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There are plenty of horror shows that rely on ghosts, monsters, or masked killers to get under your skin, but one of Netflix’s creepiest series turns something much more familiar into its villain. Red Rose, an eight-episode British horror series with a 100% Rotten Tomatoes score, takes the technology teenagers use every day and asks what would happen if it suddenly started working against them.
Produced by Eleven, the company behind Netflix’s Sex Education, Red Rose puts a sinister twist on the modern teenage experience by showcasing the dark side of growing up online. Across eight episodes, the series mixes familiar horror tropes with social media, smartphones, location tracking, and an app capable of turning its users’ lives upside down. The result is a horror story that feels unsettling precisely because so much of its technology already exists.
Set near the city of Manchester in England, the miniseries follows a group of recent high school graduates whose plans are interrupted when their friend, Rochelle (Isis Hainsworth), downloads an app called Red Rose. At first, the program resembles spam more than something dangerous, beginning as a random text message sent to potential users from a phone number similar to one in their contacts, but unlucky characters who click the link soon find their lives controlled by the program’s insidious functions. When the app takes over Rochelle’s life and eventually results in her suicide, her best friend, Wren (Amelia Clarkson), downloads Red Rose as well, refusing to believe Rochelle would hurt herself and resolving to get to the bottom of the mysterious app.
This resolve leads Wren to undergo the same rituals that Red Rose inflicted on Rochelle, resulting in an eerie series of trials that quickly escalate into the same kind of all-out terror that can be found in the world’s most recent horror movies. At first, Red Rose flatters its victims, using filters to show users an enhanced reflection of themselves and treating them to expensive gifts. Rochelle, for instance, receives a glittery dress when she first obeys the system’s wishes by jotting her innermost desires onto her bedroom mirror, but it doesn’t take long for the app to abuse its user’s newfound trust in the system. After Rochelle’s death, Red Rose taunts Wren with her deceased friend’s digital profile, demonstrating just how quickly everyday devices can be turned into instruments of horror.
As Wren and her friends continue investigating the circumstances of Rochelle’s death, Red Rose’s exploitation of its digital domain only worsens, and it’s through this technological brand of suspense that Red Rose produces its own unique horror. Throughout the self-proclaimed Dickheads’ attempts to retrace Rochelle’s online footsteps, members of the group are subjected to various torments, with Wren in particular almost killed by her stepfather, Simon (Rob Hallett), after Red Rose plants child abuse onto his laptop to blackmail him. Wren’s remaining friends are subsequently stalked both digitally and in person, and the ever-practical Ashley (Natalie Blair) is even hospitalized after Red Rose uses her location to push her off a cliff.
As a result, what makes Red Rose feel so scary is the ever-present power of its digital antagonist, a villainous organization whose lofty, poetic persona is grounded in a familiar apparatus. Unlike other horror shows that imagine the future dangers of modern technology, such as Charlie Brooker’s Black Mirror, Red Rose never veers too far into the speculative, instead opting to torture its characters through methods which feel startlingly realistic. Between the app’s use of editing software to digitally haunt Rochelle with audio and video of her deceased mother and Red Rose’s ability to seemingly access cameras anywhere, the miniseries is at its most creative when uncovering just how much horrifying potential exists in present-day devices.
Red Rose’s manipulation of modern technology to torture its main characters isn’t used solely for sadistic traps, however, as early episodes in the miniseries also showcase how the villainous app can take advantage of social media to isolate its victims. After receiving the dress she needed to attend a party, Red Rose blackmails Rochelle into kissing Wren’s boyfriend, Noah (Harry Redding), and uploads fake posts about the incident in the aftermath. Likewise, after Rochelle’s death, the app again accesses the functions of Wren’s phone to upload posts that make her look insensitive, effectively turning her into her hometown’s pariah and illustrating how technology can exacerbate the dark side of teenage relationships.
Red Rose’s capacity for interfering with the normal teenage experience is demonstrated further as the series progresses. During Episode 3, for instance, one of the sweetest members of the Dickheads, Anthony (Ellis Howard), finds himself haunted by a potential digital stalker while navigating a gay dating app in a relatable moment of underrepresented LGBTQ+ terror in a Netflix series. Later, after the group enlists the help of hacker Jaya (Ashna Rabheru), the Dickheads uncover the truth behind Red Rose’s origins and the story of the app’s founder, Adam Taylor (Charlie Hiscock). A high school student desperately obsessed with his classmate, Taylor’s tragedy is one you’ll have to witness for yourself to understand Red Rose’s main themes, but it’s safe to say this boy never heard of personal boundaries.
Thankfully, the miniseries really kicks into gear when the Dickheads do battle against Red Rose’s current leader, the mysterious online entity known only as The Gardener, and the episodes leading up to the show’s final confrontation should more than satisfy fans of the horror genre. While the miniseries’ realistic premise does at times restrict its fear factor, forcing Red Rose to rely on indirect methods of terror in its early episodes that don’t always hit as hard as they could, the show’s ending still delivers on the violence of its rhetoric.
Moreover, by balancing its thrills with a story that raises awareness about the ongoing struggle against online abuse in the world today, Red Rose uses its digital drama to tell an important and terrifying story. Years after its release, its vision of technology turning against the people who depend on it may feel even more unsettling than it did before.
Red Rose is available to stream on Netflix in the U.S.
Big Brother 28 had its 90 minute veto comp and meeting episode but all eyes were on Angela Murray vs Haley Thogmartin fight club.
First, in another ew moment. Haley and Taylor Brown suspect the hot tub might’ve given them UTIs. Haley said she sat in it for a long time and is feeling sick. Then, Taylor said after she was in it, she felt the same.
And Kamu Kirk is in trouble all over the house and he doesn’t even know it. Drew Campbell doesn’t like Kamu and told Melody Bourne that. Rick Devens lets Dee Valladares know that both Barrett Pfeiffer and Drew want the target on Kamu and also a bit on Yash Patel. Dee would prefer to target Yash.
Kamu thinks he’s flying under the radar but the Crossovers have him clocked and the other side of the house, Lala Verrett, Melody, and the others, only think Kamu’s useful if he’ll win comps and take hits at the icons for them.
Kamu doesn’t know that Drew dislikes him. And he did a great job imitating Kamu’s walk for him and the rest of the house. Drew puffed his chest back and walked with this pecs-first swagger than pumped his fists around. Everyone cackled.
