Helena Bonham Carter has resurfaced in London days after walking away from “The White Lotus” Season 4 filming, a decision that left many fans stunned.

The unexpected departure came just as filming began, and whispers about what truly happened have already taken on a life of their own, raising questions that remain only partly answered.

Helena Bonham Carter has been seen in public for the first time since leaving “The White Lotus” a mere nine days into production.

The actress returned to the UK after filming in the South of France and was photographed in North London while stopping to refuel her car.

Dressed in her signature eccentric style, she wore a pink patterned fur coat with striking red accents, layered over a floral dress and green cardigan.

Chunky trainers completed the look, while her hair was styled in a loose, messy updo.

The outing offered a glimpse of normalcy, even as speculation continues to swirl around her sudden departure.

Exit Linked To Creative Differences Behind The Scenes

According to early reports, the decision to part ways stemmed from creative disagreements between Helena Bonham Carter and the show’s creative team.

Network insiders suggested that her character did not align with expectations once filming began, leading to a mutual decision to step back.

According to The Blast, HBO addressed the situation directly in a statement, saying, “With filming just underway on season four of The White Lotus, it had become apparent that the character which Mike White created for Helena Bonham Carter did not align once on set,”

The network continued, “The role has subsequently been rethought, is being rewritten and will be recast in the coming weeks,”

They added, “HBO, the producers and Mike White are saddened that they won’t get to work with her, but remain ardent fans and very much hope to work with the legendary actress on another project soon.”

While the official explanation points to creative direction, it did little to quiet the growing chatter.

Rumors Of ‘Clash’ Add New Twist To Helena Bonham Carter’s Exit

Beyond the official version of events, another narrative has taken hold in industry circles.

A source claimed that tensions may have played a role in the actress’s departure, suggesting a disagreement with a fellow cast member.

The insider told the Daily Mail, “The word is Helena left because of a clash with Sandra Bernhard.”

However, representatives for Helena Bonham Carter quickly pushed back, denying that any such confrontation took place.

They insisted the two actresses had never even met, though they did not elaborate on what ultimately led to the exit.

The conflicting accounts have only deepened curiosity, leaving observers to piece together a story that remains unclear.

Star-Studded Cast Faces Shake-Up After Departure

“The White Lotus” has built its reputation on bold storytelling and rotating ensembles, and the fourth season was no exception.

Helena Bonham Carter had been among the earliest major names attached, with her role reportedly tailored specifically for her.

The cast also includes Steve Coogan, Heather Graham, Sandra Bernhard, Vincent Cassel, and Rosie Perez, among others.

Following her departure, Laura Dern was announced as her replacement. Rather than stepping into the same role, she will portray a newly developed character, signaling a shift in the storyline.

Filming for the new season is taking place in the South of France, with scenes set in locations like Saint-Tropez, continuing the show’s tradition of glamorous backdrops.

Fans React As Helena Bonham Carter Exit Sparks Debate

The news of Helena Bonham Carter leaving the project triggered an immediate response online.

Many fans had been eager to see her take on a role crafted specifically with her in mind, making the announcement all the more surprising.

Fans voiced their disappointment in comments with one writing, “Oh my she’s the one I’m looking forward to seeing in this season!!!!”

Others echoed similar sentiments. Another fan wrote, “I’m depressed,” while a third added, “So the main character is gone…”

The reactions reflected just how much anticipation surrounded her involvement and how quickly that excitement turned into frustration.

As filming continues and new casting decisions take shape, questions remain about how the change will affect the upcoming season.

For now, the combination of an abrupt exit, conflicting explanations, and a high-profile replacement ensures that this story is far from over.

By Chris Snellgrove
| Published 31 seconds ago

For sci-fi fans, there is perhaps no trope more common than time travel. From Star Trek to Back to the Future, we are used to our favorite heroes and villains traipsing through time to either save or threaten everything that ever was or will be.

This has naturally led to fan debates over which movie best uses this trope, but those arguments are unnecessary because the answer has been staring us in the face for over 30 years. Simply put, Timecop is the coolest time travel movie ever made, and you can now stream it for free on Tubi.

Timecop Rules

Timecop (which is adapted from the Mike Richardson and Mark Verheiden story of the same name, published by Dark Horse Comics) focuses on a government agency charged with preventing crimes involving time travel. One-time cop, Agent Max Walker, gets caught in a tangled temporal tale involving a senator abusing time travel in order to fund his presidential ambitions.

After that, the senator pulls a Biff Tannen and successfully alters the future in his favor. It will take all of Walker’s skills and knowledge to save more than the world; he must save history itself.

Great performances are the cornerstone of Timecop. Ron Silver (best known for his Emmy-nominated role in The West Wing) plays the sleazy senator out to manipulate the timeline. Meanwhile, Mia Sara (best known for playing the love interest of the title character in Ferris Bueller’s Day Off) plays Max Walker’s wife. Finally, Walker is played by martial arts movie maestro Jean-Claude Van Damme, whose unique brand of action-schlock chutzpah transforms Timecop into something almost transcendently weird.

Reaction To Timecop

Fortunately, general audiences didn’t find the Timecop too weird once it premiered. The movie went on to gross $101.6 million against a $27 million budget. While not exactly a blockbuster success, the movie earned enough to spawn a brief-lived ABC television adaptation in 1997. Eventually, we got a direct-to-video sequel in 2003, though neither the sequel nor the television series brought Van Damme back.

