of the genre stuff. Personally, I like my wedding comedies to be driven more by winking charisma (like in The Wedding Singer) or raunchy punchlines (like in Wedding Crashers), so I was left just a tad cold by the Jay-Den/Darem B plot. The actors get some fun lines and have a decent chemistry with one another, but their plot line veers a bit too much into the space lanes of a good, old-fashioned soap opera for my taste.

A Weirdly Moving, Weirdly Thoughtful Episode

By contrast, I found the A plot with Caleb and Genesis weirdly moving in large part because the script knows when to pull back and just let these characters vibe out. As if in answer to all those fan complaints about the show’s overly vulgar modern slang, this episode mostly has these characters speaking to one another like actual adults. This contrasts nicely with the shenanigans they get up to (Genesis is hellbent on breaking into the Athena’s bridge), and it sets up the essential dichotomy of Starfleet Academy: that these cadets have the potential to be Picard-style movers and shakers, but like Jean-Luc at this tender age, they still have a lot of growing up to do.

In terms of visuals, this episode has some of the most creative camera angles we have seen so far; instead of action shots designed to make you dizzy, “Ko’zeine” provides dynamic shots of Caleb and Genesis bonding, all while a mellow alt soundtrack punctuates their light interaction with hints of profundity. Granted, I’m a Millennial who absolutely loved Garden State, and that might make you want to take your phaser off stun before shooting me. But I thought this episode perfectly channeled that film’s sense of epic ennui; the idea that everything is meaningless and meaningful all at once for characters who have their whole lives ahead of them and a lifetime of baggage behind them.

Feelings Frequencies Open, Captain

There are no chilling monologues like we got in “Come, Let’s Away,” and unlike that earlier adventure, nobody’s in danger of suddenly declaring “Zo’Keine” one of their favorite Star Trek episodes. But this is a surprisingly earnest, surprisingly honest slice-of-life tale that adds surprising depth to some of the show’s most one-dimensional characters. It’s a thoroughly entertaining (good, not great) tale, one that signifies that Starfleet Academy has overcome most of its growing pains and is ready to finally provide episodes that capture the ephemeral highs and haunting lows of life as a young person.

A fun, unpredictable story that dynamically transforms several of the show’s best characters without disrupting franchise lore? As a Star Trek fan, you could do a lot worse!

March is turning into a blunt reminder that streaming libraries aren’t permanent, especially for older studio horror that cycles in and out on short windows. As Netflix US does its early-month content reset, a lot of viewers will chase the obvious blockbusters leaving on March 1, but genre fans should be looking at the quieter exits: the mid-budget nightmares that still play like a dare. One such departure is a tight, fast watch, barely feature-length by modern standards, yet this Stephen King adaptation delivers the kind of escalating dread that newer horror often stretches into a limited series.

What makes this particular adaptation linger is how it weaponizes something everyday. It isn’t just evil arrives horror, it’s obsession horror: the way a teenager’s need for control can curdle into isolation, the way loyalty turns possessive, the way a shiny new identity can rewrite your morals. The movie keeps the scares clean and physical, metal warping, headlights breathing, a presence you can feel even when no one is speaking, and it never forgets the human cost. Add the legendary John Carpenter’s precision for tension and rhythm, and you get a lean thrill ride that still feels nasty in the best way.

The title heading out is Christine, the Stephen King adaptation that runs a brisk 110 minutes and turns a possessed car into a full-blown relationship from hell. According to the current Netflix US departure list, it’s scheduled to leave on March 1, 2026, meaning your real deadline is the night before. Netflix doesn’t always telegraph when it’ll be back, so if you’ve been meaning to catch this classic, this is the window.

A ‘Christine’ Reboot Was Reportedly in the Works

Christine hit theaters in 1983 as a lean 110-minute supernatural thriller. It wasn’t a massive box-office juggernaut, pulled about $21M worldwide on a ~$10M budget, but it steadily became a cult staple because it turns teen insecurity and obsession into the real horror, with the car as the catalyst.

A reboot seemed locked in when Bryan Fuller was announced in June 2021 to write and direct a new version at Blumhouse Productions with Sony Pictures. Since then, updates have been scarce, enough that Screen Rant reported in 2025 that the remake appears to have stalled, not formally died. Carpenter himself publicly shrugged off the remake talk in 2023, saying, “good luck… it will probably be better,” which probably implied he wasn’t too indulged in it.

Christine is available to stream on Netflix and is scheduled to leave on March 1, 2026. Stay tuned to Collider for more updates.