Drew told Angela and Dee in front of Barrett that Mallory and Melody aren’t after the icons, they want Kamu out after Haley and Chuk Anyanwu. Plus, Drew told Angela that Kamu brought her up to the gym to make good TV.
Talking to her, Barrett and Dee, Drew said he witnessed Kamu repeating the story to three different groups of people. He quoted Kamu, “It’d be really cool if I brought Angela up into the room. That’s what the fans would want. That’s what my family wants to see.”
Drew said it’s because Kamu’s a drama queen. Drew said Kamu’s still close to Chuk and Haley and Angela says she sees it.
Speaking of Haley, Angela saw Haley and Chuk talking in the gym and asked if they’re okay. They made small talk and Angela said she doesn’t like that room and won’t go back in again.
Chuk said, “Really?” She lurked at the door while Have Not Haley said she can smell the food. Angela again said she hates the room and left. Haley rolled off the couch laughing and Chuk said that’s a grown a*s woman. He said that was the most awkward thing. Chuk said they better play that on the show.
We saw Haley admitting in the DR she did lie about Angela. Haley said in front of everyone that she pointed to Dee as the other flip vote, the whole trust your gut thing.
And that’s when Angela went nuts with her tirade of expletives. Haley said in the DR she deliberately threw a log on the fire. So no, Angela doesn’t owe her an apology.
Now for some non-game, non-plotting just fun feeds stuff. If you didn’t see Angela busted her ass climbing down from a sleep pod. Just fell on the floor on her back like a turtle. She was okay and laughed. Barrett quipped Humpty Dumpty’s back.
Devens had an oven mitt on his hand doing impressions of everyone. For Melody, it was just a bleep because she curses so much. For Hair Drew, Devens flipped the mitt upside down. That killed.
His impression of Angela was a high pitch voice saying “sex, sex, sex”. Devens said it about 10 times and Angela said, no, c’mon. Devons said, “Sorry, I couldn’t hear you over you saying sex, sex…” They asked him to do Dee and he laughed and said he was scared to do it.
Then, when Devens was asleep, Dee started laying Doritos on him. He woke up with them stuck to his face and back while Angela, Barrett and Dee died. But Devens was actually angry. His bed was full of crumbs and he started throwing them around then left.
Dee was upset and said oh no, I messed up. Angela said, go clean his bed. Then she said Devens can’t be mad at me forever. Dee said, “is he going to evict me?” Angela said, “Don’t be scared, it’s Devens”.
Then Dee said, “No, I’m sad. I made Rick Devens mad. I’ve never seen him mad in my life”. He came back, climbed into bed and said it was fine but he was ticked.

Now let’s talk about Mallory because she’s a gem on the live feeds. She keeps things popping. Melody, Drew and Barrett pretended to be on a plane and Mallory’s the flight attendant saying the plane’s going to crash. They found a prop mic and used it.
They screamed, pretended to crash while Mallory threw pillows at them. And the live feeds camera man played along moving the camera all around to look like turbulence. She did a similar skit with Drew and the icons with them screaming and the camera jittering.
Mallory also got on the mic play-talking to production saying she doesn’t know why they got onto her about swinging on the hammock. She said they’re allergic to fun and she’s a professional hammock swinger.
She said over and out, put up the mic then typed like a maniac on the old Commodore OC. Then she said, I just wrote the Declaration of Independence. We’re free.
Mallory and Barrett did a prolonged airplane skit, just the 2 of them with her as an annoying flight attendant terrorizing him. Mallory was saying stuff like you can raise your window covers, but you’re not allowed to look out the window.
And she terrorized Barrett about the tray table up and down. Mallory did a perfectly aggressive flight attendant. Then she did a tour bus thing with Yash, Dee, Drew, Melody, Angela and Devens and said we’re in Brooklynn.
Then she yelled, everybody down, there’s someone with a gun. They all screamed and she did: pew, pew, pew. She did a Staten Island thing and said look, they’re Nikki Minaj, The Impractical Jokers (nice shout out – love them).
These people have gone stir crazy with the yard locked. Lala just sat there observing the insanity while the others screamed and played along.
And in kissing news, we talked about this before but there was more to it. Mallory said she kissed a girl but said it doesn’t make her gay, it makes her fun and exciting. They asked Drew if he’s kissed a boy and he said oh yea.
When they asked Barrett, he said, “What do you think? Yeah. C’mon now.” Melody says she likes kissing girls and boys both. Drew said that’s why Yash asked if you’re bi and Melody said some people are good kissers, some people are bad kissers.
Now some game talk about eviction and what’s next. Haley told Chuk that Barrett’s safe this week no matter what. Then, Haley and Chuk talked revenge nominations they’d make after this.
Haley would put up Lala, Dee and Kamu then backdoor Angela. Chuk’s got his eye on Dee, Devens and Lala. Also, Dee and Angela plan to stay up late spying on last minute vote conversations. And a new possible alliance emerging. The FAP 4 plus the icons = FAPCON. That’s a 7 person block.
And as for the eviction prediction. The plan to keep Haley is back and forth. Lots of waffling because they worry Kamu will team back up with her if Chuk goes instead. No talk of evicting Barrett at all.
Also in more Gripes and beef news. Lala ranted about everyone has money. Angela’s from Orange county, where even sh*tty homes have swimming pools. About Dee’s $1 million from Survivor.
Drew’s dad being a rockstar. He’s a niche rockabilly star. But yeah. Lala said Lyric’s dad gave her a business, Chuk makes bank, Mallory lives where Run-D.M.C. lives.
Also, Melody, Mallory and Barrett are already talking next HOH and they wonder if it’s a head to head comp and how to play it. They want to target either Haley or Chuk, whoever stays and also Kamu in the head-to-head face-offs. They hope the icons will also target Kamu.
Will Smith changed the trajectory of his career in March 2022 when he slapped Chris Rock on stage at the 94th Academy Awards after the comedian made a joke about his wife, Jada Pinkett Smith. Since then, he’s worked to change his image and has multiple projects in the works. However, his “King Richard” costar, Aunjanue Ellis-Taylor, has reignited the conversation by defending the “Fresh Prince of Bel Air” alum.

