Nicole Kidman‘s partying ways are sparking intense chatter among fans, with many labeling it out of touch.

The award-winning actress has been living it up this summer following her divorce from Keith Urban earlier this year after 19 years of marriage.

For the first time, the “Big Little Lies” star opened up about her personal life like never before, revealing what she is like during a European vacation.

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The actress, in a recent interview, confessed to spending her summer holidays not on luxury yachts but on the dance floor with the rest of the world across Europe.

Kidman, who told British Vogue she had been spending time in London, Ibiza, Portofino, and Paris, gushed about having quite the “Euro summer.” When asked what a night out in Ibiza looks like for the Academy Award winner, she answered, “It’s a small dinner party, or it’s a rave. I’m either playing Scrabble, or I’m out. It’s that simple.”

As for how she raves as one of the most famous Hollywood stars, Kidman shared that the night starts with a 10:30 pm dinner before she heads to the club around 1 am. However, not without a disguise.

“I’ll put on glasses. Sometimes I’ll wear a wig to hide, a little dark wig, and then I can just dance. As long as I’m surrounded by people – like, I take people with me – then I’m fine. I need it.”

Nicole Kidman Bashed For ‘Privileged’ Take

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Unfortunately, the “Babygirl” actress’ revelation was met with mixed reactions from fans who interpreted it as her feeling too important to party with the masses.

“How egotistical is Nicole Kidman to think that anyone in Ibiza would be drunk off their face going, ‘ Oh my god, that’s Nicole Kidman?’” one fan blasted.

Another user slammed, “Privileged and arrogant. I doubt she does anything normal with normal people.

Others doubted her lore, with one fan wondering, “It just seems a little weird to be in her 50s, and she’s going to a club at 1 AM to rave. It almost sounds like she’s trying to present herself as young. I bet she did it one time.”

However, it wasn’t all criticism, as many praised Kidman for being adventurous despite being an A-lister. “Honestly love that she protects her peace while still having fun. Everyone deserves a safe space to dance,” this fan wrote.

Kidman Is Embracing Love After Keith Urban Divorce

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As Kidman embraces her new chapter as a single woman as she approaches 60, she admitted in the interview that life is not how she expected it to be. However, rather than sulk about it, she had to adapt.

“You have all these ideas of what it’s all going to be like, and then it’s … not. You have to adjust,” she explained. However, embracing the unknown future hasn’t been an easy journey for the Hollywood star, who admitted that at some point she was “very fearful and deeply vulnerable.”

Luckily, the Australian native has a philosophy of life that has helped her come out the other side of such moments. She noted that she remains open to experimenting and trying with an open heart.

“Trying things, making mistakes, failing, getting back up, moving on, embracing love, staying open, keeping the heart open and the possibilities,” Kidman explained, per The Blast.

The ‘Practical Magic’ Star Was Warned Before Her First Marriage

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During the interview, the six-time Golden Globe winner also reflected on her marriage to Tom Cruise, which lasted for a decade before they called it quits in 2001.

As The Blast reported, Kidman admitted she received warnings before tying the knot with the “Mission Impossible” actor because of how young she was.

The actress, who was around 23 at the time, was told that marrying Cruise might damage her career, but she didn’t care because she was “in love.” Kidman admitted she was ready to throw away her career because of how passionate the love felt.

Nicole Kidman Lives Lavishly With Rumored Millionaire BF

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Despite having two failed marriages under her belt, the “Cold Mountain” star hasn’t given up on love and has reportedly wasted no time finding a new love interest.

Months after finalizing her divorce from Urban, Kidman is sparking chatter about a budding romance with wealthy entrepreneur Michael Reinstein.

According to The Blast, the pair were seen enjoying a drive around Los Angeles in the businessman’s luxury Ferrari, which goes for as high as $340,000.

The actress was the ultimate passenger princess as she flashed a huge smile after the private equity executive allegedly picked her up from the airport.

Ralph Sutton was recently spotted out in Santa Monica, California, where The SDR Show host and GaS Digital Network owner stopped to chat about his career, some of his biggest podcast moments, and what he has planned next. Joined by his brother, who was giving him a tour of the area, Sutton offered a candid look at the world behind his long-running podcast career.

The conversation covered everything from Mark Cuban and Howard Stern to Sutton’s dream guests, Gas Digital’s growing podcast network and his unconventional live event, Lights, Camera, Erection.

Ralph Sutton Recalls One Of His Favorite Guests

When asked about some of his favorite moments from The SDR Show, Sutton immediately brought up billionaire entrepreneur Mark Cuban.

Sutton recalled being particularly impressed by how Cuban arrived for the appearance.

“It’s funny, I always bring this one up because it’s not a real rock and roll thing or anything, but when Mark Cuban came, he just showed up by himself with no entourage,” Sutton said. “He’s like, ‘Hey, okay, I’m ready to go and let’s do this.’”

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For Sutton, the moment stood out because of Cuban’s status and the fact that he arrived without a large entourage.

“Here’s a guy that’s worth billions of dollars and just right goes up by himself, right?” Sutton said.

He also recalled the excitement of waking up to an unexpected message from the businessman.

“And then also to wake up in the morning and have an email from Mark Cuban, I was like, ‘Well, this is pretty f——-g great,’” Sutton said.

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Ralph Sutton Names His Dream Guests

Despite having interviewed countless entertainers throughout his radio and podcast career, Sutton still has a few major names on his wish list.

One of them is Guns N’ Roses frontman Axl Rose.

“I would say that anyone—Guns N’ Roses would be one that I—because even in my heyday of doing the radio show before this, never got Axl,” Sutton said. “Had Slash on a few times but never got Axl.”

He also named Charlie Sheen as another guest he’d like to have on the show.

“I think Charlie Sheen would be a good one,” Sutton said. “Because he so epitomizes the—at least the D of SDR, you know.”

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Ultimately, though, Sutton said the biggest factor isn’t necessarily fame.

“To me it’s anyone that’s got a good story to tell,” he said. “That’s what makes me happy.”

Ralph Sutton Weighs In On Howard Stern

The conversation then turned to Howard Stern and the recent discussion surrounding the legendary radio host and his future.

Sutton didn’t hesitate to acknowledge Stern’s enormous influence.

“First of all, the dude’s 72 years old,” Sutton said. “He’s held on way longer than most of us would.”

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Sutton argued that Stern’s impact on radio is difficult to replicate, comparing his influence with that of other major figures in entertainment.