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Release Date

December 9, 1983

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Runtime

110 minutes

Director

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John Carpenter

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  Keith Gordon

  Arnie Cunningham

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  John Stockwell

  Dennis Guilder

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  Alexandra Paul

  Leigh Cabot

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  Robert Prosky

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  Will Darnell

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Manon Bannerman
Taking Break From Katseye …
But Will be in ‘Touch’!!!

Published
February 20, 2026
5:00 PM PST

Disney’s live-action remakes are always a gamble. Some of these films land with critics and audiences alike, but many fail to capture the magic of the original and fade into obscurity. Lately, they’re being met with more controversies around gender and ethnic representation, too. However, a recent live-action adaptation that was met with mixed reviews at the time of its release seems to be finding a second life on streaming years after its theatrical run. The spike is especially interesting given that the seven-year-old Will Smith-starrer has not been in the news cycle recently, which means viewers are rediscovering it organically.

The film, helmed by Guy Ritchie, was released in May 2019 with a production budget of $183 million. The adaptation was a box office success and crossed $1 billion worldwide to become the ninth-highest-grossing film of the year. As of now, it ranks as the eighth-most-expensive and third-highest-grossing Disney live-action remake. The film holds a 57% critics’ score on Rotten Tomatoes, against a 94% audience rating, which perfectly mirrors its divided reception. Though streaming numbers are starting to tell a different story now.

Ritchie’s Aladdin entered Disney+’s Top 10 list in the U.S. on February 18 and is currently sitting at #10. Not just that, the live-action remake also hit #9 on Disney+ in Hungary on both February 14 and February 16. It remains to be seen whether this is the beginning of a sustained climb or just a momentary spike. For now, though, the Mena Massoud and Naomi Scott musical fantasy is officially back on the audience’s radar.

The Tragic Fate of the ‘Aladdin’ Live Action Sequel

In 2020, Ritchie announced that a sequel to his live-action adaptation of Disney’s Aladdin was officially in the works, with writers John Gatins and Andrea Berloff attached. Unfortunately, though, the follow-up received little to no updates after that. In October 2025, an X fan account for Scott shared screenshots of a conversation in which the star debunked viral rumors that filming on the sequel would begin the following year and called the reports “completely fake.”

Massoud has also taken to social media in the past to express his disappointment over Aladdin being unlikely to receive a follow-up despite crossing the billion-dollar mark. Meanwhile, Ritchie moved on to another Disney project and was tapped to direct the live-action remake of Hercules in 2022 alongside producers Joe and Anthony Russo. However, the film has been in production limbo since then, and Ritchie is reportedly no longer attached to it.

Regardless of all that, Disney’s live-action remake pipeline is not slowing down. The studio is gearing up for the release of Moana on July 10, with Dwayne Johnson reprising his role as Maui and newcomer Catherine Laga’aia stepping into the titular role.

The live-action adaptation of Aladdin is available to stream on Disney+. Stay tuned to Collider for more updates.

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Release Date

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May 22, 2019

Runtime

127 minutes

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Writers

John August

Producers

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Kevin De La Noy, Dan Lin

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Chrisean Rock has shared a clip of her boxing skills, and internet users are hyping her UP.

RELATED: Puttin’ You On! Here Are 6 Facts You Didn’t Know About Chrisean Rock

Chrisean Rock Shares Clip Of Her Boxing Skills

On the evening of Thursday, February 19, Chrisean Rock took to Instagram to share a video clip with her fans. Furthermore, the clip showed Rock throwing fierce punches, practicing her hand and body technique in the gym.

“Done,” Rock captioned the clip.

Peep it below.

Internet Users Are Hyping Her Up

Internet users entered TSR’s comment section, hyping up Chrisean Rock and her apparent boxing skills.

Why Is Chrisean Rock Showing Off Her Boxing Skills?

As The Shade Room previously reported, in January, it was announced that Chrisean Rock signed a deal with XRumble to participate in the platform’s first-ever female Super Middleweight Championship fight. At the time, it was shared that the fight would go down on Saturday, April 25, at Harrah’s Philadelphia Casino in Chester, Pennsylvania. However, Rock’s opponent was yet to be decided.

Later that month, Pepa’s daughter, Egypt Criss, offered to jump in the ring with Rock, per The Shade Room.

Earlier this month, Rock’s opponent was revealed to be Zenith Zion, per The Shade Room. At that time, Zion proclaimed, “Be prepared, Chrisean, because I’m coming to kick your ass.”

After Zion was revealed as her opponent, Chrisean Rock reacted to her spicy words.