Ellis-Taylor appeared on The Daily Beast’s “Obsessed” podcast in August 2026. During the episode, the Oscar-nominated actress stated that she could understand why Will would want to storm the stage to provide a voice for Jada.
She stated, “I know that he wanted to protect his wife.” In supporting him, Ellis, who played his wife in “King Richard,” the movie he won the Oscar for the night of the 2022 Oscars, defended him, saying, “I stand by that. I stand with him for that.”
After that, Ellis-Taylor questioned what protections freedom of speech should offer. According to her, “I think that, you know, this idea that First Amendment rights should protect everybody? I don’t think it should necessarily protect assholes. I don’t. I don’t. I really don’t, especially if you’re causing harm.”

Ellis-Taylor continued her thoughts on the debacle between Will and Chris over his joke about Jada. Notably, during the podcast, she noted that being from Mississippi, she’s accustomed to the First Amendment being used to justify the Confederate flag.
According to her, “I know blanket First Amendment valorization. I don’t buy into that. I just don’t. To say the least, it needs to be nuanced. You can’t use it as an excuse to harm someone.”
From there, the actress discussed her experience with Will on the set of “King Richard.” She recalled, “He just would not allow anybody to be treated poorly in his presence. He would just not allow it. And I cannot tell you how rare that is in this job.”
Ellis-Taylor added, “I will always have a great deal of affection and care for him because he acted that way.”

Will is banned from the Oscars until 2032. However, despite not being in attendance, “Sinners” star Michael B. Jordan named him in his speech when he won the trophy for Best Actor for his role in the Ryan Coogler-directed film.
Regarding Smith’s reaction, an insider spoke to PEOPLE after the ceremony. They said, “Will was very happy to hear his name mentioned during Michael’s Oscar speech. Having someone so talented — who just won this incredible Oscar — mention him at that time was awesome for him.”
The insider claimed that Jordan’s name drop “made Will feel good on its own, but even more so to be included with the other top actors mentioned.” A different source told the outlet, “Will and Michael have huge respect for each other’s talent.”
Regarding the slap, the outlet was told that Will had “moved beyond” the situation. They added, “Life goes on, and so do good films with award-winning actors,” while noting that Will “has been building back” in his Hollywood career.

Following the Oscar slap launched at Rock, who was hosting, Will has released two movies. The first is “Emancipation,” filmed before the slap and released in December 2022; the second is “Bad Boys: Ride or Die,” released in June 2024.
“Bad Boys” became a hit at the box office. According to Deadline, it opened with an impressive $104 million at the global box office. Following its success, a fifth installment of the movie is being discussed but has not been greenlit.
Now, his next film to be released is “I Am Legend 2,” which has attached director Steven Caple Jr., announced to direct in April 2026. However, filming has not begun.

Deadline reported in May 2026 that Will was set to star in a new action flick for Amazon MGM, “Supermax.” The movie, which will be directed by David Gordon Green, will center on two FBI agents, Will and AnnaSophia Robb, with events taking place at the world’s most secure prison, Supermax.
In August, following the success of Lionsgate’s “Michael,” Jaafar Jackson was announced as one of the movie’s stars. However, details of his role are kept under wraps.
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Eva Longoria knows how to make an entrance, even at the beach. The actress recently turned heads while vacationing in Spain, stepping out in a bubblegum pink bikini that instantly stole the spotlight. The playful color feels like one of summer’s biggest swimwear trends, and we found an affordable way to recreate the look.
Longoria was spotted soaking up the sun in Marbella, Spain, wearing a bright triangle bikini style with an oversized button-down shirt, a woven tote and simple nude flip-flops. The effortless ensemble struck the perfect balance between polished and relaxed, proving once again that her vacation style is always worth copying.
Get the Holipick Triangle Two-Piece Bikini for $25 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
While we couldn’t track down her exact swimsuit, we found a nearly identical version on Amazon for $25. The Holipick Triangle Two-Piece Bikini comes in the same bold pink shade, along with black, blue, floral prints and several other colors. The swimsuit is also available in sizes XXS through 5X, making it a size-inclusive option.
The flattering swimwear style features an adjustable halter top, removable padding and side-tie bottoms that let you customize the coverage. It’s the kind of simple, timeless bikini that looks just as chic layered under a breezy button-down shirt as it does on its own.
Shoppers have plenty of good things to say about the swimsuit, too. One reviewer who appreciates the “flattering and full coverage” pick wrote, “I feel secure in this suit, and know I won’t be indecently exposed while paddle boarding or hanging at the lake.” Meanwhile, another buyer simply described the thick material as “well made” and “very comfortable.”
Longoria’s beach look proves that sometimes all it takes is one bold pop of color to make an outfit unforgettable. And thanks to this $25 Amazon find, recreating the head-turning vacation style is easier than ever.
Get the Holipick Triangle Two-Piece Bikini for $25 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more swimwear from Holipick here, and don’t forget to check out all of Amazon’s Daily Deals for more great finds!
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Erling Haaland showed a different side of himself while attending a lavish Dolce & Gabbana event in Sicily. The Manchester City star admitted the celebrity-packed atmosphere left him feeling “overstimulated,” even as he enjoyed Jennifer Lopez‘s performance.
The closing celebration the soccer star joined featured custom couture, an Italian music tribute, and a fireworks display over Isola Bella.

Erling Haaland traded the soccer pitch for a much glitzier stage during a star-studded night in Sicily. The Manchester City striker attended Jennifer Lopez’s exclusive performance in Taormina as part of Dolce & Gabbana’s 2026 Alta Moda celebrations. Haaland was among the celebrity guests gathered at La Plage Resort overlooking Isola Bella for the closing festivities.
The Norwegian star had already made an appearance at Dolce & Gabbana’s Alta Sartoria menswear presentation at the historic Teatro Antico earlier in the week. He was also spotted during the celebrations with his partner, Isabel Haugseng Johansen.
Despite embracing the glamorous night out, Haaland admitted the packed social scene was testing his limits. “As an introvert, I am overstimulated, but it’s still nice,” he said in a clip shared online. Haaland insisted he was enjoying himself, adding that he was “still happy” and “peaking still.”
Dolce & Gabbana saved plenty of spectacle for the final night of its Taormina showcase. J. Lo headlined the closing celebration after the fashion house wrapped its 2026 Alta Gioielleria, Alta Moda and Alta Sartoria presentations. Guests first gathered for a reception amid Mediterranean greenery and views of Sicily’s turquoise coastline.