The original Timecop may have impressed at the box office, but it didn’t exactly impress the critics. On Rotten Tomatoes, this film has a 42 percent critical rating. Generally speaking, critics acknowledged that the film would appeal to sci-fi fans who could suspend their disbelief and avoid asking too many questions about time travel. However, critics mostly agreed that the movie fell far short of cinematic time travel classics such as James Cameron’s The Terminator.

Watch Timecop

So, moment of truth time: why the heck am I recommending you watch Timecop, a critically reviled sci-fi film whose pop culture footprint can be measured in crappy follow-ups? First of all, despite the snootiness of critics who have historically disdained science fiction, the time-travel plot of this film is both clever and compelling. Its vision of how humans would inevitably abuse temporal mechanics for wealth and power is at once understandable and creative, and the movie as a whole truly lives up to its bonkers premise.

Mostly, though, this film is worth watching for Jean-Claude Van Damme, who previously starred in action movie classics like Bloodsport, Kickboxer, and Universal Soldier. He’s not the most emotive or expressive actor, but he makes up for it with a raw physicality that transforms what could be de rigueur film fights into beautiful displays of genuine martial prowess. Van Damme has always been a special effect unto himself thanks to his martial arts skills, and in the high-tech world of Timecop, his brand of killer kung-fu stands out even more for its delightfully precise, low-tech execution.

Will you enjoy Timecop as much as I did, or would you rather travel back in time to warn your slightly younger self not to watch it in the first place? You won’t know until you experience the intersection of action shlock and ambitious sci-fi for yourself. And if you do end up traveling to the past, don’t forget that touching your past self will kill both of you, so be very careful when slapping that remote away.

Timecop is available to stream for free on Tubi.

[Editor’s note: The following contains spoilers for The Testaments Season 1, Episode 6.]

Episode 6 of the Hulu series The Testaments, entitled “Stadium,” digs into the backstory of Aunt Lydia (Ann Dowd) and provides insight into her rise in Gilead as it reveals secrets that she’s still holding onto. A teacher by trade before her world was turned upside down, the shared past between Lydia and Vidala (Mabel Li) is deeply painful and traumatic, but also marked the moment when Lydia knew her future was up to her. She knew that if Gilead was to become her reality, she needed to take control of her place in it.

Collider recently got the opportunity to chat one-on-one with Dowd about what it was like to learn so much about the history of Lydia, after embodying her for six seasons of The Handmaid’s Tale. During the interview, she discussed how interested she was to learn about Lydia’s evolution, what she was initially drawn to about her, her reaction to that Lydia statue and how she thinks Lydia would feel about it, why there really is no way to ever fully mend what’s happened between Lydia and Vidala, the shock of that initial moment when the teachers realize that their world has permanently changed, solidifying her future with Commander Judd (Charlie Carrick), shooting the moment Lydia makes her most shocking decision, what kind of mother Lydia might have been if she’d made a different decision, and her desire to end Gilead for good.

Ann Dowd Is Getting To Know a Kinder, Gentler Aunt Lydia in ‘The Testaments’

“It was very interesting to explore that.”

Collider: I loved getting to see so many more sides to your character in this series. What new aspect of Lydia did you find most interesting to explore this season, especially after having spent so much time exploring her in The Handmaid’s Tale?

ANN DOWD: I think the biggest change was that she’s gentler and kinder. It was very interesting to explore that, and to see what she chooses to do and the clarity with which she does it. I would say that was the strongest thing, figuring out how she became that kinder, gentler person and what she did between the end of The Handmaid’s Tale and the beginning of The Testaments.

When the possibility of playing Aunt Lydia originally came your way, what was it about her in those early days that most interested you about her, and how have your feelings about her changed with what you now know about her with this show?

DOWD: I think it’s important to say that one of the most important rules for an actor is no judgment. The way I interpreted her, what I focused on was, what is she doing? What does she want? What is she going to do to get what she wants? What’s in her way? Those are very basic questions. In other words, I was not judging her, calling her a villain, or saying that she’s evil. That’s not how I experienced her at all. Bruce Miller, our showrunner, said he thought she was a teacher, so I went back to my early days of education. I was educated by Catholic sisters, and they were not cruel. I say cruel in quotes because I don’t look at them as cruel, even though many people do. She did what she needed to do to get the job done, and these girls have no relationship with God, their language is atrocious, they’re living together unmarried, and they’ve had abortions. It was like, “What are we talking about here? With that, we’ve got a lot of work to do here, and it’s going to be intense, but that’s the way it is.”

What I learned from my Catholic sisters was about a work ethic, meaning you are not special. It was like, “Look around, you’re not special. You have a job to do, and you will do it to its completion, and that is the beginning and the end of it.” If we didn’t, I remember playing basketball after school in the gym and Sister Claude coming down and saying, “Follow me. Why do you think I’ve taken you off basketball practice? What do you think is going on?” And I would say, “Well, I guess I didn’t do my job.” And she would say, “That’s correct. We’d get to the back to the classroom and she pointed out, “What is that?” And I said, “It’s dust.” And she’d say, “What are you going to do with it?” I was like, “I’m going to sweep it up.” And she’d say, “That’s right. What is your job?” And I’d say, “My job is to sweep the room.” It was the kind of thing where it was ingrained in you not to think, for one moment, that you’re any better than anybody else because you’re not. You have a job to do, and you better do it well. That was really helpful with Lydia, in the beginning, when I was trying to find a way in. I loved her language. The way she was written, I thought was really so good, and I wanted to live up to it. I was really, really taken with her, right from the start.