“There’s nobody like him,” he said. “Nothing like that will ever exist again.”

However, Sutton believes Stern could have spent more time preparing for the future of his channel by developing new talent.

“I think the negative is that he should have spent the last decade cultivating getting someone to replace him on his channel,” Sutton said.

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For Sutton, the issue isn’t necessarily Stern’s longevity but what happens to a platform once its defining personality is no longer there.

Ralph Sutton Says He Is ‘A Little Podcast Out’

With GaS Digital now home to dozens of podcasts, Sutton admitted that his professional life makes it difficult to consume podcasts the way an average listener might.

“GaS Digital, that I’m co-owner of,” Sutton explained. “There’s like 30 podcasts on the network. I listen to a little bit of each one. Every day.”

As a result, he joked, “I’m a little podcast out.”

There are still a couple of shows he makes time for, however, including science-focused content from Neil deGrasse Tyson and The Lonely Island podcast with Seth Meyers.

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Ralph Sutton Reveals What’s Next For Gas Digital

Sutton also discussed one of his more unconventional upcoming projects: Lights, Camera, Erection, which he said has already held two events.

“We’re doing a third where we do it at a live event,” Sutton explained.

The concept involves audience members competing for the opportunity to direct an adult scene.

“We pick six people randomly from the audience and we whittle it down to one, and that person wins the chance that night to direct the p-rn scene,” Sutton said.

According to Sutton, two adult performers participate onstage, with the winning audience member eventually getting the opportunity to direct a scene with them at a hotel.

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He was also asked whether there were any OnlyFans creators he’d like to feature.

“Like, if you have followers and you’re fun, that’s the one I want,” Sutton said. “That’s all we want. I don’t hold favorites.”

Sutton emphasized that he doesn’t want the project to be about judging or shaming adult performers.

“We just welcome everybody with open arms,” he said. “We don’t, we don’t s—- on the p-rn stars. We’re happy that they’re here. We’re not going to be shaming people. Do what you want to do that makes you happy. That’s all that matters.”

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Ralph Sutton Says The Algorithm Has Replaced Traditional Gatekeepers

Sutton also reflected on how the entertainment industry has changed, particularly for adult creators and independent personalities.

He compared the old system, where industry executives and established companies controlled who received attention, with today’s algorithm-driven landscape.

“It used to be that there was, uh, the gatekeepers, you know, then,” Sutton said. “The modern gatekeeper now is the algorithm, right? The algorithm is the gatekeeper.”

While creators now have more control over their own careers, Sutton believes the system remains difficult to understand.

“Now no one understands the algorithm, so it’s just as bad as ever, I think,” he said.

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Still, he sees an important advantage in the modern system.

“And now at least it’s in your own hands to make your own future, right?” Sutton added.

Ralph Sutton Addresses GaS Digital’s YouTube Problems

Toward the end of the interview, Sutton opened up about another challenge facing his network: losing its YouTube channel.

“You know what I’d say is we just lost our YouTube channel, which is so annoying because that’s the world we live in,” Sutton said.

The setback, he explained, is part of the reason GaS Digital maintains its own infrastructure.

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“That’s why we own our own servers, because we keep getting shut down,” Sutton said.

He encouraged fans who want to support his content to seek it out on platforms where it remains available, including GaS Digital’s own website.

“I’m all for free speech, I’m all for open-mindedness,” Sutton said, adding that people should be able to find content even when they disagree with it.

Ralph Sutton Shares His Other Podcast And A Major Personal Milestone

Before wrapping up the conversation, Sutton revealed that The SDR Show isn’t his only podcast.

“I also do a health podcast called I Love Good Sugar, which is all about eating right,” he said.

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He also shared a major personal achievement, saying, “I lost 150 pounds.”

After years in radio and podcasting, Sutton clearly isn’t slowing down. Between The SDR Show, GaS Digital, new live events and additional podcast projects, his latest Los Angeles appearance offered a glimpse at the busy schedule behind one of podcasting’s more recognizable personalities.

After a long week, there’s nothing like relaxing with a great book all weekend long. Luckily, there’s no shortage of great weekend reads, with stellar books of every genre hitting the stands (both physical and digital) every single day.

However, that same breadth of choice can make it rather difficult to zero in on the really enjoyable reads that suit your personal taste. Which is why we’ve done the work for you, digging through the bestseller lists and critical reviews to put together a handpicked collection of excellent weekend reads. So, without further ado, here are three great books that we think you should read this weekend.

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‘Yesteryear’ (2026)

Image via Penguin Random House

Caro Claire Burke’s debut novel, Yesteryear is a psychological thriller centered on tradwife influencer Natalie Heller Mills. The book follows two timelines, one in the present day, with Natalie playing up her supposedly “traditional” life for the cameras while secretly employing a whole team to sustain the illusion, and the other set in what appears to be the 19th century. In the process, it satirizes the tradwife trend, influencer culture, and the performance of femininity while also presenting an engrossing character study.

Yesteryear isn’t really the book its marketing sells it to be: it’s not a fish-out-of-water comedy or a straightforward satire, and its underlying themes and characterizations are a lot more biting than you might expect. The book has had a generally warm reception from readers since its publication in April this year, and it’s sure to end up on the reading lists of many book clubs. A film adaptation starring and produced by Anne Hathaway is currently in the works as well.

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‘The Wedding People’ (2024)

Image via Henry Holt and Co.

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Written by Alison Espach, The Wedding People follows a Midwestern English professor whose plans to kill herself take a turn when she crashes a wedding party. Phoebe Stone is an adjunct English professor who travels to a luxury hotel in Newport, Rhode Island, in the aftermath of personal tragedies to enjoy one last splurge before she commits suicide. While she’s there, she runs into Lila, who’s about to get married at the hotel, sparking a complicated relationship.

The Wedding People is both funny and heartbreaking in equal measure, centered on the unlikely and even toxic friendship between two very different women. The book became a New York Times bestseller on its release in 2024, earning critical acclaim for its nuanced and satisfying narrative. The book was also acquired for a film adaptation before its publication, with Will Speck and Josh Gordon set to direct and Nicole Holofcener writing the screenplay.

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‘Dungeon Crawler Carl’ (2020)

Image via Ace Books

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The first book of the smash-hit science-fantasy LitRPG series, Dungeon Crawler Carl was written by Matt Dinniman and originated on the online publisher Royal Road. The book follows Carl, a Coast Guard veteran, and Princess Donut, his ex-girlfriend’s cat, as they enter a dungeon crawl/intergalactic reality show created by an alien corporation that has destroyed Earth. The book was followed by seven sequels, the latest released in May 2026, with two more books planned in the series.