Lopez then turned the setting into a full-scale stage production, performing a string of her best-known songs before slipping in a tribute to Italian music.
The fashion was just as theatrical. The singer moved through four custom Dolce & Gabbana looks during the show, including pieces decorated with gemstones, lace and the brand’s Sacred Heart motif. Floral elements tied the stage design back to the wider Alta Moda theme.
The night ended with Lopez joined by Domenico Dolce and Stefano Gabbana as the trio greeted the crowd. Fireworks lit up the backdrop as the Sicilian celebration closed.
Haaland appears to have developed a real soft spot for life across the Atlantic. During a 2025 interview with TIME in Florida, the Norwegian striker admitted he had been surprised by just how famous he was in the United States. Fans turned out in Manchester City shirts during the Club World Cup, something Haaland said he had not expected.
His curiosity about the country stretched beyond soccer. Haaland revealed he had watched “Yellowstone” and wanted to visit Montana, even joking that Kevin Costner could drive him around.
American cars have also caught his attention. The forward was particularly impressed by the oversized pickup trucks he saw on the road and wanted to stop for a photo with one. He was less enthusiastic about Tesla’s Cybertruck.

Haaland is also not shutting the door on a future move to Major League Soccer. The Manchester City striker was asked in the TIME interview whether he could eventually follow Lionel Messi and David Beckham to the U.S.
“You never know what the future is going to bring,” Haaland said. He praised Messi’s impact at Inter Miami as “incredible” and called Beckham’s role in helping grow the league “amazing.”
However, any such switch would be a long-term possibility rather than an imminent transfer. Haaland signed a mammoth Manchester City contract that runs through 2034, meaning he would be 34 when the deal expires.

Haaland also squeezed in some classic sightseeing during Norway’s World Cup run. The striker used a break between games to explore New York with Johansen, attempting to keep a low profile with a light baseball cap and dark sunglasses.
Photos shared on social media showed the pair in Times Square and outside Katz’s Deli, with Haaland appearing to move through the city largely unnoticed. “It helps to hide the hair, to be honest,” he joked on Snapchat, referring to the long blond locks that usually make him easy to spot.
The outing came after Haaland scored twice in Norway’s 4-1 victory over Iraq, the country’s first World Cup match in 28 years. Norway coach Stale Solbakken had given his players a couple of days away from camp before their next Group I game against Senegal. He said the downtime gave the squad a chance to clear their heads and spend time with friends and family.
The cast of the live-action The Legend of Zelda movie is finally starting to take shape, and Nintendo is making it increasingly difficult not to look toward one game in particular. Benjamin Evan Ainsworth and Bo Bragason are already set to lead the movie as Link and Zelda, respectively, while Uli Latukefu will play Ganondorf. Yvonne Strahovski and Sam Neill have also joined the cast in roles that remain undisclosed. We already know the movie is telling an original narrative, so expecting a direct adaptation of Ocarina of Time would be setting ourselves up for disappointment. That doesn’t mean Nintendo won’t pull heavily from the games that defined Hyrule on its way to creating something new. In fact, the cast makes Ocarina of Time feel like an increasingly obvious source of inspiration.
And if Ocarina of Time is one of the movie’s biggest influences, that’s a pretty great place to start. Nearly three decades later, it still contains so much of what audiences picture when they think of The Legend of Zelda, and its story has the bones of an incredible fantasy adventure. But Nintendo doesn’t have to take everything from the same game. When it comes to Latukefu’s Ganondorf, there’s another version of the character that would give the movie something Ocarina of Time can’t. The Wind Waker gave Ganondorf a perspective, and that’s exactly what his live-action debut needs.
There’s a reason Ocarina of Time remains such an obvious point of reference nearly three decades after its release. It contains almost everything a general audience associates with The Legend of Zelda: Link, Zelda, Ganondorf, the Triforce, the Master Sword, Hyrule Castle, and a collection of wildly different peoples and places that make the kingdom feel enormous. More importantly, its basic conflict gives Nintendo plenty to borrow without actually adapting the game. Link’s journey begins small. He’s a child leaving Kokiri Forest for the first time, only to become wrapped up in Zelda’s suspicions about Ganondorf and a race to protect Hyrule. The two young heroes ultimately make the catastrophic mistake that gives Ganondorf exactly the opportunity he needs. Link draws the Master Sword and awakens seven years later to discover Ganondorf won. Tell me that isn’t a second-act turn made for a movie theater.
Nintendo obviously doesn’t need to reproduce that progression beat for beat, especially if the goal is to create a new story. Nobody needs to watch Link methodically complete every dungeon, and trying to cram an entire Zelda game onto the screen would be a fantastic way to make the movie feel like someone uploaded a playthrough to IMAX. What Ocarina of Time offers instead is a blueprint for how to introduce Hyrule, establish Link and Zelda as young heroes, and make Ganondorf feel like an overwhelming threat before either of them is ready to face him. Even the mystery castings make that possibility interesting. Strahovski has the presence for an Impa-like role, while Neill could naturally fit into Hyrule’s older generation as its king, Rauru, or another mentor figure. Those guesses could be completely wrong (and probably are, if I’m being honest), but the larger point is that an original narrative still gives Nintendo the freedom to assemble recognizable pieces from across the franchise. There’s just one place where another Zelda game has a much better piece to borrow.
Ocarina of Time establishes so much of what has become inseparable from Ganondorf: the Gerudo king, his pursuit of the Triforce, his conquest of Hyrule, and ultimately his transformation into Ganon. He’s threatening before Link has any hope of challenging him, and the adult portion of the game shows exactly what happens when the hero fails to stop him. But The Wind Waker does something Ocarina of Time never really needed to do by asking Ganondorf to explain himself. By the time Link encounters Ganondorf in The Wind Waker, the Hyrule he once coveted has been buried beneath an ocean. Near the end of the game, Ganondorf remembers the harsh winds of the Gerudo desert and contrasts them with the winds that blew across Hyrule. Eventually, he admits that he coveted that wind. It’s one of the best Ganondorf scenes Nintendo has ever written because it doesn’t suddenly pretend he was right. He’s still a tyrant. Instead, The Wind Waker gives him something far more valuable to a movie: a perspective. His desire for Hyrule becomes rooted in resentment, envy, and the circumstances that shaped him instead of simply wanting ultimate power because the story needs a villain.