Having worked with the cast of The Handmaid’s Tale for as long as you did, what was it like to work with this group of young women? What was it like to share scenes with them, work with them, and watch them work?

DOWD: Of course, I miss my colleagues from The Handmaid’s Tale. I loved each and every one of them. This group is just terrific. It’s been such a pleasure working with them, watching them work, and watching them in between shots. They’d be laughing and gossiping and giggling like sweet girls. Their acting is perfect. It’s really been a huge pleasure.

Ann Dowd Was Speechless When She Saw ‘The Testaments’ Aunt Lydia Statue

“I just thought, ‘What am I looking at?’”

Image via Hulu

How did you feel about the statue of you, or of Lydia? What was that like to see?

DOWD: I was speechless. I just thought, “What am I looking at?” It’s funny, as they were making it, they were taking so many pictures of me and I thought, “Why are they taking pictures? It’s not going to look like me.” Well, it does. I just thought, “How in the world did someone do that?”

And it looks like you from every angle, close-up and far away.

DOWD: It’s true. And the hunch in the back, I’m like, “Don’t let that be me.” I was stunned by it. I was impressed. They are pretty remarkable, whoever put that together.

Have they told you what happens to it when they’re done with it? Where will it go?

DOWD: It goes in my living room. Where could it possibly go, honestly? That’s so funny.

How do you think Lydia feels about it?

DOWD: I think she has a sense of humor about it. What did she say to Agnes? “Usually, they wait until people are dead, but I’m ahead of the game here.” She has a sense of humor about it and loves the little gifts. It’s very sweet, the oranges and the nice things that come underneath, keeping her aware of people’s love of her or attachment to her. She doesn’t take it terribly seriously. I think she’s like, “Okay, let’s not get carried away here.”

When you read the script for Episode 6, Lydia’s episode, what was your immediate reaction to what it would explore with her and the emotion of that?

DOWD: To go right to the part of the scene where we realize what’s important to Lydia, when she has the gun, and she has to make a choice to either shoot [Vidala] or not, and the notion of survival and how significant that is for Lydia, and fact that she would pull the trigger says so much. It was like, “Woah, what have we done here?” Even though there was no bullet in the gun, how are they ever going to mend and get through that? There’s nothing you can say. “I’m sorry” is worthless in that circumstance.

There’s an interesting moment, earlier on in the episode, when Lydia and the teachers look out the window in the door and they see the teacher shot in the head and drop to the floor, and that moment will forever change their lives. What was it like to be in the room with the other teachers that were there and to experience that, but not know what that would lead to next?

DOWD: It was shocking. It was beautifully shot and beautifully rehearsed. When it happened, just as you said, we’re trying to figure out what’s going on here. These guards have been around, but now it’s intense. What’s happening? How is it shifting? What’s going on? And we say to our colleague, “You go out and check, to see if you can get some kind of understanding of what’s going on here.” So, he asks a question, and then he’s shot in the head. That just tanked us all. We were floored by it, realizing this is where we’re at. This is no joke. They will shoot you as soon as look at you. It was a very, very powerful beginning to Gilead.

There is a distance and a separation with what happens in that moment because they’re on the other side of the door. And then, Lydia is in the stadium seeing what happens to the other women, but they’re still at a distance. And then, she’s brought down in front of them and that distance is completely taken away. I don’t know if any of that was intentional, but it feels very intentional in the way it builds to less and less distance from what’s happening.

DOWD: Absolutely, that’s a very, very good point. It just gets closer and there’s no way out. The main thing is survival.

What do you think fear to that extreme does, mentally and physically? The first time the blindfolded women are led out and made to kneel and all shot at once, what do you think that that does to Lydia and to all the women that are sitting there?

DOWD: I think it traumatizes to a degree that they will never ever forget or get over. It will remain with them, always. It’s so deeply and profoundly shocking and horrifying. Being in that stadium was incredibly helpful, experiencing what it was like to see those women. We were all sitting there at the end of a 16-hour day thinking, “They don’t get to go home. This is where they live.” The reality of it kept creeping in. It was incredibly helpful, shooting in that stadium and experiencing those things that they experienced, and just realizing, “Oh, my God, this is where we are. There’s no getting around this.”

At the start of the episode, Lydia and Vidala seem more like equals. They’re two women who happen to be co-workers, they’re both teachers, and they’re on more equal ground. And then, after the events of the episode, the power dynamic between them shifts forever. What was it like to find that relationship and to figure out how those past experiences would affect them in their present time? What did you most enjoy about exploring that relationship?

DOWD: I loved it. We see early in Episode 6 that Lydia has a thing about Vivian, which is her name. She doesn’t bring the coffee. She’s just such a good teacher that she can’t worry about anything other than how wonderful she is. Lydia is over her already. But I don’t know how you ever get beyond the decision to pull the trigger on someone. What does that do to their relationship? They don’t discuss it. Well, they do, eventually. But it’s deep within. Lydia knows that she’s going to survive. She knows, “I’m not going to be Aunt #5. If Vivian wants to do that, that’s her business. I want to be Aunt #1, and I’m going to do whatever it takes to get to that position. I don’t care where Vivian ends up. I will be #1, and I’m going to make sure, through Commander Judd, that that’s the direction we’re going in.”