Dungeon Crawler Carl is a self-publishing success story that built a massive following before being acquired by Penguin Random House. As of this year, the series has sold over 14 million copies across formats. The first book, like the rest of the series, presents a well-balanced blend of action, humor, and intelligence. It’s an entertaining and engaging read, and the book earned a nomination for the 2026 Arthur C. Clarke Award. A TV adaptation has been greenlit by Peacock, and there are plans to further expand the franchise as games, graphic novels, and more.

There is something almost impossibly fitting about the journey of Coyote vs. Acme. A movie centered around Wile E. Coyote, a character defined by getting flattened, blown up, dropped off cliffs and somehow coming back for another try, was itself nearly erased from existence before finding a way back.

Thankfully, it did.

Coyote vs. Acme isn’t just the curiosity many expected after years of headlines surrounding its shelving. It’s a genuinely funny, surprisingly heartfelt celebration of the Looney Tunes that understands exactly why these characters have survived for generations.

Directed by Dave Green, the film takes one of the simplest running jokes in animation history and asks a question that suddenly seems completely reasonable: After decades of defective rockets, exploding bird seed, malfunctioning traps and other catastrophically unreliable products, why hasn’t Wile E. Coyote sued ACME?

That’s exactly what he does.

Wile E. teams with struggling attorney Kevin Avery, played by Will Forte, to take ACME Corporation to court over the company’s long history of products that have repeatedly exploded in his face. Standing on the other side is ACME’s powerful attorney Buddy Crane, played with exactly the kind of exaggerated confidence you’d expect from John Cena.

It’s a ridiculous premise, but the movie commits to it.

Rather than simply using the Looney Tunes characters as decoration around another live action story, Coyote vs. Acmemanages to bring their world into ours without stripping away what makes it special. Cartoon logic still applies. Explosions happen. Characters survive things no living creature possibly could. Elaborate contraptions go spectacularly wrong.

Most importantly, it actually feels like Looney Tunes.

That has been one of the biggest challenges for previous attempts to bring these characters into live action. Here, the filmmakers aren’t embarrassed by the absurdity. They embrace it.

Forte proves to be an ideal human counterpart for Wile E. Coyote. His comedic style has always worked best when playing characters who are slightly desperate, slightly defeated and somehow still convinced things might eventually work out. Pairing him with perhaps the most relentlessly unsuccessful character in animation history turns out to be a perfect match.

Cena is having even more fun. His ability to completely commit to absurd comedy has become one of his greatest strengths as an actor, and Coyote vs. Acme gives him plenty of opportunities to lean into it.

But Wile E. remains the star.

For a character who barely needs words, the movie finds an impressive amount of emotion underneath the slapstick. His endless pursuit of the Road Runner has always been funny because he refuses to quit. Here, that stubbornness becomes something unexpectedly meaningful.

The movie even manages to find a little heart inside all the falling anvils and exploding rockets.

That doesn’t mean everything lands perfectly. Some of the human material isn’t as entertaining as the animated chaos surrounding it, and there are stretches where the courtroom story slows down the manic Looney Tunes energy. Not every joke hits, either.

But the misses rarely linger because another gag is usually seconds away.

Early critical reaction has been overwhelmingly positive, and it’s easy to understand why. The Hollywood Reporter called the movie a “hilarious delight,” while praising it as one of the best combinations of live action and animation. Variety highlighted the movie’s ability to pack Road Runner style destruction, references and Looney Tunes Easter eggs into its courtroom comedy. Deadline went even further, comparing the film favorably to Who Framed Roger Rabbit.

Those are lofty comparisons, and Coyote vs. Acme doesn’t quite reach the all time greatness of Roger Rabbit. But the fact that the comparison doesn’t feel completely ridiculous says plenty about how well this movie works.

John Cena, Coyote vs Acme [credit: Warner Bros. Pictures]

There’s also an unavoidable layer of irony surrounding the entire story.

Warner Bros. Discovery originally planned to shelve the completed film, turning it into one of Hollywood’s most controversial examples of finished projects being abandoned for financial reasons. After enormous backlash from filmmakers, actors and fans, the movie eventually escaped that fate and found a new home with Ketchup Entertainment.

That history makes the movie’s story about a powerless individual taking on an enormous corporation almost comically appropriate.

You couldn’t write a better marketing campaign.

More importantly, audiences now get the opportunity to decide whether the movie deserved to survive.

It did.

Coyote vs. Acme isn’t revolutionary, and it doesn’t need to be. It’s funny, charming, energetic and clearly made by people who genuinely love these characters. Instead of attempting to reinvent the Looney Tunes for modern audiences, it remembers that great characters don’t always need reinventing.

Sometimes you just need to give Wile E. Coyote another rocket, point him toward the Road Runner and get out of the way.

After everything Coyote vs. Acme went through just to reach a theater screen, perhaps there was never a more appropriate movie to prove that getting knocked down doesn’t mean you’re finished.

Whew, Roommates! GloRilla’s sister, Victoria “BroRilla” Woods, had PLENTY to say about Claressa Shields, and chile, she did not hold back! She shared her thoughts on the boxer and even threw Remy Ma and Serena Williams into the mix, sending timelines into a whole frenzy!

RELATED: Papoose’s Daughter Reacts After Trolls Call Her A “Flip-Flopper” For Being Cool With Claressa Shields Following His Split With Remy Ma (VIDEOS)

GloRilla’s Sister Called Out Claressa Shields & Had The TL Stopping Mid-Scroll

Recently, BroRilla dropped a series of videos sharing her thoughts on Claressa Shields, and she wasted NO time throwing shade at the heavyweight champ. BroRilla said she finds Claressa irritating and doesn’t see her as a baddie. But chile, she wasn’t done there. She kept speaking her mind with her chest, saying that Claressa doesn’t look better than Remy Ma and if Claressa ever tried to fight her, it would be a WRAP.

“Who told you, you was a bad a** b***h, you look like Serena Williams. Like get the f**k out of here,” BroRilla continued. “She just irritating as h*ll because that h*e ever try to fight me, she going to jail cause that ole hand is rusty.”

In videos shared by LiveBitez, BroRilla kept going IN on Shields, saying she’s tired of Claressa gloating about her relationship with Papoose. She said Claressa doesn’t need to do all that, especially with everything she’s accomplished. BroRilla said she doesn’t think Shields needs to address every negative comment for that very reason.