That’s what Latukefu’s Ganondorf needs. His physicality already does plenty of the work. Put him opposite Ainsworth’s young Link, and Ganondorf should look like an impossible opponent before Nintendo adds a single visual effect. The harder job is making audiences understand the man underneath that threat. A video game can rely on decades of iconography and the promise of an enormous final boss. A movie needs a character who can carry actual scenes. Let Ganondorf interact with Zelda and the rulers of Hyrule. Show us the Gerudo and what his kingdom looks like compared to the one he wants to conquer. Give Latukefu the opportunity to communicate what Ganondorf sees when he looks at Hyrule and why possessing it matters to him.
Nintendo doesn’t need to copy The Wind Waker wholesale. In fact, an original narrative gives it an even better opportunity. It can take the resentment Ganondorf eventually articulates in The Wind Waker and show us what that resentment looks like before it consumes him. Eventually, give us Ganon. Watching Latukefu transform into the monster that has haunted Hyrule across generations could be an incredible payoff. But Ganon is the monster. Ganondorf is the character. Nintendo is already creating a new Legend of Zelda, which means it doesn’t have to choose a single game to adapt. It can take the sweeping adventure and iconic Hyrule of Ocarina of Time, then borrow the complexity The Wind Waker finally gave its greatest villain. If Nintendo is going to rearrange familiar pieces to tell a new legend, Ganondorf deserves to be one of them.
May 7, 2027
Derek Connolly
Shigeru Miyamoto, Avi Arad
Benjamin Evan Ainsworth
Link
Bo Bragason
Princess Zelda
A shooting at a Georgia high school on Wednesday (August 12) left one student wounded. Later, police caught the teenage suspect who fled the Warner Robins High School scene and took them into custody, per the Associated Press.
The shooting at Warner Robins High School involving two ninth-graders occurred just one week into the new school year. Warner Robins is about 102 miles southeast of Atlanta. The incident prompted a response from dozens of law enforcement officers.
“Today, a call that we train for every year happened to come to Houston County,” Sheriff Matt Moulton said at an evening news conference.
The sheriff said a group of students was inside a school bathroom when a verbal altercation between two students escalated into a physical fight. One student was shot at 2:15 p.m., and the suspect fled. A school resource officer arrived quickly, applied tourniquets to the student’s injuries and remained until emergency services personnel arrived.
It’s unclear whether the school has metal detectors in place. Sheriff Moulton declined to take questions at the news conference, citing the active investigation.
The injured student received treatment for non-life-threatening injuries at a local hospital. Sheriff Moulton did not specify the type of injuries the student had. An hour later, authorities caught the suspect “without further incident” in a neighborhood about a half-mile (800 meters) from the school, Moulton said.
“The school threat protocol and our training was followed perfectly today,” Moulton said. “Fortunately what could have been a much-worse incident was minimized to us only having one student injured.”
Additionally, Houston County Schools Superintendent Richard Rogers said the school would be closed for staff on Thursday and students on Thursday and Friday. Crisis counselors would be available at the school for staff on Friday and for students on Monday. “We’re going to focus on healing,” Rogers said.
Associated Press contributed to this story via AP Newsroom.
What Do You Think Roomies?
There’s some heartbreaking news for fans who grew up watching one of Nickelodeon’s most beloved sketch-comedy shows. Christy Knowings, who brought plenty of personality and laughs to the screen during her time on ‘All That,’ has died at 46.
According to reports, Knowings suffered an asthma attack on Friday, Aug. 7, that resulted in brain damage. She was hospitalized at a Los Angeles-area hospital and placed on life support. After several days, her family made the difficult decision to remove her from life support, and she died Tuesday, Aug. 11.
Knowings was a regular cast member on ‘All That’ from 1997 to 2000, appearing in more than 30 episodes alongside stars including Amanda Bynes, Nick Cannon and Kenan Thompson. She took on a number of memorable characters, including Jessica from “Whateverrr!” and Penny Lane, but previously revealed that Gloria Bankhead was one of her favorite roles. In a 2019 interview, Knowings described Gloria as an “over-the-top Martha Stewart” and said she enjoyed staying in character even when the cameras weren’t rolling.
Folks quickly ran to TSR’s Instagram comment section with plenty to say following news of Christy Knowings’ passing. Many were simply grieving and sharing heartfelt memories, while others reflected on how so many child stars haven’t seemed like the same people since experiencing the pressures of stardom. And in between the condolences, plenty of folks also took a moment to point out just how beautiful Christy was.
One Instagram user @yeahbullet_ said, “I loved her on All That! RIP beautiful”
This Instagram user @charmstacie added, “Wow she was so pretty and funny 🙏”
And, Instagram user @korladaaaa commented, “D*mn my childhood is just leaving 😢❤️”
Meanwhile, Instagram user @royalteexoxo wrote, “Hope her twin brother is ok. Prayers to the family!!”
While Instagram user @sheadotcom__ shared, “awww rest peacefully 😢”
Lastly, Instagram user @co_cainneee claimed, “None of these people been right since those shows”
Beyond ‘All That,’ Knowings continued working in entertainment, including appearances on ‘Sesame Street’ alongside her twin brother, Chris Knowings, between 2008 and 2011. She also appeared in the 2009 film ‘Mother and Child’ and released music, including the 2020 track ‘To the World.’ Knowings had recently been featured on the June/July 2026 cover of Black Beat magazine, making news of her sudden passing especially poignant for longtime fans.
Knowings’ death comes just months after another former ‘All That’ cast member, Kianna Underwood, died at 33 after being struck in a hit-and-run while walking in Brooklyn in January. The back-to-back losses have left fans of the iconic Nickelodeon series mourning two familiar faces from their childhood.
What Do You Think Roomies?
The Game of Thrones universe is rapidly expanding, as House of the Dragon wrapped up Season 3 and, in the same week, the franchise’s first stage show opened in Stratford-upon-Avon. Performed by the Royal Shakespeare Company, Game of Thrones: The Mad King explores the era when Daenerys’ (Emilia Clarke) father, King Aerys II, ruled Westeros and features many crucial events such as the infamous Tourney at Harrenhal and the lead-up to Robert’s Rebellion. However, House of the Dragon and The Mad King have more in common than timing because one important element of the franchise appears in both stories: the prophecy known as the Song of Ice and Fire.