That Shocking Moment Between Lydia and Vidala in the Stadium Was Extremely Powerful for ‘The Testaments’ Ann Down and Mabel Li

“We just had a very close friendship.”

Image via Hulu

The way that whole sequence plays out, with Lydia walking through the tunnel with a gun in her hand, walking over to the lineup of women, and then having Vidala’s blindfold removed so that they have to look at each other in that moment was a lot. What was all that like to shoot? What was that like to figure out?

DOWD: It was so powerful, the experience itself of walking down the tunnel with a gun. What is going to happen? The atmosphere was so good and so scary, and you felt like you were really in that situation. You were in the stadium, and you were in the middle of it. He takes off the blindfold, and you see your colleague, and you have to shoot her. I had to pull the trigger. Those were extremely powerful moments that really stayed with us. Before that happened, it was really nice that Mabel [Li], who plays Vivian, and I became very close shooting that episode. We spent a lot of time together, sitting in the stadium, experiencing for ourselves what it would be like to live there. We just had a very close friendship. I love Mabel. That’s what happened to us when we were working together. We grew to love each other in our friendship, and I’m very, very grateful for it. Everything was so close to you that you had to experience it. There was no way not to.

After everything that happens in the stadium, we see Lydia and Commander Judd again, as she essentially comforts him in the present when he loses his child. What was it like to have that relationship in the present, to bring in that history that they have and to know that he’s the one that put her in this position? Has she just resigned herself to the reality of her life, or do you think she secretly wishes she could just kill him with her bare hands? What do you think goes through her head?

DOWD: That’s a very good question. When she changes, and it’s all about survival, she commits and focuses there. She has an interesting relationship with Judd. They talk through things. There’s an odd friendship there. I think she does mean it when she comforts him. At that point, I think she accepts where she is in The Testaments. Worrying about the past and thinking about the past doesn’t do any good at all, so I think she stays present and therefore is able to comfort him and mean it.

Lydia says her biggest gripe with the old world was the emphasis on comfort, ease and convenience, and that everyone had become entitled little brats. There’s actually something to that thinking, in the sense that we all get used to certain conveniences and forget to appreciate things that come too easily. Do you see some logic in Lydia’s thinking, even if her approach is so extreme that no one would want to actually have to live that?

DOWD: I do kind of like her thoughts about that, with people acting like brats. That goes back to the Lydia that I came to know early on, with her work ethic. “You’re not special. Get the job done. Do it completely.” I think there is some logic to it. I just think she commits. It’s so huge, the changes. How much of it does she believe deep inside her? Does she believe that girls shouldn’t read or write? I bet somewhere deep inside her, she’s against that – to be trained only to be good wives, the husbands are in charge, being a good mother and homemaker, and all those things that keep you rooted to the home. Does she believe those things? That’s such a good question. She acts as though she does, deep in her core, but who knows?

Lydia talks about knowing what you’ve done and knowing what you’ve allowed to be done. Do you think she’s someone with any guilt or regret?

DOWD: I think she took tremendous time to think about it, between The Handmaid’s Tale and The Testaments. I think she’s had a lot of time with herself to experience the shame and the deep regret, remorse, and begging for forgiveness. I think that’s hugely important to her. She sat with it for quite some time, and then asked herself, “Who do I wish to be?” She finally realized, “I love these girls. I’m not going to work for the Handmaids right now. I’m going to work with the daughters of High Commanders and Pearl Girls.” She commits fully to that. I did see that change in her. Between The Handmaid’s Tale and The Testaments, she had to have undergone a lot of thought and probably prayer to come to the place she’s in.

We know that Aunt Lydia had an abortion. Do you think if she hadn’t and she’d become a mother that it would have changed her? What kind of mother do you think she would have been?

DOWD: From what we see, with her love of the Handmaids and the love of the daughters of the High Commanders, I think she would have been a beautiful mother. I really do. What she’s been forced to take on and believe in and run her days with, it’s not who she is. It’s who she’s become to survive. But who is she, deeply? I honestly don’t know. But to answer your question, I think she would be a good mother. Do you?

I definitely think she could have been a good mother, especially if she had become a mother before all of the other things that she had to experience throughout The Handmaid’s Tale. Even watching the friendship develop between Lydia and Vidala, as they’re sitting in the stadium, made me see her in a different way. This series really challenges everything we know and previously thought about Lydia.

DOWD: That’s a very good point. Yes, I agree.

‘The Testaments’ Ann Dowd Believes Aunt Lydia Ultimately Wants To Shut Gilead Down

“She just takes her time.”

Image via Hulu

It’s very interesting that Lydia has decided to document everything and everyone and keep this book of Gilead’s secrets. Do you think that she did that with a plan to use it at some point and in some way?

DOWD: I don’t know for certain what the writers have in mind. These are thoughts that I have that could be very, very different when the time comes, and it’s going to take a lot of time to get there. Lydia doesn’t miss a thing. She is always paying attention, she’s alert, and she’s writing these things down because, at some point, she might be able to use these things. I think she ultimately wants to shut Gilead down. She’s not in that complete frame of mind right away. I think it grows over time. She just takes her time. She’s very, very patient. She’s just going to store that away where it’s safe, and no one’s going to know about it, and she’s not going to worry about it. She’s just going to pay attention. She has a lot of thoughts about what should happen with Gilead, and I think we’re going to see what those things are.