RELATED: Oop! Chrisean Rock Reacts To Zenith Zion Saying She’s Going To Kick Her Butt In The Boxing Ring (WATCH)

For a franchise built on legacy, redemption, and shocking returns, it is fitting that one of the most intriguing unrealized Star Wars projects refuses to disappear quietly. The Hunt for Ben Solo, a proposed sequel centered on Kylo Ren after Star Wars: The Rise of Skywalker, may have been rejected once, but new comments and behind the scenes details suggest the idea is far from buried.

And according to Adam Driver, it was one of the most exciting scripts he had ever read.

Adam Driver’s Secret Sequel Plan

Following the conclusion of the Skywalker Saga, Driver quietly began developing a continuation of Ben Solo’s story. Teaming with director Steven Soderbergh and writer Scott Z. Burns, the pitch reportedly explored how Ben might have survived and what redemption would actually look like beyond a final act sacrifice.

Driver has since spoken openly about his passion for the project.

“It was one of the coolest scripts I’ve ever been involved with,” Driver said when discussing the shelved film. “It wasn’t about undoing anything. It was about consequence. It asked what redemption really costs.”

That thematic focus is what reportedly convinced key creatives at Lucasfilm to support the idea. The story was not meant to be a simple resurrection twist. Instead, it would have leaned into the spiritual mythology of Star Wars and the idea that the Force does not operate within normal rules of life and death.

Driver also noted that the film was deeply character driven. “Ben was never meant to be simple,” he explained. “There was always more there. We wanted to explore that in a way that felt earned.”

Adam Driver, as Kylo Ren The Force Awakens [credit: Disney Pictures]

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Why Disney Said No

Despite creative enthusiasm, the pitch ultimately stalled at the executive level. When presented to leadership at Disney, including CEO Bob Iger and co chairman Alan Bergman, concerns reportedly centered on the plausibility of Ben Solo surviving his apparent death.

From a corporate standpoint, the Skywalker Saga had concluded. Reopening it carried financial and narrative risk. Driver has acknowledged that hesitation without bitterness.

“I understand why people were cautious,” he said. “But Star Wars has always been about taking big swings.”

He is not wrong. The franchise has revived characters before, often in far more controversial ways. For many fans, Ben Solo’s survival would have felt thematically aligned with the saga’s long history of redemption arcs and Force mysticism.

Why The Story Still Has Life

More recently, comments from Kathleen Kennedy have added fuel to speculation that previously shelved ideas are not permanently off the table. Kennedy has emphasized that Lucasfilm continues to revisit concepts depending on timing and creative direction.

That matters. The Star Wars franchise is currently in a period of recalibration, with new films and series reshaping its future. In that context, a character driven story about Ben Solo seeking atonement could fit naturally into a broader thematic revival.

Driver himself has not closed the door.

“I don’t think that story is finished,” he said. “Whether it’s this version or something else, I think there’s still something powerful there.”

For now, The Hunt for Ben Solo remains a fascinating what if. But in a galaxy where no one is ever truly gone, the idea of Ben Solo returning one more time feels less like fantasy and more like unfinished business.

A Florida man has been accused of killing his father after they got into a heated argument about a dog.

Port St. Lucie police said that Sheldon Morrison killed his father, Glen Morrison, shortly before 8 a.m. on Wednesday, February 18, inside their family garage on Southwest Ketona Circle, according to a police report viewed by Us Weekly.

Sheldon’s mother told police that her husband was “agitated and angered” and “banging water containers around” during the argument. She also claimed that “at one point” he “aggressively walked up very close to her.”

However, she said that Glen never touched her and she never felt like she was in danger during the incident.

Related: Ohio Man Allegedly Fatally Shoots Roommate, 61, Over Fight About Dog

An Ohio man is dead after a New Year’s Day argument with his roommate over house rules turned fatal. Robert Palermo, 24, has been charged with aggravated murder in connection with the death of John “Lefty” Grehn, 61, who was a longtime friend of his father’s. The incident reportedly occurred on Thursday, January 1, after […]

At this point in the altercation, Sheldon went into the house and retrieved a gun. He then reportedly returned to the garage and shot his father, according to the report.

A brief manhunt was launched for Sheldon and he was arrested hours later in Hollywood, Florida, on the afternoon of February 18, according to the police report. He was then brought back to St. Lucie County and is currently in custody at St. Lucie County Jail, according to online records viewed by Us Weekly. He is now facing murder charges in connection to his father’s death.

It is not currently clear if Sheldon has entered a plea or retained legal representation following his arrest.

After Sheldon was taken into custody, Police Chief Leo Niemcyk was asked what he believed Sheldon’s mindset was following the arrest.

