This list is not about Viggo Mortensen’s most famous roles alone, even though the top is dominated by the fantasy trilogy that turned him into a permanent part of modern movie history. It is about the films where Mortensen’s presence becomes inseparable from the movie’s full power.

Mortensen has never built his career around obvious movie-star vanity. His best performances feel lived-in before the story even starts. He carries history in posture, silence, appetite, exhaustion, violence, humor, and the way a character looks at another person before deciding what kind of truth to give them. All six movies on this list contain the kind of acting that stops feeling like performance and starts feeling like a person being tested in public.

‘The Lord of the Rings: The Fellowship of the Ring’ (2001)

Image via New Line Cinema

Aragorn (Viggo Mortensen) enters The Lord of the Rings: The Fellowship of the Ring like a man who has spent years avoiding the very story everyone else is walking into. He is dirty, watchful, guarded, and physically capable without seeming eager to prove it. That first impression matters enormously. The film already has hobbits, wizards, elves, ancient evil, mythic objects, and a world loaded with history. Aragorn gives that world a human kind of danger and an anchor. He looks like someone who knows exactly how badly courage can end.

Mortensen’s brilliance in the first film is restraint. He makes Aragorn’s nobility feel unwanted, almost burdensome. His protection of Frodo (Elijah Wood), his fear of Isildur’s (Harry Sinclair) weakness, his tenderness with Arwen (Liv Tyler), and his loyalty to Boromir (Sean Bean) all come from a man fighting against inheritance as much as Sauron. The death of Boromir works so strongly because Aragorn’s grief has no decoration. He gives Boromir comfort, accepts the broken sword of brotherhood between them, and then has to keep moving. That is the Aragorn foundation: reluctant king, exhausted soldier, decent man. Mortensen makes all three visible at once.

‘Eastern Promises’ (2007)

Image via Focus Features

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Nikolai Luzhin (Viggo Mortensen) is one of Mortensen’s most terrifying characters because he never begs the audience to admire his control. He simply has it. In Eastern Promises, Nikolai moves through London’s Russian criminal underworld as a driver, fixer, enforcer, and silent observer inside the orbit of Semyon (Armin Mueller-Stahl) and Kirill (Vincent Cassel). Every gesture feels measured. Every word feels rationed. Even his politeness has threat inside it.

The bathhouse fight is the scene everyone remembers, and rightly so, because Mortensen strips the character of clothing, weapons, and social disguise while somehow making him more frightening. Yet the performance is larger than that one brutal fight. Nikolai’s tattooed body tells a story he refuses to speak aloud. His relationship with Anna (Naomi Watts) introduces moral risk without turning him soft. His handling of Kirill mixes manipulation, contempt, and strange protection. Mortensen makes Nikolai unreadable in a way that feels earned, then lets small flashes of conscience cut through with devastating precision. It’s like David Cronenberg gives him a criminal world built on ritual and rot and Mortensen gives that world its most dangerous secret.

‘Captain Fantastic’ (2016)

Image via Bleeker Street

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A brilliant, stubborn father raising his children off the grid, training them in survival, literature, politics, music, combat, and radical self-sufficiency is a role that could easily tip into fantasy-parent worship or smug anti-society sermonizing. Mortensen saves Captain Fantastic from that trap by playing Ben as deeply loving and deeply wrong in ways he cannot fully see. Ben Cash (Viggo Mortensen) could have been unbearable in the wrong hands. That’s not the case here.

The movie hurts because Ben’s devotion is real. He does not neglect his children through laziness. He has built an entire life around preparing them to think, question, endure, and resist. Mortensen makes that devotion magnetic, then slowly lets the damage show. The children are extraordinary, but they are also isolated. They can quote philosophy and hunt for food, yet some of them barely understand ordinary social life. The funeral fight over their mother Leslie exposes the limits of Ben’s certainty. He wants to honor her wishes, protect her memory, and defend his family’s way of life, but love has started turning into control. The masterpiece is in watching a father discover that being right is not the same as being good enough.

‘A History of Violence’ (2005)

Image via New Line Cinema

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Tom Stall (Viggo Mortensen) is terrifying in A History of Violence. You can realise this before even understanding why. At first, he appears to be a gentle small-town husband and diner owner, a man with a quiet marriage to Edie (Maria Bello), two children, and a life built around ordinary decency. Then violence enters the diner, and Tom kills with a speed and precision that instantly changes the entire movie. The shock is not only that he can do it. The shock is how naturally his body remembers.