Game of Thrones fans remember the prophecy that echoed throughout the show. But House of the Dragon gave it even more weight, as an added storyline explains that it came from Aegon the Conqueror and foretells the Targaryens’ legacy. The recent Season 3 finale, in particular, explores Rhaenyra’s (Emma D’Arcy) obsession with fulfilling the prophecy, as she declares herself the Prince That Was Promised. However, Rhaenyra is just one of the many Targaryens to wrestle with those words. The Mad King explores another as Rhaegar (played by Noah Ritter) hopes to fulfill the prophecy. This idea forges a deeper connection between the play and the wider franchise that will only continue to grow.
The prediction about the Long Night and the threat of the White Walkers may not come true until the events of Game of Thrones, but long before it is fulfilled, it shapes Westeros. George R.R. Martin‘s books heavily hint at Rhaegar’s interest in the prophecy, though he is dead before the story begins, and the play builds on that. In fact, based on audience reports, both Rhaegar and Aerys (Michael Shaeffer) focus on the words: Aerys, as part of his madness, and Rhaegar as a Targaryen dreamer who has visions of the prophecy himself. Though he fears it could be a sign of his family’s madness, he cannot ignore it. Rhaegar believes himself to be the prophesied figure, because family legend claims he was conceived under a red star, as the prophecy predicts. However, when Aerys reveals that to be propaganda, Rhaegar must find another answer.
The story also features Lyanna Stark (Harmony Rose-Bremner), who has her own opinions about the prophecy. Seemingly possessing Greenseer abilities, like her nephew, Bran (Isaac Hempstead Wright), she also dreams of the prophecy and gives a different interpretation. Lyanna believes that the reference to the “Song of Ice and Fire” is not about dragons and White Walkers, but about the Targaryens and the Starks, who must join their lines. This thought process leads her and Rhaegar to have a child, Jon Snow (Kit Harington), whom they expect to fulfill the prophecy. However, he isn’t the only one the play positions to potentially take that role. Like Rhaegar and Lyanna, Aerys intends to father the Prince That Was Promised, so when a red star appears in the skies, both couples conceive a child, Jon and Daenerys, respectively. This storyline, which seems to be a central focus of the stage show, proves the prophecy’s significance throughout Westeros’ history.
As it proves central to yet another story, the prophecy is quickly becoming the through line of the entire franchise. From being fulfilled in Game of Thrones, to House of the Dragon explaining its origins, to The Mad King highlighting another attempt to interpret the words, this prophecy connects each story, and upcoming spin-offs can continue this tradition. So far, A Knight of the Seven Kingdoms has not referenced it, but later in Martin’s story, Egg (Dexter Sol Ansell) becomes fascinated by magic and hopes to revive the dragons, which could lend itself to a tie-in of the prophecy. More directly, the upcoming film about Aegon’s Conquest can explore the prophecy’s origin, making it even more prevalent in the franchise.
The inclusion in The Mad King is fitting, but it seemingly shifts importance away from the events of House of the Dragon. While the prequel’s addition of the prophecy initially intensified the stakes of the war by risking the loss of the message, The Mad King suggests it will survive regardless, since Rhaegar has the same dream (as many other Targaryens might over the years). However, the play emphasizes the idea that the Targaryens have long worked to understand these words and ensure that the Prince That Was Promised is born, further justifying the House of the Dragon‘s change and tying the franchise together even more closely.
House of the Dragon is streaming on HBO Max in the U.S.
August 21, 2022
HBO
George R.R. Martin
Clare Kilner, Geeta Patel
Gabe Fonseca
Fabien Frankel
Ser Criston Cole
Ashley Callingbull knew going off-script at the Miss Universe Canada pageant could create controversy, but she did not anticipate how ugly the reaction would become. After publicly calling out Indigenous cultural appropriation during the competition, the former titleholder says she has received death threats, racist slurs and messages telling her to kill herself. Still, she refuses to regret speaking up.
Callingbull opened up about the fallout from her unscripted pageant moment in a new interview with PEOPLE, revealing that the criticism has gone far beyond disagreement over her stance.
“I think this is why we need to speak up is after I spoke up, I experienced so much racism and hate,” she told the outlet.
The 36-year-old said she has received death threats, racist slurs targeting her Indigenous heritage and messages urging her to take her own life. Callingbull admitted the response has been “quite surprising,” particularly because she has also spent considerable energy trying to educate people about why the costumes caused offense.
Callingbull, a Plains Cree woman from Enoch Cree Nation, made history in 2024 as the first Indigenous woman to win Miss Universe Canada. She later represented the country at Miss Universe, finishing in the Top 12.
Despite describing the current situation as “emotionally heavy,” Callingbull said she remains mentally strong.
“I can’t control what life throws at me, but I can control how I react to it,” she explained.
The controversy began during the national costume portion of Miss Universe Canada 2026 in Windsor, Ontario.
Callingbull, who was preparing to co-host the Aug. 8 final, saw footage from the earlier costume competition and was stunned by outfits worn by contestants Karisa Haverkamp and Jasleen Kaily.
Haverkamp’s look incorporated a feathered headdress and a red handprint across her face, imagery associated with awareness for Missing and Murdered Indigenous Women and Girls. Kaily appeared in an “Arctic Beauty” ensemble featuring fur clothing, fur boots described as mukluks and braids.
“It felt like a slap in the face to the Indigenous community,” Callingbull told PEOPLE.
She immediately contacted pageant officials and suggested safeguards, including cultural liaisons who could help prevent similar situations.
However, Callingbull ultimately decided a behind-the-scenes conversation was not enough.
During the live final, the teleprompter unexpectedly stopped working while Callingbull and national director Sonny Borrelli were hosting. She seized the opportunity to address the controversy without warning organizers beforehand.
Callingbull told the audience that cultural appropriation had occurred before stressing that reconciliation requires people to “educate and learn and understand and move on from these things in a good way.”
Rather than distancing itself from Callingbull, the Miss Universe Canada organization acknowledged the controversy and promised changes.
Borrelli said onstage that the organization took responsibility for causing offense and intended to learn from what happened.
The pageant subsequently announced plans for a comprehensive Costume Guide establishing standards for future competitions. Callingbull was also invited to become an official liaison for the costume competition going forward.