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Related: Dog the Bounty Hunter’s Stepson Faces Life in Prison After Shooting Son

Duane “Dog the Bounty Hunter” Chapman’s stepson Gregory Zecca is facing life behind bars if convicted of aggravated manslaughter after fatally shooting his teenage son. Florida’s Collier County Sheriff’s Office posted an update on the July 2025 incident via Facebook on Tuesday, February 3, stating that Zecca accidentally shot his 13-year-old child, Anthony, in the […]

“It’s hard to say. You know, I have to presume that he’s dangerous. You just shot and killed his father and fled the scene,” he said, per CBS 12. “Believed to be armed. So, I can’t state, his state of mind, right? It’s obviously not normal today.”

After Sheldon committed the murder, he reportedly told his mother, “I thought he was going to kill you.”

Former Palm Beach County State Attorney Dave Aronberg weighed in on the case, telling WPBF that he believes the comment is a “critical piece of evidence” in the case to determine “the gap in time.” Despite sharing his thoughts on Glen’s death, Aronberg is not involved in this particular case.

Additionally, Aronberg said that he expects Sheldon to plead self-defense.

“The defendant may try to convince at least one juror that he was in reasonable fear of his safety and had to engage in violence to protect his mother and himself,” the attorney said.

Aronberg went on to admit that he believes arguing that the killing was self-defense may be a “steep hill to climb,” pointing out that Glen was not armed during the incident and has no history of violence.

“The defendant had to go into another part of the house to go retrieve a weapon, so the threat was over at that point, and he brought it back with a gun,” Aronberg added.

The investigation into Glen’s death remains ongoing.

Megyn Kelly was an inquisitive spectator during the Team USA women’s hockey gold medal game victory over Canada — and social media had a field day with her line of questioning. 

“Why do ppl keep calling the Megan Keller goal filthy/nasty/dirty in a good way? Can hockey fans pls explain?” Kelly, 55, asked via X on Thursday, February 19. 

The question was posed after Team USA’s Keller, 29, scored a highlight-reel goal in overtime to defeat the Canadians in the tournament final. 

“Those things have been positive descriptors in sports for going on 30 years,” one person responded to Kelly. 

One person commented, “You aren’t even that old. My boomer parents understand this. 😂”

“This was a real question? These slang terms aren’t exclusive to hockey,” another fan wrote. 

Despite the trolling, Kelly did receive some genuine answers to her query. 

“Hockey slang for the most beautiful goal or display of skill you’ve ever seen. The highest praise!” Fox reporter Britt McHenry responded. 

Another said, “It’s nothing to do with hockey Megyn, it’s basic millennial slang! Nasty/filthy is used to express admiration for or being impressed by something.”

Kelly responded to the wide array of answers, writing via X, “You guys are filthy! Thank you!”

The former Fox News host discussed Team USA’s dramatic victory Friday morning on her podcast, “The Megyn Kelly Show.”

“Move over Megyn Kelly, make room for Megan Keller,” she said. “Who scored the game-winning goal against our northern neighbor.”

After the game, Keller, a native of Farmington, Michigan, discussed the history-making moment, which all started with a feed from teammate Taylor Heise. 

“A lot of times you get a little nervous trying to make a move,” Keller said. “Heise made a great pass up to me, just saw one defender and thought, ‘Why not?’”

Team USA forced overtime after captain Hilary Knight, playing in her 5th and final Olympics, tied the game with 2:04 remaining in the third period. 

“I remember [head coach John Wroblewski] drawing it up,” Knight, 36, said of the game-tying goal. “And I was like, ‘Yeah, this is our moment. Here we go.’”

She added, “I’ve had a heck of a career personally. It’s been an incredible ride. I have to soak this all in because this room is just so special, this team is so special. This is the best U.S. hockey team I’ve ever been a part of. That is just so tremendous.”

Knight’s goal moved her into sole possession of the U.S. record (men’s or women’s) for goals and points in an Olympic career, with 15 and 33, respectively. 

“Poetic,” Team USA’s Kendall Coyne Schofield said of Knight’s accomplishment. “I said it yesterday, Hilary always goes out with a bang.”

She added, “You couldn’t script it any better.”

Team USA defenseman Lee Stecklein echoed the sentiment about Knight. 

“I think that’s the perfect way for her to break the record,” Stecklein, 31, said. “She carries that pressure, and she knows we’re relying on her. If it wasn’t her, I do believe it could have been someone else. But also, it’s so not surprising for it to be her because that’s just who she is and who she’s always been.”