Mortensen’s performance is a masterclass in divided identity without theatrical tricks. Tom begins to lose control over the person he has been pretending to be, or maybe the person he has worked brutally hard to become. When Carl Fogarty () starts calling him Joey, the film turns every denial into a test. Mortensen makes Tom’s fear, anger, shame, and buried reflexes fight inside the same stare. The staircase sex with Edie, the confrontation with Richie (William Hurt), and the silent family dinner near the end all expose different wounds.

‘The Lord of the Rings: The Two Towers’ (2002)

Image via New Line Cinema

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Aragorn (Viggo Mortensen) in The Lord of the Rings: The Two Towers is where he stops feeling like a man hiding from a crown and starts becoming someone others can survive around. Mortensen’s work here is less romantic than in The Fellowship of the Ring and less triumphant than in The Return of the King. That middle position gives the performance its force. He is exhausted, muddy, bruised, and constantly making decisions with incomplete information. He has no throne, no army of his own, and no certainty that the world will last long enough for destiny to matter.

His scenes in Rohan are crucial because Aragorn has to become useful before he becomes kingly. He listens to Théoden (Bernard Hill), challenges him without humiliating him, respects Éowyn (Miranda Otto) without exploiting her feelings, and steadies Legolas (Orlando Bloom) and Gimli (John Rhys-Davies) when fear begins to spread. At Helm’s Deep, Mortensen gives Aragorn command without turning him into a speech machine. He is in the mud with everyone else, shouting orders, pulling bodies, looking at children sent to fight, and understanding exactly how desperate the defense is. The greatness of this film is not just spectacle. It is the sight of a future king earning trust before anyone has the luxury of believing in crowns.

‘The Lord of the Rings: The Return of the King’ (2003)

Image via New Line Cinema

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Aragorn (Viggo Mortensen) in The Lord of the Rings: The Return of the King is the masterpiece that completes him without making him less human. The Return of the King could have turned him into pure myth — heir revealed, sword reforged, army summoned, crown claimed. Mortensen keeps pushing against that simplicity. Even when Aragorn finally accepts who he is, he does not become grand in a hollow way. He becomes clearer. The doubt is still there, but it no longer rules him.

His best moments are not only the obvious heroic ones. The look he gives the dying Théoden (Hill) carries respect and sorrow. His decision to march on the Black Gate is not confidence; it is sacrifice turned into strategy. His speech before the final battle has force because Mortensen plays it as a man asking terrified soldiers to spend their lives buying Frodo a chance they cannot even see. Then comes the coronation, where the entire trilogy’s emotional debt gathers in one simple gesture: Aragorn bowing to the hobbits. Mortensen understands that the king’s highest act is gratitude. That is why this performance remains untouchable. He gives the trilogy its warrior, its doubt, its mercy, and finally its grace.

By Jonathan Klotz
| Published 18 seconds ago

The popularity of superheroes has gone up and down over the decades, with different projects touching off years of interest, from the old Max Fleischer Superman serials to Batman ’66, X-Men ’92, and the launch of the MCU. Among the most influential was Kamen Rider, which spawned decades of spin-offs and movies while inspiring another franchise that’s still celebrated today. It isn’t a household name outside of Japan, but in its home country, the masked superhero has been a massive success since debuting in 1971.

Kamen Rider

The hero of Kamen Rider, which translates to “Masked Rider,” is Takeshi Hongo, a college student who loves science and motorcycles, sometimes in that order, who was experimented on by the evil Shocker, an organization trying to conquer Japan, and then, the world. Using a special Henshin Belt, Hongo could transform into the form of a masked superhero, modeled to look like a grasshopper, and use Shocker’s technology against them. In practice, this meant having martial arts fights with men in costumes before finishing them off with a special move, typically the dive kick.

Delightfully Goofy

I’ll admit, the original Kamen Rider should only be watched today by those looking for a goofy, old-school superhero show featuring monsters of the week like Spider-Man (not that one) and Bat-Man (also not that one). The special effects are atrocious, the acting is cheesy, and yet, the series ended up with 37 shows (and counting) over the span of 50 years.

But beyond the massive franchise with dozens of different riders, the series is also responsible for launching the second boom of Tokusatsu shows in Japan, and while most of them would mean nothing to you, this includes Super Sentai, or as it’s known in the West, Power Rangers.