Both contestants involved have apologized. Kaily said her intention was never to disrespect or misrepresent Indigenous culture but to celebrate one of Canada’s First Peoples. Haverkamp similarly acknowledged that her costume caused “hurt and offence” and said she appreciated what she learned from the experience.
Callingbull told PEOPLE that Haverkamp also apologized to her personally.
For the former titleholder, that willingness to listen is ultimately what she hoped her intervention would accomplish. “Accountability is everything,” she explained.
Callingbull’s decision to commandeer the live moment was not entirely spontaneous in spirit.
She recalled experiencing racism at work when she was just 14 and receiving advice from her grandfather that remained with her years later.
“Ashley, if you never speak up… things will never change,” she remembered him telling her.
That philosophy has followed Callingbull throughout a career that has repeatedly broken barriers. Beyond becoming the first Indigenous Miss Universe Canada, she previously became the first Canadian and First Nations woman to win Mrs. Universe in 2015 and has used her platform to advocate for Indigenous issues.
Her latest stand also comes amid a turbulent period for the broader Miss Universe world.
As The Blast previously reported, the 2025 international competition became engulfed in controversies ranging from a viral confrontation involving eventual winner Fátima Bosch to accusations surrounding the judging process. The organization later faced further scrutiny after Miss Jamaica Gabrielle Henry suffered a frightening fall during the preliminary competition.
Despite the disturbing messages, Callingbull says the response has not convinced her that speaking out was a mistake.
Instead, she believes the backlash demonstrates why difficult conversations remain necessary.
The former beauty queen acknowledged that constantly explaining the issue has been “exhausting,” but she hopes the controversy leads to stronger safeguards around cultural representation at future pageants.
She also wants her experience to encourage others who feel pressured into silence.
“Regardless if people try to silence you or you feel like the world is against you, use your voice and speak up because you have no idea the impact it can make,” Callingbull told PEOPLE.
Despite the personal toll, she remains determined to take the heat if it results in change.
Editor’s Note: The following contains spoilers for Silo Season 3, Episode 7.One of Silo’s greatest strengths as Apple TV’s best sci-fi is its continued ability to make every answer feel like the start of an even bigger mystery, and Episode 7’s “Radio” does exactly that. While Juliette Nichols (Rebecca Ferguson) scrambles with her friends to stop Silo 18’s looming Safeguard before it’s too late, the Before Times storyline delivers its biggest revelation yet as journalist Jessica Henwick’s intrepid journalist Helen Drew and Congressman Daniel Keene (Ashley Zukerman) finally come face-to-face with billionaire Per Stensen (Colin Hanks), whose plan to save the world is as clear-cut as it is alarming.
But what begins as another search for answers about Charlotte’s (Jessica Brown Findlay) missing memories quickly spirals into something far more unsettling for the pair, culminating in the series’ most haunting image of countless silos being drilled beneath America’s farmland. While it’s a dark foreshadowing of the reality Juliette is currently living, for Helen, that reveal isn’t just shocking because of what she’s seeing with Daniel, but rather terrifying for what it means.
Throughout the season, the reporter has believed every lead has brought her closer to the truth. But “Radio” forces her to realize the conspiracy she’s been chasing is actually just one piece of a much larger story. As Henwick says in an exclusive Collider Signature Q&A, Helen reaches the point where she understands “the rabbit hole goes so much deeper,” realizing, “I’m so far behind this story. I’ve come into the middle of a story or the end of a story.”
As the show enters its final episodes for Season 3, Henwick breaks down why Charlotte’s recovered memories are more unsettling than reassuring, how Per quietly challenges everything Helen believes about truth and morality, why her partnership with Daniel reaches a major turning point, and what Helen truly understands in those final moments overlooking the future silos.
COLLIDER: You and Ash [Zukerman] have done such an amazing job as this anchor couple for what the show is. A lot of people say it’s sci-fi, but I really do believe it’s a love story at the core, with these sprinkles of affection and admiration we see from the two of you, which is so nice. You also gave an amazing performance this season.
JESSICA HENWICK: Thank you. That’s really sweet to hear. It’s so nice to hear from someone who’s seen the whole thing and knows the journey that we go on. And yeah, I totally agree. At the end of the day, the whole show is about love. That’s what it comes down to. It’s what sparks Juliette. She was trying to find out what had happened to her love. And to know that the Pez is no longer a mysterious object; it’s just something that Daniel gave to Helen on a non-date. It’s really sweet. And I think ultimately what we need right now are stories that have love at the heart of them.
I totally agree. I know that Helen is so used to being the person always asking questions, but Episode 7 puts her in the room where Per controls what she’s allowed to know. What interested you as an actor in playing that shift in power?
HENWICK: Honestly, what I was attracted to and found interesting in that episode specifically is that when we’re introduced to Helen at the end of Season 2 and all through Season 3, we really come to know her as someone who believes in the truth at all costs. She really believes in the power of the people, the will of the many. Like, give people information, let them do what they will with it, but don’t protect them. And then to discover that she is not quite practicing what she preaches.
Obviously, we discover that she herself has protected a source by pretending that her story was fabricated, and now she’s really having to question: is there such a thing as too much information? Is there such a thing as too much truth? Is it possible that the public shouldn’t know what she’s about to find out? I think it’s a really hard decision for her to make. It remains to be seen how much she regrets it in the long run, but it’s a fascinating transition for the character. I think by this point in the show, she’s so desperate to get to the truth, she’s willing to sacrifice her morals a little bit.
Charlotte remembering Daniel feels like it should be a breakthrough, especially for him. Helen’s been chasing the answers the whole season, but it becomes immediately clear that it’s actually opening the door to something much bigger than the two of them even imagined. Why does that moment end up feeling more unsettling than triumphant for Helen?
HENWICK: Helen respected Charlotte going into this, and I think that they felt that there was a kinship there. So to see Charlotte, and she’s apparently got her memories back, and she’s totally fine, and she’s still saying, “I’m on this side now.” She’s crossed over, and she feels unreachable in a way, and I think that scares Helen even more because she definitely doesn’t trust Per Stensens, but she trusted Charlotte’s judgment, and if Charlotte thinks that she’s doing the right thing, maybe there’s more to this.