“Like Claressa, you don’t have to prove to nobody about your relationship. Let these folks keep thinking. You the number one female boxer, like brah you’re winning.” BroRilla added, “Why is you responding to these fools. Like, brah you are talented cause when you respond to these folks it looks stupid as h*ll.

BroRilla Tells Claressa To Talk Her Talk — But Choose Her Words Wisely

Even with all the shade, BroRilla took a moment to give Claressa Shields some advice. She said she thinks it’s cool for Claressa to talk her talk and stand confidently, but she doesn’t think she needs to do it all the time. In BroRilla’s opinion, Claressa should talk less and let her success do all the talking.

 “You are a millionaire at young age. Like, pop yo sh*t, but stop popping yo sh*t where you open yo mouth. Pop yo sh*t in silence […] cause no, it don’t look right I’m sorry!” 

Social Media Says Not Too Much On The Gwoat Or Serena Williams

Once LiveBitez dropped the clips of BroRilla, the comment section was flooded with reactions. Plenty of folks told her to chill on Serena Williams and Claressa, while others said she told no lies.

Instagram user @jbreezy2137 wrote, “Ppl just need to stop speaking on the GWOAT period.” 

Instagram user @itsyogurl_aisha wrote, “Not too much on The goat 🐐. 😂” 

While Instagram user @ms_delta_sigma_theta wrote, “Claressa is a beautiful Black Queen her & Remy.” 

Then Instagram user @hershh.__ wrote, “Not too much on Serena and I want her to tag her dermatologist because her skin is looking good.” 

Another Instagram user @tai_latt wrote, “she saying what everybody else think 😂😂” 

Instagram user @neek_domi wrote, “lol I I like when people say what I say out loud 😂” 

While another Instagram user @traewaterfall wrote, “Who asked for this tho?🫩” 

Finally, Instagram user @raaarebreed wrote, “Claressa is beautiful.” 

Claressa Isn’t Worried About The Shade — She’s Busy Reacting To AI Photos

Claressa hasn’t responded to BroRilla yet, but she’s been cuttin’ UP online after sharing her thoughts on AI-generated photos that showed her with a lighter skin complexion. Shields appeared to react to the images online and found them funny writing, “Who created this. Please stop playing with me LOL.” Then she doubled own, adding the post to her Instagram Story and writing, “I can’t stand the person who made this.” 

RELATED: Claressa Shields Reveals She Want Beyoncé To Walk Her Out For A Fight Before She Retires (VIDEO) 

Audiences love to feel as if they’re a part of the action when they watch a television show. To be able to immerse oneself is the excitement. So, when it comes to detective series, being able to figure out the mystery, murder, or crime alongside the protagonist is the thrill. Solving the case before them makes it even better!

The genre has often led to some of the most bingeable content, so we’re here to celebrate perfect detective shows with 20 episodes or less. Whether miniseries or long-running titles with shorter-episode seasons, these shows are exceptional at building the tension before executing the catch. Of course, there will be twists and turns along the way. Some procedurals are a case-of-the-week story while others use a singular season for a particular crime. Nevertheless, strap in! These series are simply perfect.

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‘Ballard’ (2025–Present)

Image via Prime Video

If we were looking at shows with longer episode runs, then most certainly we would be discussing the beloved Prime Video series Bosch. But the next best thing is the spin-off, Ballard. Based on Renée Ballard by Michael Connelly, the police procedural follows Renée Ballard (Maggie Q) as she leads the department’s newly formed, underfunded, all-volunteer cold case division. Detective Ballard and her eccentric team tackle Los Angeles’ most challenging, long-forgotten crimes, while uncovering a dangerous, deep-seated conspiracy within the LAPD. While Harry Bosch (Titus Welliver) does cross over to help her navigate the life-threatening dangers tied to the conspiracy, this series is all Ballard, all the time.

With a second season coming, Ballard picks up where Bosch and Bosch: Legacy left off. Created by Michael Alaimo and Kendall Sherwood, Ballard pairs Q’s grounded, magnetic performance with sharply written stories, tight pacing, and a rich connection to the extended Bosch universe. As Ballard, Q brings a raw intensity alongside empathy and quiet vulnerability to a detective forced into the basement unit. The rapport she has with the underdog volunteers and investigators, namely the ambitious Samira Parker (Courtney Taylor), builds the emotional stakes within the episodic cold cases and overarching serialized conspiracy. Whether you are coming into the series fresh or as a long-time Bosch fan, Ballard proudly lives on its own.

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‘Happy Valley’ (2014–2023)

Image via BBC

If you’re from the UK, you likely already know about the powerhouse that is Happy Valley. If you’re new to the series, strap in—it’s extraordinary. The BAFTA-winning series created by Sally Wainwright is a grisly crime drama that follows Catherine Cawood (Sarah Lancashire), a strong-willed police sergeant in a small West Yorkshire town. She deals with local crimes while trying to protect her family from a dangerous criminal linked to her past tragedy—the prison release of Tommy Lee Royce (James Norton), the violent man whom she blames for her daughter’s suicide. Set in the Calder Valley, a depressed locale with severe drug problems which cops jokingly refer to as “happy valley,” the sensational series blends gripping, high-stakes crime writing with rich emotional realism through a complex examination of family, trauma, and local heroism. At its core, Happy Valley is a richly human story.

Happy Valley is a harrowing series that features one of the greatest character examinations led by a fervent performance by Lancashire. Paired with Wainwright’s naturally grounded dialogue, Lancashire gives a tour de force performance. She balances fierceness with extraordinary vulnerability and tinges of dark humor. Cawood is a deeply flawed woman experiencing immense grief. Her decision-making regarding outside cases is sometimes hindered as her mind is on Tommy at all times, especially when he gets closer to her grandson, Ryan (Rhys Connah). While you may know Norton today from his role as Ormund Hightower on House of the Dragon, he provides a chilling performance as the complex villain. He’s a snake and a cockroach all rolled up into one. Through three seasons, with a major real-time jump for Season 3, Happy Valley avoids glossy detective tropes in order to focus on the messy realities on the ground in the small community. Happy Valley is an excruciatingly high-tension, slow-burning masterpiece that never skimps on the cruel, gruesome truths.