Coming to America

Following the smash success of Mighty Morphin Power Rangers, Haim Saban brought over other similar shows, including Big Bad Beetleborgs, VR Troopers, and Masked Rider, the last of which adapted the Kamen Rider series, Kamen Rider Black RX, from 1988. The Americanized version of the franchise didn’t catch on like Power Rangers, with some partly blaming it on the series’s focus on a solo hero and not a team, which meant fewer merchandising opportunities.

The second American adaptation, Kamen Rider Dragon Knight, arrived in 2008 and it had more success, even earning an Emmy nomination for the stuntwork.

Two Riders Were Approaching

From the franchise’s beginning, Kamen Rider’s stunt work was on the cutting edge, thanks to the original Masked Rider, Hiroshi Fujioka. The actor was also an accomplished stuntman, able to play the hero and do all of his own stunt work. Unfortunately, Fujioka broke his legs in a motorcycle stunt gone wrong, forcing the producers to bring in a second Masked Rider, the character of Hayato Ichimonji, played by Takeshi Sasaki, to take over for 30 episodes.

It was a strange stroke of good luck, as the concept of more super-powered riders helped expand the world and laid the groundwork for future spin-offs.

Stream Most Of The Franchise For Free

The original Kamen Rider can be streamed right now for free on Tubi if you’re curious as to the start of the Japanese superhero boom, but for something a bit more modern, Kamen Rider Geats, which aired in 2022, brings together all the past riders into one series. While I found the acting incredibly corny, and the special effects are delightfully low-budget, there’s a charm about the original series’ earnestness that’s missing from most low-budget sci-fi today.

Reese Witherspoon’s daughter may still share an unmistakable resemblance with her father, Ryan Phillippe, but insiders claim the most influential father figure in her life became someone else years ago. 

As new details emerge about Ava Phillippe’s relationship with her family, sources say her bond with Witherspoon’s second husband, Jim Toth, grew so strong that he effectively stepped into the role Ryan once occupied, even as the family continues adapting to Reese’s new romance with businessman Oliver Haarmann.

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Ryan may share Ava Phillippe’s unmistakable features, but insiders claim their relationship has changed dramatically over the years.

Speaking to the Daily Mail, sources close to the family say Jim Toth became an important parental figure for both Reese Witherspoon’s daughter and her younger brother, Deacon.

“Ava was very close with her mom’s ex, Jim. He was around for a lot of the important years she was growing up. He was a really good father figure to her. Jim had a big hand in helping raise Ava,” one insider said.

After the actress filed for divorce from Ryan in 2006, she began dating Toth in 2010 before marrying him the following year.

Their wedding became a family affair, with 11-year-old Ava serving as maid of honor and seven-year-old Deacon acting as ring bearer.

The family expanded once again in 2012 when Witherspoon welcomed son Tennessee James. According to the insider, that chapter brought stability after what had been a challenging period during Ava’s childhood.

Ava Witnessed Difficult Years After Her Parents’ Split

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The source claimed Reese Witherspoon’s daughter grew up watching tensions between her parents during the years immediately following their divorce.

“Things were tense growing up because it took a really long time for Reese and Ryan to get to an amicable place, especially when it came to co-parenting,” the insider alleged. “She’s really close with her mom, so that couldn’t have been easy to see. But that was years ago. Things have gotten much better [between Witherspoon and Phillippe], but their kids are now adults.”

Even as co-parenting reportedly became easier over time, both Witherspoon and Ryan have offered very different reflections on raising Ava and the challenges they faced during those early years.

Ryan has often reflected on becoming a father with deep affection. Looking back on Ava’s birth, he once wrote that it was the day he “learned what love truly is.”

Recalling rushing from a film set in Utah to be present for her arrival, he tweeted, “I made it to my then wife’s bedside w/ two hours to spare before my baby girl first entered the world. Fifteen years ago I learned what love truly is.”

Witherspoon, however, offered a different perspective during a 2021 podcast appearance, revealing that she didn’t have much support when Ava was born. 

Reese Witherspoon’s Daughter’s Relationship With Ryan Reportedly Changed

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Despite Ryan frequently celebrating Ava on social media throughout her childhood, insiders say the relationship grew more distant as she entered adulthood.

According to sources, posts featuring Ava became increasingly rare after her nineteenth birthday. Around that same period, Ryan’s former girlfriend, Elsie Hewitt, filed a lawsuit accusing him of assault. 