She certainly knows where the bodies are buried.

DOWD: Yes, thank you. I think that’s such a good point. She knows where the bodies are buried. You are absolutely right. Well said.

The Testaments is available to stream on Hulu.

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Release Date

April 8, 2026

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Showrunner

Bruce Miller

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Directors

Mike Barker

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Writers

Margaret Atwood

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Sydney Sweeney filmed a three-minute scene for the film “The Devil Wears Prada 2,” but it didn’t make the final cut, raising eyebrows about why.

While reports previously claimed that the scene simply wasn’t a good fit in the film, sources close to the actress are blaming it on politics and “woke” critics, especially after Sweeney was revealed to be a registered Republican during the height of her American Eagle controversy.

Meanwhile, Sydney Sweeney returned to the third installment of “Euphoria,” where she has been garnering backlash too over the foray of character, Cassie, into adult content creation.

Despite being Hollywood’s “it girl” for the past couple of years, Sweeney still gets to experience movie editors’ shears.

Speculations were rife suggesting Sweeney would get a short cameo in the highly anticipated “Devil Wears Prada 2,” but recent reports suggest her scene has been left on the cutting room floor, just days before the sequel’s May 1 release.

Sources close to the production told Entertainment Weekly that the move to drop her scene was a “creative decision,” but added that the movie team was “grateful” for her participation.

However, according to Star Magazine, a different source shared that those close to the actress are blaming “Hollywood wokesters” who have become hugely critical of Sweeney because of her perceived conservative views.

Others don’t think it’s because of her politics, with the insider adding, “They’re attributing it to old-fashioned jealousy” of Sweeney’s fast-rising star.

Insiders Claimed The Actress’s Scene ‘Didn’t Work Structurally With The Rest Of The Sequence’

The scene in question reportedly featured Sweeney playing an exaggerated version of herself as a celebrity client at the Dior offices, interacting with Emily Blunt’s character, Emily Charlton.

The cameo, which came early on in the film, was intended to showcase Emily’s new status as a luxury executive, but director David Frankel and the editing team ultimately decided to axe it, with reports claiming it didn’t work structurally with the rest of the movie.

In trailers for the movie, Anne Hathaway’s character Andy reunites with her former Runway colleagues Miranda Priestly (Meryl Streep) and Nigel Kipling (Stanley Tucci), to try and resuscitate the fashion magazine amid a decline in traditional publishing and a scandal.

The trio would do all to keep the brand afloat, including seeking funds from former Runway assistant Emily Charlton (Emily Blunt), who’s now the head of Dior’s operations in the U.S.

Sydney Sweeney Came Under Scrutiny Over Her American Eagle Jeans Ad

Over the years, Sweeney has garnered backlash for her controversial statement in an American Eagle ad campaign, as many accused her of fostering white supremacy and Eugenics rhetoric because of a pun about “jeans/genes.”

Responding to the backlash at the time, she told People Magazine that she was “honestly surprised by the reaction,” before going on to distance herself from some of the accusations.

“I did it because I love the jeans and love the brand. I don’t support the views some people chose to connect to the campaign. Many have assigned motives and labels to me that just aren’t true,” she added.

The Actress Garnered Backlash For Provocative Scenes In ‘Euphoria’ Season 3

More recently, Sweeney returned in her hit HBO series “Euphoria” and has continued to receive flak after her character Cassie started creating adult content and making provocative gestures.

She recently sparked backlash for a scene where she’s dressed in a revealing dog costume, filming videos presumably for social media. Sweeney’s character barked like a dog and also drank water on all fours.

The actress also dressed as a baby, wearing a pacifier, diaper, and a see-through pink hoodie, sparking backlash from all quarters.

Several called out the show’s creator, Sam Levinson, over the scenes, with many demanding to know if Sweeney had any say.

Sydney Sweeney’s Boyfriend Implored To Give Her Space

Amid the mounting backlash, Sweeney’s love life with Scooter Braun is standing strong as the pair have now gone Instagram official after months of being linked together.

However, the music executive has raised eyebrows over how he has allegedly made his life about the “Anyone But You” actress, with sources close to him imploring him to stop being needy.

“When they’re together, Scooter looks so stressed out, like he’s paranoid of getting dumped and is holding on for dear life,” a source close to Sweeney told Star. “People are like, give the girl some air for crying out loud!”

“He’s absurdly wealthy and doesn’t really have to work, so he has nothing but time and cash to devote to this relationship,” the insider continued. “He’s working so hard to keep this thing going. He is making his whole life, and his whole footprint in Hollywood, about being by her side.”

In fact, the insider added that it’ll be difficult to see Sweeney ending up with him even though he has reportedly been telling everyone she’s going to be his wife.

“He’s handsome, and he’s loaded, but Sydney is one of the hottest stars in the world right now,” the source said.

Slim Thug and Finesse2Tymes have sparked reactions with their thoughts on Megan Thee Stallion and Klay Thompson‘s breakup.