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‘Luther’ (2010–2019)

Image via BBC

Tapping out our list with 20 episodes over five seasons comes the psychological crime thriller, Luther. Written by Neil Cross, the series follows DCI John Luther (Idris Elba), a brilliant yet self-destructive homicide detective in London. Luther gets deep inside the minds of killers using unconventional methods, but his intense, violent temper and emotional impulses frequently put him at odds with his bosses as he battles his inner demons. The most prominent antagonist is Alice Morgan (Ruth Wilson), a brilliant scientist and murderer whom Luther cannot legally convict. They form a twisted, complex intellectual bond and alliance. Each season features gritty investigations into violent crimes, psychological predators, and serial killers. Through an inverted “howcatchem” format where the killer is often revealed early, Luther is a compelling detective thriller that helped to establish the powerhouse that is Elba.

Rather than exploring the typical detective format, Luther shifts the narrative focus to the psychological cat-and-mouse hunt. Atmosphere is everything as the series captures a dark, moody, rain-drenched London backed by a hauntingly gloomy soundtrack. It creates an oppressive tone that Luther must overcome. A highly addictive series, Luther keeps the seasons compact to prevent bloated storytelling, allowing for breakneck pacing and emotional exhaustion. Elba infuses the series with raw intensity and magnetic charisma to anchor it. Luther is not a clean, by-the-books hero, often operating on the edge to break rules and channel the darkness of the criminals he hunts. Like many series, Luther has been given a movie special, Luther: The Fallen Sun, with another to come.

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‘Mare of Easttown’ (2021)

Image via HBO

Very few limited series have made such an impact quite like Mare of Easttown. Created by Brad Ingelsby and directed by Craig Zobel, the HBO masterpiece brought Kate Winslet to the small screen without the glamor; the result was flawless. The series follows Mare Sheehan (Winslet), a depressed detective in a small Pennsylvania town. She investigates the murder of a teenage mother, which is linked to an older, unsolved missing person case in the community. As she’s deeply involved in her work, Mare does all she can to keep her fractured personal life and past family tragedies from destroying her, grieving the suicide of her son, a bitter custody battle, and a failed marriage. Mare of Easttown is a multidimensional drama that focuses on a tight-knit, struggling blue-collar town where everyone knows each other, but each hides a dark secret that binds them.

Mare of Easttown transcends the typical murder mystery series into a deeply human, multi-layered family drama. It balances a gripping whodunnit with an authentic portrayal of grief, community trauma, and working-class life in America. Community is at the focus as Ingelsby ensures that the town is lived in. That means it’s immersive in the dialogue, Delco dialect, and references. Though the crimes and investigation are central, Mare of Easttown gives room for the messy, mundane human life to play into the action. Winslet provides a career-best performance, anchoring the story with grit, tenacity, exhaustion, and vulnerability. She’s joined by a top-tier cast, including Jean Smart, Julianne Nicholson, Cailee Spaeny, and Evan Peters. As much as fans wish for more Mare, it doesn’t seem to be in the cards as of now. That said, Ingelsby’s series Task, will officially link the universes as Lori Ross (Nicholson) will be featured during Season 2.

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‘Mindhunter’ (2017–2019)

Image via Netflix

No better way to catch a criminal than to get into the mindset of one. Based on the 1995 true-crime book Mindhunter: Inside the FBI’s Elite Serial Crime Unit by John E. Douglas and Mark Olshaker, comes the Joe Penhall-created thriller Mindhunter. The psychological crime series explores the birth of criminal profiling in the FBI during the late 1970s and early 1980s. Agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), alongside psychologist Wendy Carr (Anna Torv), interview imprisoned serial killers to understand how they think and apply those insights to solve open cases. The agents talk in-depth with real-life-inspired murderers like Ed Kemper (Cameron Britton) and Charles Manson (Damon Herriman) to map their psychological patterns. Mindhunter taps into the depth of how getting close to evil minds damages the agents’ mental health, families, and careers.

Through the pioneering of “sequence killers” profiling, Mindhunter is a fascinating examination of the gruesome patterns of monsters. Rather than jump scares and gore, Mindhunter uses chilling, meticulously researched conversations through the dark, cinematic lens overseen by director David Fincher. Mindhunter proves that words can be far more horrifying. The quiet interviews across a table can be more frightening than an action sequence. Perhaps what makes it even more unsettling is that the exchanges with imprisoned killers are directly adapted from actual transcriptions and historical records, making Mindhunter one of the most realistic true-crime-inspired series out there. Mindhunter forces its audiences to see the killers as more than cartoonish villains, but as deeply disturbed individuals who are necessary to save the future. Through two seasons, Mindhunter distinguished itself at the top of the genre, leaving some fans wanting more.

6

‘River’ (2015)

Image via BBC

Perhaps one of the more underappreciated series on this list is the six-part British crime drama, River. Created by Abi Morgan, the series is about John River (Stellan Skarsgård), a brilliant police inspector who is deeply grief-stricken and psychologically fractured after the sudden murder of his close work partner, Detective Sergeant Jackie “Stevie” Stevenson (Nicola Walker). While trying to handle his regular caseload, his inquiry into Stevie’s murder forces him to uncover hidden, complicated truths about the partner he thought he knew so well. As he suffers from severe mental health struggles, causing him to see and converse with vivid hallucinations of murder victims, River blurs the lines between the living and the dead. River subverts the standard police procedural by turning a murder investigation into an intimate, haunting exploration of grief, mental health, and human connection.

River moves beyond the typical detective story with a unique supernatural conceit. River’s hallucinations of the dead externalize his severe grief and internal breakdown. With an inward focus, River cares less about procedural mechanics and more about the invisible, heavy toll that empathy and exposure to human cruelty take on an individual dead set on doing good. Skarsgård takes on the fragile mind of the titular character with care. He offers a deeply vulnerable, layered performance as a man teetering on the verge of sanity. Though he is the center of the story, Walker does a wonderful job as the sharply charismatic Stevie, serving as an emotional anchor for the entire series. A moody series with a matching atmosphere, the cold texture and somber tone provided for an award-winning series. If you haven’t watched it yet, add it to the queue.