The 51-year-old actor denied the allegations, expressed support for “women’s rights, feminism and advocacy,” and the lawsuit was settled out of court in 2019 without any admission of wrongdoing.

According to previous reports, the lawsuit allegedly created distance between Ryan and Ava, who has publicly advocated for causes including mental health awareness, body positivity, and LGBTQ+ rights.

However, the “Motorheads” star is looking to fix his fractured relationship with Ava. According to another insider, “Ryan wants to repair his relationship with Ava. He’s made an effort to be a part of her life but it’s not being reciprocated. He would never want to not be a part of her life. It’s a sad situation. Their relationship is not what it used to be.”

Ava Continues Building Her Own Career

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Although family relationships have reportedly shifted over the years, Reese Witherspoon’s daughter has continued following both of her parents into the entertainment industry.

She has appeared in music videos for Role Model and Ella Langley, as well as landing guest roles on “Doctor Odyssey” and “Ransom Canyon.”

Her first feature film, “Laura Dean Keeps Breaking Up with Me,” is currently in development.

The young actress has also expanded into modeling, fronting a campaign for Vince Camuto’s Wonderbloom Bliss fragrance and launching a limited-edition clothing collection with Bloomingdale’s Aqua brand.

Outside of Hollywood, insiders say Ava has grown increasingly attached to life in Nashville.

“Ava has spent many years in the Nashville event and party scene on the down low. She loves it out there, just like her mom, and seems to prefer it to the Hollywood lifestyle,” another source claimed.

After graduating from the University of California, Berkeley in 2022, Ava has reportedly balanced life between Los Angeles and Tennessee while pursuing acting and modeling opportunities.

Reese Witherspoon’s Daughter Has Welcomed Another New Chapter Into The Family

Three years after Witherspoon’s 2023 divorce from Toth, sources say her family has embraced another important person in her life.

The actress has been dating German financier Oliver Haarmann since 2024, and insiders claim her children have welcomed the relationship.

According to one source, “She likes that he’s just a normal guy. She hates the Hollywood life.”

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Another insider added, “Oliver seems to get along with everyone in Reese’s inner circle including her kids. They are very protective of their mom and extremely close with her. They are a tight-knit family and really nice kids.”

The family’s closeness was reportedly on display during Deacon’s graduation from New York University, where Witherspoon, Ryan, Jim Toth, Ava, Tennessee, and Deacon all gathered to celebrate together.

Photos from the event showed Witherspoon and Ryan smiling alongside their children, while Toth was also seen chatting with Ryan among the crowd of proud family members.

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From Minnesota to New York, it’s Bob Dylan in the building. At just 20 years old, Dylan landed a record deal in 1961 that instantly launched him from a Greenwich Village folk darling into a record-making machine. But like any songwriter, there comes a point when they’re bound to expand their creative repertoire — Dylan included. By 1965, he had begun shedding his folk purist roots for something edgier and more distorted, both in sound and lyricism.

The change didn’t come without criticism, but it was arguably a necessary one, considering how much Dylan had already seen of the music industry. During this period of transition, he wrote a song that was not only criminally underrated, but also showcased just how witty and vigorous his songwriting could be. Rumored to be a commentary on an industry he couldn’t quite get used to, the track is one of the sharpest examples of Dylan’s literary ambition in his craft.

“Ballad of a Thin Man” Shows Bob Dylan’s Mastery of Surrealism and Satire

Dylan’s 1965 album Highway 61 Revisited has plenty of standout moments, not least because it was the first album he recorded entirely with a full rock-and-roll backing band. Released just a month after his notorious electric performance at the Newport Folk Festival ruffled the feathers of folk purists, the album marked a major turning point in his career. But Dylan’s move to electric isn’t its only defining feature. While he’s best known for his protest anthems, he’s just as gifted a storyteller, using surrealism and literary sophistication to explore a world that refuses to make sense.

Who’s Your Perfect Classic Rock Band?

Unlike the grounded, approachable style of his earlier folk songs, “Ballad of a Thin Man” is hauntingly surreal. It follows the increasingly bewildered Mr. Jones, who keeps stumbling into bizarre situations where every question he asks only leaves him more confused. Pencil in hand, he desperately searches for answers, only to be dismissed by the song’s narrator, who mocks him instead. The narrator reminds Mr. Jones that he has “many contacts / Among the lumberjacks” and is “very well read / It’s well known,” yet none of that knowledge helps him understand what’s unfolding around him. The song never explains exactly what Mr. Jones is witnessing, making his confusion — and the listener’s — all the more unsettling.