RELATED: Internet Users Are Goin’ IN On Boston Richey After He Shared His Reaction To Klay Thompson Allegedly Cheating On Megan Thee Stallion

Slim Thug & Finesse2Tymes Share Their Thoughts On Meg Thee Stallion & Klay Thompson’s Breakup

Earlier this week, Slim Thug took to a livestream while speaking about Megan Thee Stallion and Klay Thompson. In a clip captured by Instagram user @livebitez, Slim said that he hates to “see that,” presumably referring to their split.

“But that’s why I can’t be in that situation. If you get in a situation like that, look what happens when it don’t work out. How many times have I told y’all that, thought?… So now you understand where I be coming from? Now you understand when I say what I say?” he told viewers.

Additionally, the platform also captured a livestream of Finesse2Tymes speaking on Meg and Thompson’s breakup. In the clip, Finesse explained that he thinks it “takes a certain kind of man to be able to accept a woman that’s been publicly ran through.”

“He gotta already kind of be damn near a player. Because if he’s simp already, he’s gonna come into the relationship insecure… But Klay Thompson don’t come off as a player. But he got paper. So he could have a player personality — he can have a player mentality,” Finesse explained in part.

Watch the full clip below.

Slim Thug & Finesse2Tymes Spark Reactions

Social media users entered TSR’s comment section with reactions to Slim Thug’s thoughts.

Meanwhile, social media users also entered @livebitez’s comment section with reactions to Finesse2Tymes.

More On Meg Thee Stallion & Klay Thompson’s Breakup

As The Shade Room previously reported, last week, Megan Thee Stallion took to her Instagram Story to share a few words about “cheating.”

Subsequently, she released a statement to TMZ, confirming that she decided to end her romance with Klay Thompson.

Since then, a WNBA player has addressed speculation of being linked to Klay Thompson, while Megan Thee Stallion announced her early exit from Broadway, and Klay Thompson has caught subliminal shots online.

RELATED: Oop! Internet Users Are Cracking Up At Viral Tweet Aimed At Klay Thompson Amid His Breakup With Megan Thee Stallion

By Robert Scucci
| Published 34 seconds ago

Though writer-director Michael Mann is best known for 1995’s Heat, there’s another film in his catalog that is just as daring, and a little rougher around the edges. 1981’s Thief, his feature film debut, is now considered a classic, proving its staying power over the decades. It tells a slow-burn story involving the planning and execution of an elaborate diamond heist, but its tension comes from the inner workings of the crime syndicate orchestrating it, and the man trying to pull off one last big score before going legit.

In 2026, Thief sounds like any other heist flick, but it endures because it’s not beating you over the head with the heist itself. Vaults get broken into, and loyalties are betrayed, but what really makes this such an engaging watch is witnessing the planning more than the execution. The buildup is just as strong as the payoff, and that’s what makes you want to stick around.

Kind Of A True Story

Based loosely on Frank Hohimer’s 1975 memoir The Home Invaders: Confessions of a Cat Burglar, Thief centers on Frank (James Caan), a safe-cracking expert and ex-con who uses his “legitimate” business ventures as a front for his criminal activities. He’s in love with Jessie (Tuesday Weld), and plans to settle down with her after explaining the true nature of his work. As luck would have it, his most recent score gets ripped off when his accomplice, Gags (Hal Frank), is thrown out of a window, and the money is stolen. After some investigating, Frank traces Gags’ murder to Attaglia (Tom Signorelli), a plating company executive who operates similarly to Frank, but at a much higher level.

As it turns out, Attaglia works for another crime lord named Leo (Robert Prosky), who has seemingly limitless resources thanks to his organized crime ring. In so many words, Leo’s racket is essentially a union for criminals who carry out heists, report their earnings, and wait for their cut. Leo, who benefits most from this operation, provides protection by supplying the infrastructure they need to get the job done. Basically, he operates like any other company ever made. Wealth is generated by frontline employees, and then they fight over the scraps their boss is kind enough to toss their way.

Frank, wanting to settle down and start a family, reluctantly teams up with Leo because he has needs that can’t be fulfilled through conventional means. Jessie cannot conceive a child, and Frank’s criminal record prevents them from adopting. Leo, with his deep pockets and endless connections, can get him a baby off the black market, along with a home, a car, and just about anything he could imagine needing. The problem is that Frank is a lone wolf, and he doesn’t want to continue this lifestyle if he can score big and move on.

As Frank tries to distance himself from Leo, he also does what he does best: cracking safes. The best moments in Thief aren’t the heists themselves; it’s the biblical amount of planning that goes into them. The film goes deep into safe-cracking semantics, supply lists, timing, and getaway logistics, and this is where it really shines. Watching a group of guys plan a diamond heist while Frank suspects the police are tailing him is just as compelling as the heist itself.

Heists Are Loud As Hell In Thief

When I’m far from a credible expert in diamond thievery, I couldn’t stop laughing at the actual safe-cracking sequences in Thief. The opening sequence that establishes how seasoned Frank is, as well as the final score, are louder than God himself as he hammers and blowtorches his way through massive vaults to secure the goods.

While this is probably how cracking a safe actually works in real life, my notes while watching this movie describe Frank as “An expert safecracker who’s also the loudest one. It’s a montage meant to showcase how good he is, but he’s so f****** loud that it becomes really funny if you think about it in bad faith.” That said, given how well-connected Leo is and how skilled Frank’s team is, it’s easy to suspend disbelief.