Per kind of threatens Helen and Daniel in a way. He treats them, also, like potential recruits. Did you see it that way, too, when you were reading the scripts? Did it feel like this was something where your characters were being very much manipulated into a situation where it would benefit just one faction of people versus the entire community of America?
HENWICK: I think that they don’t really want Helen. They just want Helen to shut up. This is their way of, like, “Come to our side,” and they would essentially muzzle her. They muzzle her regardless. But I don’t think they particularly like her from the get-go. Per could sadly buy many journalists who probably have a better reputation. Helen’s reputation is marred. I think she’s in the wrong place at the wrong time.
What was it like building that dynamic with Colin Hanks? There’s such a tension that comes from that passive aggressiveness between the two of you. You are both talented actors, but seeing that back and forth was really fun because I love the quick wisecracks that Helen gives to him, but he also tries to put her in her place most times.
HENWICK: I kept joking that Per is short for persnickety. He’s funny, and he can dish it. And I mean, look, Colin is the nicest, most charming, congenial man, and has a penchant for bursting into song randomly, which I found very adorable because I do the same. But when he’s in the zone, as Colin, it’s pretty fascinating.
I remember on his first day, we had been bonding for episodes. The stranger was coming into an established set, which is always really hard, and we were trying to be welcoming and chatty. Then, just before the take goes, I heard him just kind of step to the side — I hope he doesn’t mind me sharing this — and he just said to himself, “You don’t care about any of these people. None of these people matter.” And then it was action, and he went into the take.
It does kind of get to the heart of that character and people who are of that ilk. Not to say all tech billionaires don’t care about people, but when your time is worth so much, I do imagine he looks at us and goes, “Ugh, God, if they could just sign it already. What a waste of my time. They’re burning through millions.” I think he reduces us to a number in his head, or just an obstacle, a thing to deal with. I don’t really think he sees us as people.
You’ve played in a lot of roles that have an eat-the-rich sort of theme, and so I’m wondering what was something about this show that you feel maybe does it differently, especially with Per Stensen, because I feel like he comes off like an Elon Musk character, which is a whole other conversation. But it just feels like something so relevant and so important to actually acknowledge, because there are people who are in the secret shadows, shaping our own government, our lives, etc. For you, what was it like reading that back and figuring out this is a character we’re going to have in the show?
HENWICK: Any time there’s any sort of leak of internal government documents, it’s always not shocking, sadly, but awful to see how much influence external figures have and all the conversations that are happening behind closed doors. We, as the public, get a fraction of the real reason for every single move.
I have done a couple of eat-the-rich things, but I think Silo takes it seriously and is also willing to point out, rather than sort of making it funny and making them evil or just othering them, all the ways that he may be right. Like Helen and Per go head-to-head, and every time she says, “Well, what about this?” He replies, “What about this?” And they both have points. They both are making valid points.
The show does a very good job of not villainizing anyone. It grounds them in humanity, and I think that’s why the show is so relatable. People do love the different characters’ back-and-forth. What you say about Per — he has points, and his points make sense — so I think that’s just very interesting. That being said, though, Helen is normally the person asking questions all the time, but how do you keep those quieter reaction beats active when so much of the performance is now happening internally for her? It does require her to watch and calculate and listen. It’s a lot more internal for you.
HENWICK: I love that stuff. I love the scenes where I’m just listening and just reacting in the moment. I’m such a big fan of cutting my dialogue. [Laughs] It was a pleasure.
Also, the thing I’ve noticed with actors, they always say the hardest thing is either sneezing in a scene or crying or whatever, but I think listening is one of them, because there’s so much internalizing for your expression you have to do, too.
HENWICK: There is internalizing, but what I like about Helen is that she’s also not afraid to just scoff in your face or smirk or laugh openly. When we meet her at the end of Season 2, she’s there in a work capacity, and there is an element of keeping her cards a little close to her chest. But all in all, I think she’s a very emotional person. Not that she’s lacking in logic or external decision-making, but she does kind of wear her heart on her sleeve, which is refreshing. It was fun. It was really fun in the dinner scene in the next episode.
Episode 7 doesn’t really reward Helen with answers so much as it forces her to rethink the questions she’s been asking all season. When you first read the script, did it completely change your understanding of her journey when you got to that episode?
HENWICK: I read everything at once, so I knew exactly where we were going, and obviously the audience knows where this goes. The audience knows this is all about a silo. At the end of the day, it’s all about a silo. You can’t play that. You have to play it that she thinks, “Okay, so there’s a conspiracy about a bomb,” and then, “Oh, okay, so it’s a conspiracy about memory.” But her expectation is the closest to reality each time. There’s no world where she ever would have been able to imagine, “This is what this has all been about? It’s been about a guy with too much money and time, obsessed with doomsday bunkers?” She couldn’t have imagined it. So, I just tried to stay true to where she was rather than where the show was, or the audience was.
Helen and Daniel built their relationship through this shared risk and this gradual trust in one another. How does what they experience in Episode 7 strengthen or even complicate their partnership as the story moves towards the final episodes?
HENWICK: We had that beautiful bottle episode for us entirely in the car. I think Helen is forced to confront the fact that she hasn’t even begun to scratch at the surface. She’s so used to meeting people and immediately filing them away in a box. Like, she meets him in the bar, and she goes, “Okay, politician. Probably a douchebag.” And then she meets him, and he’s kind of funny and charming, and she’s surprised. Then he gives her this Pez, which is so tender, and that takes her aback. She doesn’t know how to respond to that. Then in the car, to discover, “Well, he actually doesn’t have these grand aspirations to be a politician. It’s not what he got in. He didn’t get into it for the fame or the glory.” I think she’s at a crossroads where she’s starting to realize there’s so much more here, potentially. But obviously that’s messy because work/play — don’t shit where you eat. [Laughs]
Yeah, I totally understand. That final image of Helen and Daniel looking out at the enormous silos being built across the farms is very haunting. I feel like it’s foreshadowing everything we know is going to happen, but we don’t really know the stuff in between. What does Helen understand at that moment that she didn’t understand when she stepped onto that plane?
HENWICK: The rabbit hole goes so much deeper, and there’s a possibility that it’s too late. I think a lot of what she was doing was, “Let me blow this open before it progresses.” And to realize, “I’m so far behind this story. I’ve come into the middle of a story or the end of a story,” is just beyond her grasp.
Silo streams Fridays on Apple TV.
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