“Ballad of a Thin Man” Was Originally Rumored to Be a Diss Track About a Journalist

Dylan rarely explains the inspiration behind his songs, but that hasn’t stopped listeners from speculating about the identity of Mr. Jones. One theory suggests the character was inspired by British music journalist Max Jones of Melody Maker. Another claims Mr. Jones was based on Time magazine reporter Jeffrey Owen Jones, who later recalled an awkward encounter with Dylan. According to Jeffrey, Dylan mockingly greeted him by saying, “Mr. Jones! Gettin’ it all down, Mr. Jones?… Time magazine,” before adding with exaggerated enthusiasm, “You going to write a story for Time magazine, Mr. Jones?” The exchange left the reporter feeling like a “village idiot” and “dumbstruck,” fueling speculation that “Ballad of a Thin Man” was Dylan’s pointed critique of intrusive journalists.

It wasn’t until September 1965 that Academy Award-nominated screenwriter and then-New York Post journalist Nora Ephron asked Dylan the now-famous question: “Who’s Mr. Jones?” This time, he finally offered an answer. Although he never mentioned any names, Dylan insisted that Mr. Jones was based on a real person — just not someone who actually went by that name. Dylan described Mr. Jones as an exceptionally meek individual, saying he “puts his eyes in his pocket” and “puts his nose on the ground.” Beyond that, he refused to reveal the man’s identity, joking that the last thing he wanted to do was mention his first name because he’d be sued.

1965 Was Bob Dylan’s Most Experimental Year as a Songwriter

“Ballad of a Thin Man” is just one example of Dylan’s songwriting shift in 1965. On his early 1965 album, Bringing It All Back Home, Dylan first showcased his stream-of-consciousness, unstructured writing style in “Subterranean Homesick Blues.” The song feels like a pastiche of lyrics strung together through similar sounds and rhymes rather than a single, coherent theme. Later that year, on Highway 61 Revisited, “Desolation Row” drew inspiration from the spontaneous rawness of Beat poetry, which makes sense considering Dylan’s friendship with poet Allen Ginsberg.

But for Dylan, surrealism wasn’t just about aesthetics. He used it as a legitimate literary device to address the absurdity of the world. The world doesn’t always make sense, and instead of trying to decode it, the next best thing is simply to become a spectator to the chaos. Dylan finally addressed the song’s true intention during a concert in Japan in 1986, explaining that it was his response to the kind of people who keep asking questions when you’re in a position where you don’t want to answer them. Whether Mr. Jones was actually based on a real person, as Dylan had previously suggested, is another topic of debate. But the sentiment behind the song runs much deeper than simply trying to figure out who Mr. Jones is.

Following one of the strongest debut seasons in Marvel Animation history, X-Men ’97 faced enormous expectations entering Season 2. Fortunately, the first three episodes prove the series hasn’t lost any momentum, delivering another thrilling blend of superhero action, emotional storytelling, and deep comic book lore.

Rather than easing viewers back into the world of the X-Men, Season 2 immediately picks up after the explosive finale of Season 1. With the team scattered across three different time periods, the opening episodes follow multiple storylines simultaneously while laying the groundwork for Apocalypse‘s rise.

It’s an ambitious approach, but one that largely succeeds.

Episode 1 centers on Cyclops, Jean Grey, and the future timeline, adapting elements from The Adventures of Cyclops and Phoenix. Their reunion with Nathan, better known as Cable, provides some of the strongest emotional moments of the season so far. The episode reminds viewers that beneath all of the time travel and mutant battles, X-Men ’97 continues to thrive because of its characters.

X-Men 97′ Season 2 [credit: Marvel Animation]

Episode 2 shifts gears with a fun, action-packed adventure featuring Cable, Jubilee, Sunspot, and the formation of a new X-Force. While the episode embraces the over-the-top style of the classic ’90s comics, it also explores the moral differences between Cable’s hardened worldview and Jubilee’s optimism. Their dynamic creates one of the season’s most entertaining character pairings.

The third episode may be the strongest of the bunch, taking audiences thousands of years into the past as Magnetoencounters a young En Sabah Nur, the mutant destined to become Apocalypse. Rather than presenting the iconic villain as a one-dimensional conqueror, the episode explores his origins in a surprisingly thoughtful way. The conversations between Magneto and En Sabah Nur are among the most compelling scenes in the series, adding emotional complexity to a character fans thought they already knew.