What’s even more impressive is that Frank is incredibly smart, but he doesn’t have to be the smartest guy in the room. He knows what supplies he needs, travels light, and gets straight to work. For a heist movie, it’s a simple operation that benefits the storytelling, since you don’t get lost in junk science or technical jargon about CCTV and security systems. What you get instead is a group of smart criminals executing at a high level, and the fallout when they get too big for their britches.

Thief has earned its place as one of the best neo-noir films ever made, thanks to its realism and its willingness to show how far one man is willing to go to achieve what he believes is the American dream.

As of this writing, you can stream Thief for free on Tubi.

Espadrilles have always been a mainstay in my warm-weather wardrobe. I have quite a few pairs, including flats for casual days and wedges for more elevated occasions. I thought my espadrille collection was complete. . . until I saw some new styles that completely upgraded the seasonal shoe.

Think: slingback styles that align with the silhouette trend, eye-catching colors to make your shoes pop and dainty details that are totally unexpected but gorgeous. Espadrilles are about to be the ‘It’ shoe this summer, so get in on the hype with 17 head-turning styles, below, from retailers like Amazon, Abercrombie, DSW and more.

17 Upgraded Espadrille Styles to Shop for Spring 2026

1. Our Favorite: Espadrilles take on a whole new trendy look with this slingback silhouette that’s ideal for seaside sunset dinners.

2. Pop of Color: The soles of espadrilles are typically made from tan jute rope, but that doesn’t mean every shoe has to be neutral. Just take this Mary Jane style, featuring an eye-catching burgundy upper that really makes a statement.

3. Floral Details: Embrace the springtime vibes with Time and Tru’s dainty espadrilles that are adorned with woven white flower decals.

4. Easy and Elevated: Don’t want to wear flat sandals or high heels? These espadrilles strike a nice middle ground with their chic flatform style, making them incredibly easy to walk — or dance — in.

5. Ballerina Vibes: Delicate ankle ribbons on Rothy’s vacation-ready sling-back espadrilles will have you feeling like a tiny dancer. My advice? Opt for the sunny yellow hue.

Related: My 61-Year-Old Mom Struggles With Shoes, But Approves of My Spring Recs

If there’s one thing I can count on with the change of the season, it’s my mom complaining that her shoe game isn’t up to par. To ensure she’s prepared for every spring event, I gathered a range of shoe types that she’ll happily wear throughout the season (and beyond). The criteria? Comfortable yet stylish […]

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6. Sail Away: An easy way to upgrade the classic espadrille flat is with a fun pattern. Go nautical with the navy-and-white stripes features on this Lands’ End pair.

7. Secret Style: Did you know Abercrombie sold footwear? The retailer’s selection isn’t extensive, but it does include these trusty faux-suede espadrilles that will go with every outfit.

8. Fan-Favorite: Free People shoppers adore these vibrant Mary Jane-style espadrilles. One reviewer even called the shoes a “sweet mix of preppy beach charm and femme fatale.” Love!

9. An Edgy Pick: You wouldn’t expect the fishnet flats trend to blend so well with an espadrille sole, but Sam Edelman’s stylish mesh shoes prove otherwise!

10. Slide Right In: House slides are more fun to wear when they’re cool and contemporary. You’ll never want to take off these buckled flatform espadrille sandals.

11. Sky High: For those warm-weather special occasions, these five-inch chunky-heeled espadrilles will have you towering over everyone in style.

12. Unexpected: Espadrille sneakers? Yep, they exist. This style, which is decked out in bows, is about to become your most-worn pair of shoes this summer.

13. Strapped In: Nothing is worse than sandals that slide off your feet. You’ll stay secure, no matter how many miles you walk, when you slip into these comfy and strappy espadrilles.

14. Blinged Out: These Karl Lagerfeld espadrilles come decked out in bling — they’re scattered with metallic charms that glisten beautifully in the light.

15. Here Comes the Bride: Espadrilles can totally pass for bridal footwear, especially these gorgeous lacey Mary Janes that are perfect for beach weddings.

16. Travel Wonder: Packing for your next vacation will be so much easier with these patterned espadrilles that fold in half to take up minimal space

17. Spritz O’Clock: Step into your party shoes — a.k.a. these fun, graphic espadrilles embroidered with a summery beverage.

As the plot begins to thicken for Ghosts’ first-ever hour-long season finale, this week’s episode sees the fallout of Sam (Rose McIver) and Jay’s (Utkarsh Ambudkar) deal with Mayor Tad (Justin Kirk) to save Woodstone. After getting in major trouble with the IRS after trying — and failing — to save Trevor’s (Asher Grodman) job, Sam and Jay’s problems were seemingly solved when Tad swooped in as an angelic benefactor, promising to take a hands-off approach just for the good publicity of having saved a local business. However, things seem to have shifted this week as Tad has some very big ideas for the restaurant. Today, Collider is delighted to bring you a sneak peek from tomorrow’s episode, “Under New Management.”

In our exclusive sneak peek, Tad reveals his new plans for the restaurant in a hilarious callback to Season 4. While it’s unclear what changed for Tad in terms of his mayoral priorities, he’s got a new five-year plan that starts with a major makeover for Mahesh. Throwing it back to when the restaurant first opened, Tad reveals that he wants to start a chain of “upscale breasturaunts” after getting the idea from an early review by a local restaurateur. While Sam and Jay are happy to encourage his new endeavors, what they don’t realize is that their restaurant is about to become the very first Mountains of the Valley location. Trevor, of course, who originally came up with the idea, is nothing short of thrilled.