7

‘Sherlock’ (2010–2017)

Image via BBC

There have been quite a few film and television adaptations of Sir Arthur Conan Doyle‘s detective stories, but none have been as extraordinary as Sherlock. Created by Steven Moffat and Mark Gatiss, the British crime drama updates the classic tale to 21st-century modern-day London. Eccentric “consulting detective” Sherlock Holmes (Benedict Cumberbatch) and his flatmate, Dr. John Watson (Martin Freeman), an army doctor recently back from Afghanistan, take on an array of mysteries as they frequently lock horns with complex villains, including Jim Moriarty (Andrew Scott), an equally brilliant criminal mastermind. Taking the tropes Doyle masterfully wrote and projecting them through a modern lens, Sherlock uses fast-paced storytelling, mesmerizing cinematic visuals, and extraordinary performances to introduce the infamous character to a new generation.

Rather than bogging down the story in the past, the modern take allows for the nuances of modern detective work to take flight. Sherlock uses modern tech like smartphones, the internet, GPS, and text messaging to solve crimes. The show highlights Sherlock’s brilliant mind through swift-moving visual graphics to depict how he reads clues and processes details. Cumberbatch plays his Sherlock as a brilliant, arrogant, and hyper-observant high-functioning sociopath. Dr. Watson serves as a grounded companion who chronicles their adventure via a blog, while helping to ground Sherlock’s lack of social grace. Freeman provides the vital human element to balance the eccentricities of his partner. Together, they are an instantly classic duo that emerged as one of the decade’s most dynamic pairs. The series is a faithful adaptation of the source material with clever callbacks woven in. Rather than the standard weekly television format, each episode operates like a feature-length masterpiece. The concise series makes Sherlock the perfect weekend binge-watch.

8

‘The Fall’ (2013–2016)

Image via BBC

Considered one of the greatest Irish crime dramas of all time, The Fall was the ultimate cat-and-mouse drama. The series follows the extraordinary chase between Detective Superintendent Stella Gibson (Gillian Anderson), a cool and analytical senior investigator brought in from London, and Paul Spector (Jamie Dornan), a grieving bereavement counselor and family man who lives a double life as a brutal serial killer in Belfast. The show highlights the dual hunt equally on both the hunter and the hunted, examining the psychology behind their actions. A masterful take on gender and power, The Fall explores the societal attitudes toward female victims and how it can shape a case.

The Fall is a gripping psychological drama that avoids the traditional whodunit trope by revealing straight away that the killer is Paul. By immediately exposing his identity, it allows the audience to follow his journey through his contrasting lives. The Fall is a psychological chess match that poses as a brilliant police procedural. Created by Allan Cubitt, the series pairs its themes perfectly with the action. The backdrop of Belfast serves as a living, breathing character. It lends itself to a dark, brooding, and distinct presence as the game board for Gibson and Spector. The X-Files fans may be used to Anderson having a different partner in crime, but Dornan moves in as a perfect foil for her to work against, making him an equally great scene partner. The Fall will keep you guessing. Through three tight seasons, The Fall keeps you on the edge of your seat.

9

‘Three Pines’ (2022)

Image via Prime Video

An underrated masterpiece from Prime Video, Three Pines brought Louise Penny‘s novel series to life in perfect fashion. The mystery drama centers on Chief Inspector Armand Gamache (Alfred Molina) as he investigates bizarre murders in a quirky, idyllic, remote Canadian village. Along the way, he uncovers local secrets as he searches for missing Indigenous women. Using empathy and keen observation to see things others miss, Three Pines features four distinct murder mysteries that are split across eight episodes. Through a smart, gentle approach with serious social commentary, Three Pines uses the detective approach to offer a thoughtful look at human nature.

Set in an idealistic Quebec locale, the story contrasts the cozy aesthetic with a dark, complex psychological undercurrent. Rather than simply focusing on unique small-town murders, Three Pines weaves an ongoing, respectful examination of systemic issues regarding the plight of missing and murdered Indigenous women in Canada. Three Pines entertains while concurrently educating about the awful realities. Molina takes good care in adapting Penny’s character. He plays Gamache as a warm, highly observant, and deeply compassionate leader who treats his team and suspects with a rare form of kindness. He exemplifies the proper moral compass a good detective needs. Sadly, the series was canceled after one season. Don’t let the cold location fool you—Three Pines is a cozy watch.

10

‘Young Sherlock’ (2026–Present)

Everyone loves a good origin story, and Young Sherlock proved just how cool Sherlock Holmes truly was before he turned into the legendary detective we know him as. Created by Matthew Parkhill and developed by Peter Harness and Guy Ritchie, Young Sherlock is inspired by Andrew Lane‘s book series. The high-energy origin story follows an undisciplined yet tuned-in 19-year-old Sherlock Holmes (Hero Fiennes Tiffin). Set in 1871, long before Baker Street, the rebellious and reckless amateur sleuth is pulled out of trouble by his older brother Mycroft (Max Irons) and given a chance at redemption. What begins as a local murder investigation in Oxford quickly spirals into an international conspiracy that threatens his freedom and family as it shapes his brilliant mind. Alongside his friend James Moriarty (Dónal Finn), the globe-trotting mystery avoids the murder-of-the-week format for an overarching thrill that establishes a unique prequel dynamic we wish to make canon.

Rather than make Young Sherlock a bland detective series, Ritchie’s signature stylish flair is in full effect. With a vibrant Victorian setting and fast-paced action that gives the character an extra cinematic punch. With fast editing, stylish cinematography, action-packed fight choreography, and a modern musical vibe, Young Sherlock establishes itself with its own brilliant identity. The entire cast is wonderful, but Fiennes Tiffin emerged as a superstar. He is an enigmatic and charismatic Sherlock who brings enough intrigue into what he might do next. He leads the ensemble, which also features Colin Firth, Zine Tseng, Holly Cattle, Natascha McElhone, and his real-life uncle, Joseph Fiennes, playing Sherlock’s father, Silas. Young Sherlock operates as a perfect bridge for Doyle fans and those who simply adore detective mysteries. The series brilliantly establishes the complex dynamic between Sherlock and Moriarty before they become infamous archenemies. With Season 2 coming along, that path to rivals may be arriving sooner than anticipated.

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Young Sherlock

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Release Date

March 4, 2026

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Prime Video

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Matthew Parkhill

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Comic books have come a long way since their advent in 1933, but they have evolved significantly over the last ten years as the industry has grappled with writing stories in a post-Comicsgate era. Still, some of the most celebrated titles have found themselves falling into familiar and oftentimes uncomfortable patterns.