Visually, X-Men ’97 remains one of Marvel’s most impressive productions. The animation captures the spirit of the original 1990s series while elevating every action sequence with fluid movement, vibrant colors, and cinematic direction. Whether it’s mutant powers colliding on the battlefield or quieter emotional moments between teammates, every frame feels carefully crafted.

The voice cast also continues to shine, bringing authenticity and heart to these beloved characters. Even with multiple storylines unfolding simultaneously, each episode finds time for meaningful character moments that remind viewers why the X-Men have endured for generations.

The biggest criticism of these opening episodes is pacing. Episode 1 in particular moves through a significant amount of story in a short amount of time, and several of the timelines could have benefited from an extra episode to further develop their characters and emotional beats. It’s less a flaw in storytelling than a reminder that there’s simply so much happening at once.

X-Men 97′ Season 2 [credit: Marvel Animation]

Even so, those concerns do little to diminish what has been an outstanding start to Season 2. Marvel Animation has once again found the perfect balance between nostalgia and fresh storytelling, honoring classic comic arcs while keeping longtime fans guessing about what’s coming next.

Three episodes in, X-Men ’97 is already shaping up to be one of the year’s best animated series. If the remaining episodes maintain this level of quality, Season 2 has every chance of surpassing its already exceptional predecessor.

Verdict

X-Men ’97 wastes no time reminding fans why it became one of Marvel’s biggest success stories. While the opening episodes occasionally move too quickly through their ambitious storylines, the outstanding animation, emotional character work, and faithful adaptation of beloved comic arcs make for an exceptional return. After three episodes, Season 2 is firing on all cylinders.

The woman who caught Taylor Swift‘s bouquet has been revealed to be a relative of the Kansas City Chiefs!

The unbelievable coincidence stemmed from Travis Kelce‘s teammate, Trey Smith, attending the highly publicized union between the sensational singer and the athlete on Friday, July 3.

Taylor Swift and Travis Kelce tied the knot, surrounded by love, at Madison Square Garden, with Trey Smith attending alongside his lucky sister, Ashley Smith.

Ashley proudly flaunted her victory at Swift and Kelce’s union on Instagram, revealing that she had caught the “Opalite” hitmaker’s bouquet during the ceremony. The carousel of images featured the media personality’s stunning black dress for the event, along with a shot of her with her younger brother, Trey.

She shared two images with the bouquet, which appeared to include pale pink flowers, Sweet Pea, and Queen Anne’s Lace. Parts of the flowers were bent, and a good portion of it was missing, presumably from the struggle to catch the bouquet. One shot showed Ashley posing with the flowers for a mirror selfie.

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Another image showed her lying on the bed with the flowers by her head. She raved about her lucky moment in the post’s caption, writing, “Celebrated an Enchanting Love S(T&T)ory. And somehow…I ended up catching Tay Tay’s bouquet.” Ashley added:

“So here’s to believing it’s bringing a lifetime of love, luck, and laughter my way. Congratulations, Taylor & Travis! Cheers to forever T&T.”

The Newlyweds Gifted Guests Embroidered Napkins

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More pictures from the carousel Ashley shared included what appeared to be a wedding keepsake. She shared a picture of an embroidered napkin featuring intricate lace edges and lyrics from Swift’s 2014 hit “Blank Space”: “So it’s gonna be forever.”

The wording also featured the date and location of the ceremony, along with the couple’s intertwined “T” monogram featuring two hearts. Although Ashley caught the bouquet, she was not one of Swift’s bridesmaids, as the bride and groom skipped the tradition.

PEOPLE reported that the newlyweds had no groomsmen or bridesmaids at their event. Instead, the entertainer’s brother, Austin Swift, served as her man of honor while her husband’s brother, Jason Kelce, served as his best man.

More About The Wedding Of The Year

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According to the outlet, the couple’s union was officiated by renowned actor-comedian Adam Sandler inside Madison Square Garden. Swift and Kelce donned Christian Dior Haute Couture, designed by Jonathan Anderson, the creative director of Dior Women’s, Men’s and Haute Couture Collections.

The bride stunned in custom Cartier jewelry, and both she and Kelce wore Christian Louboutin shoes. The lovebirds reportedly enjoyed pre-wedding festivities ahead of their big day, with Swift hosting a girls’ weekend in her Rhode Island home.