‘Ghosts’ Will Return This Fall, But Season 6 Won’t Air Until 2027

Earlier this month, CBS unveiled its fall schedule with a surprising schedule change for Ghosts. While the series is still set to return for a 22-episode Season 6, those episodes will premiere early in 2027 as a mid-season series. Fans still have some haunted treats to look forward to this fall — to make the wait for Season 6 easier, Ghosts will air two 1-hour holiday specials timed to Halloween and Christmas. According to CBS, the delayed rollout is a show of faith in the hit comedy series, which has consistently placed in the top Nielsen ratings.

Ghosts is making way for showrunners Joe Port and Joe Wiseman‘s newest supernatural series on CBS, as Eternally Yours will air in the 8:30 PM time slot on Thursdays this fall. Rolling the shows out in succession gives Ghosts a lengthier runway, while Eternally Yours gets off the ground, giving both shows the breathing room for success. With the network airing fewer comedies than ever this fall, CBS is looking to give both shows the spotlight.

“Under New Management” airs tomorrow on CBS at 8:30 PM ET, and the Ghosts Season 5 finale will air on May 21. You can catch up with previous episodes on Paramount+. Stay tuned at Collider for more.

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Release Date

October 7, 2021

Directors

Christine Gernon, Jaime Eliezer Karas, Katie Locke O’Brien, Nick Wong, Jude Weng, Pete Chatmon, Richie Keen, Alex Hardcastle, Kimmy Gatewood, Matthew A. Cherry, Cortney Carrillo

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Writers

Emily Schmidt, John Timothy, Lauren Bridges, Sophia Lear, Guy Endore-Kaiser, Rishi Chitkara, Julia Harter, Skander Halim, Zora Bikangaga

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  Rose McIver

  Samantha Arondekar

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  Utkarsh Ambudkar

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  Jay Arondekar

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As Netflix continues to hike up its prices, it can be frustrating to find footing in the streaming wars. Luckily for fans, one of the best dramas ever made requires no subscription. Now on Tubi, Rob Reiner’s R-rated drama, A Few Good Men, is free to watch.

The movie was written by Aaron Sorkin, adapted from his own stage play of the same name. Released in 1992, A Few Good Men follows Lt. Daniel Kaffee (Tom Cruise), a Navy lawyer tasked with the harrowing case of a Marine hazing gone wrong. The film was a career-best performance for Cruise and also boasted Demi Moore, Jack Nicholson, Kevin Bacon, and Kiefer Sutherland in starring roles. What starts as a case that could just be another plea deal turns into a battle of wits in the final act. A Few Good Men isn’t typical military propaganda, but instead a story that delves into the complexities of its characters.

‘A Few Good Men’ Is the Height of the Courtroom Drama

A Few Good Men contains all the hallmarks of any good Aaron Sorkin project. Before The West Wing and the underappreciated The Newsroom, the scribe delivered quotable lines that would go on to be remembered as some of the best drama dialogue. This element only works due to the strength of the story, which isn’t dependent on stereotypes or predictable beats. A Few Good Men is a character-driven drama that is sadly rarely seen in modern films.

At the outset, Kaffee is a talented, if arrogant, lawyer looking forward to getting out of the Navy. He is known for his plea deals, which is perhaps why, only a year after graduating from law school, he is assigned a murder case. This case has many implications for the Marine Corps after two accidentally kill another Marine after being ordered to carry out a “code red.”

Code reds are not expressly condoned, but happen when a Marine receives harsh discipline as punishment. Lance Corporal Howard Dawson and Private First Class Louden Downey carry out a code red against Private William Santiago, who dies from the assault. Though they only meant to shave his head, the two Marines are on the line for murder and a possible court-martial.

Kaffee understands that the Marines’ best chance is to plead out to serve minimal prison time. It is through his interactions with the persistent Internal Affairs officer, Joanne Galloway (Demi Moore), and continued time with the Marines that Kaffee realizes the code red is a systemic issue that the Marines were aware of. A Few Good Men charts Kaffee’s character progression from a cocky lawyer only out for himself, weighed down by the expectations of his lawyer father, to becoming a prominent lawyer in his own right.

A Few Good Men discusses themes of honor and duty while stressing that these things are not excuses for murder. Dawson’s character is particularly moving as his motivations are uncovered. The corps is all he knows as he stresses: “unit, corps, god, country.” Having already been punished for assisting someone being reprimanded, he was under immense pressure to take on this code red, even though he had affection for Santiago.

All of these stressors come to a head as Kaffee refuses to back down from questioning Colonel Jessup (Jack Nicholson) and puts everything on the line. Dawson was forced into a terrible situation, but still has to take responsibility for it. Though the court orders Jessup’s arrest for ordering the code red, Dawson understands what he does is wrong and is court-martialed.

These little complexities make Sorkin an esteemed writer, and they are accentuated by Rob Reiner’s direction and the powerful performances of the film. A Few Good Men is always a must-watch, and viewers can catch it for free on Tubi.

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Release Date

December 11, 1992

Runtime

138 minutes

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Writers

Aaron Sorkin

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Producers

Andrew Scheinman, David Brown, Rob Reiner

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