Few writers embody this evolution more uniquely than Gail Simone, whose early commentary helped redefine how gender and agency are understood in mainstream superhero media. In 1999, prior to her professional writing debut, Simone launched the website “Women in Refrigerators,” coining a phrase that forever altered comic book criticism. Sparked by the infamous death of Kyle Rayner’s girlfriend Alexandra DeWitt (who was murdered and stuffed into a refrigerator in Green Lantern #54) the term described a pervasive industry trope where female characters were routinely killed, maimed, or otherwise de-powered purely to advance the emotional arcs of male heroes.

Simone’s sharp critique propelled her into the industry itself, where she swiftly became a powerhouse writer for both DC and Marvel, crafting acclaimed runs on titles like Birds of Prey, Wonder Woman, and even Deadpool while proving that female characters could anchor the same complex narratives as their male peers.

That legacy makes the last two years of her run on Uncanny X-Men all the more jarring. As the first woman to be the mainline’s sole writer, Simone benefited from a degree of “plot armor,” so to say, which allowed her early missteps to be given a pass. However, this run has slowly become a depressing descent into the very creative pitfalls she spent decades dismantling.

Rather than propelling the mutant flagship forward, Simone’s work succumbs to clunky prose, dated characterizations, and a frustrating reliance on regressive tropes that feel out of character for not only the franchise, but Simone as a writer. Perhaps most glaring is how the narrative falters under the weight of subtle microaggressions and tone-deaf interpersonal dynamics, which begets the question of how an icon of feminist comic commentary could deliver a story so strangely out of step with her own established standard.

‘Uncanny X-Men’ Is Fixated on Overhyping Already Overhyped Characters

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The most immediate, and perhaps least egregious, casualty of this run is the regression of Rogue and Gambit, whose iconic relationship is flattened into a hollow caricature. Rather than leading the team as a formidable leader in her own right, Rogue is reduced to little more than a domestic “tradwife” existing solely in relation to her husband. It quickly becomes evident that the narrative prioritizes making Gambit look effortless and cool instead of allowing Rogue to command respect as an actual leader.

Rogue’s dialogue (and Remy’s, admittedly) is weighed down by heavy-handed, exaggerated Southern phonetics that read more like mocking stereotypes than authentic regional voices. Compounding this domestic imbalance is the awkward insertion of Calico; forcing an infantilized teenage mutant into their immediate living situation pushes Rogue further into a suburban foster-parent trope, taking her even further away from the frontlines of mutant leadership. The narrative comes across as off-putting as Calico is written in a deeply juvenile way which includes seeing the teenage mutant crawling into bed with Rogue and Remy — a couple she has only known for a few months.

This superficial obsession with making Gambit look cool constantly sacrifices basic narrative logic for cheap, unearned hype. A glaring example occurs during a major battle sequence in Uncanny X-Men #32, where Remy abruptly transforms into the “Wyvern” — a monstrous form that has been teased relentlessly for nearly ten issues and hyped up on promotional art. Instead of delivering a dramatic, satisfying payoff to all of that teasing, the transformation arrives suddenly at a moment that makes little sense within the flow of the story.

While the storyline is still in flux, with next week’s issue intending to follow up on Gambit’s new dragon dilemma, it remains a textbook case of style over substance: prioritizing flashy “badass” visuals over a coherent plot, leaving Gambit with an empty spectacle that will inevitably lead nowhere. But these minor scruples pale in comparison to the optics of some of Simone’s more confounding narrative choices.

This uneven focus extends to the rest of the cast and setting, leaving the broader team dynamic severely undercooked. Cyclops, who is historically the tactical anchor and ideological heart of the franchise, is thoroughly underwritten, stripped of his usual gravity and pushed to the periphery. Meanwhile, the narrative’s focus on the Outliers feels deeply skewed and underdeveloped, giving priority to a new cast that lacks the emotional weight or narrative setup to justify their page time.

Anchoring Rogue’s team in Louisiana only exacerbates these issues; compared to the high-stakes, globally resonant scope that has always defined the X-Men, this regional backdrop feels insular. Ultimately, it reads as a weak attempt to force Gambit’s specific corner of the universe into a level of importance it was never meant to hold. But these minor scruples pale in comparison to the optics of some of Simone’s more confounding narrative choices.

‘Uncanny X-Men’ Is Failing the Legacy of the Series

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The systemic issues in this run extend far beyond casual tone-deafness, hardening into a pattern of micro- and macro- aggressions specifically targeting Black and Asian characters. This harmful dynamic serves as the driving impetus for the “Raid on Graymalkin” and “Manhunt” arcs, which ultimately fizzled out into frustratingly dead ends, despite allegedly being planned from Uncanny X-Men #1.

Most striking is the treatment of Monet St. Croix, a Black Muslim woman whose established characterization has always centered on bodily autonomy and a fierce opposition to incarceration. Reducing her to the temporary warden of Graymalkin — a fascist concentration camp where mutants are detained until human authorities arrive — completely guts the core of her identity, reframing a hero of liberation as an enforcer of state-sanctioned violence.

What renders this direction as so acutely offensive is the sheer hypocrisy of its poor execution. For a run that postures an understanding of prison abolition and the horrors of systemic marginalization against those deemed as “other,” it arrives at a conclusion where a fascist camp’s existence is justified so long as a marginalized woman is the one holding the keys. This is a profound failure of text and subtext.

Placing Monet in direct parallel with figures like Corina (effectively weaponizing her as a cop and a jailer to her own oppressed people) turns the comic’s underlying civil rights allegory — a staple for the X-Men — on its head for all the wrong reasons. While it is true that what a character says and does is not an endorsement by the author, that does not mean authorial choices are above reproach, particularly when a pattern begins to emerge.

‘Uncanny X-Men’ Is Doubling Down on Its Missteps

Another recurring pattern in Simone’s Uncanny X-Men run is the abundance of cultural insensitivity and subtle microaggressions woven into the dialogue. Asian characters are routinely subjected to lazy, exoticized tropes. Of note, Logan casually refers to the young Japanese mutant Deathdream as a “manga kid,” which Simone glibly responded to criticism by framing it as Wolverine “incorrectly” calling him that. This casual bias rears its head again with Calico’s most recent interactions with Pietro Maximoff. Calico treats Pietro — a character of Romani heritage and a man of color — with a smug, condescending superiority (despite being in a moment of crisis), dismissively refusing to even view him as a true mutant.

Rather than celebrating the rich diversity that has long defined the franchise, these characterizations alienate readers, reducing an ambitious flagship era to a series of uncomfortable missteps. While there is some narrative explanation for Calico’s behavior, it is nevertheless jarring to see a blue-eyed, blonde-haired white woman othering a character who is, historically, the son of a Holocaust survivor. Coupled with the optics of tethering her to the franchise’s most cookie-cutter Southern couple, it feels as though Simone is doubling down on an inherent and accepted bias about Southern ideals.