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Meanwhile, Kelce was believed to have enjoyed bachelor party stops at The Bird Streets Club, a Chris Lake concert, Barney’s Beanery, a NASCAR race at Naval Base Coronado, and a golf simulator. Other sources claimed the couple had a more intimate celebration a day before their July 3 union.

Travis Kelce Was Allegedly ‘More Emotional’ Than The Bride

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The stories about Swift and Kelce’s wedding continued, with The Blast covering a source’s claims about the event. They alleged the ceremony was a tear-filled union, with the Kansas City Chiefs player unable to hold back his emotions during the exchange of vows.

“You would think the bride would be the one crying more, but it was actually Travis that was more emotional,” the source shared. They recalled the duo reading their vows from gold books and spending about “20 minutes each,” with Swift singing part of hers to Kelce.

After the ceremony, the source noted Kelce’s mom had invited guests to the reception room where a stage was set up. Additionally, Paul McCartney performed The Beatles’ hit song, “I Want to Hold Your Hand,” with stars such as Stevie Nicks also taking the stage.

Taylor Swift Couldn’t Hold Back Her Tears During Vows Exchange

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More sources shed light on what occurred during the July 3 ceremony, with an insider applauding Kelce for remaining composed while waiting for Swift at the altar. They also recalled the singer becoming emotional during their vows.

The Blast shared that the insider claimed Swift couldn’t hold back her tears when Kelce “promised to protect her forever.” Other sources noted the newlyweds’ emotional declarations of love had a similar effect on the crowd, with many wiping away tears by the end of the ceremony.

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“Good Morning America” host George Stephanopoulos dubbed the vows “real, vulnerable, serious and silly, deeply loving.” Other insiders claimed the Kelce family was overwhelmed with the sheer scale of the event, alleging “they’ve never seen anything like the spectacle of MSG.”

By Em Helena
| Published 5 seconds ago

Under the guidance of esteemed director David Fincher, Netflix’s 2023 crime thriller The Killer takes an unexpected turn from what we expect from the hitman genre.

Inspired by Alexis “Matz” Nolent’s graphic novel series, The Killer follows the story of an unnamed assassin and his search for retribution. The film features multiple famous Hollywood talents such as Michael Fassbender, Tilda Swinton, and Charles Parnell.

Michael Fassbender Is A Hitman Out For Revenge

After accidentally killing an innocent bystander while on a hit mission, the unnamed assassin, played by Michael Fassbender, is now forced to face the consequences of his actions on a personal level. When his girlfriend is nearly assassinated in retaliation to his mistake, the anonymous hitman embarks on a worldwide mission inspired by revenge and retirement. 

What sets The Killer apart from most hitman movies is the fact that it starts out as what you would expect from an action movie and then dramatically slows down, honing in on the assassin’s methodology. Also, there isn’t much to really like about the main character, he has no empathy, and nearly no redeeming qualities, putting him in stark contrast to previous hitman protagonists. He is cold, he is uncaring, and the audience is made readily aware of that throughout the film. 

Another David Fincher Hit

Released on Netflix in November 2023, The Killer received high praise. With an audience score of 85 percent on Rotten Tomatoes it is clear that David Fincher has, once again, successfully risen to the challenge. With previous titles such as Fight Club, Gone Girl, and Zodiac under his belt, it’s no surprise that he has mastered the thriller genre.

Along with audience popularity, The Killer also received high praise from the Hollywood film circuit. Nominated for several awards and securing the Premio Soundtrack Stars Award at the Venice International Film Festival, Fincher’s new dark take in the Bond-saturated hitman genre has been popular with most audiences. 

Although The Killer is an adaptation of Nolent’s graphic novel series, David Fincher still came to set with his own inspirations. It is rumored that Fincher’s inspiration behind the main character was the common misinterpretation of his film Fight Club. The unnamed assassin is someone who would believe that Tyler Durden is a good person and would be inspired by and find solace in his actions. 

Despite an overwhelmingly positive response to the film, some critics disagreed with the movie’s direction. Manhola Dargis, in a review for The New York Times, called the main protagonist “ loquaciously dull” and further elaborated that The Killer was just a way for David Fincher to kill time. For Dargis, much was left to be desired from the title.

The Killer is currently available to stream on Netflix and clocks in a run time of 119 minutes. If you are a fan of David Fincher or a hitman fanatic, this movie will most certainly jump into your top favorites list. If you are new to these worlds, congratulations! Come into it with an open heart and prepare to have your mind blown. 

Keri Hilson is opening up about her recent “music can harm” tweet, saying it wasn’t about Yung Miami‘s ‘Spend Dat’ single, as internet users continue to weigh in.

RELATED: LisaRaye & Trick Daddy Weigh In On Yung Miami’s ‘Spend Dat’ Amid Controversy Over The Song’s Impact (VIDEOS)

Keri Hilson Says Her “Music Can Harm” Tweet Wasn’t About Yung Miami’s ‘Spend Dat’

Keri Hilson recently sat down for an interview with HelloBeautiful, and during the conversation, she explained that her recent viral tweet “was bigger than that one song.”

“It’s bigger than any one song,” she said. “That tweet was me commenting on the commentary… It was general — I mean, of course… I was aware of what was being talked about. But I just wanted to offer that truth… Let’s not lie to ourselves. We understand the impact that music can have on the culture. On youth. We’ve been talking about this for 40, 50 years.”

Hilson explained that the “lack of balance” and “substance” in music is what “really bothers” her. Additionally, she explained that no artist is “attempting to take Black culture under their wing” and say that they have “something to teach.”

Internet Users Continue To Weigh In On The Song & Keri Hilson Says Her “Music Can Harm” Tweet

Internet users weighed in on Keri Hilson’s tweet, her explanation, and Yung Miami’s ‘Spend Dat’ in TSR’s comment section.

More On Yung Miami’s ‘Spend Dat’

As The Shade Room previously reported, on July 1, Keri Hilson took to X, formerly known as Twitter, to share a message which read, “If music can heal, music can harm too…”

At the time, internet users speculated that her words may have been about Yung Miami’s single, ‘Spend Dat.’ The song, released on April 24, has since sparked controversy over its content and lyrics. As The Shade Room previously reported, India Arie recently turned heads when she shared a few messages about the “mass acceptance” of the song.

Since then, Nicci Gilbert has also weighed in. This, alongside LisaRaye and Trick Daddy. More recently, India Arie returned to social media. This, to share that she was enjoying the “discourse” that the song and her reaction to it sparked.

RELATED: India Arie Doubles Down On Her Comments About Yung Miami’s ‘Spend Dat’ & The TL Is Divided (PHOTOS)

It’s been a great year for Harry Potter fans. The release of the critically acclaimed Audible Full-Cast Audio Editions gave fans months of enjoyment, and quite literally about a hundred hours of compelling and new content. Meanwhile, the first trailer was released for the upcoming HBO series, which premieres at Christmas. However, the Potter stories all started on the page, and that’s why it’s especially exciting to hear that two new Harry Potter books are on the way.

Bloomsbury Publishing is officially releasing two new Pocket Potters books, this time based around two of Harry’s closest friends — Dobby and Rubeus Hagrid. The books are aimed at younger readers, but they’re also the sort of little releases that will inevitably end up on the shelves of people who absolutely do not need more Harry Potter collectibles and will buy them anyway. Accio books, etc.

Hagrid and Dobby Get Their Own Illustrated Guides

Pocket Potters: Hagrid is illustrated by Olia Muza, whose previous work in the series includes the Ron Weasley guide. The book will focus on the lovable Hogwarts groundskeeper’s world, from the warmth of his hut, Fang the dog, his teeth-crunching rock cakes and his best buddies, the acromantula spiders that haunt the Forbidden Forest. It’ll also explore more fun things like the contents of his pockets, his other, more exotic pets, and his life as Care of Magical Creatures teacher. Blast-ended Skrewts are not included as part of the package.

Pocket Potters: Dobby is illustrated by Helen Brady, who is also behind the upcoming Luna Lovegood edition. This fun little guide will focus on details from Dobby’s story, like his earlier life at Malfoy Manor, his love of socks and bobble hats, and that unforgettable incident where Aunt Petunia’s hand-made dessert ended all over the Dursleys’ dinner guests that night in Privet Drive.

The pair join existing Pocket Potters releases for Harry Potter, Ron Weasley, Hermione Granger, Professor Dumbledore, and Luna Lovegood. Each book is full of quotes, story moments, illustrations, and small facts designed to introduce young readers to the Wizarding World in a colorful way.

Pocket Potters: Hagrid and Pocket Potters: Dobby arrive August 13 in the UK. Harry Potter and the Philosopher’s Stone will arrive on HBO and HBO Max on December 25.

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Release Date

2026 – 2026

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Showrunner

Francisca Gardiner

Directors

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Mark Mylod

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