Watching an industry titan like Gail Simone, whose entire legacy was built on dismantling harmful tropes, fall into these exact creative traps is a deeply disheartening turn for modern comic criticism — especially as she argues with fans of her writing on social media. Yet this failure does not rest solely on her shoulders; Marvel shares equal responsibility for allowing one of its most iconic flagships to languish without editorial discipline or vision.

At a crucial inflection point in the franchise’s decades-long history, when the X-Men’s core allegories require genuine nuance, intersectional awareness, and real gravitas, the publisher has instead settled for superficial gimmicks and passive oversight. What should have been a landmark era led by one of the industry’s most influential female voices has instead devolved into a stark reminder that legacy alone cannot sustain a title — and that the X-Men, along with their readership, deserve far better than unexamined tropes and hollow execution.

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Stan Lee, Chris Claremont, Len Wein, John Byrne, Scott Lobdell, Steven T. Seagle, Matt Fraction, Kieron Gillen, Gail Simone

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Jack Kirby, Barry Windsor-Smith, Dave Cockrum, John Romita Jr., Marc Silvestri, Jim Lee, Rick Leonardi, Greg Land, David Marquez

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Marvel Comics

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If you’re looking for a comedian/hip-hop crossover, look no further, as the official trailer for Rolling Loud: The Movie has arrived.

Back in December 2024, Owen Wilson gave fans a moment they didn’t quite see coming when he crashed the stage during rapper Travis Scott’s headline set at Rolling Loud Miami — but what was he doing there? Now we finally have our answer.

Rolling Loud released the official first glimpse at the largest hip-hop festival’s first-ever production, set to release in theatres on October 2, 2026.

The movie follows a stiffly conventional, hopelessly uptight father (Owen Wilson) who decides the fastest way to win over his 13-year-old son (Christian Convery) and claim “cool-dad” status is to disguise a trip to Rolling Loud as an ordinary father-son fishing trip. As the father-son duo parade around the grounds of Hard Rock Stadium, they become separated — and Wilson is seen frantically scouring crowds and crazed moshpits alongside two festivalgoers, played by Matt Rife and Christine Ko.

The trailer wastes no time throwing the trio into the thick of finding the teenager, cutting between strobing stage lights, pyrotechnics and a sea of bodies that continuously swallow Wilson whole every time he thinks he’s caught up to his son. Along the way, Wilson’s character gets tangled up in brawls, thrown around in the middle of moshpits and even ends up bouncing around on stage alongside the “Highest in the Room” rapper himself.

The high-energy chaos also features cameos from hip-hop’s hottest acts, including Sexyy Red, Ty Dolla $ign and Ski Mask the Slump God, each stepping into roles that play up their real-life personas. Henry Winkler and Jolene Blalock also join the cast, and Jeremy Garelick, who also penned the screenplay, sits in the director’s chair.

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None of the onscreen mayhem would have been possible without the on-site filming during the 2024 Rolling Loud Miami festival, where the production leaned on the festival’s crowd and atmosphere to generate the feeling of the movie’s pandemonium.

For those unfamiliar with the festival, Rolling Loud got its start in Miami back in 2015, launched by childhood friends Matt Zingler and Tariq Cherif. What began as a local event has since become a major force in the hip-hop world, with the festival now touching down in cities well beyond South Florida, including New York and San Francisco, and even making international stops in countries such as Germany, Thailand, Portugal and India.

Lindsay Clancy’s search history was discussed during her murder trial, and it was revealed she looked up “can you treat a sociopath” before she killed her three kids.

During the trial on Thursday, August 13, Massachusetts State Police Sgt. Timothy Chiappini took the witness stand after he was tasked to extract data from Clancy’s phone.

Clancy, 36, is on trial for killing her kids Cora, 5, Dawson, 3, and 8-month-old Callan in January 2023.

During his testimony, Chiappini read contents from Clancy’s search history, text messages and notes from her phone, according to the Associated Press.

Related: Lindsay Clancy Speaks for 1st Time During Trial After Killing 3 Kids

Lindsay Clancy spoke for the first time during her trial after she was charged with the murders of her three children. Clancy, 35, spoke while answering questions from Massachusetts Superior Court Judge William Sullivan on Tuesday, August 4, which marked the sixth day of her trial. When asked whether she could stipulate the facts, she […]

He read the one search about a “sociopath” from January 23, 2023, which was just four days before the kids were killed.

Chiappini also read notes he found on Clancy’s phone, in which she detailed her struggles and personal affirmations.

He went on to read a text exchange between Clancy and her then-husband, Patrick Clancy, about ordering takeout, which was sent on the day that the children were killed.

Chiappini was also cross-examined by Lindsay’s attorney, Kevin Reddington, who asked him about the large volume of data that was pulled from her phone.

Reddington asked Chiappini is he recalled looking for searches related to suicide, though he said he did not recall. However, Chiappini did say he found a search from Lindsay’s phone about “hallucinations” that was made just days before the killings.

Lindsay pleaded not guilty to first-degree murder charges, though she has admitted to killing her kids. Her defense has argued that she was not criminally responsible for the murders because she was overmedicated and experiencing extreme postpartum psychosis when the murders occurred.

Related: Chris Watts’ 2nd Mistress Breaks Silence 8 Years After He Killed Wife, Kids

Chris Watts’ secret second mistress, Amanda McMahon, candidly opened up about her relationship with the killer eight years after he was arrested for murdering his pregnant wife, Shanann Watts, and their two young daughters in August 2018. McMahon told The Daily Mail that she met Chris, 41, on Tinder when she was going through a […]

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Meanwhile, prosecutors argued that Lindsay was aware of what she was doing at the time her children died. Prosecution also pointed out that Lindsay attempted suicide by jumping out of the second story of her home after she strangled her kids, which they argued implied that the killings may have been intentional.

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If Lindsay is found not criminally responsible for the killings, she will likely be sent to a state mental health facility in Massachusetts. If she is found guilty of first-degree murder, she can be sentenced to life in prison without the possibility of parole.

If you or someone you know is pregnant or just had a baby and is in crisis, help is available. Call or text the National Maternal Mental Health Hotline for free, confidential support 24/7 in English and Spanish at 1-833-TLC-MAMA (1-833-852-6262).

If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.